David Berger & The Sultans Of Swing - Doin' The Do

Bitrate: MP3@320K/s
Time: 58:25
Size: 133.8 MB
Styles: Swing
Year: 2000
Art: Front

[3:52] 1. Are You Fer It
[3:59] 2. Makin' Whoopee
[3:58] 3. Doin' The Do
[4:17] 4. My Heart Belongs To Daddy
[4:16] 5. Exactly Like You
[3:39] 6. Miss Thing
[6:00] 7. Good Queen Bess
[3:29] 8. How To Get You Out Of My Heart
[4:12] 9. Do Nothin' Till You Hear From Me
[4:10] 10. Ya Gotta Live It
[4:01] 11. Oops, My Bad!
[6:04] 12. Busy Woman Blues
[6:22] 13. Birthday Jam Happy Birthday Stompy Jones

A generous helping of well-cooked nouveau swing by David Berger's undeniably talented Sultans of Swing that's easy to swallow but doesn't sharpen one's craving for more of the same.

Berger arranged everything except the album's bonus track, Duke Ellington / Mildred Hill's "Birthday Jam," which he transcribed. While the charts are admirable, the music itself is on the whole less than exhilarating, especially the eight vocals (on thirteen tracks), half a dozen by Aria Hendricks, the others by trombonist Wayne Goodman ("Oops, My Bad!") and a trio comprised of Goodman, saxophonist Matt Hong and trumpeter Brian Pareschi ("Exactly Like You"). There are some engaging selections ("Good Queen Bess," "Ya Gotta Live It," for example) but they are counterbalanced by too many others that are no better than pedestrian.

Even so, the Sultans are seasoned pros who play well as a unit and solo capably whenever asked to stand and deliver. Trumpeters Steve Bernstein and Irv Grossman, clarinetist Dan Block, alto JerryDodgion and trombonist Noah Bless are splendid on Johnny Hodges—Lunceford—like "Good Queen Bess," Dodgion, Block, Pareschi and trombonist Joel Helleny likewise on Berger's "Ya Gotta Live It." Grossman, by the way, sounds like he's been memorizing pages from the Clark Terry Manual of Jazz Improvisation. Speaking of solos, no less than thirteen of the Sultans have their say on the bouncy "Birthday Jam" (subtitled "Happy Birthday Stompy Jones"). ~Jack Bowers

David Berger, conductor, arranger; Jerry Dodgion, Matt Hong, Dan Block, Mark Hynes, Jay Brandford, reeds; Bob Millikan, Brian Pareschi, Irv Grossman, Steve Bernstein, trumpet; Wayne Goodman, Joel Helleny, Noah Bless, trombone; Isaac Ben Ayala, piano; Dennis Irwin, bass; Jimmy Madison, drums; Aria Hendricks, vocals; Wayne Goodman, Matt Hong, Brian Pareschi, vocal trio.

Doin' The Do

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Conrad Herwig - Obligation

Styles: Trombone Jazz
Year: 2005
File: MP3@320K/s
Time: 61:56
Size: 142,1 MB
Art: Front

(10:20)  1. Forget About Me
( 8:56)  2. Solid Ground
( 9:26)  3. Lazy Bones
( 7:52)  4. Lua Flora
(10:52)  5. Obligation
( 7:21)  6. Tell Me a Riddle
( 7:05)  7. The Blue Shore Off Silence

From Latin romps through Coltrane territory to updating the two bone lead first launched by Kai and J.J., Conrad Herwig's musical diversity over the course of his six previous Criss Cross releases has been nothing short of remarkable. On "Obligation," he takes things a step further with a funky organ combo set up that highlights the extraordinary work of guitarist Mark Whitfield and the budding talents of organist Kyle Kohler. Tenor saxophonist Seamus Blake and drummer Gene Jackson complete the lineup, helping to make this set stand out among Herwig's already impressive catalog. ~ Editorial Reviews  http://www.amazon.com/Obligation-Conrad-Herwig/dp/B000AA4K4C

Personnel: Conrad Herwig (trombone); Mark Whitfield (guitar); Seamus Blake (soprano saxophone, tenor saxophone); Gene Jackson (drums).

Obligation

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Tom Lockwood With Jaimee Paul - Common Ground

Styles: Jazz/Blues, Vocal
Year: 2014
File: MP3@320K/s
Time: 52:19
Size: 121,2 MB
Art: Front

(4:07)  1. Route 66
(3:26)  2. If Is A Mighty Big Word
(4:04)  3. This Side Of Birmingham
(3:35)  4. Then There's The Truth
(4:14)  5. Stormy Monday
(4:30)  6. Blues For Dom
(4:14)  7. Georgia
(3:08)  8. Lately
(3:49)  9. Gary Seven
(4:29) 10. Black Coffee
(4:13) 11. I'd Rather Go Blind
(3:42) 12. Last Two Dollars
(4:43) 13. Through The Eyes Of A Child

Tom performed in many bands through the early 1970s before moving to Chatham (from Detroit) in 1977. Through the 1980s, Tom's focus was on composing music on Classical and steel string guitar. During the nineties, Tom released 2 CD's. 2011 marks 34 years of private guitar teaching for Mr. Lockwood. He can also be seen performing solo or with his band at Blues festivals, corporate events, or special entertainment for various functions.

In Nashville, Jaimee is known as the "New Voice of Blues and Jazz. Jaimee and Leif perform in Canada, the USA, Europe and Japan. Recently Leif played trumpet on tour with Jack White. Both Jaimee and Leif have toured with Kelly Clarkson.

Band: Vocals - Jaimee Paul;  Guitar - Tom Lockwood;  Trumpet - Leif Shires;  Bass - Bob Hiltz & Bob Wilson;  Keyboards - Mark Tremblay;  Drums - Mark Wolfe

Common Ground

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Joe Williams - One More For My Baby

Styles: Vocal
Year: 1985
File: MP3@320K/s
Time: 45:30
Size: 104,6 MB
Art: Front

(3:00)  1. Hallelujah I Love Her So
(4:30)  2. Nobody Knows The Way I Feel This Morning
(2:30)  3. How Sweet It Is
(3:23)  4. Evil Man Blues
(2:16)  5. Young Man On the Way Up
(3:14)  6. Hurry on Down
(2:22)  7. When I Take My Sugar to Tea
(2:13)  8. Honeysuckle Rose
(2:55)  9. Did I Really
(2:50) 10. Loneliness, Sorrow and Grief
(3:46) 11. Imagination
(4:23) 12. One More For My Baby
(2:43) 13. Everyone Wants to Be Loved
(2:53) 14. Everybody Loves My Baby
(2:25) 15. If I Were a Bell

After leaving RCA Victor Records in 1966, Joe Williams began performing with the recently formed Thad Jones-Mel Lewis Orchestra, which had some of the rhythmic impetus he had enjoyed with Count Basie. Contracted to Solid State Records, they cut two albums, a blues collection called Presenting Joe Williams And The Jazz Orchestra (1967) and a ballad set, Something Old, New And Blue (1968). This budget-priced compilation selects a mere four tracks from the former and 11 of the 12 tracks from the latter (the missing one is "Everybody Loves My Baby"). While a more complete collection might have been hoped for, the music is still impressive, as Williams re-lives the kind of sound he achieved with Basie and the Jones-Lewis organization proves itself an effective neo-swing unit. ~ William Ruhlmann  http://www.allmusic.com/album/one-for-my-baby-mw0000606981

One More For My Baby

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Paula Morelenbaum - Telecoteco (Um Sambinha Cheio De Bossa...)

Styles: Bossa Nova
Year: 2008
File: MP3@320K/s
Time: 44:54
Size: 103,3 MB
Art: Front

(4:49)  1. Manhã de Carnaval
(3:22)  2. Não Me Diga Adeus
(3:40)  3. O Samba e o Tango
(3:46)  4. Love Is Here To Stay
(3:46)  5. Um Cantinho e Você
(4:02)  6. Ilusão à Toa
(3:38)  7. Teleco-Teco
(3:00)  8. Sei Lá se Tá
(3:17)  9. O Que Vier Eu Traço
(3:31) 10. Você Não Sabe Amar
(4:17) 11. Ternura Antiga
(3:41) 12. Luar e Batucada

Refresh your memory, revisiting the story, under a contemporary and modern look. This seems to be the purpose of this launch of this talented singer. "Telecoteco (A Sambinha Bossa Full)" is so. It covers with rare efficiency end of the music from the 30s to early 60s Embracing this period prior to the bossa nova, the album has somehow explanatory Profile, exposing the 'mix' of influences (Choro, Tango, American musical ) that culminated in the emergence of the style immortalized by João Gilberto. In a carefully prepared repertoire, the album is pretty much an open trial that unites tradião and modernity, giving classic composiões a contemporary garb tasteful. Highlights for "Samba and Tango," "A Corner And You", "Telecoteco" that gives title to the album, "I know there If T" and "Tenderness Old". Highlights also for the exceptional musical production, now elaborate and sophisticated, now lean and simple, giving composições a unique character. "Telecoteco (A Sambinha Bossa Full)" is a beautiful album of rare musical quality that unites tradição and modernity. Translate by google  http://www.territoriodamusica.com/resenhas/?c=2527

Telecoteco (Um Sambinha Cheio De Bossa...)

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Joe Locke - Love Is a Pendulum

Styles: Vibraphone Jazz
Year: 2015
File: MP3@320K/s
Time: 66:18
Size: 152,2 MB
Art: Front

( 2:07)  1. Variation on Wisdom
(11:36)  2. Love Is the Tide
( 7:53)  3. Love Is a Planchette
( 8:43)  4. Love Is a Pendulum
( 4:52)  5. Love Is Letting Go
(10:37)  6. Love Is Perpetual Motion
( 5:44)  7. For Jesse Mountain
( 6:43)  8. Last Ditch Wisdom
( 7:59)  9. Embrace

Since signing with Motema Music a couple years back, vibraphonist Joe Locke has been releasing some of the best and most diverse music in a career now entering its fourth decade. From the near-fusion energy of 2012's Signing the long overdue studio followup to the Joe Locke / Geoffrey Keezer group's incendiary Live in Seattle (Origin, 2006) to the expansive beauty of his 2013 quartet collaboration with Lincoln, Nebraska's Symphony Orchestra on Wish Upon a Star and, just a few months later the same year, an exploration of two musical forms that have been of seminal importance to the vibraphonist, Lay Down My Heart -Blues & Ballads Vol 1, Locke has been afforded virtual carte blanche to look forward and, perhaps for the first time in his career, plan out a series of recordings that demonstrate the depth and breadth of a vibraphonist who has, slowly but surely, emerged as one of the finest if not the finest of his generation. 

Words have always meant a lot to Locke, even when the majority of his music is instrumental; poetry and literature are regular pastimes for the vibraphonist, and so it's no surprise to see that the central core of Love is a Pendulum is inspired by multi-dimensional artist Barbara Sfraga's poem of the same name. Bookended by "Variation On Wisdom" a relatively brief, through-composed album opener that, in its innate marriage of challenging complexity and irrepressible lyricism, is the perfect set-up for the five-part, 44-minute "Love is a Pendulum" suite that follows and three closing tracks that include the fiery "Last Ditch Wisdom," from which the opening "Variation" is drawn, Love is a Pendulum is Locke's first album in many years to be based around a core quartet augmented by a number of guests including saxophonists Rosario Giuliani and Donny McCaslin, vocalist Theo Bleckmann, guitarist Paul Bollenback (last heard with Locke on the triptych of albums for the now-defunct Sirocco Jazz label, beginning with 2001's Beauty Burning and concluding with 2002's State of Soul) and steel pan player Victor Provost.

Love is a Pendulum is, in fact, Locke's first album since State of Soul to feature an expanded lineup to any significant degree (2008's Force of Four (Origin) featured a couple of guests, but only on a couple of tracks), and the first since his wonderful but short-lived Four Walls of Freedom group last heard on Dear Life (Sirocco, 2004) to feature the vibraphonist with horns in any significant way. The addition of Giuliani on six of Love is a Pendulum's nine tracks is key to the record's success, as is Locke's recruitment of the equally redoubtable McCaslin on two of those compositions and, on the "Love is a Pendulum" suite's closing movement "Love is Perpetual Motion," the addition of Provost, turning Locke's quartet into a sophisticated septet with plenty of potential and creating, in its astute blending of vibes and steel pans, an appealing textural palette new to Locke and one which certainly warrants further exploration. With the entire set grounded by Terreon Gully a drummer who brings a very specific kind of energy to any date with which he's associated but in particular with Locke, as a member of the Joe Locke / Geoffrey Keezer Group  Love is a Pendulum may be the vibraphonist's most ambitious record yet. 

With plenty of through-composed music, it takes a special kind of group to take the music off the page and breathe life into it, but with Gully (who co-produced the album with Locke) joined by pianist Robert Rodriguez and bassist Ricky Rodriguez both members of Locke's quartet responsible for Force of Four Locke has a quartet capable of traversing considerable territory. From the balladry of "For Jesse Mountain" (a song crying out for lyrics) and similarly low-keyed album closer "Embrace" that, based on the jazz standard "Embraceable You," was written as a feature for Provost (and an impressive one at that), to the knottily constructed but ultimately relentlessly swinging "Last Ditch Wisdom," where Giuliani delivers his most potent solo of the set, Locke's core quartet doesn't just lift his music off the written page, they make it leap out of the speakers, filling the room with an energy that's almost uncontainable, whether it be a ballad or a more buoyant tune.

Bleckmann adds electronically induced clouds of wordless vocals during the introduction to "Love is a Planchette," a gently swinging piece that still manages to suggest a more powerful undercurrent, while Bollenback, despite not being featured as as soloist, contributes much to "For Jesse Mountain" with his crystalline acoustic guitar work. Still, despite plenty of room afforded to his band mates and guests, the star of Love is a Pendulum remains Locke, a vibraphonist whose effortlessly virtuosity is given plenty of opportunity to shine on tracks like "Last Ditch Wisdom," but whose equally important allegiance to melody is a defining quality on tracks like "Love is Letting Go," where his a cappella introduction, lasting nearly half of the track's five-minutes, is as impressive for the notes he chooses not to play as it is for those he does. 

It's the kind of introduction to a rubato tone poem at which Locke excels, and if his trade-offs with Provost on "Love is Perpetual Motion" are, like his positively nuclear, motivic solo on "Last Ditch Wisdom," more immediately impressive, it's his more understated work on tracks like "Love is Letting Go" that somehow manages to remain more memorable in the long-term. Of course, Locke has to possess instrumental mastery to do what he does, but it's when he applies that mastery to remain in service of the song that he truly excels as a selfless player who always places that song ahead of himself.  As a composer, Locke has continued to evolve over the years to the point where, in the middle of the new millennium's second decade, there's clearly little beyond his reach. As important as Love is a Pendulum is and it is important it's when the record is taken in context with the three other albums he's released on Motema since 2012 that his significance becomes clear. There are, no doubt, other vibraphonists who can accomplish what Locke has in terms of overt virtuosity; but few, if any, have imbued their music with the kind of multidisciplinary interests that have driven the vibraphonist throughout his career, culminating with Love is a Pendulum truly one of Locke's most compelling and commanding recordings to date. ~ John Kelman  http://www.allaboutjazz.com/joe-locke-love-is-a-pendulum-by-john-kelman.php
 

Personnel: Joe Locke: vibes; Robert Rodriguez: piano; Terreon Gully: drums; Ricky Rodriguez: acoustic and electric bass; Rosario Giuliani: alto saxophone (2, 5-8), soprano saxophone (4); Donny McCaslin: tenor saxophone (6, 7); Victor Provost: steel pan (6, 9); Theo Bleckmann: voice (3); Paul Bollenback: guitar (1, 7).

Love Is a Pendulum

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Linda Dachtyl - A Late One

Size: 137,1 MB
Time: 58:57
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Hammond B3
Art: Front

01. A Late One (4:10)
02. Bucket Full Of Soul (4:42)
03. Deep Purple (5:45)
04. Happy To Be (6:18)
05. Mysticism (6:28)
06. Sister Francis (6:04)
07. On A Misty Night (5:59)
08. Epistrophy (4:31)
09. Topsy - A Tribute To Cozy Cole (6:18)
10. Don't Misunderstand (8:38)

The Hammond B3 “wonder woman” is back! Linda Dachtyl presents her third recording on the Chicken Coup label, and it’s tastier than ever, produced by the great Tony Monaco! Along with a couple of surprises, Linda brings her brand of swing and funk to a varied program, with some great horn work along the way.

Featured Artists:
Linda Dachtyl: Hammond organ, tambourine
Don Hales: guitar
Cary Dachtyl: drums/and more

A Late One

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Steven Davis - What Happened To Romance

Size: 106,3 MB
Time: 45:09
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Big Band
Art: Front

01. Love Comes Right On Time (2:28)
02. You're Gonna Fall In Love With Me (2:52)
03. What Happened To Romance (3:37)
04. This Time (2:23)
05. Perfectly Perfect (3:02)
06. I Found Love (3:30)
07. Let's Keep It A Secret (3:37)
08. Day In, Day Out (3:30)
09. If You Were Mine (3:25)
10. Close Your Eyes (2:26)
11. If I Could Give You More (4:20)
12. All By Myself (3:17)
13. Sometime Soon (3:40)
14. Young Love (2:56)

Steven Davis loves a good love song. A singer/songwriter of romantic songs in the tradition of the great American singers, he is celebrating the release of his CD, “What Happened To Romance” with new standards he co-wrote with hit writer/producers Josh Charles and Alissa Moreno of the 88’s including “Love Comes Right On Time” and “What Happened to Romance.” The album was recorded in New York City with Andy Farber and the After Midnight Orchestra featuring original members of the Count Basie and Duke Ellington band.

Stephen Holden of the New York Times praised Davis’ work writing, “Were there more singers of Mr. Davis’s ilk, the kind of romance he envisages might well be on the rise again. Steven Davis unabashedly exalts the elegant glamour of another time. ”

Journalist Rex Reed opined, “Where will tomorrow’s Tormes, Tony Bennett’s and Albert Francis Sinatra’s come from? Steven Davis is a start!”

“I’m steeped in the big band sound and I love it,” Davis said. “It’s my lane. I think in life everyone should find out what they do best and singing this music is what I do best.”

Davis hails from Kansas City and grew up in Omaha, Nebraska where he was immersed in music at a very early age. His roots include singing in church at age five. After high school, he moved to Los Angeles to sing in clubs while also cutting his teeth as an actor. His work has also taken him to stages across the world including time spent living in New York City. Following in the footsteps of his musical icons, Bennett and Rosemary Clooney, he has headlined at the pinnacle of nightclubs, The Rainbow and Stars in Rockefeller Center. He was also the bandleader, host and singer at the iconic The Rainbow Room in New York City.

In 2014, after recovering from what doctors said could be a debilitating throat injury that required him to live without speaking or singing for long periods of time over the course of a year, he proved them wrong and returned to full voice for his new CD, “What Happened To Romance.”

What Happened To Romance

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Jim Martinez - Good Grief! It's Still Jim Martinez: A Tribute To Guaraldi, Schulz And Peanuts

Size: 127,5 MB
Time: 54:36
File: MP3 @ 320K/s
Released: 2015
Styles: Piano Jazz, Cool Jazz
Art: Front

01. Bang! (3:30)
02. Samba De Snoopy (4:05)
03. Blues For Beagles (5:54)
04. A Boy Named Charlie Brown (4:38)
05. Schroeder Can Play (3:43)
06. Waltz For Vince (3:27)
07. Cast Your Fate To The Wind (3:53)
08. Champion Charlie Brown (3:15)
09. Spike & The Cactus Club (4:12)
10. Thank You, Sparky (3:18)
11. Chillin' At The Warm Puppy Cafe (3:37)
12. Surfin' Snoopy (3:11)
13. Theme To Grace (4:16)
14. Linus And Lucy (3:04)
15. Anyone! (0:26)

A Jazz tribute to Vince Guaraldi, Charles Schulz and Peanuts with 8 original songs, written in the style of Snoopy animated specials, plus six covers.

Pianist Jim Martinez, from Sacramento, California, began his musical career at the age of four, receiving 18 years of classical training. He has amassed a list of musical accomplishments encompassing nearly all styles of music.

Martinez, 49, is a Steinway Pianos Artist and has performed or recorded with Jazz notables Lionel Hampton, the Stan Kenton Alumni Band, Christian McBride, Russell Malone, Roy Hargrove, Cheryl Bentyne (of the Manhattan Transfer), the Nelson Riddle Orchestra, Benny Golson and Ed Thigpen, the first drummer for the famous Oscar Peterson Trio. Jim has also performed with various Symphony orchestras and toured as a featured guest with the U.S. Air Force Jazz Band (Travis AFB, CA).

Martinez opened for All-Star Night 13 straight years at the Lionel Hampton Jazz Festival in Moscow, Idaho. Other highlights of venues and events include the Bix Biederbecke Festival (Davenport, IA), the Harvest Jazz and Blues in New Brunswick, Canada, the Crystal Cathedral in Southern California, St Peter’s Church in New York City, and The Basement Jazz Club in Sydney, Australia. He worked as pianist and musical director for Joan Rivers and Bob Newhart at Harrah's in Lake Tahoe, NV.

Martinez gained international exposure through his Echoes of Oscar Peterson, which featured Martinez playing his own transcriptions of Peterson's performances. In November 1998, Ed Thigpen traveled from Denmark to join Jim in a Tribute to Art Tatum and Oscar Peterson. They also did a similar tribute together in 1991.

Jim has thirteen CD's to his credit as a leader. His soon-to-be-released project is titled, Good Grief! It’s Still Jim Martinez, A Tribute to Vince Guaraldi, Charles Schulz & Peanuts. Eight of the fifteen tracks were written by Martinez, in the style of Guaraldi. Additionally, Schulz’ company has granted Jim permission to use Snoopy, Woodstock & Schroeder on the CD.

Good Grief! It's Still Jim Martinez

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Chris McNulty - Eternal

Size: 137,3 MB
Time: 58:53
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. The Saga Of Harrison Crabfeathers (4:38)
02. A Flower Is A Lovesome Thing (6:50)
03. What Are You Doing The Rest Of Your Life (6:14)
04. Where Is Love (5:16)
05. You Are There (3:07)
06. Star Dust (2:49)
07. Nature Boy (5:42)
08. Yesterday I Heard The Rain (3:49)
09. Love Came On Stealthy Fingers (5:07)
10. On A Clear Day (6:03)
11. With Every Breath I Take (5:35)
12. Boulevard Of Broken Dreams (3:38)

Eternal is a work of love and loss, a celebration of life, and a poignant piece of artistic expression. Vocalist Chris McNulty crafted this album as a tribute to her son, Sam, who passed away in 2011.

This album took shape in the days following Hurricane Sandy in 2012, as McNulty, with no electricity, heat, or running water, sat with her thoughts and selected songs that reflected the complex emotions that were running through her. In the end, despite dealing with the fresh and never-ending pain of losing a child and the devastation following the storm, the songs that McNulty chose weren't about darkness and pathos: As McNulty herself notes, "Eternal is a collection of songs full of light, love, creativity, beauty and humility."

The music on Eternal is brought to life with clarity by a jazz trio melded with a chamber ensemble. Pianist John di Martino put together nine arrangements for the trio while Steve Newcomb arranged three of the pieces and did all of the orchestrations for the strings and winds. The resultant blend is beautiful and seamless, as sensitivity reigns supreme.

The material is a mixture of familiar songs that resonate with McNulty, classics seen in a new light, and lesser-known numbers that perfectly mirror the singer's feelings. There's Steve Kuhn's "The Saga Of Harrison Crabfeathers," a rarely-performed piece with lyrics that seem tailor-made for the occasion; "What Are You Doing The Rest Of Your Life?," taking on a new lease on life as a haunting tribute; "Stardust," painted with complex hues and wistful vocals; "On A Clear Day," which proves to be the most uplifting number on the album; and "Boulevard Of Broken Dreams," an understated yet powerful finale.

While Eternal can certainly be appreciated as a blind listen, this music takes on deeper meaning with knowledge of the backstory. Art can certainly be separated from the circumstances that produce it, but in this case, it probably shouldn't be. ~Dan Bilawsky

Personnel: Chris McNulty: vocals; Steve Newcomb: orchestrations (1-11), arrangements (4-6); Mazz Swift: violin; Josh Henderson: violin; Amanda Lo: violin; Trevor New: viola; Meaghan Burke: cello; Marika Hughes: cello; Jodie Rottle: flute, alto flute; Ivan Barenboim: clarinet, bass clarinet; John Morgan-Bush: French horn; Ben Wendel: bassoon; John Di Martino: trio arrangements (1-3, 7-12); John Di Martino: piano; Ugonna Okegwo: bass; Gregory Hutchinson: drums; Paul Bollenback: guitar; Matthew Jodrell: trumpet.

Eternal

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Chuck Loeb, Wolfgang Haffner, Mitchel Forman & WDR Big Band Cologne - Metro 'Big Band Boom'

Size: 135,0 MB
Time: 58:28
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz, Big Band
Art: Front & Back

01. Yikes (7:21)
02. Month Of Sundays (5:29)
03. Metrocafe (6:37)
04. The Journey (6:58)
05. Nimbus (5:56)
06. Big Band Boom (6:52)
07. There And Back Again (5:30)
08. Grand Slam (6:22)
09. Rio Frio (7:20)

Guitar - Chuck Loeb
Keyboard - Mitchel Forman
Drums - Wolfgang Haffner

Early 90s founded the guitarist Chuck Loeb, the keyboardist Mitchel Forman and drummer Wolfgang Haffner fusion formation Metro, which has since published several albums. Headed by Michael Abene, these three musicians now took on the album Big Band Boom together with the WDR Big Band and guests Nicolas Fiszman (bass) and Roland Peil (perc). The name says it all: Metro pieces in big band with funky horns and driving rhythm section!

Metro 'Big Band Boom'

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Joe Henderson - The Definitive Joe Henderson

Bitrate: MP3@320K/s
Time: 71:38
Size: 164.0 MB
Styles: Hard bop, Saxophone jazz
Year: 2002
Art: Front

[ 5:58] 1. Recorda Me
[ 9:04] 2. La Mesha
[11:55] 3. Inner Urge
[ 7:58] 4. Mode For Joe
[ 5:47] 5. Beatrice
[ 5:57] 6. Isfahan
[ 4:55] 7. Lush Life
[ 5:23] 8. Without A Song
[ 4:28] 9. Miles Ahead
[ 5:26] 10. Triste
[ 4:43] 11. Felicidade

Tenor saxophonist Joe Henderson recorded consistently for over four decades, starting with his early-'60s Blue Note sides through the Milestone years in the '70s and (along with Dexter Gordon) as elder statesmen of jazz in the '80s and early '90s. With so much quality material to choose from, the annotators of The Definitive Joe Henderson had their work cut out for them. The massive scope encompasses reworking of Strayhorn and Jobim tunes, straddling the avant garde, especially on the Sam Rivers composition "Beatrice," and blowing hard bop with Lee Morgan, Kenny Dorham, and Curtis Fuller. As a primer for those not familiar with this material, The Definitive Joe Henderson will leave you wanting to hear more. ~Al Campbell

The Definitive Joe Henderson

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Bernie Senensky Quintet - New Horizons

Bitrate: MP3@320K/s
Time: 73:58
Size: 169.3 MB
Styles: Post bop, Piano jazz
Year: 1999
Art: Front

[ 6:56] 1. Eddie J
[10:27] 2. Blues For Clifford
[ 8:22] 3. Don't Look Back
[ 6:47] 4. Little Miles
[ 6:17] 5. Jump For Joe
[ 8:49] 6. First March
[ 7:00] 7. Every Day That I Miss You
[ 6:03] 8. Better Late Than Never
[ 7:27] 9. Double Life
[ 5:47] 10. Blues News

The Canadian pianist and composer Bernie Senensky fits smack dab in the middle of the hard bop tradition. His quintet includes a front line of trumpeter Eddie Henderson and the Canadian saxophonist Kirk McDonald, with a solid rhythm section of Senensky, bassist Neil Swainson, and drummer Jerry Fuller in support. Senensky, who is a seasoned writer with a knack for just slightly off-center melodies, penned all but one of the ten tunes. Henderson, who is in top form, is a good choice on trumpet; his clipped phrases are a constant joy. At times, the award-winning McDonald seems a tad superfluous, although he plays competently on the seven cuts in which he appears, and he adds greatly as a second horn on the heads. Hardly innovative, McDonald's tenor blows with the verve and panache of some of the middle-weight performers from the 1950s. Senensky is a fine bop pianist, though there is not anything about his playing that particularly stands out. He does have lots of speed and a good feel for the music, and he has clearly mastered the idiom. For those looking for a delightful romp through some new tunes in the genre of hard bop in the style of the masters, you could do worse than to try out the Bernie Senensky Quintet. ~Steve Loewy

New Horizons

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Lena Horne - We'll Be Together Again

Bitrate: MP3@320K/s
Time: 57:25
Size: 131.5 MB
Styles: Jazz-pop vocals
Year: 1994
Art: Front

[2:43] 1. Maybe
[4:43] 2. Something To Live For
[2:58] 3. Day Follows Day
[4:39] 4. Prelude To A Kiss
[3:23] 5. Love Like This Can't Last
[3:38] 6. We'll Be Together Again
[2:37] 7. A Flower Is A Lovesome Thing
[2:50] 8. Old Friend
[3:45] 9. You're The One
[2:56] 10. Havin' Myself A Time
[3:06] 11. My Mood Is You
[3:35] 12. I'll Always Leave The Door A Little Open
[4:33] 13. Do Nothing Til' You Hear From Me
[4:39] 14. Forever Was A Day
[4:17] 15. I've Got To Have You
[2:56] 16. My Buddy

Lena Horne is nine years older than the 70-something Tony Bennett, and like him has lost a good bit of power and tone from her voice. Unlike Bennett, though, she doesn't try to bull her way through her vocal limits on We'll Be Together Again; she stays within those limits and fashions a striking testament to the subtleties of romance and friendship in one's autumnal years. Billy Strayhorn was one of Horne's very best off-stage friends, and seven of the 16 tracks here were written by Strayhorn and/or his partner Duke Ellington. Three more songs--"My Buddy," "Old Friend" and the title tune--are heartfelt remembrances of those once dearest to Horne and now gone--Strayhorn, her ex-husband, her son, her hairdresser and her wardrobe mistress. ~Geoffrey Himes

We'll Be Together Again

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The Kai Winding Quartet - Lazy Moments

Bitrate: MP3@320K/s
Time: 65:03
Size: 148.9 MB
Styles: Trombone jazz
Year: 2003
Art: Front

[3:33] 1. At The Moment
[3:50] 2. Morning Of The Carnival
[3:44] 3. Don't Scuffle, Just Shuffle
[4:14] 4. If You Could See Me Now
[4:03] 5. Surrey With The Fringe On The Top
[4:05] 6. Never Let Me Go
[4:10] 7. Epistrophy
[5:28] 8. It Might As Well Be Spring
[3:48] 9. Crazy She Calls Me
[3:41] 10. The Boy Next Door
[5:04] 11. That's Him
[3:11] 12. Mono Bone
[4:10] 13. Yardbird Suite
[4:18] 14. Lonely Town
[3:40] 15. Lazy Moments
[3:56] 16. If I Didn't Care

Winding was born in Aarhus, Denmark. In 1934 his family emigrated to the United States. He graduated in 1940 from Stuyvesant High School in New York City, plus that same year he began his career as a professional trombonist with Shorty Allen's band. Subsequently, he played with Sonny Dunham and Alvino Rey until he entered the United States Coast Guard during World War II.

After the war, Winding joined Benny Goodman's band, and later moved on to Stan Kenton's orchestra. Winding participated in the first of the Birth of the Cool sessions in 1949, appearing on 4 of the 12 tracks (while J. J. Johnson appears on the other eight, having participated on the other two sessions). In 1954, at the urging of producer Ozzie Cadena, he joined forces with Johnson to produce a highly successful series of trombone duet recordings, which were initially on Savoy Records and then on the Columbia Records label. While at Columbia, Winding experimented with different instrumentation in brass ensembles: the 1956 album Jay & Kai + 6 features a trombone octet, as well as Winding and Johnson performing on the trombone-like valved horn called the trombonium. Winding also arranged and/or composed many of the tracks he and Johnson recorded. Unlike most players who absorbed the "bebop" style, Winding notably used more overtly trombonistic slide and mute effects from the earlier eras of jazz, as had another former Goodman trombonist Bill Harris, sounds which Johnson studiously avoided.

During the 1960s, Winding had a long stint at Verve Records and under producer Creed Taylor made some of his most memorable jazz-pop albums. His best-known recording from this period is More, the theme from the movie Mondo Cane. Arranged and conducted by Claus Ogerman, "More" featured what is probably the first appearance of the French electronic music instrument the Ondioline on an American recording. Though Winding himself was credited with playing the Ondioline, guitarist Vinnie Bell, who worked on the session, has said he remembers distinctly that the French electronic-music pioneer Jean-Jacques Perrey was the actual player. He served as Musical Director for the Playboy Club, in mid-sixties New York, when rock was beginning to edge out jazz as the fashionable club music.

While at Verve, Winding further experimented with various ensembles, made solo albums, and even an album of country music with the Anita Kerr Singers. In the late 1960s, Winding followed Creed Taylor to his new recording label at A&M/CTI and made at least two more albums with Johnson. In the 1970s and early 1980s, Winding recorded for a number of independent record labels. During this time, he continued to give clinics, play jazz concerts and even reunited with Johnson for a live concert in Japan. He was a member of the all-star jazz group Giants of Jazz in 1971-2. He also wrote instructional jazz trombone books that included transcribed solos.

Winding died of a brain tumor in New York City in 1983. He was survived at the time by his wife, the accomplished painter Ezshwan Winding, and his son, the session keyboardist Jai Winding.

Lazy Moments

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Dominique Eade - The Ruby And The Pearl

Styles: Jazz, Vocal
Year: 1990
File: MP3@320K/s
Time: 68:07
Size: 156,6 MB
Art: Front

(8:02)  1. The Ruby And The Pearl
(5:54)  2. If I Were A Bell
(5:48)  3. In Return
(6:14)  4. I Think It's Time To Say Goodbye, Again
(4:56)  5. Maristella
(5:04)  6. Inner Urge
(5:39)  7. Worlds Apart
(8:03)  8. A Portrait Of You
(3:35)  9. Blood Count
(2:17) 10. New Waltz
(4:51) 11. Crazeology
(7:40) 12. Out Of This World

For her debut recording, Dominique Eade displays her pliant, flexible voice in a love song style framework of joy or regret, vision, hopefulness, and openness with a difference. She's quite an able scat singer and goes into this mode frequently, with a slight girlishness that is not cutesy. She sounds like a horn more than most singers, working in different keys fluently, and featuring leaping intervals. Pianist Stanley Cowell adds greatly to these proceedings; John Lockwood's bass is a solid foundation and drummer Alan Dawson gives his usual stellar, rhythmically perfect performance. Husband Allan Chase adds alto or soprano sax on a few cuts.

Of the 12 selections, Eade wrote five and penned lyrics for Billy Strayhorn's "Blood Count." She is not so much revolutionizing the patent love song as revitalizing it with her personal flair and deep emotional wellspring. "In Return" has Cowell's modal piano chords acting anticipatory as the question is repeated, with Eade's soaring lead line and free, breezy scat solo waiting for the correct response. "Maristella" is a slightly naughty tale of the pupil admiring the teacher in a quick samba mode; the ballad "Worlds Apart" tells of the distance between lovers, but leaves the door open; and "A Portrait of You" is a good boppish musical locket with photo of a special someone. Her lyric to Strayhorn's "Blood Count" is a marvel a tale of memories, thinking of "you" and hoping this is not the end; it's poignant and amazing vocalese in a ballad framework. 

Of the standards, the title track (done years ago by Nat "King" Cole) has Cowell flying, sparking Eade's mad scat over an exotic, Turkish-overtoned motif. "Out of This World" is equally astounding, with Cowell and Lockwood's modal 6/8 inclinations (a la McCoy Tyner/Jimmy Garrison) infusing Eade's spirit with a rip-roaring energy. She practically jumps into this lyric. A bass-vocal intro on the well-swung "If I Were a Bell" is the way a jazz standard should be interpreted. It's clear Eade has a good time with this she's light, heartfelt, and funny, (especially when Cowell chimes in quoting "Santa Claus Is Coming to Town"). 

The one misstep might be "Inner Urge," where the very tough melody is scatted in a higher key than the original. She'd have to have a much lower range to get this one down pat, but a good, if uneven attempt. She makes up for it on "Crazeology," with its fast changes and alto rumblings from Chase's solo. Eade is as promising a jazz singer, and will likely get better and better as she ventures in and out of love songs into her own personalized domain. ~ Michael G.Nastos  http://www.allmusic.com/album/the-ruby-and-the-pearl-mw0000677020

Personnel: Dominique Eade (vocals); Allan Chase (alto & soprano saxophones); Stanley Cowell (piano); John Lockwood (bass); Alan Dawson (drums).

The Ruby And The Pearl

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David Newton - Twelfth Of The Twelfth

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 70:34
Size: 162,3 MB
Art: Front

( 3:58)  1. My Kind Of Town (Chicago Is)
( 5:23)  2. I've Got the World On a String
( 4:07)  3. I Fall In Love Too Easily
( 4:40)  4. Witchcraft
( 4:10)  5. The Lady Is a Tramp
( 3:58)  6. This Is All I Ask
( 5:39)  7. It's Nice To Go Trav'ling
( 5:07)  8. Violets For Your Furs
( 3:20)  9. All Or Nothing At All
( 5:57) 10. You Make Me Feel So Young
( 2:38) 11. All the Way
(11:30) 12. Twelfth Of the Twelfth
( 5:37) 13. Medley: Only the Lonely/Saturday Night Is the Loneliest Night Of the Week
( 4:24) 14. In the Wee Small Hours Of the Morning

Whether or not you regard Frank Sinatra as a jazz singer, he is clearly respected by jazz musicians for his ability to interpret the cream of American songwriters' work. David Newton's solo piano salute surveys over a quarter century of Sinatra favorites, including a bluesy "Witchcraft," a wild calypso-flavored "The Lady Is a Tramp" and a very lyrical "This Is All I Ask." The title track is an intriguing improvisation which clearly shows that the singer's records have had an impact on the young pianist. ~ Ken Dryden  http://www.allmusic.com/album/twelfth-of-the-twelfth-mw0000647913

Personnel: David Newton (piano).

Twelfth Of The Twelfth

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Dinah Shore - Moments Like These

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 73:19
Size: 168,3 MB
Art: Front

(2:51)  1. Deep Purple
(4:02)  2. When The World Was Young
(2:35)  3. Moments Like These
(2:59)  4. I'll Remember April
(3:25)  5. These Foolish Things
(2:56)  6. I Fall In Love Too Easily
(3:41)  7. I Loved Him
(2:41)  8. What's New
(3:08)  9. I Can Dream, Can't I?
(3:13) 10. Now I Know
(2:48) 11. How Long Has This Been Going On?
(3:25) 12. Something Wonderful
(2:22) 13. Until
(2:50) 14. West Of The Mountain
(2:29) 15. Pretty Mandolin
(2:34) 16. Tempting
(2:36) 17. The Stowaway
(2:27) 18. I Could Have Danced All Night
(2:35) 19. The Whistling Tree
(2:40) 20. What A Heavenly Night
(2:34) 21. Hey Baby, Hey!
(2:24) 22. Dealin' The Blues
(2:19) 23. Have Yourself A Merry Little Christmas
(2:18) 24. Till
(2:36) 25. I've Never Left Your Arms
(2:40) 26. The Scene Of The Crime

One of America's most popular entertainers long after her mid-'40s commercial peak, Dinah Shore was the first major vocalist to break away from the big-band format and begin a solo-billed career. During the '40s, she recorded several of the decade's biggest singles "Buttons and Bows," "The Gypsy," and "I'll Walk Alone" all of which spent more than a month at number one on the Hit Parade. After launching a television variety series in 1951, Shore appeared on one program or another, with few gaps, into the 1980s.

Born in rural Tennessee, Dinah Shore was performing on Nashville radio while still a teenager. Her professional career later took her to New York, where she sang with Xavier Cugat. After failing auditions with Benny Goodman and Tommy Dorsey however, she decided to simply become a solo singer. Shore signed to Bluebird, and recorded several hits during 1940-41, including "Yes, My Darling Daughter," "I Hear a Rhapsody" and "Jim." Her first million-seller came in 1942 with the prototypical blues crossover nugget, "Blues in the Night." Later that year, she moved to Victor and hit big with "You'd Be So Nice to Come Home To" and her first number one hit, 1944's "I'll Walk Alone." Shore also began appearing in films, including 1944's Up in Arms and 1946's Till the Clouds Roll By.

The late '40s proved to be her most popular era for recording. Between 1946 and 1949, she hit big with several songs, including "The Gypsy," "I Love You for Sentimental Reasons," "Anniversary Song," "I Wish I Didn't Love You So," "Buttons and Bows" and "Dear Hearts and Gentle People." Though her records didn't chart as high during the '50s, Dinah Shore enjoyed even more exposure with her top-rated variety show, The Dinah Shore Chevy Show. For many, Shore's opening and closing every show with "See the USA in your Chevrolet, America's the greatest land of all" practically defined the '50s. Her Chevrolet sponsorship lasted until 1963, but she returned in the '70s with a new format, the daytime talk-show. During the 1980s, she began performing once again, but returned to television once more with a series that ran for two years. She died of cancer in 1994. ~ Bio  https://itunes.apple.com/gb/artist/dinah-shore/id260976#fullText

Moments Like These

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Claude Tissendier Sextet - City Swing

Styles: Clarinet Jazz
Year: 2008
File: MP3@320K/s
Time: 54:14
Size: 124,6 MB
Art: Front

(4:57)  1. City Swing
(4:43)  2. Have You Met Miss Jones?
(4:38)  3. Lover Come Back to Me
(5:48)  4. Red Roses for a Blue Lady
(5:25)  5. On the Trail
(3:35)  6. Northwest Passage
(5:12)  7. Tony's Blues
(4:28)  8. Mean to Me
(4:25)  9. On the Sunny Side of the Street
(5:25) 10. My Little Suede Shoes
(5:33) 11. City Blues

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

City Swing

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Joe Williams - Me And The Blues

Styles: Vocal
Year: 1964
File: MP3@320K/s
Time: 34:03
Size: 78,4 MB
Art: Front

(2:44)  1. I'm Sticking with You, Baby
(3:01)  2. Me And The Blues
(2:54)  3. Every Night
(3:34)  4. Rocks in My Bed
(2:52)  5. Come on Blues
(2:30)  6. Workin' (Work Song)
(2:22)  7. Soothe Me
(2:47)  8. Early In the Morning
(3:14)  9. Good Morning Heartache
(2:43) 10. Kansas City
(2:45) 11. A Woman
(2:30) 12. Hobo Flats

This recording features singer Joe Williams backed by a studio orchestra headed and arranged by Jimmy Jones. Williams mostly sticks to blues-oriented material but there is a surprising amount of mood variation on the dozen selections along with short solos by trumpeters Thad Jones and Clark Terry, altoist Phil Woods, and Seldon Powell on tenor; Ben Webster has a guest spot on "Rocks in My Bed." Williams, heard at the peak of his powers, is at his best on "Me and the Blues," "Rocks in My Bed," "Work Song," and "Kansas City." ~ Scott Yanow  http://www.allmusic.com/album/me-and-the-blues-mw0000243442

Me And The Blues

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