Sathima Bea Benjamin - Musical Echoes

Styles: Jazz, Vocal
Year: 2002
File: MP3@320K/s
Time: 59:35
Size: 136,9 MB
Art: Front

(6:50)  1. All Too Soon
(7:25)  2. Caravan
(5:26)  3. Falling in Love with Love
(4:01)  4. I'll Follow My Secret Heart
(8:09)  5. They Say Its Wonderful
(8:05)  6. Musical Echoes
(5:40)  7. Someone to Watch over Me
(7:52)  8. Something to Live For
(6:03)  9. Star Eyes

Musical Echoes marks Sathima Bea Benjamin's return to recording after Cape Town Love (1999). This album was recorded in her hometown, Cape Town, and reflects a certain sense of return for the vocalist. My own association with her music goes back to 1979 and her second album, Sathima Sings Ellington, the first release on her own Ekapa label. Over the years, I've continued to be impressed with her unique voice and consistency. Upon hearing this 2006 update, I have to conclude that, from a historical perspective, Benjamin has the qualities that place a distinctive jazz vocalist in their own category, just like Sarah Vaughan, Abbey Lincoln and others.

Benjamin met the innovative pianist Dollar Brand (later known as Abdullah Ibrahim) in the late '50s, but the two fled South Africa in 1962 due to the political climate of the day. They moved to Europe, where they stayed for much of the 1960s, which gives the release of this album a sense of bittersweet homecoming. She is joined by pianist Stephen Scott (currently with Sonny Rollins), bassist Basil Moses and drummer Lulu Gontsana, the latter both well-regarded South African musicians.

The music presented is, as always, consistent with her standards, and a tribute to the songbooks of Duke Ellington, Rodgers & Hart, Gershwin and Berlin. Benjamin lends a South African pulse to "Falling In Love With Love," offers a beautifully rendered ballad version of "Someone To Watch Over Me," and delivers a most interesting hypnotic take on "Caravan." Her peerless versions of "They Say Its Wonderful" and "Something To Live For" are also highlights. Finally, on the title tune, an original composition, the vocalist reflects on music and its healing powers. ~ Michael P. Gladstone http://www.allaboutjazz.com/musical-echoes-sathima-bea-benjamin-ekapa-review-by-michael-p-gladstone.php

Personnel: Sathima Bea Benjamin: vocals; Stephen Scott: piano; Basil Moses: bass; Lulu Gontsana: drums.

Musical Echoes

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Canadian Brass - Swing That Music: A Tribute to Louis Armstrong

Styles: Big Band
Year: 2009
File: MP3@320K/s
Time: 52:51
Size: 122,0 MB
Art: Front

(2:42)  1. Swing That Music
(2:25)  2. Carolina Shout
(2:23)  3. Promenade
(2:18)  4. Bebop Bach
(2:25)  5. Cool Bach
(1:56)  6. Dixie Bach
(3:18)  7. Struttin' With Some Barbecue
(3:26)  8. Sweet Georgia Brown
(4:47)  9. St. Louis Blues
(3:56) 10. Black and Blue
(3:05) 11. Way Down Yonder In New Orleans
(4:02) 12. Black Bottom Stomp
(3:17) 13. Strike Up The Band
(4:08) 14. Sleepless Night
(0:52) 15. Three-Quarter Blues
(3:19) 16. Ain't Misbehavin'
(4:25) 17. Blueberry Hill

First emerging in 1970, the Canadian Brass went on to establish brass music and instruments as a newly vital force in classical performance. A quintet (longtime members included trumpeters Frederic Mills and Ronald Romm, French horn player David Ohanian, trombonist Eugene Watts, and tuba player Charles Daellenbach), the Canadian Brass' virtuosic, classically trained style is widely credited for infusing a neglected group of instruments hampered by a rather limited repertoire with new vitality and relevance; performing everything from Mozart and Bach to Gerswhin and jazz, the group paved the way for an entirely new measure of acceptance for brass ensembles. The first Western chamber ensemble ever to tour the People's Republic of China, they also headlined venues including New York's Carnegie Hall, Orchestra Hall in Chicago, the Academy of Music in Philadelphia, the Ambassador Auditorium in Los Angeles, and the Kennedy Center in Washington, D.C.; in addition to their many live performances, the quintet also issued myriad recordings. ~ Jason Ankeny  https://itunes.apple.com/us/artist/canadian-brass/id243599#fullText

Personnel: Joe Burgstaller, Brandon Ridenour, Ryan Anthony (trumpet); Shachar Israel, Eugene Watts (trombone); Charles Daellenbach (tuba); Jeff Nelsen (horns)

Swing That Music: A Tribute to Louis Armstrong

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Diane Marino - A Sleepin' Bee

Styles: Jazz, Vocal
Year: 2003
File: MP3@320K/s
Time: 79:56
Size: 183,5 MB
Art: Front

(2:51)  1. This Can't Be Love
(6:33)  2. Incompatibilidade De Genios
(5:25)  3. Sister Sadie
(6:24)  4. You Don't Know What Love Is
(5:03)  5. A Sleepin' Bee
(7:22)  6. Chovendo Na Roseira
(6:00)  7. My Little Suede Shoes
(6:27)  8. Don't Misunderstand
(7:36)  9. All Blues
(5:32) 10. The Old Country
(3:35) 11. O Morro Nao Tem Vez
(8:25) 12. Angel Eyes
(8:36) 13. Killer Joe

Singer/pianist Diane Marino was born in Manhattan, NYC. She received her early piano training of classical studies and improvisation from the age of 10. Diane was accepted on NYC'S 'Famed' High School for the Performing Arts as a classical piano major. She later attended the Mannes College of Music in Manhattan where she studied piano with world-renowned concert pianist Murray Perahia. While working towards her Bachelor of Music degree in piano performance, Diane began singing with small groups in the NYC tri-state area, After graduating from Mannes, she was singing professionally 6 nights a week. It was only natural and a matter of time before she would combine her singing and piano playing skills. Diane performed solo gigs for several years in the NYC area before teaming up with bassist Frank Marino. The duo formed the nine member Brazilian group, 'Som Brasileiro' (Sounds of Brazil) in 1993 and have performed at numerous jazz festivals, venues and concerts in the Southeast sharing the bill with artists such as Tania Maria, Pete Escovedo, Joe Henderson and Dr. John, to name a few.

Diane's debut jazz quartet CD 'A Sleepin' Bee' was released in 2003 and has received national acclaim, extensive radio airplay and rave reviews. In August of 2003 Diane's CD reached # 25 in the National JazzWeek Charts and held for four weeks. WRTI radio in Philadelphia had Diane's version of "Don't Misunderstand" at #15 in their top 100 songs for 2003.This CD offers a wide array of vocal and instrumental traditional jazz standards, Latin jazz, and Brazilian jazz (sung in Portuguese).

This CD offers everything the Jazz aficionado could wish for and then some! The Diane Marino Quartet is truly unique. Pianist / vocalist Diane Marino offers a broad brush of vocal and instrumental Jazz on her nationally acclaimed CD, "A Sleepin'Bee". Diane Marino takes the listener on a musical journey with her interpretations of the Jazz evergreens on this CD. From a playful burner like the opening "This Can't Be Love"; to Jobim's lilting "Double Rainbow" sung in Brazilian Portuguese; to Diane's dark and haunting vocal on "Don't Misunderstand"; to the refreshing Latin instrumental arrangements of "All Blues" and "Killer Joe". The tunes on this CD have been chosen with care and they are performed with both professionalism and artistic adroitness. This is Jazz in its purest form presented in a remarkable tableau of artistic grouping. It's one to take home! http://www.cdbaby.com/cd/dianemarino

A Sleepin' Bee

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Buddy Greco - Jazz Grooves

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 58:13
Size: 133,7 MB
Art: Front

(6:09)  1. Buddy's Bounce
(3:29)  2. Scrapple From the Apple
(5:16)  3. Little Beth
(4:06)  4. Autumn Leaves
(2:56)  5. Só Danço Samba
(5:01)  6. Don't Get Around Much Anymore
(6:05)  7. I Can't Get Started
(4:16)  8. Fine And Dandy
(5:57)  9. El Greco
(3:35) 10. Stompin' At The Savoy
(5:05) 11. Samba de Orfeu
(6:13) 12. Misty

Known by his colleagues as a "singer's singer" and a "musician's musician," Buddy Greco has sold more than one million records. He is well-known for releasing songs from every genre, from jazz to country to pop music. He has performed on stage, on film and on television. Born Armando Greco in Philadelphia, Buddy Greco began singing and playing the piano at the age of four. He used his talents performing on the radio. By the age of 16 Buddy Greco had more than a decade of musical experience behind him. He was playing in the nightclub Philadelphia's Club 13 when he was spotted by Benny Goodman. Bandleader Benny Goodman was impressed by Buddy Greco's talents and hired him as a pianist, a singer and an arranger. At the age of 16 Buddy Greco was traveling the world with one of the most popular big bands of the '30s, the Benny Goodman Band. He stayed with the band for four years. At the ripe age of 20 Buddy Greco decided to pursue a solo professional music career. He began singing and performing in nightclubs and concerts. Some of his hit recordings include the popular favorites "Oh Look at Her, Ain't She Pretty," "The Lady Is A Tramp" and "Around the World."

During his musical career he has made more than 65 albums including an album of he and the London Symphony Orchestra, in which he conducted and played. In the '60s Buddy Greco's music career had been very successful. He appeared with the popular '60s rock group the Beatles in a performance for Queen Elizabeth the second. It was also in the '60s when Buddy Greco seriously began a career in film and television. In 1967 he was a regular performer on the TV series Away We Go. This nationwide television program gave Buddy Greco enormous exposure as a talented singer and pianist. He followed this series with a part in the 1969 film, The Girl Who Knew Too Much. His talents have taken him to great heights recording more than 100 hit singles. During the '70s and '80s, Buddy Greco concentrated on recording and performing. His hits included jazz, country and pop music. Audiences are astounded at the many styles of Buddy Greco. Even after more than four decades of performing, Buddy Greco still remains one of the most widely-known singers of his time. In the early 90s he toured with "The Salute to the Benny Goodman Band." 

The ensemble performed 72 shows, each garnering a standing ovation. He performed for two years at The Desert Inn Hotel in Las Vegas and in 1996 ended two world tours at Café Royale in London. With all his musical credits, Buddy Greco is an inductee of the Philadelphia Music Alliance's Walk of Fame and has entries in both the Encyclopedia of Great Musicians and the Encyclopedia of Great Jazz Singers and Musicians. Buddy Greco's musical abilities live on in his more than 60 albums and more than 100 hit singles. He writes and records scores for film and television. ~ Kim Summers  https://itunes.apple.com/us/artist/buddy-greco/id408616#fullText 

Personnel: Buddy Greco (piano); Rick Riccio (flute); Joe Lano (guitar); Kenny Seiffert, Bob Sachs (bass); Gregg Field (drums).

Jazz Grooves

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Gil Mellé Quartet - Gil's Guests

Bitrate: MP3@320K/s
Time: 53:01
Size: 121.4 MB
Styles: Saxophone jazz
Year: 1990
Art: Front

[6:20] 1. Soudan
[6:09] 2. Tomorrow
[4:57] 3. Block Island
[5:52] 4. Sixpence
[8:10] 5. Still Life
[3:45] 6. Ghengis
[6:36] 7. Funk For Star People
[6:46] 8. Golden Age
[4:21] 9. Herbie

Baritone saxiphonist Gil Melle didn't make very many recordings before abandoning the music business to concentrate on other artistic pursuits. This recording for the Prestige label shows him to be an intriguing composer. The performances emphasize tightly arranged ensemble playing, with fine individual playing by the quartet and the "Guests" who include trumpeters Donald Byrd, Art Farmer, and Kenny Dorham. According to Gil's web-site, the credit for Phil Woods is incorrect; rather, the saxophonist on the last three tracks is tenor Zoot Sims. Also according to the web site, Teddy Charles played vibes but doesn't show up in the credits.

Melle recorded some quartet tracks for Blue Note which have been re-released as a 3-disc set. He recorded this and several other sessions for Prestige, and then retired from jazz. This disc is not an essential classic, but IS an intersting and enjoyable set of well written and arranged songs that stands up to repeat listening. ~Someguy

Gil's Guests

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Paul Revere & The Raiders - Greatest Hits

Bitrate: MP3@320K/s
Time: 38:59
Size: 89.3 MB
Styles: AM pop, Garage band rock
Year: 1997
Art: Front

[2:43] 1. Louie, Louie
[2:38] 2. Louie, Go Home
[2:13] 3. Steppin' Out
[2:24] 4. Just Like Me
[2:01] 5. Melody For An Unknown Girl
[2:25] 6. Kicks
[2:54] 7. Hungry
[3:06] 8. Great Airplane Strike
[3:02] 9. Good Thing
[2:48] 10. Ups And Downs
[3:11] 11. Legend Of Paul Revere
[1:27] 12. Action
[2:45] 13. (I'm Not Your) Steppin' Stone
[2:51] 14. Him Or Me (What's It Gonna Be )
[2:25] 15. Peace Of Mind

Throughout the early to the mid-'60s, the nucleus of Paul Revere & The Raiders consisted of the Northwest rockers Paul Revere, Mark Lindsay, Drake Levin, Mike Smith and Phil Volk. As the band moved to the Los Angeles area, they soon connected with the legendary producer Terry Melcher and went on to record a stellar number of garage band rock classics in a very short time.

With their first successful singles like "Louie, Louie," "Just Like Me" and "Steppin’ Out," all hitting the airwaves at the same time, Dick Clark recognized their talent and soon had the band host the classic daytime rock and roll show Where The Action Is, which made them more successful concert performers and album selling artists.

Over the next few years, a huge number of hit singles, top charting albums, concert tours and international television appearances transformed Paul Revere & The Raiders into a very influential band along the lines of contemporaries like The Byrds and The Rolling Stones. To this day folks like David Bowie, Joan Jett, Sammy Hagar, The Sex Pistols, The Flamin’ Groovies and The Monkees have all gone on to record Paul Revere & The Raiders songs. Columbia Records knew the importance of this entity then and soon honored their favorite sons with their own best of album aptly titled Paul Revere & The Raiders Greatest Hits.

Greatest Hits

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Carol Welsman - Hold Me

Bitrate: MP3@320K/s
Time: 61:17
Size: 140.3 MB
Styles: Jazz vocals
Year: 2000
Art: Front

[5:18] 1. Night And Day
[4:42] 2. Fragile
[4:08] 3. Love Junkyard
[4:12] 4. Hold Me
[5:09] 5. Brazasia
[5:21] 6. Talking Is Good
[5:14] 7. Bird Of Paradise
[5:10] 8. I Believe
[5:41] 9. Little Caesar
[5:56] 10. Why
[4:57] 11. Les Moulins Do Mon Coeur
[5:22] 12. And So It Goes

Spurred on no doubt by the growing popularity of the “smooth” jazz radio format, singer/pianist Carol Welsman’s latest CD is a decidedly middle-of-the-road affair. Though she’s often billed as a “jazz” singer, Hold Me contains a whole lot of “pop” and precious little jazz. Welsman floats through this 12-track collection without ever breaking a sweat, rarely displaying the vocal/piano chops she’s famous for. Hold Me is a decent easy-listening album but, as Clara Peller used to say – “Where’s the beef?” Classic tunes like "Night and Day" mixed with modern-day compositions by pop stars like Sting and Billy Joel make for less than challenging fare. This is the sort of album that fans of Diana Krall, Canada’s other fetching singer/pianist, hope she never makes. ~John Sharpe

Hold Me

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Johnny Lytle - The Sound Of Velvet Soul

Bitrate: MP3@320K/s
Time: 31:23
Size: 71.9 MB
Styles: Vibraphone jazz, Soul jazz
Year: 1968/2011
Art: Front

[2:45] 1. Suddenly You
[2:38] 2. The Thing To Do
[1:58] 3. Live For Life
[2:24] 4. We're Bluesin'
[4:02] 5. Under The Rising Sun
[4:09] 6. Street Scene
[3:48] 7. L.A. Soul
[4:08] 8. Somewhere
[2:28] 9. Up, Up, And Away
[2:58] 10. On A Clear Day

Sol Schlinger (baritone saxophone) Joe Farrell, Seldon Powell, Jerome Richardson, Frank Wess (saxophone) Johnny Lytle (vibraphone) Richard Davis (bass) Mel Lewis (drums) Johnny Pacheco (percussion).

Considered one of the top vibes players in the world, Johnny Lytle was known for his great hand speed and showmanship. He was also a songwriter and wrote many of his own hits, including "The Loop," "The Man," "Lela," "Selim," and the jazz classic "The Village Caller." Lytle recorded more than 30 albums for various jazz labels including Tuba, Jazzland, Solid State, and Muse. Throughout his career he performed and recorded with jazz greats the likes of Louis Armstrong, Lionel Hampton, Miles Davis, Nancy Wilson, Bobby Timmons, and Roy Ayers. The devoted father of three also featured his son, Marcel Lytle, on several of his recordings as a vocalist and drummer. Lytle was such an admirer of the music of the late great Miles Davis that he wrote "Selim" (Miles spelled backwards) in honor of Davis, which features Davis' former pianist Wynton Kelly. Lytle never recorded with any of the major record labels, and that could be why he never gained the status of a jazz icon like some of his peers. Lytle felt that he would lose control of his music and creative development; Lytle liked to play what came natural to him, and being with a major label might not have afforded him that opportunity.

Johnny Lytle grew up in a family of music, the son of a trumpeter father and an organist mother. He began playing the drums and piano at an early age. Before studying music in earnest, Lytle lent his hands to boxing, and was a successful Golden Gloves champion. During the late '50s, Lytle landed jobs as a drummer for Ray Charles and others, and he also continued to box. But by 1960, the energetic Lytle had laid down his gloves and, inspired by the great Lionel Hampton, picked up the mallets, turning his full attention toward the vibraphone. He started a jazz band and began recording for the famed jazz label Riverside Records under the direction of Grammy-winning producer Orrin Keepnews.

Lytle found success early in his career with chart-topping albums like A Groove, The Loop, and Moon Child. From his swinging uptempo tracks to his soul-satisfying ballads, Lytle knew how to keep a groove. And with a nickname like "Fast Hands," he could always keep the attention of an audience. In addition to his musicianship, his gregarious personality made him a popular attraction on the jazz circuit. Even though Lytle did not experience the same success he was privileged to during the '60s, he did continue to record and build a respectable catalog of music with recordings in the '70s,'80s, and '90s. Lytle remained a popular concert attraction in the U.S. and Europe; his last performance was with the Springfield (Ohio) Symphony Orchestra in his hometown in November 1995. At the time of his death in the following month, Lytle was scheduled to begin recording a new CD on the Muse label. ~bio by Craig Lytle

The Sound Of Velvet Soul

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Buddy DeFranco And His Septette - Live Date!

Styles: Clarinet Jazz
Year: 1957
File: MP3@320K/s
Time: 37:09
Size: 85,8 MB
Art: Front

(4:06)  1. Oh, Lady Be Good
(6:09)  2. Satin Doll
(3:02)  3. My Funny Valentine
(4:46)  4. Blues for Space Travellers
(7:03)  5. Tin Reed Blues
(5:24)  6. Crazy Rhythm
(6:36)  7. Ballad Medley: I'm Glad There Is You/There's No You

A very hip session that has Buddy working with some of the fresher modern players on the scene at the time all in a groove that echoes with some of the sharpest notes we've heard from his clarinet in the 50s! The ensemble has a really dreamy feel with flute from Herbie Mann, vibes from Victor Feldman, tenor from Bob Hardaway, guitar from Barney Kessel, and piano and organ from Pete Jolly all backed by rhythm from the legendary Scott LaFaro on bass and Stan Levey on drums. Tracks include "Satin Doll", "Oh Lady Be Good", "Crazy Rhythm", "Blues For Space Travelers", and "My Funny Valentine". (Verve Inc stereo pressing, with deep groove – nice and clean! Top cover seam is split, but taped and back has some light staining. https://www.dustygroove.com/item/676782

Personnel:  Bass – Scott LaFaro;  Clarinet – Buddy DeFranco;  Drums – Frank DeVito;  Flute, Tenor Saxophone, Bass Clarinet – Herbie Mann;  Guitar – Barney Kessel; Piano, Accordion – Pete Jolly;  Vibraphone – Victor Feldman

Live Date

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Bryan Ferry - Dylanesque

Styles: Contemporary Pop/Rock
Year: 2007
File: MP3@320K/s
Time: 42:16
Size: 97,3 MB
Art: Front

(3:49)  1. Just Like Tom Thumb's Blues
(5:16)  2. Simple Twist of Fate
(3:22)  3. Make You Feel My Love
(3:37)  4. The Times They Are A-Changin'
(2:27)  5. All I Really Wanna Do
(6:13)  6. Knockin' On Heaven's Door
(3:42)  7. Positively 4th Street
(2:41)  8. If Not For You
(2:11)  9. Baby Let Me Follow You Down
(5:10) 10. Gates of Eden
(3:43) 11. All Along the Watchtower

The greatest indeed, only irony of Bryan Ferry's 2007 album-long tribute to the Bard is that Dylanesque never sounds "Dylanesque." There are no solo acoustic guitars, no swirling organs, no thin, wild mercury music, nothing that suggests any of the sounds typically associated with Bob Dylan. No, Dylanesque sounds Ferry-esque: careful, precise, elegant, so casually sophisticated it sometimes borders on the drowsy. There are no new wrinkles, then, apart from a small but crucial one unlike his other records, this was recorded quickly, over the course of a week with his touring band in tow. 

This does give Dylanesque a comparatively loose, off-the-cuff feel, which is a bit of a welcome relief after several decades of cautious, deliberate conceptual albums, and gives the album its understated charm. Since Ferry never radically reinvents the songs apart from the sleek, sly propulsion of "Just Like Tom Thumb's Blues" and a spare, haunting piano-and-strings version of "Positively Fourth Street" this is an album where all the pleasures lay in the subtleties, whether it's how Ferry phrases his delivery, how his road band feels supple yet muscular, how Eno electronically enhances a few tracks or how Robin Trower tears into "All Along the Watchtower."

These are the details to savor upon repeated listens, but upon that first spin it's immediately apparent that the Ferry who made Dylanesque is an assured, relaxed vocalist who isn't sweating the specifics, he's simply singing songs with a band that offers sympathetic support. They may not push him, the way that Roxy did in its prime, nor does this have the meticulous ambition of his original work, but again, that's the charm of this album: Ferry has never felt quite so comfortable as he does here, and if that may not be exactly what all listeners are looking for when they listen to his work, this is the quality that will make Dylanesque a small understated gem for certain segments of his die-hard fans. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/dylanesque-mw0000777034

Personnel: Bryan Ferry (harmonica, Farfisa); Chris Spedding, Oliver Thompson (guitar, guitars); David E. Williams (guitar); David Williams (guitars); Guy Pratt, Zev Katz (bass guitar); Isaac Ferry (electronics); Me'sha Bryan, Adrianne McDonald, Michelle John (background vocals); Mick Green, Leo Abrahams (guitar); Robin Trower (acoustic guitar); Lucy Wilkins, Gavyn Wright, Jackie Shave (violin); Jon Thorne (viola); Anthony Pleeth (cello); Colin Good (piano); Paul Carrack (organ); Andy Newmark, Bobby Irwin (drums); Frank Ricotti (percussion); Brian Eno (electronics); Tara McDonald, Joy Malcolm, Sarah Brown, Sharon White, Anna McDonald (background vocals).

Dylanesque

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Brian Charette, Rudy Royston, Will Bernard - Alphabet City

Styles: Jazz
Year: 2015
File: MP3@320K/s
Time: 51:27
Size: 119,0 MB
Art: Front

(3:27)  1. East Village
(3:14)  2. They Left Fred Out
(4:41)  3. West Village
(4:43)  4. Not a Purist
(3:06)  5. Sharpie Moustache
(3:56)  6. Disco Nap
(4:38)  7. Hungarian Major
(3:45)  8. Avenue A
(5:25)  9. Detours
(5:12) 10. Split Black
(4:42) 11. White Lies
(4:33) 12. The Vague Reply

Organist Brian Charette brings his A-game to Alphabet City. But who would expect anything else from this consummate artist? After delivering a covers-heavy program with two different trio lineups on Good Tipper (Posi-Tone, 2014), Charette returns here with an all-originals outing that finds him in the company of guitarist Will Bernard and drummer Rudy Royston.

Alphabet City, in some respects, is an ode to Charette's New York city home, haunts and habits. But that minimizes the scope and influences connected to this project. In truth, this album, like nearly everything else in Charette's discography, is about Charette's entire world, not a single section of a city. His early musical passions, vast experience(s), and general love of music be it bop-based, bright, burbling, bizarre, or built with Eastern European influences are all wrapped together in his work.

While these three musicians work well as a single unit, each has his own respective gifts to share. Charette's diversified approach to music-making manages to keep things fresh; Royston plays with a marriage of technique and taste, alternately delivering direct blows, worming his way into the heart of a groove, and playing around the edges of a piece; and Bernard straddles musical worlds, simultaneously pulling from jazz, soul, and funk bags. It's an odd combination in some respects, but it works.

There's modal music in odd time signatures ("Split Black"), ambling and carefree performances ("West Village"), and mysterious, Hungarian-influenced music to be heard here ("Hungarian Major"). Charette and company might be knee deep in bebop on one track ("East Village"), but the next number might go someplace completely different, as the trio explores some serious funk that questions the absence of a Fred Wesley figure in a James Brown biopic ("They Left Fred Out"). There are also intentionally edgy, alien, and fusion-based pursuits ("Not A Purist"), energetically swinging blues excursions ("The Vague Reply"), and gospel-tinged peace offerings to admire ("White Lies"). Given Charette's track record and the skills of the players involved, it should come as no surprise that Alphabet City is as good as it is. ~ Dan Bilaswsky  http://www.allaboutjazz.com/alphabet-city-brian-charette-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Brian Charette: organ; Will Bernard: guitar; Rudy Royston: drums.

Alphabet City

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Art Pepper - The Capitol Vaults Jazz Series (Disc 3 of 3)

Bitrate: MP3@320K/s

Time: 78:53

Size: 180.6 MB

Styles: Saxophone jazz

Year: 2011

Art: Front

[5:07] 1. Holiday Flight

[6:07] 2. Too Close For Comfort

[4:08] 3. Long Ago (And Far Away)

[7:19] 4. Begin The Beguine

[5:36] 5. I Can't Believe That You're In Love With Me

[6:29] 6. Summertime

[4:21] 7. Fascinating Rhythm

[4:19] 8. Body And Soul

[7:36] 9. Without A Song

[3:29] 10. The Breeze And I

[4:39] 11. Surf Ride

[4:53] 12. Webb City

[6:13] 13. Begin The Beguine

[3:58] 14. Fascinating Rhythm

[4:32] 15. Webb City

The Capitol Vaults Jazz Series (Disc 3)                 

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Abigail Riccards - Every Little Star

Bitrate: MP3@320K/s
Time: 55:20
Size: 126.7 MB
Styles: Vocal
Year: 2013
Art: Front

[4:37] 1. I've Told Every Little Star
[5:26] 2. If I Had You
[4:07] 3. Singin' In The Rain
[4:00] 4. How Deep Is The Ocean
[5:30] 5. Circle Game
[3:41] 6. Sleepin' Bee
[6:01] 7. I Didn't Know About You
[4:57] 8. I Can't Give You Anything But Love
[3:14] 9. Smile
[4:45] 10. Waltz For Debby
[3:48] 11. Endless Joy
[5:08] 12. Bye Bye Blackbird

Abigail Riccards may not be known yet but Jane Monheit is, and on Riccard's Every Little Star, the famous jazz chanteur is both a mentor and co-producer. The Chicago-based Riccards began appearing in New York City in the early 2000s, garnering a good deal of critical attention from her live performances and her debut recording, When The Night Was New (Jazz Excursion, 2008).

Always supported by the best musicians, Riccards is backed up here by a piano-guitar quartet, led by pianist Michael Kanan, who handles the arrangements of all twelve songs included in this collection. His steady hand steers a neo-mainstream path, paying a counterpoint homage to John Lewis and George Shearing. Guitarist Peter Bernstein provides the string mood to the set, his introduction and accompaniment on "If I Had You" an album highlight. Bassist Neal Miner and drummer Eliot Zigmund round out the rhythm section, the quartet proving tasteful and brief support.

Riccard's instrument is one that is at once fresh and practiced. Interestingly, her voice is best framed in her duet with Monheit on Joni Mitchell's "Circle Game." Riccards' alto possesses an exegesis of the singer's art, able to fit anywhere—as evidenced by her cover of Bill Evans' "Waltz For Debbie" and Irving Berlin's "How Deep Is The Ocean." The culmination of her vision is on "Sleepin' Bee," where Riccards duets with only Miner's walking bass. Riccards' footing is secure and her future bright.~Michael BaileyAbigail Riccards: vocals; Michael Kanan: piano; Neal Miner: bass; Peter Bernstein: guitar; Eliot Zigmund: drums.

Every Little Star

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Claudio Roditi - Jazz Turns Samba

Bitrate: MP3@320K/s
Time: 62:27
Size: 143.0 MB
Styles: Hard bop, Trumpet jazz
Year: 1996/2015
Art: Front

[5:46] 1. Moody's Samba
[4:46] 2. Birk's Works
[7:21] 3. Speak Low
[7:46] 4. Without A Song
[7:08] 5. Come Rain Or Come Shine
[5:25] 6. Giant Steps
[9:19] 7. Moanin'
[5:37] 8. Moment's Notice
[5:11] 9. Donna Lee
[4:05] 10. Inside Out

Claudio Roditi takes a Brazilian-flavored look at a number of standards and familiar jazz compositions on these delightful sessions from 1992, with pianist Mark Soskin, bassist David Finck, and drummer Ignacio Berroa in his core group and various guests interspersed throughout the CD. The trumpeter's tone and phrasing are at a peak throughout the disc, and he switches to flügelhorn for a peppy rendition of "Without a Song." The upbeat samba treatment of "Speak Low" and bossa nova chart of "Come Rain or Come Shine" feature tenor saxophonist Andres Boiarsky, while the promising young tenor player David Sanchez is on hand for the midtempo arrangement of "Giant Steps" and gospel-infused "Moanin'." Guitarist Ed Cherry is added for the engaging uptempo samba interpretation of "Donna Lee," while harmonica player Hendrik Meurkens shines in Roditi's "Moody's Samba." Unfortunately, this rewarding CD has been allowed to lapse from print, so it is getting difficult to acquire. ~Ken Dryden

Jazz Turns Samba

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Django Reinhardt - Djangology

Bitrate: MP3@320K/s
Time: 72:50
Size: 166.7 MB
Styles: Gypsy jazz, Swing
Year: 2002
Art: Front

[3:27] 1. I Saw Stars
[2:57] 2. After You've Gone
[3:37] 3. Heavy Artillery (Artillerie Lourde)
[4:13] 4. Beyond the Sea (La Mer)
[2:34] 5. Minor Swing
[3:00] 6. Menilmontant
[3:41] 7. Brick Top
[2:51] 8. Swing Guitars
[2:51] 9. All the Things You Are
[2:23] 10. Daphné
[2:48] 11. It's Only a Paper Moon
[3:41] 12. Improvisation on Tchaikovsky's Pathetique Andante
[2:49] 13. The World Is Waiting for the Sunrise
[2:42] 14. Djangology
[3:18] 15. Ou Es-Tu, Mon Amour (Where Are You, My Love )
[2:51] 16. Marie
[3:42] 17. I Surrender, Dear
[3:06] 18. Hallelujah
[2:23] 19. Swing '42
[3:58] 20. I'll Never Be the Same
[3:57] 21. Honeysuckle Rose
[3:08] 22. Lover Man (Oh, Where Can You Be)
[2:43] 23. I Got Rhythm

In 1949, Django Reinhardt and Stephane Grappelli reunited for a brief tour of Italy. While they were there they recorded about 50 tunes with an Italian rhythm section, and although they didn't know it at the time, these sessions marked the last time the Gypsy guitarist and the French violinist recorded together. This CD collects 23 of the best tracks from those final sessions, including versions of Hot Club standards like "Minor Swing," "Bricktop," and "Swing 42." Reinhardt and Grappelli don't try to recreate the raucous swing of their earlier collaborations, opting instead for an intriguing blend of romantic, almost classical melodic soloing and bebop-tinged harmonies and rhythms. The attempt doesn't always succeed, primarily because the three musicians on drums, bass, and piano are clearly out of their depth. But when the two masters click, as they do on "I Got Rhythm," they demonstrate an eagerness to explore the new musical possibilities offered by postwar jazz. Sadly Reinhardt died not long after he returned from Italy, so he and Grappelli were never able to continue their musical exploration, leaving the music on Djangology as a final farewell to one of the great partnerships in jazz. ~Michael Simmons

Djangology

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Lucky Thompson - Love Ya

Bitrate: MP3@320K/s
Time: 75:36
Size: 173.1 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[6:25] 1. Let's Try Again
[3:22] 2. I Cover The Waterfront
[4:51] 3. You Got To My Head
[4:04] 4. Easy Going
[6:40] 5. Soul In 3 4
[4:13] 6. My Funny Valentine
[3:14] 7. Angel Eyes
[7:06] 8. One For The Boys And Us
[4:13] 9. I Should Care
[3:30] 10. A Sunkissed Rose
[3:47] 11. Home Free
[4:14] 12. Paris The Beautiful
[8:16] 13. Now's The Time
[3:41] 14. Portrait Of Django
[3:58] 15. But Not For Tonight
[3:56] 16. Lullaby Of The Leaves

Born in Columbia, SC, on June 16, 1924, tenor saxophonist Lucky Thompson bridged the gap between the physical dynamism of swing and the cerebral intricacies of bebop, emerging as one of his instrument's foremost practitioners and a stylist par excellence. Eli Thompson's lifelong nickname -- the byproduct of a jersey, given him by his father, with the word "lucky" stitched across the chest -- would prove bitterly inappropriate: when he was five, his mother died, and the remainder of his childhood, spent largely in Detroit, was devoted to helping raise his younger siblings. Thompson loved music, but without hope of acquiring an instrument of his own, he ran errands to earn enough money to purchase an instructional book on the saxophone, complete with fingering chart. He then carved imitation lines and keys into a broom handle, teaching himself to read music years before he ever played an actual sax. According to legend, Thompson finally received his own saxophone by accident -- a delivery company mistakenly dropped one off at his home along with some furniture, and after graduating high school and working briefly as a barber, he signed on with Erskine Hawkins' 'Bama State Collegians, touring with the group until 1943, when he joined Lionel Hampton and settled in New York City.

Soon after his arrival in the Big Apple, Thompson was tapped to replace Ben Webster during his regular gig at the 52nd Street club the Three Deuces -- Webster, Coleman Hawkins, Lester Young, and Art Tatum were all in attendance at Thompson's debut gig, and while he deemed the performance a disaster (a notorious perfectionist, he was rarely if ever pleased with his work), he nevertheless quickly earned the respect of his peers and became a club fixture. After a stint with bassist Slam Stewart, Thompson again toured with Hampton before joining singer Billy Eckstine's short-lived big band that included Charlie Parker, Dizzy Gillespie, and Art Blakey -- in other words, the crucible of bebop. But although he played on some of the earliest and most influential bop dates, Thompson never fit squarely within the movement's paradigm -- his playing boasted an elegance and formal power all his own, with an emotional depth rare among the tenor greats of his generation. He joined the Count Basie Orchestra in late 1944, exiting the following year while in Los Angeles and remaining there until 1946, in the interim playing on and arranging a series of dates for the Exclusive label. Thompson returned to the road when Gillespie hired him to replace Parker in their epochal combo -- he also played on Parker's landmark March 28, 1946, session for Dial, and that same year was a member of the Charles Mingus and Buddy Collette-led Stars of Swing which, sadly, never recorded.

Thompson returned to New York in 1947, leading his own band at the famed Savoy Ballroom. The following year, he made his European debut at the Nice Jazz Festival, and went on to feature on sessions headlined by Thelonious Monk and Miles Davis (the seminal Walkin'). Backed by a group dubbed the Lucky Seven that included trumpeter Harold Johnson and altoist Jimmy Powell, Thompson cut his first studio session as a leader on August 14, 1953, returning the following March 2. For the most part he remained a sideman for the duration of his career, however, enjoying a particularly fruitful collaboration with Milt Jackson that yielded several LPs during the mid-'50s. But many musicians, not to mention industry executives, found Thompson difficult to deal with -- he was notoriously outspoken about what he considered the unfair power wielded over the jazz business by record labels, music publishers, and booking agents, and in February 1956 he sought to escape these "vultures" by relocating his family to Paris. Two months later he joined Stan Kenton's French tour, even returning to the U.S. with Kenton's group, but he soon found himself blacklisted by Louis Armstrong's manager, Joe Glaser, after a bizarre conflict with the beloved jazz pioneer over which musician should be the first to leave their plane after landing. Without steady work, he returned to Paris, cutting several sessions with producer Eddie Barclay.

Thompson remained in France until 1962, returning to New York and a year later headlining the Prestige LP Plays Jerome Kern and No More, which featured pianist Hank Jones. Around this same time his wife died, and in addition to struggling to raise their children on his own, Thompson's old battles with the jazz power structure also remained, and in 1966 he formally announced his retirement in the pages of Down Beat magazine. Within a few months he returned to active duty, but remained frustrated with the industry and his own ability -- during the March 20, 1968, date captured on the Candid CD Lord, Lord Am I Ever Gonna Know?, he says "I feel I have only scratched the surface of what I know I am capable of doing." From late 1968 to 1970, Thompson lived in Lausanne, Switzerland, touring widely across Europe before returning the U.S., where he taught music at Dartmouth University and in 1973 led his final recording, I Offer You. The remaining decades of Thompson's life are in large part a mystery -- he spent several years living on Ontario's Manitoulin Island before relocating to Savannah, GA, trading his saxophones in exchange for dental work. He eventually migrated to the Pacific Northwest, and after a long period of homelessness checked into Seattle's Columbia City Assisted Living Center in 1994. Thompson remained in assisted care until his death on July 30, 2005. ~bio by Jason Ankeny

Love Ya

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Bud Shank & Bill Mays - Beyond The Red Door

Styles: Saxophone And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 71:50
Size: 165,8 MB
Art: Front

(6:34)  1. Red Door
(9:12)  2. The Wind/The Peacocks
(8:31)  3. Why Not Now?
(6:14)  4. Quietly
(9:20)  5. The Touch Of Your Lips
(8:51)  6. I Loves You Porgy
(7:56)  7. Carousels
(7:59)  8. Everything I Love
(7:09)  9. Where Or When

At its best, jazz is about spontaneity and surprise. It is also, as Bud Shank writes in his cogent liner notes to Beyond the Red Door, wherein his persuasive alto saxophone is seamlessly blended with Bill Mays's decorous piano, about "the expression of emotions... about feeling good, about self-respect, about self-assurance, about happiness and humor." Shank and Mays bring all those qualities, plus a lifetime of experience, to bear in an engaging and varied program of old favorites and newer treasures that encompasses a broad musical and emotional spectrum. Shank, who at eighty-one wears comfortably the mantle of elder statesman, has always had a distinctive sound, readily identifiable, while Mays is arguably more generic but nonetheless proficient and tasteful. In any event, they comprise a single-minded team, partly because, in Shank's words, they were "especially happy to be playing together as a duo." 

The happiness is palpable throughout, as Shank and Mays wend their way through a delightful melange of standards and original compositions that includes a pair of captivating melodies written by Shank and his wife, Linda ("Carousels," "Why Not Now?") and Mays' seductive waltz, "Quietly." The session opens on a suitably improvisational note with Zoot Sims / Gerry Mulligan's "Red Door," whose melody doesn't surface until the 1:30 mark. For a ballad medley, Mays suggested combining Russ Freeman's "The Wind," on which Shank had played alto flute on the original 1954 recording, with Jimmy Rowles' "The Peacocks."  

The duo's choice of standards is impeccable, starting with Ray Noble's sensuous "The Touch of Your Lips" and including the Gershwin brothers / DuBose Heyward's plaintive "I Loves You Porgy," Cole Porter's cheerful "Everything I Love" and Rodgers and Hart's haunting "Where or When." As for the readings, they are invariably warm and perceptive. Playing time is a generous 71:45, while sound is remarkably clear and well-balanced. If there's a downside, it lies in the fact that tempos are slow to medium, and that one's degree of pleasure may rest largely on his or her fondness for alto sax / piano duos in general and Shank / Mays in particular. Here's one emphatic vote in the "thumbs up" column. ~ Jack Bowers  http://www.allaboutjazz.com/beyond-the-red-door-bud-shank-jazzed-media-review-by-jack-bowers.php

Personnel:  Bud Shank: alto saxophone;  Bill Mays: piano.

Beyond The Red Door

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Bobby Scott & His Trio - For Sentimental Reasons

Styles: Vocal And Piano Jazz

Year: 1990

File: MP3@320K/s

Time: 70:43

Size: 162,5 MB

Art: Front

(6:04)  1. Night Lights

(6:14)  2. What'll I Do

(4:49)  3. Lovewise

(6:34)  4. For Sentimental Reasons

(6:22)  5. The More I See You

(6:40)  6. Gee Baby, Ain't I Good To You

(9:20)  7. I Keep Going Back To Joe'S

(5:09)  8. Mamselle

(9:04)  9. That's All

(5:43) 10. That Sunday, That Summer

(4:40) 11. Nature Boy

It's a bit ironic that Nat "King" Cole was the singer Bobby Scott paid tribute to on For Sentimemal Reasons, for the singers sounded nothing alike. Cole's voice was about as smooth and urbane as it gets, whereas Scott's expressive singing had a rough, weathered quality during the last years of his life. This intimate CD, which features Bucky Pizzarrelli on guitar, Steve La Spina on bass and Ronnie Zito or Jimmy Young on drums, isn't a tribute in the sense that the singer/acoustic pianist tries to emulate Cole; rather, Scott brings his own recognizable style to "Nature Boy," "Gee Baby, Ain't I Good to You," "For Sentimental Reasons" and other songs associated with Cole. Another high point of the CD is "Mamselle," a lovely gem that Frank Sinatra and Art Lund recorded in the 1940s. Even though Scott's singing wasn't very Cole-like, they did have one thing in common: both recognized the value of economy and simplicity. Sadly, Scott had only about a year and a half left to live when this excellent album was recorded. ~ Alex Henderson  http://www.allmusic.com/album/for-sentimental-reasons-mw0000204459

For Sentimental Reasons

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Alice Testa - Alice's Room

Styles: Jazz, Vocal
Year: 2015
File: MP3@320K/s
Time: 46:28
Size: 106,6 MB
Art: Front

(4:20)  1. If I Were a Bell
(4:43)  2. Alice's Room
(3:47)  3. Black Hole Sun
(6:59)  4. Exit Signs 0.2
(4:31)  5. Kites
(3:58)  6. The Core
(5:18)  7. Pure Imagination
(7:27)  8. Nature Boy
(2:23)  9. Skylark
(2:57) 10. Morrow's Song

As referenced in the liner notes by Andrea Pozza, it is always with a sense of trepidation as well as excitement that the first excursion into listening takes place, as therein lies the beauty of the adventure of discovering new music, artists and singers. Being taken on an unexpected journey with several potential destinations ranging from bliss to disappointment, not knowing where you’ll find yourself at journey’s end. I was therefore eager to hear Alice Testa’s debut album.The album without doubt has a European Jazz feel to it, not unexpectedly. The band, comprising several leading players on the Italian jazz scene, supports her voice beautifully, creating shifting landscapes resonant to the tone and mood of the song without dominating. Atmospheric and immediately accessible, this isn’t challenging jazz by any means and yet there is an elegance in the apparent simplicity of the compositions and arrangements. 

A mix of standards, covers and originals, Alice is obviously wanting to demonstrate her breadth as an artist, rather than limiting herself to what might be expected of a new songstress. The mix works relatively well with material ranging from the immediately recognisable in songs such as ‘Pure Imagination’, ‘Skylark’ and ‘Nature Boy’ to an unexpected smoothed out version of Soundgarden’s ‘Black Hole Sun’ and on to the edgier original number ‘The Core’ which feels much more in keeping with current jazz trends with playful meter changes and a less customary standard feel in its approach.

For the most part the album stays true to a somewhat traditional sound, rather middle of the road with no radical departures to disquiet the listener from a Sunday afternoon sojourn say; an enjoyable, comforting encounter or background soundtrack, both appealing and palatable but perhaps lacking the indefinable magic of say relative newcomer Cécile McLorin Salvant singing similar standards. Although pleasant with its laidback feel and accomplished instrumental solos, vocally ‘Pure Imagination’ doesn’t inspire in the way that Jacob Collier’s a cappella version does, where the emotional connection to the song is clearly apparent in his engaging performance and dramatic harmonic re-working. Much more convincing is Alice’s more inventive take on ‘Black Hole Sun’, a brave choice but one that shows her own diverse taste in music which has no doubt influenced the singer she has become.

Her tone is clear and pure, occasionally airy and light, whilst her vocal approach genuine and true to the melodic lines, staying almost rigidly ‘straight’ with little to no deviation. She demonstrates a natural sensibility to phrase well musically and has good control of her instrument showing precision in pitching and timing, however I personally missed hearing a truly undeniable emotional connection to the lyrical content of the material for the most part. Her supporting cast on the other hand  Matteo Alfonso, Lorenzo Conte, Kyle Poole, Giancarlo Bianchetti and Francesco Geminiani  delivered much more on the expressive level alongside moments of improvisational beauty, creative but always in keeping with the cohesive group sound and direction of the song. Although there are a couple of moments where Alice herself is freed from singing text using the voice more instrumentally, replicating horn lines and delivering wordless melodies, I was left wanting greater glimpses of her own improvisational ability or even just more of a sense of her own vocal personality which for me perhaps isn’t quite developed yet. Finding your own voice as a singer in jazz is no mean feat and one which remains imperative if you’re to stand apart and be instantly recognisable in your own right from the very first note uttered. 

This may well come on subsequent albums which I look forward to hearing as no doubt creating this debut has been an inspirational learning curve which will further inform her evolution as an artist. ~ Donald Palmer  http://ukvibe.org/sans_frontier/alice-testa/

Alice's Room

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Bob Wilber - What Swing Is All About

Styles: Clarinet And Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 77:54
Size: 178,9 MB
Art: Front

(4:36)  1. Smiles
(4:13)  2. Tickle Toe
(6:08)  3. Someday You'll Be Sorry
(4:18)  4. I Gotta Right to Sing the Blues
(5:16)  5. I Want To Be Happy
(3:42)  6. You'd Be So Nice to Come Home To
(5:40)  7. Basic Jump
(5:42)  8. Back Home Again In Indiana
(3:56)  9. Love Comes Along Once in a Lifetime
(6:06) 10. The Song Is You
(3:09) 11. Feeling I'm Falling
(4:22) 12. I've Got A Crush On You / You Do Something To Me
(3:44) 13. Bernfest '96
(3:28) 14. This Is New
(4:06) 15. Goody, Goody
(3:52) 16. Billie's Bounce
(5:27) 17. Doggin' Around

This is simple stuff, plain and unassuming. Two high horns, with a broad arsenal, trade nimbly over a bright trio. The group was formed for a hotel job in 1984 and plays to this day. The repertoire is expected: old standards and basic originals. The album has no surprises, save one: this old music sounds fresher than a lot of modern bands. This is what swing is all about. The horns step together on “Smiles”, a parallel theme with plenty of warmth. Wilber shouts high, a clarinet purity on soprano; his former student Antti Sarpila is pure Lester. Pleasant but light; a gentle stroll in the park. It picks up with “Tickle Toe”: Antti is more urgent but still Presidential; Wilber, on clarinet, bends tone and shows grit while staying sweet. The exchanges are tough, Joe Ascione fending off both horns at once. It all works, right down to Basie’s Morse code at the end. The fans agree. 

“I Got a Right” brings in Pug Horton, for the first of any vocals. Befitting the tune, she is low and weary, with a charming vibrato. Mark Shane is understated, light rolls and Ellington trills. Wilber takes the straight soprano (less sweet than his curved model); it’s the match to Antti’s clarinet. Pug is brighter on “Nice to Come Home To”; less vibrato and more heat. Her notes stay creamy even down low – not many can say that. Wilber’s solo is busy and happy; Antti’s is almost its equal. “Basiec Jump” is a fun turn on “Undecided”; Antti stretches a bit with nice sandpaper tone. Shane strides right (he played a Basie tribute at this club a few months later); Wilber has little space, but does he use it! “Indiana” starts at a crawl: Pug muses as the piano flows, as slow as the Wabash River. She stops; the band starts. Antti dances high, while Wilber rolls a bit lower. Ascione gets a soft solo; hear the horns jab behind him. It’s quite a display, and the crowd agrees.

“Feeling I’m Falling” is a gem, a Gershwin tune I wish I knew before this. The clarinets walk together. Wilber keeps to theme, going high with bent notes; Antti likes trills. A lazy day of a song: it may be simple, but always welcome when it comes. Pug comes back for “I’ve Got a Crush on You” (hear Wilber on the lovely verse.) On the final word “you” it becomes “You Do Something to Me” – like that romance becomes passion. Next is “Bernfest ‘96” (named for a festival Wilber played), but don’t be fooled  it’s a classic swinger that could have been written in ’36. The tune is a winner, like the clarinet-tenor blend. There’s little here but the theme, but you don’t need anything else. “Goody Goody” is a group vocal: besides Pug, you hear Wilber, and maybe some of the crowd. Bob’s high swirling is his best solo; Antti groans a bit with a nice rumpled tone. “Billie’s Bounce” isn’t just Charlie Parker here it’s a bossa! And it swings. 

The soprano is slow, some bop moves but without the tension. Antti calls on Lester again, with great results. Shane hammers hard with tremolos: he’s old and modern at once. And “Doggin’ Around” is another “Undecided”, this one from the Count. Wilber is bluesier than normal, with high tumbles. Antti gets tough, quoting “Broadway” and beginning to strut. I like it; the crowd does not disagree. Shane strides again; his best effort. The long ending should be savored but I could say that for the whole album. ~AAJ  Staff  http://www.allaboutjazz.com/what-swing-is-all-about-bob-wilber-review-by-aaj-staff.php

Personnel: Bob Wilber (clarinet, soprano saxophone); Pug Horton (vocals); Antti Sarpila (clarinet, tenor saxophone); Mark Shane (piano); Phil Flanigan (bass instrument); Joe Ascione (drums).

What Swing Is All About

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