Charles Earland - Organomically Correct

Bitrate: MP3@320K/s

Time: 73:56

Size: 169.3 MB

Styles: Organ jazz

Year: 2009

Art: Front

[ 3:43] 1. The Dozens

[ 4:41] 2. Red, Green And Black Blues

[ 7:36] 3. Undecided

[ 5:22] 4. Old Folks

[ 3:45] 5. A Prayer

[ 7:24] 6. Organic Blues

[ 6:13] 7. Three Blind Mice

[ 5:03] 8. We Are Not Alone

[11:47] 9. Blues For Rudy

[ 7:09] 10. The Thang

[ 6:15] 11. Infant Eyes

[ 4:53] 12. Is It Necessary

Organist Charles Earland recorded nine albums for the Muse label between 1977 and 1995. None stand out particularly, but each had its share of solid, organ-combo swing and programs of mostly blues and ballads. Organomically Correct compiles some of the early highlights in Earland's Muse output: four of the six tracks from Mama Roots (1977), three of the five tracks from Pleasant Afternoon (1978) and all five tracks from Infant Eyes (1978). This music was all recorded between Earland's more commercial (and less memorable) outings on Mercury and Columbia and catch the organ grinder in a kind of Jimmy Smith bag (reinforced even more when paired with Wes-like guitarist Jimmy Ponder on half of the CD's tracks). While the funk and the fire in Earland's playing had been missing since at least his last Prestige record (1974), there's an insistently melodic and appealing groove throughout this set. Another advantage is that two thirds of the tunes here are Earland originals: slow burners that really let the organist cook nicely on a low flame. There are several nice features for George Coleman on tenor sax and Frank Wess on flute too. A surprisingly cohesive set with an enjoyable after-hours feel. ~Douglas Payne

Charles Earland: organ; George Coleman, Houston Person, Mack Goldsbury: tenor sax; Frank Wess: flute and tenor sax; Bill Hardman: trumpet; Jimmy Ponder, Melvin Sparks: guitar; Walter Perkins, Bobby Durham, Grady Tate: drums; Ralph Dorsey, Lawrence Killian: percussion.

Organomically Correct

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Deborah Winters - Lovers After All

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 63:28
Size: 145,7 MB
Art: Front

(3:49)  1. Lovers After All
(7:48)  2. How Am I To Know
(6:16)  3. Get Out Of Town
(5:56)  4. Body and Soul
(5:51)  5. I Love Being Here With You
(6:44)  6. For All We Know
(5:38)  7. Haunted Heart
(5:58)  8. The End of a Love Affair
(4:02)  9. Come Sunday
(5:29) 10. How Deep Is the Ocean
(5:52) 11. I'll Close My Eyes

Placing vocalists under a specific, descriptive heading can be limiting in some ways, but it also shines a light on their greatest strengths. Singer Joe Williams of Count Basie fame resented being labeled as a "blues singer," since he possessed great range and felt that this tag had suggestions of racism behind it; few would argue, however, that his strongest body of work falls into that category. Vocalist Deborah Winters like Williams and any singer worth their weight in sound is no one-trick pony, but she also has one special talent that overshadows her other gifts. On Lovers After All, the Bay Area-based vocalist establishes herself as a ballad singer with which to be reckoned. She can sing over swing with confidence ("Get Out Of Town") and sway to the subtle sounds of the bossa nova ("Haunted Heart"), but her ballad work eclipses all else. Her voice has depth and warmth that instantly soothes and seduces; her use of vibrato is rare and judicious, and her pacing, clarity and diction are perfectly suited to this particular style of song.

While plenty of singers that thrive in softer environments perform romantic fare with minimalistic backing, Winters' winning performances are a bit more dressed up. Trumpeter Peter Welker provides the band arrangements on this project, and his ability to cushion Winters' voice, while still creating music of interest, is key to the album's success. He fleshes out some rich chords with five horns ("Lovers After All"), paints silken saxophone sounds into the body of a classic ("Body And Soul"), and steps into the spotlight with horn-in-hand on an intimate vocal-piano-flugelhorn take on "I'll Close My Eyes." 

Notable instrumental solos from the likes of trombonist Scott Whitfield, tenor saxophonist Roberts Brothers, and several others adds weight to these performances, and several tracks also benefit from the addition of Pete Levin's synthesized string work, which sounds remarkably real, adding substance in subtle ways. The Achilles heel on this album comes in the form of a blues-leaning take on "I Love Being Here With You" with a less-than-comfortable Winters working over a stiff and mechanical-sounding band that includes an organ which doesn't blend well but the other ten tracks suffer no such weaknesses. On Lovers After All, Deborah Winters proves to be an adept singer of songs, teller of timeless tales, and craftswoman of classy musical concoctions. ~ Dan Bilawsky  http://www.allaboutjazz.com/lovers-after-all-deborah-winters-jazzed-media-review-by-dan-bilawsky.php
 

Personnel: Deborah Winters: vocals; Doug Morton: trumpet (1-5, 9, 10); Peter Welker: trumpet (1-5, 9, 10), flugelhorn (11); Charlie McCarthy: alto saxophone (1, 4, 7, 9, 10); Rob Roth: tenor saxophone (1-5, 8-10); Scott Petersen: baritone saxophone (1-5, 9, 10); Mark Levine: piano (1, 4, 8, 9, 10); Chris Amberger: bass (1-4, 6-10); Kevin Dillon: drums (1, 4, 8-10); Andrew Speight: alto saxophone (2, 3, 5); Fred Lipsius: alto saxophone (2, 6); Scott Whitfield: trombone (2, 3, 6, 7); Dave Mathews: pianos (2, 3, 6, 11), Hammond B3 organ (5); Celso Alberti: drums (2, 7); Randy Vincent: guitar (2, 3, 7); Pete Levin: string synth (2, 4, 6); Kendrick Freeman: drums (3, 6); Garth Webber: guitar (5); Tim Haggerty: bass (5); James Preston: drums (5).

Lovers After All

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Conrad Herwig - New York Breed

Styles: Trombone Jazz
Year: 1995
File: MP3@320K/s
Time: 65:02
Size: 149,4 MB
Art: Front

(6:12)  1. Code Mode
(7:39)  2. Search for Peace
(6:09)  3. Cousin Mary
(6:50)  4. For Heaven's Sake
(6:47)  5. Gatekeeper
(5:42)  6. 40 Bars
(6:51)  7. Deluge
(4:21)  8. In the Wee Small Hours
(6:04)  9. New Breed
(8:23) 10. I'll Take Romance

Conrad Herwig is one of New York's more prominent progressive/mainstream trombonists. He has recorded and/or performed with a number of famous leaders, including but not limited to Joe Henderson, Jack DeJohnette, and Paquito d'Rivera. Herwig is an alumnus of the famous University of North Texas jazz program, an experience that obviously prepared him well as a big-band player. He began his professional career in the early '80s with Clark Terry's big band; stints with Buddy Rich, Toshiko Akiyoshi, Mel Lewis, and others were to follow. Herwig became an increasingly in-demand sideman in the '90s. He is an accomplished pedagogue, having taught clinics and workshops around the world. Herwig is on the faculty at Rutgers University, Mason Gross School of the Arts.

His seventh album as a leader, The Latin Side of John Coltrane, emphasized an affinity for South American idioms. Heart of Darkness (inspired by the short stories of Joseph Conrad) followed in 1998 on Criss Cross, and a year later Herwig resurfaced with Osteology. The 21st century found Herwig bursting with energy and new projects. He finally issued E o Trio de Barnardo Sassetti in April of 2000 (though it was recorded in 1993). He then released Unseen Universe, a new session, on Criss Cross in the fall and still found time to record with Andy LaVerne; the latter album was issued in 2002 as Shades of Light on Steeplechase. Land of Shadow was issued on Criss Cross in 2003; the band on the date included David Kikoski, Tim Hagans, Ben Schachter, James Genus, and Jeff "Tain" Watts. In 2004 Herwig released Another Kind of Blue on Half Note. It was recorded live in 2003 at the famed Blue Note club, where he and a nonet that included Paquito d'Rivera performed Miles Davis' Kind of Blue in its entirety. The same year, his second Latin-infused Coltrane tribute, Que Viva Coltrane, was issued on Criss Cross. Obligation was released by the same label in 2005.

In 2006, Half Note released the other half of Herwig's 2003 Davis tribute as Sketches of Spain y Mas; the program consisted solely of the late trumpeter's compositions. A quintet studio date entitled A Jones for Bones Tones was issued by Criss Cross in 2007. In 2008, Herwig recorded another live date, and released it as The Latin Side of Wayne Shorter, with the trombonist and arranger fronting a septet for Half Note. Pianist Eddie Palmieri guested on three of the set's nine cuts. Another installment in this series appeared in 2010 as The Latin Side of Herbie Hancock, with guests Palmieri and Randy Brecker. In 2014, Herwig returned with yet another entry into his Latinized jazz homage series with Latin Side of Joe Henderson; recorded live at the Blue Note in N.Y.C. and featuring saxophonist Joe Lovano. ~ Chris Kelsey & Thom Jurek, Rovi  https://itunes.apple.com/gb/artist/conrad-herwig/id54707892#fullText

Personnel: Conrad Herwig (trombone); Dave Leibman (soprano & tenor saxophones); Richie Beirach (piano); Rufus Reid (bass); Adam Nussbaum (drums).

New York Breed

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Walt Weiskopf - Song For My Mother

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 52:43
Size: 121,0 MB
Art: Front

(7:09)  1. Outsider
(5:18)  2. Three Armed Man
(6:41)  3. Barebones
(5:26)  4. End of the Year So Soon
(7:10)  5. Song for my Mother
(5:40)  6. High Noon
(5:26)  7. You Won't Forget Me
(4:06)  8. Where Is Love?
(5:42)  9. Turncoat

Weiskopf's talent broadens into the arranging field on this excellent album. The tenor saxophonist, a graduate of the Eastman School of Music and a veteran of the big bands of Buddy Rich and Toshiko Akiyoshi-Lew Tabackin, employs a nonet: four woodwinds, trumpet, trombone, piano, bass and drums. His charts put you in the mood of Gil Evans, Herbie Hancock and Duke Pearson. His tenor, reminiscent of Trane, Charles Lloyd and a cooler Mike Brecker, threads through the arrangements in integral fashion.

Anders Bostrom's virtuosic flute and alto flute are prominent in solo on three Weiskopf originals. Here and elsewhere, the flutes and alto flutes (all the reedmen double) color the band, giving it a pastel or glowing character. Jim Snidero (alto saxophone) and Scott Robinson (baritone saxophone) cook in their respective solos. Trumpeter Joe Magnarelli and trombonist Conrad Herwig complete the horns, with Joel Weiskopf (piano), Peter Washington (bass) and Billy Drummond (drums) in the rhythm section. ~ Owen Cordle  http://jazztimes.com/articles/8386-song-for-my-mother-walt-weiskopf

Personnel: Walt Weiskopf (tenor saxophone, flute, alto flute); Jim Snidero (alto saxophone, flute, alto flute); Scott Robinson (baritone saxophone, flute, bass clarinet); Joe Magnarelli (trumpet); Conrad Herwig (trombone); Anders Bostrom (flute, alto flute); Joel Weiskopf (piano); Peter Washington (bass); Billy Drummond (drums).

Song For My Mother

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Denise Perrier - East Meets West

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 53:18
Size: 122,5 MB
Art: Front

(6:10)  1. Fool On The Hill
(6:11)  2. Don't Explain
(4:18)  3. Do You Know What It Means to Miss New Orleans?
(5:26)  4. Day Dream
(7:07)  5. What A Difference A Day Made
(5:23)  6. Drinking Again
(5:34)  7. Bewitched, Bothered & Bewilder
(6:42)  8. I'm Just A Lucky So And So
(6:22)  9. Besame Mucho

Denise Perrier has spent most of her thirty-year career performing in the San Francisco Bay  Area and touring    Europe,  Latin America and Asia. With her latest CD, "Denise Perrier and the Novosibirsk Philharmonic Orchestra," she has moved to  a higher level of artistry and popularity.  Harkening back to the time when a singer told the story and left the rest to the instrumentalists, Denise has a very  welcoming straight-ahead style, concentrating on the standards and adding blues and Latin for variety. Her  musical configuration, Denise connects with audiences that’s her forte.

She is known as  “the voice with a  heart.” Blessed with a rich contralto voice and the ability to sing ballads and blues with equal artistry, Denise has performed in the theatrical revue "In the House of the Blues,"  portraying Bessie Smith; and the vaudeville “One Mo’  Time.”  She was featured in the Grammy-nominated CD, "Color Me Blue," with Brother Jack McDuff and, in addition to the latest one,  has produced four CDs: "The Second Time Around" (2008),  "I Wanna Be Loved" (1997), also with Houston Person, and  "East Meets  West" (2001) which includes sides performed in Russia.  In 2004, she came out with "Live at Yoshi's; Blue Monday Party," which received much critical acclaim and reached high on the jazz charts.   Denise was born in Louisiana but moved to the East Bay Area with her family at the age of five.  Denise didn't sing extensively in church, but her family had a jukebox, and she heard records by Billie Holiday and the other great early jazz singers.  Denise started singing in public when she was in a Haitian and Afro-Cuban dance group, obtaining her first professional engagement with a vocal ensemble called the Intervals.  Louis Armstrong saw the group and put them in his entourage for a performance in Las Vegas.  Shortly afterwards, Denise was recruited for a three-month gig in Australia, which turned into an extended stay in the Far East.

She performed in Hong Kong, the Philippines, Taiwan,    Formosa, Japan, Guam, and other Asian cities, staying for    almost five years with Hong Kong as her home base. She also spent a year and a half in Vietnam during the war touring military bases. Denise returned to the United States, lived in New York for five years, and then settled in San Francisco, where she became one of its most popular performers. She performs extensively in the San Francisco Bay Area's most prestigious venues as well as touring Latin America and Europe. ~ Bio  http://www.deniseperrier.com/BIO.htm

Personnel: Denise Perrier (vocals); Tammy Hall, Andrei Kondakov (piano); Jimmy Robinson (drums); Raul Ramirez (percussion)

East Meets West

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Claude Tissendier Quartet - The Liquorice Stick

Styles: Clarinet Jazz
Year: 2008
File: MP3@320K/s
Time: 56:27
Size: 129,6 MB
Art: Front

(4:03)  1. The Liquorice Stick
(5:00)  2. Begin The Beguine
(4:49)  3. Stompin' At The Savoy
(3:56)  4. Rue des Lavandières
(5:07)  5. Frenesi
(4:55)  6. It Had To Be You
(5:08)  7. Runnin' Wild
(4:00)  8. Memories Of You
(5:30)  9. Carioca
(4:19) 10. Broadway Song
(5:11) 11. Midnight At The Bayou
(4:22) 12. Sing, Sing, Sing

Born France. While studying classical clarinet and alto saxophone at Toulouse Conservatory, Tissendier began playing jazz. His interests followed a chronological path, starting with New Orleans music, passing through the mainstream into bop. In 1977 he joined the big band led by Claude Bolling and also worked with Gerard Badini and others. In the early 80s he taught at the Paris School of Jazz and in 1983 formed a sextet especially to recreate the music of John Kirby. In demand for club and festival dates, the band won many awards for both live performances and records. In 1987 Tissendier formed Saxomania, a seven-piece band featuring two alto saxophones, two tenors and three rhythm. Once again he won honours and gained invaluable experience and exposure accompanying visiting American jazzmen including Benny Carter, Buddy Tate, Jimmy Witherspoon and Spike Robinson, with some of whom he also recorded. Tissendier’s alto playing is striking for its intensity and driving swing and the high musical standards displayed by the Saxomania band ably demonstrate that his is a major talent. http://www.allmusic.com/artist/claude-tissendier-quintet-mn0000391438/biography

Personnel: Claude Tissendier (clarinet); Bernard Rabaud (vibes); Jacques Schneck (piano); Sylvain Clevarec (drums)

The Liquorice Stick

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Georgie Fame & Madeline Bell - Singer

Size: 124,6 MB
Time: 53:43
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Blues Vocals
Art: Front & Back

01. Prelude (The Game Of Life) (Orchestra) (3:01)
02. Small Town (Sung By Georgie Fame) (3:35)
03. My Second Home (Sung By Madeline Bell) (5:25)
04. Singer (Sung By Georgie Fame) (3:39)
05. Learning (Sung By Madeline Bell) (5:57)
06. Big Town (Sung By Georgie Fame) (4:46)
07. That's How Hit Records Are Made (The Crap Song) (Sung By Madeline Bell) (3:56)
08. The Blues And Me (Sung By Madeline Bell) (4:32)
09. Where Do You Go From Here (Sung By Georgie Fame) (3:46)
10. Isn't It Strange (Sung By Georgie Fame & Madeline Bell) (3:52)
11. Be True To Yourself (Sung By Georgie Fame & Madeline Bell) (4:24)
12. From Now On (Sung By Georgie Fame & Madeline Bell) (3:35)
13. Epilogue (The Game Of Life) (Sung By Georgie Fame) (3:10)

In the autumn of 1984 composer and arranger Steve Gray and myself were involved in a concert for Dutch radio, with the renowned Metropole Orchestra with whom we had both worked individually in the past. Another member of that production was the well known Dutch entertainer Edwin Rutten. The three of us went to supper after the concert and Edwin suggested that Steve and I might compose an original work which could be performed with the Metropole Orchestra. We were flattered and a little excited by the prospect but nothing further was discussed. In January 1985 I was on one of my regular tours of Australia when Steve called me in Sydney to say that he'd heard from Holland and the project was on!. Furthermore the proposed recording dates were March 3rd/4th and 5th. I wasn't due back in England until mid-February but Steve said he would make a start with some ideas until I returned. We lived not that far from each other and I went over to his place as soon as I got back from Australia. Steve had prepared a handful of melodies and it was decided that the work should be about a female singer's life story-in a nut shell. We had agreed that the subject of the story should be played/sung by one of our great friends and favourite artist's Madeline Bell. I was to be the narrator and we had barely three weeks to complete the project. Steve had the added responsibly of scoring the ten or so songs for a big band and orchestra of over 60 pieces plus a 30 piece choir and we met constantly. I personally made many trips from the bedroom to the music room in the middle of the night pursuing ideas and lyrics. I had never been put under such pressure to meet a deadline but I am eternally grateful to Steve Gray for dragging me out the lyricist's closet. I had also never been involved in an artistic work of such magnitude. Things progressed well and we all met up in Hilversum with the orchestra which was conducted by our good friend the late, great Rogier Van Otterloo. I was still writing some lyrics during the actual recordings and Madeline herself helped out with one line of the song 'My Second Home'. Drama ensued on the last day when I developed 'mental block' in completing the lyric's for the final song 'The Game of Life' which I was also meant to sing but thanks to the patience and understanding of all concerned, I was given a little 'extra time'. I emerged after about 20 minutes in 'solitary confinement' and sang the final piece to everyone's relief (and satisfaction). We were all immensely pound to have pulled it off and the orchestra invited us back 20 years later for a repeat performance. Better since, in 2004 we were given the opportunity to present the work in a matinee concert at Tilburg, Holland where Steve Gray was present in the audience. Thanks to the Dutch Radio Authorities we are proud to be able to make the 'live concert' version available to the general public on CD. The whole story is told through music and song and there is not one spoken word. We sincerely hope that you enjoy sharing the emotions and experience that come with this work which we dedicate to the memory of Steve Gray.

Singer

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Pete Levin - Iridium Live 008 4-18-2012

Size: 134,3 MB
Time: 58:13
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz
Art: Front

01. Might Have Been ( 4:53)
02. Shades Beyond ( 8:31)
03. Little Sunflower ( 9:36)
04. Back In The Schoolyard (12:41)
05. Little Wing ( 8:47)
06. Old Wine, New Bottles (13:42)

Organist Pete Levin, a former member of the Gil Evans Orchestra, reunites in a live setting with fellow ex-bandmates at the Iridium in 2012. The set list includes modern big-band arrangements from the Gil Evans songbook, two of Levin’s compositions, and cover versions of Freddie Hubbard’s “Little Sunflower,” the Lenny White penned “Old Wine, New Bottles” and the Jimi Hendrix classic “Little Wing.”

Bio:
Pete Levin (born December 20, 1942) is an American jazz keyboardist, composer and horn player.

Levin grew up in Brookline, Massachusetts. His first instrument as a teenager was the French horn. He studied at Boston University and received a master's degree from Juilliard School of music in New York City. In the early 1970s he joined the Gil Evans Orchestra as a French horn player. At the time, Levin was experimenting with synthesizers. Over time Gil Evans incorporated Levin's synthesizer sound into the compositions and Levin's role changed to a full-time keyboardist. His fifteen-year association with the Gil Evans Orchestra was followed by an eight-year association with Jimmy Giuffre.

Levin plays the hammond organ, clavinet and moog synthesizer. He has produced several albums as a band leader including the 2007 Deacon Blues. In 2014 he released a collaborative album with his brother, bassist Tony Levin, titled Levin Brothers. The album is a tribute to and styled after the works of Oscar Pettiford and Julius Watkins. Levin has performed for film and television scores including Missing in Action, Lean on Me, Silver Bullet, Red Scorpion, The Color of Money, Maniac, Spin City, America's Most Wanted and Star Trek. He has written scores of his own for Zelimo and The Dybbuk. He was awarded the Army Commendation Medal for writing the official military band arrangement of the U.S. Infantry song.

He has worked with a wide range of artists including Carla Bley, Brubeck Brothers, Hiram Bullock, Jimmy Cobb, Billy Cobham, Willie Colón, Miles Davis, Rachelle Farrell, Bryan Ferry, Gregory Hines, Thad Jones/Mel Lewis Band, Annie Lennox, Chuck Mangione, Charles Mingus, Gerry Mulligan, Jaco Pastorius, Robbie Robertson, Salt-n-Pepa, David Sanborn, John Scofield, Wayne Shorter, Paul Simon, Lew Soloff, Vanessa Williams, and Lenny White.

Regarding his creative work, Levin stated that "All my arranging and orchestrating work is grounded in what I experience in live performance (...) My best and most creative ideas come from playing live."

Iridium Live 008 4-18-2012

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Stephanie Porter - Radio Theatre

Size: 105,7 MB
Time: 45:17
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Soul Vocals
Art: Front

01. He Thinks That I'm Wonderful (4:29)
02. Into November (4:43)
03. Around The World (3:43)
04. Come Back To Me (2:59)
05. Poor Little Child (5:07)
06. No More Blues (4:13)
07. Gone (6:51)
08. Right On Time (4:20)
09. Day Dreams (3:50)
10. I'm Afraid The Masquerade Is Over (4:56)

Stephanie Porter - Vocalist (1-10)
Marius Nordal - Piano /arranger (1-2-5-6-7)
Bill Anschell - Piano /arranger (4-9-10)
Craig Hoyer - Piano/ Electric /arranger (3 & 8)
Dan O'Brien - Bass (1-10)
Steve Yusen - Drums (1-10)
Dan Adams - Percussion (3 & 6)
Mike West - Saxophone / flute (3-6-7-8)
Steve Madaio - Trumpet (1 & 5)

Stephanie Porter is a premier jazz vocalist who has truly made her mark on the Northwest scene. Musically inspired at an early age. Stephanie found herself mesmerized by music and the many layers of interpretations of songs by both instrumentalists as-well-as vocalists. Moved particularly by jazz and it's progression of energy combined with cool. A stylist that has been influenced by music ...music and its many styles.

Stephanie said “It’s difficult to define a specific artist as a major influence... Music is like a painting of a vast garden. I am inspired by each organic note and phrase. I am always searching for more and more colors to add. I strive to be true to the songs I sing, honest with the audiences listening and enveloped in creativity with my band."

Nick Morrison, of KPLU describes her as “a favorite not only among Jazz listeners, but among Jazz artists as well”.

Her voice has taken her to France, England, Canada, and other parts of the world. Locally, she has entertained audiences at the Triple Door, The Pampas Room, Tula’s Jazz Club as well as Benaroya Hall and Jazz Alley. Whether singing with a symphony or in a duo she pours her heart and soul in to the music. Her recordings have received air play both nationally and internationally. Editor’s Picks CDBaby stated "I am in total awe with this woman’s voice."

Her latest album, Radio Theatre, is a brilliant showcase of her amazing talent as a vocalist, Porter delivers each note with purpose and honesty.

Radio Theatre

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The Everly Brothers - The Everly Brothers Show

Size: 116,5 MB
Time: 49:22
File: MP3 @ 320K/s
Released: 1970/2005
Styles: Pop Rock
Art: Front

01. Introduction (1:31)
02. Mama Tried (2:03)
03. Kentucky (2:43)
04. Bowling Green (2:34)
05. ('Til) I Kissed You (1:57)
06. Wake Up Little Susie (1:43)
07. Cathy's Clown (1:23)
08. Bird Dog (1:57)
09. Maybellene (2:16)
10. Baby What You Want Me To Do (4:52)
11. All I Have To Do Is Dream (3:11)
12. Walk Right Back (2:09)
13. Medley Susie Q - Hey Jude (5:24)
14. Lord Of The Manor (4:12)
15. I Wonder If I Care As Much (3:11)
16. Love Is Strange (3:59)
17. Medley Let It Be Me - Give Peace A Chance (4:09)

On Wednesday, July 8, 1970, at 9 p.m. EDT, the ABC television network broadcast the first of 11 weekly episodes of The Everly Brothers Show, a one-hour musical variety program that was the summer replacement for The Johnny Cash Show. The same month, Warner Bros. Records released a double LP (later reissued as a single CD) also called The Everly Brothers Show. But the album was not a soundtrack to the TV series; it was a live recording that had been made five months earlier at the Grand Hotel in Anaheim, CA, at which the duo of Don and Phil Everly, backed by an electric guitar/bass/drums trio, played a mixture of their old hits, some newer songs, and various cover material. There was a sort of autobiographical structure to the show, at least at first, as Don Everly began with a spoken introduction that harked back to the brothers' youth, leading into a series of songs loosely related to that youth -- "Mama Tried," "Kentucky," and "Bowling Green" -- followed by a batch of their hits. After a cover of Chuck Berry's "Maybellene," there was a lengthy medley of rock & roll songs, then a string of ballads. But, as Don Everly's sardonic remarks suggested, it was all taken in a simultaneously off-hand and dismissive manner. The brothers' fast numbers "('Til) I Kissed You," "Wake Up Little Susie," "Cathy's Clown," and "Bird Dog," were taken at breakneck tempos, as if to get them out of the way, while the ballads that came toward the end, "All I Have to Do Is Dream," "Walk Right Back," "I Wonder If I Care as Much," and "Let It Be Me," were slowed down. The strangest section was the rock & roll medley, eighteen-and-a-half minutes of seemingly random snatches of songs including Berry's "Rock and Roll Music," the Beatles' "The End," "Aquarius" from Hair, "If I Were a Carpenter," the Everlys' own "The Price of Love," "The Thrill Is Gone," and "The Games People Play," with riffs from other songs thrown in, and including drum and bass solos (a standard indulgence of the time, admittedly). The duo displayed a bizarre Beatles obsession that included appending the coda from "Hey Jude" to "Susie Q" and even turning "Let It Be Me" into "Give Peace a Chance" at the end. Their harmonies were as attractive as ever, but this was not a live album that showed off their stage talents to advantage. ~by William Ruhlmann

The Everly Brothers Show

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Johannes Faber Quartet - I Gotta Right To Sing The Blues

Size: 154,6 MB
Time: 67:05
File: MP3 @ 320K/s
Released: 2010/2015
Styles: Jazz Blues, Vocals
Art: Front

01. Westend Blues (5:25)
02. Istanblues (4:33)
03. Sometimes I Feel Like A Motherless Child (5:58)
04. Venerdis Blues (3:18)
05. Die Biberratte (6:32)
06. Heart Of Stone Blues (4:26)
07. Tuesday Bluesday (8:53)
08. Bangalore (5:07)
09. Drum Line (7:42)
10. I Gotta Right To Sing The Blues (8:57)
11. Two Blues Or Not Two Blues (6:09)

Johannes Faber was born in Munich in 1952 and studied trumpet and composititon in Munich, Graz and Boston.
He worked with the Radio Big Band Stuttgart (1980-90) and the Radio Big Band Hamburg (1990-96) as a trumpet soloist, composer and arranger.
Faber composed the soundtrack for the movie "Rally Paris-Dakar“ and founded the jazzrock-band CONSORTIUM with Billy Cobham dr, Christof Lauer sax, Joerg Reiter p, Dave King e-b.
He had a professorship at the Hochschule für Musik und darstellende Kunst in Hamburg. The trumpeter played - amongst many others - with Chaka Khan, Anthony Jackson, George Adams, Charlie Mariano Dado Moroni, Konstantin Wecker, dem UNITED JAZZ & ROCK ENSEMBLE und Peter Herbolzheimer’s RHYTHM COMBINATION AND BRASS, composed for Michael Ende (author of the NEVERENDING STORY) and was given the Jazz Award Baden-Württemberg (1985) .
He played on several jazz festivals as in Montreux, at the Jazzfest Berlin, the Deutsches Jazzfestival Frankfurt and so forth.

In 1998 he composed the music for the theatreplay HIAS in which he also played the main role in a production of the Staatstheater am Gärtnerplatz(Munich). Since the year 2000 he organizes the jazzprogram "Jazz im Gärtnerplatz“ for the same theatre and sings and acts the Orator (Staatstheater am Gärtnerplatz) and Sarastro (Operafestival Gut Immling) in THE MAGIC FLUTE by Mozart. 2003 he composes the piece "4“ for the BALLETTTHEATER MÜNCHEN under the direction of Philip Taylor also for the Staatstheater am Gärtnerplatz. 2006 he teaches jazz history at the Conservatorio Nicolo Paganini in Genova(Italy).
2012 Professorship at the "Conservatorio Nicolò Paganini"

I Gotta Right To Sing The Blues

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Lee Morgan - Standards

Bitrate: MP3@320K/s
Time: 41:57
Size: 96.1 MB
Styles: Hard bop, Trumpet jazz
Year: 1998
Art: Front

[5:01] 1. This Is The Life
[7:17] 2. God Bless The Child
[5:49] 3. Blue Gardenia
[6:00] 4. Lot Of Livin' To Do
[5:48] 5. Somewhere
[6:06] 6. If I Were A Carpenter
[5:53] 7. Blue Gardenia

This session headed by trumpeter Lee Morgan was not initially released until this 1998 CD. Morgan is joined by an all-star cast of James Spaulding on flute and alto, tenor saxophonist Wayne Shorter, baritonist Pepper Adams, pianist Herbie Hancock, bassist Ron Carter and drummer Mickey Roker, but the music overall is not all that memorable. Most of the selections, although allegedly "standards," were of more recent vintage (like "A Lot of Livin' to Do" and "If I Were a Carpenter"), and even if Morgan and the other musicians play well, nothing too exciting occurs. Although not a dud, it was not a major loss that this recording stayed in the vaults. ~Scott Yanow

Standards

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Randy Weston - Portraits Of Duke Ellington

Bitrate: MP3@320K/s
Time: 53:17
Size: 122.0 MB
Styles: Post bop, Piano jazz
Year: 1990/2006
Art: Front

[12:03] 1. Caravan
[ 5:30] 2. Heaven
[11:31] 3. Sepia Panorama
[ 8:58] 4. Limbo Jazz
[ 7:24] 5. C Jam Blues
[ 7:48] 6. A Chromatic Love Affair

On the second of three quartet recordings (with bassist Jamil Nasser, drummer Idris Muhammad and percussionist Eric Asante) recorded on three consecutive days, pianist Randy Weston plays six Duke Ellington compositions. Other than "Caravan" and "C Jam Blues," the tunes are rarely performed ("Limbo Jazz" and "Chromatic Love Affair" are far from standards), allowing Weston to construct inventive improvisations that do not borrow from the original recordings; even "Caravan" sounds fresh. All three of these releases (the others are a set of originals and a program of Thelonious Monk tunes) are easily recommended to Randy Weston's fans. ~Scott Yanow

Portraits Of Duke Ellington

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Raphaële Atlan - Inner Stories

Bitrate: MP3@320K/s
Time: 48:28
Size: 111.0 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[5:10] 1. Dienda
[4:54] 2. So Much Better
[7:24] 3. Sinking
[4:33] 4. When You Dream
[3:49] 5. Deep Blue Song
[2:12] 6. Chega De Saudade
[1:28] 7. Father And Son
[6:00] 8. Again
[5:13] 9. Funny Voices
[3:23] 10. Vanished And Gone
[4:15] 11. Take My Time

Raphaële Atlan: vocals, piano; Romain Pilon: guitar; Nicolas Charlier: drums; Zacharie Abraham: double bass.

The qualities of pianist and composer Raphaële Atlan have been noticed as soon as her first album, “Inner Stories”, was published in 2011. It offers a variety of warmer colors and more aerial tonalities, in a blend of jazz, pop, folk, and Brazilian musics. Her compositions and texts evoke a luminous universe, into which enthusiasm and melancholy pierce by turns. The sensibility of the voice, the delicacy of the piano and the softness of the guitar intermingle and improvisation arises freely!

Inner Stories

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Clairdee - Music Moves

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 54:22
Size: 125,6 MB
Art: Front

(6:13)  1. Yes Sir, That's My Baby
(4:42)  2. Cheek to Cheek
(5:54)  3. Quiet Nights of Quiet Stars (Corcovado)
(8:04)  4. Summertime
(4:38)  5. Do Something
(4:21)  6. If I Could Be With You One Hour Tonight
(4:50)  7. Sunny
(4:41)  8. Someone Else Is Steppin In
(4:42)  9. All The Way
(6:15) 10. Alright, Okay, You Win

Music in motion. That's what Clairdee's performances are. Recorded live at Yoshi's in Oakland, California, Music Moves reveals a singer who communicates with her audience on all levels. It's easy to love her music and the way she delivers it. In her comments on this album, Clairdee mentions her deep respect for singers of jazz and blues, such as Ruth Brown, Al Green, Donny Hathaway, and Frank Sinatra. The album's final track is a salute to Eddie Harris, Les McCann, Joe Williams, and Count Basie. She sure can pick 'em. "Summertime" can be positioned to represent the ultimate test of a singer. It's that kind of a classic jazz piece. You may ask yourself, does the song's heartfelt spirit come through? Are emotions raised? Does the singer convince? Is the treatment of this classic song handled with care while providing a unique character? The answers this time out are yes, yes, yes, and yes. Clairdee gets capable support on Music Moves from pianist Ken French and saxophonist Charles McNeal. They're on fire. 

The live setting undoubtedly pumped a lot of energy into this performance. It sure does have a powerful effect. "Alright, Okay, You Win" begins with a funky version of "Cold Duck Time" and transitions seamlessly into the familiar theme that Joe Williams brought us time and again. The band puts goosebumps on your arms. The audience must have been up and dancing between the tables. "Sunny" saunters happily with a swingin' attitude and a funky spirit as Clairdee and her band interpret this classic pop tune convincingly. Elsewhere, the singer combines ballads and blues for a recommended performance. In person, or the next best thing to being there, Clairdee's performance is a don't miss opportunity. ~ Jim Santella  http://www.allaboutjazz.com/music-moves-clairdee-declare-music-review-by-jim-santella.php

Personnel: Clairdee: vocals; Ken French: piano, keyboard; Ron Belcher: bass; Deszon X. Claiborne: drums; Charles McNeal: soprano, alto, and tenor saxophones.

Music Moves

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Walt Weiskopf - Siren

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 51:03
Size: 117,2 MB
Art: Front

(1:56)  1. Galss Eye
(8:36)  2. Siren
(8:00)  3. In A Daze
(5:13)  4. Close Your Eyes
(6:37)  5. Victory March
(6:20)  6. Night in Ferrara
(6:17)  7. Zone
(2:20)  8. Baby Won't You Please Come Home
(5:41)  9. Separation

It’s very fitting that in the liner notes to saxophonist and composer Walt Weiskopf’s sixth set as a leader for Criss Cross, writer Bill Milkowski comments on the lack of information or publicity available to the general jazz public on the intrinsic worth of Weiskopf. Whole heartedly concurring, this reviewer has felt that the world has been too long asleep on Weiskopf’s efforts to expand the jazz tradition in a way that maintains conventions but also allows for individual expression to reign supreme. And maybe it’s because Weiskopf’s art is not flashy in the radical sense (you won’t find electronics, hip hop scratchers, or rappers here) that he continues to remain just a bit out of the range of everyday radar. As a significant follow-up to his previous nonet recording, the sublime and wonderful Song For My Mother, the recently issued Siren is every bit as powerful. In fact, aside from the substitution of bassist Doug Weiss for Peter Washington, the same cast of characters is again assembled, with Conrad Herwig, Jim Snidero, and brother Joel Weiskopf proving to be dependable soloists throughout. It should also be said that one couldn’t envision such a record without the talents of drummer Billy Drummond. His capacity to spur on each soloist and to add color to the ensemble is without equal.

Weiskopf’s writing remains one of his biggest assets, although this time around we also get two standards thrown into the mix, along with an original apiece from Snidero and brother Joel. The opening and brief “Glass Eye” makes the most of some angular counterpoint before the loping title track sets the stage. The sunny ensemble sports a muted Joe Magnarelli on trumpet and Anders Bostrom on flute, the latter contributing a breathy solo of his own later on in the track. “In a Daze” is a Snidero line in waltz tempo and Weiskopf’s Coltrane-inspired bursts of energy are purely delightful. Then the tenor man gets romantic with “Close Your Eyes,” a lush arrangement including Bostrom’s lovely flute once again. Further highlights include another ¾ line, “Waltz in Ferrara” and “Zone,” a brisk track that finds the horns shouting from the git-go and Scott Robinson’s gutsy baritone sax taking a bow (long live the Pepper Adams legacy!). Whether or not this record will bring Weiskopf some additional fans is hard to say. Certainly the sense of artistic veracity and sheer joie de vivre presented here is beyond reproach and only the most foolish would selectively choose to ignore its implications. ~ C.Andrew Hovan  http://www.allaboutjazz.com/siren-walt-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Walt Weiskopf (tenor sax), Anders Bostrom (flute & alto flute), Jim Snidero (alto sax & flute), Scott Robinson (baritone sax & bass clarinet), Joe Magnarelli (trumpet), Conrad Herwig (trombone), Joel Weiskopf (piano), Doug Weiss (bass), Billy Drummond (drums)

Siren

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Vic Juris - Walking On Water

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 62:54
Size: 144,6 MB
Art: Front

(5:58)  1. Mama Luke
(6:34)  2. Law Years
(7:52)  3. Walking On Water
(6:15)  4. Have I Told You Lately
(6:59)  5. Newtown
(6:48)  6. Funny Bone
(5:22)  7. Nostalgia
(7:58)  8. After the Storm
(4:53)  9. Cyclic Episode
(4:11) 10. All the Things You Are

One has come to expect Steeplechase releases to be of such a uniformly and consistent high quality that it is easy to damn them with faint praise, as the saying goes.  It seems as though the label has become a safe haven for worthy, journeyman talent rather than a place where cutting edge development   thrives. If like me you have formed this impression, I have to say we are probably selling the label short and need to re-evaluate its contribution to the furtherance of the music. Vic Juris is without doubt a time served practitioner, a safe pair of hands, yet one who can adapt his considerable technique to serve diverse stylistic influences and this is amply demonstrated in the choice of pieces that make up this surprisingly varied recital of contemporary jazz.

The tunes range from funky blues, via reflective pastoral landscapes, through the uncomfortable topography of Ornette Coleman’s inspired primitivism to the more relaxed tempos of straight ahead bop and mainstream modernity, finishing off with a spirited version of a well known songbook standard..  In his playing, Juris invokes the entire modern jazz guitar tradition which he fleshes out with soft focus harmonics and left field frissons to produce an up to date summary of where we are in the latest stylistic terms.  In this endeavour he is aided by a top drawer bass and drums duo plus the incisive voice of Tim Haggans on trumpet who is at turns dramatic and intimate as the mood dictates. All the solo extemporisations are highly articulate and free of clichéd licks making for a thoroughly satisfying listening experience which, though it is unlikely to change the course of jazz will nevertheless  be held in high esteem by those who care about its fundamental verities. ~ Euan Dixon  http://www.jazzviews.net/vic-juris-ndash-walking-on-water.html

Personnel:  Vic Juris (guitar) Tim Hagans (trumpet) Jay Anderson (bass) Anthony Pinciotti (drums)

Walking On Water

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Elisa Rodrigues - Heart Mouth Dialogues

Styles: Jazz, Vocal
Year: 2012
File: MP3@320K/s
Time: 48:31
Size: 114,2 MB
Art: Front

(5:22)  1. Ain't No Sunshine
(4:55)  2. You Don't Know What Love Is
(3:55)  3. By Your Side
(4:41)  4. Dumb
(7:21)  5. Blame It On My Youth
(3:40)  6. Sonhos
(3:59)  7. God Only Knows
(5:08)  8. Cry Me A River
(3:16)  9. Run
(6:10) 10. Roxane

Jazz has a new voice. If it is true that Elisa Rodrigues has dazzled on stage for some time, the release of their first CD, Heart Mouth Dialogues with the support of Antena 2 and Smooth Jazz FM, is confirmation that jazz has a new voice Portugal. Elisa is able to become classics in their songs and reinvent music with an impressive versatility. A disc that changes a more classic jazz record on issues such as Cry me a river or You do not know, to more modern times like Dumb or Roxane and even records that promise to amaze. Just listen dreams and experience the full extent, emotion and strength of voice of Elisa Rodrigues. This is a disc with a jazz flavor although with a longer range. Topics such as Is not no sunshine will have a more jazz flavor, merge with themes as the original Elisa, Run more painted blues. It is an album to listen carefully and to taste carefully. Translate by google  https://jaccrecords.wordpress.com/2012/01/04/elisa-rodrigues-heart-mouth-dialogues/

Personnel:  Elisa Rodrigues voice; Júlio Resende piano; Cicero Lee down; Joel Silva battery

Heart Mouth Dialogues

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Thilo Wolf & Guests - The Best Of Thilo Wolf

Styles: Jazz, Big Band
Year: 2005
File: MP3@320K/s
Time: 70:59
Size: 162,8 MB
Art: Front

(3:15)  1. The Flintstones
(3:20)  2. Take The A-Train
(4:39)  3. Swinging Fingers
(2:25)  4. Girl From Ipanema
(2:48)  5. Looking at the World
(4:42)  6. Nice Toys
(2:47)  7. Riffifi
(4:41)  8. Late Summernight
(3:49)  9. It's Alright with me
(2:47) 10. S'Wonderful
(4:17) 11. My One And Only Love
(4:31) 12. Can You Hear These Dirty Horns
(5:25) 13. Mr. Grooverix
(5:40) 14. Come Sunday
(5:09) 15. Amazing Grace
(6:50) 16. Sing Sing Sing
(3:46) 17. In The Wee Small Hours

Thilo Wolf, born in 1967, works as pianist, composer and arranger. He is leader of his own formations, the “Thilo Wolf Big Band”, the “Thilo Wolf Jazz Quartet“ and the "Groove Selection".His first love is pulsating, swinging Jazz but he is also open for crossover projects. He combines classical music and jazz through concerts together with the classical “Berliner Saxophone Ensemble”, the “Windsbacher Knabenchor” (Windsbacher Boys Choir) and his Jazz Quartet and in multiple collaboration with the Nuremberg Symphonic Orchestra. In collaboration with the Skibbe Band or the singer Max Mutzke he unites big band sound with rock, pop and soul music. Thilo Wolf and his formations have been performing concerts throughout Germany, Austria, Switzerland, China and Great Britain, in concert halls such as the Philharmonic in Munich or Dortmund, as well as at numerous jazz festivals at Burghausen, Oberkochen, Erding and the “Augsburger Jazzsommer“. His crossover projects led to concerts at classical music festivals such as “International Beethoven Festival“ in Bonn, “Gluck Opera Festival“ in Nuremberg or “Kurt Weill Festival“ in Dessau.  Besides the piano Thilo Wolf learned to play double bass and drums. 

In his youth, he received numerous honours, among them the „Förderpreis“ of his home town Fürth (1986), of the Theaterverein Fürth (1982) and the first price at the “Forum of young German composers of orchestral music” (1984). Furthermore, Thilo Wolf was winner (1983) and holder of a scholarship by the regional newspaper Nürnberger Nachrichten. In June 2012, the „Metropolregion Nürnberg“ appointed him artist of the month June. His musical education was exclusively formed by private tutors like Charly Antolini (drums) and “besides” he graduated with honours in Business Administration from the University Erlangen-Nürnberg. Other awards include the “Louis Armstrong Memorial Award“ (2004) as well the “Grosse Kulturpreis“ of his hometown Fürth (2004). The great dream of founding a big band was already clear from an early age. At the age of 16 he wrote his first big band arrangement. In 1992, at age 25, with the help of the Bavarian Television who dedicated him the TV show “SWING IT!” his dream came true.  This show was priced as the “Best Jazz Broadcast of the Year” (2002) by “Swinging Hamburg e.V.”, a society dedicated to preserve and promote Jazz. In 2012, Thilo Wolf, his big band and numerous guests celebrated the 20th Anniversary. The Bavarian Television devoted him a half-hour portrait and broadcasted the recording of the anniversary concert. His newest project ROCK THE BIG BAND had its first appearance at the end of 2013. The release concert of the eponymous album has been broadcasted already several times.Thilo Wolf does not see himself as a jazz purist. 

In addition to his own projects he writes, arranges and produces CD-and music recordings for film, television and radio, for other artists such as Bill Ramsey, Al Martino or Angelika Milster and for orchestras such as the RIAS Big Band, HR Big Band, the New York Strings, the Babelsberger Movie Orchestra or the Munich Radio Orchestra. Since 2007, Thilo Wolf works regularly as musical director for productions of the Fürth Theatre (“Petticoat & Schickedance” and “The Last Five Years”). As composer, he wrote two musicals “Bahn frei” (Fürth Theatre, 2012) and “Tod im Turm” (Lüneburg Theatre, 2012). In early 2015 the Thilo Wolf Big Band together with the Nuremberg Symphonic Orchestra recorded the soundtrack to "La Cage Aux Folles" (Comödie Fürth).CD productions and concerts led to cooperation with Grammy award winners Diane Schuur and the New York Voices as well as with John Pizzarelli, Randy Becker, James Morrison and many others. Thilo Wolf produced and published over 20 CDs in New York, Munich and Berlin with over a quarter million copies sold. Translate by google  http://www.thilo-wolf.de/de/persona/

(Feat. Randy Brecker, Etta Cameron, Joan Faulkner, Allan Harris, Chuck Loeb, New York Strings)

The Best Of Thilo Wolf

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Various Artists - It's De Lovely - The Authentic Cole Porter Collection

Styles: Jazz, Vocal
Year: 2004
File: MP3@320K/s
Time: 59:18
Size: 136,8 MB
Art: Front

(3:08)  1. Cole Porter - Anything Goes
(3:23)  2. Cole Porter - You're the Top
(3:13)  3. Artie Shaw and His Orchestra - Begin the Beguine
(1:55)  4. Lena Horne - From This Moment On
(6:44)  5. Sonny Rollins - You Do Something To Me
(2:27)  6. Shorty Rogers And His Giants - It's Delovely
(3:01)  7. Frank Sinatra - Night And Day
(2:50)  8. Irving Aaronson And His Commanders - Let's Misbehave
(2:44)  9. Roy Rogers - Don't Fence Me In
(2:52) 10. Dinah Shore - You'd Be so Nice to Come Home To
(3:30) 11. Coleman Hawkins - I Love Paris
(3:10) 12. Ray Noble and His Orchestra - Easy to Love
(1:59) 13. Lena Horne - Just One of Those Things
(3:17) 14. Leo Reisman & his Orchestra - What Is This Thing Called Love
(4:29) 15. Paul Desmond - I've Got You Under My Skin
(2:52) 16. Tommy Dorsey & His Orchestra - I Get a Kick out of You
(3:25) 17. Leo Reisman And His Orchestra - Night and Day
(1:32) 18. Rosemary Clooney - You Do Something To Me
(2:35) 19. Esquivel and His Orchestra - Night and Day

One of the criticisms of the movie De Lovely was that Cole Porter's music was sung by pop stars who weren't quite up to the task of interpreting his tunes. Bluebird has wisely issued an alternative to the soundtrack with It's De Lovely: The Authentic Cole Porter Collection, a compilation which features renditions of Porter tunes culled form the vast RCA Victor catalog, a lot of them done by people that helped make him famous. There are some true classics here, such as Artie Shaw's Begin the Beguine and Dorsey and Sinatra's Night and Day, where the marriage of a great song and great performance produced true magic. But there are also lesser-known recordings that are a good representation of how these songs sounded when Porter first composed them, such as "Let's Misbehave" by Irving Aaronson and his Commanders, and "Easy to Love" by Ray Noble & His Orchestra (and featuring vocals by the talented but obscure Al Bowlly). The producers really had to blow the dust off of some of these performances, and many of them sound appropriately dated, but more recent tracks from Lena Horne, Dinah Shore, and Rosemary Clooney still sound fresh today.


As an added bonus, there are two tracks featuring Porter singing his own compositions. Originally released as just Porter accompanying himself on piano, Vince Giordano has spiced up the tracks with new orchestration, which is not a bad idea since the composer was neither a great singer nor a great pianist. Thus, these aren't great performances, but still manage to be oddly charming. In addition to the vocal numbers, there are straight-ahead jazz tracks from Sonny Rollins, Coleman Hawkins, and Shorty Rogers that show how many artists loved to work through the changes of Porter's songs. However, if there's one weakness in the collection, it's these tracks. While the performances are good, they just don't fit in with the rest of the selections. The pop tunes are much shorter and focus on the genius of Cole Porter's lyric writing and compositional skills, but the jazz tunes tend to focus more on the improvisers and thus dilute the purpose of the project. Still, though, Bluebird has wisely crafted a disc that's a better find than the soundtrack to the movie, filled with great performances of Porter's songs the way he wanted them done. ~ David Rickert  http://www.allaboutjazz.com/its-de-lovely-the-authentic-cole-porter-collection-various-artists-bluebird-review-by-david-rickert.php

Personnel: Cole Porter (vocals); Cole Porter; Frank Sinatra, Lew Conrad, Rosemary Clooney (vocals); Bubber Miley (trumpet); Dinah Shore, Fred Astaire, Al Bowlly, Lena Horne, Phil Saxe (vocals); Jim Hall (guitar); Paul Desmond (alto saxophone).

It's De Lovely - The Authentic Cole Porter Collection

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