Cy Coleman - Playboy's Penthouse

Bitrate: MP3@320K/s
Time: 38:12
Size: 87.4 MB
Styles: Piano jazz
Year: 1960/2012
Art: Front

[3:24] 1. Playboy's Theme
[2:33] 2. Kiss And Run
[3:40] 3. Lulu's Back In Town
[5:34] 4. Round Around Midnight
[3:26] 5. Top Hat, White Tie And Tails
[4:09] 6. Steppin' Out With My Baby
[3:01] 7. Something I Dreamed Last Night
[3:37] 8. Dorothy's Dilemna
[4:56] 9. Just In Time
[3:48] 10. Tennis Bums Blues

Cy Coleman wore many hats in his long, illustrious music career. Jazz pianist, songwriter, arranger, producer, music director, Broadway composer were among the many titles bestowed upon him. As a jazz pianist he led the Cy Coleman Trio, which made many recordings and was a much-in-demand club attraction. As a songwriter, Coleman composed many hit standards including "Witchcraft" and "The Best Is Yet To Come". One of his popular instrumentals, "Playboy's Theme," became the theme music of Playboy magnate Hugh Hefner's 1960's TV show, Playboy After Dark. This classic album recorded in 1960, includes that well known theme along with several jazz standards and features Cy Coleman (piano), with Bill Takas (bass), Dave Bailey (drums), Ernie Royal (trumpet) and Wayne Andre (trombone). All selections newly remastered.

Playboy's Penthouse

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The Four Freshmen - In Session

Bitrate: MP3@320K/s
Time: 41:34
Size: 95.2 MB
Styles: Vocal harmony group
Year: 2005
Art: Front

[3:21] 1. It's All Right With Me
[4:50] 2. My One And Only Love
[3:11] 3. Skylark
[3:33] 4. If I Only Had A Brain
[4:34] 5. Early Autumn
[2:40] 6. Something's Gotta Give
[5:01] 7. How Do You Keep The Music Playing
[2:29] 8. That Old Feeling
[4:33] 9. September Song
[3:15] 10. If I Had You
[4:03] 11. You've Changed

Vocals – Bob Ferreira, Brian Eichenberger, Curtis Calderon, Vince Johnson

The Four Freshmen were one of the top vocal groups of the 1950s, and formed the bridge between '40s ensembles like the Mel-Tones and harmony-based rock & roll bands such as the Beach Boys as well as groups like Spanky & Our Gang and the Manhattan Transfer. The group's roots go back to the end of the 1940s and a barbershop quartet-influenced outfit called Hal's Harmonizers, organized at the Arthur Jordan Conservatory of Butler University in Indiana by two brothers, Ross and Don Barbour. Their repertoire centered on standards such as "Moonglow" and "The Christmas Song," and they began to show an unusually free, improvisational approach to their harmony singing. A couple of membership changes brought Bob Flanigan, a cousin, into the fold alongside Hal Kratzsch, and suddenly the Four Freshmen were assembled in all but name, and that fell into place a little later.

There were membership changes along the way -- Kratzsch left in the spring of 1953, to be replaced by Ken Errair who, in turn, was succeeded by Ken Albers in April of 1956, while Don Barbour left in 1960, replaced by Bill Comstock. That lineup lasted intact for nearly 13 years, into the 1970s, but by that time the group's influence had faded to almost nothing. The Four Freshmen had managed to stay competitive with other pop acts through the mid-'60s, and even got a very visible boost from the Beach Boys, in the form of Brian Wilson's frequent expressions of admiration for the quartet as part of his inspiration behind putting together the rock & roll group's sound, but following the arrival of the British Invasion, they were no longer anywhere near the cutting edge of pop music. They continued to record and perform, even assimilating such contemporary songs as Jimmy Webb's "By the Time I Get to Phoenix," but they were effectively relegated to the "easy listening" stations. Their contract with Capitol ended in 1964, and the group's last affiliation with a major label was in the second half of the decade with Liberty Records, which yielded four LPs but no hits. By 1977, Bob Flanigan was the last original member, and he retired in 1992.

New lineups of the group have continued to perform into the 21st century, however, and are considered an artistically valid ensemble -- in 2000 the Four Freshmen were voted Vocal Group of the Year by Down Beat magazine's readers. And in 2001, no less a label than Mosaic Records -- the company that issues complete catalogs of jazz legends going back to the 1930s, in deluxe packaging -- released a multi-CD box of the Four Freshmen's complete 1950s recordings, proudly (and even defiantly, given the label's catalog) proclaiming the quartet's validity as a jazz outfit. ~ Bruce Eder

In Session  

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Jutta Hipp - The Lost Tapes (The German Recordings 1952-1955) [Extended Version]

Bitrate: MP3@320K/s
Time: 72:30
Size: 166.0 MB
Styles: Piano jazz
Year: 2013
Art: Front

[4:33] 1. Blues After Hours
[3:26] 2. Erroll's Bounce
[2:34] 3. Gone With The Wind
[4:48] 4. Out Of Nowhere
[5:02] 5. You Go To My Head
[3:47] 6. Stompin' At The Savoy
[6:32] 7. What Is This Thing Called Love
[2:10] 8. Fool That I Am
[2:57] 9. The Lonesome Road
[2:29] 10. Fine And Dandy
[1:57] 11. What's New
[2:10] 12. These Foolish Things
[4:34] 13. Stompin' At The Savoy (Alt)
[2:29] 14. Sound Koller
[3:06] 15. Come Back To Sorrento
[3:36] 16. Moonlight In Vermont
[4:34] 17. Daily Double
[3:58] 18. Indian Summer
[3:36] 19. Everything Happens To Me
[4:01] 20. Serpentinen

German-born pianist Jutta Hipp (1925-2003) was enticed to travel to New York in 1955 by jazz writer/historian Leonard Feather. She was signed by Alfred Lion to Blue Note Records where she very quickly—within an eight month period—recorded three albums for the label: At the Hickory House, Vol. 1 (1955); At the Hickory House, Vol. 2, and Jutta Hipp with Zoot Sims, a teaming with the tenor saxophonist which was her most successful album. Then it was over. Hipp left the music world in 1958 and supported herself in New York City as a seamstress and painter. She never returned to Germany, never again performed or recorded. The "why" of her retreat has never been fully explained, and she remains a "What If? artist. What if she had been able to achieve her considerable potential? The potential is revealed in Lost Tapes: The German Recordings 1952-1955. This is the sound that enchanted Leonard Feather, and convinced Alfred Lion that Blue Note Records had a spot on its roster for Jutta Hipp.

The set opens with Hipp working the piano trio format with a deeply blue "Blues After Hours," followed by Erroll Garner's "Erroll's Bounce." The pianist is in a very percussive frame of mind on the first of these, before gliding into a mesmerizing glissando that introduces a brief but sweet bit of improvisation. The second of these trio efforts sparkles—the way its author, pianist Garner, would have it.Tenor saxophonist Hans Koller joins the trio for the next eleven tunes. "Gone With the Wind" is a lilting effort, and Hipp proves herself a very capable and straight-forward accompanist—this is before pianist Bill Evans and his trios democratized the piano trio format. She shines as inspired soloist, though one who certainly could have stretched out more. Then this was in the end of the days of the 78 rpm records (1952), when the three minute limit was still in effect. "What Is This thing Called Love" is laid down in a haunting fashion, with Koller's sax sounding especially resonant. Again, Hipp is restrained and tasteful in the accompaniment mode, and beautifully inspired when she gets her solo spot, with some long, serpentine lines that bring fellow pianist Lennie Tristano to mind. The familiar "What's New" has a fetching, cool jazz lightness, with trombonist Albert Mangelsdorff joining the front line, and features Hipp swaying into a lovely sing-song solo.

This is a generous very welcome helping of early Jutta Hipp, an artist, sadly, without a big discography. And it's another of Jazzhuas' Records first-rate offerings of previously unreleased gems from some of the early jazz artists—American and European—performing in Germany. ~Dan McClenaghan

Jutta Hipp: piano; Franz "Shorty" Roeder: bass (1-13); Karl Sanner: drums (1-10, 14-17); Albert Manglesdorff: trombone (8-13); Hans Koller: tenor saxophone (3-13); Rudi Sehring: drums (11-13); Joki Freund: tenor saxophone (14, 17); Atilla Zoller: guitar (14, 17); Harry Schell: bass (14, 17).

The Lost Tapes (The German Recordings 1952-1955) [Extended Version]

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Herb Ellis - Softly... But With That Feeling / Thank You, Charlie Christian

Bitrate: MP3@320K/s
Time: 75:13
Size: 172.2 MB
Styles: Guitar jazz
Year: 2012
Art: Front

[5:46] 1. One Note Samba
[1:57] 2. Toni
[5:43] 3. Like Someone In Love
[5:53] 4. Jim's Blues
[3:36] 5. John Brown's Body
[4:12] 6. Detour Ahead
[5:38] 7. You Better Be Ready
[5:10] 8. Gravy Waltz
[3:18] 9. Pickly Wickly
[2:53] 10. I Told You I Loved You, Now Get Out
[4:44] 11. Cook One
[4:20] 12. Karin
[2:54] 13. Cherry Kijafa
[7:39] 14. Thank You Charlie Christian
[2:49] 15. Alexander's Ragtime Band
[2:57] 16. Lemon Twist
[3:35] 17. Everything's Pat
[2:01] 18. Workin' The Truth

Twofer: Tracks #1-8 from the Verve album "Softly... But With That Feeling" (V6-8448). Tracks #9-18 from the Verve album "Thank You, Charlie Christian" (MGV S 6164)

Guitarist Herb Ellis first became prominent as a member of the Oscar Peterson Trio from 1953 to 1958 in a musical and personal community of spirit rare in jazz history. It was during this period that, in addition to recording countless Verve LPs with Peterson, he began making albums as a leader, including the two excellent releases in this collection. Recorded with the pick of the crop of West Coast jazz musicians, these sessions confirm an assessment Ellis made in 1961 of his own evolution through the years: “As Oscar said to me, you can only develop what you are best capable of doing, I hope I can continue to develop in just that way.”

His personal roots, affirmed here on Thank You Charlie Christian, but also evident on Softly... But with That Feeling, go back to another great guitarist, Charlie Christian. “Before that I just played fast,” Ellis said. “In fact, the first time I heard Charlie I thought he really wasn’t so much, because I felt I could play faster than that. Then after a few more times he really hit me, and I realized that speed wasn’t everything. I got quite emotional—put my guitar away and said I’d never play again. But the next day I got it out and started to try to play like Charlie.” He succeeded but, as these recordings prove, he found his own distinctive and inimitable voice to become one of the greats of jazz guitar.

Herb Ellis (g), with Victor Feldman, Frank Strazzeri (p), Harry Babasin (cello), Leroy Vinnegar, Chuck Berghofer (b), Ronnie Zito, Kenny Hume (d).

Softly... But With That Feeling / Thank You, Charlie Christian

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Dion - Ruby Baby

Bitrate: MP3@320K/s
Time: 32:01
Size: 73.3 MB
Styles: AM pop, R&B
Year: 1963/2013
Art: Front

[2:35] 1. Ruby Baby
[3:07] 2. The End Of The World
[2:07] 3. Go Away Little Girl
[2:33] 4. Gonna Make It Alone
[3:04] 5. Fever
[2:46] 6. My Mammy
[2:29] 7. Will Love Ever Come My Way
[3:12] 8. The Loneliest Man In The World
[2:41] 9. You Made Me Love You (I Didn't Want To Do It)
[2:27] 10. He'll Only Hurt You
[2:46] 11. You're Nobody 'til Somebody Loves You
[2:09] 12. Unloved, Unwanted Me

Dion's stint at Columbia Records between 1962 and 1966 has been justly hailed as a period in which he grew substantially as an artist, especially when he dug into more mature material and earthier, bluesier influences. It must also be pointed out, however, that he also recorded some tracks that were substantially less impressive and progressive, especially at the start of his stint with the company. Ruby Baby, his first Columbia album, was actually not all that different from the typical LP of a talented teen idol of the time in its unsatisfactory mix of approaches, apparently aimed at helping establish the singer's all-around entertainer credentials. The title track was his first, and one of his best and gutsiest, hit singles, yet oddly little else on the record was as forceful or even too similar. Instead there were unnecessary covers of a couple contemporary hits, "The End of the World" and "Go Away Little Girl," and vaguely jazzy/pop standard-ish numbers that indicated there were hopes to cross Dion over into Bobby Darin territory. "The Loneliest Man in the World" and "He'll Only Hurt You," a little weirdly, sound a bit like Roy Orbison imitations. "Ruby Baby" aside, only on the relatively tough "Gonna Make It Alone" and the softer, more doo wop-flavored "Will Love Ever Come My Way" did the kind of Dion heard on his early-'60s rock hits emerge. ~Richie Unterberger

Ruby Baby

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Rudy Linka - Czech It Out!

Bitrate: MP3@320K/s
Time: 52:36
Size: 120.4 MB
Styles: Post bop, Guitar jazz
Year: 1994
Art: Front

[5:17] 1. Old And New (Orleans)
[5:56] 2. Just On Time
[4:16] 3. Uptown Express
[7:15] 4. How Deep Is The Ocean
[4:05] 5. Traveler
[5:11] 6. Welcome To The Club
[5:45] 7. Folk Song
[7:20] 8. At This Point
[7:26] 9. Love Letters

Guitarist Rudy Linka covers a lot of ground on his Enja CD, ranging from straightahead standards and a boppish blues to some dry originals worthy of John Scofield, a bossa nova and "Old & New (Orleans)" which combines parade rhythms with a funky blues. Linka's interplay on this trio set with bassist George Mraz and drummer Marvin "Smitty" Smith is impressive as is the leader's low-volume yet high-intensity solos. ~Scott Yanow

Czech It Out!

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Rein De Graaff - Duets

Bitrate: MP3@320K/s
Time: 60:16
Size: 138.0 MB
Styles: Piano jazz
Year: 1999/2008
Art: Front

[4:41] 1. What Is This Thing Called Love
[6:50] 2. These Foolish Things
[7:09] 3. I Remember You
[6:12] 4. Darn That Dream
[5:39] 5. Just Friends
[6:07] 6. Pinehill Blues
[7:59] 7. How Deep Is The Ocean
[5:52] 8. I'll Remember April
[1:24] 9. My Melancholy Baby
[8:20] 10. Star Eyes

Rein de Graaff (piano); Charles McPherson (alto saxophone); Marius Beets (bass). Recording information: Pinehill Studio, Leersum, The Netherlands (01/16/1999-02/23/1999).

Dutch pianist Rein De Graaf is an unassuming performer, best known, perhaps, as a first-rate accompanist. As he shows on this recording, however, he is also a superb leader and soloist. Joined on half the cuts by American bopper alto saxophonist Charles McPherson, and on the others by bassist Marius Beets, De Graaf revisits popular standards including "What Is This Thing Called Love?," "Darn That Dream," and "Star Eyes." If there are no startling moments, there is a consistent commitment to high quality that is evident on every track. Charles McPherson is as steady as they come, and every note he blows seems to be perfectly chosen. Beets is also a fine partner for the pianist, his rich tone and choice notes a nice complement. None of these performers engage in any sort of flashy technique -- only a nicely honed structure that exudes life. Like a Tommy Flanagan or a John Hicks, De Graaf may not get the headlines, but listeners will be rewarded by his solid playing. ~ Steven Loewy

Duets

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Tete Montoliu Trio - The Man From Barcelona

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 62:46
Size: 144,3 MB
Art: Front

(4:00)  1. Concierto de Aranjuez
(7:14)  2. Stella By Starlight
(6:31)  3. Easy Living
(5:55)  4. Autumn Leaves
(5:05)  5. For You My Love
(4:58)  6. Tune Up
(7:24)  7. I Fall In Love Too Easily
(5:44)  8. Django
(5:48)  9. When Lights Are Low
(4:08) 10. Please I Like to Be Gentle
(5:53) 11. A Night In Tunisia

The blind Catalonian pianist Tete Montoliu is in top form throughout this 1990 trio date with bassist George Mraz and drummer Lewis Nash, though the label evidently didn't get around to releasing it until a few years after his death. The session draws from standards and timeless jazz compositions, all played with Montoliu's inventive touch. He throws quite a few twists into his complex setting of "Stella by Starlight," shows off his chops in an intense workout of "Autumn Leaves," and pulls out all stops with the furious rendition of "A Night in Tunisia." 

The pianist's lyrical side is showcased in ballads like "Easy Living" and "I Fall in Love Too Easily." Montoliu returns to a bit of flashy playing in his original blues composition "Please I Like to Be Gentle." Mraz has numerous solos, all of which are up to his standard, while Nash provides terrific support throughout the recording. Highly recommended! ~ Ken Dryden  http://www.allmusic.com/album/the-man-from-barcelona-mw0000086055

Personnel:  Tete Montoliu – piano;  George Mraz – bass;  Lewis Nash - drums

The Man From Barcelona

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Yusef Lateef - Eastern Sounds

Styles: Hard Bop, World Fusion
Year: 1961
File: MP3@320K/s
Time: 39:57
Size: 91,7 MB
Art: Front

(5:03)  1. The Plum Blossom
(5:41)  2. Blues for the Orient
(3:20)  3. Chinq Miau
(4:57)  4. Don't Blame Me
(4:15)  5. Love Theme from 'Spartacus'
(5:42)  6. Snafu
(4:32)  7. Purple Flower
(4:02)  8. Love Theme from 'The Robe'
(2:23)  9. The Three Faces of Balal

Eastern Sounds, newly remastered by Rudy van Gelder (the storied engineer who recorded the original September 1961 session), marks an early stage in Yusef Lateef's development. In particular, the record highlights two characteristics that would come to define his artistic identity: a spiritual streak and a fascination with non-Western music. Like John Coltrane (whose path resembles Lateef's in these respects) on "My Favorite Things," Lateef here frequently incorporates "Eastern sounds" in the form of modal vamps. This musical cross-pollination succeeds in several instances. "Ching Miau" evokes Coltrane's classic quartet in its hints of layered rhythms, and also in the leader's dry, declamatory tone; Lateef seems to have absorbed, but also (given that it was only 1961) anticipated a lot from Trane's playing. "Purple Flower" is an affecting meditation on a vaguely Arabic scale, pointing forward to Ellington and Strayhorn's "Isfahan." 

Two equally good moments have nothing to do with the eastward gaze. The group's "Don't Blame Me" is a magisterial reading of the standard, evoking for all the world Sonny Rollins' version of "You Don't Know What Love Is" (from Saxophone Colossus, Prestige, 1956, and which features Tommy Flanagan, another pianist, like Barry Harris, from the Detroit school). Solos by Lateef and Harris are among their career bests. Both likewise sound great on "Snafu, the most driving number on an otherwise meditative album. Harris's presence is among the most rewarding features of the record. 

He never puts on world music airs but never fails to fit in. Whereas Lateef's ersatz Eastern oboe playing on "Blues for the Orient" sounds corny, Harris's fills are always apposite. (Witness also his lovely accents on "Three Faces of Balal.") Stanley Crouch would claim that is because Harris's basic vocabulary, fundamentally derived from Monk, is already non-Western in a profound sense. In light of Lateef's subsequent career, there can be no doubting his commitment to either spiritual growth or world musical fusion (he would become a music professor in Nigeria for many years). 

But in 1961 these incipient engagements could sometimes sound superficial, much like Oriental accents in soundtrack music from 1950s Biblical movies. This impression is strengthened by the inclusion of two examples of bona fide movie music, from the scores to The Robe and Spartacus. The love theme from the latter, set against a kind of skittish shuffle, suffers by comparison with pianist Bill Evans' more widely known 1963 readings on Solo Sessions (Milestone) and Conversations with Myself (Verve).  Nevertheless, Lateef's gift is to infuse such apparently decorative gestures with real emotion. That, together with Harris's fine playing, amply redeem this record. ~ Jeff Dayton-Johnson  http://www.allaboutjazz.com/eastern-sounds-yusef-lateef-prestige-records-review-by-jeff-dayton-johnson.php

Personnel: Yusef Lateef: tenor saxophone, oboe, flute, Chinese globular flute; Barry Harris: piano; Ernie Farrow: bass, rabat; Lex Humphries: drums.

Eastern Sounds

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Todd Murray - Croon: When a Whisper Became A Song

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 52:50
Size: 121,9 MB
Art: Front

(3:50)  1. Lover / I Wanna Be Loved
(2:37)  2. Nearness of You
(1:21)  3. Learn to Croon
(4:49)  4. You Are Too Beautiful
(2:18)  5. Don't Get Around Much Anymore
(2:33)  6. You'll Never Know
(3:27)  7. Perhaps, Perhaps, Perhaps
(3:14)  8. I've Got You Under My Skin
(3:53)  9. Love Me Tender / I Can't Help Falling in Love With You
(4:18) 10. If Ever I Would Leave You
(3:12) 11. This Guy's in Love With You
(2:57) 12. You'll Never Find (Another Love Like Mine)
(3:47) 13. I'm Your Man
(4:38) 14. And I'm Leaving Today
(1:27) 15. Whispering
(3:22) 16. How Deep Is the Ocean / I Wish You Love
(0:58) 17. The Crooner Boys' Playoff

Croon is intimate music. When "crooning" became a style of singing in the early 1920's thanks to the new record industry, it was considered racy and not fit for impressionable young ears and ladies. When radio took hold in the late 20's and early 30's, crooning was all the rage! This is an album of the acclaimed show written and sung by Todd Murray. All of the music is intimate in nature, meant to be sung as a conversation between two people, but the arrangements are fresh and varied. Murray's walks you through the decades starting in the 1930's with "Lover" "You Are Too Beautiful" "The Nearness of You" on up to a brand new single "And I'm Leaving Today" written by Todd Murray and pianist Alex Rybeck of NYC cabaret fame. Sinatra, Elvis, Broadway, Bacharach, Leonard Cohen, even Lou Rawls are visited on the 19 tracks of CROON. Beautifully recorded at the Avatar Studios in New York, with piano, bass, drums, guitar. http://www.cdbaby.com/cd/toddmurray1

Croon: When a Whisper Became A Song

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Al Miller - Better Blues and Ballads (Remastered)

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 42:07
Size: 97,0 MB
Art: Front

(3:26)  1. House of the Rising Sun
(4:01)  2. Saint James Infirmary
(4:30)  3. Willow Weep for Me
(4:06)  4. Nobody Knows You When You're Down and Out
(3:11)  5. Good Morning Blues
(3:54)  6. Summertime
(3:25)  7. Unforgettable
(3:18)  8. Wee Small Hours of the Morning
(3:45)  9. And I Love You So
(4:21) 10. I Left My Heart in San Francisco
(4:05) 11. Saint Louis Blues

Mandolinist Al Miller played and sang in a style that combined elements of country, blues and jazz in a blend that was more common back in the day than many record collectors, critics and pigeon-holing historians seem ever to have found acceptable, although he certainly did his part to pave the way for a genre-blending development known as western swing. During the years 1927-1936 Miller cut more than two dozen titles under his own name, and sat in with pianist Cripple Clarence Lofton and singers Red Nelson Wilborn, Luella Miller and Mozelle Alderson. After cutting his first sides for Black Patti records, Miller was invited by producer J. Mayo Williams to cross over to Paramount and Brunswick. 

He also recorded for Gennett with King Mutt and his Tennessee Thumpers. Miller's most famous composition, "Somebody's Been Using That Thing," was popularized by Hudson Whittaker, known professionally as Tampa Red. Miller belonged to a special stratum of rural blues mandolinists that included R.W. Durden (a member of the Three Stripped Gears), Vol Stevens, Coley Jones, Lonnie Coleman, Will Weldon and Charles Johnson, who recorded with Furry Lewis in that late 1920s. There is a regional feel to Miller's music that places him in league with black string bands in Louisville, Memphis and Dallas. His overall sound invites comparison with Charlie McCoy, Yank Rachell, Charlie Burse and Peg Leg Howell. 

To some extent his earliest recordings have a country feel that would segue fairly seamlessly with white fiddle bands like Earl Johnson's Clodhoppers or Gid Tanner's Skillet Lickers. Beginning in 1929 Miller began crossing over to hokum, that bawdy, party-oriented genre so favored by musicians in south side Chicago during the late 1920s. Miller's main collaborators were a guitarist with the surname Rodgers and Kansas City pianist Frank Melrose. Four titles cut for Decca/Champion in 1936 involved pianist Cripple Clarence Lofton and back alley clarinetist Odell Rand, best remembered for his work with the Chicago-based Harlem Hamfats. Information regarding Miller's origins and eventual fate has yet to come to light; after the 1936 Decca recordings the trail abruptly grows cold. Fortunately for posterity, 26 Al Miller sides were reissued by Document in 1995 as his complete works in chronological order. ~ Bio  https://itunes.apple.com/us/artist/al-miller/id77801028#fullText

Better Blues and Ballads (Remastered)

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Sarah Vaughan - Sophisticated Lady: The Duke Ellington Songbook Collection

Size: 142,6+117,4 MB

Time: 61:25+50:35

File: MP3 @ 320K/s

Released: 2013

Styles: Jazz Vocals

Art: Front

CD 1:

01. Sophisticated Lady (Alternate Version) (3:46)

02. In A Sentimental Mood (Alternate Version) (3:51)

03. Lush Life (Alternate Version) (4:31)

04. Solitude (Alternate Version) (3:52)

05. Day Dream (Alternate Version) (3:30)

06. Tonight I Shall Sleep (With A Smile On My Face) (Alternate Version) (4:18)

07. Sophisticated Lady (4:00)

08. Solitude (4:21)

09. Day Dream (4:58)

10. All Too Soon (3:44)

11. What Am I Here For (3:31)

12. I'm Just A Lucky So And So (4:26)

13. Chelsea Bridge (3:25)

14. Mood Indigo (5:01)

15. I Didn't Know About You (4:05)

CD 2:

01. I Let A Song Go Out Of My Heart (3:30)

02. Black Butterfly (2:58)

03. In A Mellow Tone (3:16)

04. It Don't Mean A Thing (If It Ain't Got That Swing) (2:25)

05. In A Sentimental Mood (4:20)

06. Lush Life (4:26)

07. I Got It Bad (And That Ain't Good) (4:27)

08. Tonight I Shall Sleep (With A Smile On My Face) (3:53)

09. Rocks In My Bed (5:19)

10. Prelude To A Kiss (5:57)

11. Everything But You (5:26)

12. I Ain't Got Nothin' But The Blues (4:33)

LOS ANGELES, Calif. Concord Music Group will release the two-CD Sarah Vaughan set Sophisticated Lady: The Duke Ellington Songbook Collection on August 20, 2013. Featuring six previously unreleased tracks and new liner notes, the compilation celebrates the 40th anniversary of Pablo Records, the jazz label founded by Norman Granz in 1973.

The story of Pablo Records is a story of one veteran producers return to the music he loved best. Norman Granz, founder of Jazz at the Philharmonic, so missed the recording aspect of the music business which he d abandoned in 1962 when he sold his Clef, Norgran, and Verve labels to MGM that a little more than a decade later he decided to take the plunge and start up yet another label. Based in Beverly Hills, California, at the time, Granz secured a distribution deal and launched Pablo Records in 1973, quickly building a world-class catalog of albums by legendary artists Ella Fitzgerald, Joe Pass, and Oscar Peterson all of whom Granz managed as well as Count Basie, John Coltrane, Duke Ellington, Dizzy Gillespie, Art Tatum, Sarah Vaughan, and many others. After releasing more than 350 albums in a span of less than 15 years, Granz sold Pablo to Fantasy in 1987, which in turn merged with Concord Records in 2004 to form Concord Music Group.

Recorded between August 1979 and January 1980, Sophisticated Lady: The Duke Ellington Collection is a two-disc set that features six previously unreleased recordings along with classic tracks originally from Vaughans 1980 albums of Duke s music, Duke Ellington Song Book Oneand Duke Ellington Song Book Two.

What makes this reissue especially significant, says Tad Hershorn, archivist at the Rutgers University Institute of Jazz Studies and author of the collection s liner notes, is a rare confluence of what I have come to think of as late breaking history and late-breaking news: this collection is both. In this case, it is the inclusion of six previously unreleased recordings of arrangements by the peerless Benny Carter which opens this collection of the Vaughan-Ellington recordings, presented chronologically by recording date.

The six Carter-arranged tracks Sophisticated Lady, In a Sentimental Mood, Lush Life, "Solitude, Day Dream, and Tonight I Shall Sleep (With a Smile on My Face) include what Hershorn calls a lush orchestral backdrop of big band and string arrangements, along with shining solo work by Zoot Sims on tenor saxophone. These are not alternate takes. They are recordings of entirely different arrangements of the songs than those that were released on the original Ellington Songbook albums, says compilation producer Nick Phillips. Its fascinating now to not only hear, for the first time, each of these six newly discovered arrangements and recordings and appreciate them on their own merits, but also to be able to compare and contrast the very different arranging approaches to the same songs.

Regardless of the song arrangements, one fact about Sarah Vaughan remains perfectly clear while listening to Sophisticated Lady: She s one of the greatest jazz vocalists of all time, says Phillips. Her singing throughout this collection certainly underscores that.

The Duke Ellington Songbook Collection CD 1, CD 2                 

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Ehud Asherie - Shuffle Along

Size: 101,6 MB
Time: 40:25
File: MP3 @ 320K/s
Released: 2014
Styles: Piano Jazz
Art: Front

01. Gypsy Blues (4:49)
02. I'm Just Wild About Harry (4:33)
03. Everything Reminds Me Of You (5:26)
04. I'm Cravin' For That Kind Of Love (4:59)
05. Bandana Days (3:44)
06. I'm Just Wild About Harry - Waltz Version (4:39)
07. If You've Never Been Vamped (3:15)
08. Goodnight Angeline (4:08)
09. Love Will Find A Way (4:48)

Ehud Asherie is an American Jazz Musician (Piano, Organ).

Ehud Asherie lived his childhood in Italy before he emigrated when he was nine years old with his family to the United States.

In 1997 and 1998 he studied jazz at the New School University, he also took private lessons with Frank Hewitt.

Since then, as a pianist, he has had a number of albums on the label Posi-Tone before, including with trumpeter Ryan Kisor as a guest musician.

In 2010 he played a solo album with compositions by, among others , James P. Johnson ( Harlem Strut), Duke Ellington ( Drop Me Off in Harlem ) and Thelonious Monk ( 52nd Street Theme )

In 2011, he took with Harry Allen on. As an organist he leads with guitarist Bina Coquet the Bossa Nova Ensemble Bina & Ehud , with the production Samba De Gringo.

Asherie also appears regularly in the New York jazz club Smalls.

Shuffle Along

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Anna Lundqvist Quintet - Ten

Size: 169,9 MB
Time: 73:31
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Are You Insane (4:34)
02. Restless Feet (7:56)
03. The Beauty And The Filth (6:20)
04. Not Meant To Be (6:20)
05. The Only Thing I Own (7:54)
06. Tango (7:17)
07. The Goodbye Song (5:14)
08. A Call From The Inside (5:18)
09. Getting Over You (3:58)
10. City (5:11)
11. Miss Spelled (6:39)
12. How To Walk Away (6:45)

Anna Lundqvist Quintet: Anna Lundqvist (vocal), Fabian Kallerdahl (piano), Mattias Grönroos (bass), Jon-Erik Björänge (drums) & Björn Almgren (saxophone)

Ten years ago singer and composer Anna Lundqvist decided to go on her own musical journey. After finishing her education and spending some years out in the freelance world, she wanted to work exclusively with her own music and concept. She started ALQ together with her childhood friend, pianist Daniel Fredar, and drummer Jon-Erik Björänge whom she'd known since her time in music school. Bass player Mattias Grönroos had played with them in other constellations and he was found to be a perfect match. Together with this group of solid and skillfull musicians she started developing her sound and material. In 2008, after the recording of their first album, BORDERLINE FIESTA (2009), pianist Fabian Kallerdahl replaced Daniel. At the same time saxophone player Björn Almgren joined in and ALQ went from a quartet to quintet. Since then they have released two more albums, CITY (2010) and BEFORE YOU I WAS ALMOST FINE (2012) (dB Productions). So now it's 2015! TEN is ALQ's forth album and is a collection of live recordings celebrating ten years together. It's a "best of ALQ" album with twelve of their most popular songs. Recorded during 2014 at several jazz clubs around Sweden, put together in a mix of energy, joy and awsomeness!

Ten

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Hamilton All Star Jazz Band - Ain't It Wonderful

Size: 136,9 MB
Time: 58:58
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Big Band, Vocals
Art: Front

01. Ain't It Wonderful (3:53)
02. Don't Dilemma (Feat. Rick Wilkins) (5:08)
03. Jalapeno Dreams (6:58)
04. Shiny Stockings (Feat. Rick Wilkins) (5:17)
05. Them There Eyes (2:33)
06. Seven Steps To Heaven (Feat. Rick Wilkins) (6:33)
07. Now Or Never (3:12)
08. Hermitage (9:08)
09. If Dreams Come True (Feat. Rick Wilkins) (6:25)
10. Embraceable You (Feat. Diana Panton) (5:35)
11. Squeeze Me (Feat. Diana Panton) (4:11)

The "All Stars" is a big band comprised of musicians approximately aged 16 to 25. All of which are high school, college, university students and graduates. The band consists of 5 saxophones, 5 trumpets, 4 trombones, 1 bass trombone, drums, acoustic upright bass, guitar, piano, and solo vocalist.

Ain't It Wonderful

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Sinne Eeg & Thomas Fonnesbaek - Eeg / Fonnesbaek

Size: 98,1 MB
Time: 41:10
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Willow Weep For Me (5:14)
02. Taking It Slow (4:41)
03. Evil Man Blues (3:15)
04. You Don't Know What Love Is (4:59)
05. Summertime (4:24)
06. Body And Soul (5:04)
07. Beautiful Love (3:22)
08. Come Rain Or Shine (6:30)
09. Fellini's Walts (3:37)

With the very first notes on this remarkable album, the question arises why the duo combination of vocal and bass is such a rare treat. Only a few albums exclusively present this musical constellation that allows so much space for creativity and spontaneity. Some may be acquainted with Sheila Jordan’s work with bassists Steve Swallow, Harvie Swartz and Cameron Brown – or Jordan’s duo with Norwegian bassist Arild Andersen on the fine 1978 album SHEILA. When approached with technical and musical virtuosity, it is a constellation that works. Sinne Eeg and Thomas Fonnesbæk command their own natural and distinguished place on the short list of vocal/bass duos. The album marks a charming musical engagement between two virtuosic and original artists, bringing the best out in each other in fresh and congenial interpretations of classic evergreens.
One of Scandinavia’s most talented and popular vocalists, accompanied by an experienced and virtuosic bassist. They gave us a small taste of their duo work on Sinne Eeg’s latest album FACE THE MUSIC, and on EEG FONNESBÆK, they unfold their artistry throughout a full CD. Eeg constantly pushes herself toward new horizons. She never rests in rehearsed working routines. The restrictions of the duo format present a challenge that is rewarded with an exceptional musical freedom. It takes guts to perform a whole concert or record a whole CD only accompanied by a bass, but Sinne Eeg is attracted to the rich resonance of the bass and its rhythmic and harmonic drive. She embraces the sound of the bass much like the bassist caresses the strings. Sinne Eeg sings without the time-keeping of a drummer or the chords of a pianist while still retaining all her artistry and interpretive powers. Sinne and Thomas listen intensely and inspire each other and take chances. And isn’t that what jazz is all about – spontaneity, communication and interpretation?

Sinne Eeg is a cherished jazz vocalist with a list of fine recordings to her name. In 2007 she released WAITING FOR DAWN, and since then audiences and critics alike have agreed in their enthusiastic reception of her recordings and performances. She tours successfully internationally, and has received numerous awards including the DR P2 Jazz Prize (2009), and three Danish Music Awards for WATING FOR DAWN (2007), DON’T BE SO BLUE (2010) and FACE THE MUSIC (2014). In 2014 she was awarded the prestigious Ben Webster Prize and in 2015, 60 French critics paid their tribute with one of Europe’s most distinguished awards, Academie du Jazz, for FACE THE MUSIC. The world has truly discovered this great Danish vocal talent. Danish bassists have a special star on the international jazz firmament.
One of the most remarkable among the many new names is Thomas Fonnesbæk. He plays with virtuosic technique, melodic intuition, and an exquisite sound that is reminiscent of the deceased Danish jazz giant Niels-Henning Ørsted Pedersen. Fonnesbæk appears on more than 100 albums, and he has worked closely with jazz pianist Thomas Clausen, whose group he joined in 2006. He has been a member of Swedish pianist Lars Jansson’s Trio since 2009, and he is a popular accompanist for visiting international musicians. In 2014 he released SOUND OF MY COLORS - his debut as bandleader.

Eeg / Fonnesbaek

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Jason Miles & Ingrid Jensen - Kind Of New

Size: 144,5 MB
Time: 62:00
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Interlude (0:08)
02. The Faction Of Cool (6:25)
03. Super City (5:31)
04. Shirley (4:57)
05. Film Noir Interlude (0:49)
06. Ferrari (8:26)
07. Seeing Through The Rain (5:28)
08. Close To The Action (4:04)
09. Kat's Eye (3:00)
10. Street Vibe (8:00)
11. Twilight Interlude (0:45)
12. Sanctuary (5:11)
13. Jean Pierre (9:09)

Inspired by Miles Davis’ “Cellar Door” sessions, “Kind of New”, the new album by trumpet great Ingrid Jensen and Grammy winning producer/keyboardist Jason Miles, offers a journey into the Future of Jazz by creating a new vibe that mixes electric/acoustic grooves with virtuistic performances and infectious melodies. On the album Ingrid and Jason are joined by Jay Rodriguez, James Genus, Jeff Coffin, Adam Dorn, Amanda Ruzza, Steve Wolf, Jon Wikan, Nir Felder, Cyro Baptista, Mike Clark and Jerry Brooks.

Kind Of New

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Jay McShann - Swingmatism

Bitrate: MP3@320K/s

Time: 61:16

Size: 140.3 MB

Styles: Piano jazz-blues

Year: 1982/1999

Art: Front

[4:19] 1. Swingmatism

[5:37] 2. Am I Blue

[6:26] 3. The Shadow Of Your Smile

[4:49] 4. Lullaby Of Birdland

[8:05] 5. Just A Sittin' And A Rockin'

[7:13] 6. All Too Soon

[6:22] 7. The Jeep Is Jumpin'

[4:53] 8. Evenin'

[6:46] 9. The Mooche

[6:41] 10. A Night In Tunisia

Recording Date: October 20 - 21, 1982. Jay McShann (piano); Archie Alleyne (drums); Don Thompson (bass).

The great veteran pianist Jay McShann (also known as Hootie) enjoyed a long career and it is unfair to primarily think of him as merely the leader of an orchestra that featured a young Charlie Parker. He was mostly self-taught as a pianist, worked with Don Byas as early as 1931 and played throughout the Midwest before settling in Kansas City in 1936. McShann formed his own sextet the following year and by 1939 had his own big band. In 1940 at a radio station in Wichita, KS, McShann and an octet out of his orchestra recorded eight songs that were not released commercially until the 1970s; those rank among the earliest of all Charlie Parker records (he is brilliant on "Honeysuckle Rose" and "Lady Be Good") and also feature the strong rhythm section team McShann had with bassist Gene Ramey and drummer Gus Johnson. The full orchestra recorded for Decca on two occasions during 1941-1942 but they were typecast as a blues band and did not get to record many of their more challenging charts (although very rare broadcasts have since surfaced and been released on CD by Vintage Jazz Classics). In addition to Bird (who had a few short solos), the main stars were trumpeter Bernard Anderson, the rhythm section, and singer Walter Brown. McShann and his band arrived in New York in February 1942 and made a strong impression, but World War II made it difficult for any new orchestras to catch on. There was a final session in December 1943 without Parker, but McShann was soon drafted and the band broke up. After being discharged later in 1944, McShann briefly re-formed his group but soon moved to Los Angeles, where he led combos for the next few years; his main attraction was the young singer Jimmy Witherspoon.

McShann was in obscurity for the next two decades, making few records and mostly playing in Kansas City. In 1969 he was rediscovered and McShann (who had first sung on records in 1966) was soon a popular pianist/vocalist. Sometimes featuring violinist Claude Williams, he toured constantly, recorded frequently, and appeared at many jazz festivals, being active into the mid-'90s. Jay McShann, who recorded through the years for Onyx (the 1940 radio transcriptions), Decca, Capitol, Aladdin, Mercury, Black Lion, EmArcy, Vee Jay, Black & Blue, Master Jazz, Sackville, Sonet, Storyville, Atlantic, Swingtime, and Music Masters among others, was a vital pianist and an effective blues vocalist who keept a classic style alive. A live album, Hootie Blues, recorded in 2001 in Toronto and released in 2006 by Stony Plain, showed that McShann could still bring it at the age of 85. He died at the age of 90 on December 7, 2006.

Swingmatism

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Joscho Stephan - Django Nuevo

Bitrate: MP3@320K/s

Time: 48:43

Size: 111.6 MB

Styles: Gypsy swing

Year: 2010

Art: Front

[3:06] 1. Stomp

[3:03] 2. So Rare

[1:59] 3. Rondo Alla Turca

[5:02] 4. If I Had You

[3:43] 5. San Vincenco

[2:29] 6. Django Nuevo

[3:25] 7. Four Brothers

[7:04] 8. You Are So Beautiful (Medley With Smoke Gets In Your Eyes)

[3:33] 9. Sway

[3:11] 10. Body And Soul

[4:06] 11. You Made Me Love You

[3:05] 12. Michelle

[3:15] 13. Song For Oscar

[1:36] 14. Revelations

Joscho Stephan, more than any other artist, has influenced modern gypsy swing with his playing: Thanks to his authentic tone, his harmonic refinement and sense of rhythm, but above all, his breathtaking solo technique, Stephan has earned himself an outstanding reputation on the international guitar scene with his playing. This master guitarist from Mönchengladbach is now honoring Django Reinhardt on the occasion of the 100th birthday of the father figure of gypsy swing. With his homage, “Django Nuevo”, Joscho Stephan towers over the abundance of current adaptations. He does not, once again, render such ubiquitously known classics as „Nuages“ or „Minor Swing”, but rather pays tribute to the master with five own compositions. By the same token, he reveals himself as a visionary by using 9 compositions by other artists to connect gypsy swing with Latin, classical and pop. The album presents, among others, Santana‘s „Revelations“, Mozart‘s “Turkish March”, and “Michelle” by the Fab Four in brand new and imaginative gypsy swing versions, with Stephan‘s father Günter on rhythm guitar, Max Schaaf on bass and Sebastian Reimann on violin. As for Joscho, a virtuoso of the Maccaferri guitar, he reveals himself to be an original interpreter and a fantastic soloist, whose explosive dynamics, filigree nuances and surprising phrasings confirm his reputation as an original innovator of the genre. With “Django Nuevo”, Joscho Stephan has managed to create a wonderful homage that the legendary master of gypsy swing would surely have been proud of.

 

Django Nuevo

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Joe Cohn - Emeryville Sessions Vols 1 & 2

Album: Emeryville Sessions Vol 1: Marathon Man
Bitrate: MP3@320K/s
Time: 74:36
Size: 170.8 MB
Styles: Hard bop, Guitar jazz
Year: 2014
Art: Front

[4:38] 1. Speedball
[6:54] 2. Autumn Nocturne
[7:30] 3. I Concentrate On You
[5:46] 4. God Bless The Child
[5:30] 5. Cohn On The Cob
[4:44] 6. Mama Flosie
[5:06] 7. Trick Bag
[5:05] 8. Bittersweet
[6:24] 9. The Very Thought Of You
[6:17] 10. Estate
[4:04] 11. U.M.M.G.
[6:29] 12. If Ever I Would Leave You
[6:03] 13. Turn Around

Drums – Akira Tana; Guitar – Joe Cohn; Organ [Hammond B-3] – Joe Bagg; Tenor Saxophone – Dayna Stephens.

Guitarist Joe Cohn, son of the late great, Al Cohn in trio and quartet setting playing standards. Joe Bagg on Hammond B3, Akira Tana on drums and Dayna Stephens on tenor on a few tracks. A blowing session displaying Joe's incredible improvisatory skill

Emeryville Sessions Vol 1: Marathon Man

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Album: Emeryville Sessions Vol 2: S'posin'
Bitrate: MP3@320K/s
Time: 58:52
Size: 134.8 MB
Styles: Hard bop, Guitar jazz
Year: 2015
Art: Front

[3:34] 1. S'posin'
[5:23] 2. The Gentle Rain
[7:09] 3. All Too Soon
[4:37] 4. Autumn In New York
[6:15] 5. Emily
[5:56] 6. How Am I To Know
[7:24] 7. I Hadn't Anyone Til You
[8:20] 8. People Will Say We're In Love
[4:27] 9. Skylark
[5:42] 10. When Lights Are Low

Drumless Trio music of classic standards featuring the great sax sounds of Noel Jewkes, the inventive guitarist, Joe Cohn and the very supportive bassist, John Wiitala.

I don’t know if you’ve noticed it but in the last five years there has been an increase in the number of trios in jazz. Of course the piano-bass-drum configuration has been with us for a long while and new ones are continually cropping up, but I’m talking about the trios that leave out piano, or bass or drums. That is the make up of the Emeryville three: Joe Cohn, guitar; Noel Jewkes, tenor sax; and John Wiitala, bass. All that matters is, “Does it work?”

With everyone taking serious care of their solo roles and ensembles, creating moving backgrounds for one another, trading “fours”, etc. and in general on the same page with passion and poise, these attributes are more than adequately provided in these offerings. A key factor in their inspiration is the roster of composers and the list of songs chosen to play. Producer Akira Tana, a noted, longtime professional drummer, explained that the sessions were free-wheeling and the choices for the material were made on the spot. Joe, Noel and John called the tunes, roughly made a sketch of a format, and played. “I liken these sessions to a marathon because so much was recorded,” said Akira. “ There were no rehearsals and the sessions were really in the tradition of recordings from another era. No overdubs or fixes—all live performances captured here.”

Joe Cohn employs many creative techniques to express his style. Notice his articulation on “All Too Soon”; the counterpoint that he and Noel bring to a section of “How Am I to Know,” a hauntingly beautiful song from way back, written by one Jack King with words (unheard) by Dorothy Parker. the rapier wit of the storied Algonquin Round Table. “People Will Say We’re In Love” contains Joe’s long, connective lines. It is no longer necessary to refer that Joe is the son of the great saxophonist Al Cohn but the apple falls close to the tree. ~Ira Gitler

Emeryvillesessions Vol 2: S'posin'

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