Karrin Allyson - Many A New Day: Karrin Allyson Sings Rodgers & Hammerstein

Size: 126,3 MB
Time: 53:54
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. Oh, What A Beautiful Mornin’ (4:05)
02. Many A New Day (2:58)
03. Happy Talk (3:50)
04. I Cain't Say No (4:17)
05. I Have Dreamed (4:53)
06. Out Of My Dreams (3:32)
07. Bali H'ai (5:05)
08. When I Think Of Tom - Hello Young Lovers (4:32)
09. We Kiss In A Shadow (4:36)
10. You've Got To Be Carefully Taught (4:09)
11. Something Wonderful (2:34)
12. The Surrey With The Fringe On Top (3:29)
13. Something Good (3:16)
14. Edelweiss (2:30)

Featuring Kenny Barron & John Patitucci
Four-time ‘Best Vocal Jazz Album ‘Grammy nominee Karrin Allyson's ‘Many A New Day (Karrin Allyson Sings Rodgers & Hammerstein)’ is a 14-song collection featuring Allyson’s romantic, sly and swinging take on songs that have become part of our cultural fabric, from ‘Oh, What a Beautiful Morning’ to ‘Happy Talk’ to ‘I Cain’t Say No’ and numerous others. The collection, which marks the singer’s debut on the Motéma label, features the distinctive pairing of Kenny Barron on piano and John Patitucci on bass (only the second time the two have recorded together). Richard Rodgers and Oscar Hammerstein’s legendary musical partnership is among the greatest of the 20th century, resulting in such seminal Broadway productions as The King and I, South Pacific, Sound of Music, Oklahoma and Carousel. With her distinctive vocals, Allyson takes an array of these beloved songs on an elegant, intimate and joyful ride. Her arrangements, impeccably performed by Barron and Patitucci, manage to infuse these musical theater gems with a spare, sophisticated and intimate vibe that recalls the wee-hours in a late night Paris jazz club.

Many A New Day

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Eddie Harris - Eddie Harris Sings The Blues

Bitrate: MP3@320K/s

Time: 41:09

Size: 94.2 MB

Styles: Hard bop, Soul jazz

Year: 1972/2005

Art: Front

[ 7:10] 1. Please Let Me Go

[ 4:57] 2. Ten Minutes To Four

[ 3:48] 3. A Child Is Born

[ 4:05] 4. Walk With Me

[12:29] 5. Eddie Sings The Blues

[ 8:38] 6. Giant Steps

Eddie Harris had sung through his horn prior to this release, but not to such a great extent as on this wide-ranging LP. Here he tries to shape words through the filters of a reed mouthpiece, a slightly noisy wah-wah pedal and electronic amplification, and the results are genuinely expressive despite the aura of gimmickry. Indeed "Please Let Me Go," thanks to Harris' pleading sax vocal and Richard Evans' string drapery, deliberately and hauntingly evokes Billie Holiday's orchestral sessions from the 1950s. In the category of funk, "Ten Minutes to Four" is almost a reworking of "1974 Blues" in the exotic 10/4 meter and, "Walk with Me" could have been a minor hit single with its catchy tune, wah-wah sax vocals and stentorian brass riffs. Finally, if for no other reason than ego (Harris admitted so himself), he tackles "Giant Steps" at a galloping Latin beat, the scattershot solo with the freak high notes all in his own style. Another fascinating installment in Harris' long Atlantic period. ~Richard S. Ginnell

Eddie Harris Sings The Blues

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Manfred Mann - The Very Best Of Manfred Mann

Bitrate: MP3@320K/s
Time: 55:26
Size: 126.9 MB
Styles: Contemporary Pop-rock, AM pop
Year: 1997
Art: Front

[2:21] 1. Do Wah Diddy Diddy
[1:57] 2. 5-4-3-2-1
[2:28] 3. Sha La La
[2:23] 4. Hubble Bubble (Toil And Trouble)
[2:27] 5. If You Gotta Go, Go Now
[2:19] 6. Oh No, Not My Baby
[3:49] 7. Bare Hugg
[3:08] 8. I Got My Mojo Working
[3:14] 9. (I'm Your) Hoochie Coochie Man
[3:29] 10. Smokestack Lightning
[2:30] 11. Pretty Flamingo
[3:00] 12. You Gave Me Somebody To Love
[2:56] 13. Don't Ask Me What I Say
[2:41] 14. I'm Your Kingpin
[2:31] 15. I Think It's Gonna Work Out Fine
[2:31] 16. Hi-Lili, Hi-Lo
[3:38] 17. Stormy Monday
[2:42] 18. The Abominable Snowmann
[2:31] 19. Since I Don't Have You
[2:42] 20. Come Tomorrow

Manfred Mann's line-up included a saxophonist, a rarity in the sixties pop music scene. This very successful group had three distinct phases in their career. The second phase, with Mike D'Abo as lead singer, yielded seven top ten UK hits including Mighty Quinn, while the third phase, Manfred Mann's Earth band, yielded three top ten UK hits including Blinded by the light. This compilation focuses on the first phase when Paul Jones was the lead singer.

During this phase, which covers the period to mid-1966, the group had six top ten UK hits, two of which (Do wah diddy diddy, Pretty Flamingo) made number one. Two other hits peaked at number eleven. Their final hit, You gave me somebody to love (an excellent song), failed to make the top thirty but this may have been because of lack of promotion due to the change in record label that coincided with Paul Jones leaving the group.

5-4-3-2-1 provided Manfred Mann with their breakthrough when it was used as a TV theme. It followed two singles (not included here) that failed to chart. The failed singles can be found on another compilation, Manfred Mann at Abbey Road. ~Peter Durward Harris

The Very Best Of Manfred Mann

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Ben Wolfe - From Here I See

Bitrate: MP3@320K/s
Time: 55:14
Size: 126.5 MB
Styles: Contemporary jazz
Year: 2013
Art: Front

[6:28] 1. The Good Doctor
[6:30] 2. Angela
[6:22] 3. Baby Tiger
[1:43] 4. Interlude
[5:37] 5. So Lovely
[4:34] 6. Mellow As You Please
[1:59] 7. Lovely Lady
[4:04] 8. Who's Lily
[6:18] 9. How You Love
[5:53] 10. Two-Beat Numba
[3:35] 11. From Here I See
[2:04] 12. 12 More

BEN WOLFE, bass; ORRIN EVANS, piano; DONALD EDWARDS, drums; JD ALLEN, tenor. Special Guests: WYNTON MARSALIS, trumpet (01 & 05); RUSSELL MALONE, guitar (02 & 08); MARCUS STRICKLAND, soprano (11 & 12); CYRUS BEROUKHIM, violin; OWEN DALBY, violin; KENJI BUNCH, viola; GREG HESSELINK, cello.

If you were to initially mistake From Here I See for a leaderless small-combo session with strings, chances are Ben Wolfe would be pleased. The bassist-composer isn’t merely in self-effacing form on this outing—he puts into play a group of top-flight musicians who adroitly and discreetly follow suit. As Branford Marsalis comments in his accompanying liner notes, “… there is no overplaying … no massive technical displays of prowess or excessively long solos on the entire recording. The single focus seems to be on serving the melody.”

Yes, the melodies—that’s where the album’s chief allure resides. Though Wolfe solos sparingly, his imprint here is evident throughout the album’s dozen selections—tunes that may or may not have been written with precisely this lineup in mind. It’s hard to imagine, however, Wolfe wishing for a more striking take on his gorgeous ballad “Angela,” a melody softly illuminated and embellished by guitarist Russell Malone, or a more appealing performance of the waltzing “Who’s Lily?,” a splendid showcase for Malone, pianist Orrin Evans and its composer.

Likewise, Wolfe takes full advantage of the remaining talent gathered, providing trumpeter Wynton Marsalis with more than ample inspiration on two cuts, the highlight being the lyrical gem “So Lovely.” The Baltimore-bred bassist also neatly accommodates his reedmen—JD Allen and, on two particularly enjoyable tracks, Marcus Strickland. Drummer Donald Edwards, dependable as ever, rounds out the rhythm section. As for the string quartet, it’s far from intrusive, often helping reveal the melodic charms inherent in Wolfe’s writing. ~Mike Joyce

From Here I See

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Johnny 'Hammond' Smith - Talk That Talk

Bitrate: MP3@320K/s
Time: 70:55
Size: 162.4 MB
Styles: Hard bop, Soul jazz, Hammond organ jazz
Year: 1960/1995
Art: Front

[5:11] 1. Talk That Talk
[2:32] 2. An Affair To Remember
[5:19] 3. The End Of A Love Affair
[5:43] 4. Minors Allowed
[4:46] 5. Rip Tide
[3:59] 6. Misty
[4:57] 7. Bennie's Diggin'
[2:20] 8. A Portrait Of Jennie
[8:53] 9. Swanee River
[3:59] 10. Just Say So Long
[5:14] 11. Lid Flippin'
[7:11] 12. Gettin' The Message
[5:27] 13. Princess
[5:17] 14. Dementia

An excellent piece of early soul-jazz, 1960's Talk That Talk isn't as bop-oriented as Shirley Scott's albums with Stanley Turrentine from the same period, as flashy and ornate as the albums Jimmy Smith was starting to make with Creed Taylor and Lalo Schifrin, or as funky and blues-based as the best of Jimmy McGriff or "Brother" Jack McDuff. Smith's playing on this album is low-key almost to the point of being conservative, deeply soulful without resorting to what would soon become tired funk clichés. For the most part, the settings are the standard organ/bass/drums trio, with occasional appearances by tenor saxophonist Oliver Nelson, vibraphonist Lem Winchester, and guitarist Eddie McFadden to provide textural variety. Smith is always at the center of the arrangements, taking almost all the solos, which means that less organ-besotted listeners might find the album a bit samey, but on tracks like a loping, gentle version of "An Affair to Remember" and a gorgeously soulful "Misty," Johnny "Hammond" Smith shows exactly why he deserves his nickname. [The 1995 CD reissue of Talk That Talk appends six additional tracks, originally released as Smith's Gettin' the Message LP, also from 1960.] ~Stewart Mason

Talk That Talk

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Various - A Tribute To Joni Mitchell

Bitrate: MP3@320K/s

Time: 53:10

Size: 121.7 MB

Styles: Folk rock, Singer-songwriter

Year: 2007

Art: Front

[4:59] 1. Sufjan Stevens - Free Man In Paris

[5:05] 2. Björk - The Boho Dance

[4:56] 3. Caetano Veloso - Dreamland

[5:08] 4. Brad Mehldau - Don't Interrupt The Sorrow

[5:58] 5. Cassandra Wilson - For The Roses

[3:30] 6. Prince - A Case Of You

[2:46] 7. Sarah Mclachlan - Blue

[3:38] 8. Annie Lennox - Ladies Of The Canyon

[3:40] 9. Emmylou Harris - The Magdalene Laundries

[5:56] 10. Elvis Costello - Edith And The Kingpin

[3:58] 11. K.D. Lang - Help Me

[3:32] 12. James Taylor - River

Joni Mitchell covers dot the musical landscape the way Tim Hortons doughnut shacks line the highways of Ontario. It's a little surprising, then, that the first Mitchell tribute album to be released on a major U.S. label didn't emerge until 2007, which was coincidentally the same year Mitchell was scheduled to release Shine, her first studio effort to appear in some ten years. And as far as tribute albums go, A Tribute to Joni Mitchell isn't half bad. The compilation is split up between songs that were recorded specifically for the tribute album, such as Sufjan Stevens' "A Free Man in Paris," and those that were recorded and released previously, such as James Taylor's "River." The tracks that were recorded specifically for A Tribute are far and away the best. Stevens approaches "A Free Man in Paris" with his characteristic, and fitting, over-the-top irony and band geek sensibilities. Opening with a brass fanfare, the kind that wouldn't be out of place in the opening credits of a network news show, Stevens' cover tackles the original with an appropriate sense of theatricality and fun. Björk's lilting cover of "Boho Dance," lush with synthesized bells and whorls, arguably rivals the original. She does a very good job of allowing Mitchell's lyics to unfurl, even while she twists and transforms the song, fairy godmother-style, into something otherworldly. And Caetano Veloso's rendition of "Dreamland" is simply a revelation. It's not a huge stretch from the original, but Veloso's light, gentle vocals, augmented by the the warm, loose Brazilian instrumentation, somehow manages to grab Mitchell's narrative and bring it to life. Mitchell is a storyteller, and the best tracks on here are those that welcome and explore her narratives. The worst ignore or misinterpret them. Prince pays little attention to Mitchell's lyrics on "A Case of You," slashing the first two verses in order to cut right to the chase. This abridged version has a lot of soul, but it does little to pay tribute to Mitchell's original; Prince cut out the pathos and made the song sappy. To be fair, Mitchell's a difficult person to pay tribute to, let alone cover, seeing how she's one of those rare singer/songwriters whose abilities as a performer are equal to her compositions. This stands in stark contrast to someone like Bob Dylan, whose songs were often just as, if not more, enjoyable in their Jimi Hendrix or Joan Baez incarnations. But while she's ultimately the best performer of her own work, Mitchell, with her warbly soprano and idiosyncratic sense of composition, hasn't always lent herself to the unaccustomed ear. A Tribute to Joni Mitchell is thus a great listen for those who'd like to ease into the breadth and range of Mitchell's work by way of established, accessible artists like Prince, Sarah McLachlan and Taylor. Granted, fans will probably find themselves yearning for the original material after listening to this disc, but this is only another way in which A Tribute succeeds. These interpretations, imperfect as they can be, provide new vantage points from which Mitchell's original albums can be located, analyzed, and appreciated. ~Margaret Reges

A Tribute To Joni Mitchell

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Don Lanphere, Bud Shank, Denney Goodhew - Lopin'

Styles: Saxophone Jazz

Year: 1995

File: MP3@320K/s

Time: 64:30

Size: 149,1 MB

Art: Front

(8:54)  1. I Really Didn't Think That

(6:27)  2. Love's Question

(5:19)  3. Lighten Up

(5:50)  4. A Time For Love

(8:26)  5. The Lope Of A Dolt

(4:57)  6. Have You Met Miss Jones?

(8:09)  7. Fall

(9:54)  8. El Balie De Las Munecas (Dance Of The Dolls)

(6:30)  9. M.K. & M.K.

Don Lanphere, a veteran of the late '40s, really came into his own in the 1980s, as can be heard on his recordings for the Scottish Hep label. An inquisitive player who has not forgotten (or felt restricted by) his bop roots, Lanphere is matched with baritonist Denney Goodhew and alto great Bud Shank on this sextet date. They perform an original apiece from Lanphere and Miller, four by pianist Marc Seales (who leads the fine rhythm section), and three standards. Shank is consistently passionate (really showing emotion on "A Time for Love"), Lanphere is featured on an abstract ballad version of "Have You Met Miss Jones," and Goodhew plays strong enough not to be overshadowed by the better-known saxophonists. This superior modern mainstream release has fresh material and several surprising moments. ~ Scott Yanow http://www.allmusic.com/album/lopin-mw0000664192

Personnel: Don Lanphere (soprano saxophone, tenor saxophone); Doug Miller (bass instrument); John Bishop , John Bishop (drums); Bud Shank (alto saxophone); Denney Goodhew (baritone saxophone); Marc Seales (piano).

Lopin'

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Carol Duboc - Colored Glasses

Styles: Vocal, R&B
Year: 2015
File: MP3@320K/s
Time: 40:53
Size: 93,9 MB
Art: Front

(4:04)  1. Hypnotic
(3:43)  2. Every Shade of Blue
(2:57)  3. Celestial Skies
(3:51)  4. Wavelength
(5:07)  5. Breathing
(4:12)  6. Trajectory
(4:42)  7. Spinning
(4:00)  8. Colored Glasses
(3:54)  9. Walking in My Sleep
(4:18) 10. Code Red

From the sound of Colored Glasses, Carol Duboc’s seventh release, I’ll have to examine her entire catalog. An accomplished jazz singer, Duboc flexes her R&B chops as well as her songwriting skill on this self-penned 10-song album. Colored Glasses begins with the layered and lush “Hypnotic,” a slow burning testament to the pull of love. Saxophonist Eric Marienthal provides soprano saxophone leads while Carol Duboc’s voice floats over the grove provided by master bassist Jimmy Haslip and drum guru Vinnie Colaiuta. On the track “Every Shade of Blue,” producer Jeff Lorber gets in on the act. In addition to holding down production duties, Lorber adds his distinctive stamp on keyboards and programming. His organ solo is effective but brief, however Duboc’s sass-filled vocal keeps everything moving.

“Celestial Skies” then shifts the tempo and tone of the album. In “Every Shade of Blue,” Carol Duboc explored the lower part of her wide range. With “Celestial Skies,” she shows how versatile her instrument is. The ballad is simply lovely and features a moving flute solo from Hubert Laws. The song “Spinning” evokes memories of classic ’70s-era R&B. Jeff Lorber is a gain the featured soloist, recalling an almost Rufus-like synth solo, but Duboc’s lyric simultaneously evokes images of nervousness and anticipation. Percussionist Lenny Castro augments the rhythm section on this gem.

Her title track picks up the pace. Guitarist Paul Jackson Jr. and Michael Thompson have a joyous interplay, which helps propel “Colored Glasses.” That energy is revisited with the song “Code Red,” ending the album with a blast of jazz/R&B energy. Duboc’s tale of desire, regardless of the warning signs, is a familiar tale to those who have loved and lost. The infectious grove and passionate vocals all but make you miss the song’s warning signs. Ultimately, you’ll find that listening to Carol Duboc’s Colored Glasses is the best kind of therapy. http://somethingelsereviews.com/2015/09/12/carol-duboc-colored-glasses/

Colored Glasses

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Doug Webb - Triple Play

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 59:49
Size: 137,4 MB
Art: Front

(4:47)  1. Jones
(5:12)  2. Three's A Crowd
(4:01)  3. Giant Steps
(4:59)  4. The Way Things Are
(4:43)  5. Avalon
(6:31)  6. Jazz Car
(5:01)  7. Your Place Or Mine
(5:50)  8. I Concentrate On You
(7:31)  9. Pail Blues
(4:24) 10. Alligator Boogaloo
(6:45) 11. Triple Play

As tempting as it is to simply consign a blowing session label to Triple Play, a three tenor saxophone plus rhythm date led by Doug Webb, there's ample evidence that something more disciplined and structured is afoot. For one thing, eight of the disc's eleven tracks are under six minutes in other words, there's not a lot of room for indulgence, excess, or one-upmanship of any kind. The material, including striking originals by the leader, Walt Weiskopf, and Joel Frahm, as well as assorted standards such as "Avalon," "Giant Steps," and "I Concentrate On You," is often tendered by the horns like a reed section of a big band, carefully blended and precisely executed. Randy Aldcroft, who doesn't appear on the record, is credited with the arrangements of three selections. Organist Brian Charette serves as the session's ballast, holding things in place with smart, pulsating work on the bass pedals, beautifully shaded and nuanced comping, as well as tweaking soloists with the occasional brash chord. Rudy Royston's drums and cymbals constitute the session's wild card. He offers a busy, sometimes manic commentary, moving in and out of the pocket at will, punching holes in the music with his bass and snare drums, playing stretches of comparatively straight time, as well as tapping out jumbles of strokes.

Webb, Weiskopf, and Frahm are middle-aged veterans of the struggles and triumphs of jazz performance, far too accomplished and certain of their abilities to participate in some sort of spurious tenor battle; thankfully, the record's end result is a wealth of inspired, highly focused improvisations. The three tenors each in his own manner play with a ruthless efficiency, making complete, rousing statements, usually in just a handful of choruses, on selections mostly taken at middling to up tempos. Webb possesses an exemplary ability to navigate various tempos and find fresh perspectives on material that would induce a litany of clichés in a lesser player. Undaunted by the dizzying pace of "Avalon," his ideas cohere without a trace of athleticism or strain. A three-chorus turn on Lou Donaldson's soul-jazz tune "Alligator Boogaloo" includes relaxed, neatly sculpted phrases as well as the requisite blues and R & B effusions. Throughout "I Concentrate On You," amidst Charette's and Royston's firm support, he swings in a way that evinces a momentum of its own. During the first chorus of his composition "Jones," Webb makes an art of stopping short, that is cutting off ideas before an easily anticipated conclusion, and then offering something else, without any hint of disengagement or loss of continuity.

It's easy to become preoccupied with Weiskopf's tone, a dense, vibrating, all-encompassing, blues-fused concoction, at the expense of taking notice of the ways in which he organizes ideas in the service of sustaining momentum. On his composition "Three's A Crowd" and Webb's "Triple Play," he displays a flair for brief, dramatic entrances such as slamming home one note and extending it, or making a handful of notes sound like a buzz saw, immediately following with an impassioned, metallic cry and then rapidly getting down to the business of building a cogent, emotionally compelling improvisation. The second chorus on "The Way Things Are," another one of his compositions, includes some of Weiskopf's most stunning work on the record. His lines are taut, tightly connected, and for the most part etched into the hum and rumble of Charette's bass line. When he pauses, or briefly spins out a flurry of notes that fly against the beat before snapping back to attention, the effect is like an edifice being ripped apart and immediately miraculously put back into place.

Each of Frahm's solos is something of an adventure, as he manipulates his tone, juggles contrasting rhythms, intentionally rushes or drags time, changes temperament from cool to hot, and flashes a number of ideas in relatively short periods. His "Jones" improvisation gradually comes into focus. Frahm lays back for much of the first chorus, playing a little behind the beat and leaving some room between selected phrases. The last eight bars signal a change as his tone assumes a ragged edge. The second chorus begins with the insistent pecking of a number of staccato notes, which he rapidly wrestles into a nifty phrase. Eventually his sound thickens and he integrates squeaks, burr tones, and screams. During "Your Place Or Mine" Frahm evokes jazz of the swing era for about a half chorus in terms of vocabulary and rhythmic nuisances before metamorphosing to the present day. Throughout "Triple Play" he creates tension by playing slightly ahead of the beat, and sprinkles at least three song quotes into the solo's second chorus. Not unlike Swing Shift, Webb's memorable 2012 release on Posi-Tone, Triple Play contains the present centered vibe of the last set of a club date, when the musicians are open to all possibilities, expressing themselves without inhibitions and, for an hour or so, the sounds are strong enough to keep the outside world at bay. ~ David A. Orthmann  http://www.allaboutjazz.com/triple-play-by-david-a-orthmann.php
 

Personnel: Doug Webb: tenor sax; Walt Weiskopf: tenor sax; Joel Frahm: tenor sax; Brian Charette: organ; Rudy Royston: drums.

Triple Play

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Danny Grissett - The In-Between

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 66:07
Size: 152,0 MB
Art: Front

(7:59)  1. Blue J
(6:00)  2. Seven Tune
(4:07)  3. The Kicker
(6:50)  4. Winter Silence
(5:00)  5. The In-Between
(8:28)  6. Mr. Wiggle Worm
(7:44)  7. Dreamsville
(4:46)  8. Stablemates
(9:18)  9. How Deep Is the Ocean
(5:50) 10. Sweetest Disposition

Pianist Danny Grissett decided to name his fifth Criss Cross recording The In-Between to evoke the experience of flying back and forth between New York, where he is a first-call sideman for, among others, Jeremy Pelt and Tom Harrell, and Vienna, Austria, where he has lived with his wife and small son for several years. Joined by tenor saxophonist Walter Smith, an acquaintance since both attended the Thelonious Monk Institute in the early aughts, bassist Vicente Archer, a partner of long-standing, and great drummer Bill Stewart, Grissett offers a mix of five originals, four personalized standards, and a lovely ballad by his wife. ~ Editorial Reviews http://www.amazon.com/The-In-Between-Danny-Grissett/dp/B0143DKJ64

Personnel:  Danny Grissett (piano), Walter Smith III (tenor saxophone), Vicente Archer (bass), Bill Stewart (drums).

The In-Between

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Hot Lips Page - On The Blues Side 1940-1950

Bitrate: MP3@320K/s
Time: 70:48
Size: 162.1 MB
Styles: Jazz blues, Swing, Trumpet jazz
Year: 2003
Art: Front

[3:14] 1. Thirsty Mama Blues
[2:47] 2. Rockin' At Ryans
[3:17] 3. The Blues Jumped A Rabbit
[3:10] 4. Uncle Sam Blues No. 2
[3:43] 5. I Keep Rollin' On No. 2
[2:47] 6. Six, Seven, Eight Or Nine
[2:57] 7. The Lady In Bed
[3:20] 8. Miss Martingale
[3:28] 9. You Come In Here Woman
[2:53] 10. They Raided The Joint
[2:49] 11. Sunset Blues
[2:39] 12. Florida Blues
[2:37] 13. Race Horse Mama Blues
[3:14] 14. Buffalo Bill Blues
[2:34] 15. Gimme, Gimme, Gimme
[3:09] 16. St. James Infirmary
[2:39] 17. Walkin' In A Daze
[3:07] 18. That Lucky Old Sun (Just Rolls Around Heaven All Day)
[3:11] 19. The Breaks No. 2
[2:41] 20. Page Mr. Trumpet
[2:53] 21. Crazy Love
[7:26] 22. The Blues In B Flat

One of the great swing trumpeters in addition to being a talented blues vocalist, Hot Lips Page's premature passing left a large hole in the jazz world; virtually all musicians (no matter their style) loved him. Page gained early experience in the 1920s performing in Texas, playing in Ma Rainey's backup band. He was with Walter Page's Blue Devils during 1928-1931, and then joined Bennie Moten's band in Kansas City in time to take part in a brilliant 1932 recording session. Page freelanced in Kansas City and in 1936 was one of the stars in Count Basie's orchestra but, shortly before Basie was discovered, Joe Glaser signed Hot Lips as a solo artist. Although Page's big band did alright in the late '30s (recording for Victor), if he had come east with Basie he would have become much more famous. Page was one of the top sidemen with Artie Shaw's orchestra during 1941-1942 and then mainly freelanced throughout the remainder of his career, recording with many all-star groups and always being a welcome fixture at jam sessions. ~Scott Yanow

On The Blues Side 1940-1950

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Gypsy Jazz Swing Ensemble - Django Manouche: Gypsy Swing And Hot House Jazz

Bitrate: MP3@320K/s
Time: 42:03
Size: 96.3 MB
Styles: Swing, Gypsy jazz
Year: 2013
Art: Front

[1:38] 1. Blue Paris Stomp
[1:41] 2. Swing Fiasco
[1:40] 3. Schwingin'
[1:30] 4. Trois Soevrs
[1:52] 5. Lucky In Love
[1:41] 6. Movin' On
[2:50] 7. Alcohol
[1:31] 8. Hot House Blues
[1:55] 9. Hey Minor
[1:50] 10. Mosquito
[1:32] 11. Sweet Swing
[1:30] 12. Le Jazz
[1:40] 13. No One But You
[1:45] 14. A Gypsy Waltz
[2:20] 15. Where Do We Go
[2:10] 16. Naked As A Jaybird
[1:39] 17. Skipping
[1:35] 18. Make It Snappy
[2:20] 19. Holland
[1:46] 20. Bleu
[1:32] 21. Fishing Hole
[1:55] 22. Fred's Stomp
[2:02] 23. Gypsy Fire

Gypsy jazz (also known as gypsy swing or hot club jazz) is a style of jazz music often said to have been started by guitarist Jean "Django" Reinhardt in the 1930s. Because its origins are largely in France it is often called by the French name, "jazz manouche", or alternatively, "manouche jazz", even in English language sources. The term is now commonly used for this style of music.

Django was foremost among a group of Romani guitarists working in and around Paris in the 1930s through the 1950s, a group which also included the brothers Baro, Sarane, and Matelo Ferret and Reinhardt's brother Joseph "Nin-Nin" Reinhardt.

Django Manouche: Gypsy Swing And Hot House Jazz

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George Shearing - The Early Years

Bitrate: MP3@320K/s
Time: 27:27
Size: 62.9 MB
Styles: Bop, Piano jazz
Year: 2010
Art: Front

[3:23] 1. It's Easy To Remember
[3:08] 2. The Nearness Of You
[2:59] 3. Poinciana
[2:59] 4. Consternation
[3:07] 5. The Fourth Duece
[3:16] 6. Blue Moon
[2:43] 7. The Man From Minton's
[2:59] 8. Someone To Watch Over Me
[2:50] 9. To Be Or Not To Bop

George Shearing enjoys an international reputation as a pianist, arranger and composer. Equally at home on the concert stage as in jazz clubs, Shearing is recognized for inventive, orchestrated jazz. He has written over 300 compositions, including the classic “Lullaby of Birdland,” which has become a jazz standard.

Shearing was born in 1919 in the Battersea area of London. Congenitally blind, he was the youngest of nine children. His father delivered coal and his mother cleaned trains at night after caring for the children during the day. His only formal musical education consisted of four years of study at the Linden Lodge School for the Blind. While his talent won him a number of university scholarships, he was forced to refuse them in favor of a more financially productive pursuit…playing piano in a neighborhood pub for the handsome salary of $5 a week! Shearing joined an all-blind band in the 1930’s. At that time he developed a friendship with the noted jazz critic and author, Leonard Feather. Through this contact, he made his first appearance on BBC radio.

In 1947, Mr. Shearing moved to America, where he spent two years establishing his fame on this side of the Atlantic. The Shearing Sound commanded national attention when, in 1949, he gathered a quintet to record “September in the Rain” for MGM. The record was an overnight success and sold 900,000 copies. His U.S. reputation was permanently established when he was booked into Birdland, the legendary jazz spot in New York. Since then, he has become one of the country’s most popular performing and recording artist.

The Early Years

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Linda Ronstadt - Greatest Hits

Bitrate: MP3@320K/s
Time: 55:15
Size: 126.5 MB
Styles: Adult contemporary
Year: 2015
Art: Front

[2:35] 1. Different Drum
[4:12] 2. Love Has No Pride
[3:40] 3. You're No Good
[3:14] 4. The Tracks Of My Tears
[2:46] 5. (Love Is Like A) Heat Wave
[4:30] 6. Someone To Lay Down Beside Me
[3:54] 7. Blue Bayou
[3:41] 8. Poor, Poor Pitiful Me
[2:28] 9. It's So Easy
[3:06] 10. Tumbling Dice
[3:12] 11. Just One Look
[2:17] 12. How Do I Make You
[3:10] 13. Hurt So Bad
[2:40] 14. I Can't Let Go
[2:53] 15. I Knew You When
[3:33] 16. Don't Know Much
[3:16] 17. Winter Light

Linda Ronstadt's appeal crossed so many genre lines it's impossible to categorize her as anything other than a gifted vocalist. She enjoyed success on country and rock charts alike with a voice that capably handled the requirements of both styles. There was a commanding roughness to her you-did-me-wrong classic, "You're No Good," that mixed both soul and R&B stylings into her vocals. In a similar vein, she handled the Motown standard, "Heat Wave," like a pro, this time giving it the slightest hint of a country twang. Ronstadt had some of her best moments with material that had a more emotional element, regardless of genre. "Tracks of My Tears" is a good example of the disparate styles she could navigate with equal aplomb.

Greatest Hits

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Dizzy Gillespie - Groovin' High

Bitrate: MP3@320K/s
Time: 36:46
Size: 84.2 MB
Styles: Bop
Year: 2009
Art: Front

[2:55] 1. Blue 'n' Boogie
[2:40] 2. Groovin' High
[2:46] 3. Dizzy Atmosphere
[2:47] 4. All The Things You Are
[3:12] 5. Salt Peanuts
[3:09] 6. Hot House
[3:00] 7. Oop Bop Sh'bam
[2:41] 8. That's Earl, Brother
[2:27] 9. Our Delight
[2:52] 10. One Bass Hit, No. 2
[2:44] 11. Things To Come
[2:20] 12. Ray's Idea
[3:06] 13. Emanon

Bass – Curly Russell, Ray Brown, Slam Stewart; Drums – Cozy Cole, Kenny Clarke, Shelly Manne, Sid Catlett; Guitar – Chuck Wayne, Remo Palmieri; Piano – Al Haig, Clyde Hart, Frank Paparelli, John Lewis; Saxophone – Charlie Parker, Dexter Gordon, James Moody, Sonny Stitt; Trumpet – Dizzy Gillespie; Vibraphone – Milt Jackson.

Dizzy Gillespie took a sextet into the studio on February 9, 1945, and recorded two new compositions, “Groovin’ High,” a medium tempo tune based on the chord changes of “Whispering” (written in 1920), and “Blue ‘N’ Boogie.” In his book Dizzy: The Life and Times of John Birks Gillespie, Donald L. Maggin says, “Dizzy created a complex arrangement for ‘Groovin’ High,’ which became one of his most enduring hits; it encompasses a six-bar introduction, three key changes, transition passages between solos, and a half-speed coda as it demonstrates his skill in fashioning interesting textures using only six instruments.”

Groovin' High

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Bud Shank - Brasamba!

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 35:56
Size: 83,3 MB
Art: Front

(3:54)  1. Brasamba
(4:05)  2. Otem a Note
(4:03)  3. Autumn Leaves
(3:40)  4. Sambinha
(3:59)  5. Gostoso
(3:00)  6. If I Should Lose You
(3:25)  7. O'Barquinho
(2:21)  8. Serenidade
(4:15)  9. Elizete
(3:09) 10. Samba de Orfeu

One of the greatest albums of Brazilian jazz that Bud Shank ever recorded done with a style that's a lot more like some of the best bossa albums from Rio at the time! Bud's recorded in other bossa settings before but there's something about this record that really gets the whole thing right as Shank's alto and flute come into play with a killer combo that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion. 

The added percussion really brings a lot to the set and gives it a strongly bossa-driven groove that really lets Shank take off on alto and flute solos. Fischer's piano is remarkably strong caught at that clear early point in his career when he was such a fresh voice on the scene. The whole thing's wonderful overall and if you think you might have it under another name, check the song listings because we bet you don't! Titles include "Sambinha", "Gostoso", "Elizete", "O Barquinho", "Brasamba", and "Otem A Note". https://www.dustygroove.com/item/655957

Personnel:  Bud Shank - alto saxophone, flute;  Clare Fischer – piano;  Joe Pass – guitar;  Larry Bunker - vibes, drums;  Ralph Pena – bass;  Milt Holland, Chuck Flores - percussion

Brasamba!

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Walt Weiskopf - Man Of Many Colours

Styles: Saxophone Jazz
Year: 2001
File: MP3@VBR~216K/s
Time: 50:33
Size: 74,8 MB
Art: Front

(7:17)  1. Triangle Dance
(7:32)  2. Haunted Heart
(5:41)  3. Together
(7:04)  4. Man Of Many Colors
(7:22)  5. People
(6:47)  6. NYC
(5:33)  7. Petal
(3:13)  8. When Your Lips Meet Mine

Despite the fact that his name doesn’t show up on magazine polls and is equally scarce among those few jazz guide books on the market, make no mistake about the fact that Walt Weiskopf is easily one of the most mature and fully individualistic saxophonists and composers to come along in the last 10 years. Possibly because of the fact that he chooses to work within the mainstream tradition (read: not outlandish enough to appeal to the avant hipsters) and record for the small Dutch-based Criss Cross Jazz label, Weiskopf is not widely known among everyday jazz circles, but it seems that those who have sampled his brilliance are uniformly enthralled with his vociferous approach. Over the course of six previous Criss Cross releases, Weiskopf has shown that he possesses a keen awareness of his own personal muse, both through his saxophone work and his compositional prowess. In fact, his nonet recordings, Song For My Mother and Siren have been universally lauded by jazz journalists and diehard fans for their resourcefulness and innovation. Man Of Many Colors is somewhat unique in that it is Weiskopf’s first quartet recording since 1995’s A World Away, which featured Larry Goldings, Peter Bernstein, and Bill Stewart. This time around it’s a piano trio on board, and a fine one that finds Brad Mehldau mixing things up with bassist John Patitucci and drummer Clarence Penn.

Admittedly a Coltrane disciple, Weiskopf’s tenor speaks in long phrases of a multifarious nature, fluidly executed and with a robust timbre that is immediately satisfying. On “NYC”, Penn sets things up for an up-tempo romp that has Weiskopf chomping at the bit from note one. Throwing off series of notes with machine-gun rapidity, Weiskopf engages in a solo statement that can only be described as his own take on “sheets of sound” methodology. Although he can tear up the changes with ferocity, Walt also has a most affecting way in his delivery of ballad material. With both “People” and “Haunted Heart,” he uses space smartly and alternates the clarion call of his upper register with rapid passages that cover the entire range of the instrument. Previously, Weiskopf has worked with some very strong drummers. Past collaborators like Billy Drummond are used to pushing and prodding a soloist and it is exactly that type of environment that most suits the saxophonist’s forays. Penn is an excellent choice here, as he does much more than merely keep time. “Triangle Dance” is a perfect example of the drummer’s complex interaction with the entire ensemble, switching back and forth between a Latin groove and straightforward swing. 

Not only does Weiskopf seem to respond positively to the affirmative rhythmical environment, but so too does Mehldau, whose own work as a leader seems to lack so much of the energy and forward momentum that the pianist so efficiently displays here. On six originals and the two previous mentioned standards, Weiskopf and crew approach things in a manner that makes this so much more than yet another mainstream recital. It’s all about group interaction and individual expression. But those of us who know Weiskopf via past efforts shouldn’t be surprised. What’s left is for a wider circle of fans to get the message. ~ C.Andrew Hovan http://www.allaboutjazz.com/man-of-many-colors-walt-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Walt Weiskopf (tenor sax), Brad Mehldau (piano), John Patitucci (bass), Clarence Penn (drums)

Man Of Many Colours

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Julie Budd - Remembering Mr. Sinatra

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 35:19
Size: 81,2 MB
Art: Front

(2:17)  1. I've Got The World On a String
(4:05)  2. All the Way
(2:43)  3. The Best Is yet to Come
(7:48)  4. Medley:  More Than You Know, The Very Thought of You, The Nearness of You
(3:38)  5. In the Wee Small Hours
(3:56)  6. Come Rain or Come Shine
(4:32)  7. I'm a Fool to Want You
(2:29)  8. Don't Get Around Much Anymore
(3:46)  9. How About You

Julie Budd is one of those enduring talents who has outlived her almost premature early success. Discovered at age 12 in the late 1960s, she played her first engagement in the Catskills that same year, and was appearing on the Merv Griffin Show six months later; she subsequently became a fixture on the talk show and supper club circuits. From her precocious beginnings, co-starring with the likes of Frank Sinatra, Liberace, George Burns, and Bob Hope, Budd developed into a sophisticated interpreter of popular songs, comparable to Sinatra or Torme, playing all of the best venues from Las Vegas to the Catskills. Budd has also done some acting, principally in association with the Circle Repertory Theater and Playwright's Horizons in New York, as well as occasional film appearances, but her main activity in recent years has been her one-woman show, which also yielded her album Pure Imagination, issued in 1997. If You Could See Me Now followed in the spring of 2000. ~ Bruce Eder https://itunes.apple.com/us/artist/julie-budd/id289591689#fullText

Remembering Mr. Sinatra

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VA - Even Better Than The Real Thing Vol. 2

Styles: Pop/Rock, Folk
Year: 2004
File: MP3@VBR ~220K/s
Time: 61:00
Size: 84,0 MB
Art: Front

( 3:25)  1. Juilet Turner - Toxic (Dennis & Davis)
( 4:13)  2. Bell X1 - Like I Love You / Slow (Justin Timberlake & Kylie)
( 2:47)  3. Vyvienne Long - Seven Nation Army (The White Stripes)
( 3:49)  4. The Frames - Everytime (Britney Spears)
( 3:24)  5. The Walls - These Words (Natasha Bedingfield)
( 6:18) 6. Paddy Casey feat. Dublin Gospel Choir - Grandma's Hands / No Diggity (Blackstreet)
( 4:52)  7. Brian Kennedy - Dry Your Eyes (The Streets)
( 3:22)  8. Roesy - Naughty Girl (Beyonce Knowles)
( 4:12)  9. Dublin Gospel Choir feat. Paddy Casey - Saints & Sinners (Paddy Casey)
( 4:02) 10. Mickey Harte - I Don't Want You Back (Eamon)
( 3:28) 11. Ann Blake - Hole In The Head (The Sugababes)
( 2:57) 12. Bic Runga - Sway (Bic Runga)
(14:05) 13. Declan O'Rourke feat. Josh Johnston - See It In A Boy's Eyes (Jamelia) + (Hidden Track: The Bogmen - Hey Ya)

This article is about volume 2 in the charity CD series. For other uses, see Even Better Than The Real Thing (disambiguation). Even Better Than the Real Thing Vol. 2 is an Irish charity album featuring a variety of artists performing acoustic cover versions of popular songs. It was released in 2004 by RMG Chart Entertainment Ltd. Just like volume 1, most of the songs on the album were recorded live and acoustic on The Ray D'Arcy Show on Today FM. The album was made in aid of the National Children's Hospital in Tallaght & Barretstown. https://en.wikipedia.org/wiki/Even_Better_Than_the_Real_Thing_Vol._2

Even Better Than The Real Thing Vol. 2

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Kenny Burrell - Introducing Kenny Burrell: The First Blue Note Sessions (2-Disc Set)

Despite its title, this LP was actually guitarist Kenny Burrell's second Blue Note album, although the first to be released. Teamed with pianist Tommy Flanagan, bassist Paul Chambers, drummer Kenny Clarke and the conga of Candido, Burrell displays what was already an immediately recognizable tone. At 24, Burrell had quickly emerged to become one of the top bop guitarists of the era, and he is in particularly excellent form on "This Time the Dreams on Me," "Weaver of Dreams" and "Delilah." A bonus of this set is a percussion duo by Clarke and Candido on "Rhythmorama." Enjoyable music. ~Scott Yanow

Album: Introducing Kenny Burrell: The First Blue Note Sessions (Disc 1)

Bitrate: MP3@320K/s

Time: 48:53

Size: 111.9 MB

Styles: Guitar jazz

Year: 1956/2000

[4:55] 1. This Time The Dream's On Me

[6:45] 2. Fugue 'n Blues

[4:15] 3. Takeela

[4:40] 4. Weaver Of Dreams

[6:01] 5. Delilah

[6:24] 6. Rhythmorama

[8:03] 7. Blues For Skeeter

[3:58] 8. Get Happy

[3:46] 9. But Not For Me

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Album: Introducing Kenny Burrell: The First Blue Note Sessions (Disc 2)

Bitrate: MP3@320K/s

Time: 68:27

Size: 156.7 MB

Styles: Guitar jazz

Year: 1956/2000

Art: Front

[6:04] 1. Moten Swing

[4:38] 2. Cheetah

[5:50] 3. Now See How You Are

[4:38] 4. Phinupi

[5:09] 5. My Heart Stood Still

[5:09] 6. How About You

[6:19] 7. K.B. Blues

[5:46] 8. D.B. Blues

[9:33] 9. Nica's Dream

[9:02] 10. Out For Blood

[6:12] 11. K.B. Blues

Introducing Kenny Burrell:The First Blue Note Sessions (Disc 1)(Disc 2)

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