Art Farmer - Yesterday's Thoughts

Bitrate: MP3@320K/s
Time: 44:40
Size: 102.2 MB
Styles: Trumpet jazz, Mainstream jazz
Year: 1976/2005
Art: Front

[9:50] 1. What Are You Doing The Rest Of Your Life
[6:31] 2. How Insensitive
[5:54] 3. Namely You
[9:28] 4. Alone Together
[7:58] 5. Yesterday's Thoughts
[4:57] 6. Firm Roots

Recording Date: July 16, 1975 & July, 1975. Piano – Cedar Walton; Bass – Sam Jones; Drums – Billy Higgins; Flugelhorn – Art Farmer.

With Art Farmer's phenomenal output of recordings as a leader during his long career, it isn't surprising to run across obscure gems such as this pair of 1975 studio sessions recorded in New York for release in Japan by Eastwind. Joined by frequent collaborator Cedar Walton on piano, as well as bassist Sam Jones and drummer Billy Higgins, the mellow flugelhornist excels on the ballads that make up the majority of the album. "What Are You Doing the Rest of Your Life" begins slowly, with the rhythm section slowly pushing the tempo, as if to push for an answer to the title of the song. "Namely You" is played as a brisk waltz, while the snappy approach to "Alone Together" finds the leader at the top of his game. A reworking of ex-partner Benny Golson's "Yesterday's Thoughts" is followed by the only up-tempo tune present, Walton's invigorating "Firm Roots." Both Jones and Higgins provide the solid support that they delivered on numerous dates throughout their respective careers. Don't expect to find this long-unavailable LP quickly or at a bargain price, but it is well worth the effort to acquire it. ~Ken Dryden

Yesterday's Thoughts

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John McLaughlin, Elvin Jones, Joey deFrancesco - After The Rain

Bitrate: MP3@320K/s
Time: 50:55
Size: 116.6 MB
Styles: Fusion, Guitar jazz
Year: 1995
Art: Front

[6:13] 1. My Favorite Things
[6:31] 2. Sing Me Softly of the Blues
[7:30] 3. Encuentros
[4:44] 4. Naima
[6:32] 5. Tones for Elvin Jones
[7:39] 6. Crescent
[6:51] 7. Afro Blue
[4:52] 8. After the Rain

Recording Date; October 4 - 5, 1994 at Clinton Studios, New York City. Drums – Elvin Jones; Guitar, Producer – John McLaughlin; Organ – Joey DeFrancesco.

After the Rain received much praise in 1994 from many critics who usually consider McLaughlin's approach to music a bit too cosmic. The feelings among McLaughlin devotees were more mixed, however—there was some talk that McLaughlin may be running out of ideas. After all, this was the second tribute album he had released in the last couple of years. There were even some complaints about his guitar tone. To be sure, it is a bit too warm. But when all is said and done, After the Rain is an outstanding recording.

This isn't to say it is the best or the most influential of McLaughlin’s albums, but it may be the most beautiful of his electric releases. It attains this status through its melodic textures, driving rhythms and overall musicality. And there is more to it than that. The beauty inherent in any recording can in some part be attributed to its spirituality. (Don’t worry; we are not going into Sri Chinmoy mode here.) The spirit that thrives on this album is rooted in its inspiration—and that spirit is of John Coltrane. The beauty of this album emanates from McLaughlin's heartfelt purpose to honor the great musician who opened the door for him and many others.

After The Rain features several tunes associated with Coltrane. Two of McLaughlin’s compositions are included. The trio also covers Carla Bley’s “Sing Me Softly of the Blues”. McLaughlin decided to showcase these compositions in a traditional Hammond B-3 trio format. Former Coltrane sideman Elvin Jones' drumming evokes memories and emotions that can only be described as reassuring. His accents, bangs, thuds and grunts give great credibility to the affair. Jones' personal homage to Coltrane becomes clear through his brilliant playing; he provides a more than stable foundation for McLaughlin and organist DeFrancesco to build upon. Joey DeFrancesco, who like most B-3 players, has a tendency to meander somewhat during solos, meanders not a wit. His playing emerges as purposeful and understated. However, when the need arises for driving power, he delivers.

McLaughlin's approach on After the Rain is more straight-ahead than it has ever been. At the same time, you know it is still JOHN MCLAUGHLIN. While a little more guitar bite would have been helpful, he does attain a light swing, a somber tone, and a lilting flow...words are lacking. Every single tune stands as a highlight, but pay special attention to "My Favorite Things" because this is soon to be what this album will be to you. ~Walter Kolosky

After The Rain

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Kayla Taylor Jazz - A Night At Pacific And Vine

Bitrate: MP3@320K/s
Time: 60:13
Size: 137.8 MB
Styles: Vocal jazz
Year: 2005
Art: Front

[ 6:03] 1. Sugar
[ 7:43] 2. The Nearness Of You
[ 4:04] 3. Diamonds Are A Girl's Best Friend
[12:01] 4. Fever
[ 5:32] 5. Cry Me A River
[ 5:46] 6. On The Street Where You Live
[ 9:03] 7. The Look Of Love
[ 4:29] 8. Is You Is Or Is You Ain't My Baby
[ 5:27] 9. At Last

Jazz & Standards from the 40's & 50's is the focus of KTJ, who primarily works as a quintet. Vocalist, Kayla Taylor is joined by long-time music partner & guitarist, Steve Moore; drummer, Mike Zimmerman; upright Bassist - Patrick Cowan; and saxophonist - Will Scruggs.

Taylor & Moore made their way through the 90's in rock bands "A Fine Line" (also with Zimmerman) and "OneWithout" and in an acoustic duo affectionately known as "The Adventures of Kayla & Steve". The team formed a jazz & standards combo 3 years ago and developed a very loyal following at a favorite haunt - "Pacific & Vine". The album was recorded in the middle of dinner rush on Saturday, November 6, 2004. "Pacific & Vine" was a great place for us to play. The food was great, the staff was great, the bartenders & servers totally rocked and the people we met there - well, at the rate of sounding 'hokey' - it was just a magical time," says Kayla.

Sadly, a corporate decision led to the closure of Pacific & Vine on April 25, 2005. The fun and good times linger on with Kayla Taylor Jazz's "A Night at Pacific & Vine". The album is truly live and will definately transport you to the venue - bar sounds, audience chatter, orders being placed - and there amidst the clatter - a jazz band plays and sells us a piece of themselves to hold in our hearts.

A Night At Pacific And Vine

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Tony Williams Trio - Young At Heart

Bitrate: MP3@320K/s
Time: 69:18
Size: 158.7 MB
Styles: Contemporary jazz
Year: 1996
Art: Front

[4:05] 1. Promethean
[5:49] 2. Young At Heart
[8:54] 3. On Green Dolphin Street
[5:51] 4. Farewell To Dogma
[6:15] 5. How My Heart Sings
[6:22] 6. The Fool On The Hill
[6:11] 7. Neptune-Fear Not
[6:46] 8. You And The Night And The Music
[6:40] 9. Body And Soul
[7:34] 10. This Here
[4:48] 11. Summer Me, Winter Me

Recorded at Sony Music Shinanomachi Studio in Tokyo, Japan on September 24 and 25, 1996. Piano – Mulgrew Miller; Bass – Ira Coleman; Drums – Tony Williams.

The subject of today's sermon is our dearly departed elder, Tony Williams. Brother Tony never lost his joy of swing, nor his belief that in helping others to reach their potential, he in turn would be lifted. From the Miles Davis Quintet to Lifetime to the last Trio, this humble jazz soul went full circle-all the while waging a quiet revolution that has forever re-defined the drummer's role in the jazz ensemble.

Young at Heart is that last whisper, my brethren. Inspired in the circle of longtime spars pianist Mulgrew Miller and Ira Coleman on bass, TW revisited/reinvented the classics of his youth, gaining in the process what the Zen Buddhists call satori. Whether seductively re-paving "Green Dolphin Street" or cymbal-spashing/snare-tom tomming the Beatles' fluffy "Fool on the Hill" into an tempestuous latin waltz, Young At Heart is Tony Williams' musical spirit miraculously made flesh in 11 superlative tracks. Hallelujah. ~Tom Terrell

Young At Heart

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Grady Tate - After The Long Drive Home

Bitrate: MP3@320K/s
Time: 33:02
Size: 75.6 MB
Styles: Funk-soul-jazz
Year: 1969/2012
Art: Front

[0:57] 1. Prologue
[3:43] 2. After The Long Drive Home
[3:19] 3. Follow The Path
[3:20] 4. I Can Deliver
[4:56] 5. I Think It's Gonna Rain Today
[3:53] 6. There's Nothing Between Us Now
[2:57] 7. In My Time
[0:46] 8. Interlude
[3:17] 9. Bridges
[2:42] 10. I'll Try Again
[3:07] 11. Suicide Is Painless

Easily our favorite album ever by Grady Tate – a complex suite of tracks about adult love, loss, and redemption – put together with a focus and clarity that even surpasses his classic Windmills Of My Mind record! The whole thing was arranged and conducted by Harold Wheeler – who sets Grady up in a batch of tunes that are easily some of the best from that late 60s era when writers like Burt Bacharach and Jimmy Webb had inspired countless others to spin mature tales of human interaction – in a style that's far from pop, and beautifully mature all the way through. If you've always dug the tune "Sack Full Of Dreams" from Tate's Windmills album, this whole set is done in a similar mode – with cuts that include "I'll Try Again", "I Can Deliver", "Follow The Path", "Bridges", and "There's Nothing Between Us Now" – as well as the completely sublime title track! ~Dusty Groove

After The Long Drive Home

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John Stein - Green Street

Bitrate: MP3@320K/s
Time: 66:19
Size: 151.8 MB
Styles: Guitar jazz
Year: 2013
Art: Front

[5:28] 1. Booga Lou
[6:12] 2. Hotcakes
[4:18] 3. Jack's Back
[5:19] 4. Our Love Will See Us Through
[5:45] 5. Sultry
[7:54] 6. Green Street
[4:38] 7. Greyhound
[5:31] 8. Do Nothin' Till You Hear From Me
[3:42] 9. Culebra
[5:42] 10. Digits
[4:45] 11. Be Ooo Ba
[7:00] 12. You Stepped Out Of A Dream

John Stein; Guitar: Ken Clark; Organ: Dave Hurst; Drums and Percussion. Special Guest; David 'Fathead' Newman

Many jazz enthusiasts have received the resurgence of the “Organ Combo” with welcome arms. On Green Street, guitarist John Stein along with organist Ken Clark and drummer Dave Hurst pursue turf that originated in the 1950’s & 60’s following the traditional approaches of Jimmy Smith, Brother Jack McDuff and others. The John Stein Trio along with guest star David “Fathead” Newman incite the listener’s imagination with an aggregate of toe-tapping, invigorating Stein originals and Ellington’s “Do Nothing ‘Till You Hear From Me”.

John Stein possesses a guitar technique which is firmly rooted in the Wes Montgomery and Grant Green school as Stein’s warm, sonorous sound coupled with an inventive, fluid attack is pleasantly persuasive, distinctive and endearing. The opener, “Jack’s Back” sets the upcoming pace through smooth, skillful execution, panache’ and plain old foot stomping’ fun. The legendary saxophonist David “Fathead” Newman picks up the flute on “Hotcakes” and even quotes a few lines from The Beatles’ “Eleanor Rigby”. “Hotcakes” is an affable yet determined swing number as organist Ken Clark does a commendable job on those Hammond B-3 foot pedals. On “When I’m Away”. Newman lends a hand with his signature husky Texas-Tenor blues sound. Vivid images of being in a roadhouse somewhere in the heart of Texas come to mind. Here and throughout, Stein’s multi-colored, subtle and delicate phrasing is a sheer delight. The title track, “Green Street” is a bluesy-swing as organist Ken Clark trades sprightly choruses with tenorist David “Fathead” Newman’s raucous and rollicking style of play. Stein proceeds to settle things down just a bit via poignant and well crafted soloing as he intelligently plays with the memorable and melodic theme. “Greyhound” is a true organ cooker as they proverbially “give the drummer some”! Dave Hurst gets his moment in the sun as he sticks and jabs behind the kit, complimenting the rapid thematic movements from Clark and Stein. David “Fathead” Newman rejoins on alto sax as the band performs Ellington’s “Do Nothing “Till You Hear From Me”. Stein and company restate the recurring theme in alternating fashion through spirited choruses and solos. The final track, “Digits” is a medium tempo swing piece as Stein shines with sleek, elegant phrasing and impressive single note soloing. Stein presents a flurry of ideas through his ax as Ken Clark answers with some cool, jazzy Hammond B-3 riffs.

Green Street is loads of fun and a breath of fresh air. The John Stein Trio along with David “Fathead” Newman represent the organ combo concept in prominent fashion. The performances are top notch as the overall craftsmanship is meticulous, skillful and heartfelt. Green Street is guaranteed to rejuvenate one’s spirits. ~Glenn Astarita

Green Street

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Cat Coward - Out Of The Bag

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 38:46
Size: 89,4 MB
Art: Front

(3:11)  1. My Love Is
(3:14)  2. Night and Day
(4:41)  3. I Can See Clearly Now
(2:52)  4. How High the Moon
(4:03)  5. Twisted
(4:36)  6. At Last
(3:41)  7. You'd Be So Nice to Come Home to
(2:06)  8. Let's Misbehave
(3:36)  9. Girl from Ipanema
(3:43) 10. Turn, Turn,Turn
(2:59) 11. More Than You Know

Cat Coward is a truly gifted jazz singer. Her style is all her own with echoes of Ella. "Cat Out of the Bag" is a real gem. From the opening notes, you know you're in on to something special. The phrasing and tone are silky smooth, lyrical, and full of life and talent. My favorite tunes are "My Love Is", "I Can See Clearly Now" (the jazz interpretation is a total treat), and "Twisted" - I love "Twisted" so much that I think I'm going to give it to my shrink! ~ Stephanie Kesler, Anchorage Concert Association

A new hot vocal soloist is currently melting the hearts of jazz aficionados across the cool North. Cat Coward, a sultry siren with jazz in her soul has assimilated a wide range of energy-driven masterpieces from Cole Porter's "Let's Misbehave" to the more familiar but brilliant rendition of Pete Seeger's "Turn, Turn, Turn". Her colorful tapestry of vocals embodies a style that is wonderfully woven with threads of improvisational lightness and a melodic expression that is frankly jaw-dropping. Cat's dizzying flair for jazz is fine wine that must now be tasted! ~ Roy Corral, musician  http://www.cdbaby.com/cd/catcoward

Out Of The Bag

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Mark Gross - Blackside

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 62:52
Size: 144,4 MB
Art: Front

(5:04)  1. On the Backside
(6:27)  2. Evocations
(3:33)  3. Choro Bandido
(5:21)  4. Volare
(4:20)  5. Bangalore
(5:41)  6. Sabe Você
(6:03)  7. Cherry Picker
(9:19)  8. Name Game
(6:44)  9. Straphangin'
(4:40) 10. Meadows
(5:36) 11. Knocks Me Off My Feet

Mark Gross is not a composer and hadn’t headlined an album for many years before Blackside. But the saxophonist does possess ample and esteemed experience in both big bands and small ensembles, and was thus able to assemble a top-notch band for this project. He is also creatively capable in myriad styles, ranging from bop through funk, calypso, R&B and Brazilian pop. All these circumstances made choosing the right material problematically open-ended, but Gross and producer/label owner John Lee resolved the issue by selecting songs they like and believe to be underexposed.

The result is a fascinating collection with a checkerboard sensibility. Tunes associated with Randy and Michael Brecker are prominent in the mix, but none are from the classic Brecker Brothers discs of the mid-’70s. Instead, Gross goes to the group’s final two records in the early ’90s for the brawny funk of “On the Backside” and then “Evocations” (co-written by Michael Brecker and Chris Botti), the latter boasting a creamy arrangement for a chorus of horns. He dips into Randy Brecker’s obscure 1969 disc, Score, for Hal Galper’s “Name Game” (a showcase for trumpeter Freddie Hendrix) and Brecker’s own “Bangalore,” which Gross galvanizes with a bounce and angularity akin to John Coltrane via Michael Brecker. And he reprises the groove-oriented “Straphangin’,” the title tune from a 1980 Brecker Brothers record. All good stuff, but even on the lesser-known material, it is hard to top the Brecker Brothers at their own game.

Ironically, pianist Cyrus Chestnut trumps all the Brecker covers with “Cherry Picker,” which opens like Ramsey Lewis sitting in with the Crusaders and then goes for some radio-friendly funky bop, with Gross growling on alto. Chestnut beautifully supports Gross’ voluptuous horn on “Sabe Você,” one of two pre-Tropicália Brazilian pop songs on Blackside. Another left-field delight is “Volare,” a musical piece of provolone that the superb band (bassist Dezron Douglas and drummer Greg Hutchinson round out the core quintet with Gross, Chestnut and Hendrix) dresses up for Broadway and then sidles into a sunny bop-swing swagger. The closer is Stevie Wonder’s “Knocks Me Off My Feet,” played straight and seductively. ~ Britt Robson  http://jazztimes.com/articles/97420-blackside-mark-gross

Personnel: Mark Gross (soprano saxophone, alto saxophone); Yotam (guitar); Freddie Hendrix (trumpet, flugelhorn); Cyrus Chestnut (piano, organ); Greg Hutchinson (drums); Vanderlei Pereira (percussion).

Blackside

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Joe Cohn - Fuego

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 67:34
Size: 155,2 MB
Art: Front

(7:32)  1. Little Melonae
(6:04)  2. She
(6:13)  3. Bluish Grey
(5:56)  4. DeWey Square
(6:37)  5. The Underdog
(5:14)  6. Fuego De Roberto
(6:58)  7. Love For Sale
(6:23)  8. Call It Wachawana
(8:41)  9. Clockwise
(7:53) 10. Lady Luck

Joe Cohn's second Criss Cross outing is a swinging affair. Joined by Dutch master pianist Peter Beets, and New York A-Listers, bassist John Webber and drummer Kenny Washington, the young guitar veteran (who is the son of the iconic tenor saxophonist-composer Al Cohn) addresses a strong program of first-rate, less traveled jazz and songbook standards, uncorking a string of inspired solos that blend polish and vigor with a style that traverses a broad timeline of vocabulary on his instrument - he reaffirms his position as a major voice on today's playing field. ~ Editorial Reviews  http://www.amazon.com/Fuego-Joe-Cohn-Quartet/dp/B0059889VK

Personnel: Joe Cohn (guitar); Peter Beets (piano); Kenny Washington (drums).

Fuego

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Booker T. & The Mg's - That's The Way It Should Be

Styles: R&B
Year: 1994
File: MP3@192K/s
Time: 54:00
Size: 74,8 MB
Art: Front

(3:58)  1. Slip Slidin'
(5:38)  2. Mo' Greens
(4:24)  3. Gotta Serve Somebody
(3:43)  4. Let's Wait Awhile
(3:22)  5. That's The Way It Should Be
(4:39)  6. Just My Imagination (Running Away With Me)
(6:15)  7. Camel Ride
(4:31)  8. Have A Heart
(3:45)  9. Cruisin'
(5:07) 10. I Can't Stand The Rain
(4:00) 11. Sarasota Sunset
(4:32) 12. I Still Haven't Found What I'm Looking For

Booker T. & the MG's do what they do very well. What they do is present a spare, funky sound in which each instrument, drums (here played by Steve Jordan or James Gadson), bass, guitar, and organ, is heard distinctly, playing medium tempo melodies with slight variations. Precision is a key, and the result, while impressive, is anything but showy. Seventeen years since their last outing, the group exhibits the same qualities and the same limitations it did in its heyday. ~ William Ruhlmann  http://www.allmusic.com/album/thats-the-way-it-should-be-mw0000111745

Booker T. & The MG's: Booker T. Jones (vocals, guitar, piano, Hammond B-3 & M-3 organs, MiniMoog, synthesizer); Steve Cropper (vocals, guitar, baritone guitar); Donald "Duck" Dunn (vocals, baritone guitar, bass); Steve Jordan (vocals, guitar, drums, percussion, congas, bongos); James Gadson (drums).

That's The Way It Should Be

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Jimmy Witherspoon & Panama Francis' Savoy Sultans - S/T (Definitive Black & Blue Sessions)

Bitrate: MP3@320K/s
Time: 60:15
Size: 137.9 MB
Styles: Urban blues, Jazz-blues
Year: 2002/2008
Art: Front

[3:47] 1. Sent For You Yesterday
[7:07] 2. I Want A Little Girl
[3:52] 3. Don't You Miss Your Baby
[4:41] 4. Good Morning Blues
[6:18] 5. Moten Swing
[5:16] 6. Goin' To Chicago
[4:37] 7. Sometimes I Feel Like A Motherless Child
[3:17] 8. I May Be Wrong(Boogie Woogie)
[3:15] 9. Rain Keeps Falling Down
[3:07] 10. Gee Baby, Ain't I Good To You
[3:52] 11. Sent For You Yesterday
[3:20] 12. I May Be Wrong (Take 1)
[3:07] 13. Gee Baby, Ain't I Good To You (Take 1)
[4:31] 14. Sometimes I Feel Like A Motherless Child (Take 2)

Recording Date: May 19, 1980 & May 25, 1980. Jimmy Witherspoon (vcl), Francis Williams (tp), George Kelly (ts), Bill Easley (as), Bobby Smith (as), Red Richards (p), John Smith (g), Bill Pemberton (b) & Panama Francis (d).

Including some of Jimmy Witherspoon's finest performances, the Definitive Black & Blue Sessions is a handsomely compiled 14-track set of Witherspoon's tenure with bandleader Panama Francis. Often neglected in the artist's impressive body of work, the release of this disc calls for a reappraisal. Although nearing the end of his career, Witherspoon is in fine voice, and his work on "Sometimes I Feel Like a Motherless Child," in particular, is astonishing. Panama Francis' Savoy Sultans provide fine musical accompaniment, intuitively knowing when to hold back and when to dominate. As befits such great music, the disc is handsomely annotated and packaged. ~Thomas Ward

Jimmy Witherspoon & Panama Francis' Savoy Sultans

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Shirley Bassey - Sings The Standards

Bitrate: MP3@320K/s
Time: 78:16
Size: 179.2 MB
Styles: Vocal, Easy Listening
Year: 2001
Art: Front

[3:30] 1. Fly Me To The Moon
[2:45] 2. I Get A Kick Out Of You
[3:19] 3. All The Things You Are
[2:13] 4. I Believe In You
[2:57] 5. Moon River
[2:30] 6. Strangers In The Night
[2:14] 7. 's Wonderful
[3:31] 8. I've Got You Under My Skin
[3:25] 9. Cry Me A River
[3:11] 10. The Fool On The Hill
[3:04] 11. The Look Of Love
[3:03] 12. Nature Boy
[4:25] 13. And I Love You So
[2:44] 14. Day By Day
[3:20] 15. Send In The Clowns
[4:39] 16. Killing Me Softly With His Song
[4:51] 17. Greatest Love Of All
[3:54] 18. Can't Take My Eyes Off You
[4:38] 19. Feelings
[5:12] 20. Ev'ry Time We Say Goodbye
[5:11] 21. Don't Cry For Me Argentina
[3:30] 22. As Time Goes By

When a great set of songs like these are put together by a GREAT singer like Shirley Bassey, you know your in store for a special treat and that is what this great collection is!! Beginning with early to mid-sixties standards such as a jazz tinged exciting rendition of "I Believe In You", it is clear that this is a classic singer with an incredibly great voice in peak form!! "Fool On The Hill" is soulfully sung and "The Look Of Love" is sultry while "And I Love You So" is haunting and mesmerizing. The exhuberant "Day By Day" is winning and "Send In The Clowns" is one of the most beautifully sung versions ever!! Beginning with the seventies material, one can notice that Shirley's voice became fuller and more powerful and Miss Bassey uses her full bloom voice to stunning effect on classics such as "Killing Me Softly With His Song" and "Feelings" in this engrossing collection. Too bad Shirley Bassey didn't star in "Evita" as her "Don't Cry For Me Argentina" is the definitive version which has never sounded as passionate and beautiful as it does here!!! BRAVO SHIRLEY...a true classic Diva with an extraordinary voice. ~Bradley Briggs

Sings The Standards 

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The Legendary Lawson-Haggart Jazz Band - Singin' The Blues

Bitrate: MP3@320K/s
Time: 68:28
Size: 156.8 MB
Styles: Dixieland
Year: 1991
Art: Front

[7:00] 1. Singin' The Blues (Till My Baby Comes Home)
[5:26] 2. Louisiana
[6:25] 3. Blue Turning Grey Over You
[4:41] 4. I Want To Be Happy
[4:45] 5. The Sheik Of Araby
[5:48] 6. Thou Swell
[7:36] 7. Song Of The Islands
[5:15] 8. Stumbling
[8:26] 9. Tin Roof Blues
[4:47] 10. Muskrat Ramble
[3:56] 11. One Alone
[4:17] 12. Hindustan

Recorded Mar. 5 and 6, 1990 in Atlanta, Georgia. 12 tracks recorded 1990 by The Legendary Lawson-Haggart Jazz Band with Yank Lawson, trumpet, co-leader ; Joe Muranyi, clarinet, soprano saxophone; Bucky Pizzarelli, guitar; George Masso, trombone; John Bunch, piano; Bob Haggart, string bass, co-leader; Jake Hanna, drums; Barbara Lea, vocals.

Veteran trumpeter Yank Lawson often preferred to trade fours or eights with another horn player late in his career (four years before his death) rather than take full-length solos, but his fire and sound were very much unimpaired. For this date, he had a reunion with bassist Bob Haggart, coleading one of the last versions of the Lawson-Haggart Jazz Band.

Singin' The Blues

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The Platters - Keep Me In Love

Bitrate: MP3@320K/s
Time: 76:31
Size: 175.2 MB
Styles: R&B, Pop vocals
Year: 2013
Art: Front

[2:37] 1. Smoke Gets In Your Eyes
[2:44] 2. The Glory Of Love
[2:55] 3. Until The Real Thing Comes Along
[2:50] 4. Bewitched, Bothered And Bewildered
[2:44] 5. Twilight Time
[2:40] 6. Someone To Watch Over Me
[2:36] 7. Only You
[2:44] 8. My Prayer
[2:37] 9. The Great Pretender
[2:27] 10. (You've Got) The Magic Touch
[2:38] 11. My Old Flame
[2:37] 12. You'll Never, Never Know
[2:44] 13. I Can't Get Started
[2:52] 14. I'll Never Smile Again
[2:25] 15. Somebody Loves Me
[3:08] 16. Harbor Lights
[2:23] 17. You Are Too Beautiful
[2:24] 18. You've Changed
[2:09] 19. Honeysuckle Rose
[2:51] 20. Enchanted
[2:20] 21. Red Sails In The Sunset
[2:12] 22. Life Is Just A Bowl Of Cherries
[3:07] 23. Thanks For The Memory
[2:19] 24. I'm Gonna Sit Right Down And Write Myself A Letter
[2:52] 25. How Will I Know
[2:18] 26. You Can Depend On Me
[2:16] 27. That Old Feeling
[2:41] 28. Try A Little Tenderness
[3:07] 29. If I Didn't Care

The Platters were a successful black vocal group of the early rock n roll era. Their distinctive sound was a bridge between the pre-rock n roll Tin Pan Alley tradition of the Ink Spots and the Mills Brothers and the explosion of teenage music in the mid 1950s. The most successful incarnation of the group comprised lead tenor Tony Williams, David Lynch, Paul Robi, Herb Reed, and Zola Taylor.

The Platters formed in Los Angeles, CA, USA in 1953 and were initially managed by Ralph Bass. They had a contract with Federal Records but experienced little record success until they met music entrepreneur and songwriter Buck Ram. He added lead vocalist Tony Williams (who gave the Platters their distinctive sound) and female vocalist Zola Taylor. Under Ram’s guidance, the Platters recorded seven singles for Federal in an R&B/gospel style, scoring minor regional hits on the West Coast. One song recorded at Federal, “Only You (And You Alone)”, originally written by Ram for the Ink Spots was deemed unreleasable by the label. Despite lack of chart success, the Platters were a profitable touring group—so successful that The Penguins, fresh from their No. 2 single Earth Angel, asked Ram to manage them too. With the Penguins as a bargaining chip, Ram persuaded Mercury Records into a 2-for-1 deal. In order to sign the Penguins, he insisted, the label also take the Platters. Ironically, the Penguins never had a hit for the label.

Convinced by Tony Williams that “Only You” had potential, Ram had the group re-record it during their first Mercury session. Released in the summer of 1955, it became the group’s first Top Ten hit on the pop charts, and topped the R&B charts for seven weeks. It has since become one of the most played records in any genre and the song has been covered by innumerable artists. Ironically, the follow-up, The Great Pretender, with lyrics written by Ram in the washroom of the Flamingo Hotel in Las Vegas, exceeded the chart success of their début and became the Platters’ first national No.1 hit. The Great Pretender was also the act’s biggest R&B hit, with an 11-week run at the top of that chart. In 1956. The Platters appeared in the first major rock n roll movie, Rock Around the Clock, and performed both “Only You” and “The Great Pretender”[2] and they sang “You’ll Never Never Know” in The Girl Can’t Help It, produced the same year.

The Platters’ unique vocal style touched a nerve in the music-buying public, and a string of hit singles followed, including two more Top 100 No. 1 hits, one Hot 100 No. 1 hit, and more modest hits such as “I’m Sorry” (No. 11) and “He’s Mine” (No. 23) in 1957, “Enchanted” (No.12) in 1959, and “The Magic Touch” (No.4) in 1956. The Platters hit on a successful formula of updating older standards, such as “My Prayer”, “Twilight Time”, “Harbor Lights”, “To Each His Own”, “If I Didn’t Care” and Jerome Kern’s “Smoke Gets in Your Eyes”. This latter release caused a small controversy after Kern’s widow expressed concern that her late husband’s composition would be turned into a “rock n roll record”. It topped both American and British charts in a tasteful Platters-style arrangement.

The group was inducted into the Rock n Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in its inaugural year of 1998. The Platters were the first rock n roll group to have a Top Ten album in America. They were also the only act to have three songs included on the American Graffiti soundtrack that sparked an oldies revival in the early to mid-1970s: “Smoke Gets in Your Eyes”, “The Great Pretender” and “Only You (and You Alone)”.

Keep Me In Love

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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

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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

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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?

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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

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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!

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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

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