Joe Temperley - With Every Breath...

Bitrate: MP3@320K/s
Time: 77:09
Size: 176.6 MB
Styles: Saxophone jazz
Year: 1998
Art: Front

[4:45] 1. Three Little Words
[5:39] 2. When Lights Are Low
[4:12] 3. Skylark
[5:54] 4. Riverside Drive
[6:54] 5. Close To You
[8:05] 6. Blue Monk
[5:31] 7. Long Ago & Faraway
[4:53] 8. The Very Thought Of You
[5:29] 9. Skye Boat Song
[4:43] 10. In A Sentimental Mood
[7:12] 11. With Every Breath I Take
[4:50] 12. Smoke Gets In Your Eyes
[4:54] 13. Ow
[4:05] 14. I Hear The Shadows Dancing

Although he rarely showed up that high in jazz polls, Joe Temperley was one of the top baritone saxophonists of the 1990s. He has often taken Harry Carney's role when he performs with the Lincoln Center Jazz Orchestra during their Duke Ellington re-creations, but Temperley normally has a lighter sound that is slightly reminiscent of Lars Gullin and Gerry Mulligan. His fluidity on the heavy horn is quite impressive, and he improvises in a style open to both swing and bop. On his 1998 Hep CD, Temperley not only plays baritone but does a fine job on both soprano sax and bass clarinet. Assisted on the London sessions by pianist John Pearce and/or guitarist Jim Mullen, bassist Dave Green and drummer Martin Drew, Temperley alternates standards (such as "Three Little Words," a tender "Skylark" and Dizzy Gillespie's "Ow") with lesser-known material (including his own "Riverside Drive," "Skye Boat Song" and Mulligan's "I Hear the Shadows Dancing"). Throughout, Temperley plays quite beautifully, coming up with consistently creative ideas within the straight-ahead tradition. This is one of his finest recordings to date. ~Scott Yanow

With Every Breath...

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Willie Bobo - Hell Of An Act To Follow

Bitrate: MP3@320K/s

Time: 36:19

Size: 83.2 MB

Styles: Latin jazz, Funk

Year: 1978

Art: Front

[5:08] 1. Always There

[5:11] 2. Keep That Same Old Feeling

[3:42] 3. Together

[3:50] 4. Pisces

[6:18] 5. Dindi

[4:23] 6. Snort Of Green

[4:21] 7. Fairy Tales For Two

[3:23] 8. Sixty-Two Fifty

Keyboards – Bobby Lyle, Stuart Elster; Percussion – Victor Pantoja, Willie Bobo; Saxophone, Flute – Ernie Watts, Gary Herbig; Bass – Donny Beck, Nathaniel Phillips; Drums – Steven Guiterrez; Guitar – Roland Bautista; Trombone – Thurman Green; Trumpet, Flugelhorn – Oscar Brashear, Ronald King; Vocals – Alex Brown, Alicia M. Howard, August Johnson, Deborah D.Thomas, Mortonette M.Jenkins, Sylvia St. James, Willie Bobo.

Hell Of An Act To Follow was produced by Wayne Henderson. The album featured some great musicians including Bobby Lyle and Conga/Latin percussionist Victor Pantoja. Henderson gave Bobo a more sophisticated production style and the album has become a Jazz Funk classic.

Hell Of An Act To Follow

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Paul Gonsalves - Gettin' Together

Bitrate: MP3@320K/s
Time: 39:36
Size: 90.6 MB
Styles: Bop, Saxophone jazz
Year: 1967/1991/2007
Art: Front

[3:32] 1. Yesterdays
[4:58] 2. J And B Blues
[4:22] 3. I Surrendear Dear
[4:58] 4. Hard Groove
[7:52] 5. Low Gravy
[4:06] 6. I Cover The Waterfront
[4:55] 7. Gettin' Together
[4:47] 8. Walkin'

The most easily available of tenor saxophonist Paul Gonsalves' in frequent sessions as a leader, this CD is a straight reissue of his original Jazzland LP. Three songs (including two ballads) showcase Gonsalves in a quartet with pianist Wynton Kelly, bassist Sam Jones and drummer Jimmy Cobb, while five other pieces add cornetist Nat Adderley (in his prime during the era) to the band. The music is straight-ahead and shows that Gonsalves was quite capable of playing with younger "modernists." ~Scott Yanow

Gettin' Together

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Pat Peterson - Do It Now

Styles: Vocal, R&B
Year: 2005
File: MP3@320K/s
Time: 35:49
Size: 82,2 MB
Art: Front

(9:30)  1. I'm In Love With Love
(8:15)  2. Without You
(6:14)  3. Satisfied
(6:07)  4. No Beginning No End
(5:42)  5. Do It Now

Recorded in 1982 and released as Introducing Pat Peterson, then issued on CD in 2004, pianist and singer Pat Peterson's debut as a leader was reissued in 2011. Those to whom her name is unfamiliar may be tempted to pick it up just for the sidemen, who include guitar legend John Scofield, tenor saxophonist David "Fathead" Newman, and drummer Billy Hart. Unfortunately and against all odds the album ends up disappointing. Peterson writes well, in a jazz-soul mode, and has a gorgeous voice. But when she really gets into it, her pitch gets unreliable; on the title track and "No Beginning No End" she goes especially flat on the high notes, and on "I'm in Love with Love" and "Without You" the grooves are strangely anemic. Her A-list sidemen ought to be able to help, but Scofield seems to be phoning it in (his solo on "I'm in Love with Love" is downright desultory and frankly sounds like someone else), and it's only Newman's soloing that generates real musical interest; he's especially brilliant on "I'm in Love with Love" and "Without You." The album's best track is a nicely rolling midtempo R&B number titled "Satisfied." Everything else falls rather flat. ~ Rick Anderson  http://www.allmusic.com/album/do-it-now-mw0001472820

Personnel: Pat Peterson (vocals, piano); John Scofield (guitar); David "Fathead" Newman (tenor saxophone); Billy Hart (drums).

Do It Now

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The Dutch Swing College Band - The Dutch Swing College Band 1558-59 Disc 1 And Disc 2

Lake Records are usefully working their way through the recordings of the Dutch Swing College Band, and have now reached the late 1950s with this double album. The DSC must be one of the longest-running trad bands in the world, having been formed in 1945 and, as far as I know, still going strong.The first CD is a concert recorded in April 1958 at the Concertgebouw in Amsterdam. At this time the band was led by pianist Joop Schrier, and it was a tight little outfit which played an interesting mixture of Dixieland favourites, jazz standards and even such originals as Schrier's Jubileum Blues. The band's eclecticism is shown by their inclusion of Sandy Brown's African Queen.

Wybe Burna was a strong lead trumpeter and Wim Kolstee supplied a thrusting tailgate style of trombone, but the star for me is clarinettist Jan Morks, who displayed his versatility by sounding like numerous different clarinettists according to the tune being played: all the way from chalumeau to top-of-the-range. In the ensembles he provided the necessary athletic twinkle but in solos he could encompass numerous different styles. In South Rampart Street Parade, he contributes a high-flying solo, but his tone is darker on Creole Love Call before wailing with passion. On African Queen, he emulates the tune's composer, Sandy Brown, while his solo in Squeeze Me reaches the heights without squeaking. His feature on It's All Right With Me displays his wide range and well-constructed playing at a demandingly fast tempo. Buddy's Habit is also up-tempo but Jan negotiates it with no sense of strain. Neva Raphaello adds vocals to tracks 3, 6, 8 and 11, reminding me of Ottilie Patterson in her delivery.

The second CD consists of studio recordings from 1959, which are unaccountably not given in chronological order. The ambiguous personnel details are difficult to negotiate, so I have amalgamated them in the listings above. By this time, founder member Peter Schilperoort had returned to the band, which continues its eclectic approach, including the original March of the Indians by bassist Bob van Oven and even a rocking version of Tennessee Waltz. This CD lacks some of the excitement of the live recordings on the previous disc. The CD opens with Wybe Burna doing a vocal on Ice Cream with different lyrics from what listeners may be used to. Memphis Blues benefits from a clear lead by trumpeter Oscar Klein and an outspoken trombone solo by Dick Kaart.

Take Your Pick is a feature for the banjo of Arie Ligthart, whose dexterity makes him sound like a couple of banjoists, giving us melody and harmony at the same time. Just a Closer Walk with Thee spotlights the dual clarinets of Peter Schilperoort and Jan Morks. Black and Tan Fantasy is rather heavy-handed: I know it's a sort of funeral march but the clarinet (Jan Morks or Dim Kesber?) demonstrates how it can be handled lightly. The clarinet (definitely Jan Morks this time) is also radiant in the poignant You Don't Know How Much You Can Suffer, backed simply by guitar, bass and drums.

The last four tracks on this CD are bonuses from a quartet led by Dim Kesber on soprano sax. He plays with almost as much vibrato as Sidney Bechet but with the same sort of lyricism. Ecclecticxism is again in evidence - from the jazz standard The Song is You to the blues-based original Pavilion Rock, and from a fairly fast The Glory of Love to the Latin tinge of St Louis Blues. All these recordings evince the DSC Band's devotion to traditional styles without their being constrained by tradition. ~ Tony Augarde
http://www.musicweb-international.com/jazz/2011/Dutch_Swing_College_Band_LACD292.htm

Personnel:Wybe Burna - Trumpet, vocals;  Wim Kolstee - Trombone, piano;  Jan Morks – Clarinet; Joop Schrier – Piano; Arie Ligthart - Banjo, guitar; Bob van Oven – Bass; Martien Beenen - Drums, trumpet; Neva Raphaello – Vocals; Dim Kesber - Clarinet, soprano sax; Peter Schilperoort - Baritone sax, clarinet; Dick Kaart – Trombone; Oscar Klein - Trumpet

Disc 1
Styles: Jazz, Big Band
Year: 2010
File: MP3@320K/s
Time: 53:01
Size: 122,2 MB
Art: Front

(1:21)  1. Way Down Yonder In New Orleans
(3:37)  2. South Rampart Street Parade
(4:11)  3. The Lonesome Road
(2:42)  4. Sixty-Nine Blues
(5:53)  5. Creole Love Call
(3:00)  6. Deed I Do
(4:33)  7. African Queen
(3:01)  8. When You're Smiling
(4:54)  9. Squeeze Me
(3:35) 10. It's All Right With Me
(4:01) 11. Old Fashioned Love
(3:55) 12. Jubileum Blues
(6:48) 13. Buddy's Habbit
(1:23) 14. Way Down Yonder In New Orleans

The Dutch Swing College Band  1558-59  Disc 1

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Disc 2
Time: 50:17
Size: 116,1 MB
Art: Front

(2:53)  1. Ice Cream
(3:07)  2. Memphis Blues
(2:22)  3. Take Your Pick
(3:22)  4. Just A Closer Walk With Thee
(2:59)  5. Tennessee Waltz Rock
(3:26)  6. March Of The Indians
(3:11)  7. Marina
(2:56)  8. I Ain't Gonna Give Nobody None Of My Jelly Roll
(3:45)  9. Black & Tan Fantasy
(3:05) 10. Tiger Rag
(3:22) 11. You Don't Know How Much You Can Suffer
(3:09) 12. High Society
(3:34) 13. The Song Is Ended
(2:30) 14. Pavillion Rock
(2:57) 15. The Glory of Love
(3:29) 16. St Louis Blues

The Dutch Swing College Band  1958-59  Disc 2

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The Corey Christiansen Quartet - Awakening

Styles: Guitar Jazz, Straight-ahead/Mainstream
Year: 2005
File: MP3@320K/s
Time: 53:45
Size: 123,4 MB
Art: Front

(7:20)  1. Awakening
(5:26)  2. Little Hands, Big Dreams
(6:56)  3. Roads
(6:24)  4. All the Things You Are
(7:26)  5. Beatrice
(2:25)  6. Dialogue
(4:56)  7. Darn That Dream
(6:35)  8. Last Night In Manhattan
(6:13)  9. Alone Together

Sometimes you can have too much of a good thing. Take guitarist Corey Christiansen, whose début record on the nascent Mel Bay Guitar Sessions label, Awakening , is filled with spirited playing and an engaging mix of original and standard compositions. Christiansen is the senior music editor and guitar clinician for Mel Bay publications, a leading supplier of instructional material on a number of instruments. His job would demand that he has formidable technique and a broad musical knowledge, and he does. But the problem is that his admirable skills often overwhelm the music; while his assertive and deft style is quick to energize, it sometimes lacks in overall musicality. In some ways Christiansen is like a young Larry Coryell, who suffered the same problems of excess in his early days. Blinding runs and a certain kinetic excitement draw one into the record, but it ultimately becomes more a little wearisome, as flurries of notes are used in exchange for a more subtle lyricism. Coryell has, through the course of his career, matured and learned the meaning of space, and this is clearly something that Christiansen should aspire to as well. Musicians of note usually learn that music is as much about what you leave out as what you play, and Christiansen clearly needs to master that skill.

That being said, there is no question that Christiansen has all the raw materials. While his soloing is often excessive, his compositions are attractive, with pleasant melodies and interesting rhythmic hooks. The title track is a swinging 6/8 romp that gives Christiansen and pianist Per Danielsson the chance to demonstrate both their abilities to play modally and through changes. “All The Things You Are” opens and closes with an interesting vamp that gives the group a chance to settle in and get comfortable before hitting the main body of the tune. “Darn That Dream” is played as a light bossa, and Christiansen demonstrates a solid ability as a chordal player. But throughout Christiansen quite simply plays more than truly necessarily, often substituting a flurry of notes when one or two would do. Drummer Danny Gottlieb and bassist Mark Neuenschwander provide firm support, with Gottlieb getting the chance to contribute some of his characteristically fine cymbal work on “Roads.” Gottlieb, a drummer who deserves more due than he usually receives, is also empathic, quickly catching some of the motifs that Christiansen and Danielsson throw at him. All in all Awakening is an enjoyable début from a guitarist who, while an established educator, is relatively new to the scene. Possibly he spends too much time wood-shedding and not enough time out actively playing to develop a more restrained approach. But there is no doubt that Christiansen has all the raw materials to be a notable player; he just needs to relax a little more and let the music breathe. ~ John Kelman  http://www.allaboutjazz.com/awakening-corey-christiansen-review-by-john-kelman.php

Personnel: Corey Christiansen (guitar), Danny Gottlieb (drums), Per Danielsson (piano), Mark Neuenschwander (bass)

Awakening

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The Bill Warfield Big Band - The City Never Sleeps

Styles: Trumpet Jazz, Big Band
Year: 1993
File: MP3@320K/s
Time: 49:53
Size: 114,6 MB
Art: Front

(4:29)  1. Sonnyside of the Street
(4:53)  2. Samba de Loves Me
(6:19)  3. City Prelude
(8:45)  4. The City Never Sleeps
(6:14)  5. A Little Circus Music
(5:45)  6. Goodbye Pork Pie Hat
(4:37)  7. Salsa en Mi Alma
(3:46)  8. Tentigo
(5:00)  9. Daahoud

Warfield, Bill [William Leonard Warfield Jr.], trumpet, composer, arranger, educator; b. Baltimore, MD, 2 March 1952. His mother is Margaret Annabelle Baublitz Warfield (birthdate: 1/30/1921, place of birth: Owings Mills, Maryland). His father is William Leonard Warfield (birthdate 5/3/1919, place of birth, Hudson, Maryland).

His brother is John Cleveland Warfield (born 7/7/1959,Baltimore,Maryland). Bill studied trumpet with the following:  Lee Cutair 1961-64, Fred Frey 1962-63, Richard Mooreland 1964, Richard Daniel 1965-70, Allen Chambers 1965-67, Raymond Moore 1966-74, Rob Roy McGregor 1974-75, Jimmy Maxwell 1982-83, Lew Soloff 1990-94, Vince Penzarella 2000-2001.  He studied composition with Hank Levy 1970-74, Ray Wright 1986, Bob Brookmeyer 1989, and ear training with Caris Liebman, 2001-present. He's attended  Owings Mills Elementary School, Franklin Jr. High School, Franklin High School, Peabody Conservatory, Towson State University, University of Maryland Baltimore, Manhattan School of Music, and the BMI Jazz Composers Workshop. At the Manhattan School of Music, he got his M.M., Jazz Commercial performance, Trumpet, and his Jazz Commercial performance, Trumpet. He has taught from 1996-present at Lehigh University, Bethlehem, PA, as an Assistant Professor, Music and at the University of North Florida, Jacksonville, FL as an Assistant Professor, Jazz Trumpet. From 1992-1999, he taught at Towson University, Towson, MD, as an Adjunct Professor, Graduate and Undergraduate Divisions, Jazz Trumpet. He also taught at Brooklyn College, The City University of New York asDirector, Jazz Ensemble and The Dalton School, New York, NY, at Jazz Studies Director. In the fall of 2000,  Bill Warfield composed and conducted a concert with the The Yellow Jackets entitled "Beneath the Stacks, Second Line of the Industrial Revolution," which was performed at Lehigh University and featured the Lehigh Valley Jazz Repertory Orchestra.

Among his other accomplishments is a commission by the government of Spain to arrange and produce Hollywood Jazz, a musical review for the 1992 Olympic year, and a commission by the Berlin Radio Orchestra to write two works for big band.  He has been commissioned by the US Air Force Airmen of Note, and has appeared with the United States Navy Commodores as a clinician.  Warfield has performed with many well known jazz and commercial artists including Ornette Coleman, The American Jazz Orchestra directed by John Lewis, Mel Lewis, Paul Anka, Mel Torme, Randy Brecker, David Sanborn, Sonny Stitt, Sheila Jordan and Lester Bowie, among others.  He was an NBC staff musician for the 1995 VIDA awards and has been an orchestrator for Eddie Palmieri and Lester Bowie.  Early in his career, Warfield was a performer and contributing writer for the Bill Kirchner Nonet on Seabreeze Records.  

Presently, he is on the advisory board of the Baltimore Jazz Orchestra, where he plays lead trumpet.  In 1996 and 1997, The Bill Warfield Big Band was featured at Birdland in New York City as part of the Apple Band Cavalcade.  The Bill Warfield Big Band was featured at the International Association of Jazz Educators conference in 1994 and 1998, and at the New York City Brass Conference 1991, 95, 97, 98, and 99.In addition to his professional career as an international performer, recording artist, bandleader and producer, Bill Warfield is currently Assistant Professor in the Lehigh University music department.  In 1997 he founded The Lehigh Valley Jazz Repertory Orchestra, a non-profit organization dedicated to the recreation of classic jazz performances as well as the creation of new works for jazz orchestra.His spouse is Carol Heft, born in Philladelphia PA 3/11/1954, an artist. ~ Bio  http://www.jazz.com/encyclopedia/warfield-bill-william-leonard-warfield-jr

Personnel: Bill Warfield (trumpet, leader), Andy Fusco, Walt Weiskopf, Bob Hanlon, Tom Olin, Rich Perry, Chris Potter, Alex Stewart (saxophones), David Diggs (oboe, clarinet, piccolo, tenor saxophone), Bob Millikan, Lew Soloff, John Eckert, Jeff Parke, Tony Kadieck (trumpets), Herb Besson, Conrad Herwig, Larry Farrell, Matt Finders, George Flynn (trombones), Greg Cogan (piano), Chris Rosenberg, Dave Stryker (guitars), Mike Richmond, Jeff Fuller (acoustic bass), Tim Horner, Alan Bates (drums), Emedin Rivera (percussion).

The City Never Sleeps

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Heather Keizur - Under My Skin

Size: 114,2 MB
Time: 48:20
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. That Sunday, That Summer (Feat. Steve Christofferson) (3:30)
02. Nature Boy (Feat. Steve Christofferson, Dennis Caiazza & Ron Steen) (3:39)
03. J'ai Vu (Feat. Dennis Caiazza, Steve Christofferson & Ron Steen) (5:04)
04. 's Wonderful (Feat. Dennis Caiazza, Ron Steen & Steve Christofferson) (2:05)
05. Dance Me To The End Of Love (Feat. Ron Steen, Dennis Caiazza & Steve Christofferson) (5:13)
06. I've Got You Under My Skin (Feat. Steve Christofferson, Ron Steen & Dennis Caiazza) (5:10)
07. Embraceable You (Feat. Dennis Caiazza, Ron Steen & Steve Christofferson) (5:28)
08. Boum (Feat. Steve Christofferson, Dennis Caiazza & Ron Steen) (3:05)
09. The Touch Of Your Lips (Feat. Ron Steen, Steve Christofferson & Dennis Caiazza) (2:25)
10. Jardin D'hiver (Feat. Dennis Caiazza, Ron Steen & Steve Christofferson) (4:18)
11. Estate (Feat. Steve Christofferson) (3:34)
12. Avec Le Temps (Feat. Steve Christofferson) (4:44)

Heather Keizur, a jazz vocalist who sings in both English and French, is emerging as one of the most unique and gifted singers on the Northwest Jazz scene.

When asked what draws her to songs, Heather says, "Passion. In order for me to be drawn to a song, it needs to have a certain element of passion to it. That way when I sing it, I can feel it and pass the story of the song on to those who are listening."

Heather recorded her first full length CD in August of 2010. Heather Keizur has a lot of love and life in her voice. Her beautiful voice is joined on this romantic album by some world class players: Steve Christofferson on piano and melodica, David K Mathews on piano, Michael Zisman on bass and mandolin, Akira Tana on drums, Joe Cohen on sax, Jeremy Cohen on violin, Philip Santos on violin, Keith Lawrence on viola, and Joseph Hebert on cello. Heather also recorded a demo CD in August of 2008 with jazz recording artist Tom Grant and one of Portland's top bassists, Dave Captein.

She has performed with some of the Northwest's premier jazz musicians, including Tom Grant, Steve Christofferson, Vince Frates, Dave Captein, Dennis Caiazza, and Alan Tarpinian, as well as bay area pianist David K Mathews who is currently touring with Santana.

Born in San Jose, California, Heather grew up in British Columbia, Canada. Very early on she developed a love of performing as a vocalist and a love of the French language.

Heather first performed as a solo vocalist at the age of eleven singing for her school's talent contest. Throughout her high school years she sang in the school concert band, for weddings and other special occasions. At 17 singing jazz became her passion when she became the vocalist in a local jazz band. Over the years Heather has sung with a variety of jazz bands, pop music duos, and in churches. Some of Heather's greatest influences include Ella Fitzgerald, Billie Holiday and Edith Piaf.

Heather earned an honor's degree in French at Portland State University in 1992. When asked why the French songs, Heather says, "Not only do the French songs have an exquisite sound to them lyrically, but these beautiful songs are passionate in a way that compels me to sing them."

Under My Skin

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Eirinn Abu - Ten Love Stories

Size: 100,9 MB
Time: 41:12
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz, Easy Listening
Art: Front

01. Unchained Melody (3:56)
02. The Way We Were (3:22)
03. Lara's Theme (3:03)
04. A Time For Us (4:06)
05. My Heart Will Go On (4:00)
06. Look What You've Done To Me (3:46)
07. Where Do I Begin (4:09)
08. Can't Help Falling In Love (3:16)
09. Moon River (3:49)
10. Strangers In The Night (3:30)
11. Over The Rainbow (4:09)

Eirinn Abu gives the saxophone a new voice and sound. His peers call him the instrumental version of Josh Groban or Andrea Bocelli.

His new CD “Ten Love Stories,” a series of theme songs from the top ten classic love movies of all time.

Ten Love Stories

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Lou Rawls - Super Love

Size: 178,0 MB
Time: 76:23
File: MP3 @ 320K/s
Released: 2015
Styles: Blues/Jazz/R&B Vocals
Art: Front

01. How Long Blues (4:20)
02. Ain't Nobody's Business If I Do (2:41)
03. Black And Blue (3:27)
04. Willow Weep For Me (5:54)
05. Stormy Weather (3:00)
06. I'm Gonna Move To The Outskirts Of Town (3:56)
07. Summertime (3:31)
08. Trouble In Mind (3:50)
09. In The Evening When The Sun Goes Down (3:25)
10. St. James Infirmary (4:40)
11. Every Day I Have The Blues (2:29)
12. Gloomy Sunday (3:04)
13. See See Rider (3:08)
14. Sentimental Journey (3:17)
15. God Bless The Child (4:26)
16. Georgia On My Mind (3:17)
17. Ol' Man River (3:47)
18. Lost And Lookin' (3:07)
19. When It's Sleepy Time Down South (3:04)
20. I'd Rather Drink Muddy Water (3:52)
21. Tobacco Road (3:59)

Louis Allen "Lou" Rawls (December 1, 1933 – January 6, 2006) was an American recording artist, voice actor, songwriter, and record producer. He is best known for his singing ability: Frank Sinatra once said that Rawls had "the classiest singing and silkiest chops in the singing game". Rawls released more than 60 albums, sold more than 40 million records, and had numerous charting singles, most notably his song "You'll Never Find Another Love Like Mine". He worked as a television, motion picture, and voice actor. He was also a three-time Grammy-winner, all for Best Male R&B Vocal Performance.

Super Love

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Charenee Wade - Offering: The Music Of Gil Scott-Heron & Brian Jackson

Size: 144,0 MB
Time: 61:42
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Offering (Feat. Stefon Harris) (4:29)
02. Song Of The Wind (Feat. Stefon Harris) (7:38)
03. A Toast To The People (6:33)
04. Home Is Where The Hatred Is (Feat. Stefon Harris) (4:29)
05. Ain’t No Such Thing As Superman (Feat. Marcus Miller, Malcolm-Jamal Warner) (5:47)
06. Essex Martin, Grant, Byrd & Till (8:43)
07. Western Sunrise (5:10)
08. The Vulture (Your Soul And Mine) (6:26)
09. Peace Go With You Brother (Intro) (0:42)
10. Peace Go With You Brother (Feat. Stefon Harris) (7:03)
11. I Think I'll Call It Morning (4:36)

As it often happens with many artists so in tune with the times that they are actually ahead of their time, the immense contribution of musical/cultural revolutionary Gil Scott-Heron continues to be revealed and acknowledged. Albeit, there has been a perpetual cult surrounding this enigmatic figure which defied any sort of categorization both in music and personality, but judging by the posthumous releases of his catalog and continuing tributes, his legacy has taken on the iconic qualities it deserves. His musical partner throughout his most productive phase, pianist Brian Jackson, provided the catalyst for much of Gil Scott-Heron's best work, and is recognized as an innovator in jazz and modern urban music.

Charenee Wade is a singer, composer, arranger and educator, noted for her self-produced "Love Walked In," in 2011. Previous to this release, she honed her vocalizing skills as featured guest on releases by Tia Fuller, Eric Reed, and the Eyal Vilner Big Band, among others. Armed with unfathomable passion and assurance, Wade introduces Offering—The Music of Gil Scott-Heron and Brian Jackson. Utilizing the lyrics and music of the gifted duo as a launching pad, she takes her innovative arrangements into another dimension, conveying the intended message with her singular and assertive vocal textures, evolving, while honoring the spirit of the original source.

Gleaning from the songwriters' peak prolific period of the 1970's, Wade chose an interesting set list with the title track setting the conceptual tone of the record. "Song Of The Wind," shows the dynamic emotional range that Wade can cover, accompanied by vibraphonist Stefon Harris, the song becomes the transporter of the skies. The pace is slightly quickened with "A Toast to the People," with its timeless salutation to those who were lost in the struggle. There is the straight ahead version of "Home Is Where The Hatred Is," this being one of Scott-Heron's masterpieces, Wade cleverly takes it into a tailspin, building into almost frenetic phrasing with her horn like voice that portrays the song with all its dark poignancy and despair. "Ain't No Such Thing As Superman," is set up superbly by bassist Lonnie Plaxico, who authenticates the tempo with that inner city feel, allowing Wade to stretch and scat her way through the other side. "Western Sunrise," featuring Plaxico and guitarist Dave Stryker, is an enthusiastic number, greeting the coming of a new day.

Gil Scott-Heron was also highly regarded as a New Black Poet, a title he both relished and rejected, he liked to call himself a messenger of his people, a modern throwback to the African griots. To fully capture his poetic essence, Malcolm-Jamal Warner on "Essex/Martin, Grant, Byrd & Till," and Christian McBride on "Peace Go With You Brother," take on the lead roles representing the spoken word. These are critical participants in these songs, for the poetry, with its bare knuckle frankness, lies at the root of this music. Wade picks up on the peace missive, softening the tone, bringing it down to almost a plea, for there has to be a way out of the madness.

If there was ever a perfect song for this record's closure "I Think I'll Call It Morning," is it. The Music of Gil-Scott Heron and Brian Jackson, though identified with political, cultural and racial references of revolution and change, also depicted an immense sense of optimism. This final song portrays just that, that no matter what happens, the sun will rise tomorrow, and with it another opportunity to make the changes and choices necessary for our collective peace of mind.

With this production, Charenee Wade has proven that she possesses courageous talent, and is a singer whose time has come. Choosing to interpret this material was not an easy route, but in the true spirit of a jazz improviser, she absolutely made these songs her own. She recorded much more than a tribute to two exemplary musician/songwriters, it is a resolution that the work continues, it is an Offering. ~James Nadal

Personnel: Charenee Wade: vocals, arrangements; Brandon McCune: piano; Dave Stryker: guitar; Lonnie Plaxico: bass; Alvester Garnett: drums; Stefon Harris: vibes; Lakecia Benjamin: alto sax (6); Malcolm-Jamal Warner: spoken word (6); Marcus Miller: bass clarinet (6); Christian McBride: spoken word (9).

Offering

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Larry Newcomb Quartet - Live Intentionally!

Size: 102,3 MB
Time: 43:51
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Guitar Jazz
Art: Front

01. Be My Love (Live) (4:06)
02. All The Things You Are (Live) (4:28)
03. Thanks Jack! (Live) (4:06)
04. Sure Thing (Live) (4:56)
05. Instant Water (Live) (5:12)
06. Olhos De Gato (Live) (4:54)
07. Au Privave (Live) (4:08)
08. Stardust (Live) (6:18)
09. Have You Met Miss Jones? (Live) (5:38)

LIVE INTENTIONALLY! was recorded live. I wanted to capture the spontaneous intensity and energy of playing jazz without a safety net. I also wanted to test my own performance and improvisatory skills in real time. I wanted to “walk the walk” without relying on overdubbing solos later or “fixes-in-the-mix.”

Pianist Eric Olsen, bassist Dmitri Kolesnik, drummer Jimmy Madison and I set up together at Tedesco Studios. I counted off my three originals and six standards and the result is this recording.

The message of the title is the same whether LIVE INTENTIONALLY! strikes you as “intentinally
recorded live!” or “live your life with intentionality!” This is our genuine, spontaneous playing, reaching for all
the joy and beauty we could capture in each moment.

I ’d like to express my gratitude for the brilliant contributions Jack Wilkins, Bucky Pizzarrelli, Tom Tedesco, Luis Guell and my outstanding collaborators Eric Olsen, Dmitri Kolesnik and Jimmy Madison. Sincerely hoping you enjoy it, Larry Newcomb

Guitarist Larry Newcomb performs classic and original jazz and blues both as a soloist and in duo, trio and quartet ensembles. Larry has contributed a wealth of electric and acoustic guitar stylings in performances and on recordings with Bucky Pizzarelli, Jack Wilkins, Seleno Clarke, Billy Kaye, Jon Weiss, Mike Camoia, Larry Newcomb Trio, his duo Jonaitis & Newcomb, the band Wolfgang’s Revenge and with Babs Winn & the Kickin’ Boogie Band. Newcomb has studied with guitar masters Bucky Pizzarelli, Mark Elf, Pat Martino, Howard Roberts and Randy Johnston. His affable performing style is informed by a PhD in Music History and a seasoned master’s understanding of the jazz idiom.

The path to jazz mastery is long, challenging, rewarding, and never-ending. I started out transcribing then quoting great blues guitarists including B. B. King, Albert King, Freddie King, Eric Clapton, and Duane Allman. In my early 20s, I heard Jim Hall, George Benson, Joe Pass, Barney Kessel, Herb Ellis and Kenny Burrell. My direction was established. I slowly developed a repertoire of standard tunes; and, by transposing the work of the masters, I learned to address each harmonic element of a tune in its own rite--especially the creation and resolution of tension from each dominant chord to the temporary or permanent tonic. Throughout my musical journey, I've strived to play what I hear, and to make each note ring with colorful, clear and heartfelt beauty.

“Larry Newcomb is a master guitar player and a life-long student of the instrument.” ~Bucky Pizzarelli (Renowned Jazz Guitar Innovator)

“You manage to get a great tone consistently and that isn’t easy. You have a wonderful sound. You have mastered the guitar.” ~Larry Lucie (Guitarist with Duke Ellington, Count Basie, Louis Armstrong, Billie Holiday and Cab Calloway)

“Exceptionally beautiful guitar tone and facility.” ~Grady Tate (Legendary Jazz Drummer and Vocalist)

“Larry Newcomb is one of the best all-around jazz guitarists performing today. Larry projects an unselfconscious ease in everything he plays. His skill is always at the service of heartfelt music. Larry’s tone is in the Grant Green–Peter Bernstein vein, very up-front and easy to relate to.” ~Peter Arnold (Manhattan Jazz Guitarist)

Live Intentionally!

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Marlena - My Heart to Yours

Size: 133,9 MB
Time: 57:07
File: MP3 @ 320K/s
Released: 2015
Art: Front

01. I Just Want To Make Love To You (3:10)
02. Smooth Operator (5:12)
03. Good Morning Heartache (3:28)
04. I've Got To See You Again (4:10)
05. I Put A Spell On You (4:28)
06. Why Don't You Do Right (3:12)
07. Cry Me A River (2:58)
08. Smile (3:34)
09. Our Day Will Come (2:55)
10. Stormy (3:15)
11. Back To Black (3:59)
12. Eyes Without A Face (4:05)
13. The Look Of Love (4:42)
14. Dream A Little Dream Of Me (4:05)
15. The Best Is Yet To Come (3:46)

Marlena’s musical influences, in part, arose from her early life growing up in the “melting pot” of Jamaica Queens, NY (the same neighborhood of Fifty Cent’s youth). As a young child, she would hear, late into the summer evenings, the soulful sounds of Al Green, Marvin Gaye, Donna Summer, Billie Holiday, Nina Simone, and Etta James, as they wafted through her bedroom window, from the nearby park. Marlena irritated her sister as she would pick up a hairbrush and sing at the top of her lungs – the beginnings of her soulful sound and her desire to perform. Starting at the age of 10, Marlena, the daughter of a minister, sang gospel in church, and on Saturdays performed a cappella versions of the same on the streets of New York, drawing a crowd to whom her father preached. These experiences honed her voice, enabling her to emote and greatly connect with all that have the pleasure to hear her sing. She attended the prestigious School of Art and Design in Manhattan. Eventually, she worked, modeled, and sang, while living in the artistic community of Soho, NY. This is where she developed her great versatility as a female vocalist, singing in multiple bands in and around New York City, ranging in style from garage, to funk, to torch and at venues as diverse as sticky dive bars and the famed Studio 54. With her impressive vocal range and her signature growl, Marlena can easily transition from jazz, blues, country, rock, and torch. Her life experiences are reflected in the songs selected for this CD as each song has a personal significance. There is an emotional connection and intimacy in every song that she sings. This Album “My Heart to Yours” is a rare combination of flash and class.

My Heart to Yours

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Big Bad Voodoo Daddy - Save My Soul

Bitrate: MP3@320K/s
Time: 42:05
Size: 96.3 MB
Styles: Retro swing
Year: 2003
Art: Front

[2:31] 1. Zig Zaggity Woop Woop Pt. 1
[4:47] 2. You Know You Wrong
[2:52] 3. Always Gonna Get Ya
[4:59] 4. Don't You Feel My Leg
[4:37] 5. Oh Yeah
[4:28] 6. Simple Songs
[3:21] 7. Next Week Sometime
[6:34] 8. Save My Soul
[4:19] 9. I Like It
[3:34] 10. Zig Zaggity Woop Woop Pt. 2

For their first album in four years, Big Bad Voodoo Daddy realized they needed to switch gears since the freak, late-'90s big band craze had become about as hot as yesterday's scrambled eggs. Thankfully, a trip down to New Orleans to play Jazzfest (recounted in this album's title track) reinvigorated and reinvented the group's sound. Gone are the smarmy Vegas charts, replaced with a swampy Crescent City, slinky Bourbon Street swagger. Add Latin mambo on the percussive "I Like It" and "You Know You're Wrong," along with some second-line funk straight out of the Dirty Dozen Brass Band on "Zig Zaggity Woop Woop, Pt. 2" and you've got a swinging, finger-popping disc that should keep the band's established fans happy, while expanding their previously limited, and nearly dead-ended scope. Most of the tunes are originals -- if derivative ones -- except for a cover of Blue Lu Barker's ""Don't You"" Feel My Leg" (also a moderate '70s hit for Maria Muldaur). However, the barroom swagger turned Dixieland jazz of "Simple Songs" seems a bit forced and frontman Scotty Morris' voice hasn't improved. This material would benefit from a gruffer approach. But Save My Soul is a surprisingly enjoyable and fresh album from a band many might have written off as already expending their allotted 15 minutes of fame. The disc's CD-ROM content includes three live tracks, information, pictures of each band member, and shots from the making of the album. ~Hal Horowitz

Save My Soul

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Sonny Rollins - Prestige Profiles (2-Disc Set)

Prestige Profiles, Vol. 3 highlights recordings made in the 1950s by tenor saxophonist Sonny Rollins for the legendary jazz label. Although the majority of these ten tracks are standards, including "More Than You Know," "On a Slow Boat to China," and "It's All Right with Me," they emphasize Rollins' ability to make every performance his own, no matter how many times he has played a particular song. Also included are the Rollins-penned "Tenor Madness," "Mambo Bounce," and "St. Thomas," a tune that has since become a modern jazz standard. While there is nothing here the jazz collector doesn't already own, Prestige Profiles, Vol. 3 provides a decent sampling for the curious listener at a mid-line price. ~Al Campbell

Album: Prestige Profiles (Disc 1)

Bitrate: MP3@320K/s

Time: 63:44

Size: 145.9 MB

Styles: Bop, Saxophone jazz

Year: 2004

[ 6:45] 1. St. Thomas

[10:47] 2. More Than You Know

[ 5:11] 3. I Feel A Song Coming On

[ 2:38] 4. On A Slow Boat To China

[ 4:19] 5. My Ideal

[ 6:05] 6. It's All Right With Me

[ 3:17] 7. In A Sentimental Mood

[10:03] 8. Moritat

[ 2:21] 9. Mambo Bounce

[12:14] 10. Tenor Madness

Prestige Profiles (Disc 1)  

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Album: Prestige Profiles (Disc 2)

Bitrate: MP3@320K/s

Time: 46:47

Size: 107.1 MB

Styles: Bop, Saxophone jazz

Year: 2004

Art: Front

[ 5:11] 1. Oleo

[ 5:43] 2. Think Of One

[ 5:19] 3. Lover, Come Back To Me

[ 9:26] 4. My Blues House

[ 5:04] 5. Airegin

[ 4:59] 6. March On, March On

[11:02] 7. Tenor Conclave

Prestige Profiles (Disc 2) 

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Vivian Buczek With Claes Crona Trio - Live At The Palladium

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 58:58
Size: 135,4 MB
Art: Front

(6:46)  1. Tea For Two
(8:14)  2. Caravan
(6:48)  3. Dearly Beloved
(5:06)  4. It's Alright With Me
(4:56)  5. Lush Life
(4:36)  6. Social Call
(5:54)  7. O Bêbado e a Equilibrista
(9:37)  8. A Time For Love
(6:57)  9. A Night In Tunisia

Swedish vocalist Vivian Buczek has been on the Scandinavian jazz scene for over a decade, releasing her first album, Can't We Be Friends (Skandia Music) in 2003. Live At The Palladium is her fourth solo album, though she's also recorded with the Artistry Jazz Group. The Palladium in question isn't the world- renowned London theatre, it's the one in Buczek's home town of Malmö, but this concert sparkles with such energy and vivacity that it could readily have graced the venue's more famous British counterpart. The Claes Crona Trio Crona on piano, Hans Backenroth on double bass and Johan Löfcrantz Ramsay on drums provides empathetic backing throughout the album. Guitarist Elias Källvik makes two appearances and impresses with a warm-toned and fluid solo on "Bêbado E A Equilibrista" and his gently swinging rhythm which, in company with Ramsay's brush work, adds drive and groove to "Dearly Beloved."

Trumpeter Peter Asplund joins Buczek for a vocal duet on an up-tempo arrangement of Cole Porter's "It's Alright With Me" but, although he has a pleasant voice, he's not in Buczek's class. As a trumpeter, however, he's on great form, whether playing a boppish muted solo on "Tea For Two," a slinky lead line on "Caravan" which also features a punchy bass solo from Backenroth or a romantic slow tempo solo on "A Time For Love." Buczek's a joy to hear; lively, energetic and in tune with the stories these songs are telling, she also shows a willingness to test her own abilities, even in this live setting, with some tricky tempos and changes. Her talent shines brightest on her version of Billy Strayhorn's glorious "Lush Life." Her performance shows a superb combination of technical skill, range and a sensibility that brings the lyric to life all with spare, sensitive accompaniment from the excellent Crona. Buczek and Asplund's ambitious arrangement of Johnny Mandel and Paul Francis Webster's "A Time For Love" runs a close second; the singer and musicians meet its challenges with great success, from Backenroth and Buczek's interplay to Asplund's trumpet solo. Buczek has grown in confidence and skill from album to album over the past decade. Live At The Palladium is her most mature and vibrant recording so far, its live atmosphere capturing the intimacy and spontaneity of the performance. A stylish collection of songs, a great band and a terrific singer-all captured live in the heart of Malmö. ~ Bruce Lindsay  http://www.allaboutjazz.com/live-at-the-palladium-vivian-buczek-crown-jewels-review-by-bruce-lindsay.php

Personnel: Vivian Buczek: vocals; Peter Asplund: flugelhorn, trumpet, vocals; Claes Crona: piano; Hans Backenroth: double bass; Johan Löfcrantz Ramsay: drums; Elias Källvik: guitar (3, 7).

Live At The Palladium

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Scott Hamilton - With Strings

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 57:59
Size: 133,1 MB
Art: Front

(5:28)  1. My Foolish Heart
(7:29)  2. Goodbye Mr. Evans
(6:07)  3. The Shining Sea
(6:09)  4. Angel Eyes
(5:27)  5. Heart's Desire
(5:15)  6. The Look of Love
(4:21)  7. Nancy (With the Laughing Face)
(5:26)  8. Young and Foolish
(6:48)  9. I Concentrate on You
(5:24) 10. Tonight I Shall Sleep With a Smile on My Face

Tenor saxophonist Scott Hamilton was so consistent on his many albums for Concord that none are throwaways. This particular one, though, is of lesser interest than most. Hamilton is backed by a 20-piece string section arranged by pianist Alan Broadbent, and largely sticks to slow ballads. His tone on tenor is typically beautiful and the music is quite tasteful, but it lacks much variety. No surprises occur in the arrangements (everything is pretty) and, although there is some double-timing, Hamilton's playing is consistently lyrical and a bit lazy, as if shy to shake up the proceedings. This CD is best experienced in small doses for, if played all the way through, the results are a bit sleepy and rather predictable. ~ Scott Yanow  http://www.allmusic.com/album/scott-hamilton-with-strings-mw0000096000

Personnel: Scott Hamilton (tenor saxophone); John Wittenberg, James Getzoff, Harris Goldman, Ken Yerke, John Wittenbert, Mari Tsumura-Botnick, Mari Tsumura, Robert Brosseau, Henry Ferber, Murray Adler, Juliann French, Israel Baker, Bonnie Douglas, Paul Shure, Gordon Marron Strings, Darius Campo, Endre Granat, Haim Shtrum (violin); Dennis Karmazyn, Ray Kramer (viola, cello); Carole Mukogawa, Dan Neufeld, Pamela Goldsmith, Maria Newman, Harry Shirinian (viola); Paula Hochhalter, Jodi Burnett, Fred Seykoura, Frederick Seykora (cello); Alan Broadbent (piano); Roy McCurdy (drums).

With Strings

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Richard Wyands Trio - Reunited

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 60:13
Size: 138,5 MB
Art: Front

(4:45)  1. Moment to Moment
(5:51)  2. Easy Living
(3:53)  3. Lady's in Love With You
(5:31)  4. Estate
(6:32)  5. Afternoon in Paris
(4:13)  6. How Long Has This Been Going On?
(5:30)  7. Blues for Pepper
(7:07)  8. I'm Just a Lucky So and So
(8:07)  9. Moon and Sand
(4:05) 10. Yesterdays
(4:32) 11. Alone Together

A fine pianist whose chord voicings are a little reminiscent of Red Garland, Richard Wyands has spent most of his career as a sideman. He started working in local clubs when he was 16, graduated from San Francisco State College, and gained experience playing in the San Francisco Bay area. Wyands, who was a sideman on a few early dates for Fantasy, spent time accompanying Ella Fitzgerald (1956) and Carmen McRae. He moved to New York in 1958, where he played with Roy Haynes, Charles Mingus (1959), Gigi Gryce's quintet, Oliver Nelson, Etta Jones, Eddie "Lockjaw" Davis, and Gene Ammons, among others. Wyands was associated with Kenny Burrell, with whom he toured extensively during 1964-1977, and has played with many other top musicians, including Freddie Hubbard, Zoot Sims, Frank Foster, the Illinois Jacquet Big Band, Benny Carter, Ernie Andrews, and Milt Hinton, among others. Richard Wyands has also headed his own trios, but has only had a handful of sessions as a leader thus far, including a 1978 date for Storyville and sessions for DIW (1992) and Criss Cross (1995). Bio ~ https://itunes.apple.com/us/artist/richard-wyands-trio/id175407892#fullText

Reunited

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Rosana Eckert - Small Hotel

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 59:59
Size: 137,6 MB
Art: Front

(5:07)  1. In the Still Of The Night
(7:49)  2. Lost In The Skies
(6:15)  3. Sayin' It Straight
(6:01)  4. This Carousel (The Stalker Song)
(5:21)  5. Dreaming
(3:55)  6. So In Love
(7:45)  7. Rapture
(2:45)  8. Lady Lee
(6:12)  9. Moon And Stars
(4:31) 10. It's Sand, Man
(4:12) 11. There's A Small Hotel

Six years have elapsed since Rosana Eckert released her ensemble debut, At the End of the Day. Seems like an eternity if you can't get enough of her unique talent. Finally the second chapter has been issued in the journey of self-discovery by the multi-faceted singer, pianist, French hornist, composer, arranger and currently teacher of vocal jazz at her alma mater, University of North Texas.  What makes her talent unique is the instrumental quality of her own vocal jazz. Simply put, she adds another horn to any combo she sings with. She can improvise with complete confidence: she can hear changes; has unerring pitch; a thin, flexible vibrato; a sure sense of time and phrasing; and an enviable range. Regarding the latter, her low tones are warm and soothing and I wish she'd explore them more often. Check her original, "Moon and Stars," with another special guest, Marvin Stamm. When his flugel-sounding trumpet blends with Eckert's wordless soaring, their timbres tend to coincide, leading to a haunting fadeout.

Talk about haunting, Eckert's wordless vocalizing on Harold Land's gorgeous "Rapture" finds her virtually disappearing into the tenor of Chris McGuire. It sounds like a two-horn sax section. Great mood-setting by bassist John Adams. For a tasteful sense of musical humor, try another original, "Lady Lee," written with her husband, Gary Eckert, and given a nice lift from clarinetist Chris McGuire. Hubby Gary also provides an unusual lift on Cole Porter's "So In Love," furnishing the only backing for Rosana: McFerrin-like vocal and percussive accompaniment. For the title tune, it's Rosanna all alone at her keyboard. How she can sing her own arrangement, which is totally re-harmonized, takes remarkable focus. Another attribute, which Marvin Stamm points out in his liner essay, is her ability to avoid conventional scat. She avoids its harshness by relying mainly on the sounds of b, d, w, and lots of vowels, connecting them with smooth voice. In other words, it's not hard scat, it's soft skitten. ~ Harvey Siders  http://jazztimes.com/articles/25636-small-hotel-rosana-eckert

Personnel: Rosana Eckert (vocals); Aaron Kelley (guitar); Chris McGuire (clarinet, bass clarinet, tenor saxophone); Brian Piper (piano, keyboards); Mike Drake (drums); Gary Eckert (percussion).

Small Hotel

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Ray Brown - Ultimate

Styles: Bop, Mainstream jazz
Year: 1999
File: MP3@320K/s
Time: 69:06
Size: 158,7 MB
Art: Front

(2:26)  1. Solo for Unaccompanied Bass
(3:52)  2. Tricotism
(3:15)  3. Tangerine
(3:51)  4. Much in Common
(3:55)  5. My One And Only Love
(5:31)  6. Bric-A-Brac
(4:26)  7. The Gravy Waltz
(3:28)  8. Gravy Blues
(3:38)  9. Will You Still Be Mine?
(5:32) 10. Lined With a Groove
(4:24) 11. Everything I have is Yours
(6:29) 12. Cool Walk
(6:15) 13. I Just Can't Fool Myself
(3:27) 14. Baubles, Bangles And Beads
(3:55) 15. All of You
(4:36) 16. (Back Home Again In) Indiana

Verve's Ultimate series unveils a new concept in the hackneyed concept of greatest-hits collections: Instead of compilation producers, these albums feature tracks selected by figures who either worked with or were influenced by the artists themselves. The results are much more than your average best-of compilations; they're closer to treatises on the immense influence that those artists exerted on generations to come, documenting exactly why they were special and deserve to be remembered. 

The Ultimate Ray Brown volume was compiled by Christian McBride, who concentrates on two of the greatest albums in Brown's discography: 1956's Bass Hit! (four tracks) and the Milt Jackson collaboration Much in Common (seven tracks). Though not quite an effective career overview, Ultimate Ray Brown does include many of the bassist's greatest moments on record. ~ John Bush  http://www.allmusic.com/album/ultimate-ray-brown-mw0000669651

Personnel: Ray Brown (cello); Herb Ellis, Kenny Burrell (guitar); Jerome Richardson (flute, baritone saxophone); Med Flory, Paul Horn, Bill Hood, Bob Cooper (woodwinds); Jack DuLong, Herb Geller, Seldon Powell, Yusef Lateef, Budd Johnson (alto saxophone); Conrad Gozzo , Don Fagerquist, Harry "Sweets" Edison , Jimmy Cleveland, Melba Liston, Paul Faulise, Britt Woodman (trumpet); Clark Terry, Ernie Royal, Joe Newman (cornet); Earle Warren, Harry Betts, Herbie Harper, Cannonball Adderley (trombone); Jack Cave (horns); Hank Jones , Jimmy Rowles, Tommy Flanagan (piano); Oscar Peterson (organ); Milt Jackson, Nat Adderley (vibraphone); Dick Shanahan, Albert "Tootie" Heath, Osie Johnson (drums).

Ultimate

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