Joe Henderson - The Standard Joe

Bitrate: MP3@320K/s
Time: 69:32
Size: 159.2 MB
Styles: Post bop, Saxophone jazz
Year: 1993/2010
Art: Front

[ 9:18] 1. Blue Bossa
[ 9:37] 2. Inner Urge
[12:48] 3. Body And Soul
[ 8:43] 4. Take The 'A' Train
[ 8:49] 5. 'round Midnight
[ 5:17] 6. Blues In F (In 'n Out)
[14:57] 7. Body And Soul

For at least his fourth recording in six years heading a pianoless trio, the great tenor Joe Henderson (along with bassist Rufus Reid and drummer Al Foster) is heard on his own "Inner Urge," an original blues, two lengthy versions of "Body and Soul" and three other jazz standards. This Italian import is particularly recommended to listeners not that familiar with Henderson's playing, for he brings new life to these often overplayed compositions. ~Scott Yanow

The Standard Joe  

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Kaye Grable - Tenderly

Bitrate: MP3@320K/s
Time: 39:50
Size: 91.2 MB
Styles: Jazz piano
Year: 1997
Art: Front

[4:09] 1. I Wish You Love
[3:11] 2. All The Things You Are
[2:54] 3. Tenderly
[2:42] 4. The Things We Did Last Summer
[2:03] 5. Watch What Happens
[2:52] 6. Spring Can Really Hang You Up The Most
[3:21] 7. Love Theme From 'laura'
[3:49] 8. Don't Blame Me
[2:50] 9. Theme From 'a Man And A Woman'
[2:09] 10. I'm Beginning To See The Light
[3:22] 11. What Are You Doing The Rest Of Your Life
[3:10] 12. Our Love Is Here To Stay
[3:13] 13. In The Wee Small Hours Of The Morning

Raised in Missouri and Began piano lessons at age 3. Was performing professionally by age 13 as part of a duo piano team, and as solo artist. Received performance degree from Arkansas State University and New England Conservatory. Have been church pianist and organist since age 9 and have worked with numerous Christian artists for 40 years. Pursued love for jazz music after graduating and moving to Dallas, TX. Have performed with Robert Goulet, The Lennon Sisters, John Gary, Gennifer Flowers, Phyllis Diller and numerous big bands, as well as a fabulous career with The Kaye Grable Trio booking such prestigious rooms as The Fairmont Hotel, The Mansion, The Cipango Club, and The Dallas Country Club, to name a few. Began teaching piano lessons at age 13 and continue the love of teaching piano today.

Tenderly

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Dave Pike - Limbo Rock

Bitrate: MP3@320K/s
Time: 76:59
Size: 176.2 MB
Styles: Vibraphone jazz
Year: 2014
Art: Front

[2:24] 1. Limbo Rock
[3:37] 2. My Little Suede Shoes
[4:56] 3. Jamaica Farewell
[4:38] 4. Samba Lero
[4:26] 5. Carnival Samba
[3:54] 6. Matilda
[5:11] 7. Serenade
[7:41] 8. La Bamba
[3:53] 9. Ginha
[3:09] 10. Mambo Bounce
[3:43] 11. St. Thomas
[4:44] 12. Cattin' Latin
[6:03] 13. Sausalito
[4:01] 14. Melvalita
[5:35] 15. Sono
[3:42] 16. Calypso Blues
[5:14] 17. Philumba

Dave Pike has been a consistent vibraphonist through the years without gaining much fame. He originally played drums and is self-taught on vibes. Pike moved with his family to Los Angeles in 1954 and played with Curtis Counce, Harold Land, Elmo Hope, Dexter Gordon, Carl Perkins, and Paul Bley, among others. After moving to New York in 1960 he put an amplifier on his vibes. Pike toured with Herbie Mann during 1961-1964, spent 1968-1973 in Germany (recording with the Kenny Clarke-Francy Boland big band), and then resettled in Los Angeles, playing locally and recording for Timeless and Criss Cross. ~bio by Scott Yanow

Limbo Rock

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John Sheridan & His Dream Band - Dream Band, Make Me Some

Bitrate: MP3@320K/s
Time: 70:19
Size: 161.0 MB
Styles: Big band
Year: 2006
Art: Front

[3:30] 1. I'll See You In My Dreams
[7:24] 2. Dream A Little Dream Of Me
[3:50] 3. Dream Man
[3:50] 4. It's The Dreamer In Me
[3:57] 5. Dream Dancing
[3:06] 6. I Had The Craziest Dream
[4:08] 7. When My Dreamboat Comes Home
[3:56] 8. Dream Of You
[5:02] 9. Deep In A Dream
[3:31] 10. I've Got A Pocketful Of Dreams
[4:59] 11. Harlem Lullaby
[3:18] 12. Gotta Get Some Shut-Eye
[3:24] 13. Dreamsville
[2:50] 14. Please Keep Me In Your Dreams
[4:29] 15. Wrap Your Troubles In Dreams (And Dream Your Troubles Away)
[5:56] 16. Sleep, Come On And Take Me
[3:02] 17. Dream

Pianist, arranger John Sheridan has put together an octet with a rhythm section that has a lively bounce. He’s got bright soloist stepping out of shifting sections that really swing. This is an octet with a big band sound that’s having infectious fun, theme-y fun.

John Sheridan:Dream Band, Make Me Dream Some More cover a line-up of songs like “Dream Dancing,” “Gotta Get Some Shut-Eye,” and “I’ll See You in My Dreams.” Get the drift? Vocalist Rebecca Kilgore steps in on five of the seventeen cuts to deliver some, dare I say, dreamy vocals. Really. John Sheridan’s arrangements are consistently exquisite accompaniments to her fine singing.

The rhythm section of John Sheridan, Reuben Ristrom, Phil Flanigan, and Jeff Hamilton is outstanding, providing a swing beat with flexibility and sophistication. Jeff Hamilton, on drums, is a particular pleasure to listen to for his touch and taste. The soloists are a very well balanced bunch with big ears. Two notable solos are Ron Hockett’s clarinet solo on “I’ll See You in My Dreams,” and John Sheridan’s piano solo on “Dream a Little Dream of Me.” These are two almost arbitrary choices among a wealth of outstanding solos. This band plays together with a flair for the upbeat in beautifully arranged interactions, especially among the horns and reeds. John Sheridan gets the best out of players who sound like they’re having a great time with the music. This band will get you out onto the dance floor or just might coax you out into the moon glow of a balmy summer night. Take a chance, leave your worries behind – it’s Dream Time . . . Highly Recommended. ~Mike Neely

John Sheridan, leader, piano, arranger, vocal (one track); Randy Reinhart, cornet, trumpet, trombone; Dan Barrett, trombone, cornet; Brian Ogilvie, tenor and alto sax, clarinet; Ron Hockett, clarinet, alto sax; Reuben Ristrom, guitar; Phil Flanigan, bass; Jeff Hamilton, drums; Rebecca Kilgore, vocals (five tracks).

Dream Band, Make Me Some

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Marcus Printup - Homage

Styles: Trumpet Jazz
Year: 2012
File: MP3@320K/s
Time: 65:25
Size: 150,2 MB
Art: Front

(2:26)  1. Weather Bird
(7:06)  2. Nardis
(6:36)  3. Mr. Kenyatta
(5:47)  4. Later
(4:23)  5. Liquid Streets
(5:36)  6. Con Alma
(7:27)  7. Mr. Clean
(5:33)  8. Sunday
(7:28)  9. Theme for Maxine
(6:58) 10. Nostalgia
(5:59) 11. Tiny Capers

Marcus Printup goes the tribute album route on Homage, saluting 11 trumpet kings who have influenced and inspired him. It’s the kind of project that must be hard to resist for young veterans like him who have had the time to absorb those influences and want to give something back to their idols. The challenge is to unify diverse styles and sounds into a personal statement, and to avoid creative holding patterns.

The 45-year-old trumpeter is at his best with songs in his hard-bop wheelhouse, including Freddie Hubbard’s buoyant, funkified “Mr. Clean” and Lee Morgan’s bright, streaming “Mr. Kenyatta.” Printup also fares well with a pair of ballads: Roy Hargrove’s wistful “Liquid Streets” and Woody Shaw’s Mingus-like “Theme for Maxine,” which draws heat from tenor saxophonist Greg Tardy’s reliable intensity, a fire that splits the difference between John Coltrane and Wayne Shorter.

Printup’s duo reading of “Weather Bird,” with pianist Aaron Diehl, inevitably falls far short of the historic recording by Louis Armstrong and Earl Hines; more pragmatically, it makes for an uneasy lead-in to the Miles Davis classic “Nardis.” As a whole, Homage feels a bit routine following A Time for Love, Printup’s unabashedly romantic effort featuring harpist Riza Hequibal (now his wife). But he’s such an assured soloist and he has such a spirited band behind him (including bassist Corcoran Holt and drummer Alvin Atkinson), the album’s pure pleasures outweigh its shortcomings. ~ Lloyd Sachs  http://jazztimes.com/articles/30418-homage-marcus-printup

Personnel: Marcus Printup (trumpet); Gregory Tardy (tenor saxophone); Aaron Diehl (piano); Alvin Atkinson (drums).

Homage

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Lina Nyberg, Esbjörn Svensson - Close

Styles: Vocal

Year: 2013

File: MP3@320K/s

Time: 66:57

Size: 153,7 MB

Art: Front

(4:56)  1. Little Unhappy Boy

(4:28)  2. Close

(4:30)  3. Here, There and Everywhere

(5:01)  4. Never Let Me Go

(3:53)  5. In Your Own Sweet Way

(6:11)  6. You Can Have Him

(4:03)  7. Waiting

(4:20)  8. Ruby My Dear

(5:25)  9. I Wish I Didn't Love You So

(4:41) 10. You Let My Love Grow Cold

(6:01) 11. Spring Can Really Hang You Up the Most

(4:12) 12. I Hadn't Anyone 'Til You

(5:45) 13. May I Come In

(3:23) 14. Waltz For the Lonely Ones

Lina Nyberg was born in Stockholm, Sweden in 1970 and raised in an artistic home. She discovered jazz at age 14 and at 18 years of age Lina began singing with Swedish senior jazz stars such as Bernt Rosengren, Nisse Sandström, Fredrik Norén Band, and others. In 1990 Lina built her own first constellation “Lina Nyberg Kvintett” consisting of Per “Texas” Johansson, Esbjörn Svensson, Dan Berglund and Mikel Ulfberg. After gratuating from the Royal College of Music in Stockholm as a Master of Fine Arts in 1993 she released her first CD- Close (Prophone records). A duo recording with late pianist Esbjörn Svensson. An instant success and Swedish jazz classic. This was also the beginning of a very fruitful cooperation with the brilliant producer and owner of Prophone records, late Erland Boëthius. Lina and her quintet received the prestigious Swedish Grammis award for her CD “when the smile shines through” in 1995. “OPEN” released in 1998 and recorded with bassist Palle Danielsson and pianist Anders Persson, among others, was nominated for a Swedish Grammis and received raving reviews.

Over the years Lina Nyberg has collaborated with various jazz musicians such as John Taylor, Marilyn Crispell, Palle Danielsson and Rigmor Gustafsson. She has toured in Scandinavia, parts of Europe, Vietnam, Canada and Brazil. A couple of times Lina also has toured Japan with Yasuhito Moris Scandinavian Connection. The Brazilian connection is also very strong to Lina and she has produced two cds dedicated to Brazil and its vast musical landscape, Brasilien (Prophone) 2003 with world famous bassplayer Anders Jormin and Brasil Big Bom 2007 (Caprice records) with big band and the great Swedish saxophonist Magnus Lindgren. Lina Nyberg is one of Sweden’s most creative and innovative jazz singers. For more than 15 years she has been attracting consistent and widespread attention, mostly in Scandinavia, but also in other parts of the world. As a solo artist and producer she has released 16 CDs. Her main constellation right now is Lina Nyberg Band featuring an all-star band: Cecilia Persson, piano, David Stackenäs, guitar, Josef Kallerdahl, bass and Peter Danemo, drums.

In September 2011 Lina Nyberg and her band released their latest CD – PALAVER (Moserobie Records). The CD recieved fantastic reviews and was selected by Chicago Reader writer Peter Margasak as the Vocal CD of the year. The music is a blend of influences from Brazilian Tropicalia, European Free form, modern classical composers, the American songbook and old school jazz.In March 2011 Lina Nyberg was awarded the prestigious Jazzmusician of the Year-prize by the Swedish Radio and in October 2011 she was the Guest of Honour at the Umeå International Jazz Festival.2014 she released her latest CD “The Sirenades” a project including composing music for Norrbotten Big Band on commission and her own quintet. The Cd got a wonderful reception from the press.She was awarded the prestigeous “Lars Gullin Award” and also the Bert Levin award of 75.000 swedish kronor. Lina was nominated as the Jazz composer of the year by the Swedish Radio Jazzkatten jury.  http://www.linanyberg.se/?page_id=45

Personnel:  Piano – Esbjörn Svensson;  Vocals – Lina Nyberg

Close

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Lino Patruno - Celebrating 50 Years In Jazz

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 71:35
Size: 164,5 MB
Art: Front

(4:58)  1. Way Down Yonder In New Orleans
(9:01)  2. If I Had You
(4:52)  3. I Love You
(7:01)  4. Ballads Medley
(5:36)  5. I'll See You In My Dreams
(5:40)  6. Hindustan
(5:11)  7. I'll Be A Friend With Pleasure
(5:03)  8. Smiles
(2:41)  9. Nobody's Sweethearts
(4:05) 10. Neverthless
(5:25) 11. Honeysuckle Rose
(4:02) 12. Dream A Little Dream Of Me
(2:33) 13. Weary River
(2:19) 14. Idolizing
(3:01) 15. If You Knew Susie

Born in Crotone, in Calabria , he moved at a young age before to Rome and then to Milan , the center of the jazz movement Italian , where he began performing in 1954 , and founded several jazz bands including the Riverside Jazz Band . Subsequently he passes in Milan College Jazz Society. In 1964 , together with friends Nanni Svampa , Roberto Brivio and Gianni Magni , he gives life to the Owls. Disbanded the group, Patruno went on to perform with Svampa, devoting himself to the theater and to the recording of jazz records in the company of some of Musicians More World, Come Albert Nicholas , Joe Venuti , Bill Coleman and others. In 1977 he took part in the TV Portobello conducted by Enzo Tortora on Rai 2 . In 1997 he wrote the music of the film I love you Mary of the Plains Carlo. With Pupi Avati wrote the story and screenplay for the film Bix who represented Italy at the Cannes Film Festival in 1991 , also taking care of the soundtrack arranged by Bob Wilber .

Among the International festival of the United Nations which took part Patruno remember that of Sanremo in 1963 , to Nice in 1976 and 1977 , that of Breda ( Netherlands ) in 1978 , those of Pompeii, Palermo, Lugano, Lucerne, Berne, Sargans, Dusseldorf, Varadero (Cuba), all in the eighties , to Davenport (Iowa, USA), and Libertyville (Chicago) in the nineties , those in Ascona ( 1998 / 2003 ). Lino Patruno lives in Rome , where he is also involved in film . Also a member of the Jury of the David di Donatello. Among the films he took part remember Amarcord by Federico Fellini, Mussolini: The last act of Charles Lizzani Crime and Porta Romana of Bruno Corbucci; between the soundtracks he has composed: War spies Duccio Tessari and Memory test Marcello Aliprandi with Franco Nero, of which he also produced; between the soundtracks for the theater: I love Maria with Carlo Delle Piane (later also film), Arranged in all of and with Maurizio Micheli, Crimes of the Heart, directed by Nanni Loy and Romulus the Great Mariano Rigillo directed Roberto Guicciardini. As an actor in theater, as well as shows the Owls, took part in Pellegrin who go to Rome with Nanni Svampa, Captain Fracasse by Theophile Gautier with Giancarlo Zanetti and Edoardo Siravo and The Lady in Blues directed by Bruno Maccallini with Cristina Aubry.

In December 2001 he received the investiture of the Academic Music conferred by the European Academy for Economic and Cultural Relations since 2003 and holds seminars on the History of Jazz at House of Jazz, to ' University of Rome and History of Soundtracks the NUCT (University of Cinema and Television) of Rome at Cinecitta. In 2006 he received the Golden Globe Foreign Press Award for Fregene Fellini and the nomination for the David di Donatello for Best Original Song for the film Forever Blues produced, directed and starring Franco Nero which is also interpreter.

Lino Patruno records for Jazzology , the prestigious record label based in New Orleans . CDs that achieved in recent years has recorded with some of the great names in jazz classic today: Randy Reinhart , Ed Polcer , Randy Sandke , Jon-Erik Kellso , Tom Pletcher , Dan Barrett , Bob Havens , Allan Vache , Evan Christopher , Jim Galloway , Mark Shane , Howard Alden , Bucky Pizzarelli , Frank Vignola, Marty Grosz , Andy Stein , Frank Tate , Ed Metz Jr , Joe Ascione , Vince Giordano , David Sager , Rebecca Kilgore and others.

Lino Patruno performs with his Jazz Show with: Michael Supnick (cornet, trombone, vocals), Gianluca Galvani (cornet, tuba), Fabrizio Cattaneo (trumpet, vocals), Alberto Collatina Ficini Carlo , Luciano Invernizzi (trombone, vocals ), Gianni Sanjust (clarinet), Claudio Perelli (clarinet, saxophone), Giancarlo Colangelo (saxbasso), Giorgio Cuscito (piano, tenor sax), Adriano Urso (piano), Laura Fedele (piano, vocals), Guido Giacomini, Aldo Zunino (bass), Osvaldo Mazzei, Riccardo Colasante, Walter Ganda (drums), Mauro Carpi (violin), Clive Riche (voice).

In 2010 is next to Arisa Malamorenò performing the song in an episode of the 60th Sanremo Festival. In May 2011 he was invited to represent the ' Italian to New Orleans Jazz & Heritage Festival . Not since 1977 , when it was invited pianist Giorgio Gaslini , that no other musician of jazz Italian had been invited.  Translate by Google  https://it.wikipedia.org/wiki/Lino_Patruno

Celebrating 50 Years In Jazz

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Zizi Possi - Estrebucha Baby

Styles: Brazilian Jazz, Vocal
Year: 1989
File: MP3@320K/s
Time: 39:21
Size: 90,5 MB
Art: Front

(4:16)  1. Estrebucha Baby
(3:43)  2. Reconheço (Te Conosco)
(3:33)  3. Quem Diria (You've Changed)
(3:43)  4. Dedicado a Você
(3:52)  5. That's All I Want from You
(4:44)  6. Não Minto Pra Mim
(4:00)  7. Você é
(3:46)  8. Não Me Deixe Mal
(3:41)  9. A Vida Corre (Anema e Core)
(3:59) 10. Meu Erro

Zizi Possi opened different paths during her career. She had her first hit with an MPB tune ("Pedaço de Mim" by Chico Buarque) and then with a series of pop ballads during the '80s; but finally in the '90s, she found her way with a repertory of classics of Brazilian music in highly polished acoustic renditions. There are variations apply, as in Per Amore, which is completely devoted to Italian romantic songs (sung in the original idiom). Singing alone since she was a child, Possi started to take piano classes at five. At 20, she abandoned the strong composition program at the State University of Bahia and started working as an actress in a musical when she discovered herself as a singer. 

In 1978, she left for Rio, where she was invited by Roberto Menescal to record (at the time he was Polygram's A&R) her first album (Flor do Mal). Possi' first hit was the title track of the second album, Pedaço de Mim (Chico Buarque), from Buarque's musical A Ópera do Malandro, in which she participated that same year. In the '80s, Possi expanded her pop repertory at the expenses of MPB, having success with "Asa Morena" (Zé Caradípia, 1982). Other hits of that decade were "Perigo" (Nico Resende/Paulinho Lima, 1986), "A Paz" (Gilberto Gil/João Donato, 1987); "É A Vida Que Diz" (Marina), and "O Amor Vem Pra Cada Um" (a version for "Love Comes to Everyone" by George Harrison). The LP Estrebucha Baby (1989) represented a different, almost experimental phase, being the first time that "Meu Erro" (Herbert Vianna) was recorded not as rock or pop (as it was written), but as a densely interpreted song, which worked as an endorsement for a genre that was being incorporated into MPB under mixed feelings. In 1990, the show Sobre Todas As Coisas (piano/voice/percussion) represented the finding of an internal coherence after taking different paths. Rewarded by the success enjoyed during the tour, she accepted Marcos Suzano's suggestion of incorporating Lui Coimbra's cello, recording the album Sobre Todas As Coisas (1991). 

The esthetics of an acoustic sound and the classics of Brazilian music were paid even further tribute on Valsa Brasileira (1993) and on her subsequent albums. Valsa Brasileira had two hits, "Bom Dia" (Swami Jr./ Paulo Freire) and "Lamento" (Pixinguinha). ~ Alvaro Neder  https://itunes.apple.com/us/artist/zizi-possi/id13083662#fullText

Estrebucha Baby

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Michael Dees - One Single Rose

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 46:49
Size: 107,6 MB
Art: Front

(2:47)  1. What'll I Do?
(4:21)  2. More Love
(3:41)  3. Lately
(3:10)  4. You Can't Be True
(5:04)  5. Smoke Gets In Your Eyes
(3:22)  6. Where Do You Start
(4:12)  7. You Were Meant For Me
(4:37)  8. How Deep Is The Ocean?
(4:40)  9. One Single Rose
(3:38) 10. But Beautiful
(2:38) 11. This Happy Madness
(4:32) 12. Ev'ry Time We Say Goodbye

With his ultra-smooth vocals and easygoing persona, Michael Dees is the consummate lounge singer. Voted Best New Male Singer at the International Popular Song Festival in 1968, Dees has gone on to sing in such films as A Walk in the Rain, Day of the Locust, The Happy Ending, Buddy Buddy, Sabrina, and Slow Dancing in the Big City. His vocals were featured on two episodes of The Simpsons. Dees' ability to re-create the vocals of Frank Sinatra came in handy when HBO produced the original biopic The Rat Pack in 1998. Refused use of the original recordings by Sinatra's estate, the cable network turned to Dees, whose singing provided some of the film's best moments. Dees released his debut solo album, One Single Rose, in 2002. ~ Craig Harris  https://itunes.apple.com/us/artist/michael-dees/id101885243#fullText

Personnel: Michael Dees (vocals); Oscar Castro-Neves (acoustic guitar); Paul Viapiano (electric guitar); Hubert Laws (flute); Ray Pizzi (woodwinds); Sal Marquez (trumpet); George Gaffney (piano); Joe Scott (keyboards); Enzo Todesco (drums); Lenny Castro (percussion).

One Single Rose

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Floyd Smith - Relaxin' With Floyd

Bitrate: MP3@320K/s
Time: 40:32
Size: 92.8 MB
Styles: Guitar jazz
Year: 1996/2007
Art: Front

[2:29] 1. Petite Mademoiselle
[3:53] 2. Mama Talks Soft
[3:42] 3. Relaxin' With Floyd
[3:15] 4. Floyd's Guitar Blues
[4:01] 5. Satin Doll
[2:58] 6. Take It Easy Blues
[5:24] 7. Red Top
[4:01] 8. Without You (A Tribute To Wes Montgomery)
[3:17] 9. Merci
[2:58] 10. Something For Baby
[4:28] 11. Invitation

Wild Bill Davis - organ; Chris Columbus - drums; Floyd Smith - guitar. Recording information: Pathe Studio, Paris, France (05/09/1972-07/28/1972); Seed Studio, Vallauris, France (05/09/1972-07/28/1972).

Floyd Smith wasn't the first to play electric guitar on record, but his "Floyd's Guitar Blues" is usually recognized as the first hit electric guitar record. On that tune, recorded with the Andy Kirk band, Smith played Hawaiian (lap steel) guitar, but he was also an early adapter of electric Spanish guitar.

John Hammond thought FGB was "corny," but apparently Benny Goodman liked it enough that he tried to recruit Smith for his band, but Smith had signed a five-year contract with Kirk and, so, recommended Charlie Christian. FGB has been covered many times since. Smith did it several times including with his combo around 1946 on lap steel, with Bill Doggett on electric guitar, and on a 1972 album. Contemporary bluesman Bob Margolin has covered it and Chuck Berry copied it (without crediting Smith) for his "Blues for Hawiians."

After serving in WWII, Smith played with Bill Doggett, Wild Bill Davis, Hank Marr, and Johnny "Hammond" Smith. He recorded one album "Relaxin' with Floyd" in 1972 for the French Black and Blue label which has been reissued on CD.

Relaxin' With Floyd

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Zoe Francis - The Very Thought Of You

Bitrate: MP3@320K/s
Time: 66:51
Size: 153.0 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[5:16] 1. Social Call
[7:01] 2. The Very Thought Of You
[6:45] 3. There's A Lull In My Life
[7:47] 4. A Sleepin' Bee
[4:04] 5. My Man
[5:48] 6. Out Of This World
[7:42] 7. Prelude To A Kiss
[6:15] 8. The Things We Did Last Summer
[6:54] 9. I Was Doing All Right
[9:14] 10. Born To Be Blue

Zoe Francis ( vocals ) Jim Mullen ( gtr ) Stan Salzmann ( pno ) Gareth Williams ( pno ) Mick Hutton ( bass ) Enzo Zirilli ( drs ). Recorded live at the 606 Club, London 2014.

Although Zoe Francis was born in the U.K. she kick started her singing career in New York by sitting in with illustrious company including Harry Allen and Warren Vache at the Greenwich Village club “Arturo’s”. She also attended workshops run by pianist Barry Harris which inspied her to take up singing. She now resides in the U.K. with her partner guitarist Jim Mullen who is also featured on this release. This album was recorded at a live session from London’s 606 Club and is accompanied by an all-star group of jazz musicians. This is her second album her first “Looking for a Boy” was released on her own label on which she was accompanied by pianist David Newton with whom she had worked gigs in the Bristol area.

The Very Thought Of You 

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Duke Ellington - Piano In The Foreground

Bitrate: MP3@320K/s
Time: 63:36
Size: 145.6 MB
Styles: Swing, Standards
Year: 1960/2014
Art: Front

[2:59] 1. Happy Go Lucky Local
[4:06] 2. What Am I Here For
[5:50] 3. Medley: Kinda Dukish Rockin' In Rhythm
[6:46] 4. Perdido
[2:03] 5. I'm Beginning To See The Light
[4:26] 6. Midriff
[4:31] 7. It Don't Mean A Thing (If It Ain't Got That Swing)
[4:13] 8. Main Stem
[5:31] 9. Satin Doll
[5:21] 10. Lullaby Of Birdland
[4:23] 11. The Wailer
[3:54] 12. Dreamy Sort Of Thing
[5:25] 13. Lullaby Of Birdland
[4:02] 14. Harlem Air Shaft

One of Ellington's rarer studio sessions and last out on this French CD, the main plot behind this runthrough of his standards is that the leader's piano is featured at some point in every song. His sidemen are also heard from and everyone is in fine form. Ellington's solo abilities were always a bit underrated due to his brilliance in other areas, but this set shows just how modern he remained through the years as a player. ~Scott Yanow

Piano In The Foreground

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Kenny Burrell - Blue Muse

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 67:49
Size: 155,6 MB
Art: Front

(5:44)  1. Mark I
(5:30)  2. My Friend Ray
(4:58)  3. On Wings of the Spirit
(7:00)  4. Then I Met You
(6:03)  5. It's No Time to Be Blue
(5:33)  6. Blue in Green
(5:06)  7. Blue Muse
(4:29)  8. Solitude
(6:23)  9. 3/4 of the House
(7:36) 10. 'Round Midnight
(5:59) 11. Habiba
(3:21) 12. Blue Guitar Blues

Since the '50s, Kenny Burrell has contributed crucial titles to some of the most important jazz labels, including Blue Note, Verve, Columbia, and Muse. For his 96th album, Burrell sticks to what's worked well for him over the past fifty years: some blues, some Ellington, some swing, and several ballads, all played with beautiful tone and exquisite taste. To keep things fresh, Burrell adds some unusual flavors to the stew: acoustic guitar and voice. At the dawn of his lengthy career, Burrell sang solo on Detroit TV. He also sang on Weaver of Dreams (Columbia 1960) and the recent Lucky So and So (Concord 2001). While George Benson can continue to sleep undisturbed, Burrell generally acquits himself as a straightforward reader of lyrics on four of these tunes.
With drummer Sherman Ferguson and especially bassist Roberto Miranda lighting a fire under the swinging groove of "Mark I," the set begins with classic Burrell, his effortless technical prowess and often-imitated tone intact. The ballad "My Friend Ray" pays tribute to the late Ray Brown, pianist Gerald Wiggins treating Burrell's chords, octaves, and solos as another voice to showcase, sensitively dressing each measure to the sweet sounding guitar's advantage. Miranda deftly dances through the arrangement without adding clutter. "On the Wings of Spirit," finds Herman Riley joining the proceedings on flute and Burrell playing a steel string acoustic in a Brazilian mode. "Then I Met You" returns Riley to breathy flute as Burrell sings a self-penned ode to his wife. While it can be argued that the sentiment and the vocal (and the synth string section) were better left at home, Burrell's solo offers a glimpse of what could have been a more evocative instrumental.

"It's No Time to be Blue," a version of Kenny Dorham's "Blue Bossa" with lyrics, works better. The emphasis remains on Burrell's acoustic guitar, with the vocals basically stating the theme. "3/4 of the House" recalls Miles' "All Blues" and happily steers the program away from a sentimental rut. Riley slathers soulful tenor all over the tune, pushing Burrell into familiar blues territory. Monk's "'Round Midnight" brings the tempo back down, but features Burrell's best vocal of the collection, although the tune's angularity is all ironed out. Now celebrating his fruitful twenty-five year association with UCLA, his reputation untouchable, his place in jazz history assured (he was, afterall, Duke Ellington's favorite guitarist), and with over two hundred album appearances in addition to his nearly hundred as leader, Burrell will hardly live or die by Blue Muse. But this self-produced effort seems to argue in favor of an objective sympathetic hand to help steer number ninety-seven. ~ Rex Butters  http://www.allaboutjazz.com/blue-muse-kenny-burrell-concord-music-group-review-by-rex-butters.php

Personnel: Kenny Burrell- acoustic and electric guitar, vocals; Tom Ranier- piano and keyboards; Gerald Wiggins- piano; Herman Riley- saxophone and flute; Roberto Miranda- bass; Sherman Ferguson- drums

Blue Muse

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Sarah Vaughan - Récital à Paris, 1985 Disc 1 And Disc 2

Disc 1
Styles: Jazz, Vocal
Year: 1985
File: MP3@320K/s
Time: 54:40
Size: 125,7 MB
Art: Front

(8:25)  1. Instrumental. High Fly (R. Weston)
(2:17)  2. Summertime (G. & I. Gershwin)

(2:37)  3. Just Friends (J. Klenner - S. M. Lewis)
(8:34)  4. Waves (A. C. Jobim)
(1:51)  5. On a clear day (A. J. Lerner - B. Lane)
(6:18)  6. If you could see me now (C. Sigman - T. Dameron)
(3:27)  7. I've got the world on a string (H. Arlen - T. Koehler)
(3:31)  8. Fascinating rythm (G. & I. Gershwin)
(9:41)  9. Medley: But not for me/ Our love is here to stay/ Embraceable you/ Someone To Watch Over Me
(1:38) 10. There will never be another you (H. Warren - M. Gordon)
(6:17) 11. Misty (E. Garner - J. Burke)

Disc 2
Time: 36:38
Size: 84,2 MB
Art: Front

(8:16)  1. My funny valentine (R. Rodgers - L. Hart)
(3:52)  2. From this moment on (C. Porter)
(6:10)  3. Send in the clowns (S. Sondheim)
(4:18)  4. Sassy's blues (Q. Jones - S. Vaughan)
(3:33)  5. Tenderly (W. Gross - J. Lawrence)
(6:17)  6. Scat chase
(4:09)  7. Once in a while (B. Green - M. Edwards)

Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future.

Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theater, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians' recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstine's orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie.

Other than a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although she looked a bit awkward in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her incredible voice. She made several early sessions for Continental: a December 31, 1944 date highlighted by her vocal version of "A Night in Tunisia," which was called "Interlude," and a May 25, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included "If You Could See Me Now," "Tenderly" and "It's Magic") that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, "Sassy" continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones' band during May 18-19, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best.

During the 1950s, Vaughan recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including Sarah Vaughan, a memorable collaboration with Clifford Brown) for the label's subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). Through the years, Vaughan's voice deepened a bit, but never lost its power, flexibility or range. She was a masterful scat singer and was able to out-swing nearly everyone (except for Ella). Vaughan was with Norman Granz's Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. However, up until near the end, Vaughan remained a world traveler, singing and partying into all hours of the night with her miraculous voice staying in prime form. The majority of her recordings are currently available, including complete sets of the Mercury/Emarcy years, and Sarah Vaughan is as famous today as she was during her most active years.~ Scott Yanow  http://www.allmusic.com/artist/sarah-vaughan-mn0000204901/biography

Récital à Paris, 1985 Disc 1
Récital à Paris, 1985 Disc 2

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Louisiana Jazz Band - 20 Years Anniversary

Styles: Jazz, Big Band
Year: 2001
File: MP3@320K/s
Time: 50:27
Size: 116,2 MB
Art: Front

(4:22)  1. Beginning the Blues
(3:40)  2. Why Don't You Go Down to New Orleans
(3:31)  3. Dream a Little Dream of Me
(3:07)  4. I Ain't Gonna Give Nobody None of My Jelly Roll
(4:01)  5. My Blue Heaven
(3:37)  6. I Surrender Dear
(3:52)  7. Rent Party Blues
(4:21)  8. Yes Sir, That's My Baby
(3:01)  9. Jeg Er Vistnok Lidt Gammeldags
(3:05) 10. Should I Reveal
(2:55) 11. Savoy Blues
(3:34) 12. Oh, Lady Be Good
(3:30) 13. Bill Bailey
(3:43) 14. Amapola

Louisiana Jazz Band (established in 1980) is a Norwegian dixieland group, known from numerous recordings and performances. It consists of the two initiators Tormod Isachsen trumpet and Søren Bøgelund vocal and saxophone. In addition you will find Jan Kristiansen / Paul Frank bass, Hans Christian Frank / Børre Frydenlund banjo and Jon Moslet drums.  They made ??records (1980 and 1992), and A la carte (single- CD, 1998) and 20- years anniversary (Hot Club Records, 2001). With Majken Christiansen and Elith Nykjær Jørgensen published Absolutely Louisiana Jazz Band (SME Records, 2005).  Moreover, it has been a good selling jazz band with the same name in Denmark.  https://no.wikipedia.org/wiki/Louisiana_Jazzband

20 Years Anniversary

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Milton Mezz Mezzrow And Frankie Newton - The Big Apple

Styles: Clarinet Jazz
Year: 2010
File: MP3@320K/s
Time: 46:31
Size: 106,8 MB
Art: Front

(3:02)  1. Old Fashioned Love
(3:24)  2. Apologies
(2:59)  3. Sendin' The Vipers
(2:52)  4. Thirty Fifth And Calumet
(3:14)  5. Blues In Disguise
(2:33)  6. That's How I Feel Today
(2:34)  7. Hot Club Stomp
(2:21)  8. The Swing Session's Called To Order
(2:55)  9. A Melody From The Sky
(2:27) 10. Lost
(3:00) 11. Mutiny In The Parlor
(2:39) 12. The Panic Is On
(3:30) 13. I've A Muggin'
(3:06) 14. The Minor Jive
(3:12) 15. The Blues My Baby Gave To Me
(2:35) 16. Rompin' At Victor

Mezz Mezzrow occupies an odd and unique place in jazz history. Although an enthusiastic clarinetist, he was never much of a player, sounding best on the blues. A passionate propagandist for Chicago and New Orleans jazz and the rights of blacks (he meant well, but tended to overstate his case), Mezzrow was actually most significant for writing his colorful and somewhat fanciful memoirs, Really the Blues, and for being a reliable supplier of marijuana in the 1930s and '40s. In the 1920s, he was part of the Chicago jazz scene, at first helping the young white players and then annoying them with his inflexible musical opinions. Mezzrow recorded with the Jungle Kings, the Chicago Rhythm Kings, and Eddie Condon during 1927-1928, often on tenor. In the 1930s, he led a few swing-oriented dates that featured all-star integrated bands in 1933-1934 and 1936-1937. The French critic Hugues Panassie was always a big supporter of Mezzrow's playing and Mezz was well-featured on sessions in 1938 with Tommy Ladnier and Sidney Bechet; "Really the Blues" is a near-classic. Mezzrow had his own King Jazz label during 1945-1947, mostly documenting ensemble-oriented blues jams with Bechet and occasionally Hot Lips Page. After appearing at the 1948 Nice Jazz Festival, Mezzrow eventually moved to France, where he recorded fairly regularly during 1951-1955 (including with Lee Collins and Buck Clayton), along with a final album in 1959. ~ Scott Yanow  http://www.allmusic.com/artist/mezz-mezzrow-mn0000383696/biography

The Big Apple

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Maria Muldaur - Jazzabelle

Bitrate: MP3@320K/s
Time: 52:36
Size: 120.4 MB
Styles: Jazz-blues vocals
Year: 1993/2006
Art: Front

[2:56] 1. Your Molecular Structure
[4:32] 2. Weeping Willow Blues
[4:48] 3. Everybody Cryin' Mercy
[3:43] 4. Rio De Janeiro Blue
[3:22] 5. You're My Thrill
[2:57] 6. Long As You're Living
[5:45] 7. Elona
[3:32] 8. Do Your Duty
[4:18] 9. Don't You Feel My Leg (Don't You Get Me High)
[6:30] 10. September Rain
[4:57] 11. Southern Music
[5:12] 12. Where

Bass – Al Obudinsky (tracks: 1, 3, 7, 10), Chris Severin (tracks: 4, 5, 9), Roly Salley* (tracks: 2, 6, 8); Drums – Billy Kilson (tracks: 4, 5, 9), Mike Hyman (tracks: 1 to 3, 6 to 8, 10 to 12); Piano – David Matthews (tracks: 1, 6, 10), David Torkanowsky (tracks: 4, 5, 9), John R. Burr (tracks: 2, 3, 7, 8, 11, 12); Producer, Vocals – Maria Muldaur; Saxophone – Jim Rothermel.

Maria Muldaur's Jazzabelle is a set of jazz and blues material recorded with piano trios, which are fronted by David Torkanowsky, Dave Matthews, and John R. Burr. ~Stephen Thomas Erlewine

Jazzabelle

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Dave Newman - Fathead Comes On

Bitrate: MP3@320K/s

Time: 70:29

Size: 161.4 MB

Styles: Soul jazz, Saxophone jazz

Year: 1962/2013

Art: Front

[3:05] 1. Unchain My Heart

[5:37] 2. Cellar Groove

[3:39] 3. Alto Sauce (Feat. Hank Crawford)

[4:27] 4. Hello There

[5:13] 5. Scufflin' (Feat. Hank Crawford)

[4:01] 6. Esther's Melody (Feat. Hank Crawford)

[6:35] 7. Lady Day

[7:22] 8. Batista's Groove

[4:36] 9. Skylark

[7:55] 10. Night Of Nisan

[7:04] 11. Cousin Slim

[6:31] 12. Summertime

[4:19] 13. Congo Chant

Alto Saxophone – Dave "Fathead" Newman (tracks: A3, B2); Bass – Edgar Willis (tracks: A1, A3, B1, B2), Jimmy Jefferson (tracks: A2, A4, B3); Drums – Bruno Carr (tracks: A1, A3, B1, B2), Charlie Persip (tracks: A2, A4, B3); Flute – Dave "Fathead" Newman* (tracks: A1); Piano – Hank Crawford (tracks: A1, A3, B1, B2), Norris Austin (tracks: A2, A4, B3); Tenor Saxophone – Dave "Fathead" Newman (tracks: A2, A4, B1, B3); Trumpet – Marcus Belgrave (tracks: A2, A4, B3).

This 1962 David "Fathead" Newman album picks up where 1961's STRAIGHT AHEAD left off. However, this release is slightly less bebop-oriented. Instead, Newman blends together hard bop with his own R&B roots. (He was a key member of Ray Charles's band for many years.)

FATHEAD COMES ON is a very bluesy album, but also contains its share of tricky melodies and ambitious arrangements. Highlights include "Unchain My Heart," which is the funkiest tune on the disc, and "Cellar-Groove," which begins with a clever train rhythm; here the locomotive sound is simulated by the repetitive hi-hat work of Charlie Persip and the boogie-woogie playing of pianist Norris Austin. The disc ends with "Lady Day," a tribute to Billie Holiday, which is, not surprisingly, a somber ballad. Hard-bop records from this era typically lean on the influence of Art Blakey and the Jazz Messengers, but FATHEAD COMES ON is a statement unto itself, and therefore, a very compelling listen. ~AllMusic

Fathead Comes On

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Jimmy McGriff - The Best Of The Sue Years 1962-1965

Bitrate: MP3@320K/s
Time: 74:26
Size: 170.4 MB
Styles: B3 Organ blues/jazz
Year: 2006
Art: Front

[2:32] 1. I've Got a Woman
[3:54] 2. All About My Girl
[4:55] 3. M.G. Blues
[4:15] 4. The Last Minute
[4:35] 5. One of Mine
[4:56] 6. Spindletop
[6:52] 7. The Deacon
[5:47] 8. Frame for the Blues
[5:36] 9. A Thing for Jug
[3:25] 10. Kiko
[3:51] 11. All Day Long
[4:55] 12. Helly Betty
[3:21] 13. Discotheque U.S.A
[4:55] 14. Blues for Mr. Jimmy
[3:53] 15. Sho' Nuff
[3:00] 16. Blues for Joe
[3:37] 17. Cash Box

One of the all-time giants of the Hammond B-3, Jimmy McGriff sometimes gets lost amid all the great soul-jazz organists from his hometown of Philadelphia. He was almost certainly the bluesiest of the major soul-jazz pioneers, and indeed, he often insisted that he was more of a blues musician than a jazz artist; nonetheless, he remained eclectic enough to blur the lines of classification. His sound- deep, down-to-earth grooves drenched in blues and gospel feeling made him quite popular with R&B audiences, even more so than some of his peers; what was more, he was able to condense those charms into concise, funky, jukebox-ready singles that often did surprisingly well on the R&B charts. His rearrangement of Ray Charles' "I Got a Woman" was a Top Five R&B hit in 1962, and further hits like "All About My Girl," "Kiko," and "The Worm" followed over the course of the '60s. McGriff spent much of the '70s trying to keep pace with the fusion movement, switching to various electric keyboards and adopting an increasingly smooth, polished style. As the '80s dawned, McGriff gave up trying to sound contemporary and returned to his classic organ-trio sound; as luck would have it, vintage soul-jazz soon came back into vogue with a devoted cult of fans and critics, and McGriff was able to recover his creative vitality and take his place as one of the genre's elder statesmen. ~bio by Steve Huey

The Best Of The Sue Years 1962-1965 

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Jeremy Pelt - Identity

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 73:46
Size: 169,1 MB
Art: Front

( 6:42)  1. Re-Invention
( 8:54)  2. Eddie's Story
( 5:11)  3. Seek
( 7:38)  4. Suspicion
( 7:40)  5. Eye of the Beholder
( 5:29)  6. Celestial
( 4:42)  7. Angular
( 6:31)  8. Haiku
(11:41)  9. Scorpio
( 9:14) 10. Dusk

Most of the best composers, like Ellington and Shorter, have also been great players. The two processes are mutually reinforcing. Jeremy Pelt's Identity shows him to be on this two-fold path. It's all original material performed with Frank LoCrasto on keyboards, Vicente Archer on bass, and Eric McPherson on drums all on a par of excellence with Pelt in their playing. This particular group formed just recently, yet it already has sharp rapport. If it stays together, it'll likely become one of the better groups out there. Pelt pulls off the difficult trick of being simultaneously cerebral and inviting. His tone strikes a warm balance between brightness and suffusion. The more aggressive tunes comprise the stronger material on Identity, and Pelt doesn't bury the lead, opening with his strongest track, "Re-Invention." The tune is bothcontrapuntal and harmonic, yet without traditional comping from LoCrasto. The introspective, darkly enigmatic melody is made of simple gestures taking on cumulative meanings throughout the sixteen-bar form. The writing recalls '60s-period Wayne Shorter. Yet, as with Shorter, the music follows its own internal logic. It also strikes a balance between a "free" feeling and closed form, which may be the highest level of craft for the modern improviser. LoCrasto's counterpoint acts like an oblique, reluctant shadow with a mind of its own. Both Pelt and LoCrasto use ideas from the melody, and each other, to inform their solos with mindfully small gestures and build larger concepts.

"Seek," "Suspicion," and "Angular" are the other relatively aggressive tunes. While they don't push boundaries, they share a spirit with many current artists exploring rhythmic complexity and form while maintaining swing and drive. The musicians incorporate occasional odd structures and rhythmic displacements into the blowing sections instead of discarding them as compositional quirks.Despite the appearance of some special guests on Identity, the quartet is central. Archer's turn on "Celestial" is a highlight, as is McPherson's blowing over the vamp at the end of "Suspicion." As for the relaxed, slower material on Identity, it's often beautiful but occasionally so introspective as to implode under its own weight. An exception is the engaging "Haiku," where Pelt and LoCrasto both make deeply personal statements while recalling two of the greatest ballad interpreters on their instruments.

The media affair regarding Pelt is well underway. Identity may lead some critics to celebrate the arrival of the "future of jazz," or cause others to feel compelled to refute such claims. But the reality is not so black and white. Those who are preoccupied with finding an artist to label the "future of jazz" can't see the trees for the forest. Innovation is sometimes incremental and often not easy to detect. It's all a continuum. We need faith that the pursuit of excellence supplies the energy to keep jazz moving forward. Innovation need not always be a "change of the century." It often hides in the shadows, tucked into a brilliant corner like a precocious child smiling to himself with a secret. There may well be such a child tucked into Identity. ~ John Dworkin http://www.allaboutjazz.com/identity-jeremy-pelt-maxjazz-review-by-john-dworkin.php

Personnel: Jeremy Pelt: trumpet and flugelhorn; Frank LoCrasto: keyboards; Vicente Archer: bass; Eric McPherson: drums. Special guests: Myron Walden: saxophone and bass clarinet; Warren Wolf: vibes; Mike Moreno: guitar.

Identity

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