Stan Getz - The Best Of The Verve Years (2-Disc Set)

This two-CD sampler is most highly recommended for listeners not familiar with Stan Getz's recordings of the 1950s and '60s. Starting with a version of "Stella by Starlight" that co-stars guitarist Jimmy Raney, this set matches Getz's cool tenor with such artists as trumpeters Dizzy Gillespie and Conte Candoli, trombonist J.J. Johnson, baritonist Gerry Mulligan, pianists Oscar Peterson, Bill Evans and Chick Corea, valve trombonist Bob Brookmeyer and vibraphonist Gary Burton. Also included are his two main bossa nova hits "Desafinado" and "The Girl from Ipanema" along with a couple of tracks from Getz's highly-rated Focus album. It's a fine overview of the great tenor's middle years. ~Scott Yanow

Album: The Best Of The Verve Years (Disc 1)
Bitrate: MP3@320K/s
Time: 69:43
Size: 159.6 MB
Styles: Post bop, West Coast jazz, Saxophone jazz
Year: 1991

[2:41] 1. Stella By Starlight
[6:36] 2. Hospitality Creek
[3:32] 3. Nobody Else But Me
[7:22] 4. Flamingo
[6:02] 5. Summertime
[8:51] 6. Shine
[7:50] 7. Blues For Mary Jane
[3:53] 8. It Never Entered My Mind
[8:22] 9. My Funny Valentine
[4:54] 10. Tour's End
[3:54] 11. You're Blasé
[5:42] 12. A Ballad

The Best Of The Verve Years (Disc 1)

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Album: The Best Of The Verve Years (Disc 2)
Bitrate: MP3@320K/s
Time: 72:01
Size: 164.9 MB
Styles: Post bop, West Coast jazz, Saxophone jazz
Year: 1991
Art: Front

[4:40] 1. Early Autumn
[8:31] 2. Evening In Paris
[6:10] 3. Her
[8:08] 4. I'm Late, I'm Late
[5:49] 5. Desafinado
[5:46] 6. Manha De Carnaval (Morning Of The Carnival)
[3:19] 7. Insensatez (How Insensitive)
[5:21] 8. The Girl From Ipanema
[5:04] 9. Melinda
[3:58] 10. Here's That Rainy Day
[8:03] 11. Con Alma
[7:07] 12. Sweet Rain

The Best Of The Verve Years (Disc 2)

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Wendy Lee Taylor - All You Have To Do

Bitrate: MP3@320K/s
Time: 55:48
Size: 127.8 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[2:48] 1. That Old Black Magic
[3:04] 2. Don't Look At Me That Way
[3:26] 3. Anyone Can Whistle
[4:09] 4. After You Who
[5:06] 5. Plus Je T'embrasse
[4:53] 6. Trav'ling Light
[3:00] 7. Boy Next Door
[3:49] 8. All You Have To Do
[2:47] 9. I Concentrate On You
[3:06] 10. Could It Be You
[4:46] 11. Don't It Make My Brown Eyes Blue
[2:49] 12. Teach Me Tonight
[3:00] 13. Bonjour Tristesse
[3:59] 14. Not A Day Goes By
[5:00] 15. Chez Moi

Wendy Lee Taylor (voc), Pierre Christophe (p), Luigi Trussardi (b), Mourad Benhammou (dm), Cindy Taylor (vib, perc), Fabien Mary (tp), Pierrick Pedron (as), David Sauzay (ts, fl), Xavier Richardeau (bs), Michael Joussein (tb), Laurent Colombani (arr), Michel Delage (arr) Recorded in February 2008, Paris Duration : 56’ 38’’ Safety Records 201002 (Intégral)

Australian singer and dancer Wendy Lee Taylor has trodden a singular path; following an international career in musical theatre, a stint as one the famous Bluebell girls at the Lido de Paris, founding a vocal trio (The Jazzberries), she returned to musical comedy (1999 ‘Lautrec’ written by Charles Aznvour and created for the Shaftesbury Theatre in London) before finally recording her first album “Let’s Do It” (2005) She continues a career encompassing her two fundamentals, dance and singing. ‘All You Have To Do’ is an album recorded some time ago but only recently released, successfully ambitious, as the profusion of horns convivially marries with an absence of pretention.

It’s an album of standards, the majority with a sentimental mood, sung with enthusiasm and lifted by a luxurious staging: counter melodies of flute and muted trumpet on “After you who?” the excellent intro of “Plus je t’embrasse”, the atmosphere of an Art-House Film on “All you have to do”. This sentimental style without soppiness or lament suits Wendy Lee Taylor well and, in a spirit slightly “west-coast be-bop” (Teach me tonight) lets her joy take flight with power and sensitivity. It’s true that’s she has the advantage of a veritable “all-star” of today’s French be-boppers, musicians who illuminated the Franc Pinot in its prime and who distinguish themselves constantly with their own groups: Mourad Benhammou, Fabien Mary, Pierrick Pedron, David Sauzay, Xavier Richardeau, Pierre Christophe, Michael Joussein, are all impeccable and bring a beautiful momentum to the recording, not forgetting the regrettably deceased Luigi Trussardi (29th April 2010). A lovely album: simultaneously rich and simple, classic yet intimate. ~Jean Szlamowicz

All You Have To Do

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Bob Enevoldsen - Smorgasbord

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 60:23
Size: 138,9 MB
Art: Front

(3:52)  1. Iron Works
(5:00)  2. Loaded With Bass
(5:24)  3. Topsy
(8:27)  4. Blues & Rhythm
(5:35)  5. Don't Be That Way
(2:37)  6. Ding Dong, The Witch Is Dead
(2:16)  7. Swingin' On A Star
(3:19)  8. Swinger's Dream
(2:46)  9. My Ideal
(2:27) 10. How Low The Tune
(2:39) 11. John's Jumble
(2:17) 12. You're In Love
(2:50) 13. Thinking Of You
(2:18) 14. No Time For Love
(2:34) 15. Mr. Know-It-All
(2:51) 16. Oh, Look At Me Now
(3:00) 17. Bob's Boy

Back in the early 1950s, jazz musicians were impossibly gifted. A good number not only could play their primary instrument with enormous skill and flair, they often could play quite a few others. This was particularly true on the West Coast, where studio work was abundant but your share depended largely on how many axes you could grind. If you played only the tenor sax, your odds of being called consistently for a job were slim given the competition. But if you played three or more instruments, you could find yourself recording on several sessions a day. One of these highly versatile West Coast jazz musicians was Bob Enevoldsen, who played valve trombone, tenor sax and upright bass. Born in Montana, Enevoldsen (pronounced EE-na-vold-sin) studied music in Montana, served in the army, taught music in  Salt Lake City, and moved to Los Angeles in 1951.

There, he played valve trombone and tenor saxophone with Gerry Mulligan, Shorty Rogers, Shelly Manne and Marty Paich. Soon after he arrived, he learned the bass, perhaps as a way to play with the Harry Babasin Quartet and free up bassist Babasin [pictured] to play the jazz cello.

Enevoldsen also played bass in pianist and singer Bobby Troup's groups from 1954 onward. In 1959, Enevoldsen began working in Las Vegas show bands, and became a staff and studio musician for Steve Allen's TV show from 1962-64. In the decades that followed Enevoldsen remained a steady session and freelance musician on the West Coast. Among Enevoldsen's key recordings of the 1950s are dates with the Gerry Mulligan Tentet (starting in 1953); Shorty Rogers' Shorty Courts the Count (1954); and Bud Shank and Three Trombones (1954), on which he's joined by valve-trombonists Maynard Ferguson and Stu Williamson. Enevoldsen appears on Kenton Presents Jazz: Bill Holman (1954), Russ Garcia's challenging Wigville (1955) and the Marty Paich Dek-tette studio session with Mel Torme (1956). There were singer dates with Anita O'Day and Peggy Lee (1958), as well as swinging ensemble sessions, such as Art Pepper + Eleven (1959). From 1960 onward, Enevoldsen worked on movie soundtracks and TV show themes, and recorded jazz sessions up until his death in 2005.

Perhaps Enevoldsen's finest leadership date from the mid-1950s is Smorgasbord. The album demonstrates his versatility and humor as well as his spirited arranging skills. In addition to being a highly swinging session, it's notable for the musicians who were there and the instruments they played. The recording features Enevoldsen on valve trombone and tenor sax; Marty Paich [pictured] on piano, organ and accordion; Larry Bunker on vibes and drums; Howard Roberts on guitar; Red Mitchell on bass and piano; and Don Heath on drums. Besides the terrific small-group charts by Enevoldsen [pictured], you get to hear Paich play the squeezebox, and he does quite a fabulous job (Swinging on a Star, for example). 

Also spectacular is Larry Bunker on vibes and guitarist Howard Roberts, who too often is overlooked among the crowd of jazz session guitarists in California during this period. As one of jazz's early valve-trombonists, Enevoldsen cannot be compared with Bob Brookmeyer. Bob was and continues to be spectacular, and the two artists weren't in the same league. But Enevoldsen was a solid player and arranger who found steady work playing three different instruments. And he played them with ease and grace. ~ Marc Myers http://www.jazzwax.com/2009/06/bob-enevoldsen-jazz-octopus.html

Personnel:  Bob Enevoldsen - tenor saxophone, valve trombone; Marty Paich - p, accordion, organ; Larry Bunker - vib, p, dr; Howard Roberts – g; Red Mitchell – b; Don Heath - dr

Smorgasbord

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Maria Muldaur - Heart Of Mine: Love Songs of Bob Dylan

Styles: Pop, Vocal
Year: 2006
File: MP3@320K/s
Time: 49:19
Size: 113,5 MB
Art: Front

(4:12)  1. Buckets of Rain
(3:38)  2. Lay Baby Lay (Lay Lady Lay)
(4:15)  3. To Be Alone With You
(3:13)  4. Heart Of Mine
(3:29)  5. Make You Feel My Love
(4:16)  6. Moonlight
(4:53)  7. You're Gonna Make Me Lonesome When You Go
(5:21)  8. Golden Loom
(3:30)  9. On A Night Like This
(4:08) 10. I'll Be Your Baby Tonight
(4:36) 11. Wedding Song
(3:42) 12. You Ain't Goin' Nowhere

Maria Muldaur has been taken by Bob Dylan's music from the very start. They were on the coffeehouse circuit in New York in the early '60s, and she's had occasion to sing his praises from the stage and in Martin Scorsese's film No Direction Home. And while other artists from Joan Baez to Judy Collins have cut entire albums of Dylan's tunes, none of them feels quite like this one. Muldaur, a fine blues and jazz singer, has taken the songs form Dylan's romantic canon and has fashioned them in her own image without losing their original bite, wonder, and humor. Accompanied by her road band and a slew of guests that include Amos Garrett, Danny Caron, and Suzy Thompson, she has created a dreamy, languid, memorable song cycle. 

On first listen, it was a bit off-putting with all the license she took with the material, but on second and repeated listens, it settled in like an old friend on the couch telling stories. Beginning with a slippery, country-tinged bluesy "Buckets of Rain," and moving into a jazz groove on "Lay Lady Lay," (a weak tune by Dylan even if it was a hit) in which she changes the lyrics along gender lines and transforms the tune, perhaps offering a definitive version. The blues return on "To Be Alone with You," and she delivers a wrenching version of "Heart of Mine." The other stellar cuts here are the poignant "Wedding Song," the jaunty Caribbean-flavored "On a Night Like This," the sultry "Make You Feel My Love," and a funky jazz version of "You're Gonna Make Me Lonesome When You Go," which sounds like it could have been produced by Allen Toussaint as does "I'll Be Your Baby Tonight." Recommended. ~ Thom Jurek  http://www.allmusic.com/album/heart-of-mine-love-songs-of-bob-dylan-mw0000348506

Personnel: Maria Muldaur (vocals, fiddle); Danny Caron, Amos Garrett (guitar); Chris Haugen (slide guitar); Joel Jaffe (lap steel guitar, E-bow, shaker, tambourine); Richard Greene & Beryl Marriott (violin); Suzy Thompson (fiddle, accordion); James "Hutch" Hutchinson (bass guitar); Kimberly Bass (background vocals); Cranston Clements (guitar, acoustic guitar); David Torkanowsky (keyboards); Tony Braunagel (drums, percussion).

Heart Of Mine: Love Songs of Bob Dylan

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Hank Crawford - From The Heart

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 38:41
Size: 88,9 MB
Art: Front

(4:19)  1. Don't Cry Baby
(3:38)  2. Sweet Cakes
(3:17)  3. You've Changed
(3:51)  4. Baby Let Me Hold Your Hand
(4:37)  5. Sherri
(3:06)  6. The Peeper
(5:00)  7. But On The Other Hand, Baby
(5:41)  8. Stoney Lonesome
(5:08)  9. What Will I Tell My Heart

Recorded in 1962 with most of the same band that made Soul Clinic, Hank Crawford turns in a simmering, deep soul performance that draws in equal parts from Ray Charles' R&B, James Moody's blues and Duke Ellington's swing. Accompanied by Texas tenor giant David "Fathead" Newman, baritone saxophonist Leroy Cooper, trumpeters John Hunt and Phil Guilbeau, bassist Edgar Willis and drummer Bruno Carr (with Sonny Forrest on guitar on three tracks), Crawford follows the soul-blues Muse into the night on this set. His four originals, including "Stoney Lonesome," "The Peeper" and "Sherri," are high points, so are his readings of Percy Mayfield's classic "But on the Other Hand," and Charles' "Baby Let Me Hold Your Hand." 

The bookends on the set are the Unger-Bernie-Johnson blues finger-popper "Don't Cry Baby" and the elegant, melancholy ballad "What Will I Tell My Heart." From the Heart features Crawford digging deep into the Memphis tradition for expression. His own playing is exceptional as is that of Newman. These solos are as notable for their restraint in the service of melody as they are for their depth of expression. This is an early highpoint for Crawford. ~ Thom Jurek  http://www.allmusic.com/album/from-the-heart-mw0000142533

From The Heart

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Nicki Parrott & Rossano Sportiello - Do It Again

Size: 153,3 MB
Time: 64:57
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz: Piano Jazz, Vocals
Art: Front & Back

01. Sea Changes (4:01)
02. Of Foreign Lands And People (3:58)
03. I Love The Way You're Breaking My Heart (3:04)
04. Idaho (2:29)
05. Fleurette Africaine (4:33)
06. Come Rain Or Come Shine (3:36)
07. Do It Again! (3:53)
08. Liza (All The Clouds'll Roll Away) (3:10)
09. Climb Ev'ry Mountain (7:45)
10. You're The One I Think I Waited For (3:02)
11. Sugar Sweet (3:23)
12. Sentimental Journey (4:18)
13. Wonder Why (4:53)
14. Moonglow (4:19)
15. A Sleepin' Bee (5:48)
16. Two Sleepy People (2:38)

Nicki Parrott is a rarity: a bassist who sings. And she does both very well. This is the second Arbors outing for this charming duo of her and pianist Rossano Sportiello. Parrott first came to the U.S. in 1994 from Australia via an arts grant, enabling her to study bass with Rufus Reid. From 2000 until Les Paul’s passing last year, she was the guitar legend’s Monday-night bassist at New York City’s Iridium. Her duties included supporting Paul musically and also trading funny repartee.

On bass, Parrott is an able improviser with a marvelous, innate sense of swing, heard to great advantage on Tommy Flanagan’s “Sea Changes” and on the little-heard—these days, anyway—“Idaho” by Jesse Stone. As a singer, she’s relatively straight-ahead, devoid of unnecessary effect; a more throaty combination of Blossom Dearie and Joanie Sommers. Her simplicity works well on Milton Drake’s “I Love the Way You’re Breaking My Heart,” “Do It Again” and several other chestnuts.

Italian-born Sportiello—he came to the U.S. permanently in 2007—is a rousing player who straddles the bop of Tommy Flanagan, the traditionalism of Teddy Wilson and even a bit of ragtime. Sportiello has named Barry Harris as his mentor, and like Harris, who has called Sportiello the best ragtime pianist ever, he’s clean as a whistle and never misses, no matter what the tempo. He even tries his hand at a vocal in tandem with Parrot on “Two Sleepy People.” A Vic Damone he’s not, but the duo works, and these two should do more of it. This is the type of timeless music that used to be heard at places like the Café Carlyle. It should be again. ~By Bruce Klauber

Do It Again

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Friend 'N Fellow - Lady

Size: 104,9 MB
Time: 44:35
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz/Soul/Blues Fusion, Vocals
Art: Front

01. Time (4:05)
02. Strange Lady (3:31)
03. Secrets (3:11)
04. Moon, Sun, Heart 'n Star (3:44)
05. My Baby Just Cares For Me (3:27)
06. Falling Rain (3:15)
07. Lying Show (2:45)
08. Barefoot (3:34)
09. Labyrinth (3:04)
10. Your True Face (3:03)
11. Dive In (3:37)
12. Step By Step (3:37)
13. Crystal II (3:35)

Constanze Friend and Thomas Fellow performed more than 1000 concerts together and travelled from BEIJING (China Millenium Park) to SHANGHAI (Anting New Town Open Air), from MALAYSIA (Kuala Lumpur/Penang Jazz Festival) to NEW YORK (World Trade Center) and from PARIS (Elyssees Montmartre) to LONDON (The 100 Club) and shared the stage with legends as RAY CHARLES, LUTHER ALLISON and AL JARREAU. Meanwhile they became one of the most successful acoustic acts in the junction where BLUES, JAZZ and SOUL meet. Their music combines the intensity of the blues with the freedom of jazz and the sound of soul in inimitable fashion.

"You knocked me out with your playing" – Bill Evans
"I really enjoy your work" – Al Jarreau
"Killing! It absolutely sounds like a whole band" – Tommy Emmanuel
"A top-notch duo" Welt am Sonntag
"The sound of the new century" Luther Allison
"The voice of an angel" Keb' Mo'

Concerts in London, Paris, New York, Peking, Vienna, Zurich, Lucerne Festival (Lucerne, Switzerland), Tollwood-Festival Munich, Festival Internacional de la Porta Ferrada (Spain), 1st Blues & Soul Weekend (Zurich, Switzerland), Simmen Lörrach, Jazzrally Dusseldorf with Ray Charles, Al Jarreau, Simply Red, Marianne Faithful, Maceo Parker.

Constanze Friend started her musical career in the band "Mr. Adapoe" with performances at international top festivals and as the support act to James Brown and others.

Thomas Fellow won several prizes at international competitions for classical guitar and played concerts in India, South America and the USA. Prof. Thomas Fellow is the head of the education "ACOUSTIC GUITAR (concert music/worldmusic/jazz) at the Hochschule für Musik "Carl Maria von Weber" in Dresden (Germany) and "WORLDMUSIC" at the Hochschule für Musik Weimar and lead masterclasses at different conservatories and festivals in Europe and the USA. He is also the artistic director of the STRING SPRING FESTIVAL DRESDEN and the EUROPEAN GUITAR AWARD, one of the most prestigious competitions for creativ guitarplayers (next time spring 2012). He developed a comprehensive schoolbook for the guitar as a comping instrument (FELLOWBOOK).

Lady

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Thom Douvan - Brother Brother

Size: 173,2 MB
Time: 74:26
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Soul Jazz, Funky Jazz
Art: Front

01. Harvest For The World (4:40)
02. That's The Way Of The World (4:28)
03. For The Love Of You (4:57)
04. Anniversary (4:42)
05. Ain't Nobody (4:24)
06. You're Welcome, Stop On By (4:58)
07. What's Going On (5:16)
08. Sara Smile (3:25)
09. Isn't She Lovely (5:07)
10. So Amazing (4:21)
11. With You I'm Born Again (7:35)
12. What You Won't Do For Love (4:41)
13. The Water Is Wide (6:28)
14. Someday We'll All Be Free (4:50)
15. If I Ain't Got You (4:28)

In March 2013 The Funk Brothers -- the elite group of studio musicians who played on all the hit Motown records -- received their star on the Hollywood Boulevard Walk of Fame. West Coast guitarist Thom Douvan, who originally hails from Detroit and played with several of the original Funk brothers, decided to record a soul-jazz organ tribute of fourteen selections from the Great American Soul Songbook in honor of The Funk Brothers. In addition to Thom on guitar, the resulting record "Brother Brother" features Detroit organist Duncan McMillan, saxophonist Tony Malfatti, and five celebrity drummers sharing the drumming duties: James Gadson who played on Marvin Gaye's "I Want You" and Diana Ross's "Love Hangover," Ralph Penland who played with Carlos Santana, Herbie Hancock, and Frank Sinatra; Michael Barsimanto who played with Billy Preston, Ivan Neville and Johnny Depp; Frank Wilson who played with Jimmy Smith; and Tony Moore who played with Gerald Albright, George Benson and Robben Ford. The majority of the songs on "Brother Brother" were recorded in just two days in the studio. Thom then added legendary organist Bobby Pierce (Sonny Stitt, James Moody and Pat Martino) to record the Donny Hathaway ballad "Someday We'll All Be Free" to complete the selection.

Personnel: Thom Douvan: guitar; Duncan McMillan: Hammond organ (1-13, 15); Tony Malfatti: saxophone; Ralph Penland: drums (1, 2, 4, 12, 13); Frank Wilson: drums (3, 5); James Gadson: drums (6, 7); Michael Barsimanto: drums (8, 11, 14); Tony Moore: drums (9, 10, 15); Bobby Pierce: Hammond organ (14)

Brother Brother

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Freddy Cole - The Cole Nobody Knows

Size: 80,3 MB
Time: 34:41
File: MP3 @ 320K/s
Released: 1977/2010
Styles: Jazz/Soul Vocals
Art: Front

01. Correct Me If I'm Wrong (4:34)
02. Moving On Place In The Sun (3:50)
03. Wild Is Love (2:53)
04. A Man Shouldn't Be Lonely (3:02)
05. Brother Where Are You (4:54)
06. Miss Otis Regrets (3:48)
07. Live For Life (3:21)
08. He'll Have To Go (3:22)
09. Medley: I Keep Going Back To Joe's/Waiter Ask The Man To Play The Blues (4:52)

The younger brother of Nat King Cole and uncle of Natalie Cole, singer/pianist Freddy Cole sounds a great deal like his celebrated sibling, yet has a personality of his own. Cole, whose vocals tend to be a bit darker and slightly rougher, began playing piano at five or six. He was interested in playing football professionally, but decided to pursue a career in music after a hand injury ended his career as an athlete. He debuted on vinyl in 1952 when he recorded the single "The Joke's on Me" for the obscure Chicago-based Topper Records. His next single, "Whispering Grass," on Columbia's OKeh label, was a moderate hit in 1953. In the '60s and '70s, he developed a small following recording for various small labels. Cole founded his First Shot label in the '80s and went on to record for Sunnyside and LaserLight in the early '90s. A few years later, he signed with Fantasy and enjoyed greater visibility with Grand Freddy. By 2000, Cole had signed with Telarc and released his first disc for the label, Merry-Go-Round, followed by Rio de Janeiro Blue in 2001. In the Name of Love appeared two years later featuring Cole's approach to soft pop hits made famous by Smokey Robinson, Bonnie Raitt, and Van Morrison, among others. In 2004, GRP reissued Cole's 1964 recording Waiter, Ask the Man to Play the Blues. It was followed in 2005 by This Love of Mine, in 2006 by Because of You, and in 2010, by Freddy Cole Sings Mr. B, all on the Highnote label. In 2011, Cole released Talk to Me featuring guitarist Randy Napoleon, saxophonist Harry Allen, trumpeter Terell Stafford, and others. ~by Alex Henderson

The Cole Nobody Knows

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Joshua Coleman - The Cole Porter Songbook

Size: 169,5 MB
Time: 71:52
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Saxophone Jazz, Vocals
Art: Front

01. You're The Top (2:11)
02. Always True To You In My Fashion (2:42)
03. I Love Paris (1:50)
04. Begin The Beguine (4:25)
05. It's De-Lovely (4:36)
06. I've Got You Under My Skin (5:15)
07. Anything Goes (2:50)
08. Public Enemy 1/Buddie Beware (4:11)
09. It's All Right With Me (Feat. Justin Sanchez) (2:47)
10. Be A Clown (2:54)
11. Do I Love You (3:51)
12. I Get A Kick Out Of You (1:48)
13. You Do Something To Me (5:42)
14. Easy To Love (3:24)
15. Just One Of Those Things (4:37)
16. So In Love (Feat. Tracey L. Withney) (4:56)
17. Ev'ry Time We Say Goodbye (3:31)
18. Night And Day (2:06)
19. In The Still Of The Night (4:41)
20. Always True To You In My Fashion (Demo For Duke City Sound Stage (Bonus Track) (3:24)

"Cole Porter was born in Indiana in 1891. A talented composer and songwriter, Porter handled both music and lyrics with ease, and conquered Broadway and Hollywood with his witty songs. His work includes "Night and Day" and "I've Got You Under My Skin." However, his life was marred by a 1937 riding accident that left him unable to walk. He died in California in 1964, having written more than 800 songs."

With an interest in the anthropology of music, I've had a growing interest for some time in the spread of music during the 1920's. To give a brief history lesson George Gershwin, Cole Porter and Irving Berlin were likley the most prominent song writers and american composersof the 1920's "Tin-Pan" era. What's intresting to me about this era is that most of the music written by these people was either being used for movie soundracks or broadway musicals and did not have a very large following of professional recording musicians at the time. But what the music did have is an extremely large following of local musicians that would learn Porter and Berlin's music to play in small bars and jazz clubs of the time.

It was not until the generation after the music was written in the "Rat-Pack" era of the 1940's when professional recording artists like Frank Sinatra, Ella Fitzgerald and Ethel Merman began their careers and wanted to record the music they had listened to in the bars and clubs growing up. This generational gap started an evolution in Porter's music that gave the the performing artists each to their own interperetation and gave the music infinite diversity in infinite combinations that has continued all the way into 2014.

From Frank Sinatra's big band take on "Night and Day" released in 1942 to Lady Gaga's 2014 versions of "Anything Goes" and "Ev'ry Time We Say Goodbye". The music of Cole Porter is some of the best american music that's ever been written and continues to evolve in new ways. With this album set for distribution in early 2015 entitled "The Cole Porter Songbook" I hope to give some of my own interpretations and modern twists on this music that was written nearly a century ago.

The Cole Porter Songbook

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Todd Rhodes - Blues for the Red Boy: Early Sensation Recordings

Bitrate: MP3@320K/s
Time: 79:12
Size: 181.9 MB
Styles: R&B, Jump blues
Year: 2002
Art: Full

[3:12] 1. Bell Boy Boogie
[2:58] 2. Flying Disc
[3:08] 3. Dance of the Red Skins
[3:01] 4. Blue Sensation
[2:54] 5. Jumpin' With the Mountain King
[2:50] 6. Annie Laurie
[3:00] 7. Bop Bop Sizzle
[3:02] 8. Oh Baby
[2:09] 9. I Want to Be Happy
[2:25] 10. Make It Good
[2:57] 11. I Love You Truly
[2:40] 12. Blues for the Red Boy AKA OK Blues
[2:06] 13. Fool for You
[3:02] 14. Toddlin' Boogie
[2:52] 15. Sweetheart, Please Come Back to Me
[2:35] 16. Prelude in C Sharp Minor
[2:33] 17. Anitra's Jump
[3:02] 18. I'm Just a Fool in Love
[2:38] 19. It Ain't Right
[2:47] 20. Sportree's Jump
[2:12] 21. She Don't Love Me Anymore
[2:37] 22. Todd's Idea
[2:38] 23. It Couldn't Be True
[2:15] 24. Oo-Wee Walkie Talkie
[2:39] 25. Comin' Home
[2:51] 26. That Ain't Right
[2:18] 27. That's the Guy for Me
[5:38] 28. Rhapsody in Blue, Pts. 1 and 2

As well as being a bandleader and musician of no small repute, Todd Rhodes was quite the talent spotter. Many of the musicians who later found fame as part of Motown's celebrated Funk Brothers got their start in the Rhodes band. Among them was the great drummer Benny Benjamin, who powered just about every important Motown recording from the 60s and whose earliest recorded work can be heard here.

At the time of these sessions, Rhodes' favoured arranger was a young Johnny Allen who, in the 60s and 70s (and to this day, actually!) would also find gainful employment sorting out the string sections at Motown, and also on just about every record produced by Don Davis for Golden World and, subsequently, Stax/Volt. Following the premature passing of Kitty Stevenson - whose entire catalogue of work is heard here, save for a few unissued and seemingly lost masters - Rhodes took on another young Detroit-based gal who was building a name for herself at the Flame Bar but who had not yet recorded. Her name? La Vern Baker-.-although she's not featured here ...

Not only does the CD boast phenomenal sound quality throughout, it also features many alternate takes that are, in our opinion, considerably better than those originally released. And on top of all this, it contains a generous helping of completely unissued masters, which have been consigned to audio limbo hitherto for over half a century. To be able to give this material the kind of presentation it has truly always deserved is a matter of some pride for Ace, and it must be said that our buddies at Sound Mastering have surpassed even their usual immaculate standards with this one - such is the power of sound here that it couldn't really sound that much better if you were actually standing in the Detroit studios at the moment of recording!

Regrettably, many of the Rhodes band's Sensation and King masters have lately been subject to slipshod, non-endorsed, Out-Of-Copyright anthologising by "les usual suspects", utilising their own by-now-standard (make that substandard!) remastering techniques. Blues For The Red Boy is the first and only 100% legitimate CD reissue of these sides - and as Ace owns the copyrights and the actual Sensation acetates and/or mastertapes, you can believe that legitimacy is not an issue here! We will also be paying a royalty to Rhodes' 94-year old widow Annie Mae - something else that 'les freres OOC' will doubtless not be doing... ~Tony Rounce

thank you kempen.
Blues for the Red Boy: Early Sensation Recordings
Scans

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Rose Room - Somewhere In Roseland

Bitrate: MP3@320K/s
Time: 44:33
Size: 102.0 MB
Styles: Gypsy jazz, Swing
Year: 2011
Art: Front

[3:45] 1. Exactly Like You
[3:42] 2. If I Had You
[3:48] 3. Rose Room
[2:43] 4. Undecided
[4:44] 5. Don't Worry 'bout Me
[3:58] 6. Chinatown My Chinatown
[4:05] 7. Blues In My Heart
[3:22] 8. Steppin' Out With My Baby
[3:50] 9. Coquette
[3:00] 10. I Saw Stars
[4:19] 11. Out Of Nowhere
[3:12] 12. Dark Eyes

Seonaid Aitken (violin/vocals); Tom Watson (lead guitar/vocals); Tam Gallagher (rhythm guitar/vocals); Jimmy Moon (double bass).

Scottish Jazz Awards finalists Rose Room have become one of Scotland’s leading ensembles influenced by the Gypsy Jazz genre. Sharing a love of Swing music and the style of the great Django Reinhardt and Stephane Grappelli, their “vigorous and vivacious” performances seem to go “down a storm” with any audience as their 1930s ‘Hot Club’ standards and self-penned originals are always served up with great energy and panache.

Based in Glasgow, the quartet features award-winning virtuoso violinist and vocalist Seonaid Aitken (who also performs with Scottish Opera, folk singer Roddy Woomble and recently orchestrated the music for the BBC/Richard Curtis film ‘Esio Trot’), guitar maker to the stars Jimmy Moon on double bass, and Danny Kyle Award-winners ‘Swing Guitars’ Tam Gallagher and Tom Watson on rhythm and lead guitars respectively.

With two albums recorded to date - ‘Somewhere In Roseland’ (2011) and ‘Am I Blue’ (2013) - Rose Room have headlined at all of the major Scottish Jazz Festivals, have appeared at the celebrated Shetland Folk Festival, and have toured Ireland and performed at the Limavady Jazz and Blues Festival and the Guinness Cork Jazz Festival.

Somewhere In Roseland

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Charlie Parker - The Cole Porter Songbook

Bitrate: MP3@320K/s
Time: 55:00
Size: 125.9 MB
Styles: Bop, Saxophone jazz
Year: 1991
Art: Front

[ 3:28] 1. Easy To Love
[ 3:11] 2. Begin The Beguine
[ 2:49] 3. Night And Day
[ 2:35] 4. What Is This Thing Called Love
[ 3:22] 5. In The Still Of The Night
[ 3:33] 6. I Get A Kick Out Of You
[ 2:39] 7. Just One Of Those Things
[ 3:17] 8. My Heart Belongs To Daddy
[ 3:32] 9. I've Got You Under My Skin
[ 5:33] 10. Love For Sale
[ 5:06] 11. I Love Paris
[15:50] 12. What Is This Thing Called Love

With the release of this songbook collection, Charlie Parker achieves instrumentally what labelmate Ella Fitzgerald (and, of course, Frank Sinatra) did vocally: join an elite group of first-rate Cole Porter interpreters.

It helps having fine support (including drummers Buddy Rich, Max Roach, and Art Porter, bassist Teddy Kulick and pianist Oscar Peterson). It also helps to overcome obstacles (some fussy big-band/string arrangements and an dissapointing pop rendition by Gil Evans on the first "In The Still Of The Night.") Highlights include a blues-based "I Love Paris" (featuring bass/drum interplay sounding like a funereal rumba), Parker floating sheets of jazz like a magic carpet above the sweet strings of "Easy to Love," and an unusually somber version of the wistful "Just One Of Those Things." This provides an outstanding first step in appreciating Parker; to know the lyrical master Porter better, check out "Frank Sinatra Sings The Classic Cole Porter" on Capitol, or Ella Fitzgerald's legendary "Cole Porter Songbook" on Verve. ~Anthony G. Pizza

The Cole Porter Songbook

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Justin Kauflin - Dedication

Bitrate: MP3@320K/s

Time: 60:22

Size: 138.2 MB

Styles: Piano jazz

Year: 2014

Art: Front

[6:12] 1. Elusive

[6:38] 2. B Dub

[4:38] 3. For Clark

[4:42] 4. The Professor

[5:25] 5. Epiphany

[5:09] 6. Tempest

[5:17] 7. No Matter

[4:29] 8. Where Are You

[3:28] 9. Up And Up

[5:12] 10. Lasting Impression

[4:46] 11. Mother's Song

[4:21] 12. Thank You Lord

Award-winning jazz pianist, Justin Kauflin began his musical journey at age 4 with Suzuki violin (Suzanne Schreck), adding piano a few years later with Virginia Koun. By age 6, he was performing in concerts, nursing homes and weddings, eventually becoming concertmaster for several orchestras. However, it was during this time that he also endured numerous trials, particularly losing total vision by a rare eye disease. He adjusted by learning 5 grades of Braille, cane mobility and, after a decade of classical violin and piano, switched to jazz piano at the Governor's School for Performing Arts. He studied with Liz Barnes, Woody Beckner, Chris Brydge, Jeff Smith, Jae Sinnett and ODU jazz professor, John Toomey; he attended the Vail Jazz Workshop, Betty Carter's Jazz Ahead Residency, and received top honors in jazz festivals across the U.S. He began performing jazz professionally at age 15, most notably with the Jae Sinnett Trio.

Justin's relationship with mentor Clark Terry was chronicled by Absolute Clay Productions' Al Hicks and Adam Hart. Five years in the making, the resultant documentary, Keep On Keepin' On, won both Heineken Audience and Best New Director Awards at Tribeca Film Festival and released in theaters through RADIUS-TWC. Justin and Dave Grusin are credited for its filmscore. Keep On Keepin' On was Oscar Shortlisted for best documentary (2015 Academy Awards).

Justin was subsequently signed by legendary producer and music icon, Quincy Jones for management, and in 2013 and 2014, was part of Quincy Jones' World Tours which traveled to Montreux, Switzerland; Vienne, France; Seoul, Korea; Tokyo and HIroshima, Japan. Throughout 2014, in addition to Keep On Keepin' On screening performances throughout the USA, Justin worked with Quincy Jones on his second full-length CD and debut album for Jazz Village, DEDICATION. The CD consists of 12 original compositions, 9 of which are dedications to teachers, friends and family, with a 3-part suite reflecting his faith sandwiched in between. It was released on January 13, 2015 and debuted at #6 on CMJ Jazz chart, #10 on Billboard's Traditional Jazz Chart, hit #1 on JazzWeek's chart, remaining in the top 10 for 9 straight weeks.

Dedication  

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Blossom Dearie - Whisper For You

Bitrate: MP3@320K/s
Time: 66:13
Size: 151.6 MB
Styles: Standards, Vocal jazz
Year: 1997/2002/2010
Art: Front

[3:42] 1. That's Just The Way I Want To Be
[3:17] 2. Long Daddy Green
[3:12] 3. Sweet Surprise
[3:26] 4. Hey John
[3:19] 5. Sweet Georgie Fame
[3:14] 6. Both Sides Now
[1:49] 7. Dusty Springfield
[3:02] 8. Will There Really Be A Morning
[3:21] 9. I Know The Moon
[2:09] 10. Inside A Silent Tear
[5:06] 11. Yesterday, When I Was Young
[2:36] 12. I Like London In The Rain
[1:59] 13. Just One Of Those Things
[4:28] 14. Like Someone In Love
[2:25] 15. Between The Devil And The Deep Blue Sea
[3:22] 16. Try Your Wings
[3:45] 17. The Riviera
[2:32] 18. The Middle Of Love
[2:28] 19. Plus Je T'embrasse
[2:38] 20. Give Him The Ooh-La-La
[4:12] 21. I Walk A Little Faster

An odd Japanese collection, Whisper for You reissues one of the New York cabaret singer's rarer sessions, 1970's That's Just the Way I Want to Be, and adds nine songs from her 1958 Verve LP Give Him the Ooh-La-La. Though the schmaltzy title and cover (featuring a sleepy kitten) may deter vocal fans, anyone wanting to hear one of her only post-'60s records available on CD would do well to search this one out. Blossom Dearie adapted pretty well to the changing times, stretching out on atmospheric songs that sound familiar to any fans of singer/songwriter or folk-rock forms. The title-track opener of That's Just the Way I Want to Be is a good start, her own composition (one of nine here, most of them collaborations) and one that nicely illustrates her outsider status -- a plus, as far as rock audiences were concerned. Brian Gascoigne's floating arrangement makes good use of vibes and flute, and his charts wisely stay out of the way, except on one dated arrangement for Dearie's "Long Daddy Green" (it has the same muddy sound as the spots for Schoolhouse Rock, which Dearie contributed to). Elsewhere, Dearie finds common ground with Joni Mitchell ("Both Sides Now"), and also sings tributes to (presumably) her favorites among British rock singers, "Sweet Georgie Fame" and "Dusty Springfield" (both probably owed small debts to her as well). The nine tracks tacked onto the end, from her Verve date Give Him the Ooh-La-La, far outshine any from the later session, including "Just One of Those Things" and "Between the Devil and the Deep Blue Sea." ~John Bush

Whisper For You

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Bob Fleming Quartet - The Music Of Brazil

Bitrate: MP3@320K/s
Time: 69:27
Size: 159.0 MB
Styles: Easy Listening
Year: 2009
Art: Front

[3:04] 1. An Affair To Remember
[3:03] 2. Cheek To Cheek
[3:21] 3. Stormy Weather
[2:11] 4. Love Letters In The Sand
[3:44] 5. My Funny Valentine
[2:59] 6. Because Of You
[3:26] 7. Almost Paradise
[2:24] 8. Manhattan
[4:05] 9. I Get A Kick Out Of You
[2:53] 10. Over The Rainbow
[1:58] 11. Who
[2:21] 12. I Won't Cry Anymore
[2:41] 13. Fascination
[2:32] 14. Indian Summer
[2:24] 15. Can't I
[2:03] 16. Sonny Boy
[2:29] 17. There Goes My Heart
[2:37] 18. Tammy
[3:12] 19. It's Not For Me To Say
[2:12] 20. Around The World In 80 Days
[2:49] 21. A Portrait Of Jennie
[2:20] 22. So Rare
[3:49] 23. E'bello
[4:38] 24. Without A Song

The Music Of Brazil

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Clifford Brown & Max Roach - Brown & Roach

Bitrate: MP3@320K/s
Time: 40:40
Size: 93.1 MB
Styles: Hard bop, Trumpet jazz
Year: 1954/2004
Art: Front

[6:39] 1. Sweet Clifford
[7:19] 2. I Don't Stand A Ghost Of A Chance With You
[6:23] 3. Stompin' At The Savoy
[4:09] 4. I'll String Along With You
[4:30] 5. Mildama
[4:01] 6. Darn That Dream
[7:36] 7. I Get A Kick Out Of You

In 1954, months before the Jazz Messengers, spearheaded by Art Blakey and Horace Silver, formed serendipitously at a Blue Note recordings session, Max Roach was forming his own quintet with Clifford Brown in Los Angeles. It would become the first defining group in the music that would soon be known as hard bop. There was some trial and error in landing on the perfect combination of players. But by August, the group's line-up with Harold Land, Richie Powell and George Morrow and a major label deal with Emarcy Records were secured. Four marathon sessions that month yielded "Brown And Roach Incorporated" and most of the second album "Clifford Brown And Max Roach."

What was immediately striking was the fresh sound of the quintet. The remarkable empathy within the group, the careful selection of material and the exciting arrangements by Powell all contributed mightily to that sound. Clifford Brown had come into his own as composer as "Sweet Clifford," "Joy Spring" and "Daahoud" demonstrate. It didn't hurt that Roach and Brown were complete originals and among the greatest performers on their instruments.

Six months later, the ensemble went into the studio to cut 11 gems, two of which were used to complete "Clifford Brown And Max Roach" while the rest formed the third album "Study In Brown." Their growth as a band is evident and, by this time, Powell and Land were also composing for the group.

Brown & Roach

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Kitty Margolis - Evolution

Styles: Vocal Jazz
Year: 1993
File: MP3@320K/s
Time: 91:53
Size: 210,6 MB
Art: Front

(4:01)  1. Anthropology
(4:51)  2. I'm old fashioned
(5:03)  3. Evolution
(5:26)  4. Ancient footprints
(5:10)  5. Midnight sun
(3:33)  6. Nothing like You
(5:27)  7. Please send me someone to love
(5:48)  8. You don't know what love is
(4:34)  9. All or nothing at all
(5:08) 10. Tristeza de amar
(2:49) 11. Gone with the wind
(3:48) 12. Someone else is steppin' in
(4:45) 13. When lights are low
(6:19) 14. Where do you start
(5:10) 15. Are what you need
(5:02) 16. Getting to know you
(7:30) 17. I concentrate on you
(5:00) 18. Sophisticated lady
(2:18) 19. We kiss in a shadow

This is an amazing album. There are few jazz singers with the range of expression of Kitty Margolis, a singer equally at home in bop, blues and ballads. Possessed of unerring pitch and flawless enunciation, Margolis can also scat with the best of them. Indeed, her versatility brings to mind Ella Fitzgerald and Carmen McRae. In this album we hear Kitty Margolis in almost every style imaginable. Margolis begins bop anthem “Anthropology” unaccompanied and at a breakneck speed and delivers a truly inspired performance. In “I’m Old Fashioned” the singer turns the tune on its head and gives an intense reading of the old ballad with the able assistance of tenor sax giant Joe Henderson. The two later team up for a swinging version of “Gone With the Wind.” Brazilian composer Ivan Lins’ “Evolution” is the album’s title track and Margolis hits the mood exactly right in this English language song. Joyce Cooling’s guitar solo is a textbook example of understatement and taste. “Midnight Sun” is a tune that has been overlooked for too long by singers. Its sophisticated text and highly chromatic melody is ideally suited for Margolis and she delivers one of the finest recorded versions of the Lionel Hampton/Johnny Mercer song.

Margolis also demonstrates that she knows a thing or two about the blues in “Someone Else Is Steppin’ In” where she gives a throaty performance in the best blues shouting tradition. The album ends with Stephen Sondheim’s “Where Do You Start?” performed by just the singer and Dick Hindman on piano. Sondheim’s tune is all about the pain of separation, and Margolis’ performance makes this pain come alive, a pain that is only matched when you have to separate yourself from listening to this extraordinary album. ~ William Grim  http://www.allaboutjazz.com/evolution-kitty-margolis-mad-kat-review-by-william-grim.php

Personnel: Kitty Margolis, vocals; Joe Henderson, tenor sax; Joe Louis Walker, guitar; Dick Hindman, piano; Joyce Cooling, guitar; Seward McCain, bass; Gaylord Burch, drums; Jay Wagner, keyboards; Kenny Brooks, tenor sax; Tom Peron, trumpet; Jorge Pomar, bass; Art Love, bass; Dave Rokeach, drums; Kent Middleton, percussion

Evolution

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George Robert & Kenny Barron - The Good Life

Styles: Piano and Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 48:33
Size: 111,6 MB
Art: Front

(6:04)  1. The Good Life
(3:10)  2. Hymn To Life
(8:00)  3. Spring Can Really Hang You Up The Most
(5:03)  4. Florence
(5:57)  5. Japanese Garden
(5:41)  6. A Time For Love
(3:23)  7. Billy Strayhorn
(4:54)  8. Pully Port
(3:50)  9. Lush Life
(2:25) 10. Goodbye

Both George Robert and Kenny Barron have confessed the pleasure of playing together ‘The Good Life ‘ is their sixth album collaboration and the second in duo about the first one, Kenny Barron once referred it was one of his top three favourite albums he ever did in his career. Furthermore George Robert sounds like someone from Jersey which is far from being true to say the least. https://jazzyoutoo.wordpress.com/2015/02/26/george-robert-kenny-barron-the-good-life/

Personnel: George Robert, Alto Sax; Kenny Barron, Piano

The Good Life

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Arnett Cobb & Guy Lafitte - Tenor Abrupt

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 73:11
Size: 172,3 MB
Art: Front

( 7:49)  1. On Green Dolphin Street
( 5:25)  2. Climb Every mountain
( 5:43)  3. Que Reste-t-it de nos Amours
( 8:52)  4. Make Someone Happy
(11:22)  5. Blues Abrupt
( 6:13)  6. The Nearness of You
( 7:15)  7. I Got Rhythm
( 5:21)  8. Go Red Go
( 8:33)  9. Blues in Deauville
( 6:33) 10. Junpin' at the Woofside

As part of The Definitive Black & Blue Sessions series, tenor saxophonist Arnett Cobb is spotlighted on ten digitally remastered tracks, recorded live in France on March 16 and 29, 1980. Cobb recorded several records for Black & Blue, but this straight-ahead live session is special. Paired up with tenor associate Guy Lafitte, Roland Hanna on piano, Jimmy Woode on bass, and Eddie Locke on drums, Cobb is still in excellent form even though this was recorded late in his career. 

Among the previously unreleased tracks are "Oue Reste-T-Il de Nos Amours," "Make Someone Happy," "The Nearness of You," and "Blues in Deauville." ~ Al Campbell  http://www.allmusic.com/album/the-definitive-black-blue-sessions-tenor-abrupt-mw0000032296

Personnel: Arnett Cobb (tenor saxophone); Guy Lafitte (tenor saxophone); Roland Hanna (piano); Eddie Locke (drums).

Tenor Abrupt

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