April Barrows - My Dream Is You

Bitrate: MP3@320K/s

Time: 38:07

Size: 87.3 MB

Styles: Standards, Vocal jazz

Year: 1996

Art: Front

[2:55] 1. My Dream Is You

[3:53] 2. Someone Else's Arms

[4:19] 3. Lost In A Blue Note

[3:18] 4. I'm Beginning To See The Light

[3:08] 5. Mr. Moon

[3:07] 6. She's Got You

[3:47] 7. Room In My Heart

[1:35] 8. Jumping Into Spring

[2:16] 9. I Wanna Turn Out My Light

[2:52] 10. Burning The Toast

[3:25] 11. An Old Stuffed Sofa

[3:26] 12. Where The Blue Begins

Recording Date: November 13, 1994.

April Barrows is a very appealing singer who swings and gives just the right amount of emotion to lyrics. What is unusual about this set is that she composed ten of the dozen songs (three of which are co-written with David Hungate who doubles on guitar and trombone) and that they are strong enough to become standards if this CD is discovered by others. The vocalist is assisted by a high-quality group of mostly obscure players from Nashville: trumpeter George Tidwell, Denis Solee on reeds, guitarist Andre Reiss, pianist Beegie Adair, bassist Roy Huskey, Jr., drummer Chris Brown and occasionally Farrell Morris on vibes in addition to Hungate. Barrows uplifts "I'm Beginning to See the Light," but it is the inclusion of so much excellent new material that is most intriguing and makes this a highly recommended set. ~Scott Yanow

My Dream Is You

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Bobby Hackett - Plays Tony Bennett's Greatest Hits

Styles: Trumpet Jazz
Year: 1966
File: MP3@320K/s
Time: 28:02
Size: 64,5 MB
Art: Front

(2:45)  1. Smile
(2:46)  2. Put on a Happy Face
(2:35)  3. I Left My Heart in San Francisco
(2:48)  4. The Good Life
(2:36)  5. Rags to Riches
(2:43)  6. Just in Time
(2:54)  7. Stranger in Paradise
(2:56)  8. I Wanna Be Around
(2:58)  9. The Shadow of Your Smile
(2:56) 10. Because of You

Throughout his career, Hackett was in demand for a wide variety of studio dates due to his highly appealing tone on cornet. He was utilized by Jackie Gleason for a series of commercially successful mood music albums and spent a period touring with Tony Bennett. In tribute to Bennett, Hackett recorded ten songs associated with the singer. Unfortunately, all of these renditions clock in at three minutes or less, making for a 28-minute LP, and none of the performances wander far from the melodies, which include such dubious material as "Put On a Happy Face," "Stranger In Paradise" and of course "I Left My Heart In San Francisco." Pass this one by. https://itunes.apple.com/us/album/plays-tony-bennetts-greatest/id945582352

Plays Tony Bennett's Greatest Hits

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Lambert, Hendricks & Ross - Sing A Song of Basie

Styles: Vocal
Year: 1957
File: MP3@320K/s
Time: 39:14
Size: 109,1 MB
Art: Front

(5:21)  1. Everyday
(2:30)  2. It's Sand, Man!
(2:46)  3. Two for the Blues
(3:04)  4. One O'Clock Jump
(2:32)  5. Little Pony
(2:13)  6. Down for Double
(3:18)  7. Fiesta in Blue
(3:01)  8. Down for the Count
(3:02)  9. Blues Backstage
(3:05) 10. Avenue C
(3:10) 11. Four Brothers
(2:41) 12. Cloudburst
(2:26) 13. Standin' on the Corner (Whistlin' at the Pretty Girls)

Lambert, Hendricks, and Ross are pioneers of a unique singing style called vocalese, which involves replacing instrumental jazz with sung lines and invented lyrics. The method was first used by artists such as King Pleasure, who with a rhythm section backing him added lyrics to a Charlie Parker solo in a version that Parker hated. Lambert, Hendricks, and Ross took it to the logical next step, which was to duplicate an entire instrumental arrangement for voices; in this case, Count Basie's charts. Their first attempts involved an entire choir and were largely unsuccessful, mainly because Lambert had trouble locating enough singers that could swing the parts. They then decided to do all the parts themselves, using multiple overdubs, building each track from the ground up. This was probably the best way to do it anyway, since doubling and tripling up on parts makes the individual voices blend together well and cuts down on the clutter.

The results are instantly appealing and downright fun; the Basie charts are enjoyable enough as played by the orchestra, but gain a new level of excitement and a different spirit in these vocalized versions. The lyrics are written not only to communicate the feeling of each song, but also for the rhythm and sound of each word. Some clever interplay is created through the back and forth banter of individual voices, harkening back to the original source of call-and-response. 

The singing is impressive; some of these lines were difficult enough as instrumental solos, but singing them adds another degree of challenge. Hendricks in particular seems to have a knack for tongue-twisting, rapid lines delivered in huge intervals. Annie Ross has an impressive range as well; she can mimic the high register trumpet lines with ease. The smartest move of all was to include Basie veterans in the rhythm section; they keeps things firmly grounded in the spirit of the Basie orchestra and add the right amount of swing and authenticity to ensure a great delivery. Vocals are always more. 

~ David Rickert  http://www.allaboutjazz.com/sing-a-song-of-basie-lambert-hendricks-and-ross-verve-music-group-review-by-david-rickert__5314.php

Personnel: Dave Lambert, Jon Hendricks, and Annie Ross, vocals; Nat Pierce, piano; Freddie Green, guitar; Eddie Jones, bass; Sonny Payne, drums

Sing A Song of Basie

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Sarah Partridge - I Never Thought I'd Be Here

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 54:35
Size: 129,0 MB
Art: Front

(4:54)  1. Perspective
(6:21)  2. Grace
(5:26)  3. Light of Day
(7:13)  4. Caverns of My Heart
(5:49)  5. I Never Thought I'd Be Here
(4:44)  6. I Just Won't Let You Go
(5:30)  7. Heart's Desire
(4:55)  8. Runaway Train
(4:52)  9. Eager Is the Night
(4:46) 10. Around the Corner

A dazzling interpreter of classic and popular standards over her twenty-year career, Sarah Partridge introduces her own collection of songs on ""I Never Thought I'd Be Here."" While influenced greatly by traditional standards, her lyrics point to more modern themes as she explores the moods and textures of life, ranging from dark to joyous. She is joined by her long-standing working band of distinguished New York musicians pianist & arranger Allen Farnham, bassist Bill Moring, drummer/percussionist Tim Horner, Paul Meyers on guitar, Scott Robinson on saxophone and flute, and trombonist Ben Williams.""Partridge's voice suggests Anita O'Day with her bedrock swing propelling scat improvisations"" ~ New York Times  - Editorial Reviews  http://www.amazon.com/Never-Thought-ID-Be-Here/dp/B00S89IZVG

I Never Thought I'd Be Here

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Jack Mcduff & Joey DeFrancesco - It's About Time

Styles: Soul Jazz
Year: 1996
File: MP3@320K/s
Time: 62:55
Size: 144,5 MB
Art: Front

(7:13)  1. Pork Chops and Pasta
(8:20)  2. Please Send Me Someone to Love
(5:58)  3. Secret Love
(6:33)  4. Our Delight
(8:03)  5. Yesterdays
(5:02)  6. The Most Beautiful Girl in the World
(9:14)  7. Rock Candy
(6:06)  8. Funk Pie
(6:22)  9. Black Jack

A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases. McDuff began as a bassist playing with Denny Zeitlin and Joe Farrell. He studied privately in Cincinnati and worked with Johnny Griffin in Chicago. He taught himself organ and piano in the mid-'50s, and began gaining attention working with Willis Jackson in the late '50s and early '60s, cutting high caliber soul-jazz dates for Prestige. McDuff made his recording debut as a leader for Prestige in 1960, playing in a studio pickup band with Jimmy Forrest.

They made a pair of outstanding albums: Tough Duff and The Honeydripper. McDuff organized his own band the next year, featuring Harold Vick and drummer Joe Dukes. Things took off when McDuff hired a young guitarist named George Benson. They were among the most popular combos of the mid-'60s and made several excellent albums. McDuff's later groups at Atlantic and Cadet didn't equal the level of the Benson band, while later dates for Verve and Cadet were uneven, though generally good. McDuff experimented with electronic keyboards and fusion during the '70s, then in the '80s got back in the groove with the Muse session Cap'n Jack. While his health fluctuated throughout the '90s, McDuff released several discs on the Concord Jazz label before succumbing to heart failure on January 23, 2001, at the age of 74. https://itunes.apple.com/us/artist/jack-mcduff/id7259239#fullText

Personnel: Jack McDuff (organ); Joey DeFrancesco (organ); John Hart , Paul Bollenback (guitar); Andrew Beals (alto saxophone); Jerry Weldon (tenor saxophone); Byron Landham (drums, percussion); Rudy Petschauer (drums).

It's About Time

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Amanda Carr - Carr Toons

Size: 102,3 MB
Time: 43:39
File: MP3 @ 320K/s
Released: 1997
Styles: Jazz Vocals
Art: Front

01. It Ain't The Meat It's The Motion (2:18)
02. Watch What Happens (4:52)
03. We'll Be Together Again (5:36)
04. Maybe (4:48)
05. Lullaby Of Birdland (3:55)
06. Scotch And Soda (2:50)
07. Someone To Watch Over Me (4:10)
08. Mean To Me (5:29)
09. Just Another Spring (5:26)
10. Don't Sit Under The Apple Tree (4:10)

Recorded in 1996, Carr Toons was intended by Amanda Carr to merely test her pedigree and create a modest demo of vocal jazz standards. Formally a rock and pop singer, Amanda finally followed in the musical footnotes of her parents and entered the jazz genre. Weaving in a couple of originals, Maybe, and composer John Kester's string-laden Just Another Spring, this collection is a delightful and varied offering of a singer whose musical growth was to be measured in future recordings. The swinging version of the WWII anthem Don't Sit Under the Apple Tree (Andrew Sisters) was a long-running feature in a New England regional television ad campaign which brought Amanda's voice into thousands of homes.

Carr Toons

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Allen Toussaint - The Wild Sound Of New Orleans: The Jazz Collection

Size: 80,8 MB
Time: 34:28
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: New Orleans Jazz
Art: Front

01. Wham Tousan (2:20)
02. Back Home Again In Indiana (2:20)
03. Whirlaway (2:16)
04. Java (1:51)
05. Po Boy Walk (2:31)
06. Sweetie Pie (Twenty Years Later) (2:45)
07. Nashua (2:31)
08. Nowhere To Go (1:40)
09. Pelican Parade (1:41)
10. Up The Creek (1:48)
11. Tim Tam (1:57)
12. Bono (2:04)
13. Chico (2:15)
14. Happy Times (2:04)
15. Me And You (2:06)
16. Naomi (2:11)

These cuts represent Allen Toussaint's earliest solo recordings for RCA Records circa 1958. Toussaint was essentially discovered by Danny Kessler — an early version of what would now be considered an A&R man. It was during another artist's studio time — featuring Toussaint as the accompanying pianist — that Kessler first heard and approached Toussaint to prepare a few instrumentals of his own. On January 29, 1958, Toussaint (piano) was joined by a local crew that included Alvin "Red" Taylor (baritone sax), Nat Perrilliat (tenor sax) or Lee Allen (tenor sax), either Justin Adams (guitar) or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). As intimated above, the precise personnel has long been debated. Kessler produced an outing that yielded the infectiously up-tempo blues "Whirlaway" and the Ray Charles-inspired gospel-meets-barrelhouse-meets-swing title "Happy Times." Kessler turned the pair into a locally successful single and was so encouraged by the results, less than a month later the same assemblage gathered to record the remainder of what would be the Wild Sound of New Orleans (1958). The soulful "Up the Creek" is a dark waltz with Toussaint's stirring keyboard runs emphasizing the haunting refrain. On the opposite side of the emotive spectrum, the hearty "Tim Tam" is impelled by Williams' hard and heavy backbeat with Allen blowing his lungs out. Another contrast follows with the whimsical "Me and You." The melody is decked out with a classy early 20th century pop standard feel, while all the more striking is the percussive accompaniment replicating a tap-dancer doing an old soft shoe. Immediately, Toussaint's expressive keyboarding on "Bono" and "Nashua" give props to the performance style of Professor Longhair before settling into their respectively catchy, mid-tempo rhythms. The horns have plenty of room to strut their proverbial stuff and the syncopation of the latter immediately brings Mardi Gras to mind. Perhaps the best-known tune among the lot is the jaunty "Java," which took on new life thanks to a chart-topping remake by Al Hirt. The trumpeter turned it into his unofficial theme song, ultimately making a 30-plus-year career out of it. "Wham Tousan" and "Pelican Parade" each quickly rev up to full throttle with the saxes taking on and going head-to-head with Toussaint's rollicking runs up and down the 88s. The German-label import Complete "Tousan" Sessions (1992) from Bear Family is a good way to get the 12 songs found here. It also boasts the complete and rarer Seville label material that the artist cut and issued under the moniker "Al Tousan."

The Wild Sound Of New Orleans

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Roberta Gambarini - Under Italian Skies

Size: 114,8+106,5 MB
Time: 49:33+45:54
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz Vocals
Art: Front

CD 1:
01. Ape Regina (6:56)
02. Quietati, Erba Dolce (4:28)
03. 12 00 A.M (6:10)
04. Agrifoglio (4:28)
05. Diana (4:59)
06. Giovani Poeti (4:46)
07. Sorella Senza Nome (5:35)
08. Olive D'inverno (6:41)
09. Impronte (5:24)

CD 2:
01. Il Cielo Della Mia Memoria (5:20)
02. Danza Dei Veli (5:55)
03. Un Pernod... S'il Vous Plait (5:43)
04. Arimo, I Signori (5:22)
05. Lampare (7:22)
06. Teatro Eden (4:41)
07. Per Sempre (5:14)
08. La Plage (4:27)
09. In Punta Di Piedi (1:48)

This CD listed as being by Roberta Gambarini is not at all representative of her work as a jazz vocalist. Despite the top billing she receives on the cover, Gambarini is not the leader, but a vocalist who did a favor by appearing on sessions led by bassist/composer Andrea Donati before she had gained international recognition for her jazz vocals. The outside packaging and lack of liner notes are of little help to explain how this music came about, but it was previously issued under Donati's name (without a co-billing for Gambarini) as two separate CDs in 1995 and 1998: disc 1 as Ape Regina, disc 2 as Le Ciel de Ma Memoire, both on the Amiata label. The singer was brought in after several previous vocalists failed to satisfy Donati, while the songs were new to her. For the first session, the bassist wrote music to fit the words of contemporary Italian poet Alda Merini. Gambarini either sings the text in Italian or wordlessly to provide background color. A lack of knowledge of Italian handicaps the listener considerably, though Gambarini's rich voice seems to communicate the feeling of the text. The singer's sex appeal comes through in the romantic opener "Ape Regina," with organist Emmanuel Bex providing a refreshing change from the usual piano accompaniment. The funky "12:00 A.M." adds the overdubbed horns of Marco Brioschi, with a bit of a reggae rhythm at times, along with Gambarini's fun scat singing. "Giovani Poeti" is a delicious bossa nova with another warm performance by the vocalist. The second disc is a bit more of a mixed bag, with Gambarini absent from several tracks and often having a very minimal role when present. Donati wrote both the words and music to the haunting ballad "Il Cielo della Mia Memoria," a piece suggesting the recall of a past love, wonderfully accented by accordionist Gianni Coscia, Donati, the whispering brushes of Carlos Virzi, with the surprise addition of Federcio Sanesi on tabla. At this point, the tabla becomes more prominent as the music gets difficult to classify, blending ballads with music from India, Brazil and elsewhere. Starting with "Danzi del Veli," Gambarini takes on more of a supporting role, multi-tracking background vocals, with the focus on soprano saxophonist Silvio Binello. "Un Pernod..., s'il Vous Plait" begins as if it will launch into an Astor Piazzolla tango with the solo accordion, though Gambarini's lush wordless vocal and Donati's bass provide the only other instrumentation, a lovely performance. Donati overdubs two bass lines in his catchy folk song "Teatro Eden," with minimal tabla and percussion behind him. All in all, this release has some interesting world music, though jazz fans of Gambarini will likely be expecting something very different from what they will hear. ~Review by Ken Dryden

Under Italian Skies CD 1
Under Italian Skies CD 2

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Rocio Guitard & Moises P. Monk - Marriage & Other Novellas

Size: 127,8 MB
Time: 54:57
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Latin Jazz, Vocals
Art: Front

01. Napoleon's Groove (Here Comes The Tiger) (6:42)
02. Play Me Like A Cello (What She Wants) (5:19)
03. Tango De Museo (They Meet) (4:25)
04. El Tigre (Same Story Another Bed) (4:43)
05. Out To Dinner (Another Beginning) (5:04)
06. Last Day (Same Ending) (5:24)
07. Valentine's Breath (Miss You...) (4:28)
08. Mr. J.B. (Good Vibes) (3:39)
09. Mi Nina (Next Generation) (2:08)
10. When Can I Get Back (Nostalgia) (4:18)
11. When Sisters Fight (Old Wounds) (5:24)
12. Sam Interrupted (Loss) (3:17)

This music is all about expressing deep feelings and desires related to long term relationships and the search for love and hapiness. Through different rhythms and melodies and exceptional musicianship we take on an emotional journey that will move your feet and your soul. There is latin funk, a tango, a bossa, salsa, bolero, swing, a rumba/guaganco, and ballads. All these styles are grounded in the improvisational tradition of jazz. Rocío is able to express very different personalities and moods through her vocals and improvisations. The rest of the musicians, Moises P.Monk on Saxophones, Greg Sankovich on Keyboards, Jerry Burdick on Bass, Alan Hall on Drums, Michaell Goerlitz on Percussion, and Russell Bond on Percussion and Effects, provide the perfect canvas for this work. The CD was recorded at the legendary Fantasy Studios in Berkeley and mixed at Howling Point Studios in Los Gatos by Russell Bond. Moises, Rocio, Greg, and Russell produced the record.

Marriage & Other Novellas

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Ray Brown Jr. - Misty

Size: 106,4 MB
Time: 45:52
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Oh, Pretty Woman (3:31)
02. Cheek To Cheek (6:04)
03. Ecstasy (5:20)
04. Who Can I Turn To (4:56)
05. Lady Is A Tramp (3:17)
06. Misty (3:18)
07. On Broadway (5:24)
08. Stand By Me (5:26)
09. Fever (5:38)
10. Jambalaya (2:53)

Born in New York City and raised in a family of musical royalty (the son of singer Ella Fitzgerald and musician Ray Brown), Ray Brown, Jr. learned early to appreciate the beauty and artistry of music.
Although the primary emphasis was jazz, Ray, Jr.'s heart was in rock and roll and rhythm and blues.
The family migrated to California where Ray, Jr. studied piano at the age of 10. At 14, drums became an extended musical passion, so dad arranged for young Ray to study with Bill Douglas and later with Chuck Flores in Los Angeles. The singing drummer began playing private parties, graduating into the world of playing gigs.
While attending Beverly Hills High School, Ray sang with the Mini-singers and Madrigals, who often toured the local area performing at music festivals and hospitals.
After moving to Seattle, Ray continued to sing and play drums at nightclubs while studying with drum man Bill Coleman, Sr. He also began writing and composing while traveling from club to club.
"On the road is where I honed my song writing skills," says Ray. "Writing music has always been a wonderful outlet."
For 15 years, Ray worked in bands and as a single artist, performing throughout the Pacific Northwest and in Canada, Alaska, Japan, Korea and Guam and doing Department of Defense tours.
Because of my roots," says Ray, "people always assume I sing jazz or play jazz. That's what they ask when they meet me for the first time. People are surprised when I sing country or rock and roll.
"They do expect an experience from some rhythm and blues, and I don't mind giving into the 'real deal.' I'm fortunate I've been blessed with a versatile voice."
Ray displayed his versatile voice and other talents in 2001 with his debut album for SRI Records, "Slow Down For Love," a collection of light jazz and R&B songs composed, written and arranged by Ray that reached the top 50 of the Gavin Report.
His second album, "Committed From The Heart," released in 2003, has an adult contemporary pop sound layered with R&B. Again, all tunes were composed, written and arranged by Ray.
The year 2003 also marks Ray's debut on the Las Vegas Strip, as he performs five nights a week through November in the Le Bistro Theater at the Riviera Hotel & Casino.
"In the studio, the spontaneity is there, but it's controlled," says Ray. "If it's not exactly right the first time you can go back and apply a second coat. But when it's live, it's all hanging out. It's an adventure and I love it."
When not performing, Ray resides in Hawaii where he continues to compose and write.

Misty

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Aaron Comess - Aaron Comess Quintet

Size: 99,5 MB
Time: 40:03
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Africa ( 6:35)
02. Resolution (10:02)
03. Catskills Last Waltz ( 4:59)
04. Freedom Jazz Dance ( 8:37)
05. Ode To Atilla ( 5:48)
06. The Intangible ( 4:00)

Fans of Aaron Comess’ work with the Spin Doctors are to be forgiven if his forthcoming new jazz project leads to some head scratching.

The truth is, though, that Comess has long professed a love for mid 1960s-era recordings by Miles Davis and John Coltrane — even as his more recent solo outings have seen Comess move far afield of the chart-climbing, neo-hippie fun rock that made his main band famous. Comess was, in fact, twice named best jazz soloist in Downbeat’s High School Student Awards.

Kevin Loftis, Barney McAll, Richard Hammon and Teddy Kumpel — alumni from bands led by such jazz greats as Kenny Garrett, Jimmy Cobb, Roy Hargrove and Gary Bartz, among others — join Comess for an album recorded over three live sets. Coltrane’s “Resolution” is featured along with a choice cover of Eddie Harris’ “Freedom Jazz Suite” (made famous, of course, by Miles), as well as originals by Aaron Comess and Kevin Loftis.

Aaron Comess Quintet

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Benny Bailey - The Satchmo Legacy

Bitrate: MP3@320K/s
Time: 53:45
Size: 123.1 MB
Styles: Trumpet jazz, Bop
Year: 2000
Art: Front

[4:55] 1. Someday You'll Be Sorry
[6:49] 2. Ain't Misbehavin'
[6:56] 3. West End Blues
[4:35] 4. After You've Gone
[5:53] 5. Basin Street Blues
[4:15] 6. Pennies From Heaven
[6:32] 7. Do You Know What It Means To Miss New Orleans
[7:19] 8. Home (Where Shadows Fall)
[6:27] 9. A Kiss To Build A Dream On

Recording Date: November 16 - 17, 1999. Benny Bailey trumpet, vocal; John Bunch piano; Bucky Pizzarelli guitar; Jay Leonhart bass; Grady Tate drums.

If New York is really the capitol of jazz, why is that so many American jazz greats have had an easier time earning a living in Europe? Why did Stockholm, Paris, Amsterdam, or Copenhagen offer many improvisers the steady work that eluded them in Mighty Manhattan? Dexter Gordon, Stan Getz, and Art Farmer are among the many American jazz icons who spent long periods of time living in Europe, the continent that also attracted Benny Bailey. The Cleveland-born trumpeter was in his late twenties when he moved to Europe in the early 1950s, and he was still living there when the 20th century came to a close. Many of Bailey's albums have come out on European indies, including The Satchmo Legacy, which was recorded for Germany's Enja label in 1999. As its title indicates, this mostly instrumental CD is a tribute to the seminal trumpeter/vocalist Louis Armstrong. Joined by pianist John Bunch, guitarist Bucky Pizzarelli, bassist Jay Leonhart, and drummer Grady Tate, a 74-year-old Bailey is in good form on "After You've Gone," "Ain't Misbehavin'," and other classics that Armstrong was known for. "A Kiss to Build a Dream On," "Basin Street Blues," and "Do You Know What It Means to Miss New Orleans" aren't songs that Armstrong wrote -- in fact, "Someday You'll Be Sorry" is the CD's only Armstrong original -- but they're songs that he defined. On this session, Bailey's playing isn't as forceful, aggressive, and brassy as it was in the 1950s, 1960s, and 1970s, although he is still enjoyable and expressive. The Satchmo Legacy isn't among Bailey's essential albums and isn't recommended to casual listeners, but it's a respectable effort that his diehard fans will appreciate. ~Alex Henderson

The Satchmo Legacy

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Various - The Colors Of Latin Jazz: From Samba To Bomba!

Bitrate: MP3@320K/s
Time: 62:40
Size: 143.5 MB
Styles: Latin rhythms, Samba, Afro-Cuban jazz
Year: 2000
Art: Front

[5:00] 1. Claudio Roditi - Manhattan Style
[3:10] 2. Tito Puente - Mambo King
[4:45] 3. Poncho Sanchez - Papa Gato
[5:12] 4. Mongo Santamaria - Soca Mi Nice
[4:49] 5. Manfredo Fest - Guararapes
[5:04] 6. Pete Escovedo - Like A Volcano
[5:16] 7. Cal Tjader - Linda Chicana
[4:15] 8. Hendrik Meurkens - Sambahia
[8:19] 9. Caribbean Jazz Project - Charanga Si, Si
[4:02] 10. Monty Alexander - Reggae-Later
[4:53] 11. Poncho Sanchez - La Familia
[3:50] 12. Tania Maria - Sangria
[3:59] 13. Ray Barretto - Bomba-Riquen

As the fourth release in the Colors of Latin Jazz series, From Samba to Bomba! will appeal to the Latin jazz connoisseur because of its exciting array of compositions that feature the diverse rhythms of a variety of Latin cultures. From the Brazilian samba to the Puerto Rican bomba -- and a number of styles in between, including the ChaChaCha, mambo, soca, charanga, maracatu, and more -- this CD includes the "Mambo King" himself, Tito Puento, playing his hit "Mambo King" from the award-winning Mambo of the Times album issued on Concord Picante. He is the full-on mambo master on this ballroom dance of Cuban origin that gained greater notoriety when it was featured in the movie Mambo Kings. Puento's work on this composition rivals much of his work of the '50s and early '60s in what critics have hailed as his most imaginative Latin musical period, a period that spawned "Dancemania" and "Tambo." The former featured "Mambo Gozon," a volcanic display of his greatness and mastery of the mambo but "Mambo King" encompasses all the greatness of those years and more! The Brazilian rush is realized "Manhattan Style" as Trio Da Paz kicks off this CD with special guests JoAnne Brackeen and Claudio Roditi, an energetic composition issued originally on Brasil From the Inside. Tania Maria lends her breezy scats on "Sangria." A very special Dutch-German favorite adds his innovative global mix to the Brazilian samba with brilliant jazz harmonica played by none other than the exciting Hendrik Muerkens on his "Sambahia." Originally issued on Sambahia by Concord Picante, Hendrik plays with exceptional finesse on an instrument not found often in jazz ensembles. It's a very refreshing blend of harmonic pleasures! Monty Alexander's Ivory & Steel presents the excitement of reggae on "Reggae-Later" from his popular Jamboree. His mastery of this popular music of Jamaican origin that combines his native styles with elements of rock and soul is performed to reggae perfection with Alexander's very hip piano bop stylings accompanied by steel pans and hand drums. This track is a great jam. Ray Barretto, the highly inventive conguero and percussionist, is amazing as he fuels the bomba "Bomba-Riquen." Poncho Sanchez is ablaze on "La Familia" and continues to work his magic on one of the best solos on the CD even though he is generous about sharing the solo limelight. The popular soca played richly by Mongo Santamaria on "Soca Me Nice" and the Afro-Cuban charanga is well imagined by Dave Samuels on "Charanga, Si, Si" with Dave Valentin. They impose no restrictions on your imagination with the sonority of their uncommon Latin flavors. Originally issued on New Horizons, the pair work The Colors of Latin Jazz into an exciting musical palette that is as beautifully vibrant as the rhythms they represent. This exciting CD is a Latin jazz collector's dream. ~Paula Edelstein

The Colors Of Latin Jazz: From Samba To Bomba!

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Robben Ford - Into The Sun

Bitrate: MP3@320K/s
Time: 42:12
Size: 96.6 MB
Styles: Jazz-blues guitar
Year: 2015
Art: Front

[3:09] 1. Rose Of Sharon
[3:27] 2. Day Of The Planets
[3:46] 3. Howlin' At The Moon
[3:10] 4. Rainbow Cover
[4:04] 5. Justified (With Keb Mo & Robert Randolph)
[4:50] 6. Breath Of Me
[3:20] 7. High Heels And Throwing Things
[3:33] 8. Cause Of War
[5:09] 9. So Long 4 U (With Sonny Landreth)
[3:55] 10. Same Train
[3:44] 11. Stone Cold Heaven

Guitar virtuoso Robben Ford’s new album Into The Sun (Mascot Label Group) shines a bright light on his artful, contemporary songwriting and the stunning playing that’s made him a favorite foil of Miles Davis, Joni Mitchell, George Harrison and other legends. The five-time Grammy nominee describes the 11-song set as “one of the top recordings I’ve ever done” — a staggering observation considering his extensive discography, which embraces more than 35 albums under his own name and with his various bands. There’s also Ford’s session and sideman work, which includes hundreds of concert appearances and albums by Bonnie Raitt, Barbara Streisand, Charlie Musselwhite, KISS, Ruthie Foster, Jimmy Witherspoon and Rickie Lee Jones.

Into The Sun, which follows last year’s critically acclaimed A Day In Nashville and 2013’s Bringing It Back Home, explores the breadth of Ford’s sophisticated, visionary writing and playing, creating a new chapter in his brilliant musical history. The album features a coterie of guests: Allman Brothers guitarist and Gov’t Mule frontman Warren Haynes on “High Heels And Throwing Things,” slide guitar guru Sonny Landreth on “So Long 4 U,” Americana and blues icon Keb’ Mo’ and pedal steel wizard Robert Randolph on “Justified,” vocal sensation ZZ Ward on “Breath Of Me,” and gritty Southern rock newcomer Tyler Bryant on “Stone Cold Heaven.” Niko Bolas, whose credits include Neil Young, John Mayer and Keith Richards, engineered.

“The album is really upbeat,” Ford relates. “It has a positive vibe to it — a good time feel. There are a lot of different rhythms and colors and the way the instruments are used is really different on this. It makes me very happy to have something so diverse.”

Into The Sun

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Ed Bickert & Don Thompson - At The Garden Party

Bitrate: MP3@320K/s
Time: 66:38
Size: 152.5 MB
Styles: Cool jazz, Guitar jazz
Year: 2004
Art: Front

[6:18] 1. Alone Together
[5:33] 2. A Face Like Yours
[6:29] 3. You Are Too Beautiful
[6:28] 4. What Is This Thing Called Love
[7:39] 5. Who Can I Turn To
[3:03] 6. Walkin' My Baby Back Home
[6:16] 7. Please Be Kind
[6:16] 8. Come Rain Or Come Shine
[5:35] 9. One Morning In May
[6:48] 10. Ease It
[6:07] 11. I'll Wait And Pray

Recorded on January 22, 1978 & December 4, 1976.

The first seven selections on this CD reissue a 1978 duet concert featuring the quiet guitarist Ed Bickert and bassist Don Thompson. A little reminiscent of a famous Jim Hall/Ron Carter collaboration, the music alternates introspective ballads with a couple romps, including a brisk "What Is This Thing Called Love." Bickert's playing is both swinging and sophisticated, often utilizing reharmonized chords, while Thompson functions as an equal partner. The final four selections are from a previously unreleased 1976 studio set with drummer Terry Clarke making the group a quintet. For unknown reasons this session was never completed, but the music is on the same high level as the live duet performance. In fact, the subtle drumming makes it easier for the group to swing harder, with Hoagy Carmichael's "One Morning in May" being a highlight. Recommended. ~Scott Yanow

At The Garden Party                 

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Rob Parton's Jazztech Big Band - The Count Is In

Bitrate: MP3@320K/s
Time: 65:15
Size: 149.4 MB
Styles: Post bop, Big band
Year: 1993/2011
Art: Front

[4:03] 1. Seems Like Old Times
[6:28] 2. The Count Is In
[5:19] 3. Over The Rainbow
[8:26] 4. Dear Old Stockholm
[3:06] 5. Blue Skies
[5:56] 6. To Love And Be Loved
[4:59] 7. Doxy
[5:13] 8. When I Fall In Love
[6:53] 9. I Like Bebop
[5:25] 10. Prelude To A Kiss
[5:14] 11. Summertime
[4:09] 12. Giant Steps

Recording Date: July 19, 1992 - July 23, 1992

Rob Parton is still considered to be one of Chicago’s busiest and versatile trumpet players. While he is well known and highly regarded as a trumpet artist, performer, educator and bandleader, he is also active within the academic side of higher education at Capital University in Columbus Ohio. Parton has been the Associate Professor of Trumpet at Capital University in Columbus Ohio since Fall 2010. Prior to this position, Parton was a tenured, Associate Professor of Jazz Studies and Trumpet in Chicago.

The Rob Parton Big Band continues to live on in Chicago at FitzGerald’s Nightclub. Although the band is not performing on a monthly basis, it is performing a handful of dates each year including special jazz festivals and concerts. In addition to live performing, Rob Parton has earned national and international accolades for his seven critically acclaimed compact discs’ on the Sea Breeze Jazz label.

The Count Is In

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Ranee Lee - Dark Divas (2-Disc Set)

Ranee Lee, a Brooklyn native transplanted in Canada, has written a show honoring the divas who have influenced her the most in her career as a jazz diva herself. Her seventh album for the Justin Time label is a capsulized version of this review and features songs that were sung by Josephine Baker, Billie Holiday, Pearl Bailey, Dinah Washington, Sarah Vaughan and Ella Fitzgerald. Lee in no way apes the renditions by these great singers. She puts her own special stamp on each song on the play list. Given her long and distinguished membership in the jazz/pop vocal community, how could it be otherwise. Her position as one of the preeminent jazz vocal song stylists is solidified by the way she does such classics as "J'ai Deux Amours" that helped make Josephine Baker the toast of Europe. One also hears a nod to the pathos in Edith Piaf's here. Billie Holiday's "Fine and Mellow" is not only distinguished by Lee's singing, but by the wailing trombone of Muhammad Abdul Al-Khabyyr. Perdido captures the one of a kind swing scatting of Sarah Vaughan. Pearl Bailey's ability to mix stand up comedy with a song is recalled with "What Happened to the Hair on the Head of the Man I Love?". "Yesterday When I Was Young" often a paean to regretful sentimentality for past sins of omission and commission, in Lee's hands is "in your face I did it my way" pride. A telling coda to an album saying "thanks" to those she listened to over the years as she went down her own road. After listening to this album one wishes that Ranee Lee's one woman show were playing down the street. Highly recommended. ~Dave Nathan

Ranee Lee - Vocal; Richard Ring - Guitar; Tilden Webb - Piano; Mike Downes - Bass; Dave Laing - Drums; Richard Beaudet - Sax/Clarinet; Muhammad Abdul Al-Khabyyr - Trombone; Ron DiLauro - Trumpet

Album: Dark Divas (Disc 1)
Bitrate: MP3@320K/s
Time: 52:52
Size: 121.1 MB
Styles: Vocal jazz
Year: 2000

[0:32] 1. Dialogue
[0:43] 2. Charleston
[0:16] 3. Dialogue
[2:07] 4. Honeysuckle Rose
[0:49] 5. I'm Just Wild About Harry
[0:15] 6. Dialogue
[3:01] 7. J'ai Deux Amours
[0:22] 8. Dialogue
[1:43] 9. Riffn' The Scotch
[0:34] 10. Dialogue
[5:06] 11. Fine And Mellow
[5:09] 12. Ill Wind
[0:24] 13. Dialogue
[1:32] 14. The Lady Is A Tramp
[2:55] 15. It Was Just One Of Those Things
[0:32] 16. Dialogue
[5:22] 17. Stormy Weather
[4:20] 18. One For My Baby
[0:31] 19. Dialogue
[0:59] 20. This Little Light Of Mine
[1:02] 21. Dialogue
[2:22] 22. Toot, Toot, Tootsie, Goodbye
[0:22] 23. Dialogue
[2:33] 24. He May Be Your Man
[2:42] 25. What Happened To The Hair On The
[2:34] 26. It Takes Two To Tango
[0:17] 27. Dialogue
[3:35] 28. Hello Dolly

Dark Divas (Disc 1)

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Album: Dark Divas (Disc 2)
Bitrate: MP3@320K/s
Time: 50:35
Size: 115.8 MB
Styles: Vocal jazz
Year: 2000
Art: Front

[0:24] 1. Dialogue
[2:56] 2. Surprise Party
[4:46] 3. What A Difference A Day Makes
[4:00] 4. Makin' Whoopee
[0:17] 5. Dialogue
[5:28] 6. Misty
[2:32] 7. Perdido
[4:15] 8. If You Could See Me Now
[0:15] 9. Dialogue
[4:22] 10. Mack The Knife
[2:54] 11. A Tisket, A Tasket
[9:13] 12. Medley
[3:40] 13. Oh Lady, Be Good
[4:36] 14. Yesterday
[0:52] 15. Encore

Dark Divas (Disc 2)

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Paul Motian - The Windmills Of Your Mind

Styles: Contemporary Jazz
Year: 2011
File: MP3@320K/s
Time: 52:23
Size: 124,4 MB
Art: Front

(2:27)  1. Introduction (1)
(3:50)  2. Tennessee Waltz
(6:45)  3. The Windmills Of Your Mind
(1:56)  4. Let's Face The Music And Dance
(3:28)  5. Lover Man
(2:38)  6. It's Been A Long, Long Time
(2:21)  7. Little Foot
(3:15)  8. Easy Living
(2:42)  9. I've Got A Crush On You
(2:31) 10. Backup
(4:00) 11. I Loves You Porgy
(2:08) 12. Trieste
(3:17) 13. If I Could Be With You
(2:08) 14. Wednesday's Gone
(5:44) 15. I Remember You
(3:05) 16. Introduction (2)

While Paul Motian's name is on the spine of this CD, guitarist Bill Frisell is the tie that binds this band. Frisell's ability to paint ethereal coats of sound in an earnest manner that speaks to his love of all things musical is at the heart of this program, which may be seen as an expansion of Petra Haden and Bill Frisell (True North, 2003) a woefully overlooked vocals and guitar date which contains intimate and highly expressive takes on the music of Henry Mancini, Tom Waits, Stevie Wonder, George Gershwin, and many more. Motian, Frisell, Haden, and bassist Thomas Morgan, who appears on the drummer's On Broadway, Vol. 5 (Winter & Winter, 2009), recorded this album in celebration of Motian's 80th birthday, and they find success at every turn by imbuing these pieces with a sound that's both earthy and slightly off-kilter at the same time.

While the complete quartet tackles many chestnuts in inimitable fashion, Haden sits out on several occasions, allowing the remaining trio to try their hand at different things. Two different takes on a gloomy, Motian-penned waltz ("Introduction") that would have felt at home on Bill Frisell Quartet (Nonesuch, 1996) bookend the album and, along with the twangy "Little Foot" and the oft-performed "Let's Face The Music And Dance," speak to the trio chemistry shared between Motian, Frisell and Morgan. Haden's hypnotic vocals blend in well throughout the program, and she smartly imposes her own personality on certain numbers, like "Lover Man," which avoids the same old, bluesy sentiments in favor of supple suggestions and woozy charm, and "I Loves You Porgy," which sparkles and shines. Like Frisell, Haden is completely lacking in affect, which is made abundantly clear on the duo trip through "I've Got A Crush On You" that also appears on their earlier collaboration.

While Frisell and Haden both place their unique aural stamps on this material, Motian and Morgan never play second fiddle to that pairing. The drummer's elastic sense of phrasing is a key ingredient in this mix, and Morgan integrates his bass into the very fabric of the music. Motian's prolific output makes it easy to occasionally overlook some of his albums, but this one is likely to gain a lot of attention. The Windmills Of Your Mind is simply sublime. ~ Dan Bilaswky  http://www.allaboutjazz.com/the-windmills-of-your-mind-paul-motian-winter-and-winter-review-by-dan-bilawsky.php
 

Personnel: Paul Motian: drums; Bill Frisell: electric guitar; Petra Haden: vocals; Thomas Morgan: bass.

The Windmills Of Your Mind

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Red Mitchell - Happy Minors

Styles: Jazz, Hard Bop
Year: 2013
File: MP3@320K/s
Time: 28:30
Size: 65,7 MB
Art: Front

(4:04)  1. Happy Minor
(2:49)  2. Bluesology
(3:53)  3. Once In A While
(3:49)  4. Long Ago And Far Away
(6:22)  5. Gone With The Wind
(2:36)  6. Kelly Green
(4:54)  7. Scrapple from the Apple

A hell of a cooker from bassist Red Mitchell  a set that's got a sound that's way more mature and modern than you might guess from the image on the cover! Red's at the helm of a hip combo that also features sharp tenor from Zoot Sims and beautiful work on valve trombone from Bob Brookmeyer working here at that cool compressed height of his 50s style we love so much. Conte Candoli's in the group on trumpet, giving things a surprising sort of bite and rhythm is completed by Claude Williamson on piano and Stan Levey on drums players who can be bold one minute, and carefully quiet the next. Titles include "Kelly Green", "Once In A While", "Bluesology", "Happy Minor", and "Long Ago & Far Away". https://www.dustygroove.com/item/717853

Personnel: Zoot Sims - tenor saxophone; Bob Brookmeyer - valve trombone; Conte Candoli – trumpet; Claude Williamson – piano; Red Mitchell – bass; Stan Levey - drums

Happy Minors

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Peggy Lee - At Last: The Lost Radio Recordings CD 1 And CD 2

As one of the greatest and most popular female pop singers working during radio s Golden Age, Peggy Lee made her share of appearances on the dial, particularly on her own radio show that, starting in 1951, was broadcast over the CBS network and the Armed Forces Radio Service. But, unlike many of her contemporaries who have had their on-air performances compiled into collections both legitimate and not, Peggy has never really enjoyed a proper retrospective of her radio appearances...until now! The 44 tracks on At Last The Lost Radio Recordings consists ENTIRELY of songs Peggy never recorded commercially, ranging from popular standards to novelty numbers to songs popularized by such esteemed peers as Doris Day, Rosemary Clooney, Dinah Shore, Jo Stafford, Kay Starr and Margaret Whiting, with musical direction by Sonny Burke in Los Angeles and Russ Case in New York. 

Most of these recordings haven t been heard since they were originally broadcast, and as this is the first-ever collection of its kind licensed directly from the Peggy Lee estate, this 2-CD set offers superior sound with remastering by Mike Milchner at SonicVision, rarely-seen photos, and expert liner notes by David Torresen, long-time editor of PeggyLee.com, her official website. Many folks feel that Peggy never sang as well as she did in the early and mid-1950s; her maturity (in her thirties) and confidence had fully blossomed, her phrasing perfected and the timbre of her voice was pure gossamer. Listening to her interpret this new material is a revelation an absolute must-have and a major, historic addition to the Peggy Lee discography and legacy! ~ Editorial Reviews  http://www.amazon.com/At-Last-Lost-Radio-Recordings/dp/B00S1QQ8KQ/ref=dp_return_2?ie=UTF8&n=5174&s=music

Styles: Vocal Jazz And Pop
Year: 2015
File: MP3@320K/s
Time: 47:04
Size: 108,8 MB
Art: Front

(0:22)  1. Peggy Lee Radio Show Opening
(1:22)  2. It's A Most Unusual Day
(2:00)  3. I'll See You In My Dreams
(2:29)  4. Getting To Know You
(2:10)  5. Cry
(2:19)  6. You Belong To Me
(1:48)  7. Takes Two To Tango
(2:48)  8. Solitaire
(2:28)  9. Did Anyone Call?
(2:24) 10. Please Mr. Sun
(2:04) 11. The Wheel Of Fortune
(1:25) 12. Life Is A Beautiful Thing
(2:25) 13. Somewhere Along The Way
(2:14) 14. And So To Sleep Again
(2:26) 15. Undecided
(2:29) 16. Everything Happens To Me
(2:25) 17. A Kiss To Build A Dream On
(1:30) 18. Botch-A-Me
(1:22) 19. My Darling, My Darling
(2:24) 20. Just One More Chance
(2:44) 21. Since My Love Has Gone (Addio del Passato)
(1:14) 22. Zing A Little Zong
(2:01) 23. Skylark

At Last: The Lost Radio Recordings   CD1

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Styles: Vocal Jazz And Pop
Year: 2015
File: MP3@320K/s
Time: 45:55
Size: 106,2 MB
Art: Front

(1:53)  1. I Got Rhythm
(2:33)  2. Pretty-Eyed Baby
(1:35)  3. Ole Buttermilk Sky
(2:30)  4. The Little White Cloud That Cried
(2:12)  5. When I Fall In Love
(2:00)  6. Come What May
(1:38)  7. Johnny One-Note
(2:03)  8. Singin' In The Rain
(2:05)  9. Come On-A My House
(1:43) 10. Here In My Heart
(2:20) 11. Danny Boy
(1:54) 12. Half As Much
(2:01) 13. Go, Go, Go
(1:42) 14. I'll Never Smile Again
(2:29) 15. After All, It's Spring
(2:50) 16. Trust In Me
(1:36) 17. Blacksmith Blues
(3:07) 18. Domino
(1:20) 19. Heigh Ho (It's Off To Work We Go)
(1:58) 20. Oh Dear, What Can The Matter Be?
(1:18) 21. I'm Gonna Live Till I Die
(2:57) 22. At Last

At Last: The Lost Radio Recordings  CD2

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