Leroy Vinnegar - Presenting Oscar Moore with Leroy Vinnegar

Styles: Jazz, Bop
Year: 1962
File: MP3@256K/s
Time: 27:31
Size: 50,6 MB
Art: Front

(2:55)  1. I Can't Get Started With You
(2:44)  2. There's a Small Hotel
(2:30)  3. Angel Eyes
(3:49)  4. To a Wild Rose
(4:45)  5. It's a Pity to Say Goodnight
(3:08)  6. Tangerine
(2:44)  7. Sweet Loraine
(3:16)  8. If You Were Mine
(1:35)  9. Taborra

An excellent guitarist influenced after 1939 by Charlie Christian, Oscar Moore was an invaluable part of the Nat King Cole Trio during 1937-1947, appearing on virtually all of Cole's records during the period. He also recorded with Lionel Hampton, Art Tatum (1941), the Capitol Jazzmen, and Lester Young. Unfortunately, Moore's post-Cole career was not that successful. He played with his brother Johnny Moore in the Three Blazers from 1947 to the mid-'50s (the group declined in popularity after pianist/singer Charles Brown left) and he recorded three records for Verve and Tampa during 1953-1954, but then was largely outside of music with the exception of a 1965 Cole tribute album. 

~ Scott Yanow  https://itunes.apple.com/mu/artist/oscar-moore/id366552#fullText

Personnel: Leroy Vinnegar (Bass);  Oscar Moore (Guitar).

Presenting Oscar Moore with Leroy Vinegar

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Peggy Lee - Christmas With Peggy Lee

Size: 104,4 MB
Time: 40:03
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz/Pop Vocals
Art: Front

01. I Like A Sleighride (Jingle Bells) (2:03)
02. The Christmas Song (Merry Christmas To You) (Remaster) (2:28)
03. Don't Forget To Feed The Reindeer (Remaster) (2:51)
04. The Star Carol (Remaster) (2:43)
05. Christmas Carousel (Remaster) (2:19)
06. Santa Claus Is Comin' To Town (Remaster) (2:15)
07. The Christmas Waltz (Remaster) (2:50)
08. White Christmas (Remaster) (2:05)
09. Winter Wonderland (Remaster) (1:52)
10. The Little Drummer Boy (Remaster) (2:21)
11. Happy Holiday (Remaster) (1:53)
12. The Christmas Spell (Remaster) (3:18)
13. Song At Midnight (Remaster) (3:10)
14. It's Christmas Time Again (3:01)
15. The Tree (Remaster) (1:45)
16. My Dear Aquaintance (A Happy New Year) (3:02)

Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes, singles including "Mañana," "Lover" and "Fever" that showed her bewitching vocal power, a balance between sultry swing and impeccable musicianship.

Born Norma Egstrom in Jamestown, North Dakota, she suffered the death of her mother at the age of four and endured a difficult stepmother after her father remarried. Given her sense of swing by listening to Count Basie on the radio, she taught herself to sing and made her radio debut at the age of 14. She made the jump to Fargo (where she was christened Peggy Lee), then to Minneapolis and St. Louis to sing with a regional band. Lee twice journeyed to Hollywood to make her fortune, but returned unsuccessful from both trips.

She finally got her big break in 1941, when a vocal group she worked with began appearing at a club in Chicago. While there, she was heard by Benny Goodman, whose regular vocalist Helen Forrest was about to leave his band. Lee recorded with Goodman just a few days later, debuting with the popular "Elmer's Tune" despite a good deal of nerves. That same year, several songs became commercial successes including "I Got It Bad (And That Ain't Good)" and "Winter Weather." In 1943, "Why Don't You Do Right" became her first major hit, but she left the Goodman band (and the music industry altogether) later that year after marrying Goodman's guitarist, Dave Barbour.

After just over a year of domestic life, Peggy Lee returned to music, first as part of an all-star jazz album. Then, in late 1945, Capitol signed her to a solo contract and she hit the charts with her first shot, "Waitin' for the Train to Come In." Lee continued to score during the late '40s, with over two dozen chart entries before the end of the decade, including "It's a Good Day," "Mañana (Is Soon Enough for Me)" -- the most popular song of 1948 -- and "I Don't Know Enough About You." Many of her singles were done in conjunction with Barbour, her frequent writing and recording partner.

After moving to Decca in 1952, Peggy Lee scored with the single "Lover" and an LP, Songs From Pete Kelly's Blues recorded with Ella Fitzgerald (both singers also made appearances in the film). She spent only five years at Decca however, before moving back to Capitol. There, she distinguished herself through recording a wide variety of material, including songs -- and occasionally, entire LPs -- influenced by the blues, Latin and cabaret as well as pop. Lee also used many different settings, like an orchestra conducted by none other than Frank Sinatra for 1957's The Man I Love, the George Shearing Quintet for 1959's live appearance Beauty and the Beat, Quincey Jones as arranger and conductor for 1961's If You Go, and arrangements by Benny Carter on 1963's Mink Jazz. Barbour's problems with alcoholism ended their marriage, though they remained good friends until his death in 1965.

Peggy Lee was an early advocate of rock and made a quick transition into rock-oriented material. Given her depth and open mind for great songs no matter the source, it wasn't much of a surprise that she sounded quite comfortable covering the more song-oriented end of late-'60s rock, including great choices by Jimmy Webb, Buffy Sainte-Marie, Burt Bacharach, Randy Newman, Goffin & King and John Sebastian. She nearly brushed the Top Ten in 1969 with Leiber & Stoller's "Is That All There Is?" She continued recording contemporary material until 1972's Norma Deloris Egstrom From Jamestown, North Dakota brought her back to her roots. It was her last LP for Capitol, however. Lee recorded single LPs for Atlantic, A&M, Polydor UK and DRG before effectively retiring at the beginning of the 1980s. She returned in 1988 with two LPs for Music Masters that revisited her earlier successes. Her last album, Moments Like This, was recorded in 1992 for Chesky. Her voice was effectively silenced after a 1998 stroke, and she died of a heart attack at her Bel Air home in early 2002. ~by John Bush

Christmas With Peggy Lee

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Don Lanphere Quintet - Into Somewhere / Year 'Round Christmas

Album: Into Somewhere

Size: 122,9 MB

Time: 53:03

File: MP3 @ 320K/s

Released: 1983/2006

Styles: Jazz: Saxophone Jazz, Bop

Art: Front

01. Noble Indian Song Pt 2 (9:02)

02. Dear Old Stockholm (2:16)

03. Take The A Train (7:07)

04. Last Night When We Were Young (4:15)

05. Brown Rock (6:43)

06. I Heard You Cried Last Night (5:17)

07. Here,not There Silly (8:44)

08. For Kai (7:16)

09. In The Garden (2:16)

One of the happier events in jazz of the early '80s was the comeback of Don Lanphere. A talented tenor-saxophonist during the late '40s who had held his own on a record date with trumpeter Fats Navarro and who also played with Artie Shaw's short-lived bebop band and the Woody Herman Orchestra, Lanphere was off the jazz scene for a few decades. He came back with a series of superb albums for the Hep label, often teaming up with trumpeter Jonathan Pugh. Lanphere's first recording for Hep was From Out of Nowhere, so Into Somewhere was the follow-up. The first few selections are particularly memorable since they consist of a speedy run-through on the chord changes of "Cherokee" ("Noble Indian Song Pt. 2"), a lyrical "Dear Old Stockholm," a rare waltz version of "Take the 'A' Train," and a witty "Brown Rock," which is based loosely on "Sweet Georgia Brown." Lanphere doubles on soprano and sounds quite individual on both of his horns. Pugh and pianist Don Friedman also have plenty of fine solos on this well-constructed and easily recommended CD reissue. ~by Scott Yanow

Into Somewhere 

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Album: Year 'Round Christmas

Size: 160,2 MB

Time: 68:41

File: MP3 @ 320K/s

Released: 1999

Styles: Jazz: Saxophone Jazz, Xmas

Art: Front

01. Overture (1:00)

02. Jingle Bells (6:33)

03. Cradle In Bethlehem (3:33)

04. Silver Bells (6:35)

05. The Christmas Song (4:32)

06. Mary's Little Boy Child (4:45)

07. I'll Be Home For Christmas (4:20)

08. God Rest Ye Merry Gentlemen (6:47)

09. Deck The Hall (6:09)

10. O Come, O Come Emmanuel (6:47)

11. Have Yourself A Merry Little Christmas (5:33)

12. It Came Upon A Midnight Clear (5:09)

13. O Holy Night (2:01)

14. Let It Snow, Let It Snow (4:49)

Too often, jazz Christmas albums come off sounding less than improvisational, nearly approaching the easy listening albums of the world. Try playing something with a long and cherished history and form, and too much improvisation seems almost blasphemous. Hence, many artists shy away from too much destruction of the Christmas classics. Here, the great saxman Don Lanphere tinkers with a series of classics, in tandem with an outstanding band, and deconstructs them to their most elemental. These classics almost get lost -- somewhere behind the spurts of collective improvisation, exploratory scale searching, and avant-garde drum solos, you suddenly realize that you're listening to "Silver Bells." Here's the trick, though: where others shy away from such improvisation and tenderly stroke the classics in their usual form, Lanphere arranges these such that the pieces come across as pure jazz numbers that happen to be built on the chord changes of the classics. Not Christmas songs played in a jazz format, but pure jazz, with an underlying Christmas mood or undefinable something to it. With players of the caliber they've got here, it makes for an outstanding, refreshing Christmas album strong improvisation, excellent soloing all around, and just a hint of the holidays to keep the ambience where it's supposed to be. ~by Adam Greenberg

Year'Round Christmas

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Canen - Think Twice / A Matter Of Time

Album: Think Twice
Size: 47,1 MB
Time: 18:54
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Summertime (3:43)
02. Jolene (2:59)
03. Don't Know Why (3:15)
04. Walkin' After Midnight (2:01)
05. Dream A Little Dream (4:32)
06. Sweet Pea (2:22)

Album: A Matter Of Time
Size: 47,1 MB
Time: 18:54
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Summertime (3:43)
02. Jolene (2:59)
03. Don't Know Why (3:15)
04. Walkin' After Midnight (2:01)
05. Dream A Little Dream (4:32)
06. Sweet Pea (2:22)

Twelve year-old Canen (pronounced ‘cannon”), introduces her second EP, A Matter of Time, adding to her collection of jazz standards and other vintage classics, along with an original written by Anna Coogan with Canen. Canen’s songs have been played multiple times on radio stations in the US, England, Ireland, Canada, Australia, Italy, and the Netherlands, including WFMU, (metro NYC), and blues and roots (UK). She has also been showcased online and reviewed in de Krentin Uit de Pop (Netherlands).

In A Matter of Time, she once again joins Anna Coogan (JD Foster, Johnny Dowd), Grammy-winning engineer Will Russell and musical heavyweights Willie B (Neko Case, Jamie Lidell), and Michael Stark (Johnny Dowd, Spoon), adding renowned cello player Hank Roberts (Bill Frisell), and veteran bass player, Brian Dozoretz (Queen Latifah) into the mix at Electric Wilburland in Newfield, New York. Her cover of the 1942 chart-topper, I’ve Got a Guy in Kalamazoo, is a nod to her great-great Uncle Barry Wood, lead vocalist on NBC’s Your Hit Parade, and immediate predecessor to Frank Sinatra.

Think Twice + A Matter Of Time

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Jay Lawrence Quartet - Sweet Lime

Size: 151,9 MB
Time: 65:32
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz: Mainstream Jazz
Label: Jazz Hang Records
Art: Front

01. Every Little Thing She Does Is Magic (5:42)
02. 1858 I Street (6:47)
03. Sweet Lime (5:12)
04. Fantasia (5:03)
05. Anthem For Jubal (6:14)
06. Señor Mouse (7:45)
07. The Very Thought Of You (6:07)
08. Summer At Tahoe (5:32)
09. Timpanogos Snowfall (7:16)
10. Furnace Of Affliction (3:40)
11. I Mean You (6:08)

Personnel: Jay Lawrence – drums; Bob Sheppard – tenor saxophone; Tamir Hendelman – piano; John Clayton – bass

The Jay Lawrence Quartet’s latest release entitled Sweet Lime is a tart treat with some delicious solos from all members of the band making this a musical confection worth a listen.

Of the eleven compositions on the album, seven are Jay Lawrence originals which seem to have ties back to Lawrence’s life or memories. Pianist Tamir Hendelman penned the arrangements for eight compositions which demonstrate his clever feel for the music. As in everyday life, musicians can often be judged by the company they keep, and in the case of drummer Jay Lawrence, he has chosen to surround himself with some top-notch players.

While tenor man Bob Sheppard’s name may not be widely known he is one of those highly regarded West Coast musicians who can deliver the goods in any setting or environment. There is not a tune in this session in which Sheppard does not make his presence felt. However as he was a member of Chick Corea’s Origin band, he does grasp the challenges posed by Corea’s oblique composition “Señor Mouse”. On Ray Noble’s ballad “The Very Thought Of You” he captures the inner beauty of the arrangement.

Tamir Hendelman is an approachable pianist with a highly inventive capacity and a subtle touch. He has worked in both the Clayton-Hamilton Jazz Orchestra as well as with John Clayton in a trio setting led by Hendelman. So whether it is in the thoughtful introductions to “Fantasia” and “Every Little Thing She Does” or the swinging support on “Anthem For Jubal” and the and the wonderful Monkish “I Mean You”, Tamir never seems to play an out of context note or musical phrase.

The back line of John Clayton bass and Jay Lawrence drums are the glue that holds this band together. Clayton is an outstanding bassist with a big tone who offers exemplary playing throughout the album. Lawrence is an imaginative drummer who uses the complete drum kit not only to drive the band along but provide wonderful accents in all the right places.

While not an everyday working band, this album shows a cohesion that suggests this group should be taken on the road.

Sweet Lime

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Sarang You - My Way

Size: 101,6 MB
Time: 38:49
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues Vocals
Art: Front

01. My Way (5:08)
02. Tonight (3:39)
03. Mean To Me (5:24)
04. Amazing Grace (3:51)
05. Simba (3:15)
06. I Miss (5:04)
07. Saranghari (2:53)
08. The Way It Goes (5:00)
09. Change Your Mind (4:32)

Sorry, no info.

My Way

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Oscar Peterson, Milt Jackson - Two Of The Few

Bitrate: MP3@320K/s
Time: 45:31
Size: 104.2 MB
Styles: Bop, Piano jazz
Year: 1983/2000
Art: Front

[7:53] 1. Oh, Lady Be Good
[4:27] 2. If I Had You
[4:27] 3. Limehouse Blues
[5:52] 4. Mister Basie
[5:12] 5. Reunion Blues
[6:34] 6. More Than You Know
[5:06] 7. Just You, Just Me
[5:57] 8. Here's Two Of The Few

This CD reissue brings back a unique duet recording featuring pianist Oscar Peterson and vibraphonist Milt Jackson. One would expect the instrumentation to feature mostly ballads, but the opposite is true as O.P. and Bags romp through quite a few uptempo pieces. Highlights include "Oh, Lady Be Good," "Limehouse Blues," "Reunion Blues," and "Just You, Just Me." This is a successful and highly enjoyable outing. ~Scott Yanow

Two Of The Few

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Jane Monheit - Home

Bitrate: MP3@320K/s
Time: 52:21
Size: 119.9 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[2:33] 1. A Shine On Your Shoes
[4:17] 2. There's A Small Hotel
[4:01] 3. This Is Always
[2:26] 4. Tonight You Belong To Me
[3:45] 5. Look For The Silver Lining
[3:58] 6. I'll Be Around
[3:04] 7. Everything I've Got Belongs To You
[4:37] 8. It's Only Smoke
[4:37] 9. The Eagle And Me
[5:42] 10. I Didn't Know About You All Too Soon
[4:42] 11. Isn't It A Lovely Day
[4:21] 12. While We're Young
[4:12] 13. My One And Only

"I wanted to return "Home" to doing what I love best," says Jane, "Getting back to my roots. For me, there's nothing like singing a jazz standard and giving it new life through one's own interpretation; bringing it to a new audience in a whole new and different light." ~Jane Monheit

In this outing Jane re-affirms that she is, primarily, a jazz singer; and does so in a setting that allows her to fully display her skills. Accompanied by no more than five instrumentalists on any track, in fact 2 of the 12 tracks are duets while 4 feature Monheit backed by just her regular working trio (piano,bass,drums). The content? All, save for one contribution from pianist/composer Larry Goldings, are fine selections from the Great American Songbook. The result is a recording that closely reflects what one would hear at one Jane's live shows. I might add that since giving birth to her son, Jane's voice has actually improved, gaining a couple of notes at the lower end of her range and maturing a bit. I like! ~SoCal fan

Home

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Grant Green - Live At The Club Mozambique

Bitrate: MP3@320K/s
Time: 75:00
Size: 171.7 MB
Styles: Guitar jazz, Soul jazz
Year: 2006
Art: Front

[ 9:30] 1. Jan Jan
[11:39] 2. Farid
[ 9:37] 3. Bottom Of The Barrel
[ 7:07] 4. Walk On By
[12:20] 5. More Today Than Yesterday
[ 6:07] 6. One More Chance
[ 9:27] 7. Patches
[ 9:08] 8. I Am Somebody

Live at Club Mozambique was, according to Bob Belden's liner notes, rumored to exist for decades in Blue Note's Grant Green discography, but was never released. His explanation as to why is satisfactory -- Green's star had waned considerably -- and makes some sense, but the label had 15 unissued albums by the guitarist by 1971. This date recorded at the famed Detroit jazz club (Green was living in the city at the time) is the second such set of grooves to be issued from the club floor -- Lonnie Smith's was the first. The band consists of Idris Muhammad, Ronnie Foster, Houston Person, and the all but unknown Clarence Thomas, and the two tenor saxophonists (Thomas also played soprano here) laid out heavy, deep funk on the tunes that were chosen. Foster and Muhammad were symbiotic as a rhythm section. Foster's grooving under-the-cover basslines matched the soul groove style of Muhammad. They locked onto Green and couldn't be shaken loose. Obviously created for an inner-city audience and the jukebox crowd, this set was recorded a scant five months after Alive!, but bites a lot harder. The tunes include a simmering read of the Clarence Carter vehicle "Patches" with Green stretching the melody to the breaking point, and the horn section fills egg him on. "One More Chance" was written by the Corporation (the Mizell Brothers) and recorded by the Jackson 5. It's got that soulful ballad sweetness just over the top of some sparkling chops -- Thomas' soprano here is a perfect foil to both Green and Person. Green's reliance on those low strings for his melody is special; it's meaty and stays in the pocket, allowing for more ensemble interplay -- though his solo is a thing to behold, all knotty yet still full of warmth and vigor. When he starts twinning with Foster near its end, the joy just bleeds from the speakers. The read of "Walk on By" is soulful without being overly ornate. Thomas' "Farid" and the opener, "Jan Jan," written by M. Davis (not Miles), are for the hard jazz fans here. The horn charts are tight and elaborate in their fashion, and Green pulls out the stops layering blues, jazz, and soulful funkiness into each of his lines. And to hear this rhythm section simmer and pop is glorious. Highly recommended. ~Thom Jurek

Live At The Club Mozambique

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The Jeff Hamilton Trio - Red Sparkle

Bitrate: MP3@320K/s
Time: 57:20
Size: 131.2 MB
Styles: Straight-ahead jazz
Year: 2012
Art: Front

[6:08] 1. Ain't That A Peach
[4:41] 2. Bye Ya
[7:05] 3. On And On
[4:26] 4. Hat's Dance
[5:13] 5. Too Marvelous For Words
[5:35] 6. Laura
[5:10] 7. A Sleepin' Bee
[5:11] 8. Red Sparkle
[6:03] 9. I Know You Oh So Well
[7:43] 10. In An Ellingtone

Jeff Hamilton: drums; Tamir Hendelman: piano; Christopher Luty: bass.

When it comes to touch, taste, and a deep understanding of what makes a band swing, drummer Jeff Hamilton has no peers. Hamilton's recordings with everybody from Diana Krall and Rosemary Clooney to his own co-led Clayton-Hamilton Jazz Orchestra have marked him as a paragon of class and groove, and his place as the defining brush player of his generation was cemented long ago, but his legacy in jazz may ultimately be related to his trio work.

Hamilton, along with best buddy/bassist John Clayton, turned heads early in his career as part of pianist Monty Alexander's trio, and his long stint with bassist Ray Brown's group helped to create some of the finest trio documents put down on record in the late '80s and early '90s. Hamilton ultimately left Brown's employ to focus on building a magical trio of his own, and his current outfit fits the bill. Pianist Tamir Hendelman and bassist Christoph Luty have been working with Hamilton for the past decade, and such earlier recordings as The Best Things Happen (Azica, 2004) and Symbiosis (Capri, 2009) serve as evidence of their compatibility. Red Sparkle, the trio's sophomore effort for the Capri label, speaks further of the connection these three musicians have forged, as their ensemble artistry seems to deepen over time and age like fine wine.

While Hamilton references Brown—directly through a performance of the bassist's "I Know You So Well" that has Luty brandishing a bow, and indirectly through jubilant or bluesy originals like the drummer's nod to the dearly departed trumpeter Snooky Young on "Ain't That A Peach" and Luty's tribute to Duke Ellington, "In An Ellingtone"—this trio moves beyond the musical scope of the late bassist's band. Hamilton re-imagines Thelonious Monk's "Bye Ya" as a tropically tinged Brazilian number, brings all kinds of hits, stops and solo breaks into "Too Marvelous For Words," highlights Hendelman's lush piano work and deft touch on "Laura," and burns on the up-tempo title track, which ends with an excitable snare drum solo and shows off a harder-hitting Hamilton than usual.

While it's too early to tell if this group will serve as a template for threesomes of the future, they're making beautiful music in the here-and-now that swings, soothes and leads to plenty of toe-tapping and head-nodding of the enthusiastic approval variety. ~Dan Bilawsky

Red Sparkle

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Cecilia Coleman Big Band - Oh Boy!

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 59:08
Size: 135,8 MB
Art: Front

(5:19)  1. Liar, Liar
(5:25)  2. Dance
(5:09)  3. Pearl
(6:44)  4. Magpie
(4:08)  5. Walk Away
(9:52)  6. Lonesome Journey
(5:22)  7. Oh Boy!
(3:19)  8. Until Then
(4:44)  9. Princess
(4:03) 10. #1
(4:58) 11. Because

The phrase "Oh boy," can be a statement of excitement, an expression of an event that grabs your attention or, in this case, an appropriate reaction to the swinging orchestrations from the Cecilia Coleman Big Band. Oh Boy! is a powerful draw and the debut album from pianist/composer Coleman's new group, presenting thundering big band music of a contemporary nature. Best known for her various working quintet's that have produced five albums since 1992, Coleman formed the group in January 2010 after writing several big band charts for others which in turn, inspired a rehearsal band of her own. No novice to the large ensemble setting, the pianist previously recorded with the Mark Masters Ensemble of the American Jazz Institute. Though a longtime resident of New York City, Coleman is actually a native of Long Beach, CA, where she commutes regularly to teach at California State University at Long Beach. The Coleman band consists of friends and other musicians she has worked with since 1999, and boasts some of the finest players from the New York area. With renowned saxophonists Peter Brainin and Bobby Porcelli among the mix of musicians that also includes tenorist Stan Killian trombonists Matt McDonald, Sam Burtis and Broadway trumpeter Jeff Wilfore.

Playing a few simple bars and disguising what's to come, Coleman introduces "Liar, Liar," a truthfully explosive piece featuring Frank Basile' s blistering baritone saxophone solo, to brassy accompaniment. The enthralling "Dance" follows with the same electricity, delivering another forceful statement and readily affirming the album's muscular sound. "Magpie" is a sprawling, melody-rich sweet tune, with pronounced voices from the reeds and horns in a more mid-tempo arrangement. "Lonesome Journey" is the project's most sophisticated and ambitious piece, containing its share of twists and turns throughout the almost ten-minute duration. The title track reveals the swinging upbeat and lively texture that made it the disc's natural title choice. All is not swing however, as the balladic "Until Then" and the lightly-structured "Because" offer a departure from the main thrust of the album, as well as featuring brief but sparkling solo work from the pianist. Cecilia Coleman never set out to become a big band leader, stating that it was "never a dream of mine to have a big band," but the Cecilia Coleman Big Band is her new reality and Oh Boy!, what a swinging affair, this very first recording effort turns out to be. This is classic big band music infused with a bolt of raw energy and mounds of excitement. ~ Edward Blanco  http://www.allaboutjazz.com/oh-boy-cecilia-coleman-self-produced-review-by-edward-blanco.php

Personnel: Cecilia Coleman: piano; Tim Givens: bass; Jeff Brillinger: drums; Peter Brainin: soprano saxophone; Bobby Porcelli: alto saxophone, flute; Stephan Kammerer: alto saxophone, flute; Geoff Vidal: tenor saxophone; Stan Killian: tenor saxophone; Frank Basile: baritone saxophone; Jeff Wilfore: trumpet; Hardin Butcher: trumpet; Kerry Mackillop: trumpet; John Eckert: trumpet; Don Sickler: trumpet (4); Matt McDonald: trombone; Mike Fahn: trombone; Sam Burtis: trombone; Joe Randazzo: trombone.

Oh Boy!

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Charmaine Clamor - Something Good

Styles: Jazz, Vocal
Year: 2010
File: MP3@320K/s
Time: 54:04
Size: 125,6 MB
Art: Front

(4:49)  1. Every Single Moment
(3:58)  2. Doodlin' In Taglish
(4:25)  3. Something Good
(4:06)  4. Feelin' Stevie
(6:19)  5. Motherless Ili-Ili
(3:15)  6. Let's Take A Trip
(4:14)  7. Flow
(3:41)  8. Maalaala Mo Kaya
(3:24)  9. Ikaw
(4:03) 10. Sweet Spot
(2:52) 11. The Farther You Go
(4:38) 12. Believe In Love
(4:14) 13. Breakfast With Bubba

"One of the important and original new jazz singers of the decade," Filipino-American vocal queen Charmaine Clamor delivers her most eclectic and surprising album to date. Featuring the international clean water anthem "Flow"!

From Charmaine Clamor, the queen of jazzipino: I believe there are two kinds of music: the Good Stuff and everything else. Good can be jazz, or world, or blues. Good can be classical, or opera, or hip-hop. Or funk or soul or even pop. The labels don’t matter; the sound matters. It’s true, I’m a Filipino-American. It’s true, I’m a jazz singer. I do this musical blending called jazzipino, and it comes straight from my heart. But it’s also true that I’m a citizen of Earth, and I’m a world-blues-funk-soul-pop vocalistwho won’t be, can’t be, categorized. I’m me, and this is my music.

You’ll hear my passion for the groove, for swing, for beautiful words and inspiring sounds. You’ll also discover my passion for the blessed planet we inhabit, and which we honor with our Mother Nature Suite. How strongly do I feel about taking care of our environment? The tray your CD sits in is made of potatoes. If you don’t dig this album, you can bury the whole package in your compost heap. It’s 100% recycleable! We like to think, however, that our music doesn’t qualify for the dreaded “everything else” genre. We’re delighted to share with you Something Good. http://www.cdbaby.com/cd/cclamor4

Personnel: Zaxariades, Mon David, Our Lady of Refuge Children's Choir, Linda Hopkins, Mark Winkler, Michael Konik (vocals); Bo Razon (guitar, tres, congas, percussion); Richard Ickard (guitar); Robby Marshall (clarinet, tenor saxophone); Mike Stever (trumpet); Vikram Devasthali (trombone); Eli Brueggemann (piano, organ, Wurlitzer organ); Dominic Thiroux (acoustic bass, electric bass); Abe Lagrimas, Jr. (drums).

Something Good

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Sir Roland Hanna - Apres Un Reve

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 49:10
Size: 112,8 MB
Art: Front

(6:44)  1. Serenade
(4:04)  2. Apres Un Reve
(3:20)  3. This Is My Beloved-Nocturne String Quartet No. 2
(5:03)  4. Prelude-Op.28, No. 2
(6:02)  5. Like Grains Of Sand
(4:49)  6. Melody In F
(6:06)  7. Elvira Madigan-Piano Concerto No. 21 C Major K467
(6:19)  8. Going Home - From "New World Symphony"
(6:40)  9. Based On Gustav-Synphony No. 5 , 2nd Movement

Over a crisp calypso beat from collaborators Ron Carter and Grady Tate, Hanna opens Apres Un Reve,  with a composition by pianist Arthur Rubinstein. With a minimum of fuss and affect, he proceeds to ruminate upon the beautiful melodies of Mahler, Dvorak, Borodin, Mozart, Faure, Schubert and Chopin with enviable lucidity and control of touch at tempos swinging and rubato, propelled by Carter's perfect note choices. The touch is light, the content isn't. It's Hanna's final work, capping a career devoted to the rejection of cant and to the principle of deploying all 88 notes on the piano in the process of self expression. ~ Ted Panken (Downbeat)  http://www.rahannamusic.com/cds_new.html

Personnel:  Sir Roland Hanna – Piano;  Grady Tate – Drums;  Ron Carter – Bass 

Apres Un Reve

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Vincent Herring - Night and Day

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 62:29
Size: 143,9 MB
Art: Front

(6:53)  1. Grind Hog's Day
(5:22)  2. Night and Day
(4:44)  3. The Adventures of Hyun Joo Lee
(6:23)  4. Walton
(7:22)  5. The Gypsy
(5:02)  6. Fly, Little Bird, Fly
(5:10)  7. Wabash
(7:08)  8. Theme for Jobim
(8:53)  9. There Is Something About You (I Don't Know)
(5:28) 10. Smoking Paul's Stash

The alto saxophonist Vincent Herring projects his sound in a strong, centered beam, and even his most intense moments suggest a controlled combustion. You could chalk that up to experience Mr. Herring, 50, has been playing seriously since his teens but it probably has as much to do with disposition. There’s footage of him with Horace Silver’s band in the 1980s, sounding like he does now, slashing but calm. So maybe it’s the suggestion of something held in reserve that has kept Mr. Herring from an A-list solo career. Or maybe it’s the idea that he has followed in the wake of Cannonball Adderley, an alto saxophone hall of famer whose style he can willfully evoke (not least in the Cannonball Adderley Legacy Band). Whatever the case, Mr. Herring should have a higher profile, as he confirms with a smart new album, “Night and Day.”

As with Mr. Herring’s 2013 album “The Uptown Shuffle,” recorded live at Smoke Jazz Club and released on the Smoke Sessions label the music here puts a contemporary spin on hard-bop, with a rhythm team of Brandi Disterheft on bass and Joe Farnsworth on drums. But whereas that album featured a quartet, this one involves a quintet with the pianist Mike LeDonne and an excellent trumpeter, Jeremy Pelt, out front. Mr. Herring and Mr. Pelt have a crisp and jostling rapport, and in moments like a headlong dash through Donald Byrd’s “Fly, Little Bird, Fly,” each elevates the other’s game. The meat-and-potatoes repertory  some “I Got Rhythm” changes, some blues, the Cole Porter tune that lends the album its title doesn’t pose a limitation for them.

And when Mr. Herring tips his hat, as on an original, “The Adventures of Hyun Joo Lee,” named for one of his students and built over a chord sequence by John Coltrane, he sounds unburdened by expectations. Still, there’s no doubting his sincerity on “Theme for Jobim,” composed by a dearly missed former mentor, Cedar Walton or on “Walton,” a swinging homage by Mr. LeDonne, which elicits one of the album’s juiciest alto solos. 

~ Nate Chinen http://www.nytimes.com/2015/05/12/arts/music/review-night-and-day-vincent-herrings-new-album.html?_r=0

Personnel: Vincent Herring (alto saxophone); Mike LeDonne (piano); Joe Farnsworth (drums); Jeremy Pelt: trumpet; Brandi Disterheft: bass

Night and Day

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Woody Shaw - United

Bitrate: MP3@320K/s
Time: 40:15
Size: 92.2 MB
Styles: Post bop, Trumpet jazz
Year: 1981/2011
Art: Front

[5:17] 1. United
[5:26] 2. The Greene Street Caper
[9:37] 3. What Is This Thing Called Love
[7:01] 4. Pressing The Issue
[5:36] 5. Katrina Ballerina
[7:16] 6. Blues For Wood

Of Woody Shaw's five Columbia albums, United is the one that sounds most like a blowing session. The trumpeter and his regular band of the period (with trombonist Steve Turre, pianist Mulgrew Miller, bassist Stafford James, and drummer Tony Reedus) welcome guest altoist Gary Bartz to two of the six selections. In addition to selections by Shaw, Miller, and Wayne Shorter, "What Is This Thing Called Love?" and "The Greene Street Caper" (the latter an "original" closely based on "On Green Dolphin Street") are performed on this fairly straight-ahead and accessible yet adventurous date. Worth searching for. ~Scott Yanow

United

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The Lennon Sisters - Yesterday And Today

Bitrate: MP3@320K/s
Time: 46:34
Size: 106.6 MB
Styles: Vocal pop
Year: 1994
Art: Front

[2:25] 1. Sentimental Journey
[2:50] 2. Anniversary Song
[2:21] 3. You Made Me Love You
[2:46] 4. Scarlet Ribbons
[2:51] 5. Vaya Con Dios (May God Be With You)
[2:18] 6. When I Fall In Love
[2:19] 7. There! I've Said It Again
[2:48] 8. Greensleeves
[2:33] 9. Now Is The Hour
[2:38] 10. Melody Of Love
[2:18] 11. This Is My Song
[2:26] 12. Fascination
[2:04] 13. Theme From A Summer Place
[2:37] 14. You Are So Beautiful
[2:19] 15. Can't Help Falling In Love
[2:59] 16. Scarborough Fair
[2:13] 17. Autumn Leaves
[3:41] 18. You'll Never Walk Alone

The sparkling vocal quartet which graced Lawrence Welk's weekly television music show from 1955 to 1967, the Lennon Sisters (Dianne, Janet, Peggy and Kathy) grew up in Venice, California, and earned a contract with Coral Records, thanks in large part to Welk. Their first hit, "Tonight You Belong to Me," reached number 15 in the 1956 charts, followed by the moderate success of "Sad Movies (Make Me Cry)" almost five years later. After leaving Welk, the Lennon Sisters performed infrequently. ~bio by John Bush

Yesterday And Today

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Freddie Hubbard - Almost Here

Bitrate: MP3@320K/s
Time: 78:18
Size: 179.3 MB
Styles: Trumpet jazz, Hard bop
Year: 2015
Art: Front

[ 4:26] 1. Happy Times
[ 9:20] 2. Mohawk
[ 6:25] 3. Alone And I
[ 3:35] 4. Little Karin
[ 6:32] 5. Watermelon Man
[ 7:24] 6. Shutterbug
[ 5:30] 7. Three Bags Full
[10:02] 8. Summertime
[ 6:07] 9. I Want More
[ 5:10] 10. In Walked Horace
[ 9:17] 11. Dolphin Dance
[ 4:25] 12. Swing It

n the pantheon of jazz trumpeters, Freddie Hubbard stands as one of the boldest and most inventive artists of the bop, hard-bop and post-bop eras. Although influenced by titans like Miles Davis and Clifford Brown, Hubbard ultimately forged his own unique sound – a careful balance of bravado and subtlety that fueled more than fifty solo recordings and countless collaborations with some of the most prominent jazz artists of his era. Shortly after his death at the end of 2008, Down Beat called him “the most powerful and prolific trumpeter in jazz.” Embedded in his massive body of recorded work is a legacy that will continue to influence trumpeters and other jazz artists for generations to come.

He achieved his greatest popular success in the 1970s with a series of crossover albums on Atlantic and CTI Records. His early ‘70s jazz albums for CTI – Red Clay (1970), Straight Life (1970) and First Light (1971) – were particularly well received (First Light won a Grammy for Best Instrumental Jazz Performance). Later in the decade, he returned to the acoustic, hard-bop idiom with the V.S.O.P. quintet, which teamed him with members of the 1960s Miles Davis Quintet: Herbie Hancock, Wayne Shorter, Tony Williams and Ron Carter. Hubbard also stepped briefly into the pop arena when he played a solo on “Zanzibar,” a track from Billy Joel’s Grammy-winning 1978 album, 52nd Street.

As the ‘80s got under way, Hubbard was once again leading his own group, playing at concerts and festivals in the U.S. and Europe. He frequently collaborated with Joe Henderson, playing a repertory of hard-bop and modal-jazz pieces. Other associations throughout the decade included Monterey Jazz Festival dates with Bobby Hutcherson; studio projects with Woody Shaw and Benny Golson; and a live recording in Holland (Feel the Wind) with Blakey in 1988.

Almost Here

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Don Lanphere & Pete Christlieb - Get Happy

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 66:06
Size: 152,0 MB
Art: Front

(7:47)  1. Indian Blues
(8:52)  2. Remember Why
(3:56)  3. Assurance
(6:13)  4. An Interrupted Walk
(5:21)  5. Old Folks
(6:18)  6. Dance Suite
(7:25)  7. After Letting Go
(5:45)  8. Free Indeed
(5:50)  9. Peace
(8:32) 10. Get Happy

Don Lanphere, a veteran tenor great from the bop era, and Pete Christlieb, the hard-driving tenor from Los Angeles, make for a very complementary and mutually inspiring team. Lanphere, who recorded with Fats Navarro and had an up-and-down career, returned to full-time activity in the early 1980s, and has been heard in prime form ever since; not only is he heard here on tenor, but also on soprano and a bit of alto. Christlieb, who was formerly underrecorded, made up for it with a series of rewarding appearances in the '90s. He played alto for the first time on records during the intriguing stop-start piece "An Interrupted Walk." The two masterful saxophonists are joined by Lanphere's regular rhythm section (pianist Marc Seales, bassist Doug Miller, and John Bishop). 

In addition, cornetist Jonathan Pugh sits in on his "Free Indeed," and there is a wordless vocal trio on "Assurance"; the laughter of one of Lanphere's students is expertly utilized on the closing "Get Happy." Plus, there is a bit of overdubbing by saxophonist Dewey Marler during ensembles for which it was felt that four horns would be more exciting than two. Although all but "Old Folks," Horace Silver's "Peace," and the title cut are originals by the musicians, the music is very much in the straight-ahead bebop tradition, often utilizing common chord changes or cooking blues. Christlieb is showcased on "Old Folks," and Lanphere has "Peace" as his feature. Otherwise, this joyous CD is most notable for the interplay and the sparks that fly between the co-leaders, who obviously have great respect for each other. Well worth searching for. ~ Scott Yanow  http://www.allmusic.com/album/get-happy-mw0000211703

Personnel: Don Lanphere (soprano saxophone, alto saxophone, tenor saxophone); Roger Treece, Sandy Anderson (vocals); Pete Christlieb (alto saxophone, tenor saxophone); Marc Seales (piano); John Bishop (drums).

Get Happy

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Lorez Alexandria - My One And Only Love

Styles: Vocal Jazz
Year: 1986
File: MP3@320K/s
Time: 42:56
Size: 98,5 MB
Art: Front

(3:05)  1. Nature Boy
(6:03)  2. It Might As Well Be Spring
(2:50)  3. Almost Like Being In Love
(4:47)  4. But Beautiful
(4:47)  5. All Or Nothing At All
(3:53)  6. Ain't Misbehavin'
(4:56)  7. My One And Only Love
(4:58)  8. Dancing On The Ceiling
(2:37)  9. I'm Gonna Sit Right Down And Write Myself A Letter
(4:55) 10. I'm Through With Love

A solid singer who is superior at interpreting lyrics, gives a soulful feeling to each song, and improvises with subtlety, Lorez Alexandria was a popular attraction for several decades. She sang gospel music with her family at churches starting in the mid-'40s and worked in Chicago nightclubs in the 1950s. With the release of several albums for King during 1957-1959, Alexandria became popular beyond her hometown, and by the early '60s she was living and working in Los Angeles. In addition to the King label, her earlier recording sessions were for Argo and Impulse, while her later albums were for Discovery and Muse. Despite a long period off records (only a few private recordings during the 1965-1976 period), Alexandria survived through the many changes in musical styles and could be heard in excellent form up until she retired in the mid-'90s. Not long after retiring, Alexandria suffered a stroke, and her health declined until her death in May 2001. ~ Scott Yanow  http://www.allmusic.com/artist/lorez-alexandria-mn0000282731/biography

My One And Only Love

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The Al Di Meola Project - Kiss My Axe

Styles: Guitar Jazz

Year: 1991

File: MP3@320K/s

Time: 66:24

Size: 153,7 MB

Art: Front

(5:22)  1. South Bound Traveler

(5:49)  2. The Embrace

(5:04)  3. Kiss My Axe

(7:40)  4. Morocco

(2:35)  5. Gigi's Playtime Rhyme (Interlude #1)

(8:20)  6. One Night Last June

(7:53)  7. Phantom

(2:32)  8. Erotic Interlude (Interlude #2)

(5:42)  9. Global safari

(2:00) 10. Interlude #3

(6:45) 11. Purple Orchids

(1:18) 12. The Prophet (Interlude #4)

(5:19) 13. Oriana (September 24, 1988)

Despite the aggression its title implies, Kiss My Axe is the work of a softer, more reflective Al di Meola, who had become greatly influenced by Pat Metheny's subtle lyricism, but still had a very recognizable and distinctive sound. Di Meola's new approach was perfectly summarized when, in 1991, he told Jazz Times he wanted to be "enchanted" by the music instead of dazzling listeners with his considerable chops. Di Meola still has fine technique, but avoids overwhelming us with it, and shows more restraint than before. One thing that remains is the guitarist's strong interest in world music this imaginative session liberally incorporates Latin influences (Brazilian, Spanish, Peruvian and Afro-Cuban) as well as Middle Eastern and African elements. In that Jazz Times interview, Di Meola explained that this CD's title resulted in part from his frustration over the fact that many labels and commercial radio stations were choosing bloodless "elevator muzak" over more adventurous fusion. Consistently rewarding, Axe makes it clear that Di Meola did the right thing by refusing to compromise. ~ Alex Henderson  http://www.allmusic.com/album/kiss-my-axe-mw0000270627

Personnel:  Al Di Meola – electric and acoustic guitars, keyboards, percussion;  Barry Miles – piano and keyboards;  Anthony Jackson – electric six string contrabass guitar;  Rachel Z – synthesizers;  Gumbi Ortiz – congas, bata, percussion;  Omar Hakim – drums (tracks 3 & 9);  Richie Morales – drums (tracks 2, 4, 6, 7 & 11);  Tony Scherr – electric and acoustic basses;  Arto Tunçboyaciyan – bongos, percussion, voice.

Kiss My Axe

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