Alice Groves - Whisper Down The Wind

Styles: Vocal, Adult Contemporary
Year: 2012
File: MP3@320K/s
Time: 39:44
Size: 91,4 MB
Art: Front

(4:37)  1. MacArthur Park (Abridged)
(4:50)  2. Windmills of Your Mind
(4:20)  3. Across the Universe of Time
(4:01)  4. Wild Is the Wind
(3:51)  5. Forever and Ever
(4:32)  6. Dance Me to the End of Love
(5:13)  7. The First Time Ever I Saw Your Face
(8:17)  8. Jazz Tango to Love

Smooth Jazz edges weaving in and out of the evocative fusion of world sounds on this Adult Contemporary album - Yes, the music is stunningly beautiful, but it is the ethereal but gutsy soprano voice that grips your soul and won't let go. https://www.cdbaby.com/cd/alicegroves

Whisper Down The Wind

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Steve Turre - Sanctified Shells

Styles: Trombone Jazz
Year: 1993
File: MP3@320K/s
Time: 57:29
Size: 132,0 MB
Art: Front

( 5:12)  1. Exploration
( 5:41)  2. Gumbo
( 1:16)  3. African Shells- First Interlude - Strength
( 7:06)  4. Macho (Para Machito)
( 4:14)  5. African Shells- Second Interlude - The Dream
(11:21)  6. Beautiful India
( 8:24)  7. Toreador
( 2:12)  8. African Shells- Third Interlude - Happiness
( 4:30)  9. Sanctified Shells
( 7:27) 10. Spirit Man

Steve Turre's trombone playing takes a back seat to his work with shells on this CD. Joined by Robin Eubanks and Reynaldo Jorge on additional shells, Turre wrote or co-wrote all ten selections. There is an OK guest appearance by Dizzy Gillespie on "Toreador" and worthy spots for trumpeter Charlie Sepulveda, trombonist Clifton Anderson, and several percussionists, along with fine contributions from bassist Andy Gonzalez and drummer Herlin Riley. ~ Scott Yanow  http://www.allmusic.com/album/sanctified-shells-mw0000617865

Personnel: Steve Turre (trombone, horns, shaker, bells); Milton Cardona (guitarron, congas, claves, guiro, shaker, percussion); Dizzy Gillespie, Charlie Sepulveda (trumpet); Douglas Purviance (trombone, bass trombone); Renaldo Jorge (trombone, maracas); Clifton Anderson, Clinton Anderson, Robin Eubanks (trombone); Herlin Riley (drums, cowbells); Ignacio Berroa (drums, timbales, bells); Carmen Turre (castanets); Andy González (claves); Kimati Dinizulu (djembe, percussion); Dadal Roy, Badal Roy (tabla).

Sanctified Shells

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Grady Tate - Sings TNT

Styles: Hard Bop, Vocal
Year: 1991
File: MP3@224K/s
Time: 46:11
Size: 74,5 MB
Art: Front

(6:27)  1. TNT
(5:34)  2. You Go to My Head
(4:37)  3. Day by Day
(4:15)  4. Guess Who I Saw Today
(4:20)  5. Loose Change (The Beggar's Opera)
(4:01)  6. 'Deed I Do
(4:46)  7. Don't Misunderstand
(4:43)  8. Lonely Avenue
(3:23)  9. Where Do You Start?
(4:01) 10. Route 66

Though Tate has been featured as a vocalist often enough on records before this 1991 date, it still comes as a surprise to the many fans of his drumming that he is such a superb singer, too. Here, he combines the baritonal warmth of a Johnny Hartman, the flexibility of a Leon Thomas, the scatting agility of a Jon Hendricks, the authoritative swing of a Joe Williams and some other various qualities into his own unique container  a major singing style just waiting to be widely recognized. Foremost among the standards on this album is a great rendition of "You Go to My Head," full of authentic feeling and original phrasing, with a lovely tripping flute solo by reedman Bill Easley. Tate doesn't play drums at all on this gig, leaving the traps in the capable hands of Dennis Mackrel, who clearly got a lot of his inspiration on the rim shots and hi-hat from Tate.

Mike Renzi handles the keyboards, even doing some Jimmy Smith-inspired riffing behind Tate's closing rap on "Loose Change," and Tate's old rhythm partner on countless sessions, Ron Carter, returns on bass. ~ Richard S.Ginell  http://www.allmusic.com/album/tnt-mw0000676545

Personnel:  Bass – Ron Carter;  Drums – Dennis Mackrel;  Keyboards – Mike Renzi;  Tenor Saxophone, Flute, Soprano Saxophone – Bill Easley;  Vocals – Grady Tate

Sings TNT

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Cherry Poppin' Daddies - Please Return the Evening - Salute the Music of the Rat Pack!

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 45:00
Size: 103,3 MB
Art: Front

(2:46)  1. The Best Is Yet to Come
(3:08)  2. Come Fly With Me
(3:24)  3. The Lady Is a Tramp
(2:23)  4. Ain't That a Kick in the Head
(2:42)  5. Fly Me to the Moon
(1:59)  6. I'm Gonna Live Until I Die
(4:58)  7. Luck Be a Lady
(3:31)  8. I've Got You Under My Skin
(2:39)  9. Mr. Success
(3:21) 10. The Way You Look Tonight
(2:44) 11. Ring-A-Ding-Ding
(3:10) 12. Just One of Those Things
(2:28) 13. The Boys’ Night Out
(2:40) 14. Come Back to Me
(3:00) 15. That's Life

Although Cherry Poppin' Daddies became a popular act during the swing revival of the late 1990s, the eight-piece band formed one decade prior in Eugene, Oregon. Vocalist Steve Perry (aka MC Large Drink, a nickname intended to distance Perry from the famous Journey frontman) and bassist Dan Schmid initially crossed paths at the University of Oregon, and a shared interest in punk music convinced the students to leave school and pursue a band. After playing together in the Jazz Greats and St. Huck, the duo shifted gears in 1989 by forming Cherry Poppin' Daddies, a unique band whose lineup gradually encompassed guitarist Jason Moss, drummer Tim Donahue, trumpeter Dana Heitman, saxophonists Sean Flannery and Ian Early, and keyboard player Dustin Lanker. The musicians' dedication to ska, swing, jazz, and jump blues made them oddities in the Northwest, where grunge had already begun its reign. Nonetheless, Cherry Poppin' Daddies enjoyed a brief surge of success several years later, when the popularity of "Zoot Suit Riot" helped launch a nationwide swing music revival. Once formed, it didn't take long for the Cherry Poppin' Daddies to attract attention in the Northwest. Their performances were riddled with theatrics, phallic props, and lavish costumes, making them the recipients of much curiosity and a fair amount of backlash. Moreover, the music mixed elements of swing and jazz with punky rock & roll, while a horn section populated the group's eight-person lineup. The resulting sound was both energetic and unconventional, but America was in the midst of its love affair with grunge, and Cherry Poppin' Daddies' earliest records 1990's Ferociously Stoned and 1994's Rapid City Muscle Car  proved to be little more than cult favorites.

By the mid-'90s, the country's fascination with formerly neglected musical styles (including easy listening, lounge, and swing) had increased the band's prominence, along with similar groups like Squirrel Nut Zippers and Royal Crown Revue. The band's third album, Kids on the Street, benefited from such increased interest, and its popularity earned Cherry Poppin' Daddies a distribution deal with Caroline Records. Lacking the money to record a new album, the band chose instead to cater to America's slowly building swing craze by compiling the most swing-oriented tracks from their back catalog. The result was 1997's Zoot Suit Riot, a compilation that also featured four new tracks. One such track was the titular "Zoot Suit Riot," which became a surprise Top 40 hit in 1998 and helped pave the way for such revivalist bands as Big Bad Voodoo Daddy and Brian Setzer Orchestra. The album had sold more than two million copies by 2000, but the swing craze had already begun to fizzle out, resulting in poor sales for the follow-up effort, Soul Caddy. As touring opportunities dried up, the band took a temporary hiatus. Lanker and Schmid turned their attention to a side project, Visible Men, while Perry returned to the University of Oregon to receive an undergraduate degree. Cherry Poppin' Daddies began touring again in 2002, although activity was limited to sporadic shows until 2008, when the release of the Latin-flavored Susquehanna prompted the group to launch their first full-length tour in years. In 2009, the group released the Skaboy JFK: The Skankin' Hits of the Cherry Poppin' Daddies, a collection of ska culled from their early albums.

Over the next few years, the Cherry Poppin' Daddies toured regularly, adjusting their lineup slightly as they went. In 2012, the group started a PledgeMusic campaign to raise funds so they could complete their next album, White Teeth, Black Thoughts. Their PledgeMusic campaign was successful and the album was released in July of 2013. The band's first album of all swing-oriented music since 1997's compilation Zoot Suit Riot, White Teeth, Black Thoughts is also the first Cherry Poppin' Daddies album to include cover songs. ~ Andrew Leahey & John Bush, Rovi ~ Bio  https://itunes.apple.com/us/artist/cherry-poppin-daddies/id2225241#fullText

Please Return the Evening - Salute the Music of the Rat Pack!

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Betty Carter, Ray Bryant - Meet Betty Carter And Ray Bryant

Bitrate: MP3@320K/s

Time: 57:34

Size: 131.8 MB

Styles: Bop, Vocal jazz

Year: 1955/1996

Art: Front

[1:57] 1. Let's Fall In Love

[2:36] 2. Social Call

[2:28] 3. Run Away

[2:31] 4. Frenesi

[3:23] 5. Moonlight In Vermont

[1:40] 6. Thou Swell

[2:37] 7. I Could Write A Book

[4:11] 8. Gone With The Wind

[2:42] 9. The Way You Look Tonight

[2:33] 10. Tell Him I Said Hello

[2:26] 11. Can't We Be Friends

[3:16] 12. Sneaking Around

[3:58] 13. Old Devil Moon

[3:34] 14. Willow Weep For Me

[2:51] 15. What Is This Thing Called Love

[2:44] 16. Threesome

[2:51] 17. No Moon At All

[4:49] 18. Bryant's Folly

[4:19] 19. Get Happy

This LP featured singer Betty Carter and pianist Ray Bryant at the beginning of their careers. Carter's 25-year-old voice was already quite recognizable, although the improvising style on her 11 titles here is much more conservative than it would be from the 1970s on. However, Carter's scatting on "Frenesi" (which sounds like a wigged-out Carmen McRae) shows individuality, and her renditions of "Social Call," "I Could Write a Book," and "Moonlight in Vermont" are memorable. A historic and enjoyable set. ~Scott Yanow

Meet Betty Carter And Ray Bryant

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The Quincy Jones-Sammy Nestico Orchestra - Basie And Beyond

Bitrate: MP3@320K/s
Time: 64:07
Size: 146.8 MB
Styles: Mainstream jazz
Year: 2000
Art: Front

[5:38] 1. Ya Gotta Try ... Harder!
[5:14] 2. Belly Roll
[5:19] 3. Grace
[6:23] 4. The Joy Of Cookin'
[4:46] 5. Quintesssence
[7:21] 6. How Sweet It Is
[4:21] 7. Hard Sock Dance
[5:16] 8. The Witching Hour
[4:18] 9. For Lena And Lennie
[5:29] 10. No Time Like The Present
[4:08] 11. Lisette
[5:49] 12. Out Of The Night

Saxophone [Soprano & Tenor] – Kirk Whalum; Saxophone, Woodwind – Dan Higgins, Ernie Watts, Gary Foster, Gerald Albright, Jack Nimitz, Pete Christlieb; Trombone – Bill Reichenbach, Bill Watrous, Charlie Loper, George Bohannon, Reggie Young; Trumpet – Gary Grant, Jerry Hey, Oscar Brashear, Rick Baptist, Warren Luening, Wayne Bergeron; Tuba – Tommy Johnson; Vibraphone [Vibes], Percussion – Emil Richards; Piano – Randy Kerber; Bass [Electric] – Jimmy Johnson;), Neil Stubenhaus; Percussion [Additional] – Paulinho Da Costa; Double Bass – Chuck Berghofer; Drums – Vinnie Colaiuta; Drums [Additional] – Harold Jones; Electric Guitar – Paul Jackson, Jr.; Electric Piano – Greg Phillinganes; Flute – Hubert Laws; French Horn – Brad Warnaar, Greg Williams, Jerry Folsom.

Jones arranged and conducted for Count Basie in the late 1950s and early 60s. Nestico was the prolific workhorse of the Basie arranging staff during the final decade and a half of Basie's life. Their set of old and new arrangements is generally in the style of Basie's New Testament band, with even more of the smoothness and bottom-to-top power that some of his devotees admired and others disdained. Jones expands three of his classic pieces, "Quintessence," "Hard Sock Dance" and "For Lena and Lennie." He adds new versions of "The Witching Hour" and "Belly Roll" and uses an orchestration of "Grace" from his previous album, Q's Juke Joint. "Hard Sock Dance" begins with a conversation between drums and talking guitar that seems to have little to do with what follows, a superior piece of big band writing in the spirit and close to the letter of Jones' original arrangement. Vibraharpist Emil Richards is the featured soloist.

Other soloists are trumpeter Warren Luening reprising Harry "Sweets" Edison, and Hubert Laws on flute in Nestico's "How Sweet It Is;" tenor saxophonist Pete Christlieb, brief and stunning in "The Witching Hour;" Ernie Watts on tenor in "Belly Roll;" saxophonists Dan Higgins and Kirk Whalum in several spots; and Bill Watrous, wild on trombone in "Ya Gotta Try...Harder" and "No Time Like The Present." Whether the electric bass, funk guitar and percussion augmentation in Nestico's "Out of the Night," "The Joy of Cookin'" and a few of his other pieces constitute improvements to the Basie tradition or trendy updates will depend on the listener's perception. In any case, they justify the Beyond of the album title.

The big news here is that Quincy Jones has made his first straightahead jazz album in decades. Maybe he's coming back. ~Doug Ramsey

Basie And Beyond

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Bobbie Gentry - The Very Best Of Bobbie Gentry

Bitrate: MP3@320K/s
Time: 57:45
Size: 132.2 MB
Styles: Country-pop
Year: 2005
Art: Front

[2:50] 1. I'll Never Fall In Love Again
[2:32] 2. Something In The Way He Moves
[3:03] 3. Raindrops Keep Falling On My Head
[2:31] 4. All I Have To Do Is Dream
[2:16] 5. Walk Right Back
[2:49] 6. Seasons Come, Seasons Go
[2:04] 7. Son Of A Preacher Man
[3:17] 8. You've Made Me So Very Happy
[3:03] 9. Mississippi Delta
[4:12] 10. Ode To Billie Joe
[2:47] 11. Tobacco Road
[3:44] 12. The Fool On The Hill
[2:27] 13. Eleanor Rigby
[2:29] 14. Here, There And Everywhere
[2:29] 15. Where's The Playground, Johnny
[3:07] 16. Gentle On My Mind
[2:45] 17. In The Ghetto
[3:12] 18. Little Green Apples
[3:09] 19. My Elusive Dreams
[2:50] 20. Mornin' Glory

Bobbie Gentry did not record many albums but several compilations have been released. Because Bobbie only had a few big hits that have to be included, the remainder of each compilation often differs significantly. This UK compilation includes plenty of cover versions, some of which were duets with Glen Campbell. Of course, this compilation includes 'Ode To Billie Joe' & 'I'll Never Fall In Love Again' (a British number one hit). The covers include 'Raindrops Keep Falling On My Head' (B J Thomas), four Beatles classics, 'Son Of A Preacher Man' (Dusty Springfield), 'You've Made Me So Very Happy' (Blood Sweat & Tears), 'In The Ghetto' (Elvis Presley) and two Everly Brothers covers, which account for half of the Glen Campbell duets

The Very Best Of Bobbie Gentry

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Joe Cohn - Two Funky People

Bitrate: MP3@320K/s

Time: 59:00

Size: 135.1 MB

Styles: Guitar jazz

Year: 1997

Art: Front

[4:51] 1. Solar

[7:07] 2. But Not For Me

[4:23] 3. Quite Sip

[4:23] 4. Two Funky People

[5:19] 5. Mr. George

[4:51] 6. Serenata

[6:55] 7. Ask Me Now

[4:48] 8. High On You

[6:09] 9. Days Of Wine And Roses

[4:18] 10. Motion

[5:51] 11. You And Me

Guitarist Joe Cohn is the prodigiously talented son of famed tenor saxophonist Al Cohn. Some may find it odd that on his debut recording fellow guitarist Doug Raney appears alongside him on many of the tracks. The two-guitar format is somewhat reminiscent of Joe Pass's recordings with rhythm guitarist John Pisano, although here Raney is quite prominent throughout as a solo voice. Telling the two guitarists apart will in fact require a good deal of concentration on the part of most listeners. In general, Cohn is the faster and more rhythmically adventurous of the two; his tone is brighter and more dry than Raney's. One would have hoped for more of a Joe Cohn showcase rather than a date on which another guitarist, a second "funky person," practically shares top billing. That said, both Cohn and Raney are fantastic straight-ahead players and they make beautiful music together, aided by Dennis Irwin on bass and Barry Ries on drums. Four of the tracks are seldom-played gems by Al Cohn, including the title track. Another, "Motion," is by Doug Raney's famous father, Jimmy Raney. (Perhaps it is the famous dads connection that brought these two together.) Other tracks include the classics "But Not for Me," "Solar," "Days of Wine and Roses," "Ask Me Now," and "Serenata." Thad Jones's mid-tempo burner "Quite Sip" is Cohn's one trio feature, and a great one. ~David R. Adler

Two Funky People

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Trudy Kerr - Day Dream

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 63:22
Size: 145,6 MB
Art: Front

(5:53)  1. Polkadots & Moonbeams
(3:49)  2. That Old Black Magic
(5:10)  3. I've Got the World On a String
(5:19)  4. Day Dream
(4:56)  5. Small Day Tomorrow
(5:33)  6. You Don't Know What Love Is
(3:59)  7. I've Got Just About Everything
(6:54)  8. The Masquerade Is Over
(7:25)  9. Mad About the Boy
(4:47) 10. Star Eyes
(4:56) 11. Glad to Be Unhappy
(4:36) 12. I Get Along Without You Very Well

Always in possession of impressive technique and a powerful voice, singer Trudy Kerr brings to her third album greater assurance, more sophisticated phrasing and interpretative qualities gained through experience. She has also moved away from that Chaka Khan approach to singing which characterized earlier recordings. Despite her strong voice, she doesn't overdo it as she moves from up tempo enthusiasm to husky torch singing. Listen to "That Old Black Magic" which starts out just above a whisper but throughout moves up and down the dynamics scale. 

The same is true for "I Get along without You Very Well" as Kerr works with the drummer who uses cymbals and rolls to underscore the musical message she is making with the lyrics. Nice job. It puts a burden on the listener to stay tuned in. Miss a measure or two and you'll miss an inflection, a slight change of tempo, an unusual accent. Kerr respects the words, turning to scatting infrequently. On those tunes when it seems she is about to launch into a scat, she teases and backs away. Another feature of the album are the unique arrangements. Unfortunately no credit for that good work is given. Nevertheless, because this is an album of practically all standards, it was important that the arrangements avoid well trod interpretative paths. 

This is accomplished through the interplay of Kerr with the musicians, for instance between her and Geoff Gascoyne's bass and Sebastiaan de Krom's drums on I've Got the World on a String". Kerr also engages with some clever vocal noodling to end the tune. But it's the presence of one of the top jazz pianist on today's scene, Mulgrew Miller, which is the icing that makes this CD especially appetizing. His dedication to the music and to Kerr's vocal phrasing is critical to the success of this album. This is a vocal set of constantly changing moods, expressions of fresh ideas and solid musicianship. Recommended. ~ Dave Nathan  http://www.allaboutjazz.com/day-dream-trudy-kerr-jazzizit-review-by-dave-nathan.php

Personnel: Trudy Kerr - Vocals; Mulgrew Miller - Piano; Geoff Gascoyne - Bass; Sebastian de Krom - Drums; Guy Barker - Trumpet

Day Dream

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Roy Hargrove - Family

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 78:52
Size: 181,5 MB
Art: Front

(2:22)  1. Trilogy: Velera
(3:48)  2. Trilogy: Roy Allan
(4:56)  3. Trilogy: Brian's Bounce
(7:03)  4. The Nearness of You
(4:01)  5. Lament for Love
(6:23)  6. Another Level
(6:11)  7. A Dream of You
(8:39)  8. Pas de Trois
(5:36)  9. Polka Dots and Moonbeams
(3:46) 10. The Challenge
(3:36) 11. Ethiopia
(6:00) 12. Nostalgia
(5:57) 13. Thirteenth Floor
(6:51) 14. Firm Roots
(3:38) 15. The Trial

This well-rounded set not only features trumpeter Roy Hargrove with his mid-'90s quintet (tenor saxophonist Ron Blake, pianist Stephen Scott, bassist Rodney Whitaker, and drummer Gregory Hutchinson) but with two other rhythm sections and a few special guests. The first three selections (which includes the uptempo blues "Brian's Bounce") are called "Trilogy" and dedicated to various family members. Hargrove shows off his warm tone on "The Nearness of You" (a ballads with strings album was in the near future), and other highlights include the lyrical "Pas de Trois," a duet by Hargrove and bassist Walter Booker on Larry Willis' "Ethiopia," and a driving version of "Firm Roots." 

A meeting between Hargrove and Wynton Marsalis on the bop standard "Nostalgia" is disappointingly tame, but otherwise this is a high-quality modern hard bop release. ~ Scott Yanow  http://www.allmusic.com/album/family-mw0000173529

Personnel: Roy Hargrove (trumpet, flugelhorn); Ron Blake (soprano & tenor saxophones); Jesse Davis (alto saxophone); David "Fathead" Newman (tenor saxophone, flute); Wynton Marsalis (trumpet); Stephen Scott, John Hicks, Larry Willis, Ronnie Mathews (piano); Rodney Whitaker, Christian McBride, Walter Booker (bass); Gregory Hutchinson, Lewis Nash, Jimmy Cobb, Karriem Riggins (drums).

Family

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Grady Tate - All Love

Styles: Hard Bop, Vocal
Year: 2007
File: MP3@320K/s
Time: 47:38
Size: 109,2 MB
Art: Front

(3:59)  1. Follow the Path
(6:30)  2. My One and Only Love
(4:17)  3. A Weaver of Dreams
(3:24)  4. What are You Doing the Rest of Your Life
(5:34)  5. Dream Love
(7:01)  6. Don't Misunderstand
(5:09)  7. In A Sentimental Mood
(5:05)  8. Estate
(6:34)  9. Sophisticated Lady

Grady Tate is best known as a top drummer, much in studio demand, with a long and impressive resumé. His singing talents are less widely documented, although he's released about a dozen vocal albums since 1968 and was nominated for a 1986 Best Jazz Vocal Grammy for his performance of "She's out of My Life." Tate is a fine singer in the Nat Cole/Johnny Hartman tradition: smooth and soulful, with naturalistic phrasing and a direct emotional message. While he doesn't have a big voice, it's affable and very pleasant, and the classic love songs on All Love are the perfect material to set it off. Two of the tunes are less familiar  "Follow the Path," a pretty melody by the late Bobby Scott with inspirational lyrics by Mort Goode, and Tate's own heartfelt "Dream Love." 

Tate enlists some stellar colleagues to enhance the mood and meaning of each track, including veterans Frank Wess, whose masterful flute blows cool and fresh, and pianist Kenny Barron, whose elegant solos are a delight (see, for example, his understated beauty on "My One and Only Love"). Tate plays drums on five of the nine tracks, with the legendary Jimmy Cobb on four. All told, All Love is a relaxed and engaging CD, refreshingly free of hype and fluff. ~ Judith Schlesinger  http://www.allmusic.com/album/all-love-mw0000316568

Personnel: Grady Tate (vocals, drums); Frank Wess (tenor saxophone, flute); Kenny Barron, Richard Wyands (piano); John Di Martino (Fender Rhodes piano); Ira Coleman (bass); Jimmy Cobb (drums).

All Love

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New York Standards Quartet - Unstandard

Styles: Jazz
Year: 2011
File: MP3@320K/s
Time: 55:22
Size: 127,4 MB
Art: Front

(8:17)  1. How High The Moon
(0:57)  2. Polka Beamlet #1
(4:59)  3. All the Things You Are
(0:46)  4. Polka Beamlet #2
(7:07)  5. Stablemates
(4:19)  6. But Beautiful
(6:48)  7. Lunar
(5:48)  8. Interplay
(2:08)  9. Two Meetings
(6:22) 10. The Ballet Girl Stirs (by Starlight)
(0:34) 11. After Thought
(6:21) 12. Summer Night
(0:48) 13. Polka Beamlet #3

It's a pleasure when a group of great jazz players take American standards and reshape them with their own unique stamp. This happens on New York Standards Quartet's Unstandard, where the musical gambit the direction these musicians take the originals is often surprising. Pianist David Berkman leads the way, handling arrangements and contributing originals, all the while taking impeccable solos. This is a joint effort, and veteran drummer Gene Jackson is invaluable, impressively powering the pace, aided by bassist Yosuke Inoue. The spotlight shines brightest, though, on Tim Armacost, whose forceful soprano and tenor saxophones anchor most pieces. The clever adaptations begin with the opener, Morgan Lewis' "How High the Moon." 

On this, the soprano evokes an eerie, funereal feeling, before warming up; this is not the usual bright, bouncy treatment of this jazz staple.) Likewise, the quartet's version of Jerome Kern's "All the Things You Are" takes advantage of the exotic effects a soprano can provide; a bow, here, to John Coltrane's pioneering work on thie instrument. Berkman's "Lunar" is an intriguing deconstruction of Miles Davis' "Solar." After a brief exploration, it's possible to here the place in the late trumpet icon's jazz universe, with Berkman's probing piano the master guide. Armacost puts his brand on Benny Golson's classic "Stablemates," which owes much to Sonny Rollins' tenor imprint. The composition, largely unrecognizable at first, soon becomes familiar and goes its atonal way. Jimmy Van Heusen's ''But Beautiful," becomes pastoral here, with a rippling stream and waterfall effect created by flute, piano and cymbal.

The touchstone of the CD's creative excellence is in Berkman's rework of Victor Young's "Stella By Starlight," known here as "The Ballet Girl Stirs (By Starlight)." After a stunning tour de force opening on tenor, the piano comes to the fore. Near the end, Young's haunting melody asserts itself, which brings a satisfied recognition of what was previously felt subliminally. Three charming vignettes on "Polka Dots and Moonbeams," each less than an minute, divide the play list, further evidence that Unstandard is not a usual series of the familiar. ~ Larry Taylor  http://www.allaboutjazz.com/unstandard-challenge-records-review-by-larry-taylor.php
 

Personnel: David Berkman: piano; Tim Armacost; soprano and tenor saxophones, flute; Yosuke Inoue; bass; Gene Jackson; drums.

Unstandard

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Carmen McRae - Diva

Bitrate: MP3@320K/s
Time: 50:41
Size: 116.0 MB
Styles: Standards, Vocal jazz
Year: 2003
Art: Front

[2:09] 1. Falling In Love With Love
[3:46] 2. I Only Have Eyes For You
[3:07] 3. Speak Low
[4:13] 4. Midnight Sun
[2:21] 5. I'm Putting All My Eggs In One Basket
[2:27] 6. (How Little It Matters) How Little We Know
[2:59] 7. Skylark
[4:13] 8. My Man's Gone Now
[2:42] 9. Comes Love
[2:23] 10. All The Things You Are
[3:15] 11. Ain't Misbehavin'
[2:50] 12. Do You Know Why
[3:24] 13. Bye Bye Blackbird
[3:07] 14. Any Old Time
[3:42] 15. That Old Devil Moon
[3:57] 16. I'm Glad There Is You

If you are making a shortlist of the best jazz singers, Carmen McRae had better be right at the top. She had a distinctive voice, able to do heartbreaking and lighthearted equally as thrillingly. She had an unerring sense of melody and her phrasing is a thing of beauty. This collection covers her work in the mid-'50s for Decca both with small groups and larger orchestras. She shines on swinging tracks like "Comes Love," "Falling in Love With Love," and "I'm Putting All My Eggs in One Basket" and won't leave a dry eye in the house with her deeply emotional ballad singing. "Do You Know Why," "Midnight Sun," and the achingly beautiful "I'm Glad There Is You" are prime examples of McRae's way with a ballad. Each of the 16 tracks here is like a primer on how to be a vocalist, jazz or otherwise. McRae's entry in Verve's Diva Series is a fine introduction to her 1950s recordings. ~Tim Sendra

Diva

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Brazilian Jazz Quartet - Coffe And Jazz

Bitrate: MP3@320K/s
Time: 31:42
Size: 72.6 MB
Styles: Latin jazz
Year: 1958/2011
Art: Front

[2:11] 1. The Lonesome Road
[2:40] 2. When Your Lover Has Gone
[2:27] 3. Cop-Out
[2:40] 4. Black Satin
[3:12] 5. Making Whoopee
[3:06] 6. No Moon At All
[2:22] 7. Old Devil Moon
[2:25] 8. Don't Get Around Much Any More
[2:51] 9. You'd Be So Nice To Come Home To
[3:18] 10. I'll Close My Eyes
[2:29] 11. Alone
[1:56] 12. Too Marvelous For Words

The Brazilian Jazz Quartet was an underground Brazilian jazz quartet from the late 1950s featuring Moacyr Peixoto) (Piano), José Ferreira Godinho Filho "Casé" (Alto Sax), Rubens Alberto Barsotti "Rubinho" (Drums), and Luiz Chaves Oliveira da Paz "Luiz Chaves" (Bass). As a matter of fact, this group should be considered as a sort of embryo of the legendary Zimbo Trio.

The band released one album in 1958, called Coffee and Jazz.

Coffe And Jazz

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Ben Webster, Buck Clayton - Ben & Buck

Bitrate: MP3@320K/s

Time: 65:04

Size: 149.0 MB

Styles: Bebop

Year: 1994/2008

Art: Front

[7:47] 1. The Hucklebuck

[5:48] 2. Satin Doll

[7:12] 3. Perdido

[6:51] 4. My Romance

[6:14] 5. In A Mellotone

[5:15] 6. That's All

[6:37] 7. Topsy

[4:53] 8. I Want A Little Girl

[7:48] 9. C Jam Blues

[6:35] 10. Sunday

"Ben and Buck" was recorded in Switzerland in 1967 during a period when Buck Clayton was touring Europe and performing with local small group talent--in this case, the Henry Chaix quartet. However, their regular sax player sat out so that Ben Webster, who settled in Europe permanently in 1964, could join Buck at Kantonsschule Baden for this session. The boys really cook for "Hucklebuck" and "Perdido". More Ellingtonia with "Satin Doll" and "C Jam Blues". Buck solos his signature number "I Want a Little Girl". Ben steps up for 2 soulful, slow tunes: "My Romance" and "That's All"-pure heaven.. an older Webster still retained that trademark rich tone. Ten lengthy traks in all. Arild Wideroe had the foresight to produce/record these concerts-fortunately for us-and Sackville Records of Toronto is the proud distributor of this series of historic concerts. ~ canuckteach Jazz Guy

Ben & Buck

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David Becker & Joe Diorio - The Color Of Sound

Bitrate: MP3@320K/s
Time: 56:04
Size: 128.3 MB
Styles: Contemporary jazz, Guitar jazz
Year: 2010
Art: Front

[7:14] 1. Blues For Brother Bru
[5:38] 2. Beautiful Love
[4:08] 3. Waltz For Lavignia
[1:54] 4. Dance Of The Inner Valley
[6:59] 5. All The Things You Are
[2:41] 6. How Old Are You
[4:25] 7. The Color Of Sound
[2:42] 8. Reflections Of India
[9:10] 9. Stella By Starlight
[2:02] 10. How Old Do I Look
[6:44] 11. Summertime
[2:22] 12. In A Minute

David Becker's previous release, Euroland, was a multitracked affair where Becker himself played all the instruments to produce a layered sound that evoked different images through music.

On The Color of Sound, Becker plays duos with his mentor, Joe Diorio. For the most part, they both play standard electric guitar, but Becker throws in some synthesizer, a "tabla" guitar (a guitar with a playing card woven between the strings, plus an acoustic pickup to produce a pitched percussive sound), and a nine-string acoustic guitar (an open-tuned acoustic twelve-string with only nine strings). The two players perform live on the recording, except for some overdubbing of strings on "The Color of Sound" and "In A Minute," the sitar sound on "Reflections Of India," and brushes by Bruce Becker on the intro "Blues For Brother Bru."

In terms of actual guitar sound, the two players are similar, using "hot" pickups with a bit of drive and reverb that allows one to hear the pick touch the string. Stylistically Becker and Diorio are clearly related, as expected, and their music has an abstract quality marked by unique chord voicings and lines that are often miles away from standard boppish guitar. In the arrangements, Becker and Diorio have taken great care to maintain a distance from each other, so as to always present a clear picture to the listener. They stay out of each other's way and use different parts of the guitar's range. Also, Becker keeps to the left channel and Diorio to the right.

The tracks include a very nice mix of standards, Becker compositions, and extemporaneous compositions—a bit of something for everyone. On the standards, the emphasis is many times on the give and take of ideas, rather than merely trading places soloing and comping, thus providing much fascinating listening. The soloing does allow the listener to get a glimpse into each player's mind as they constantly flirt with the melody as well as the changes. Becker states that the compositions he brought were written with Diorio in mind. "The Color of Sound" is a beautiful ballad, full of emotion, while "Waltz for Lavignia" has fun with the 3/4 time as it dances and swings.

On the five fully improvised tracks the degree of musical ESP can be heard, along with the most "modern" playing and stretching out. On these tracks, Becker and Diorio embark on a number of musical expeditions into different colors of sound and manage to create coherent, albeit abstract music that is a joy to listen to. The Color of Sound is a very fine record that should appeal to more than just guitarists. Becker and Diorio clearly had fun in the studio, and the fact that Becker could finally record with his mentor inspired him greatly. If you don't know these players, this release might make you look into their catalogues. ~Budd Kopman

David Becker: electric guitar, tabla guitar, nine-string guitar, synthesizer; Joe Diorio: electric guitar

The Color Of Sound

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The Mamas & The Papas - If You Can Believe Your Eyes And Ears

Bitrate: MP3@320K/s
Time: 34:16
Size: 78.5 MB
Styles: AM pop, Folk rock
Year: 1966/1992/2014
Art: Front

[3:24] 1. Monday Monday (Single Version)
[2:56] 2. Straight Shooter
[2:50] 3. Got A Feelin'
[2:35] 4. I Call Your Name
[2:57] 5. Do You Wanna Dance
[2:26] 6. Go Where You Wanna Go
[2:37] 7. California Dreamin' (Single Version)
[3:18] 8. Spanish Harlem
[3:13] 9. Somebody Groovy (Single Version)
[2:27] 10. Hey Girl
[2:19] 11. You Baby
[3:11] 12. The In Crowd

In the spring of 1966, If You Can Believe Your Eyes and Ears represented a genuinely new sound, as fresh to listeners as the songs on Meet the Beatles had seemed two years earlier. Released just as "California Dreaming" was ascending the charts by leaps and bounds, it was the product of months of rehearsal in the Virgin Islands and John Phillips' discovery of what one could do to build a polished recorded sound in the studio -- it embraced folk-rock, pop/rock, pop, and soul, and also reflected the kind of care that acts like the Beatles were putting into their records at the time. "Monday, Monday" and "California Dreamin'" are familiar enough to anyone who's ever listened to the radio, and "Go Where You Wanna Go" isn't far behind, in this version or the very similar rendition by the Fifth Dimension. But the rest is mighty compelling even to casual listeners, including the ethereal "Got a Feelin'," the rocking "Straight Shooter" and "Somebody Groovy," the jaunty, torch song-style version of "I Call Your Name," and the prettiest versions of "Do You Wanna Dance" and "Spanish Harlem" that anyone ever recorded.

If the material here has a certain glow that the Mamas & the Papas' subsequent LPs lacked, that may be due in part to the extensive rehearsal and the exhilaration of their first experience in the studio, but also a result of the fact that it was recorded before the members' personal conflicts began interfering with their ability to work together. The work was all spontaneous and unforced here, as opposed to the emotional complications that had to be overcome before their next sessions. ~Bruce Eder

If You Can Believe Your Eyes And Ears

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Julia Rich - If I Spoke French

Bitrate: MP3@320K/s
Time: 56:58
Size: 130.4 MB
Styles: Vocal, Traditional pop
Year: 2003/2007
Art: Front

[4:06] 1. If I Spoke French
[3:53] 2. La Vie En Rose
[2:38] 3. I Will
[3:10] 4. What A Difference A Day Made
[3:26] 5. Boyfriends
[3:26] 6. My First Love
[5:17] 7. Don't Blame Me
[2:17] 8. Hula Girls And Sea Shells
[2:05] 9. Ding Dong! The Witch Is Dead
[3:07] 10. Teach Me Tonight
[4:15] 11. Working Girls
[5:32] 12. The Tennessee Waltz
[2:32] 13. Matching Rings
[3:25] 14. All The Cats Join In
[4:13] 15. I Know Why
[3:30] 16. You're Nobody Till Somebody Loves You

Recording Date:December 26, 2002 - January 3, 2003.

Julia Rich has a warm singing voice, a style that falls between swinging jazz and cabaret, and the ability to sing a wide variety of material. She is best-known for singing with the Glenn Miller "ghost orchestra" but has the ability to stretch herself far beyond nostalgia swing. On If I Spoke French, her second CD as a leader, the repertoire ranges from "La Vie en Rose" to the Beatles' "I Will"; from a few of her witty and at-times wistful originals to "The Tennessee Waltz" and "All the Cats Join In." In addition to a rhythm section with either Tony Migliore or Gary Weaver on piano, she is joined by a combo that includes trombonist Larry O'Brien (from the Glenn Miller Band) and tenor-saxophonist Rickey Woodard. All in all, this is an entertaining and very musical outing. ~Scott Yanow

If I Spoke French

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Bud Powell - Time Waits

Bitrate: MP3@320K/s
Time: 41:40
Size: 95.4 MB
Styles: Piano jazz, Bop
Year: 1958/1999
Art: Front

[5:29] 1. Buster Rides Again
[4:32] 2. Sub City
[5:05] 3. Some Soul
[4:28] 4. Blue Pearl
[4:47] 5. Monopoly
[5:36] 6. John's Abbey
[6:41] 7. Blue Pearl
[2:35] 8. Sub City
[2:23] 9. John's Abbey

This set from pianist Bud Powell (which has been reissued on CD in a "complete" four-CD set) is most notable for having the debut versions of seven of Powell's compositions; most memorable are "Time Waits," "Monopoly" and especially "John's Abbey." With bassist Sam Jones and drummer Philly Joe Jones completing the trio, Powell is in surprisingly fine form throughout the enjoyable session, creating music that is far superior to his later Verve recordings. ~Scott Yanow

Time Waits

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Karen Edwards, Jarek Smietana - Everything Ice

Styles: Vocal And Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 54:57
Size: 126,6 MB
Art: Front

(4:30)  1. Everything Ice
(7:34)  2. Summertime
(5:44)  3. Don't Let Me Be Lonely Tonight
(5:43)  4. I Loves You Porgy / Bess You Is My Woman
(4:25)  5. Samba Carrera
(6:36)  6. Tuxido Blues
(5:42)  7. Mr.Soul
(4:15)  8. I Will Trust In The Lord
(4:45)  9. The Face I Love
(5:38) 10. Skylark

Plate at the highest level recorded ten years ago in Krakow is great. After exhausting effort of the first edition of the album, album re-released in a new attractive layout in a digipack. You might as well treat this record as recorded today, because after ten years of making records is still very fresh. After the rhythmic title track being one of the three original compositions Karen Edwards posted on the board opening -First pearl album: quite unusual and wonderfully sung version of 'Summertime' 'George Gershwin. It would seem that the standard is implemented in all sorts of so many interpretations of the world's greatest artists can no longer sound creatively. Meanwhile, Jarek version Cream and Karen Edwards is simply stunning; wieloglosy appear as background vocals Karen bring great association with Manhattan Transfer vocal arrangements and guitar Cream perfectly complements the whole. 

Perfectly sound '' Do not Let Me Be Lonely Tonight '' J.Taylora, decorated with magnificent solo guitarist, whose vocal 'przyspiewujacy' guitar during the game makes it one of the best parts of the disc. Edwards's voice seems to have unlimited possibilities when it passes freely singer with a deep low even girlish vocals, flickering manner of a singer. Great glory to Jarek Cream for the discovery of the Polish listeners this unique musical personality that is undoubtedly talented Karen Edwards! Masterpiece is another topic of Gershwin's' Porgy And Bess' ':' 'I Loves You Porgy / Bess, You Is My Woman' '-great this time thanks to Karen for convincing Jarek to sing a duet of this beautiful theme. Sound vocal lines perfectly straight against Cracovia Symfonietta Wojtek Karolak arrangement. I have a collection of records many different versions of this subject in the execution of Major (even R.Charles-C.Laine or L.Armstrong-E.Fitzgerald) and I have no doubt as to the inclusion of this version of the most beautiful I've ever heard, and among recorded in the last years is simply the best! Another theme is '' Samba Carrera '' kompozycja Cream and W.Sendeckiego. 

Here Karen sings wordless vocals unusual in the hot rhythms of samba -mistrzostwo! Edwards second composition on the album is great '' Tuxido Blues '' decorated with an outstanding solo blues Cream. Maybe a little tease in this piece added electronic background, but the sound of several guitars Cream, cool bass solo (T.Kupiec) and famously sounding drums (A.Czerwinski) are '' cherries' 'to the blues'' cake '. '' Mr. Soul '' Cream is another piece decorated with wordless vocals doskonaly climate jazz traditions Novi Singers caring whether some of the best achievements of Urszula Dudziak.

Karen Edwards is an extremely versatile singer and composer kolejnym proof of this is the gospel song by her: 'I Will Trust In The Lord' ', referring to the famous'' Amazing Grace '' J.Newtona. Karen performs the song solo accompanying himself on the piano only. Listening to 'The Face I Love' 'heard a similar style of vocal interpretation which popularized Basia. Hard hitting piano keys Karen sings vocals to at some point give way to another great solo guitar Cream. It is extremely rare to piano and guitar as a wonderful complement for this album; one instrument accompanies another, and after a while seamlessly swap roles. This really excellent second album ends with posted recordings with the orchestra arrangement Symfonietta W.Karolaka Cracovia. 

This time it is a beautiful theme Carmichael: '' Skylark ', during which it would appear that nothing has vocals Karen does not surprise us after a few minutes of listening to a disc. However, it is otherwise; beautiful voice reveals its further areas unless an unlimited scale, while the cream treats us to the next solos in his only unique and recognizable style. Against the background of the orchestra sounds great. The end of the album? No, I listen again ... from the beginning! Translate by google  http://longplayrecenzje.blox.pl/2011/07/KAREN-EDWARDS-JAREK-SMIETANA-Everything-Ice-CD.html

Personnel:  Acoustic Bass – Tomasz Kupiec;  Drums – Adam Czerwinski;  Guitar – Jaroslaw Smietana;  Piano – Karen Edwards; Vocals – Jaroslaw Smietana, Karen Edwards

Everything Ice

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