Friday, October 9, 2015

Allan Vache & Harry Allen - Allan Allen

Bitrate: MP3@320K/s
Time: 68:52
Size: 157.7 MB
Styles: Contemporary jazz, Swing
Year: 2001
Art: Front

[6:19] 1. Lover, Come Back To Me
[5:28] 2. Jive At Five
[5:18] 3. Lake Ponchartrain Blues
[4:27] 4. Allan And Allen
[4:39] 5. Where Are You
[4:05] 6. What Can I Say After I Say I'm Sorry
[3:28] 7. Straighten Up And Fly Right
[4:56] 8. You Go To My Head
[5:51] 9. Tickle Toe
[6:34] 10. Corcovado (Quiet Nights)
[6:11] 11. Ben's Blues
[6:42] 12. Do Nothin' Till You Hear From Me
[4:47] 13. Stealin' Apples

This studio session featuring clarinetist Allan Vache and tenor saxophonist Harry Allen together was a long overdue idea, since they had worked together frequently at jazz festivals and parties; they're joined by a first-class rhythm section of pianist Eddie Higgins, bassist Phil Flanigan, and drummer Eddie Metz. Most of the material consists of familiar standards from the swing era, including the easygoing "Jive at Five," a snappy "Tickle Toe," and a laid-back "Do Nothin' Till You Hear From Me." Flanigan contributed the lively swinger "Allan and Allen," while Higgins wrote the pretty ballad "Lake Ponchartrain Blues." There are also separate features for the two reedmen: Vache's lush, lyrical interpretation of "You Go to My Head" is matched by Allen's gorgeous take of the infrequently heard ballad "Where Are You." Vache also adds a campy (though not exactly memorable) vocal on "Straighten up and Fly Right." This is one of many memorable recordings that has helped to elevate Nagel Heyer into one of the top labels covering mainstream jazz at the beginning of the 21st century. ~Ken Dryden

Allan Allen

The Ray Charles Singers - Young Lovers In Far Away Places

Bitrate: MP3@320K/s
Time: 29:16
Size: 67.0 MB
Styles: Easy Listening
Year: 1964/2011
Art: Front

[3:29] 1. Fsr Away Places
[2:51] 2. It Happened In Monterrey
[6:42] 3. Sunday In Genoa
[2:47] 4. A Foggy Day
[3:12] 5. April In Paris
[3:12] 6. Moon Over Miami
[4:13] 7. Shipboard Romance
[2:46] 8. On A Slow Boat To China

Reaching number three on the pop charts in 1964 with one of the most successful easy listening singles of the '60s, "Love Me with All Your Heart (Cuando Caliente el Sol)," the Ray Charles Singers made numerous genteel albums of choral mood music throughout the '50s and '60s. Although they were led by a man named Ray Charles, this group had no connection whatsoever to Ray Charles the famous soul singer, and certainly no connection whatsoever to soul music. The coincidence of two such different artists sharing the same name led the Ray Charles of the Ray Charles Singers, in fact, to bill himself as "The Other Ray Charles" when he was given a TV credit.

This Ray Charles was born Charles Raymond Offenberg on September 13, 1918 in Chicago. Working in radio, Broadway, and in local bands, he got his major break when he landed a job as an arranger for Perry Como's radio backing group in the late '40s, remaining in that position when Como got a TV program. By the mid-'50s, the group called the Ray Charles Singers replaced the Fontaine Sisters as Como's TV backing ensemble. The Ray Charles Singers recorded on their own for Essex, MGM, and Decca before hitting their commercial stride on Enoch Light's Command label in the '60s, with arrangements emphasizing lush instrumentation and soft, breathy singing.

Young Lovers In Far Away Places

Various - Pure Fire! A Gilles Peterson Impulse Collection

Bitrate: MP3@320K/s
Time: 64:29
Size: 147.6 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[ 6:11] 1. Michael White - The Blessing Song
[ 5:07] 2. Ray Brown - Enchanted Lady
[ 7:00] 3. Max Roach - Lonesome Lover
[ 6:46] 4. Art Blakey - À La Mode
[ 5:13] 5. Archie Shepp - I Got It Bad (And That Ain't Good)
[ 9:00] 6. John Coltrane - Wise One
[10:09] 7. McCoy Tyner - Three Flowers
[ 5:19] 8. Dave McKay - See You Later
[ 6:15] 9. Oliver Nelson - Patterns
[ 3:25] 10. Yusef Lateef - First Gymnopedie

Despite including two jaw-droppingly featherweight and disposable tracks—Michael White's "The Blessing Song" and Dave Mackay & Vicky Hamilton's "See You Later"—Pure Fire! is a welcome and timely compilation. Not only because of the other nine tracks, most of which are outstanding, but also because of the two offending pieces of la-la land muzak. The album presents, intentionally or otherwise, the most rounded, warts and all, single-disc precis of the Impulse! archive yet.

The work of Coltrane, Pharoah Sanders, Albert Ayler and Archie Shepp is certainly the most important strand of the Impulse! legacy. But people tend to forget that the label covered a much broader field than just firebrand tenor saxophonists, even its mid-1960s/early-1970s heyday. Cool, West Coast, third stream, hard bop, mainstream, big band, astal jazz, blues, modal/free and vocals—and one-of-a-kind Cecil Taylor—were all recorded by the label.

London DJ Gilles Peterson covers several of these strands. Peterson has been a welcome and sunny presence on the British jazz/world/dance scene since the mid-1980s, when he accelerated the zeitgeist with his influential Talkin' Loud And Saying Something events. Here he applies his quirky, non-conformist aesthetic, most memorably, to hard bop (Art Blakey's high torque "Alamode," from The Jazz Messengers, 1961), mainstream (Milt Jackson & Ray Brown's gorgeous "Enchanted Lady," from Memphis Jackson, 1969), thinly veiled agitprop (Max Roach's "Lonesome Lover," from It's Time, 1962), third stream (Yusef Lateef's Erik Satie tribute "First Gymnopedie," from Psychiceotus, 1965), the blues (Archie Shepp's down-home reading of "I Got It Bad And That Ain't Good," from For Losers, 1969), and the classic Coltrane quartet (the achingly beautiful "Wise One," from Crescent, 1964).

A few tracks benefit from the presence of musicianly, emotionally articulate vocalists—China-Lin Sharpe on Shepp's "I Got It Bad" and Abbey Lincoln on Roach's "Lonesome Lover"—but not Mackay & Hamilton's "See You Later" (from Dave Mackay & Vicky Hamilton, 1969) or White's "The Blessing Song" (from Pneuma, 1972). What the anodyne MOR warblers Mackay & Hamilton were ever doing on Impulse! remains a mystery. White's noodling violin on "The Blessing Song," together with the all-over-the-place, cooing vocal choir, is also best forgotten.But it's good to be reminded that Impulse! didn't always get it right. Most of the time, though, the label surely did, and the generally lesser known, upbeat and lyrical tracks featured here will be trips forever. ~Chris May

Milt Jackson & Ray Brown; Yusef Lateef; Max Roach; Art Blakey & The Jazz Messengers; Michael White; McCoy Tyner; Archie Shepp; Oliver Nelson; Dave Mackay & Vicky Hamilton; John Coltrane; Pharoah Sanders.

Pure Fire! A Gilles Peterson Impulse Collection

Dakota Staton - Dynamic!

Bitrate: MP3@320K/s
Time: 41:33
Size: 95.2 MB
Styles: Jazz vocals
Year: 2006
Art: Front

[2:29] 1. Let Me Off Uptown
[2:49] 2. Night Mist
[2:27] 3. Anything Goes
[2:49] 4. When Sunny Gets Blue
[2:08] 5. They All Laughed
[2:46] 6. I Wonder
[2:16] 7. Say It Isn't So, Joe
[2:21] 8. Too Close For Comfort
[3:27] 9. Little Girl Blue
[2:13] 10. It Could Happen To You
[2:42] 11. Some Other Spring
[2:33] 12. Cherokee
[3:07] 13. Invitation
[2:23] 14. The Party's Over
[2:39] 15. The Nearness Of You
[2:16] 16. I'll Remember April

Singer Dakota Staton's follow-up album to The Late Late Show (her big hit) is even better and still stands as one of the highpoints of her career. Backed on some selections by trumpeter Harry "Sweets" Edison and either a rhythm section or an orchestra, Staton (who turned 26 around this time) is heard throughout in peak form. She really tears into "Let Me off Uptown," puts plenty of feeling into "When Sunny Gets Blue" and swings hard on "Cherokee." Other highlights include "They All Laughed," "Say It Ain't So, Joe," "Too Close for Comfort" and "It Could Happen to You." ~Scott Yanow

Dynamic!

Johnny Williams & His Orchestra - Rhythm In Motion / So Nice (with Johnny Desmond)

Bitrate: MP3@320K/s
Time: 68:56
Size: 157.8 MB
Styles: Big band
Year: 2015
Art: Front

[2:45] 1. Fascinatin' Rhythm
[2:42] 2. The Varsity Drag
[3:08] 3. The Surrey With The Fringe On Top
[2:48] 4. Let's Do It
[2:10] 5. Put On A Happy Face
[3:40] 6. Whatever Lola Wants (Lola Gets)
[2:12] 7. Johnny One Note
[3:23] 8. An Occasional Man
[3:13] 9. My Heart Belongs To Daddy
[2:52] 10. Life Is Just A Bowl Of Cherries
[2:22] 11. Sunny Disposish
[2:54] 12. Buckle Down Winsocki
[2:17] 13. All Of You
[2:12] 14. The Last Time I Saw Paris
[2:49] 15. I Can't Get Started
[2:40] 16. I Got Plenty O' Nuttin'
[2:37] 17. It's The Talk Of The Town
[2:16] 18. You'd Be So Nice To Come Home To
[2:18] 19. It Ain't Necessarily So
[2:36] 20. Tenderly
[2:04] 21. This Can't Be Love
[1:55] 22. Old Devil Moon
[2:19] 23. My Happy Time
[2:12] 24. There's A Small Hotel
[2:21] 25. Tuesday's Theme
[2:08] 26. The Black Knight
[1:52] 27. Augie's Great Piano

Rhythm In Motion - Johnny Williams & his Orchestra: Pete Candoli ( tpt ) Ray Triscari ( tpt ) Joe Triscari ( tpt ) Frank Beach ( tpt 0) Vince De Rosa ( fr. Horn ) Dick Perissi ( fr. Horn ) John Cave ( fr. Horn ) Dick Nash ( tmb ) Lloyd Ulyate ( tmb ) Dick Noel ( tmb ) Sam Rice ( tuba ) Harry Klee ( alto / flute ) Ted Nash ( alto / flute ) Justin Gordon ( tnr / flute ) Gene Cipriano ( tnr / flute ) Chuck Gentry ( bar ) Jimmy Rowles ( pno ) Bob Bain ( gtr ) Dorothy Remsen ( harp ) Joe Môn dragon ( bass) Jerry Williams ( drs ) Larry Bunker ( perc. ) Frank Flynn ( perc.) John F. Williams ( perc.) Recorded Hollywood, 28th April 1961.

So Nice with Johnny Desmond: Johnny Desmond ( vocals ) Frank Beach ( tpt ) Don Fagerquist ( tpt ) John Audino ( tpt ) Joe Howard ( tmb ) Ray Sims ( tmb ) Bob Envoldsen ( val. Tmb ) George Roberts ( bass tmb ) Ronnie Lang ( alto / clt ) Herman Gunkler ( alto / clt ) Bill Holman ( tnr ) Gene Cipriano ( tnr 0 Martin Berman ( bar ) Tom Tedesco ( gtr ) Johnny Williams ( pno ) Larry Bunker ( vibes ) Buddy Clark ( bass ) Frank Capp. Recorded Hollywood, 24th February 1958.

Do not make the mistake of thinking this is Johnny Williams the pianist who successfully recorded with Stan Getz and many other major names, this is the johnny Williams who under the name John Williams who had such a success scoring and conducting so many brilliant film scores over a long period.

The album “Rhythm In Motion” which takes up the first twelve tracks of this release was recorded in his career and consists of twelve fairly well known standards recorded over three sessions with an orchestra filled with musicians who were frequent visitors to the studio for this type of recording but do not expect any solos of note from this array of talent. This recording is very much in the same style as recordings by Nelson Riddle and Billy During the same period. Although there is much to admire in the skill and professionalism of the scores and musicianship they are in no way aimed at the jazz fraternity. There are a number of tracks which are interesting including “The Varsity Drag” and “My Heart Belongs To Daddy”, the latter has a fine piano solo by Jimmy Rowles.

The second album “So Nice” features the singer Johnny Desmond who is probably best known for his period with the Glenn Miller Orchestra. He has a rich baritone voice with good phrasing and delivery and it is a mystery why he didn’t have a more successful solo career although he does not have a distinctive style of say Frank Sinatra or Mel Torme. He is at his best on medium tempo numbers and out and out swingers, numbers like “I Can’t Get Started” and “It’s The Talk Of The Town” are a lesson in how to approach a song. Johnny Desmond even made time to compose a song of his own, “My Happy Time” which comes over well on this recording.

Credit must be given to both Johnny Williams and Bill Holman’s for their outstanding arrangements which contribute to the success of this album. The three bonus tracks on the album are composed by Johnny Williams and are at aimed a completely different audience and really have no place on this release.

Rhythm In Motion / So Nice

Lyambiko - Shades Of Delight

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 79:11
Size: 181,6 MB
Art: Front

( 8:03)  1. Moondance
( 5:25)  2. Tenderly
( 4:43)  3. I've Got My Love to Keep Me Warm
( 7:42)  4. Lush Life
( 3:28)  5. Your Mind Is on Vacation (And Your Mouth Is Working Overtime )
( 4:27)  6. Black Coffee
( 6:05)  7. Morning
(12:47)  8. Dindi
( 4:51)  9. Malaika
(15:40) 10. Savannah Suite: Drum and Bass and Bananas/Ilangamo/Afro
( 5:56) 11. Isn't This a Lovely Day

Lyambiko has a diverse repertoire, perhaps due to the singer being part German and part African. For her second recording, she utilizes the same trio as on the first: pianist Marque Lowenthal, bassist Robin Draganic, and drummer Torsten Zwingenberger. The group is tight, versatile, and quite alert, with the music ranging from a few standards (including a touching version of "Dindi," "Tenderly," a swinging "Isn't It a Lovely Day," and the humorous Mose Allison song "Your Mind Is on Vacation and Your Mouth Is Working Overtime") to some wordless vocals that reflect Lyambiko's African heritage. 

On part of the 15-and-a-half-minute "Savannah Suite," Lyambiko plays claves before eventually singing in a haunting fashion. She overdubs her voice on three songs, but the effect accentuates the music rather than seeming excessive. She has a lovely instrument and is definitely an up-and-comer in the jazz world. ~ Scott Yanow  http://www.allmusic.com/album/shades-of-delight-mw0000693329

Personnel: Lyambiko (vocals, claves); Marque Lowenthal (piano, Fender Rhodes piano, synthesizer, shaker); Robin Draganic (acoustic bass); Torsten Zwingenberger (drums, percussion).

Shades Of Delight

Richard Groove Holmes, Gene Ammons - Groovin' With Jug

Styles: Jazz, Hard Bop
Year: 1989
File: MP3@320K/s
Time: 54:09
Size: 124,5 MB
Art: Front

(8:40)  1. Happy Blues (Good Vibrations)
(7:10)  2. Willow Weep For Me
(3:22)  3. Juggin' Around
(7:23)  4. Hittin' the Jug
(9:06)  5. Exactly Like You
(4:17)  6. Groovin' With Jug
(7:53)  7. Morris the Minor
(6:14)  8. Hey You, What's That?

Ironically, Gene "Jug" Ammons tended to be critical of organists; he was quoted as saying that "organ players don't know any changes." However, as critical the Chicago tenor saxman might have been of organists most of them, anyway he did some of his best work in their presence. When you united Ammons with Jack McDuff, Johnny "Hammond" Smith and other B-3 masters in the '60s, the sparks would fly. They certainly fly on this excellent album, which finds Ammons and Richard "Groove" Holmes co-leading a soul-jazz/hard bop organ combo that also includes guitarist Gene Edwards and drummer Leroy Henderson. The quartet is heard in two settings on August 15, 1961 three of the eight selections were produced by Richard Bock in a Los Angeles studio in the afternoon, while the other five were recorded several hours later an L.A. club called the Black Orchid. 

Ammons and Holmes prove to be a strong combination in both settings, although their playing is somewhat looser at the Orchid, where the delights include some slow blues (Ammons' "Hittin' the Jug"), a smoky ballad ("Willow Weep for Me") and a lightning-fast barnburner (Ammons' "Juggin' Around"). However critical Ammons might have been of most organists, it's obvious that he and Holmes share a lot of common ground on Groovin' With Jug. ~ Alex Henderson  http://www.allmusic.com/album/groovin-with-jug-mw0000206027

Personnel: Richard Groove Holmes (organ); Gene Ammons (tenor saxophone); Gene Edwards (guitar); Leroy Henderson (drums).

Groovin' With Jug

Roy Brown - Jazz Is The Music I Play

Styles: Jazz
Year: 2005
File: MP3@320K/s
Time: 32:11
Size: 73,9 MB
Art: Front

(5:21)  1. Stella By Starlight
(5:53)  2. Tenderly
(5:14)  3. Stolen Moments
(7:09)  4. Lush Life
(4:06)  5. Summer in Central Park
(4:25)  6. Blue Train

Roy Brown born in Sacramento ,California was exposed to jazz at the age of 5 by his parents who were big jazz fans . He played a number of instruments including viola, clarinet, alto and Tenor saxophones before settling with the piano , which was his true calling.He studied music throughout Junior High and High School and after some private instruction began playing piano and organ for several churches before branching off into Jazz. Before relocating to the San Francisco bay area he formed his own group which he lead for 7 years. This ensemble included a singer and allowed Brown to feature his original compositions. He released and independently produced a CD entitled "COURAGE" in 1994 on his own label Roday Records followed by another release in 2005 entitled "Jazz Is The Music I Play". 

He has worked and studied with several well known bay area musicians including Mark Levine, Babatunde Lea, Dr. Dee Spencer, Vocalist Frankye Kelly and Jimmy Robinson ,Eric Swinderman and Kamal Saitu.He recently performed internationally with bay area singer Frankye Kelly at ths Jazz Las Casas festival in San Cristobal de las Casas, Chiapas, Mexico July 2005 and The International festival de Jazz. Villahermosa , Mexico, November 2005.  http://www.cdbaby.com/cd/royb1

Jazz Is The Music I Play

Red Callender - Speak Low

Styles: Mainstream Jazz
Year: 2011
File: MP3@320K/s
Time: 43:31
Size: 100,0 MB
Art: Front

(7:27)  1. Speak Low
(4:14)  2. Nice Day
(3:28)  3. In A Sentimental Mood
(5:15)  4. Foggy Day
(3:57)  5. Cris
(2:45)  6. Darn That Dream
(4:00)  7. Gone With The Wind
(3:02)  8. Autumn In New York
(3:10)  9. Lowest
(2:45) 10. I'll Be Around
(3:23) 11. Dedicated to the Blues

In the mid-Fifties Red Callender began working on a series of combos with experimental instrumentations. One line of continuity was his use of tuba, which because of its unexplored potential, was very close to him. His execution is clean, with good tonal definition and technique. He thought the most important thing of all was to be true to yourself, and he felt that everybody had a different message and what everyone had to say was important; communication was the thing. He did all the arrangements and filled them with generous doses of good musical humor. The soloists are heavily featured and the leader plays some of the most engaging and relaxed tuba jazz that has ever appeared on record. http://www.freshsoundrecords.com/speak_low-cd-4849.html

Featuring: Gerald Wilson (tp), Red Callender (tuba), Buddy Collette (fl, cl), Vince DeRosa, Irving Rosenthal (frh), Bob Bain, Billy Bean (g), Gerald Wiggins (p), Red Mitchell (b), Bill Douglass (d)

Speak Low

Oscar Peterson - Perfect Peterson: Best of the Pablo & Telarc Recordings (Disc 2)

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 75:24
Size: 173,1 MB
Art: Front

( 8:49)  1. Honeysuckle Rose
(12:09)  2. Kelly's Blues
( 8:55)  3. Wheatland
( 4:50)  4. In A Mellow Tone
( 5:45)  5. Tin Tin Deo
( 8:48)  6. Nighttime
( 6:25)  7. Reunion Blues
( 8:27)  8. Satin Doll
( 7:27)  9. Ja-Da
( 3:47) 10. Morning In Newfoundland

Perfect Peterson: Best of the Pablo & Telarc Recordings (Disc 2)

Thursday, October 8, 2015

James Moody - Cookin' The Blues And Another Bag

Bitrate: MP3@320K/s
Time: 76:19
Size: 174.7 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[6:40] 1. The Jazz Twist
[5:55] 2. One For Nat
[5:39] 3. Bunny Boo
[4:19] 4. Moody Flooty
[5:51] 5. It Might As Well Be Spring
[2:15] 6. Disappointed
[2:51] 7. Sister Sadie
[2:12] 8. Little Buck
[6:19] 9. Home Fries
[4:45] 10. Sassy Lady
[7:46] 11. Ally Parts 1, 2, 3
[3:09] 12. Spastic
[3:16] 13. Minuet In G
[6:52] 14. Cup Bearers
[5:29] 15. The Day After
[2:53] 16. Pleyel D'jamie

Twofer: Tracks #1-9, from the album “Cookin' the Blues” (Argo LPS 756); Tracks #10-16, from the album “Another Bag” (Argo LPS 695). James Moody (as), Howard McGhee (tp), Bernard McKinney (tb), Musa Kaleem (bs), Sonny Donaldson (p), Steve Davis (b), Arnold Enlow (d), Eddie Jefferson (vcl) / Paul Serrano (tp), John Avant (tb), Kenny Barron (p), Ernest Oulaw (b), Marshall Thompson (d). James Moody’s full-bodied sound on tenor was always original and hard swinging, but as he demonstrated leading these fine small bands, he felt equally at home playing alto sax or flute.

“Cookin’ the Blues”, the first album here, features his septet recorded live at the Jazz Workshop in June 1961, during his tour on the West Coast. Moody, wonderfully relaxed and in good form, fronts a band (with trumpeter Howard McGhee in his come back to the coast) offering inspired performances and more musical content than groups with a bigger name. Eddie Jefferson was also was one of the moving forces behind the whole show, with his humorous, and happily frantic singing.

All seven songs in “Another Bag”—the second album of this compilation—are excellent originals. Tom McIntosh, arranger on the date, contributed five, with his craftsmanship throughout distinguished by skillful voicings, interesting harmonic structures and beautiful melodies, somewhat reminiscent of the writing of Tadd Dameron and Gigi Gryce. Besides a forceful and driving Moody, the group features the consistently effective Paul Serrano on trumpet and the excellent solo and comping of pianist Kenny Barron.

Cookin' The Blues And Another Bag

Louisiana Rhythm Kings - It's All About Swing

Bitrate: MP3@320K/s
Time: 28:39
Size: 65.6 MB
Styles: New Orleans jazz
Year: 2009
Art: Front

[2:56] 1. Futuristic Rhythm
[2:58] 2. Out Where The Blues Begin
[2:45] 3. That's A-Plenty
[3:10] 4. Ballin' The Jack
[2:49] 5. I'm Walking Through Clover (I'm Happy In Love)
[3:10] 6. That Da Da Strain
[2:59] 7. Last Cent
[2:40] 8. Swanee
[2:22] 9. Meanest Kind O' Blues
[2:45] 10. I Have To Have You

It's All About Swing

Benny Golson - Just As Much

Bitrate: MP3@320K/s
Time: 78:24
Size: 179.5 MB
Styles: Saxophone jazz
Year: 2015
Art: Front

[4:42] 1. Namely You
[5:23] 2. I Didn't Know What Time It Was
[3:35] 3. Little Karin
[7:30] 4. Alone Together
[5:55] 5. Whisper Not
[4:46] 6. I Fall In Love Too Easily
[4:17] 7. You're Mine, You
[6:14] 8. Another Git Together
[5:05] 9. April In Paris
[8:34] 10. Blues After Dark
[5:19] 11. Cry A Blue Tear
[5:15] 12. The Touch
[7:34] 13. Thursday's Theme
[4:10] 14. My Heart Belongs To Daddy

Benny Golson is a talented composer/arranger whose tenor playing has continued to evolve with time. After attending Howard University (1947-1950) he worked in Philadelphia with Bull Moose Jackson's R&B band (1951) at a time when it included one of his writing influences, Tadd Dameron on piano. Golson played with Dameron for a period in 1953, followed by stints with Lionel Hampton (1953-1954), and Johnny Hodges and Earl Bostic (1954-1956). He came to prominence while with Dizzy Gillespie's globetrotting big band (1956-1958), as much for his writing as for his tenor playing (the latter was most influenced by Don Byas and Lucky Thompson). Golson wrote such standards as "I Remember Clifford" (for the late Clifford Brown), "Killer Joe," "Stablemates," "Whisper Not," "Along Came Betty," and "Blues March" during 1956-1960. His stay with Art Blakey's Jazz Messengers (1958-1959) was significant, and during 1959-1962 he co-led the Jazztet with Art Farmer. From that point on Golson gradually drifted away from jazz and concentrated more on working in the studios and with orchestras including spending a couple of years in Europe (1964-1966). When Golson returned to active playing in 1977, his tone had hardened and sounded much closer to Archie Shepp than to Don Byas. Other than an unfortunate commercial effort for Columbia in 1977, Golson has recorded consistently rewarding albums (many for Japanese labels) since that time including a reunion with Art Farmer and Curtis Fuller in a new Jazztet. Through the years he has recorded as a leader for Contemporary, Riverside, United Artists, New Jazz, Argo, Mercury, and Dreyfus among others. Returning once again to the spirit of the original Jazztet, Golson released New Time, New 'Tet on Concord Records in 2009. ~ bio by Scott Yanow

Just As Much

Elizabeth Shepherd Trio - Start To Move

Bitrate: MP3@320K/s
Time: 51:05
Size: 117.0 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[4:52] 1. Start To Move
[3:43] 2. George's Dilemma
[6:29] 3. Roots
[2:57] 4. Four
[4:01] 5. Circles
[3:23] 6. Reversed
[6:35] 7. Melon
[5:42] 8. Ton Visage
[7:26] 9. Along The Way
[4:42] 10. Just Getting By
[1:09] 11. Price Is Right

Imagine a cold winter night in Toronto, walking past a small jazz club, when you catch through the folds of your scarf the warm deep grooves of a jazz trio playing to an intimate crowd. Welcome to the scene a fresh new sound from Elizabeth Shepherd Trio.

There are times when something new comes along at once familiar and yet completely original. The album ‘Start to Move’ from the Elizabeth Shepherd Trio is just that. But what’s more she has added her own unique blend of jazz-funk, soul, blues, and samba to the fundamentals of Jazz – improvising a deep driving bass from Scott Kemp, the swinging beat of the drum from Colin Kingsmore, and Elizabeth’s playful piano and captivating voice to tie it all together. Recorded over the winter of 2005/2006, you can feel yourself with them, locked away in a small studio, protected from the cold winter night, pushing through track after track for that deep warm sound.

Elizabeth’s lyrics sing to us her struggle to find a place in a dynamic yet crowded jazz scene, as well as drawing on stories of love and life. From the jazz funk of ‘Reversed’ to the samba beats of ‘Melon’, the hip hop influenced ‘George’s Dilemma’ and the swinging modal of ‘Roots’, the Elizabeth Shepherd Trio has given us music that seems effortless in its perfection, displaying her talents and the remarkable chemistry she shares with her band to never compromise her style for those seeking tradition.

Start To Move 

Roy Haynes - Roy-Alty

Bitrate: MP3@320K/s
Time: 65:42
Size: 150.4 MB
Styles: Post bop, Straight ahead jazz
Year: 2011
Art: Front

[5:54] 1. Grand Street
[3:37] 2. They Call The Wind Mariah
[8:40] 3. Off Minor
[8:20] 4. These Foolish Things
[5:25] 5. Milestones
[8:40] 6. Tin Tin Deo
[7:40] 7. All The Bars Are Open
[3:49] 8. Pinky
[6:44] 9. Equipoise
[6:50] 10. Passion Dance

Roy Haynes celebrated his 86th birthday on March 13, 2011. Had the veteran drummer retired from music 30 or 40 years earlier, he still would have gone down in history as someone with a long list of accomplishments. But thankfully, Haynes continued to perform well into his eighties. Recorded in early 2011 (when Haynes was still 85), Roy-Alty is a solid hard bop/post-bop outing that boasts well-known guests like Chick Corea (who is heard on acoustic piano) and trumpeter Roy Hargrove. Corea is featured on two selections: the dusky "All the Bars Are Open" and Thelonious Monk's "Off Minor," while Hargrove is heard on six of the ten tracks (including the insistent "Passion Dance," the standard "These Foolish Things," the Afro-Cuban favorite "Tin Tin Deo," and Miles Davis' "Milestones"). It should be noted that the "Milestones" that Haynes performs on Roy-Alty is the bop standard that Davis played with Charlie "Bird" Parker in 1947, not the modal standard he unveiled in 1958, and playing something with a Bird connection is quite appropriate, given that Haynes was a member of his quintet from 1949-1952 (when the drummer was in his twenties). Most of the songs on Roy-Alty find Haynes employing a group that he bills as the Fountain of Youth (alto saxophonist Jaleel Shaw, pianist Martin Bejerano, and bassist David Wong), and while the personnel can vary from track to track on this 66-minute CD, the constant is Haynes' skillful drumming. After all these years, Haynes hasn't lost his touch as either a drummer or a group leader, and his skills in both of those areas is evident on Roy-Alty, which falls short of essential but is nonetheless a pleasing addition to his catalog. ~Alex Henderson

Roy-Alty

Oscar Peterson - Perfect Peterson: Best of the Pablo & Telarc Recordings (Disc 1)

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 73:21
Size: 168,5 MB
Art: Front

( 4:52)  1. Tenderly
( 3:20)  2. How High the Moon
( 8:01)  3. Nuages
( 5:21)  4. Blues Etude
( 6:57)  5. Caravan
( 7:17)  6. I'm Getting Sentimental Over You
( 4:26)  7. Summertime
(10:47)  8. If I Were a Bell
( 3:18)  9. (Back Home Again In) Indiana
( 4:47) 10. I'm Confessin' (That I Love You)
( 7:11) 11. Nigerian Marketplace
( 6:57) 12. On the Trail

While it's true that Oscar Peterson compilations appeared with regularity form the early '60s on, only a few of them as with most recording artists have any real merit. This two-disc collection from the Concord Music Group's Telarc label, is one of them. Appearing less than a year before his death, this compilation concentrates on recordings issued from the '50s through the middle of the '80s on Dizzy Gillespie's Pablo label, and those made for Telarc between 1990 and 2000. Many live dates are included here from both labels, including "Tenderly" with Herb Ellis and Ray Brown at the J.A.T.P. concerts in Japan; the trio dates at Zardi's in 1955 ("How High the Moon"), in Copenhagen with Joe Pass, Stéphane Grappelli, and Niels-Henning Ørsted Pedersen in 1979, and Mickey Roker in 1979 ("Nuages"). There's the beautiful duet reading of Juan Tizol's "Caravan" with Gillespie in the studio in 1974, as well as the title track form the Nigerian Marketplace album but recorded live in Japan in 1982.

The biggest complaint is that there isn't anything here actually from that classic album on this set. Disc two begins with the great reunion of the trio at the Blue Note in 1990, from which the historic set was taken with Bobby Durham on drums: "Honeysuckle Rose," "Kelly's Blues," and "Wheatland" all come from those sets. Other live cuts include "Reunion Blues," with Benny Green, Ellis, Brown, and drummer Lewis Nash from the Tribute to Oscar Peterson concert in New York, and "Night Time" from Oscar in Paris. There are a few studio numbers here as well including "In a Mellow Tone," with Brown, Nash, Benny Carter, Clark Terry, and Lorne Lofsky, and the stellar version of "Tin Tin Deo," with Roy Hargrove, Ørsted-Pedersen, and Ralph Moore was recorded in Canada for release on mid-'90s albums like The More I See You and Trail of Dreams: A Canadian Suite. With the exception of the aforementioned minor complaint, this is a fine overview of some of Peterson's most productive years. Included is an excellent liner essay by writer James Isaacs. ~ Thom Jurek  http://www.allmusic.com/album/perfect-peterson-best-of-the-pablo-telarc-recordings-mw0000727150

Personnel: Oscar Peterson, Benny Green, Count Basie: piano;   Herb Ellis, Lorne Lafsky, Ulf Wakenius, Joe Pass: guitar;   Ray Brown, Niels-Henning Orsted Pedersen, John Heard, David Young: bass; Bobby Durham, Lewis Nash, Martin Drew, Karriem Riggins, Mickey Roker, Louis Bellson: drums; Benny Carter: alto sax; Clark Terry: flugelhorn; Roy Hargrove, Dizzy Gillespie: trumpet; Ralph Moore, Eddie "Lockjaw" Davis: tenor sax; Milt Jackson: vibes; Michel Legrand: strings; Stephane Grappelli: violin.

Perfect Peterson: Best of the Pablo & Telarc Recordings (Disc 1)

Marcus Printup - The New Boogaloo

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 57:12
Size: 131,3 MB
Art: Front

(5:49)  1. The Bullet Train
(5:29)  2. Sardinian Princess
(6:49)  3. The Weeping Prince
(6:57)  4. The New Boogaloo
(5:51)  5. Soul Waltz
(7:18)  6. In A Sentimental Mood
(5:38)  7. Printupian Prance
(6:37)  8. The Inception
(6:39)  9. Speak Low

Sweet, Intelligent tone in the new Lou Donaldson... The work "Boogaloo" makes me think of the Lou Donaldson soul jazz of the 1960s on Blue Note. Marcus Printup resurrects this term for his debut recording for the Nagel Heyer label and gives it a bit of a dusting off and updating. The New Boogaloo is not a blues blowing session in 4/4 meter. It is an intelligently conceived and deftly executed collection of originals with two standards thrown in, performed by the stars of the new generation of jazz. Mr. Printup, a 35-year-old converse, Georgia native was discovered in 1991 by then Wynton Marsalis pianist, Marcus Roberts. Roberts invited Printup to perform on his Blues for a New Millennium recording. Printup also did time with Marsalis as part of the Lincoln Center Jazz Orchestra, appearing on the Pulitzer Prizing winning Blood On The Fields and jazz ballet, Jump Start and Jazz. He has previously recorded for Capitol and Blue Note, through which he released the very fine Nocturnal Traces.  Here, Printup has upped the ante with some smart composing and choices in sidemen. Wycliffe Gordon is always a safe bet as a sideman as there is nothing he cannot do on the trombone in any idiom. Walter Blanding sits in the tenor chair, while the piano chair is shared between Eric Lewis and George Colligan.

Do you detect a trend here? All sidemen are associated with Wynton Marsalis. And, as always, once they leave the nest, all former Marsalians are free to swing as hard as they wish, however they wish. Case in point, "Bullet Train" is a complex funky tome with a bit of a rock back beat that would not be found on a Marsalis recording. It rocks as does Printup on his opening solo. The title piece is much in the same vein, while the ballads like "Sardinian Princess" and "The Weeping Prince" are angular and dissonant in character. "Soul Waltz" is a beautiful dance with a melody that recalls the Swing era. "In a Sentimental Mood" and "Speak Low" are thoroughly investigated standards not smothered in the reverence that many of this generation are subject to. The New Boogaloo is a very fine release by the talented Marcus Printup, leaving this writer anticipating his next release. ~ C.Michael Bailey  http://www.allaboutjazz.com/the-new-boogaloo-marcus-printup-nagel-heyer-records-review-by-c-michael-bailey.php

Personnel: Marcus Printup-- trumpet; George Colligan, Eric Lewis-- Piano; Vicente Archer-- bass; Donald Edwards-- drums; Walter Blanding-- tenor saxophone; Wycliffe Gordon-- trombone.

The New Boogaloo

Mel Tormé - It's A Blue World

Styles: Vocal
Year: 1955
File: MP3@224K/s
Time: 42:31
Size: 68,7 MB
Art: Front

(3:23)  1. I Got It Bad (And That Ain't Good)
(2:55)  2. Till the Clouds Roll By
(3:41)  3. Isn't It Romantic
(3:50)  4. I Know Why (And So Do You)
(3:39)  5. All This and Heaven Too
(3:33)  6. How Long Has This Been Going On
(3:56)  7. Polka Dots and Moonbeams
(3:24)  8. You Leave Me Breathless
(3:43)  9. I Found a Million Dollar Baby
(3:17) 10. Wonderful One
(3:45) 11. It's a Blue World
(3:20) 12. Stay as Sweet as You Are


Mel Tormé had spent the first decade of his solo career being treated by record companies as a pop singer when Bethlehem offered to treat him as a jazz artist in 1955. The label requested that his first album be a collection of ballads, probably noting the recent success of Frank Sinatra's In the Wee Small Hours. But Tormé picked the songs, ranging from Jerome Kern and P.G. Wodehouse's "Till the Clouds Roll By" from 1917 to Duke Ellington and Paul Webster's "I've Got It Bad and That Ain't Good" from 1941. The 15-piece orchestra assembled by his accompanist Al Pellegrini backed the singer, and Pellegrini, Sandy Courage, Andre Previn, Marty Paich, and Russ Garcia wrote the arrangements Tormé sang with delicate precision, caressing the lyrics. Despite the album title, his interpretations had none of the darkness of Sinatra. 

Rather, Tormé invested the songs with warmth and confidence. Recorded and released around the time he turned 30, It's a Blue World marked a turning point in Mel Tormé's recording career. ~ William Ruhlmann  http://www.allmusic.com/album/its-a-blue-world-mw0000196852

It's A Blue World

Wednesday, October 7, 2015

Wild Bill Davis & His Orchestra - Dance The Madison!

Bitrate: MP3@320K/s
Time: 34:29
Size: 79.0 MB
Styles: Soul-jazz, Organ jazz
Year: 1960/2009
Art: Front

[3:01] 1. The Madison Time (Part 1)
[4:06] 2. In A Mellow Tone
[2:50] 3. Smooth Sailing
[4:18] 4. Flying Home
[4:14] 5. Organ Grinder's Swing
[2:44] 6. The Madison Time (Part 2)
[2:12] 7. Blue Skies
[2:49] 8. Soft Winds
[4:11] 9. It's All Right With Me
[4:01] 10. Intermission Riff

The great Wild Bill Davis was, like Jimmy Smith, who cited him as a primary influence, both an innovator and a popularizer of jazz organ. One of the very first to play the organ as the instrument it is and not like a piano which most practitioners did before him, Davis was the first to establish the classic organ trio format with guitar and drums eventually adding a tenor sax later on occasionally. These classic 1960 recordings feature Bill Jennings (guitar), Grady Tate (drums) and George Clark (tenor sax, flute). All selections newly remastered.

Dance The Madison!

Blossom Dearie - Jazz Masters 51

Bitrate: MP3@320K/s
Time: 52:55
Size: 121.2 MB
Styles: Standards, Vocal jazz
Year: 1996
Art: Front

[3:39] 1. They Say It's Spring
[2:41] 2. Let Me Love You
[2:42] 3. Once Upon A Summertime
[3:39] 4. Little Jazz Bird
[3:20] 5. Bang Goes The Drum
[5:56] 6. Someone To Watch Over Me
[2:24] 7. L' Étang
[2:36] 8. Give Him The Ooh-La-La
[2:10] 9. Rhode Island Is Famous For You
[3:21] 10. Tea For Two
[4:15] 11. The Surrey With The Fringe On Top
[2:43] 12. I Won't Dance
[1:37] 13. Down With Love
[3:08] 14. Blossom's Blues
[4:14] 15. Manhattan
[4:22] 16. The Party's Over

Long an icon among jazz musicians and fans alike, this album samples tunes from the six albums Blossom Dearie made for Norman Granz' Verve label during the period 1956 to 1960. Dearie doesn't have a particularly big voice, but, like a will-o-wisp, she skirts through her material in a whispery, smoky tone that demands and receives attention from her audience, whether that audience be in a club or concert, or listening to one of her many albums. She exudes a coy sexiness that adds an aura to her interpretations few other vocal artists have been able to match. This album is loaded with Dearie gems. Her classic rendition of "Once Upon a Summertime" with Mundel Lowe, Ray Brown, and Ed Thigpen typifies her ability to avoid the routine by turning the song she is performing into an intimate storytelling session. "Someone to Watch Over Me" comes across like a waif begging to be cuddled against the world's trials and tribulations, made even more endearing by the slight tremor in Dearie's voice. Her ability to get away with an unusual interpretation of a well-worn standard comes through on her slow, languorous rendition of "Tea for Two" with her piano inserting exclamation points at the right places, helping her to make her musical point. Her renowned ability to expand her interpretative ability by singing in French is shown off in "I Won't Dance." Dearie was also equally at home with less familiar material. In fact, she excels at delivering the lesser-performed tunes, infusing a life into them others seem unable to achieve. Along these lines, this album treats us to such melodies as "Little Jazz Bird" (which Dearie pretty much has made her own), "Bang Goes the Drum," and on her own "Dearie's Blues," showcasing her facility for combining wordless and regular singing the same line of lyric. All of the cuts but one on the album are small group sessions with the artist doing her own work on piano, thus avoiding the task of coming up with a good accompanist which most vocalists must cope with. The one cut with an orchestra, led by Russ Garcia, confirms that Dearie, with her light voice, is more effective with a small group.

For those who want to sample Dearie's work, this compilation should fill the bill. And for her dyed-in-the-wool fans, this album allows them to visit highlights of her work with Verve on a single CD. ~Dave Nathan

Jazz Masters 51