Seth Walker - Sky Still Blue

Styles: Vocal, Pop/Rock
Year: 2014
File: MP3@320K/s
Time: 41:00
Size: 94,9 MB
Art: Front

(3:31)  1. Easy Come, Easy Go
(3:45)  2. Trouble (Don't Want No)
(4:01)  3. Grab Ahold
(3:54)  4. Another Day
(2:56)  5. Tomorrow
(3:25)  6. All That I'm Asking
(4:05)  7. High Wire
(4:16)  8. For A Moment There
(3:59)  9. Either Way I Lose
(2:59) 10. Jesus (Make My Bed)
(4:03) 11. Way Too Far

Since On the Outside, his 2005 debut, songwriter and guitarist Seth Walker has been gradually refining his approach. Early records were full-band exercises of electric Texas juke joint blues. On 2012's fine, self-produced Time Can Change, he showcased a greater diversity in his writing and arrangement. Walker relocated to New Orleans in 2012, and the influence of the Crescent City's musical rainbow is reflected on the excellent Sky Still Blue. Produced by Oliver Wood (Wood Brothers), it is the leanest recording in his catalog. Walker's road band, bassist Steve Mackey and drummer/percussionist Derrick Phillips, are the primary players, but Wood (who co-wrote five tunes here) brought in a handful of supplemental musicians including brother Chris Wood (Medeski, Martin & Wood) on upright bass. Opener "Easy Come, Easy Go" is swampy, jazzy blues, whose melody and lyrics nod toward eternal hepcat Mose Allison, while the guitar work reveals both T-Bone Walker and Jimmie Vaughan.

"Trouble (Don't Want No)" and the slow, moody gospel blues "Jesus (Make My Bed)" are excellent portraits of the rumbling, gritty aspect of Walker's playing and singing. If one listens closely NOLA's deep impression on the songwriter can be heard throughout, but it's especially evident in the slow, slippery combination of gospel and R&B in "Grab Ahold" (one of the tunes the McCrary Sisters appear on) and in the acoustic R&B on "Tomorrow," with its greasy backbeat and upright bass and piano. "All That I'm Askin'" is double-time, second-line funk orchestrated by Ephraim Owens' double-tracked trumpet locking with Chris Wood's upright bas. Here Afro-Cuban and pre-bop jazz meet gritty, vintage R&B, featuring breaking rimshot percussion and chunky guitar vamps along with Brigitte DeMeyer's backing vocal. 

The McCrarys add a sweet chorus to Walker's soulful croon in the Big Easy R&B of "For a Moment There." Van McCoy's soul classic "Either Way I Lose" is interpreted as a jazz-laden blues, with a killer vocal and beguiling guitar work. As evidenced here, Walker has become an excellent singer adding to his skills as a songwriter and guitarist. He has deliberately streamlined his sound and applied what he's learned to what he already knows. The sum is that Sky Still Blue is his finest recording to date. ~ Thom Jurek  http://www.allmusic.com/album/sky-still-blue-mw0002666296

Personnel: Seth Walker (vocals, guitar); Oliver Wood (guitar, background vocals); Ephraim Owens (trumpet); Jano Rix (piano, organ, Wurlitzer organ, drums, percussion, background vocals); Chris Wood (upright bass); Derrek Phillips (drums, percussion); The McCrary Sisters, Brigitte DeMeyer (background vocals).

Sky Still Blue

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Nicolas Folmer - Plays Michel Legrand

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 60:14
Size: 138,2 MB
Art: Front

(5:50)  1. Oum Le Dauphin
(3:20)  2. Watch What's Happen
(6:05)  3. Tu Dormiras Longtemps
(8:43) 4. The Windmills Of My Mind (Les Moulins De Mon Cœur)
(6:38)  5. Once Upon Summertime
(2:47)  6. Quand Ça Balance!
(5:02)  7. A Quiet Room
(6:40)  8. Papa Can You Hear Me
(4:34)  9. You Must Believe In Spring
(5:50) 10. What Are You Doing The Rest Of Your Life
(4:40) 11. Summer 42

After “I comme Icare” (Django d’Or new talent) and “Fluide”, Nicolas Folmer, considered as one of the best trumpttist of his generation, signs his third album as leader and is charged with deep emotion for Michel Legrand revisiting his repertoire who really becomes a very important part of French cultural patrimony. Nicolas Folmer, orchestratist himself (he is especially the co-leader of the Paris Jazz Big Band) and unconditional of the composing style and interpreter of Michel Legrand who has proposed this confirmed project. Michel Legrand was invested into this project as well playing piano and singing for 2 headings of this album, and also keeping Nicolas Folmer company and his group in concert. http://www.cristalrecords.com/cristalrecords/en/419

Personnel:  Nicolas Folmer : Trompette, arrangements;  Thierry Eliez : piano;  Jérôme Regard : contrebasse (sauf titres 7, 11);  Mauro Gargano : contrebasse (7, 11);  Benjamin Henocq : batterie;  Michel Legrand : piano, chant (7, 11)

Plays Michel Legrand

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Brother Jack McDuff - Bringin' It Home

Bitrate: MP3@320K/s
Time: 57:15
Size: 131.1 MB
Styles: Hard bop, Soul jazz
Year: 1999
Art: Front

[5:16] 1. Cold Duck Time
[7:10] 2. The Scratch
[6:02] 3. Girl Talk
[6:43] 4. After Hours
[8:12] 5. This Masquerade
[5:52] 6. A Time For Love
[3:07] 7. Moohah! Joe Dukes
[8:09] 8. Summertime
[6:40] 9. Pettin' The Cat

1999's Bringin' It Home is a welcome surprise from the killer organist Jack McDuff, whose '90s work was largely devoid of the energy and wit of the classic albums that had made his name. McDuff invites two members of his old crew to the session, saxophonist Red Holloway and guitarist George Benson, who had first made his name playing with McDuff in the '60s. Benson, in particular, sounds revitalized by the association, playing with more spunk than he's managed in years. A couple of decades' worth of crossover jazz will take the fire out of anyone's playing, but Benson's solo on Eddie Harris' "Cold Duck Time" is a marvel of funky economy that sounds like Steve Cropper with hot jazz chops. The other key member of McDuff's classic lineup, the late drummer Joe Dukes, is remembered with McDuff's sweet and playful tribute "Moohah! Joe Dukes." Simply recorded, sounding like it was cut live in the studio, Bringin' It Home sounds bracingly direct, and though it doesn't rank with McDuff's best work, it's a sight better than anyone could have expected at such a late date. ~Stewart Mason

Bringin' It Home

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Chris Connor - Lush Life

Bitrate: MP3@320K/s
Time: 33:16
Size: 76.2 MB
Styles: Vocal jazz
Year: 1959/2010
Art: Front

[3:04] 1. All About Ronnie
[2:48] 2. Miser's Serenade
[2:16] 3. Everything I Love
[2:59] 4. Indian Summer
[2:17] 5. I Hear Music
[2:42] 6. Come Back To Sorrento
[2:52] 7. Out Of This World
[2:51] 8. Lush Life
[2:27] 9. From This Moment On
[3:24] 10. A Good Man Is A Seldom Thing
[2:30] 11. Don't Wait Up For Me
[3:00] 12. Fly Me To The Moon

One of the classy, cool jazz vocalists from the 1950s, Chris Connor was in the midst of a comeback at age 48 when she appeared at the Great American Music Hall on October 22, 1976. A one-time singer for the Stan Kenton Orchestra, she had a successful run as a solo artist with Atlantic Records, beginning with 1956's self-titled debut and concluding with 1962's Free Spirits. There followed a lull in her recording career until 1972's Sketches on the obscure Stanyan label, which included her jazzy renditions of pop hits of the day. For this GAMH performance, the husky-voiced singer with the perfect intonation, fluid phrasing and assured sense of swing alternated between jazz standards and interpretations of current pop tunes. Her sublime take on Billy Strayhorn's melancholy, harmonically rich "Lush Life" is imbued with deep understanding of the lyrics and a stirring delivery. The full range of Connors' haunting voice is on display here. She is clearly in command of her emotive powers at this stage in her career.

Lush Life

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Grant Stewart - + 4

Bitrate: MP3@320K/s
Time: 59:57
Size: 137.2 MB
Styles: Saxophone jazz
Year: 2005
Art: Front

[7:29] 1. You 'n' Me
[8:39] 2. Yesterdays
[6:42] 3. Cohn On The Cob
[5:57] 4. Limehouse Blues
[8:59] 5. The Folks Who Live On The Hill
[8:27] 6. Sabia
[7:22] 7. Lonely Town
[6:20] 8. You Leave Me Breathless

Grant Stewart: tenor saxophone; Joe Cohn: guitar; Bill Charlap: piano; Paul Gill: bass; Willie Jones III: drums.

Grant Stewart is a young Canadian tenor saxophonist with a big, burly sound and plenty of drive. On Grant Stewart + 4, he demonstrates his command of both his instrument and the hard bop idiom. He swings without pretense and his top-shelf sidemen move things along with considerable brio. Stewart's improvisations are marked by long, rolling lines and heated swing. He displays a cohesive sense of invention even at the fastest tempos, as on "Limehouse Blues," for example. And while Stewart is deeply indebted to Sonny Rollins, he's clearly looking for his own approach, making interesting and original note choices throughout. His flaring solo on "Lonely Town" is especially good.

Guitarist Joe Cohn is also a big part of the success of this album, through sleek, clean solos and clever arrangements, which serve to lift these proceedings well above the usual blowing date. Cohn is highlighted on "Yesterdays," on which he interacts sensitively with Stewart, and where his arrangement adds a fresh dimension to the oft-played chestnut. Pianist Bill Charlap nearly steals the album. His improvising is absolutely fresh and distinctive, using space to advantage, varying phrase lengths, and overall providing a classic reminder that jazz is, after all, supposed to be the sound of surprise.

In keeping with the sound of surprise, Grant Stewart + 4 successfully mines the tricky terrain of repertoire with rarely played songs, clever originals, and less conventional song treatments. "You Leave Me Breathless," for example, is played as an up-tempo romp, rather than a ballad. In fact, most of the program is played at fast and even faster tempos, and Stewart's cooking rhythm section nails it every time. Even at the fearsome speeds of "Limehouse Blues" and "You Leave Me Breathless," bassist Paul Gill and drummer Willie Jones III maintain solid, vibrant swing. Grant Stewart + 4 may not be innovative, but it is very, very good.

+ 4

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Mose Vinson - Piano Man

Bitrate: MP3@320K/s
Time: 38:52
Size: 89.0 MB
Styles: Piano blues, Boogie woogie
Year: 1997/2015
Art: Front

[2:15] 1. Pinetop's Boogie Woogie
[2:02] 2. Same Thing On My Mind
[3:44] 3. I've Been Playing Ever Since I Was Five Years Old-Dishrag, He's Dead Now
[3:05] 4. 4 O'clock In The Morning
[1:29] 5. What A Friend We Have In Jesus
[1:30] 6. Precious Lord Take My Hand
[1:33] 7. Darktown Strutter's Ball
[1:33] 8. Just Because
[3:12] 9. My Mule
[2:09] 10. What Is Your Life
[1:59] 11. Three Hand Boogie
[1:19] 12. Boogie Woogie
[2:58] 13. Tell It Like It Is, My Girlfriend Won't Be Still
[1:59] 14. My Father Was A Gambler
[2:09] 15. 44 Blues
[1:36] 16. Me And Booker T
[2:21] 17. That's All Right Little Girl
[1:51] 18. Leaning On The Everlasting Arms

One of Memphis' last practitioners of barrel house blues and boogie woogie piano, Mose Vinson was family and a regular fixture at Center programs and festivals for over twenty year before his death in 2002. His music sessions transformed the Center's Beale Street locations into something special. You never knew who might show up and learn from Mose. One week it might be Rufus Thomas. Another, it might be Marcia Ball or Cybill Shepherd. But audiences, especially children, were drawn to Vinson who would light up at the presence of youngsters. He loved to call them up on stage to playfully give them piano lessons.

Mose Vinson began tinkling the ivories as a child. Though young people often had to work in the fields around his native Holly Springs, Mississippi, he knew his hands were not made to pick cotton! By his teens, he had begun playing jazz and blues and joined a touring show, establishing himself as a musician. "I just play my own style," he says. "I never did practice anyone else's style." He played local juke house and parties throughout the '30s and '40s in rural communities and neighborhoods in Mississippi and Tennessee. In the early 1950s, Sam Phillips asked Mose Vinson to accompany a number of Sun Records blues artists, most notably James Cotton in 1954. During that time, Phillips also had Vinson cut some tracks, but they remained unreleased until the 1980s.

In 1997, Mose had his day in the sun when "Mose Vinson: Piano Man", an album of his favorite blues, boogie woogie, and religious tunes, was produced by Jim Dickinson, Knox Phillips and Center for Southern Folklore Executive Producer, Judy Peiser. The 2007 Memphis Music & Heritage Festival was dedicated to his memory and re-released "Mose Vinson: Piano Man" with a Poster showing Mose playing at a country juke house. ~Patricia Hennessy

Piano Man

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Deanna Witkowski - From This Place

Styles: Vocal And Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 59:17
Size: 138,4 MB
Art: Front

(6:44)  1. Let My Prayer Rise (Psalm 141)
(5:34)  2. I Heard The Voice Of Jesus Say
(4:49)  3. From This Place
(2:37)  4. Evening Mass: Kyrie
(3:07)  5. Evening Mass: Gloria
(2:53)  6. Evening Mass: Sanctus
(2:43)  7. Evening Mass: Agnus Dei
(6:53)  8. O, The Deep, Deep Love
(2:52)  9. Christ The Light
(3:19) 10. Never Before
(1:39) 11. Make Your Wonders Known
(5:45) 12. Pass Me Not
(3:51) 13. Keep In Mind
(2:48) 14. Take My Life And Let It Be
(3:36) 15. Song Of Simeon

Deanna Witkowski takes the spiritual road on From This Place through gospel, Catholic liturgy, blues and jazz, and 19th century text to which she has written music. Sacred music and jazz have come together through Mary Lou Williamsand Duke Ellington, to name two, while John Coltrane brought in his own ardent beliefs to several of his compositions. Witkowski's sacerdotal calling is strongl manifested, particularly in the sincerity of her singing.

"Let My Prayer Rise (Psalm 141)" is a gospel tune with Donny McCaslin laying the groove on the tenor saxophone. His warmth embraces the innate fervor with Witkowski adding to the impact with her pure, soaring voice. McCaslin is comfortable in several situations and this is one more for him; he makes it a memorable experience. Laila Biali and Kate McGarry join Witkowski on the a capella "Never Before," the purity of their harmonies circling and descending in a cloak of velvet. The words, written by Witkowski, are a testament to her faith and sound unabashedly naked in their sensibility; they harken back to the time when the human soul sought the spirit of the Lord and found communion with it. The mood is relaxed when Peter Eldridge turns up for a quartet to take on the joyous "Keep in Mind" accompanied by the piano and a melodic turn of phrase on the electric bass by John Patitucci. The juxtaposition of the two works well with the intensity of the first being calmed by the relaxing timbre of the second.

The modern does not escape her and Witkowski gives "Take My Life and Let it Be" and "Song of Simeon" straightforward contemporary turns. They are intensely personal evocations, but "Take My Life and Let It Be" may be in better form because of the harmonies. Witkowski comes up solidly on the side of faith and those who lean towards religious music will be rewarded. ~ Jerry D’Souza  http://www.allaboutjazz.com/from-this-place-deanna-witkowski-tilapia-records-review-by-jerry-dsouza.php

Personnel: Deanna Witkowski: piano, vocals; Donny McCaslin: soprano and tenor saxophones; John Patitucci: acoustic and electric basses; Scott Latzky: drums; Laila Biali: vocals (5, 7, 10, 13); Peter Eldridge: vocals (5, 7, 13); Kate McGarry: vocals (5, 7, 10, 13).

From This Place

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Phil Traynor - Autumn Breeze

Styles: Jazz, Smooth Jazz
Year: 2010
File: MP3@320K/s
Time: 51:58
Size: 119,6 MB
Art: Front

(5:58)  1. Brownstone
(6:23)  2. Autumn Breeze
(5:33)  3. Abby
(4:53)  4. Thoroughly Lorber
(3:24)  5. Alone
(6:31)  6. Across Gibraltar
(3:52)  7. Faeries in the Glen
(5:39)  8. Songabout
(2:47)  9. Thoughts to Myself
(4:23) 10. In Flight
(2:30) 11. Brownstone (reprise)

Autumn Breeze is the culmination of 25 years of songwriting, arranging, and playing experiences. It is a passionate collection of jazz with influences ranging from Jeff Lorber to Chuck Mangione to Bob James to Pat Metheny, and other greats in the jazz and folk world. Phil has put together a distinguished group of outstanding musicians on this CD; including Emmy® winner and two-time Grammy® winner Chris Vadala (The Chuck Mangione Quartet); Emmy® nominee, and national fingerstyle guitar champion Pete Huttlinger (John Denver, LeAnn Rimes, many others); Tampa Bay smooth jazz saxophone and vocal legend Stacey Knights; guitarists John Kelly, Douglas Lichterman, and Jimmy Dacey; keyboardist Dan O'Hara; and the incredible brass work of Bayside Horns. http://www.cdbaby.com/cd/PhilTraynor1

Autumn Breeze

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Roger Kellaway - Ain't Misbehavin'

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 59:18
Size: 136,2 MB
Art: Front

(7:36)  1. A Time For Love
(8:33)  2. Here's That Rainy Day
(5:49)  3. Ain't Misbehavin'
(7:17)  4. How Deep Is The Ocean
(7:25)  5. Blue and Green
(8:43)  6. Skylark
(7:10)  7. Emily
(6:43)  8. Alice Blue Gown

Roger Kellaway is a brilliant two-handed pianist whose versatile style and strong sense of humor keep him open to idioms ranging from swing to free jazz, pop to classical. On this date, he digs into six standards. "A Time for Love" and "Here's That Rainy Day" drag a bit, but things improve after that, particularly during a mid-tempo "How Deep Is the Ocean" and an adventurous exploration of "Skylark." Ain't Misbehavin' is one of Kellaway's better jazz dates. [A Japanese edition of the CD was also released.] ~ Scott Yanow  http://www.allmusic.com/album/aint-misbehavin-mw0000528037

Personnel: Roger Kellaway (piano).

Ain't Misbehavin'

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Rick Fay & Friends - Hello Horn!

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 63:35
Size: 146,2 MB
Art: Front

(4:17)  1. Shine
(4:15)  2. Limehouse Blues
(4:31)  3. Squeeze Me
(4:58)  4. Someday Sweetheart
(4:38)  5. Japanese sandman
(3:11)  6. Rose of Washington Square
(4:16)  7. Two Buck Tim
(3:58)  8. Hello Horn!
(4:48)  9. Spain
(4:12) 10. Lone Pine
(5:15) 11. Do What Your Mother Did
(5:14) 12. Gee Baby Ain't I Good To You
(5:21) 13. Cake Walking Babies from Home
(4:36) 14. Take-a-Bow Blues

The second release from the Arbors label once again features multi-reedist Rick Fay on clarinet, tenor and soprano. The most notable aspect of this CD is that the colorful cornetist Ernie Carson is well showcased, featured with the septet that also includes trombonist Charlie Bornemann and a four-piece rhythm section. 

All three of the horn players sing in spots as best they can, but it is the instrumentals (most notably "Shine," "Japanese Sandman," "Spain" and "Cake Walkin' Babies From Home") that make this a recommended set for Dixieland fans. https://itunes.apple.com/us/album/hello-horn!/id207961553

Personnel: Rick Fay (soprano saxophone, tenor saxophone).

Hello Horn!

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Ben Paterson - For Once In My Life

Size: 138,9 MB
Time: 59:52
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Hammond Organ
Art: Front

01. Cuban Chant (5:56)
02. I'll Close My Eyes (6:35)
03. 50 Ways To Leave Your Lover (4:13)
04. Cry Me A River (6:01)
05. For Once In My Life (7:47)
06. Decision (3:51)
07. Nutville (4:23)
08. Blues For C.F (4:47)
09. Near Miss (4:59)
10. We'll Be Together Again (4:47)
11. I've Never Been In Love Before (6:27)

For Once in My Life is Ben Paterson's fourth album as a leader but first as an organist. In his native Philadelphia—home to such giants of the Hammond as Jimmy Smith, Shirley Scott, Charles Earland and Joey DeFrancesco—Paterson was known as a pianist. He began doubling on organ while living in Chicago, and by the time he moved to New York City in 2013 was gigging regularly on organ and piano all over Manhattan, from Harlem in the north to Greenwich Village in the south. One of the reasons he made the move to organ, Paterson says, is "I get to be the bassist."

That he does. On the other hand, that doesn't mean Paterson is shy of any rhythmic support on this agreeable session, as his teammates in the trio are the splendid guitarist Peter Bernstein and drummer George Fludas, long a mainstay on the Chicago scene and someone who keeps unerring time while giving Paterson and Bernstein ample space in which to flex their creative muscles. As an organist (as he was as a pianist), Paterson eschews flash for substance, preferring for the most part to let the music speak for itself. Even though the technique is sound, there is little in the way of bombast or running the scales for swaggering's sake. Instead, Paterson shapes his solos with care, using a nimble right hand to underscore his purpose while adding expansive chords when needed.

Fludas has the first word on Ray Bryant's rhythmic "Cubano Chant," the opening theme in a program that encompasses five standards, original compositions by Paul Simon ("50 Ways to Leave Your Lover"), Sonny Rollins ("Decision") and Horace Silver ("Nutville"), and Paterson's "Blues for C.F." and "Near Miss." Besides the title selection, the standards are Billy Reid's "I'll Close My Eyes," Arthur Hamilton's "Cry Me a River," Carl Fischer / Frankie Laine's "We'll Be Together Again" and Frank Loesser's "I've Never Been in Love Before." The trio plays each one close to the vest, drawing out the harmonious assets before plumbing its more innovative depths.

Paterson imparts the melody on every number save "We'll Be Together Again," a showcase for Bernstein's burnished guitar. While he and Paterson are front and center most often, Fludas makes the most of the occasional chance to unveil his chops. The three work well as a team, and For Once in My Life marks an impressive debut for "organist" Ben Paterson. ~by Jack Bowers

Personnel: Ben Paterson: organ; Peter Bernstein: guitar; George Fludas: drums.

For Once In My Life

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Elsie Bianchi Trio - The Sweetest Sound

Size: 106,3 MB
Time: 45:26
File: MP3 @ 320K/s
Released: 1965/2015
Styles: Jazz: Swing, Cool Jazz, Vocals
Art: Front

01. Teach Me Tonight (3:11)
02. Fallin' In Love With Love (4:02)
03. Little Bird (3:06)
04. A Sleepin' Bee (3:51)
05. The Shadows Of Paris (4:08)
06. Fiddler On The Roof (3:33)
07. The Sweetest Sound (2:48)
08. Spring Can Really Hang You Up The Most (4:22)
09. Meditation (3:46)
10. Why Did I Choose You (3:50)
11. Little Blues (3:38)
12. Guess Who I Saw Today (5:07)

Swiss singer-pianist Elsie Bianchi may not be a household name, but from the early 1950s through the 60’s she was one of the best jazz singers in Europe. Her sensuous voice and hip phrasing has shades of Anita O’Day. Elsie first gained fame through her appearances at the Zurich Jazz Festival in the early 50’s. Elsie and husband bassist Siro Bianchi toured the USA in 1958-59, playing at the legendary Lighthouse jazz club south of LA. She and Siro then began playing winters in Europe and summers in America before permanently moving to the States. Siro and MPS ‘house drummer’ Charly Antolini make it a tight trio. The standards Teach Me Tonight and Falling in Love show off Bianchi’s sophisticated voice and relaxed piano play, along with some impressive scatting. Elsie sticks to piano on the up tempo Latin Little Bird. There’s the comfortable swing of A Sleepin’ Bee, Mancini’s atmospheric waltz the Shadows of Paris, a jazzy instrumental on Fiddler On The Roof, and the title tune, an up-tempo piece of hopeful love. Spring Can Really Hang You Up The Most is an evocative instrumental ballad. Jobim’s Meditation brings on the bossa groove, and Elsie croons the heart-felt ballad Why Did I Choose You. Little Blues features the composer on piano and the trio in a shuffle groove. The ballad Guess Who I Saw Today tells the story of love betrayed.

The Sweetest Sound

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Scott Hamilton & Jeff Hamilton Trio - Hamilton & Hamilton: Live In Bern

Size: 156,7 MB
Time: 67:50
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Mainstream Jazz
Art: Front

01. September In The Rain (Live) (4:50)
02. All Through The Night (Live) (5:39)
03. Watch What Happens (Live) (5:11)
04. Soul Eyes (Live) (4:40)
05. This Can't Be Love (Live) (5:05)
06. There'll Be Some Changes Made (Live) (3:44)
07. Sybille's Day (Live) (5:23)
08. Key Largo (Live) (6:16)
09. Woody 'n' You (Live) (7:11)
10. The Champ (Live) (4:14)
11. Ballad For Very Tired And Very Sad Lotus Eaters (Live) (3:52)
12. You And The Night And The Music (Live) (5:16)
13. Centerpiece (Live) (6:24)

Saxophone master Scott Hamilton and drum maestro Jeff Hamilton have over four decades of experience each in the world of mainstream, swinging, jazz. Despite those many years on the scene Live In Bern is their first release together. It's been a long wait, but it's been worth it.

Before the important discussion—about the music—a word about the band and the album title. This isn't an album by the "Scott Hamilton & Jeff Hamilton Trio"—to be accurate, it's Scott Hamilton with the Jeff Hamilton Trio. Neither, despite the title, does it sound like a live album. It was recorded in Bern—in Marians Jazzroom, during a single session lasting less than eight hours—but while the venue is certainly a club, there's no sense of an audience being present. So "as live" might tell it more like it is.

The sound quality is excellent, from bassist Christof Luty's lower register to Jeff Hamilton's hi-hat, with Scott Hamilton's tenor and Tamir Hendelman's piano coming across with exceptional clarity and warmth. So while the Hamilton brothers (no, they're not, only joking) get name-checked on the CD cover, pianist Hendelman and bassist Luty deserve honorable mentions for their own contributions, which do much to give the tunes a full, rich and above all swinging feel.

There are plenty of familiar standards here—the cool and relaxed swing of "September In The Rain," a slow and dreamy "Key Largo"—but there's also one or two lesser-known (or at least less frequently recorded) tunes. Billy Strayhorn's "Ballad For Very Tired And Very Sad Lotus Eaters" stands out in this exalted company, the melodic and evocative tenor sax floating over an understated accompaniment from the remaining players.

There's just one original number, Jeff Hamilton's "Sybille's Day": a joyful mid-tempo tune driven by the composer's shuffle beat. However, the mix of familiar and not-so-familiar old tunes never sounds tired or hackneyed. This is a wily quartet of musicians whose flair and vivacity jumps out of the speakers, ensuring that this collection of straight-ahead gems sparkles from start to finish. ~by Bruce Lindsay

Personnel: Scott Hamilton: tenor saxophone; Tamir Hendelman: piano; Christof Luty: bass; Jeff Hamilton: drums.

Hamilton & Hamilton Live In Bern

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Ann Hampton Callaway - Hope Of Christmas

Size: 121,2 MB
Time: 51:49
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Holidays
Art: Front

01. On Union Street (A Christmas Toast) (4:10)
02. The Hope Of Christmas (4:07)
03. One Star (4:31)
04. Discovery (5:08)
05. I Believe (3:46)
06. I Saw A Sparrow (3:15)
07. Santa Doesn't Like Me (3:36)
08. Christmas Isn't Christmas At All (4:41)
09. I Want To Play Santa (4:27)
10. What Good Is Being Cranky (When It's Christmas Time) (4:02)
11. My Gift Of Thanks (4:18)
12. Fly With The Angels (5:44)

HE HOPE OF CHRISTMAS is a new collection of Christmas songs interpreted by multiplatinum-selling singer, Tony nominated actress, pianist and leading champion of the American songbook, Ann Hampton Callaway, with lyrics by two-time Emmy® Award winner William Schermerhorn, and featuring twenty-nine of the world's best jazz musicians, including Five Play, New York Voices, Hubert Laws, Claudio Roditi, Gerald Albright, The Ted Rosenthal Trio and more.

Hope Of Christmas

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Lilly B. Gardner & Daniel Kobialka - Dancing And Romancing With George Gershwin

Size: 127,1 MB
Time: 54:17
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front & Back

01. Our Love Is Here To Stay (4:05)
02. Fascinating Rhythm (4:56)
03. Somebody Loves Me (2:57)
04. Embraceable You (5:11)
05. Love Walked In (4:53)
06. But Not For Me (4:41)
07. They Can't Take That Away From Me (2:19)
08. Shall We Dance (2:40)
09. I've Got A Crush On You (3:09)
10. The Man I Love (5:15)
11. How Long Has This Been Going On (5:13)
12. S'wonderful (4:17)
13. Someone To Watch Over Me (4:36)

Among the many highlights in this album are the atmospheric arrangement given 'Our Love Is Here To Stay,' the seldom heard verse of 'Embraceable You,' the swinging pace of 'Somebody Loves Me,' and the very pretty violin lead on 'Someone To Watch Over Me.' Also noteworthy is the revival of the lesser-known Gershwin song 'Shall We Dance' which is a real delight.

Daniel Kobialka and Lilly Gardner often think as one during these performances, taking turns playing the themes and harmonizing with each other.

Mason Macias is felt, as much as heard on drums and percussion. ~Scott Yanow

Dancing And Romancing With George Gershwin

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Terry Blaine with Mark Shane - With Thee I Swing

Bitrate: MP3@320K/s
Time: 78:50
Size: 180.5 MB
Styles: Standards, Vocal jazz, Piano jazz
Year: 1997/2004
Art: Front

[ 9:21] 1. I Never Knew
[ 8:39] 2. It's A Wonderful World
[ 4:02] 3. What A Little Moonlight Can Do
[ 3:48] 4. They Say That Falling In Love Is Wonderful
[ 5:28] 5. Why Don't You Do Right
[ 3:55] 6. Carolina Shout
[ 6:41] 7. St. Louis Blues
[ 2:17] 8. With Thee I Swing!
[ 3:43] 9. Oh, Daddy
[ 4:43] 10. What Is This Thing Called Love
[10:02] 11. I Would Do Most Anything For You
[ 5:46] 12. Medley Dream Dream A Little Dream Of Me
[ 3:31] 13. Getting Some Fun Out Of Life
[ 6:47] 14. Mama Don't Allow It

This live set (recorded at Hamburg, Germany) matches together pianist Mark Shane and vocalist Terry Blaine (who are the co-leaders) with the hot cornetist Ed Polcer, trombonist Tom Artin, clarinetist Allan Vache (who doubles a little on tenor), bassist Phil Flanigan and drummer Ed Metz, Jr. Although Blaine's husky vocals are musical and swinging (best are "What a Little Moonlight Can Do," "St. Louis Blues" and "Mama Don't Allow"), the instrumentals are most memorable. The renditions of "I Never Knew" (which is nearly nine minutes long), the ten-minute version of "I Would Do Most Anything for You," and a speedy "What Is This Thing Called Love" are among the highlights. Polcer in particular is heard throughout in top form, making this a worthwhile acquisition for trad collectors. ~Scott Yanow

With Thee I Swing

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Oscar Brown, Jr. - In A New Mood

Bitrate: MP3@320K/s
Time: 34:06
Size: 78.1 MB
Styles: Jazz, Funk, Soul
Year: 1962/1988
Art: Front

[2:38] 1. Where Or When
[2:42] 2. Nobody Knows You When You're Down And Out
[3:41] 3. Mood Indigo
[2:47] 4. Please Send Me Someone To Love
[2:32] 5. Hey There
[3:45] 6. One For My Baby (And One More For The Road)
[2:19] 7. Sixteen Tons
[3:32] 8. God Bless The Child
[2:38] 9. Work Song
[3:12] 10. Go Down Moses
[2:27] 11. It Ain't Necessarily So
[1:49] 12. Straighten Up And Fly Right

Oscar Brown, Jr.'s third recording features the brilliant lyricist/singer performing a dozen standards. Surprisingly, his only writing contribution is the words to "Work Song," easily the most notable performance on this otherwise so-so date. Brown is backed by an unidentified orchestra (only trumpeter Joe Newman, who pops up briefly a few times, is distinctive) on tunes mostly arranged in somewhat anonymous fashion by Ralph Burns. Brown's voice is fine on such numbers as "Where or When," "Mood Indigo," "One for My Baby" and "Straighten Up and Fly Right," but he adds little fresh and new to the material. This is one of his lesser efforts. ~Scott Yanow

In A New Mood

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Bill Evans - His Last Concert In Germany

Bitrate: MP3@320K/s
Time: 62:52
Size: 143.9 MB
Styles: Piano jazz, Post bop
Year: 2003
Art: Front

[7:20] 1. Letter To Evan
[6:25] 2. Yet Ne'er Broken
[5:32] 3. Laurie
[7:21] 4. Bill's Hit Tune
[6:19] 5. Knit For Mary F
[8:01] 6. Days Of Wine And Roses
[4:35] 7. Your Story
[4:17] 8. But Beautiful
[5:45] 9. If You Could See Me Now
[7:12] 10. Waltz For Debby

Something musically very significant happened to Bill Evans in the period before he tragically passed away in 1980....his playing moved to another level entirely...and as if to emphasise this, his performance on this recording is simply wonderful....jazz piano really doesn't get any better than this recording.

You can talk as much as you want about all the amazing piano players that have dominated jazz since Bill Evans departed this planet, but I have to say that there really isn't anyone else that I have heard that can capture the true essence of jazz in the way he could. It swings, it's emotional, it's entirely individual, it's without comparison. You know that you are simply listening to real genius...and this album amply demonstrates that we should avidly cherish musicians like this..as they really are few and far between. In a world which celebrates mediocrity as worthy of praise...enjoy a real and true master of his art. A genuine jazz legend...doing what he loved most. Magnificent. ~Peter Sklaroff

His Last Concert In Germany

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Gerry & The Pacemakers - The EMI Years: The Best Of Gerry & The Pacemakers

Bitrate: MP3@320K/s
Time: 71:03
Size: 162.7 MB
Styles: AM pop, Merseybeat
Year: 1992
Art: Front

[1:52] 1. How Do You Do It
[2:03] 2. Maybellene
[2:12] 3. I Like It
[1:57] 4. Chills
[2:24] 5. Pretend
[2:35] 6. Jambalaya (On The Bayou)
[2:16] 7. You're The Reason
[1:51] 8. Hello Little Girl
[2:38] 9. You'll Never Walk Alone
[2:08] 10. A Shot Of Rhythm And Blues
[2:26] 11. Slow Down
[2:00] 12. It's All Right
[2:15] 13. I'm The One
[2:33] 14. Don't Let The Sun Catch You Crying
[2:06] 15. You've Got What I Like
[2:14] 16. It's Just Because
[2:02] 17. You You You
[2:22] 18. It's Gonna Be Alright
[2:22] 19. Ferry Cross The Mersey
[2:08] 20. I'll Wait For You
[2:44] 21. Hallelujah, I Love Her So
[2:24] 22. Reelin' And Rockin'
[1:45] 23. Why Oh Why
[2:32] 24. Baby You're So Good To Me
[2:25] 25. Walk Hand In Hand
[2:19] 26. Dreams
[2:34] 27. Give All Your Love To Me
[3:11] 28. I'll Be There
[2:34] 29. La La La
[1:54] 30. Fool To Myself
[2:04] 31. Girl On A Swing

As unfathomable as it seems from the distance of over 40 years, for a few months, Gerry & the Pacemakers were the Beatles' nearest competitors in Britain. Managed (like the Beatles) by Brian Epstein, Gerry Marsden and his band burst out of the gate with three consecutive number one U.K. hits in 1963, "How Do You Do It," "I Like It," and "You'll Never Walk Alone." If the Beatles defined Merseybeat at its best in early 1963, Gerry & the Pacemakers defined the form at its most innocuous, performing bouncy, catchy, and utterly lightweight tunes driven by rhythm guitar and Marsden's chipper vocals. Compared to the Beatles and other British Invasion heavies, they sound quaint indeed. That's not to say the group was trivial; its hits were certainly likable and energetic and are fondly remembered today, even if the musicians lacked the acumen (or earthy image) to develop their style from its relentlessly upbeat and poppy base.

Marsden formed the group in the late '50s featuring himself on guitar and lead vocals, his brother Fred on drums, Les Chadwick on bass, and Arthur Mack on piano (to be replaced in 1961 by Les Maguire). They worked the same Liverpool/Hamburg circuit as the Beatles, and ran neck and neck with their rivals in local popularity. They were signed by Epstein in mid-1962 (the first band to do so besides the Beatles), and began recording for the EMI/Columbia label in early 1963, under the direction of producer George Martin. Their first single was a Mitch Murray tune that Martin had wanted the Beatles to record for their debut, "How Do You Do It?" the Beatles did record a version (found on the Anthology 1 release), but objected to its release, finding it too sappy, and in any case were more interested in recording their own, gutsier original compositions. It suited Marsden's grinning, peppy style well, though, and went to number one before it was displaced from the top spot by the Beatles' third 45, "From Me to You."

The Pacemakers would never vary much from the clattering guitar-dominated pop of their first singles, turning again to Mitch Murray for the follow-up, "I Like It," and remaking an old pop standard for their next effort, "You'll Never Walk Alone." It's not universally known that Gerry Marsden actually wrote much of the band's material, and he penned most of their subsequent hits, including "It's All Right" (their gutsiest and best performance) and "I'm the One." He also wrote "Don't Let the Sun Catch You Cryin'" (sharing credits with the rest of the group) and "Ferry Cross the Mersey," ballads that Martin embellished with light string arrangements, which may (or may not) have helped prepare the producer for deploying strings on Beatles tracks starting in 1965. ~Richie Unterberger

The EMI Years: The Best Of Gerry & The Pacemakers

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Marcus Printup - Desire

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 70:49
Size: 162,4 MB
Art: Front

(8:02)  1. Along the Way
(9:58)  2. El Gato Travieso
(7:51)  3. Desire
(5:46)  4. One Note Samba
(7:29)  5. Visions
(2:33)  6. Melancholia
(7:16)  7. I Can't Help It
(6:13)  8. Bee Dub Blues
(7:37)  9. Rebirth
(7:59) 10. You've Got a Friend

Few husbands relish the sound of their wives harping on in the background but not, I suspect, Mr Marcus Printup, an ace trumpet player, whose wife is an equally accomplished musician in her own right, a classically trained harpist endowed with a virtuoso talent. At first sight the idea of teaming jazz trumpet with harp might seem like something of a novelty. It certainly isn’t common but utilising the harp in a jazz context isn’t without precedent ; one remembers the `Les Jazz Modes` group fronted by French horn player, Julius Watkins and tenor saxist , Charlie Rouse, which intelligently employed the talent of harpist Janet Putman to add ensemble colour. Then there were the recordings made by Dorothy Ashby in which the harp took a front line role in the exposition of both melody and improvisational development.  Notwithstanding these pioneering efforts the harp will never be a mainline jazz instrument, unlike other stringed instruments namely the violin and cello it appears to lack the ability to effect chordal dissonances which are so importance in the tension building process of jazz improvisation. Nevertheless, Mrs Printup makes a convincing case for the harp’s utilisation in this context for no other reason than the smouldering intensity she brings to the deliverance of the seductive themes presented in this superb recording.

Most of the tunes have a Latin-American ambience which benefit from the flamenco like cascades of sound initiated by the harp as well as the lute like harmonies which back the forthright sound of Mr Printup’s trumpet which comes over with the subtlety and power of a latter day Roy Eldridge, in both open and muted formats. Some of these are compositions by Mr and Mrs  but there is also a delicious and memorable version on that familiar Jobim classic, `One Note Samba`. My personal favourites are covers of two Stevie Wonder favourites: `Visions` and `I Can’t Help It` and a wonderful rendition of Carol King’s `You’ve Got a Friend`. Having extolled the virtues of Mrs Printup’s contribution I’m slightly ashamed to say that the track that most arrested my attention is a duet between Marcus and his bassist, Ben Williams, which is a blues of timeless integrity that links all the verities of jazz expression from Armstrong to the young giants of the contemporary pantheon in which Marcus Printup deserves a prominent place.

~ Euan Dixon  http://www.jazzviews.net/marcus-printup---desire.html

Personnel:  Marcus Printup (trumpet);  Riza Printup (harp);  Ben Williams (bass);  E.J. Strickland (drums)

Desire

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