Silky Denims

Monday, April 27, 2015

Barbara Dennerlein - Solo

Bitrate: MP3@320K/s

Time: 67:38

Size: 154.8 MB

Styles: B-3 Organ jazz

Year: 1992

Art: Front

[7:19] 1. It 's Me

[6:41] 2. Love Affair ''The Ballad''

[6:40] 3. Oscar's Blues

[8:36] 4. Three Hearts

[9:05] 5. Wow

[9:24] 6. Stormy Weather Blues

[8:26] 7. How High The Moon

[7:39] 8. Sometimes I Feel Like A Motherless Child

[3:45] 9. It's Me (Radio Edit)

Frequently, after concerts fans asked me for a solo recording. Finally it’s here: A collection of solo concerts which I performed the last few months. A real live-records without any overdubs or studio tricks. So the music sounds just the way I played it for my audience. With this special live-atmosphere, evoked only by an involving and stimulating relationship between the performer and the audience.

That’s why I dedicate this album to all my true musical friends and to all the enthusiasts of the unique sound of the Hammond organ. A sound, which I combine with modern MIDI-technique to break up tradition and move into new musical dimensions with this classic and yet so incomparable instrument. I’m sure, all my fans will love this solo-album. And I am positive to find a lot of new friends for my kind of organ-jazz. So enjoy the music – till next time: live on stage!“ ~Barbara Dennerlein

Solo

Coleman Hawkins - The Hawk Relaxes

Bitrate: MP3@320K/s
Time: 36:56
Size: 84.5 MB
Styles: Bop, Saxophone jazz
Year: 1961/1990/2006
Art: Front

[6:07] 1. I'll Never Be The Same
[4:24] 2. When Day Is Done
[4:35] 3. Under A Blanket Of Blue
[4:08] 4. More Than You Know
[5:56] 5. Moonglow
[5:04] 6. Just A Gigolo
[6:38] 7. Speak Low

Recorded at Van Gelder Studio, Englewood Cliffs, NJ; February 28, 1961. Tenor Saxophone – Coleman Hawkins; Bass – Ron Carter; Drums – Andrew Cyrille; Guitar – Kenny Burrell; Piano – Ronnell Bright.

It is said that one grows wiser and mellower with age, as proven by this recording from Coleman Hawkins that is a successful follow-up to his previous Moodsville album At Ease. There is a difference, as Kenny Burrell joins the legendary tenor saxophonist in this quintet setting, with no threat of upstaging or even a hint of any real showcasing of the guitarist's then developing laid-back side. Underrated Ronnell Bright is on the piano, and also proves a veritable equal to Hawkins even more than Burrell. But it is the burgeoning talent of bassist Ron Carter and drummer Andrew Cyrille who mark their territory, not as the maverick individualists they would become, but as supple performers who understand the strength of Hawkins from a modest standpoint. Not all ballads, the fare is standard American popular song played for people sitting by the fire, the calm ocean, or late at night with a sweetheart over candles and wine. Any version of a well-known tune can be made classic by Hawkins, as heard during the somber "I'll Never Be The Same," the straight ballad "Under a Blanket of Blue" with the tenor's slight fluttery trills, or "Just a Gigolo" where the spotlight is firmly focused on the leader's droll tones. Burrell's strumming on "When Day Is Done" signifies a downplayed, wound down feeling, and where he generally chooses a sublimated role in these recordings, he does come out with a strong lead melody for the soulful ballad "More Than You Know." The modified tunes on the session are the midtempo take of "Moonglow" as Hawkins adopts some of Lester Young's swagger as Cyrille's nimble brushwork keeps the song moving forward. "Speak Low" is interpreted in a sleek and seductive calypso beat ably conjured by the drummer, a nice touch to end the album. This quintet -- as unique as any Hawkins ever fronted -- speaks to his open mindedness, but more so to his innate ability in adapting musicians to his situational hitting. The Hawk Relaxes is one of his best latter period efforts. ~Michael G. Nastos

The Hawk Relaxes

Barbara Carroll - Live at Dizzy's Club: How Long Has This Been Going On?

Styles: Jazz, Vocal
Year: 2010
File: MP3@320K/s
Time: 53:24
Size: 122,6 MB
Art: Front

(7:57) 1. Change Partners
(6:06) 2. Some Other Time
(4:20) 3. Fascinating Rhythm
(2:08) 4. Nice Work If You Can Get It
(6:31) 5. How Long Has This Been Going On
(3:33) 6. My Man's Gone Now
(6:33) 7. I Got Rhythm
(7:31) 8. Todd's Blues
(3:42) 9. Too Soon
(5:00) 10. Have You Met Miss Jones

The credit is to the Barbara Carroll Trio featuring Ken Peplowski, who adds clarinet and tenor saxophone. Carroll begins with Irving Berlin's "Change Partners" using only the trio (which is completed by bassist Jay Leonhart and drummer Alvin Atkinson) and ends with Rodgers & Hart's "Have You Met Miss Jones," both standards taken at lively tempos and featuring some vibrant playing from a leader just crossing her mid-eighties. After a thoughtful presentation of Leonard Bernstein's "Some Other Time," the bulk of the set is taken up by two sections, first a lengthy medley of Gershwin tunes including "Fascinating Rhythm," "Nice Work If You Can Get It," the title song, "My Man's Gone Now" from Porgy and Bess, and "I Got Rhythm."

Peplowski makes his first appearance on clarinet on "Fascinating Rhythm," immediately establishing a playful rapport with Carroll, sometimes mirroring her lines and other times introducing counter-melodies. Carroll takes to the microphone for a rhythmic recitation of some of the lyrics to "How Long Has This Been Going On?," her only vocal work on the album; Peplowski switches to tenor to match her. He sits out "My Man's Gone Now," but returns to clarinet for "I Got Rhythm," again twinning with Carroll spectacularly. That sets up further fireworks in the second section of the set, which consists of two Carroll originals. The first, "Todd's Blues," finds Peplowski playing some high, piercing notes on his clarinet and Leonhart taking an arco solo. "Too Soon" is a lilting waltz that confirms the swing of Carroll and Peplowski as a musical couple. In 2010, when this show at Dizzy's Club was recorded, "this," that is, Barbara Carroll's career at the piano, had been going on for about 80 years, and it showed no signs of stopping. ~ William Ruhlmann http://www.allmusic.com/album/live-at-dizzys-club-how-long-has-this-been-going-on-mw0002187487

Personnel: Barbara Carroll (piano, vocal); Ken Peplowski (clarinet, tenor saxophone); Alvin Atkinson (drums).

Live at Dizzy's Club: How Long Has This Been Going On?

James Morrison - Snappy Too

Styles: Trumpet And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 67:53
Size: 155,8 MB
Art: Front

( 5:43) 1. All of Me
( 6:35) 2. The Master Plan
( 6:11) 3. Getting Sentimental Over You
( 6:53) 4. The Call
( 7:25) 5. No Regret
( 4:24) 6. Zog's Jog
( 4:20) 7. Sad Blues
( 5:27) 8. Up a Lazy River
( 4:14) 9. Some Day My Prince Will Come
(12:05) 10. Going Home, Pt. 1
( 4:31) 11. Going Home, Pt. 2

The first question that arises about Snappy Too, the latest mind-blowing enterprise by Aussie James Morrison, is how is it to be filed: under "big band" or "duo"? The fact is, the album is both, as the personnel consists of Jeff Hamilton on drums and Morrison on everything else, from brass to reeds, bass to piano, even guitar, bass trumpet and banjo. That's no misprint. Morrison, the jazz world's consummate do-it-yourself enthusiast (not to mention musical genius), produced a similarly phenomenal album, Snappy Doo, more than twenty years before this one was conceived. He had more help the first time around with Hamilton, guitarist Herb Ellis and bassist Ray Brown comprising the rhythm section. As Ellis and Brown have since passed on, Morrison decided they couldn't be replaced, so he simply "brushed up his chops" and added guitar and bass to his ever-growing repertoire. What's next? Harmonica? Accordion? Conch shells? (Watch out, Steve Turre; he may be coming for you!)

Besides performing (brilliantly) throughout, Morrison wrote seven of the eleven numbers on Snappy Too and arranged everything save the standard "I'm Getting Sentimental Over You," on which his Tommy Dorsey-inspired trombone enhances Evan Lohning's lustrous chart. Morrison departs twice from the big-band format, on "Sad Blues" (scored for a traditional six-piece Dixieland ensemble) and "Someday My Prince Will Come" (a "duet" for guitar and bass trumpet). For those who believe no one person should embody that much talent, it is our sad duty to report that Morrison writes and arranges about as well as he plays, which is impeccably on every instrument. While he stops short of singing, it's not hard to envision his causing Tony Bennett, Harry Connick Jr. or Michael Buble some sleepless nights. He's that good at everything he does.

Lest there be any inclination to dismiss Snappy Too as no more than a "gimmick," it should be clearly noted that Morrison not only plays every instrument except drums, he plays them without exception, singly or in unison about as well as anyone on the planet. Not to belabor the point, but the man is beyond any question an unrivaled virtuoso. As to how the album was meticulously put together, Morrison writes: "We started most charts with a 'click' or 'guide' track and I put down the lead trumpet first. The reason . . . is that when you play live with a big band, everyone listens to the lead trumpet (or they should) so I needed that first to 'hang' everything else from. It's the hardest gig I've ever done on lead trumpet playing with no band and having to play as though you are leading another fifteen musicians who aren't there yet . . . "After the first trumpet I added the rest of the section, then moved on to saxophones, lead alto first. Then came the 'bones and on to the rhythm section. I went with the bass first, then guitar, piano and finally took the whole thing to Los Angeles to record Jeff on drums. . . . The way the drummer plays, both time and dynamics normally [have] a huge effect on the band. Jeff is used to having this effect as he plays and 'drives' the band. It was a new experience to have to sound like that whilst actually playing along to what was already there. Of course he did a superb job and made it look easy. The very last things to go down were the improvised solos. Some of these I did 'live' when Jeff was putting down the drums, and some were done back at my studios in Sydney." Central to the process, Morrison points out, was recording engineer Tod Deeley, "a musical magician who seems to know instinctively what I need when capturing music."

Speaking of the music, it begins with a bravura version of the standard "All of Me" (seductive Armstrong-like trumpet solo by you-know-who following a clever "trad" intro that sounds like it was lifted from an old 78rpm recording), Morrison's charming "Master Plan" (tenor sax, bass solos) and "Getting Sentimental." Another Morrison original, "The Call," is a mid-tempo blues for his eloquent trumpet, the easygoing "No Regret" a showcase for his equally evocative soprano sax and flugelhorn. The bright, fast-moving "Zog's Jog," yet another highlight, lends Hamilton a brief solo spot along with trumpet and trombone, which re-emerge in a more archival vein on the suitably heavy-hearted "Sad Blues." Morrison excels on baritone sax and trumpet on "Up a Lazy River," on guitar and bass trumpet (sans rhythm) on "My Prince." The album closes as it began, with Morrison in superior form on his impassioned two-part Gospel anthem, "Going Home," wherein he channels trumpeter Maynard Ferguson and pianist Oscar Peterson. Playing one or two instruments well is remarkable enough; playing almost all of them flawlessly is akin to superhuman. To the best of our knowledge only one other musician, Bill Prince, has recorded an album (Happy Thoughts) on which he plays everything but drums. Prince's album is splendid, Morrison's even more so. When the Grammy electors cast their votes this year they may have to reserve two statues for Morrison, one for Best Large Ensemble, the other for Best Small Group. Either one (or both) would clearly be well-deserved. ~ Jack Bowers http://www.allaboutjazz.com/james-morrison-tall-and-small-millennium-jazz-orchestra-by-jack-bowers.php?&pg=1

Personnel: James Morrison: composer, arranger, trumpet, flugelhorn, soprano sax, alto sax, tenor sax, baritone sax, clarinet, trombone, bass trombone, piano, guitar, banjo, bass. Jeff Hamilton: drums.

Snappy Too

Eric Marienthal - Got You Covered!

Styles: Flute And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 46:22
Size: 106,7 MB
Art: Front

(3:25) 1. I Will
(5:12) 2. New York State of Mind
(4:19) 3. Love and Liberte
(3:40) 4. Compared to What
(5:12) 5. I've Got the World On a String
(3:42) 6. Emotion
(4:33) 7. Two Part Invention #4 In D Minor
(4:32) 8. My One And Only Love
(4:20) 9. You've Got a Friend
(4:04) 10. Stand By Me
(3:17) 11. Moody's Mood For Love

It has long been a well-known "secret" that altoist Eric Marienthal, who is best known for his association with Chick Corea's Elektric Band and with his own groups, is a great straight-ahead jazz player, too. He has made occasional guest spots through the years and shown that he is a more versatile player than originally expected. For Got You Covered, Marienthal desired to record a set live in the studio, and he utilized some of his favorite musicians, with guest pianist Chick Corea playing a duet with Marienthal on "My One and Only Love." Unfortunately, Marienthal mostly plays it safe, not digging very far into these songs beyond their melodies.

It is pretty unusual getting to hear him play "I've Got the World on a String" and "Moody's Mood for Love," but the latter is a note-for-note re-creation of James Moody's original solo and nothing more. Everything about this set comes across as safe and unadventurous. The overall results are pleasant and reasonably pleasing as background music, but Eric Marienthal is capable of much more. ~ Scott Yanow http://www.allmusic.com/album/got-you-covered-mw0000718269

Personnel: Eric Marienthal (flute, soprano saxophone, alto saxophone); Russ Freeman (acoustic guitar, electric guitar, 12-string guitar, classical guitar, baritone guitar); Russell Ferrante (piano, keyboards); Chick Corea (piano); Dave Carpenter (acoustic bass); Peter Erskine (drums); Luis Conte (percussion).

Got You Covered!

James Tormé - Love for Sale

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 47:25
Size: 109,3 MB
Art: Front

(4:32) 1. Let's Stay Together
(2:53) 2. Love for Sale
(2:53) 3. A Better Day Will Come
(4:32) 4. Passin' Through
(4:01) 5. What Are Your Doing the Rest of Your Life
(3:33) 6. Rock With You
(4:39) 7. Autumn Leaves
(2:20) 8. Come Back to Me
(3:54) 9. Comin' Home Baby
(3:20) 10. Reminiscing In Tempo
(3:55) 11. One or the Other
(3:29) 12. Little Black Spider
(3:16) 13. Soft Songs

James Tormé is the son of jazz singer Mel Tormé, and as such has some huge shoes to fill; perhaps that's why he put of cutting this debut album till he was 38 years old. He grew up listing to Ella Fitzgerald and Michael Jackson, and had his mind set on a career as a pop and R&B singer until he started performing an a cappella take of Monk's "'Round Midnight" to close his shows. The response convinced him to switch gears and start exploring the classic American songbook. Young Tormé sounds a lot like his dad did when he was younger. He the relaxed phrasing that makes his singing seem effortless without skimping on emotion. He's also a songwriter, and his originals aren't half bad. "A Better Day Will Come," which won the John Lennon Songwriting Contest award for Best Jazz Song in 2009, is a breezy, optimistic swinger that sounds like an instant standard. "One or the Other" is a relaxed pop tune with an R&B feel, which has the singer trying to choose between two lovers, a guy who wants to have his Kate and Edith too.

His vocal strikes a perfect balance between sincerity and smug self-confidence. The rest of the album consists of covers of classic tunes sung with the same laid-back confidence his dad employed. He sings the mournful introductory verses to "Autumn Leaves" in the original French, then changes up and finishes with a driving, jazzy version that includes a snappy scat interlude. He tackles his dad's early hit "Comin' Home Baby" and it stacks up favorably to Mel's with its smooth, confident delivery. The only misstep is his cover of Al Green's "Let's Stay Together," which gets an easy listening arrangement that's more Steely Dan than Memphis soul. ~ j.poet http://www.allmusic.com/album/love-for-sale-mw0002132098

Love for Sale

Sunday, April 26, 2015

Jessica Schultz - Quiet Nights

Size: 111,5 MB
Time: 48:06
File: MP3 @ 320K/s
Released: 2000
Styles: Jazz Vocals, Big Band
Art: Front

01. A Foggy Day (3:05)
02. All My Tomorrows (5:35)
03. Bye Bye Blackbird (4:23)
04. Lover Man (5:38)
05. Tea In The Sahara (4:27)
06. Corcovado (4:31)
07. I Thought About You (4:51)
08. Emily (4:49)
09. In The Wee Small Hours Of The Morning (5:14)
10. All Blues (5:27)

The music of vocalist Jessica Schultz combines the swing of yesterday’s big bands with the creative freedom of today’s artists. “I want to use the lyrical tools of singers to reach an advanced audience‚” Jessica says‚ and she has done just that.

Her first CD, "Quiet Nights," is an expressive combination of jazz standards and interesting arrangements to keep audiences on their ears. A graduate of Western Michigan University, Jessica has studied with such artists as Sunny Wilkinson, Fred Hersch, Mark Murphy, Kevyn Lettau, Madeline Eastman, and Kurt Elling.

Jessica’s dedication to her art is well known. Downbeat magazine named her "Outstanding Jazz Soloist" for 2000 in the college category. Jessica has performed throughout the United States. She has been a featured vocalist with the Downbeat award-winning ensemble Gold Company. Locally, she can often be seen performing with her husband, pianist and composer of note Marcus Reynolds.

Quiet Nights

Kilgore - Just Walk

Size: 129,8 MB
Time: 55:05
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz, R&B, Soul
Art: Front

01. Voicemail From Mimi (1:44)
02. Can You Imagine (3:31)
03. Innocent Love (3:54)
04. I Miss R&B (4:16)
05. Fifty Shades Of K (3:40)
06. Evolution (4:21)
07. Atl (Feat. Shamora Crawford) (3:32)
08. 2.16Am (Feat. Lyric Jones) (3:58)
09. Collage (3:33)
10. Morning After Sax (4:02)
11. Who Is She (Feat. Heston Francis) (2:52)
12. Risky Luv (3:48)
13. We The People (4:51)
14. Can You Imagine (Reprise) (3:31)
15. Just Walk (3:25)

RYAN KILGORE, a native of Atlanta, Georgia has been playing the soulful sounds of the saxophone since age 10. Being a fourth generation sax player is just one of the many milestones Ryan has come to accomplish over his musical career.

After playing in the band for four years at Southwest DeKalb High School, Ryan went on to attend Clark Atlanta University and was the first freshman to become drum major, as well as proud member of Phi Mu Alpha Sinfonia Fraternity of America Inc..

Ryan's musical inspiration came from his grandfather, Ester Betterson, who was not only in love with music, but also bought Ryan's first horn.

Before joining Sol Factor in 2003, Ryan played on the Fighting Temptations soundtrack with vocalist Faith Evans, on the song titled "Heaven Knows", as well as performed on the Walt Disney movie Country Bears. He then continued to work with legendary producers/writers Jimmy Jam and Terry Lewis as well as the phenomenal Stevie Wonder.

Ryan is also no stranger to the film industry. He has made cameo appearances in 20th Century Fox's Drumline, Paramount Pictures' Fighting Temptations, and Tyler Perry's Diary of a Mad Black Woman.

The feelings that he can't express verbally, he can express through his smooth sounds of "Saxuality." Ryan is an exceptional saxophone player who strives to instill in all people the importance of music's role in the enrichment of the human spirit.

Just Walk

Ytre Suloens Jass-Ensemble & Tricia Boutte - Some Changes

Size: 146,9 MB
Time: 63:20
File: MP3 @ 320K/s
Released: 2015
Styles: New Orleans Jazz, Ragtime, Vocals
Art: Front

01. Making Runs (5:04)
02. My Very Good Friend The Milkman (4:11)
03. Of All The Wrongs You've Done To Me (4:05)
04. I'll Be Seeing You (6:54)
05. Willie The Weeper (5:05)
06. There Must Be A Way (6:01)
07. Shake That Thing (6:59)
08. The Man I Love (5:00)
09. Take It Right Back (4:08)
10. Me, Myself And I (4:49)
11. Sweet Louisiana (5:43)
12. There'll Be Some Changes Made (5:17)

One of Norway’s finest jazz groups, the Ytre Suloens Jass-Ensemble has been a mainstay not only in their native land for decades but they’ve also gained significant notoriety on U.S. shores, thanks in part to early appearances in the 1970s at the New Orleans Jazz and Heritage Festival.

Their sound is steeped in New Orleans’s street parade tradition and this live set from 2010 finds the group at its best, thanks in no small part to the smoldering vocals of New Orleans’ own Tricia Boutte.

The band is outstanding as well, with particular kudos going to the horn players: Jens Arne Molvaer on clarinet and tenor saxophone; Kare Nymark Jr, on trumpet; Jan Inge Melsaeter on trombone and David Gald on tuba.

Some Changes

Louis Cortelezzi - Only Child

Size: 116,2 MB
Time: 49:58
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Crossover Jazz
Art: Front

01. Bounce (4:37)
02. Alabama Song (6:41)
03. Labor Of Love (4:46)
04. Only Child (5:40)
05. Summer Song (4:25)
06. Harlem Nocturne (4:56)
07. Throwing It All Away (5:21)
08. Over And Over (4:27)
09. Just To Walk That Little Girl Home (4:52)
10. Na Na Hey Hey Kiss Him Goodbye (4:09)

This 6th Album remarks the 25th Anniversary of Jazz Connection, inspired by the great honkers and screamers of America's postware Jive and Jump Blues scene.

Jives You Crazy! They are crazy… They are insane… and they are absolutely amazing live on stage. With authentic zoot-suits, flamboyance, Cadillac’s, dancers and cheap whisky. Jazz Connection is a true follower of the Jumpin’ Jive style that hit America’s black postwar population. With songs from Louis Prima and Louis Jordan, like ‘’Is you is or is you ain’t my baby’’ and ‘’Just a gigolo’’, they bring a revival of the best and brightest star performers from these exciting years.

Founded 25 years ago in ‘jazzy’ hometown Breda, Jazz Connection is running like a train, swinging and rolling through Europe with their Jazz & Jive show. They have performed at major festivals and clubs in Holland, toured in Belgium, UK, Germany, Switzerland, Denmark, Norway, Bulgarian and Poland as well as in the Middle East and Asia. The band performed at many editions of the Breda Jazz Festival in Holland. In 2008 Jazz Connection was invited to perform at the world famous Ascona Jazz Festival Switzerland together with Andy Cooper (UK) and Frits Landesbergen (Holland).

Together with lots of humor Jazz Connection produces their remarkable sound: transparent, sophisticated, catchy and groovy. Whether it’s a festive jive, tantalizing boogie or heartbreaking blues, you’ll recognize without doubt the sound of this unique sextet.

Jazz Connection:
Jurgen Feskens – Trumpet, Flugelhorn and Vocals
Peter van Steen – Trombone
Rob Henneveld – Alto, Tenor sax and Clarinet
Bart Maassen – Piano
Bart Wouters – Double Bass and Vocals
Ad Hoendervangers – Drums

Only Child

Jazz Connection - Everybody Get Together

Size: 123,3 MB
Time: 52:05
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Jive, Boogie-Woogie, Vocals
Art: Front

01. Return Of B.O. Plenty (3:16)
02. Everybody Get Together (3:49)
03. Mailman's Sac (2:59)
04. Be Mine Little Baby, Be Mine (3:20)
05. (Stone's) Duck Fever (3:28)
06. Lay It On The Line (2:54)
07. Good Morning Judge (4:00)
08. Train Kept A-Rollin' (4:14)
09. Sausage Rock (1:43)
10. There Ain't Nobody Here But Us Chickens (3:21)
11. Cool One - Groove Two (4:05)
12. Walk Right In (2:54)
13. Well Oh Well (3:48)
14. One Monkey Don't Stop No Show (4:26)
15. Bloodshot Eyes (3:41)

Everybody Get Together

Gene Ammons & Sonny Stitt - Boss Tenors/Dig Him!

Bitrate: MP3@320K/s
Time: 79:56
Size: 183.0 MB
Styles: Bop, Saxophone jazz
Year: 2012
Art: Front

[8:47] 1. Blues Up & Down
[9:39] 2. Counter Clockwise
[6:31] 3. There Is No Greater Love
[7:13] 4. The One Before This
[6:34] 5. Autumn Leaves
[4:22] 6. Red Sails In The Sunset
[4:18] 7. But Not For Me
[4:39] 8. A Pair Of Red Pants
[4:34] 9. We'll Be Together Again
[3:20] 10. A Mess
[3:56] 11. New Blues Up & Down
[5:13] 12. My Foolish Heart
[2:38] 13. Headin' West (Water Jug)
[4:11] 14. Autumn Leaves
[3:54] 15. Time On My Hands

Twofer: Tracks #1-5, from the 12” Verve LP “Boss Tenors” (V6-8426). Tracks #6-15, from the 12” Argo LP “Dig Him!” (LP-697). Gene Ammons (tenor sax); Sonny Stitt (tenor & alto sax); John Houston (piano); Charles Williams (bass); and George Brown (drums). Recorded at Universal Recording Studio, Chicago, August 22 (#1-5) & 26 (#6-15) 1961. 24-Bit Digitally Remastered.

Gene Ammons and Sonny Stitt were co-leaders of their own group in the early ‘50s, but though it took them almost ten years to get back together again, they were as incendiary a pair as ever. Stitt’s legendary quickness of thought and execution were, as always, outstanding, but Ammons’ passion and adroit, canny way of developing his solos made him an ideal partner for these two-tenor jousts – Stitt, by the way, also picks up his alto for a lyrical There’s No Greater Love. John Houston, who had played with Ammons and Stitt in the early ‘50s, is the only familiar name in a solid rhythm section. The timeless groove delivered by this superior combination puts the music beyond analysis. Just enjoy two great pros and their swinging message.

Boss Tenors/Dig Him!

Carla Cook - Simply Natural

Bitrate: MP3@320K/s
Time: 58:18
Size: 133.5 MB
Styles: Jazz vocals
Year: 2002/2013
Art: Front

[4:52] 1. Simply Natural
[4:52] 2. Tulip Or Turnip
[7:00] 3. Weak For The Man
[6:26] 4. Watermelon Man
[4:35] 5. Strong Man
[5:20] 6. Something 'bout Believing
[5:16] 7. Scarborough Fair
[3:52] 8. Are You With Me
[5:12] 9. Summer (Estaté)
[5:59] 10. Still Gotta Thing For You
[4:48] 11. I Can't Give You Anything But Love

Recorded June 20 & 21, 2002 at Systems Two Studios, NY. Vocals – Carla Cook; Piano – Bruce Barth; Bass [Acoustic & Electric] – Kenny Davis; Percussion – Steve Kroon; Drums – Billy Kilson; Electric Piano [Fender Rhodes] – Cyrus Chestnut.

Simply Natural is the name of Carla Cook's third release on MaxJazz and aptly describes her approach to singing. Her diverse range and vocal style has garnered her several awards and top billing on the concert and festival circuit throughout the world including performances with the Lionel Hampton Orchestra. This collection of songs provides a vehicle for her reinterpretation of such jazz compositions as Duke Ellington's obscure gems "Tulip or Turnip" and "Something 'Bout Believing." Cook contributes two gems of her own, the title track "Simply Natural" -- a beautiful piece that features two highly creative solos from pianist Cyrus Chestnut. He sets a cool fire underneath the meter changes, harmonic rhythm, and phrasings offered by the vocalist. "Still Gotta Thing for You," a mid-tempo blues with Cook's vocals overdubbed as background vocals, and a sonic update from Chestnut on Fender Rhodes, is still relevant today even though she wrote it in 1992. The closing song, "I Can't Give You Anything but Love," swings and brilliantly spotlights the techniques she uses to construct phrases. Overall, with the accompaniment of such great musicians as Bruce Barth on piano, Kenny Davis on electric and acoustic basses, and Billy Kilson on drums, Cook serves her listeners 11 coherent musical statements that tend to satisfy both the intellectual and emotional needs of artistic creation with a refreshing rhythmic variety. ~Paula Edelstein

Simply Natural

The Kansas City Jazz Orchestra - Take One

Bitrate: MP3@320K/s
Time: 47:04
Size: 107.7 MB
Styles: Big band
Year: 2012
Art: Front

[3:50] 1. Vine Street Rumble
[2:27] 2. I Just Found Out About Love
[3:34] 3. Take The A Train
[2:11] 4. Michelle
[3:45] 5. We'll Be Together Again
[3:27] 6. Cute
[4:50] 7. Jenny
[2:53] 8. You Make Me Feel So Young
[6:29] 9. Tee Pee Time
[5:13] 10. Corner Pocket
[4:46] 11. Come Sunday
[3:34] 12. One O'clock Jump

Jim Mair: music director, alto sax; Steve Molloy, Bob Harvey, Jay Sollenberger, Stan Kessler: trumpet; Bob Long, Greg Briggs: alto sax, flute; Doug Talley: tenor, soprano sax, flute; David Chael: tenor sax, flute; Kerry Strayer: baritone sax, flute; Jeff Hamer, Paul McKee, Stephanie Cox: trombone; Lee Hill Kavanaugh: bass trombone; Charles Williams: piano; Rod Fleeman: guitar; Theodore Wilson: bass; Lisa Henry: vocals (2,5,8). Special guest: Harold Jones: drums.

The debut recording by the Kansas City Jazz Orchestra marks the pinnacle of a dream come true for cofounders Jim Mair and Gene Hall—a repertory orchestra comprised of top-notch musicians from the Kansas City area, patterned after others around the country with local sponsors, a board of directors and national grants to lend financial support. After honing its chops during three highly successful concerts, the band entered KC's Soundtrek Studio in November '04 to establish a more permanent record of its burgeoning prowess.

Keenly aware of the long and glorious tradition of big band jazz in Kansas City, the KCJO was eager for the challenge, and everything seemed to fall neatly in place. Deciding on a name for the album was easy, as most numbers were neatly wrapped up on Take One. And what better way to open a KC-style session than with Benny Carter's "Vine Street Rumble, building a solidly swinging groove in which everyone is loose and comfortable.

Later on, the band offers a trio of snappy salutes to the legendary Count Basie, a founding father of the Kansas City school of big band jazz—the Count's classic "One O'Clock Jump, Freddie Green's "Corner Pocket and Neal Hefti's "Cute (the last showcasing guest drummer Harold Jones). Duke Ellington is represented by his composition "Come Sunday and Billy Strayhorn's "Take the 'A' Train.

Clark Terry's "Tee Pee Time is a cooker, with solos to match by tenor Doug Talley, trombonist Paul McKee and trumpeter Stan Kessler. Kessler's burnished flugel is featured with pianist Charles Williams on Lennon/McCartney's "Michelle and with baritone Theodore Wilson on Ernie Wilkins' "Jenny. Williams and tenor David Chael are out front on "Rumble, Mair (alto) and Doug Talley (soprano) on "'A' Train, Talley (tenor) and trumpeter Steve Molloy on "Corner Pocket, flutist Bob Long and flugel Bob Harvey on "Sunday, Williams, Talley and flugel Jay Sollengerger on "Jump. The KJO has a splendid vocalist in Lisa Henry, and she acquits herself well on "I Just Found Out About Love, "We'll Be Together Again and "You Make Me Feel So Young, with sturdy support from the orchestra.

The studio recording is bright and clear, although the brass is a tad too distant at times (at least on my headphones), while the less-than-lavish 47:41 playing time is at least acceptable for a first effort. In fact, an admirable enterprise all round for the rosy-cheeked KCJO, and, one would hope, a harbinger of more memorable adventures yet to come. ~Jack Bowers

Take One

Jeff Lynne - Long Wave

Bitrate: MP3@320K/s
Time: 26:57
Size: 61.7 MB
Styles: Standards, Pop-Rock
Year: 2012
Art: Front

[2:38] 1. She
[2:19] 2. If I Loved You
[2:30] 3. So Sad
[2:51] 4. Mercy, Mercy
[2:08] 5. Running Scared
[2:17] 6. Bewitched, Bothered And Bewildered
[2:29] 7. Smile
[2:31] 8. At Last
[2:29] 9. Love Is A Many Splendored Thing
[1:48] 10. Let It Rock
[2:52] 11. Beyond The Sea

A mere 22 years after his last solo album, 1990’s Armchair Theatre, the man described by The Washington Times as “the fourth greatest record producer in history” returns with two. One, Mr. Blue Sky, features ELO classics. The other is this collection: a love-letter to the songs Jeff Lynne heard on his dad’s radio, songs which inspired him while growing up in Birmingham. Having famously worked with Dylan, Harrison, Orbison and Ringo, the pop polymath now plays everything himself, a one-man band moving across a dewy sound-bed of nostalgia.

A subjective labour of love akin to Bowie’s Pin-Ups or Ferry’s These Foolish Things, which also carries elements of stripped-down self-exposure (like Johnny Cash’s American Recordings or Tom Jones’ Spirit in the Room), it’s infused with warm melancholy. If it never crackles with startling candour, you sense that’s because he wants to pay simple homage to the tunes that formed him, rather than whip out his youthful diaries.

Many selections are "pre-rock" 1950s standards, with a few fairly well-known but not over-familiar 60s nuggets also summoned. Perhaps surprisingly, Bewitched, Bothered and Bewildered, and Love Is a Many Splendored Thing work wonderfully well. Lynne has never been an ostentatious singer but knows how to arrange to perfection, even in this understated mode. The echoing shadows of Richard Hawley’s music come to mind. We could all probably live without another version of Charlie Chaplin’s cheesy Smile, but he does make it chug along effectively. Don’t expect ELO-style baroque-and-rococo flourishes: for the most part Long Wave ticks with paced, poignant precision. There’s further subdued romance in the readings of Rodgers and Hammerstein’s If I Loved You and the evergreen She, once crooned by Charles Aznavour. A louche, atypically throwaway take on Bobby Darin’s Beyond the Sea is a damp squib, and a couple of trad blues-rockers only remind the listener of ELO’s Roll Over Beethoven. But Lynne’s elegiac streak emerges again on Etta James’ At Last and The Big O’s Running Scared. Lynne doesn’t try to break any moulds here, but respectfully doffs a cap at those that shaped him. ~Chris Roberts

Long Wave

Ebbe Jularbo - C-Jam Blues

Bitrate: MP3@320K/s
Time: 44:07
Size: 101.0 MB
Styles: Traditional folk, Standards
Year: 1988/2013
Art: Front

[2:55] 1. The Best Things In Life Are Free
[2:50] 2. Lazy River
[2:43] 3. Dinah
[3:11] 4. Always In My Heart
[2:29] 5. The World Is Waiting For The Sunrise
[2:18] 6. September In The Rain
[2:47] 7. Linger Awhile
[3:03] 8. Once In A While
[3:27] 9. Please Don't Talk About Me When I'm Gone
[3:49] 10. Trubbel
[2:40] 11. Avalon
[2:51] 12. Bye Bye Blackbird
[3:10] 13. Whispering
[2:45] 14. Marie
[3:02] 15. C-Jam Blues

Oskar Eberhardt "Ebbe" Jularbo, född 11 januari 1915 i Katarina församling, Stockholm, död 8 januari 1991 i Enskede, Stockholm, var en svensk dragspelare, son till dragspelaren Calle Jularbo. Han gifte sig 7 juni 1944 med Katja Iris Vendela Dorotea Solveig, född 27 december 1914 i Avesta.

Jularbo och hans far omnämns i Povel Ramels Birth of the gammeldans från revyn På avigan (1966): "Först kommer Calle Jularbo med Eberhardt i hand..."

C-Jam Blues

Jeanne Newhall - Paris Nights

Bitrate: MP3@320K/s
Time: 46:20
Size: 106.1 MB
Styles: Piano/vocal jazz, New Age
Year: 2002
Art: Front

[3:49] 1. I Will Wait For You- Les Parapluies De Cherbourg
[6:46] 2. Claire De Lune
[2:51] 3. Stardust- Etoile D'amour
[4:32] 4. Let It Be Me (Je T'appartiens)
[3:24] 5. First Gymnopedie
[5:09] 6. The Days Of The Waltz- La Valse A Mille Temps
[3:05] 7. Elegie
[4:27] 8. Pieces Of Dreams
[2:54] 9. Frere Jacques
[5:29] 10. I Wish You Love
[3:48] 11. I Will Say Goodbye- Je Vivrai Sans Toi

If you cannot afford to go to France but you want the feel, delight in Newhall's Paris Nights. Vocals in French are rich and lovely and the cd is relaxing. This is one to keep! ~Cindy Gee

Jeanne Newhall is a well-respected composer and sophisticated vocalist and her vast musical roots have impacted jazz and new age since the early '90s. But before her successful recording career, Newhall's musical dreams were firmly shaped during her early childhood when she began tickling the ivories at age six. The early teenage years of mastering the piano while growing up on a farm in her native Phoenix led Newhall to learn six Mozart concertos by age 15. Opportunities to attend some of the nation's most prestigious music schools such as Julliard and Eastman didn't strike her fancy, however. Newhall studied with Abbey Simon at Indiana University before earning a degree from Arizona State. By the late '80s she was serious about a recording and performing career.

Paris Nights

Oscar Peterson - Debut: The Clef/Mercury Duo Recordings 1949-1951 (3-Disc Set)

Recording Date: September 18, 1949 - February 26, 1952. Oscar Peterson: piano; Ray Brown: bass; Major Holley: bass.

Piano giant Oscar Peterson's professional career spanned approximately 60 years and produced a prolific amount of recordings, though most of what he waxed during his first two decades was for labels launched by jazz impresario Norman Granz. But Peterson's early duo recordings have been neglected during the CD era until this comprehensive, three-CD set of his duets with Ray Brown or Major Holley made between 1949 and 1951.

While the story of how Granz discovered the phenomenal young pianist has been told in various ways, the producer sought to gain greater exposure for him by featuring Peterson on stage in the United States. Being a Canadian, Peterson was unable to perform legally in the US due to work restrictions on foreign visitors, but Granz solved that problem by providing the pianist a ticket to his 1949 Jazz at the Philharmonic concert at Carnegie then announcing him as a surprise guest, pairing him with the virtuoso bassist Ray Brown, as a planned trio with Buddy Rich failed to materialize after the drummer was drained following his earlier set. Peterson stole the show with his three featured numbers with Brown, who was not only a magnificent timekeeper but also a significant foil for the newcomer. Disc One consists of their complete 1949 set and a return performance the following year, with Peterson's driving "Carnegie Blues" and a previously unissued "Tea For Two" being highlights. Given the age of the source material, the sound is surprisingly good.

Seven duo sessions would take place over the next year-and-a-half, five with Brown and two with Holley; Disc Two includes sessions with each. The first formal meeting with Brown produced a hit record of "Tenderly," which combined just the right mix of swing, technique and elegance. Peterson's lively "Debut," flashy "Oscar's Blues" (both with Brown) and blazing bop vehicle "Nameless" (the latter with Holley) never became widely known but revealed his promise as a composer. The pianist's first encounter with Holley included 13 other tracks; like Brown, Holley was not relegated exclusively to a supporting role but provoked Peterson with his inventive lines, particularly showing off his abilities in the still-popular Latin favorite "Tico Tico." Although "I'll Remember April" is often performed by boppers at a blazing tempo, Peterson and Holley opt for a slow, dreamy setting that works very well. Holley's potent bass line powers Peterson's energetic rendition of Johnny Hodges' neglected gem "Squatty Roo," though there is some noticeable deterioration in the source material for this track.

The third disc, except for two selections, is all Brown. "Caravan" would become a staple in Peterson's repertoire and this early effort is full of flash while swinging like mad, with Brown matching the pianist's virtuosity throughout the performance. Peterson's choppy "Salute to Garner" mimics the style of the popular pianist without sounding overly imitative while his dramatic setting of "Dark Eyes" may seem a bit excessive during the introduction but quickly settles into a swinging manner. Bob Haggart's "What's New" was still a relatively recent work and had not yet become a standard; the duo's treatment blends improvisation with its elegant theme in a satisfying way. "How High the Moon" was already a feature in the repertoires of most jazz musicians by 1950, yet Peterson restrains himself from the furious tempo that many players preferred in order to show off. "The Nearness of You" and the waltz setting of "Laura" shimmer with beauty. Peterson's bluesy "Slow Down" lists Barney Kessel and Alvin Stoller present, though neither man is audible on this track. Holley takes Brown's place for the frenetic "Lover" and the previously unissued "There's a Small Hotel."

Peterson continued to work regularly with Brown in a trio setting until the mid '60s and they reunited over the decades (though they only returned to the duo format on two '70s recordings, one to back Ella Fitzgerald) until the bassist's death in 2002. Aside from the abrasive cardboard CD holders, this boxed set is first class: terrific liner notes by David Ritz, many vintage photographs, a complete discography plus reproductions of the original album jackets and notes. Consider Debut an essential Oscar Peterson collection. ~Ken Dryden

Album: Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 1)
Bitrate: MP3@320K/s
Time: 33:10
Size: 75.9 MB
Styles: Piano jazz
Year: 2009

[0:49] 1. Announcement By Norman Granz
[7:19] 2. I Only Have Eyes For You
[3:45] 3. Fine And Dandy
[8:23] 4. Carnegie Blues
[5:11] 5. Gal
[4:12] 6. Padovani
[3:28] 7. Tea For Two

Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 1)

Album: Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 21)
Bitrate: MP3@320K/s
Time: 75:07
Size: 172.0 MB
Styles: Piano jazz
Year: 2009

[2:48] 1. Debut
[2:52] 2. They Didn't Believe Me
[2:47] 3. Lover Come Back To Me
[3:23] 4. Where Or When
[3:31] 5. Three O'clock In The Morning
[3:31] 6. All The Things You Are
[3:41] 7. Tenderly
[3:10] 8. Oscar's Blues
[3:05] 9. Little White Lies
[3:09] 10. In The Middle Of A Kiss
[2:52] 11. Nameless
[3:17] 12. Two Sleepy People
[2:56] 13. Jumpin' With Symphony Sid
[3:12] 14. Robbins Nest
[2:58] 15. Tico Tico
[2:27] 16. Get Happy
[3:04] 17. Smoke Gets In Your Eyes
[3:08] 18. Deep Purple
[2:23] 19. Exactly Like You
[3:30] 20. I'll Remember April
[3:15] 21. Easy To Love
[3:01] 22. Takin' A Chance On Love
[3:21] 23. Squatty Roo
[3:35] 24. After All

Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 2)

Album: Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 3)
Bitrate: MP3@320K/s
Time: 59:52
Size: 137.1 MB
Styles: Piano jazz
Year: 2009
Art: Front

[2:48] 1. Caravan
[3:01] 2. Summer Nocturne
[2:48] 3. Salute To Garner
[3:03] 4. I Get A Kick Out Of You
[3:17] 5. What's New
[3:48] 6. Dark Eyes
[3:29] 7. What Is It
[2:58] 8. The Way You Look Tonight
[3:39] 9. Minor Blues
[3:44] 10. Slow Down
[2:57] 11. How High The Moon
[3:12] 12. The Nearness Of You
[3:38] 13. There's A Small Hotel
[2:59] 14. Lover
[2:53] 15. Gypsy In My Soul
[2:19] 16. On The Alamo
[2:37] 17. Lullaby Of The Leaves
[3:28] 18. Laura
[3:04] 19. September In The Rain

Debut: The Clef/Mercury Duo Recordings 1949-1951 (Disc 3)

Alice Groves - Soft Illusions

Styles: Vocal, World Fusion
Year: 2010
File: MP3@320K/s
Time: 41:36
Size: 95,6 MB
Art: Front

(3:43) 1. A Taste of Honey
(2:55) 2. Today's Lover
(3:36) 3. A Day in the Life of a Fool
(5:10) 4. The Phoenician
(3:29) 5. Canada
(4:05) 6. If I Could Reach Your Heart
(4:34) 7. Don't Cry For Me Argentina
(5:02) 8. Besame Mucho
(9:00) 9. Apostrophe

From a little girl of six years old chosen to represent her school singing the ballad "I Had a Little Secret" at the county stage competition in rural Ontario, to the searing crossover-soprano vocalist singing on stages in Cannes, France, or back home on Mainstage, Parliament Hill on Canada Day or in the National Arts Centre of Canada, Alice has travelled a passionate if challenging road as a singer-poet-songwriter - now adding musical co-arranging and producing into the mix. As an artist passionate about every aspect of her art and craft, and unendingly devoted to "singing ALL the great songs that have ever been written," as well as her own originals, Alice is like a whirling dervish from recording session to live performance and from one genre to another pulling it all together in her delivery which has thousands of fans making comments such as: "Wow! I listened to your music on your profile and.....Wow!" (Robert Rubio, Myspace); and "What a voice!" (Mrchiefmv, Youtube). Because it's about the voice She puts it out there every time both heart and soul. Her song choices are very up-close and personal to her and the listener can hear that. She's reaching out around the planet. And for that reason, her sound carries depth and mystery which speak to the human heart, and not to one particular type of person or nationality. After all, she says "Music is the sonic glue that holds humanity together."

When her family moved from a rural Ontario farm to the very multi-cultural capital of Canada, Ottawa (she was nine), Alice's 'world' journey began - a journey into many cultures and languages - all rich with prismatic colour and charm and possibilities. Ever proud of her Celtic Anglo-Irish parents and heritage, she nevertheless absorbed the French language quickly, made friends with anyone and everyone the more cultural variety the better - and sang in school and church, radio and television choirs throughout elementary and secondary school. Singing in clubs during her university years "helped to pay my way"..... and then the music went into a sort of necessary hiatus during a family posting (she had married her university mate) to the Middle East (Beirut Lebanon). But the years in Beirut were to fuel her thirst for music and provide new and larger direction to her already eclectic multi-cultural sound and repertoire. Her love for the Moorish Arabic-Spanish sound, instrumentation, and feel, she realized, was not far-removed from her native Celtic sound. After all, while music/sound is endemic to its native origins, people, especially the Celts, have migrated across the face of Europe and the Middle East so endlessly that their music is not mutually exclusive. "Every culture's music is charming and I want to sing like the wind, touching down here and there and everywhere, carrying music with me, with my voice at the core, but with sounds that everyone will recognize - and this is what 'World' music is all about. It's my way of talking to people, no matter where they're from. Sure I'm an Irish-English Canadian, but I speak "Music"!"

This fascination with world cultures starting in Ottawa, and mushrooming in the Middle East, found a further avenue when, back in Canada after the 'wild' years in Beirut, Alice joined forces with a Brazilian-Peruvian quartet which performed and recorded songs of the inimitable Carlos Jobim, Jorge Ben, Luiz Bonfa, et al. So that now a picture was emerging of this artist as someone who could weave the sounds she fell in love with into HER OWN pure voice and Celtic sensibility. Leaving the quartet at the end of a decade of regular performances everywhere from small cafes to concert halls, Alice decided to re-examine her musical DNA; and the result is the album "Soft Illusions". "These are songs that I love and feel crazily-passionately about! The kind of songs that make me fly, that take me to another place and time!" - and it must be working for the listener too, because her fans love it and are buying it up on the Internet. As one of her Youtube fans recently commented: "Love your voice. It really transports the listener to a different place and time, and that's a rare gift."

While "Soft Illusions" is clearly a 'World' genre album in its far-reaching themes and stylings, listeners can hear the jazz and folk edges flowing through. As Chicago's Thadeus Project has commented about her: "...Classy voice, Alice! I'll bet you could bring down the house with Roberta Flack's 'The First Time Ever I saw Your Face...' " The extra 'surprise' in "Soft Illusions" is soul-searing lyrics like "The Phoenician" - delivered by Alice as a 'spoken word' lyric with her flowing soprano vocal scatting in the background intermittently with the music. Or her original "Today's Lover" about the fleeting, insubstantial nature of modern relationships which, although hauntingly sad, do not rob the singer of hope. The despair of lost love leaves her asking questions and yearning... No matter what song you listen to on "Soft Illusions", you can count on the fact that it will be about LOVE - whether gloriously ecstatic and/or gloriously painful - always the highest form of meaning in life; and you can count on hearing a uniquly blissful soprano voice according to the thousands of testimonials pouring in from around the world such as that of Italian photographer Marco Girolami - "Your voice is gorgeous!" (Myspace); and, finally, last but not least, you can count on feeling 'touched' by her soul... And that, is her "Little Secret". http://www.cdbaby.com/cd/MaryAlice1

Soft Illusions

Eddie Higgins Trio - You Are Too Beautiful

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 59:51
Size: 137,5 MB
Art: Front

(4:51) 1. A Nightingale Sang In Berkeley Square
(5:58) 2. All The Things You Are
(5:03) 3. Lover Man
(6:36) 4. Like Someone In Love
(4:10) 5. Historia De Una Amor
(4:43) 6. Anything Goes
(4:44) 7. In A Sentimental Mood
(4:33) 8. In The Still Of The Night
(4:54) 9. Georgia On My Mind
(4:15) 10. Blue Bossa
(4:55) 11. You Are Too Beautiful
(5:08) 12. I'll Be Seeing You

A solid bop-based pianist, Eddie Higgins has never become a major name, but he has been well-respected by his fellow musicians for decades. After growing up in New England, he moved to Chicago, where he played in all types of situations before settling in to a long stint as the leader of the house trio at the London House (1957-1969). Higgins moved back to Massachusetts in 1970 and went on to freelance, often accompanying his wife, vocalist Meredith D'Ambrosio, and appearing at jazz parties and festivals. Eddie Higgins has led sessions of his own for Replica (1958), Vee-Jay (1960), Atlantic, and Sunnyside; back in 1960, he recorded as a sideman for Vee-Jay with Lee Morgan and Wayne Shorter. ~ Bio https://itunes.apple.com/pt/artist/the-eddie-higgins-trio/id543547892?l=en#fullText

You Are Too Beautiful