Sonny Red - Out Of The Blue

Bitrate: MP3@320K/s
Time: 72:10
Size: 165.2 MB
Styles: Hard bop, Saxophone jazz
Year: 1960/1996/2005
Art: Front

[5:48] 1. Bluesville
[6:12] 2. Stay As Sweet As You Are
[5:19] 3. I've Been In Love Before
[4:04] 4. Nadia
[6:29] 5. Blues In The Pocket
[2:55] 6. Alone Too Long
[5:12] 7. The Lope
[6:17] 8. Stairway To The Stars
[5:35] 9. Crystal
[6:46] 10. Lost April
[6:28] 11. You're Sensational
[5:33] 12. Blues For Kokee
[5:25] 13. You're Driving Me Crazy

Alto Saxophone – Sonny Red; Bass – Paul Chambers, Sam Jones; Drums – Jimmy Cobb, Roy Brooks; Piano – Wynton Kelly. Recording Date: December 5, 1959 - January 23, 1960.

Sonny Red, a fine altoist inspired by Charlie Parker and Jackie McLean, never really made it in jazz, and some of his recordings are rather uninspired. However, that does not hold true for his Blue Note album, which has been reissued on this 1996 CD along with five previously unissued selections. Red, who is joined by pianist Wynton Kelly, either Sam Jones or Paul Chambers on bass, and either Roy Brooks or Jimmy Cobb on drums, never sounded better on records. He performs mostly little-known standards (along with six of his originals) and displays a fair amount of originality and a great deal of potential that was never really fulfilled. Recommended. ~Scott Yanow

Out Of The Blue

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Joey DeFrancesco - Singin' And Swingin'

Bitrate: MP3@320K/s
Time: 59:41
Size: 136.7 MB
Styles: Hard bop, Soul jazz, B3 Organ jazz
Year: 2001
Art: Front

[3:38] 1. You'd Be So Nice to Come Home To
[3:47] 2. Mr. Dennis Houlihan
[4:31] 3. They Say It's Wonderful
[4:36] 4. Did You Hear Him Holler
[3:24] 5. Mack the Knife
[5:06] 6. One Mint Julep
[5:23] 7. In the Wee Small Hours
[3:34] 8. I Thought About You
[5:57] 9. The Sidewalk Is Wild
[3:25] 10. Let Me Love You Tonight
[3:38] 11. Kansas City
[6:12] 12. Danny Boy
[6:25] 13. I'm Getting Sentimental over You

Recording Date: January 24-25, 1999

Joey DeFrancesco is a direct descendant from the Jimmy Smith school of single-note burn. The 30-year-old has proven himself time and time again since going out on tour with Miles Davis in 1988 at the ripe old age of 17. His only shortcoming over the years is that he tends to lean a bit too much on his awesome technique. Yet with the recent passing of Charles "The Mighty Burner" Earland, DeFrancesco remains the single most exciting organ soloist on the scene-next to Mr. Smith himself, of course. On DeFrancesco's latest, Singin' and Swingin' (Concord CCD-4861-2; 60:44), the organist whips out his wicked Smith-inspired runs on a big-band vocal program that aspires to the Sinatra/Count Basie collaborations of the early '60s. DeFrancesco has sung before and proves to be quite the groovy crooner on hip renditions of Cole Porter's "You'd Be So Nice to Come Home To" and Sinatra staples like "Mack the Knife," "In the Wee Small Hours" and "I Thought About You." His clear diction and soulful phrasing on Irving Berlin's "They Say It's Wonderful" and "Let Me Love You Tonight" sound more inspired by Johnny Hartman than Sinatra. On the instrumental tip, DeFrancesco pulls out the burn on "Mr. Dennis Houlihan," "The Sidewalk Is Wild" (his spirited reworking of Jimmy Smith's hit "Walk on the Wild Side") and a scintillating organ-trio version of "I'm Getting Sentimental Over You." And he goes to church on a gospel rendition of "Danny Boy," recalling an earlier version of that traditional number by organ elder Jimmy McGriff. Ray Brown walks the band of West Coast studio aces through the jaunty shuffles like "One Mint Julep" and "Kansas City," then adds to the funky-butt vibe of the N'awlins flavored "Did You Hear Him Holler?" DeFrancesco's playing and jazzy vocal demeanor may be too hip for massive crossover appeal (my father, who worships Sinatra, probably couldn't get with this). But his vocals are real, which makes him either the playingest singer on the scene or the singingest player on the scene. Either way, he's one prodigious cat. ~Bill Milkowski

Singin' And Swingin'

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Sarah Vaughan & Her Trio - Swingin' Easy

Bitrate: MP3@320K/s
Time: 36:00
Size: 82.4 MB
Styles: Standards, Vocal jazz
Year: 1957/1992
Art: Front

[2:38] 1. Shulie A Bop
[3:15] 2. Lover Man
[1:39] 3. I Cried For You
[2:32] 4. Polka Dots And Moonbeams
[3:14] 5. All Of Me
[4:31] 6. Words Can't Describe
[2:44] 7. Prelude To A Kiss
[2:59] 8. You Hit The Spot
[3:03] 9. Pennies From Heaven
[2:29] 10. If I Knew Then (What I Know Now)
[3:11] 11. Body And Soul
[2:40] 12. They Can't Take That Away From Me
[1:00] 13. Linger Awhile

Bass – Joe Benjamin, Richard Davis; Drums – Roy Haynes; Piano – Jimmy Jones;, John Malach; Vocals – Sarah Vaughan. Recording Date: April 12, 1954 & February 14, 1957.

Swingin' Easy is one of Sarah Vaughan's lesser known albums for Emarcy, combining two separate trio sessions from 1954 and 1957. The earlier date includes pianist John Malachi (who also worked with singers like Dinah Washington, Billy Eckstine, and Al Hibbler, plus bassist Joe Benjamin and drummer Roy Haynes. Vaughan's lush ballad technique is in full force in "Lover Man," "Polka Dots and Moonbeams," and "Body and Soul," while she scats in a midtempo setting of "If I Knew Then (What I Knew Now)" and her own "Shulie a Bop." The second trio include pianist Jimmy Jones, bassist Richard Davis, and Haynes. Aside from a brisk, miniature treatment of "Linger Awhile" and a playful setting of "I Cried for You," the session is highlighted by a breezy "All of Me." Vaughan is in terrific form throughout both dates, with the songs mostly running around the three-minute mark. This CD is well worth acquiring, though it is out of print. ~Ken Dryden

Swingin' Easy

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The Crown Project - Modern Mancini

Bitrate: MP3@320K/s
Time: 52:48
Size: 120.9 MB
Styles: Contemporary jazz, Vocals
Year: 2005
Art: Front

[4:05] 1. Moon River
[4:41] 2. Charade
[3:42] 3. Peter Gunn Theme
[4:12] 4. The Pink Panther
[4:06] 5. Days Of Wine And Roses
[4:34] 6. Dreamsville
[4:06] 7. Baby Elephant Walk
[4:48] 8. The Molly Maguires
[4:02] 9. Song For Cat
[4:18] 10. Holly
[4:54] 11. Two For The Road
[5:15] 12. Soldier In the Rain (with Mark Gasbarro)

Janis Siegel, Oleta Adams, Fred White, Lamont van Hook - Vocals; Alto Saxophone – Gerald Albright; Tenor Saxophone – Doug Norwine; Percussion – Walter Rodriguez, Piano – Fred Hersch, Programmed By – Mark Gasbarro; Flugelhorn – Dmitri Matheny; Flute, Soprano Saxophone – Dan Higgins; Guitar – Carl Verheyen, Dwight Sills, Russell Malone; Harmonica – Tommy Morgan; Drums – Cliff Almond, Jack Kelly; Bass – Abraham Laboriel, Larry Kimpel.

Tribute albums are all the rage these days, so Monarch Records has release Modern Mancini – Tribute to a Music Master under the mysterious moniker “The Crown Project.” Henry Mancini was undoubtedly one of the foremost film and TV scorers, with nearly 80 film scores, four Oscars, and twenty Grammies to his credit, yet one doesn’t have to look too far into his compositions to see his jazz sensibilities at work. Had Mancini not focused so much of his time and talent on scoring and devoted more energies to composing and recording jazz, we can only wonder what he might have contributed to this genre. But given that his musical legacy is what it is, this effort to present some of his most familiar works (and some lesser-known gems as well) in a contemporary jazz context yields only mixed results. For example, “Charade” is re-worked from a waltz into a 4/4 smooth jazz arrangement complete with rhythm loops. Gerald Albright’s sax ably conveys some of the song’s angst with his soulful musings, but it can’t save this musical mismatch. Keyboardist Mark Gasbarro, who plays on many of the selections, tries to update “Baby Elephant Walk” with some new synth samples, but it comes across as hokey. The “Pink Panther” theme fares better, with some great harmonized vocals. Oleta Adams lends some soulful expressiveness to “Moon River,” but I think this song might still be dead from overexposure.

The arrangements that stay away from the contemporary trappings work best. The French horns and strings on “The Days of Wine and Roses” provide a lush, beautiful setting in which Albright’s alto truly shines. Janis Siegel’s duet with guitarist Russell Malone says more with a voice and guitar than many full-production blowouts could ever hope to accomplish. Same goes for Siegel’s duet with frequent collaborator, pianist Fred Hersch. Gasbarro’s acoustic piano pairing with Dan Higgins’ flute and soprano on “The Molly Maguires” is elegant, simple beauty.

For this recording, a never-before-recorded Mancini gem “Song for Cat” was uncovered, and given lyrics and Transferesque vocal arrangement by Janis Siegel. Andy Martin’s trombone and Doug Norwine’s flute make nice contributions as well. This same trombone and flute combination also works well on the next tune, “Holly.” Bottom line: the lesser-known tunes with the more traditional arrangements or elegant duet pairings work well; the overly-familiar tunes with the contemporary reworks don’t. Still, there are lots of exquisite musical moments here, and Mancini lovers should be pleased. (Monarch 1025) ~Dave Hughes

Modern Mancini

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Bucky Pizzarelli - Nirvana

Bitrate: MP3@320K/s

Time: 62:03

Size: 142.1 MB

Styles: Standards, Guitar jazz

Year: 1995/2005

Art: Front

[6:49] 1. Azure'te

[7:11] 2. Sing Sing Sing

[3:24] 3. A Little World Called Home

[2:46] 4. Pick Yourself Up

[5:51] 5. Nuages

[7:35] 6. Honeysuckle Rose

[3:49] 7. Willow Weep For Me

[4:22] 8. Tangerine

[3:02] 9. Medley: It's Been A Long Time/Don't Take Your Love Away From Me

[5:54] 10. Two Funky People

[4:39] 11. Come Rain Or Come Shine

[6:37] 12. Stompin' At The Savoy

BUCKY PIZZARELLI, guitar; JOHN PIZZARELLI, guitar; LYNN SEATON, bass; BERNARD "PRETTY" PURDIE, drums. Recorded in New York, February 21, 1995.

Bucky Pizzarelli CDs are always a treat, and this 1995 studio date is no exception; the seven string guitarist is joined by his son John Pizzarelli (also a fine guitarist), plus veterans Lynn Seaton on bass and Bernard Purdie on drums. The opener is a gently swinging take of organist Wild Bill Davis' "Azure Te" (strangely credited to cornetist Wild Bill Davison instead), which also has some nice arco bass by Seaton. Purdie's rousing percussion drives the band on "Sing, Sing, Sing," and Seaton's scatting along with his bowed bass on "Honeysuckle Rose" and "Stompin' at the Savoy" is more reminiscent of Major Holley than Slam Stewart, as suggested by liner note writer Will Smith. Bucky & John Pizzarelli are featured in several duets: a lush treatment of the long overlooked "A Little World Called Home," a breezy run through "Pick Yourself Up," and a lovely medley of Sammy Cahn's "It's Been a Long, Long Time" and "Don't Take Your Love From Me." The leader is heard unaccompanied on "Willow Weep for Me," which acknowledges the influenced of the late Django Reinhardt. Even if Laserlight wasn't a budget label, this CD would still be highly recommended. ~Ken Dryden

Nirvana

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Blue Mitchell - Boss Horn

Bitrate: MP3@320K/s
Time: 38:41
Size: 88.5 MB
Styles: Hard bop, Trumpet jazz
Year: 2005
Art: Front

[6:12] 1. Millie
[5:31] 2. O Mama Enit
[7:28] 3. I Should Care
[6:18] 4. Rigor Mortez
[6:34] 5. Tones For Joan's Bones
[6:34] 6. Straight Up And Down

Originally recorded on November 17, 1966 at the Van Gelder Studio, Englewood Cliffs, New Jersey. All transfers from analog to digital were made at 24-bit resolution. Alto Saxophone, Flute – Jerry Dodgion; Baritone Saxophone – Pepper Adams; Bass – Gene Taylor; Drums – Mickey Roker; Piano – Cedar Walton, Chick Corea; Tenor Saxophone – Junior Cook; Trombone – Julian Priester; Trumpet – Blue Mitchell.

Trumpeter Blue Mitchell delivers a solid hard bop date with his 1966 Blue Note release Boss Horn. [The Rudy Van Gelder edition of Boss Horn features remastered sound by original producer Van Gelder that does significanly improve the overall sound quality over the original release.] ~Matt Collar

Boss Horn

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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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