Ernestine Anderson - My Kinda Swing

Bitrate: MP3@320K/s

Time: 32:39

Size: 74.8 MB

Styles: R&B, Vocal jazz

Year: 1960/2002

Art: Front

[2:10] 1. My Kinda Love

[3:17] 2. Trouble Is A Man

[3:02] 3. See See Rider

[2:37] 4. Moonlight In Vermont

[2:20] 5. Land Of Dreams

[2:34] 6. Black Moonlight

[3:17] 7. All My Life

[2:33] 8. Mound Bayou

[3:25] 9. I'll Never Be The Same

[2:15] 10. It Don't Mean A Thing (If It Ain't Got That Swing)

[2:44] 11. Lazy Afternoon

[2:21] 12. They Didn't Believe Me

Ernestine Anderson was 32 years old at the time of this 1960 session, not long before her career inexplicably fell into the doldrums. This album finds her in great form, supported by a cast of musicians including Clark Terry, Hank Jones, Yusef Lateef, Ernie Royal, Frank Rehak, and Kenny Burrell, with terrific arrangements by Ernie Wilkins. She achieves the perfect balance in her interpretation of "Trouble Is a Man," a masterful ballad written by Alec Wilder, and she's clearly in her element in the hard-rocking blues "See See Rider." Terry's striking trumpet almost provides a contrasting vocal alongside Anderson during "All My Life," while her understated approach to a quick run through "It Don't Mean a Thing (If It Ain't Got That Swing)" showcases Jones and Burrell. Lateef's oboe adds to the exotic flavor of "Lazy Afternoon." ~Ken Dryden

My Kinda Swing

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Fabien Mary - Quartet + One

Bitrate: MP3@320K/s
Time: 65:59
Size: 151.1 MB
Styles: Big band, Trumpet jazz
Year: 2010
Art: Front

[5:40] 1. It's About Time
[6:53] 2. Round Trip
[8:15] 3. Little Stars
[3:32] 4. Turbo
[6:04] 5. Sweet And Lovely
[5:42] 6. Change Partners
[3:52] 7. The Things We Did Last Summer
[8:31] 8. Apothegm
[4:57] 9. Sleeves
[6:18] 10. Is That So
[6:10] 11. Where Is The Bar

Fabien Mary, Hugo Lippi, Fabien Marcoz, Mourad Benhammou, Frank Basile. Fabien Mary has received five nominations for the Django Reinhardt Prize "French musician of the year" by the Academy of Jazz between 2008 and 2013.

Born in 1978 in Normandy, Mary Fabien started his career when he settled in Paris at the age of twenty. In a very short time, he received the coveted Django d'Or Young Talent prize for his debut album "Twilight" and the Jazz à Juan Revelation Prize. Fabien remained busy since then, touring with his own band or sharing the stage and recording with a long list of great musicians which includes Wynton Marsalis, Diana Krall, Benny Golson, Johnny Griffin, Harold Mabern, Steve Turre, Michel Legrand, Dave Liebman or Archie Shepp ...

A brillant composer and arranger, Fabien Mary created his quartet in 2002 with which he recorded two albums : "Twilight" and "Chess". He then put an octet together. The band features saxophonists Pierrick Pedron, David Sauzay and Thomas Savy, as well as Jerry Edwards on trombone and can be heard on the album "Four and Four" released in 2007. In 2010 was released "Quartet + One", an album recorded as a quintet with the American bariton saxophonist Frank Basile. All these projects focuse on a repertoire made of original compositions as well tunes written by some of Fabien's favorites: Jimmy Heath, Kenny Dorham, Duke Pearson...

Quartet + One

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Terry Hanck - Night Train

Bitrate: MP3@320K/s
Time: 54:31
Size: 124.8 MB
Styles: R&B, Modern electric blues
Year: 2005
Art: Front

[5:05] 1. Night Train
[3:32] 2. Junior's Walk
[6:05] 3. Smilin' Through My Tears
[3:48] 4. All Around The World
[3:07] 5. Ooh Lawdy My Baby
[5:13] 6. Run Run Baby
[3:30] 7. Wish I Had Never
[5:17] 8. Somebody Have Mercy
[3:47] 9. Big Blue Diamonds
[4:16] 10. Let The Four Winds Blow
[6:02] 11. Another Light
[4:42] 12. Have Mercy Baby

Night Train is a competent journeyman set of old school-style R&B, mixing covers with Terry Hanck originals. The covers give a good sense of where Hanck is coming from, as he selects songs from the catalogs of Sam Cooke, Fats Domino, Hank Ballard, and Little Willie John. He plays good smoky saxophone in the spirit of Junior Walker, "Junior's Walk" being an obvious homage to that Motown great. As a singer, he's not as good; the vocals are only adequate. With its mix of New Orleans rock & roll, early soul, and some blues, it's very much a record steeped in 1950s and 1960s forms of R&B, though one that keeps the torch burning rather than igniting it with a distinctive creative voice. ~Richie Unterberger

Night Train

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Billy Bauer - Plectrist

Bitrate: MP3@320K/s
Time: 54:32
Size: 124.8 MB
Styles: Bop, Guitar jazz
Year: 1956/2000
Art: Front

[4:09] 1. It's A Blue World
[2:30] 2. Maybe It's Because I Love You Too Much
[4:04] 3. Lincoln Tunnel
[4:43] 4. Night Cruise
[2:58] 5. Too Marvelous For Words
[3:38] 6. Lady Estelle's Dream
[3:11] 7. You'd Be So Nice To Come Home To
[3:44] 8. When It's Sleepy Time Down South
[3:37] 9. The Way You Look Tonight
[3:57] 10. Lullaby Of The Leaves
[2:10] 11. Blue Mist
[3:48] 12. The Way You Look Tonight (alt 1)
[3:50] 13. The Way You Look Tonight (alt 2)
[3:50] 14. The Way You Look Tonight (alt 3)
[4:15] 15. Lullaby Leaves

Bass – Milt Hinton; Drums – Osie Johnson; Guitar – Billy Bauer; Piano – Andrew Ackers. Recorded 1956 at Fine Sound, New York City: tracks 1-4 on January 23; tracks 5-15 on March 12. Tracks 12-15 previously unissued.

Bauer had a natural, swinging style that was essential for keeping 1940s big-band rhythm sections on track. A superb sight-reader, Bauer had great taste in chord structures and improvisational lines. What's more, he was confident and clear, which is why he was in such demand.

As the big bands gave way to smaller ensembles in the late 1940s and early 1950s, guitarists increasingly were called upon to keep tempos and set moods. Like Mundell Lowe, Barney Kessel, Kenny Burrell, Johnny Smith, Dave Barbour, Chuck Wayne, Jimmy Raney and many other guitarists, Bauer was a journeyman, joining groups for brief periods and record dates before being yanked away by another leader or record producer, especially in the 10-inch LP era.

Right after the turn of the year in 1956, Bauer finally relented to Norman Granz's nagging and agreed to record Plectrist. The word "plectrist" was made up by the session's producer and means one who skillfully uses a plectrum or a triangular plastic pic on the guitar's strings. The first four tracks of Plectrist were recorded on January 23, 1956, with another six captured on March 12. Bauer's playing swings on the up-tempo tracks and features gorgeous chords on the ballads. Bauer is so good on the album that he sounds as if he's accompanying himself. What you notice throughout, in addition to Bauer's beautiful taste, is Osie Johnson's drums. Johnson appeared on dozens of recordings in the 1950s, but it's rare to hear his drumming style and technique so distinctly. On Plectrist, you can hear clearly just how gifted a beat-keeper he was and why he was a favorite of so many session leaders of the period. Milt Hinton, of course, keeps rock solid time all the way through. Again, because this is a small group with guitar as the lead, you hear exactly why Hinton was so beloved by session and club artists. Andrew Ackers is the least-known player on the date. Ackers was a session pianist who worked steadily in the 1940s with bandleaders Jerry Wald and George Paxton, and with Carmen McRae in 1955.

Plectrist is a snapshot of the level of taste and talent that existed in early 1956, especially among guys who went from studio to studio earning a living on record dates. It's a sleeper album that's a must-own for any collection.

Plectrist

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John Patton - The Capitol Vaults Jazz Series (3-Disc Set)

John Patton, often known as Big John Patton, was one of Blue Note's busiest soul-jazz organists during the golden age of the Hammond B-3s. Between 1963 and 1970 Patton cooked up 11 albums' worth of material as a leader and sat in with a dizzying procession of skilled improvisers, and his best work has since been compared with that of tragically short-lived innovator Larry Young. Patton also enjoyed a long overdue comeback during the '90s when he collaborated with saxophonist and composer John Zorn.

Patton was born in Kansas City, MO, on July 12, 1935. His mother was a church pianist who encouraged her son to learn the instrument, which he began to play regularly at the age of 13. During the mid-'50s Patton worked in bands accompanying rhythm & blues singer Lloyd Price. By 1961 he had switched over to the organ, advancing along the trail blazed by Jimmy Smith, Shirley Scott, and Brother Jack McDuff. It was alto saxophonist Lou Donaldson who initially took Patton the organist into a recording studio -- first on May 9, 1962, to tape an LP to be called The Natural Soul, then on January 24, 1963, for a lengthy session that yielded enough material for the albums Good Gracious and Signifyin'.

On February 2, 1963, Patton sat in -- playing only the tambourine -- on Jimmy Smith's Rockin' the Boat session. Within weeks he had found his own groove and spent the rest of that year making great music as leader and sideman, exchanging ideas and energies with his close collaborator guitarist Grant Green (on the album Am I Blue?) and with saxophonists George Braith (on Patton's Blue John), Harold Vick (on Steppin' Out!), Johnny Griffin (on Soul Groove), Don Wilkerson (on Shoutin'), and Red Holloway (on Burner). Over the next few years Patton recorded with trumpeter Richard Williams (on Patton's Way I Feel) and vibraphonist Bobby Hutcherson (on Patton's Let 'Em Roll), and also appeared as a catalytic agent on Grant Green's album Iron City, George Braith's Laughing Soul, Clifford Jordan's Soul Fountain, and drummer Grassella Oliphant's Grass Is Greener with trumpeter Clark Terry and saxophonist Harold Ousley. In 1968 Patton's recording unit included saxophonists Junior Cook and Harold Alexander. The last of his albums from this period (Accent on the Blues and Memphis to New York Spirit) featured saxophonists Marvin Cabell and George Coleman as well as guitarist James Blood Ulmer.

After 1970 Patton quit the scene for a long while, quietly residing in East Orange, NJ. He contributed to vibraphonist Johnny Lytle's Everything Must Change in 1977, recorded his own Soul Connection in 1983 with guitarist Melvin Sparks and visionary trombonist Grachan Moncur III, then cut two albums with guitarist Jimmy Ponder: Mean Streets: No Bridges (1987) and Jump (1988). Big John Patton's comeback began in 1993-1994 with two albums featuring saxophonist John Zorn: Blue Planet Man and Minor Swing. Here he touched upon edgy ground similar to that which he had explored in 1968. His last major album, This One's for J.A., was recorded in December 1996. On March 19, 2002, 66-year-old John Patton succumbed to diabetes and renal failure. Overshadowed by organists who for one reason or another enjoyed greater popularity, and still underestimated by many jazz critics and historians, Patton and his recorded legacy are ripe and ready for open-minded reevaluation. ~bio by arwulf arwulf

Album: The Capitol Vaults Jazz Series (Disc1)

Bitrate: MP3@320K/s

Time: 71:17

Size: 163.2 MB

Styles: Hard bop, Soul jazz

Year: 2011

[5:38] 1. The Silver Meter

[5:01] 2. I'll Never Be Free

[5:58] 3. Spiffy Diffy

[5:59] 4. Along Came John

[5:59] 5. Gee Gee

[5:41] 6. Pig Foots

[7:26] 7. The Rock

[8:36] 8. The Way I Feel

[6:42] 9. Jerry

[7:22] 10. Davene

[6:49] 11. Just 3 4

The Capitol Vaults Jazz Series (Disc1)

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Album: The Capitol Vaults Jazz Series (Disc2)

Bitrate: MP3@320K/s

Time: 61:50

Size: 141.6 MB

Styles: Hard bop, Soul jazz

Year: 2011

[7:38] 1. Fat Judy, Pt. 1

[6:15] 2. Oh Baby

[5:36] 3. Each Time

[7:49] 4. One To Twelve

[6:32] 5. Night Flight

[6:29] 6. Good Juice

[5:39] 7. String Bean

[8:33] 8. I Want To Go Home

[7:15] 9. Early A.M

The Capitol Vaults Jazz Series (Disc2)

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Album: The Capitol Vaults Jazz Series (Disc3)

Bitrate: MP3@320K/s

Time: 58:20

Size: 133.5 MB

Styles: Hard bop, Soul jazz

Year: 2011

Art: Front

[6:06] 1. Dirty Fingers

[6:36] 2. Minor Swing

[6:44] 3. Daddy James

[5:32] 4. Ding Dong

[9:08] 5. Congo Chant

[4:38] 6. Alfie's Theme

[6:07] 7. Soul Man

[6:52] 8. Understanding

[6:33] 9. Chitlins Con Carne

The Capitol Vaults Jazz Series (Disc3) 

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Rachel Sutton - Trouble In Mind EP

Bitrate: MP3@320K/s
Time: 25:48
Size: 59.1 MB
Styles: Jazz-blues vocals
Year: 2013
Art: Front

[2:46] 1. My Heart Belongs To Daddy
[5:35] 2. New York State Of Mind
[5:09] 3. It Ain't Necessarily So
[3:42] 4. Louisiana 1927
[2:40] 5. Trouble In Mind
[5:56] 6. Embraceable You

thank you der bajazzo for the link to the following info:

Rachel Sutton has worked as both an actress and singer. Her rich tone and unerring sense of swing coupled with her background in theatre makes her an engaging interpreter of both classic jazz and more contemporary repertoire. Rachel not only sings the music, she lives the lyric.

Rachel was born and raised in the Kent countryside and grew up listening to the romantic ballads of Cole Porter and George Gershwin, together with the soulful sounds of Stevie Wonder and Billy Joel.

A theatre student at Glamorgan University and The Welsh College of Music and Drama, she went on to play some of the lead roles in Shakespeare, touring with The Cambridge Theatre Company and Illyria across the UK and Europe. Her appearance in the award winning rock musical 'The Inconsiderate Aberrations of Billy the Kid' at Edinburgh propelled Rachel into the world of singing full time. After settling in London, Rachel worked as a backing singer with various bands before moving on to become a solo performer. She now collaborates with some of the best musicians on the jazz scene and her extensive repertoire, including her own compositions, is both exciting and moving for her audiences.

Rachel has performed sell out gigs at top London jazz clubs as well as venues and festivals across the UK and abroad. Her theatrical training is at the core of every song, and her flair for entertainment and easy rapport with an audience is gaining her a first class reputation.

Trouble In Mind

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Charlie Byrd - Jazz 'n' Samba

Bitrate: MP3@320K/s
Time: 41:11
Size: 94.3 MB
Styles: Samba, Latin jazz
Year: 1995
Art: Front

[2:19] 1. Limehouse Blues
[2:43] 2. Take Care Of Yourself
[2:02] 3. Jazz 'n' Samba
[2:43] 4. A Man And A Woman
[2:22] 5. Sweet Georgia Brown
[2:23] 6. Chung King
[3:18] 7. Bluesette
[2:10] 8. When Your Lover Has Gone
[1:26] 9. Someone To Light Up My Life
[2:29] 10. Willow Weep For Me
[3:45] 11. Danza No. 5
[2:47] 12. Carolina In The Morning
[2:18] 13. One Note Samba
[3:07] 14. Things Ain't What They Used To Be
[3:05] 15. Oh, Lady Be Good
[2:07] 16. It Don't Mean A Thing (If It Ain't Got That Swing)

Charlie Byrd (acoustic guitar); Herb Ellis (electric guitar); Joe Byrd (bass); Bill Reichenbach (drums). Recorded in 1965.

Tasteful, low-key, and ingratiatingly melodic, Charlie Byrd had two notable accomplishments to his credit -- applying acoustic classical guitar techniques to jazz and popular music and helping to introduce Brazilian music to mass North American audiences. Born into a musical family, Byrd experienced his first brush with greatness while a teenager in France during World War II, playing with his idol Django Reinhardt. After some postwar gigs with Sol Yaged, Joe Marsala and Freddie Slack, Byrd temporarily abandoned jazz to study classical guitar with Sophocles Papas in 1950 and Andrés Segovia in 1954. However he re-emerged later in the decade gigging around the Washington D.C. area in jazz settings, often splitting his sets into distinct jazz and classical segments. He started recording for Savoy as a leader in 1957, and also recorded with the Woody Herman Band in 1958-59. A tour of South America under the aegis of the U.S. State Department in 1961, proved to be a revelation, for it was in Brazil that Byrd discovered the emerging bossa nova movement. Once back in D.C., he played some bossa nova tapes to Stan Getz, who then convinced Verve's Creed Taylor to record an album of Brazilian music with himself and Byrd. That album, Jazz Samba, became a pop hit in 1962 on the strength of the single "Desafinado" and launched the bossa nova wave in North America. Thanks to the bossa nova, several albums for Riverside followed, including the defining Bossa Nova Pelos Passaros, and he was able to land a major contract with Columbia, though the records from that association often consisted of watered-down easy listening pop. In 1973, he formed the group Great Guitars with Herb Ellis and Barney Kessel and also that year, wrote an instruction manual for the guitar that has become widely used. From 1974 onward, Byrd recorded for the Concord Jazz label in a variety of settings, including sessions with Laurindo Almeida and Bud Shank. He died December 2, 1999 after a long bout with cancer. ~bio by Richard S. Ginnell

Jazz 'n' Samba

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Joya Sherrill - Joya Sherrill Sings Duke

Styles: Jazz, Vocal
Year: 1999
File: MP3@320K/s
Time: 33:34
Size: 77,4 MB
Art: Front

(2:15)  1. Mood Indigo
(3:48)  2. Prelude To a Kiss
(1:55)  3. I'm Beginning to See the Light
(2:49)  4. Sophisticated Lady
(1:48)  5. Kissing Bug
(2:22)  6. In A Sentimental Mood
(2:35)  7. Duke's Place
(2:50)  8. I'm Just a Lucky So and So
(3:53)  9. Day Dream
(3:32) 10. Things Ain'T What They Used To Be
(2:48) 11. Just Squeeze Me (But Don't Tease Me)
(2:52) 12. A Flower Is a Lovesome Thing

One of the best singers who toured with Duke Ellington, she seemed to be a natural choice for a feature album, only this release was produced by Mercer Ellington with a number of Ellington veterans in the supporting cast and Billy Strayhorn at the piano. Sherrill's confidence singing the twelve gems from the band repertoire allows her to let the timelessness of the music and lyrics speak for itself rather than overembelish the songs. 

Her superb diction and warm sound are complemented by brief accents by alto saxophonist Johnny Hodges on "Prelude To A Kiss," the muted cornet of Ray Nance on a sassy "I'm Beginning To See The Night," and Nance's violin on her moving take of "Day Dream." This rare outing away from the full band, now available on CD, is worth acquiring. ~ Ken Dryden  

http://www.allmusic.com/album/joya-sherrill-sings-duke-mw0000239630

Personnel: Joya Sherrill (vocals); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Cootie Williams (trumpet); Ray Nance (violin, cornet); Ernie Harper, Billy Strayhorn (piano); Joe Benjamin, John Lamb (bass); Shep Shepard, Sam Woodyard (drums).

Joya Sherrill Sings Duke

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Jessy J - Hot Sauce

Styles: Vocal And Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 43:12
Size: 99,1 MB
Art: Front

(4:08)  1. Remember The Night (Feat. Paul Brown)
(4:00)  2. Rio Grande
(3:17)  3. Hot Sauce
(4:27)  4. Rainbow Gold (Feat. Joe Sample & Harvey Mason)
(3:53)  5. 'Til You Make Up Your Mind
(4:06)  6. Meant To Be
(2:50)  7. We Kissed
(3:33)  8. Leave Right Now
(4:47)  9. In A September Mood (Feat. Saunders Sermons)
(8:07) 10. Last Night (Feat. Joe Sample & Ray Parker Jr.)

The third major album by saxophonist Jessica Spinella (a.k.a. Jessy J) reflects both a reliance on a proven formula and the stirrings of venturing into unexplored territory. Jessy's got a problem. She can attribute much of her success to veteran producer Paul Brown, whose other clients include Euge Groove, Rick Braun and Boney James. Brown is a master of the catchy hook, which makes him more commercial than cutting edge. That's not a bad thing, but it doesn't always make for boldly inventive music. Brown's production always sounds good, even if it's often a slightly different twist of the same old song.Of Hot Sauce's ten songs, six are produced by Brown, but it's the other four which are the most interesting. There's nothing terribly wrong with "Remember the Night" and "Rio Grande," other than the odd sequencing of two tracks which sound remarkably similar except one is more up-tempo than the other, but there's just nothing original about them, either. Brown's skills are in revisiting what he's done on previous Jessy J albums like Tequila Moon (Peacon, 2008) and True Love (Peak, 2009).

Here, however, Brown holds the reins on the young saxophonist a bit too tightly. Any song entitled "Hot Sauce" ought to flat-out groove, not just bubble away for 3:17; "Mild sauce" would be a better descriptor for the underwhelming, paint-by-numbers title tune. There are faint traces of Jessy J's Latin heart beating faintly in the background, but it's overwhelmed by the slickness and sheen of Brown's production. A little less control and little more risk-taking were needed here. More successful and much more fun are "Rainbow Gold" and 'Last Night," two funky workouts, with "Last Night" offering a rare performance by Joe Sample, workin' it out on the Hammond B3 organ with studio pros Harvey Mason (drums), Ray (Ghostbuster) Parker Jr. (guitar) and Nick Sample son of the former Crusaders keyboardist joining in on bass. Both feature Jessy J's vocalizations, so if you enjoy them, you're in luck.

The moment of revelation comes with Saunders Sermons and his vocal turn on "In A Sentimental Mood," with Jessy J playing a supporting role. Sermons simmers and sways, playing it straight, with Jessy J's tenor sax warmly warbling in the background. Sermons co-produced and arranged the Duke Ellington classic with pianist Jon Notar, and it's a winner, with some nice stick work from drummer Josh Guinta. Nothing else on Hot Sauce sounds remotely like this and it's a style for which Jessy J is well-suited. There is a balance a musician must strike between art and commerce, and not every soloist thrives in the spotlight. The finest moments of Hot Sauce come when Jessy J is part of the band instead of the center of attraction. Going forward she will likely thrive in either role, but for now she seems most comfortable in the former than the latter. ~ Jeff Winbush  http://www.allaboutjazz.com/hot-sauce-jessy-j-heads-up-international-review-by-jeff-winbush.php
 

Personnel: Jessy J: tenor sax, soprano sax, flute, vocals; Paul Brown: guitar, drums, percussion, nylon string guitar, programmed drums (1-3, 5-7); Marco Basci: keyboards, strings, bass, drum programming (2, 5); Roberto Vally: bass (2, 5-7), Lawrence Young: keyboards (3); Michel Ripoli: guitars, bass (3); Deyon Dobson: keyboards, drum programming (3); Joe Sample: piano, Rhodes, Triton keyboard and Hammond B3 organ (4, 10); Ray Parker Jr.: guitars and background vocals (4, 10); Nick Sample: bass (4, 10); Harvey Mason: drums (4, 10); Gregg Karukas: keyboards, strings (6, 7); Jeff Caruthers: keyboards, guitar, bass and drum programming (8); Saunders Sermons: vocals (9); Jon Notar: piano (9); Jordan Scannella: electric bass (9); Josh Guinta: drums (9); Janis Liebhart: background vocals (10); Toni Scruggs: background vocals (10).

Hot Sauce

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Bill Charlap Trio - All Through The Night

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 47:36
Size: 109,0 MB
Art: Front

(8:55)  1. All Through The Night
(5:23)  2. Roundabout
(4:31)  3. Put On A Happy Face
(5:18)  4. It's So Peaceful In The Country
(4:16)  5. The Best Thing For You Would Be Me
(3:19)  6. Pure Imagination
(3:54)  7. Nobody's Heart
(6:25)  8. Dance Only With Me-Dream Dancing
(5:31)  9. I've Just Seen Her

This trio outing by pianist Bill Charlap (with bassist Peter Washington and drummer Kenny Washington) is a superior modern mainstream set. Charlap's boppish yet melodic style (which is championed by George Shearing in the liner notes) is pleasing, swinging and just unpredictable enough to hold one's interest. He mostly performs lesser-known standards such as Vernon Duke's "Roundabout," Irving Berlin's "The Best Thing For You Would Be Me" and the Rodgers and Hart classic "Nobody's Heart." An enjoyable outing. ~ Scott Yanow  http://www.allmusic.com/album/all-through-the-night-mw0000042887

Personnel: Bill Charlap (piano); Peter Washington (bass); Kenny Washington (drums).

All Through The Night

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Clark Terry & Red Mitchell - To Duke And Basie

Styles: Trumpet and Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 39:57
Size: 91,9 MB
Art: Front

(3:21)  1. It Don't Mean a Thing (If It Ain't Got That Swing)
(2:51)  2. Swingin' the Blues
(5:46)  3. I Got It Bad (And That Ain't Good)
(4:39)  4. Moten Swing
(4:19)  5. Hey Mr. Mumbles, What Did You Say
(2:07)  6. Big 'N' the Bear
(4:47)  7. Shiny Stockings
(4:09)  8. C Jam Blues
(5:25)  9. Thank You for Everything
(2:29) 10. It Don't Mean a Thing (If It Ain't Got That Swing)

Flügelhornist Clark Terry and bassist Red Mitchell play a full program of duets, with most of the music being associated with either Count Basie or Duke Ellington. Actually, the best-remembered selection of the date is Terry's humorous "Hey Mr. Mumbles, What Did You Say?," which has a call-and-response vocal by the two masterful musicians. 

Overall, this is a particularly delightful set, with plenty of wit displayed along with the hard swinging. ~ Scott Yanow  

http://www.allmusic.com/album/to-duke-basie-mw0000317763

Personnel: Clark Terry (vocals, trumpet, flugelhorn); Red Mitchell (vocals, piano).

To Duke And Basie

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Chester E. Smith - Blues For C

Bitrate: MP3@320K/s
Time: 53:34
Size: 122.6 MB
Styles: Organ jazz
Year: 2013
Art: Front

[ 6:13] 1. Blues For C
[ 4:29] 2. Lush Life
[ 5:23] 3. Cookin'
[ 5:45] 4. It Don't Mean A Thing
[ 5:57] 5. Hippidelphia
[ 4:57] 6. Blues On The Corner
[10:16] 7. Nica's Dream
[ 5:14] 8. The Breakdown
[ 5:15] 9. Blues In The Twilight Zone

Chester E. Smith: organ; Red Holloway, David Halliday, Dawan Muhammad: saxophone; Mike Olmos: trumpet; Calvin Keys: guitar; Charles Smith, Donald Bailey: drums; Tacuma King: percussion.

Chester E. Smith is no relation to James Oscar but this is definitely Jimmy's world. Chester E. uses some electronics that Jimmy might not have cared for, but here it's all about expressive capability. Chester shares a Philadelphia area background that comes with a deep sense of soul and the blues. This session was produced in San Jose, Calif. by saxophonist Dawan Muhammad (he also wrote the closer "Blues in the Twilight Zone ) and from start to finish it works on the kinds of grooves of the best organ albums. The tune selections highlight the writing of keyboard players - Billy Strayhorn, Ellington, McCoy Tyner, Horace Silver, Joe Zawinul and Thelonious (egregiously misspelled "Thelonius here) Monk and each of the piano compositions is given a treatment that's colored by expressive use of electronic effects and fine horn work by Red Holloway (tenor), David Halliday (tenor and alto), Mike Olmos (trumpet) and Muhammad. Smith has listened to and absorbed classic sounds from the '60s thru the '80s but he sends them back out with both the essence of the tradition and some new colors. For example, on "Nica's Dream the bebop rhythms and melody are deeply felt, but the organ gives it a new, darker sensibility. ~Donald Elfman

Blues For C

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Dave Edmunds - ...Again

Bitrate: MP3@320K/s
Time: 49:37
Size: 113.6 MB
Styles: Roots rock, Pub rock
Year: 2013
Art: Front

[3:33] 1. Again
[3:26] 2. Chutes & Ladders
[3:25] 3. Halfway Down
[4:14] 4. I Got The Will
[5:09] 5. I Love Music
[3:23] 6. Standing At The Crossroads
[2:15] 7. Return To Sender
[3:15] 8. Georgia On My Mind
[3:01] 9. It Doesn't Really Matter
[3:38] 10. People Wanna Get High
[2:48] 11. I Still Love You
[2:05] 12. Baby Face
[2:35] 13. The Claw
[3:33] 14. Your Song
[3:09] 15. A Better Word For Love

Not long after the 1994 release of Plugged In, Dave Edmunds chose to tune out, slowly winding his way back to his native Wales, where he essentially acted as a hermit. Occasionally, he'd show up on-stage -- or on Jools Holland's Later -- but his active career essentially ceased, punctuated by the live album A Pile of Rock (a title often recycled in his career) documenting a one-off European show from 1997, plus a 2000-era largely instrumental album called Musical Fantasies. With this in mind, the release of ...Again in 2013 is big news: it appears to be his first new album in nearly two decades. This isn't the case. ...Again is a curious thing, a 15-track collection that contains no less than nine of the 11 songs on 1994's Plugged In, along with "Return to Sender," his contribution to the Otis Blackwell tribute Brace Yourself (released in 1994, but recorded in 1991), plus five new songs. It's not quite enough to be considered a full-fledged comeback but it's slightly more than tossed-off bonus tracks, too, as these new contributions spin the Plugged In material in a slightly different direction. Of course, it helps that the weakest moments of that 1994 album are left behind -- "Sabre Dance 94" is not revived -- and the new cuts are often quite strong. An instrumental version of Elton John's "Your Song" may veer a little too close to the middle of the road but the title track "Again" easily slips into the sound and spirit of the rest of the material, as does the slightly melancholy Beach Boys boogie of "People Wanna Get High" -- both are distinguished by being two rare original compositions by this retro-rocker -- while "Baby Face" is a nicely riotous Little Richard salute and "Georgia on My Mind" pays a fair tribute to Ray Charles. All five songs are easily enjoyable and their inclusion turns this record, which is essentially Plugged In, into a better album. Plugged In holds up well -- 20 years later, its isolationist roots rock doesn't feel dated as much as it feels out of time -- and having a five or six strong cuts added to it does enhance its value, yet it's hard not to wish that ...Again was a full-on new album instead of this half-measure. ~Stephen Thomas Erlewine

...Again

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Nancy Harrow - An Intimate Evening With Nancy Harrow

Bitrate: MP3@320K/s
Time: 56:10
Size: 128.6 MB
Styles: Vocal jazz, Cabaret
Year: 2010
Art: Front

[3:19] 1. Guess Who's In Town
[4:28] 2. Maybe It's Because I Love You Too Much
[3:01] 3. So Why Am I Surprised
[0:18] 4. Musician Credits
[2:44] 5. Why Was I Born
[3:57] 6. If I Could Be With You
[3:51] 7. You Go To My Head
[3:28] 8. You're Not The Only Oyster In The Stew
[4:29] 9. Don't Go To Strangers
[4:26] 10. I Don't Know You Any More
[4:35] 11. Fixing A Hole
[3:47] 12. Pretty Prey
[0:39] 13. Spoken Introduction
[4:14] 14. You're Not What You Said You Are/Effie
[3:36] 15. He's Gone
[5:11] 16. Life Is Short/Havin' Myself A Time

Nancy Harrow - Voice; Roland Hanna - Piano; Paul West - Bass.

This album is especially personal for Nancy because, for the first time, listeners get to hear her performance in front of an audience. She is a jazz singer within each song she sings, but she also comes from the generation when jazz artists were supposed to be entertainers. She understands that she has to have "an act." In her cabaret act, she shows her honest self. Nothing is put-on. Her personal warmth and sense of humor are more evident in these spontaneous moments.

Technically speaking, certain things Nancy does are unorthodox, just as Ruth Olay, Morgana King, Sheila Jordan, and Betty Carter (to pick notable jazz voices of her generation) were each unique and idiosyncratic. Unlike many jazz singers, Nancy never improvises in an "in your face" manner. Nancy is not a show-off. Everything she does is subtle and tasteful. Like her accompanist Roland Hanna, she is always in the moment. Take If I Could Be With You, which I consider one of the highlights of this CD; Nancy hardly sings the original melody but she does it in such an easy manner that she makes it sound as though she is singing the melody. In some songs, especially her own compositions, she hardly departs from the original melodies. Nonetheless, she always manages to retain her jazz identity. ~Ted Takashi Ono

An Intimate Evening With Nancy Harrow

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Saul Rubin - The Zebtet

Size: 139,5 MB
Time: 60:17
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Guitar Jazz
Art: Front

01. Lotus Blossom (5:56)
02. Bluetooth (6:24)
03. Make Someone Happy (5:47)
04. The Android (6:41)
05. Aisha (7:38)
06. Cobi Narita (7:07)
07. Song For Diane (6:09)
08. Milestones (4:13)
09. Sasquatch Shuffle (8:11)
10. Once Upon A Time (2:08)

Accomplished guitarist/composer/producer has worked in the New York area since 1981. His diverse career has taken him to clubs, concert halls, studios, multimedia and post production facilities around the world. In 1997 Saul started his own production company Zebulon Sound and Light, specializing in recording, audio/video production, multimedia, and animation.
Saul plays from the heart. His mature, driving virtuosity playing solo, trio or full big band uniquely engages the listener whether it is up tempo or a slow alluring ballad.

Saul has worked and recorded with many great musicians including - Sonny Rollins, Roy Hargrove, John Hicks, Victor Lewis, Bob Cranshaw, Sammy Figueroa, Johnny ONeal, Hank Jones, Frank Wess, Cameron Brown, Eric Lewis, Essiet Essiet, Dave Schnitter, Larry Willis, Jonathon Batiste, Steven Scott, Clifford Barbaro, Wynard Harper, Candido, Bruce Cox, Sue Terry, Badal Roy, Jerry Gonzalez, Victor Jones, Gerald Cannon, Paul Jeffrey, Jerry Weldon, Bobby Forrester, Craig Handy, Groove Collective, Sherman Irby, Thomas Chapin, Tessa Souter, Avishai Cohen, Joe Magnarelli, Ned Goold, Fabio Morgera, James Hurt, Eric Revis, Willi Jones III, Eddie Jones, Paul Brown, Dave Samuels, and many more.

The Zebtet

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Barbara Russell - Swing With Me/Golden Blues

Size: 179,5 MB
Time: 76:48
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues/Pop Vocals
Art: Front

01. The Destroyer (2:00)
02. Once Upon A Time (3:56)
03. Getting To Know You (1:55)
04. Sunday In New York (2:39)
05. Who's Sorry Now (2:28)
06. Mean To Me (2:24)
07. You Don't Know What Love Is (2:32)
08. Love Me Or Leave Me (2:25)
09. I Cried For You (2:09)
10. Georgia (3:05)
11. Never On Sunday (2:43)
12. Cry Me A River (2:12)
13. Am I Blue (2:28)
14. Learnin' The Blues (2:51)
15. Love Me Tender (2:37)
16. Bye Bye Blues (2:40)
17. The Last Dance (2:37)
18. Misty (3:41)
19. Why Don't You Do Right (2:11)
20. 'Round Midnight (3:41)
21. Something Happens To Me (2:45)
22. He's My Guy (3:16)
23. This Could Be The Start Of Something (3:03)
24. The End Of A Love Affair (3:02)
25. Oh, You Crazy Moon (3:10)
26. I Remember You (2:53)
27. Too Late Now (3:20)
28. By Myself (1:54)

Featuring: Barbara Russell (vcl), with orchestras arranged and conducted by Don Costa, Nick Perito & Bucky Pizzarelli

Barbara Russell was a singer with a vibrant, arresting vocal quality, a fine sense of phrasing and feel for a lyric, and an utterly captivating style. She was also a tall, willowy blonde, a commanding presence and a “star” in every respect. It made for a performer capable of holding an audience from the first note and maintaining the interest and excitement throughout the entire performance.

Her jazz-influenced style runs the gamut from warm, intimate ballads to the swinging up tempo tunes, as she demonstrated in these two albums recorded for United Artists between 1960 and 1962. She treated each song with respect, and the Don Costa arrangements on “Swing with Me,” and those of Nick Peritofor “Golden Blues” became the velvet cushion for the jeweled tones of Barbara Russell.

As a bonus, the last four tracks included here were recorded live at Jazzland, a theater-restaurant, opened in May 1964 in the Louisiana Pavilion at the World's Fair. Jazzland was open daily from noon to 2 A.M., with Barbara Russell among the attractions, as well as the Al Beldini trio, who accompanied her.

Swing With Me/Golden Blues

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Kermit Ruffins & The Barbecue Swingers - #imsoneworleans

Size: 111,6 MB
Time: 48:05
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. I'm So New Orleans (5:27)
02. Tipitina (6:23)
03. Mexican Special (4:03)
04. At Last (6:10)
05. I Can't Give You Anything But Love (5:17)
06. Put Your Right Foot Forward (4:29)
07. Jock-A-Mo (Iko Iko) (5:10)
08. Somewhere Over The Rainbow (5:11)
09. I'm So New Orleans Part 2 (5:50)

Kermit Ruffins (born December 19, 1964) is an American jazz trumpeter, singer, and composer from New Orleans, Louisiana, United States. He has been influenced by Louis Armstrong and Louis Jordan and says that the highest note he can hit on trumpet is a high C. He often accompanies his songs with his own vocals. Most of his bands perform New Orleans jazz standards, though he also composes many of his own pieces. Jon Pareles of The New York Times wrote, "Mr. Ruffins is an unabashed entertainer who plays trumpet with a bright, silvery tone, sings with off-the-cuff charm and never gets too abstruse in his material."

#imsoneworleans

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The Sax Pack - Pack Of 3

Size: 105,7 MB
Time: 41:30
File: MP3 @ 320K/s
Released: 2015
Styles: Smooth Jazz
Art: Front

01. Sooner Or Later (3:46)
02. Back In Style (4:03)
03. Disco Here (4:00)
04. Shine On (4:17)
05. Like Old Times (4:32)
06. Into You (3:44)
07. Power Of 3 (4:32)
08. When Morning Comes (4:17)
09. What's The Time (4:07)
10. Never Gonna Give You Up (4:08)

Smooth Jazz supergroup, The Sax Pack, has been playing to packed houses from coast to coast. Lead by 3 of the hottest saxophonists on the planet Kim Waters, Jeff Kashiwa and Steve Cole who have individually sold over 1 million CDs and had over 20 Top 10 Smooth Jazz singles!

Inspired by the infamous Rat Pack, The Sax Pack creates an atmosphere that is high energy and highly entertaining, packing powerful grooves that thrill their growing fan base!

Their smash single, Fallin For You, was #1 at Smooth Jazz radio for an unprecedented 16 weeks in a row, and their debut CD was perched high on the Billboard Contemporary Jazz Chart for almost a full year!

Highlights include the first single, Back in Style, which is already climbing up the charts, the sensual ballad Shine On, the joyous and funky Power of 3 plus more brilliant Sax Pack originals!

Pack Of 3

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Theo Jackson - Shoeless And The Girl

Size: 110,6 MB
Time: 47:05
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Little Do You Know (5:06)
02. Moonchild (5:13)
03. Lonesome George (4:18)
04. Shoeless And The Girl (5:37)
05. Footprints (4:35)
06. Bella's Coming Home (5:16)
07. Wild Flower (3:45)
08. Peu M'importe (5:32)
09. Love And A Shoestring (4:27)
10. Camberwell Butterfly (3:14)

Already attracting 4 and 5 star rave reviews from critics, 'Shoeless and the Girl' is the much anticipated debut album from Theo Jackson. Whilst the foundations for this highly original release lie squarely in jazz, Theo's songs have a distinctive voice and incorporate a multitude of ideas and genres. Theo is an original artist, a creative mind, a modern-day troubadour. His songs have an ethereal, other-worldly quality and yet they are grounded in reality.

The 10 tracks on the album are drawn from the imagination of this natural storyteller whose lyrics are often quirky, yet they are always sincere. Standout tracks on the album include the up-beat opener 'Little Do You Know', featuring long-time collaborator alto saxophonist Nathaniel Facey from the MOBO award-winning band Empirical, a vocal adaptation of Wayne Shorter's 'Footprints' and the title track 'Shoeless and the Girl'.

With a stellar support ensemble featuring Huntly Gordon, double bass; Marco Quarantotto, drums and special guests Leo Richardson, tenor saxophone and Quentin Collins, Flugelhorn, one critic has already stated that this album "is as close to perfection as a debut will ever be."

Shoeless And The Girl

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Laila Biali & The Radiance Project - House Of Many Rooms

Size: 112,8 MB
Time: 48:26
File: MP3 @ 320K/s
Released: 2015
Styles: Pop/Rock/Jazz Vocals
Art: Front

01. Shadowlands (4:11)
02. Love (4:04)
03. Come Anything (3:39)
04. Little Bird (4:15)
05. Sparrow (5:08)
06. Shine (3:11)
07. You (4:00)
08. Upside Down (4:26)
09. Wait For Me (3:52)
10. Home (6:01)
11. Plainclothes Hero (5:33)

Critically acclaimed as one of Canada’s finest jazz-pop musicians, Laila Biali is a gifted singer, pianist, and songwriter. She takes the best of pop, rock, classical, world, and soul music and weaves them into her jazz arrangements and original songs.

Now based in Brooklyn, Laila performs around the world, from Peru to Tokyo’s Cotton Club. Her appearance at last year’s TD Victoria International JazzFest was a smash hit! When not creating and performing her own music, Laila has been a backup vocalist for Sting and toured with Suzanne Vega, Chris Botti, and Paula Cole.

Laila started playing jazz professionally at age 19 and has been winning awards and accolades ever since. She has won “Keyboardist of the Year” and “Composer of the Year” at the National Jazz Awards. Her 2011 album Tracing Light was a “Best Vocal Jazz Album of the Year” Juno award nominee. Downbeat named her album Live In Concert one of the “Best Albums of 2013” and gave it a glowing four star review.

This performance will celebrate the release of Laila’s latest album, House of Many Rooms, which was co-produced by her husband Ben Wittman. On this CD, Laila ventures into a more pop-oriented sound while honouring her jazz roots. It is full of catchy hooks, sweet melodies, and anthemic musical arrangements. For this performance, Laila’s band features Anna Atkinson violin/vocals/musical saw, Graham Campbell guitar/ukulele/vocals, Chris Tarry electric bass, and Ben Wittman drums.

House Of Many Rooms

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