Paul Desmond - Desmond Blue

Bitrate: MP3@320K/s
Time: 60:41
Size: 138.9 MB
Styles: Saxophone jazz
Year: 1962/2002
Art: Front

[3:49] 1. My Funny Valentine
[3:37] 2. Desmond Blue
[4:03] 3. Then I'll Be Tired Of You
[4:37] 4. I've Got You Under My Skin
[4:08] 5. Late Lament
[3:48] 6. I Should Care
[4:10] 7. Like Someone In Love
[3:48] 8. Ill Wind
[4:49] 9. Body And Soul
[2:00] 10. Advise And Consent
[5:41] 11. Autumn Leaves
[5:37] 12. Autumn Leaves
[3:37] 13. Autumn Leaves
[4:50] 14. Imagination
[2:01] 15. Advise And Consent

As intended, this album presents alto sax specialist Paul Desmond as never featured before, with the backing of a string orchestra. The record, filled with such beautiful jazz standards as "My Funny Valentine," "I've Got You Under My Skin," and "Body and Soul," is very rich in texture, yet subtle and mellow overall in mood. It's unyielding purpose: to soothe the souls of its listeners. Desmond's style and tone shine with an alluring quality, and the record is filled with melodies that don't fail to stimulate the sophisticated jazz listener. Desmond's melodies are eloquently detailed and charmingly spun in the midst of the string orchestra arranged and conducted by Bob Prince. The legendary Jim Hall is featured as guest guitarist, playing yet another scintillating role and using his classic comping style. Hall is perhaps the most highly respected of all jazz guitarists for his good taste and witty inventiveness. Desmond has always been most familiar to the jazz public for his sweeping scale passages and his seemingly effortless spontaneity during periods of improvisation, although here he is often featured in a more lyrical ballad style on such romantic tunes as "My Funny Valentine," "Late Lament," and "Then I'll Be Tired of You." This album is a highly innovative and meticulously crafted work, reflecting the ongoing success of both Desmond and Hall within the 1960s and the cool jazz period. Both of these musicians spent time working with Dave Brubeck and later lent themselves to many of Antonio Carlos Jobim's bossa nova projects. The arrangements are extraordinary throughout this collection, including the charming "Valentine," which begins with a fantastic Elizabethan flavor. The intro sets up the mood to carry Desmond into the first chorus, which then glides into a 20th century style. The tune "I Should Care" is "a shimmering debt to Ibert and one of the most imaginative blendings you will ever hear of strings, reeds, French horn and harp," according to the liner notes. The tone of the album: lush, reflective, thought-provoking, and soul-stirring. This work is quite a plus for any listener and especially those who consider themselves avid fans of Paul Desmond. ~Shawn Haney

The alto saxophonist had success away from the Dave Brubeck Quartet, as seen here on this collection of his most appealing recordings. Includes My Funny Valentine; Body and Soul ; and the previously unreleased Autumn Leaves; Imagination ; and Advise and Consent. Note: Voices in between the tracks is intentional and is a part of the recording.

Desmond Blue

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Harold Land - In The Land Of Jazz

Bitrate: MP3@320K/s
Time: 44:54
Size: 102.8 MB
Styles: Hard bop, Saxophone jazz
Year: 1958/2009
Art: Front

[6:09] 1. Speak Low
[7:20] 2. Delirium
[4:21] 3. You Don't Know What Love Is
[5:04] 4. Nieta
[7:45] 5. Grooveyard
[6:23] 6. Lydia's Lament
[7:50] 7. Smack Up

Other than four titles from 1949, this CD reissue has tenor saxophonist Harold Land's first sessions as a leader. Teamed up on the West Coast with trumpeter Rolf Ericson, pianist Carl Perkins, bassist Leroy Vinnegar, and drummer Frank Butler, Land shows that hard bop was very much alive in Los Angeles in the late '50s. His tone is cooler and softer than it would become later on, but it was already pretty distinctive. Land performs three of his swinging originals, the original version of Perkins' "Grooveyard" (which became a minor standard), an obscurity by Elmo Hope, and the standards "Speak Low" and "You Don't Know What Love Is." The reissue also adds "Promised Land" to the original program. Fine straight-ahead music. ~Scott Yanow

In The Land Of Jazz

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Jim Hall - It's Nice To Be With You: Jim Hall In Berlin

Bitrate: MP3@320K/s
Time: 37:08
Size: 85.0 MB
Styles: Mainstream jazz, Guitar jazz
Year: 1975/2014
Art: Front

[4:55] 1. Up, Up And Away
[3:26] 2. My Funny Valentine
[4:23] 3. Young One (For Debra)
[4:40] 4. Blue Joe
[4:41] 5. It's Nice To Be With You
[5:48] 6. In A Sentimental Mood
[6:16] 7. Body And Soul
[2:56] 8. Romaine

Jim Hall recorded this trio session with expatriate bassist Jimmy Woode and one of Europe's top drummers, Daniel Humair, during a 1969 visit to Berlin. At first "Up, Up and Away," a Jimmy Webb composition that turned into a huge hit for the pop group the Fifth Dimension, might seem like an unlikely jazz vehicle, but it soars to new heights with the trio's inventive approach. Familiar standards include a snappy "My Funny Valentine" and an intensely lyrical "Body and Soul.' Producer Joachim Berendt's suggestion to Hall that he duet with himself via overdubbing resulted in "Young One, For Debra," a warm ballad tribute to Hall's daughter, and a breath taking rendition of "In a Sentimental Mood." He also revisits his "Romaine," utilizing a bossa nova setting (recorded previously with pianist Bill Evans on their classic duo date Undercurrent) and explores his wife's upbeat composition "It's Nice to Be with You" (a work that should have lyrics if it doesn't already). Only briefly available as a CD reissue of the earlier LP, this collectible release is well worth acquiring. ~Ken Dryden

It's Nice To Be With You: Jim Hall In Berlin

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Hampton Hawes - The Green Leaves Of Summer

Styles: Piano Jazz

Year: 1964

File: MP3@320K/s

Time: 39:47

Size: 93,7 MB

Art: Front

(5:32)  1. Vierd Blues

(6:22)  2. The Green Leaves Of Summer

(3:55)  3. Ill Wind

(3:10)  4. St. Thomas

(5:36)  5. Secret Love

(5:24)  6. Blue Skies

(5:34)  7. The More I See You

(4:09)  8. G.K. Blues

Pianist Hampton Hawes' first recording after serving five years in prison finds Hawes evolving a bit from a Bud Powell-influenced bop pianist to one familiar with more modern trends in jazz. Reissued on CD, this trio date finds Hawes interacting closely with bassist Monk Montgomery and drummer Steve Ellington (making his recording debut). Hawes had lost nothing of his swinging style while in prison, as can be heard on such numbers as "Vierd Blues," "St. Thomas" and "Secret Love," and he was just starting to hint at moving beyond bop. Recommended. ~ Scott Yanow  http://www.allmusic.com/album/the-green-leaves-of-summer-mw0000311393

Personnel: Hampton Hawes (piano); Monk Montgomery (bass); Steve Ellington (drums).

The Green Leaves Of Summer

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Thad Jones, Frank Wess, Teddy Charles, Mal Waldron, Doug Watkins, Elvin Jones - Olio

Styles: Jazz, Big Band
Year: 1957
File: MP3@320K/s
Time: 38:27
Size: 89,2 MB
Art: Front

(6:08)  1. Potpourri
(8:03)  2. Blues Without Woe
(6:28)  3. Touche
(7:02)  4. Dakar
(4:21)  5. Embraceable You
(6:23)  6. Hello Frisco

Trumpeter Thad Jones receives first billing on this all-star outing, but vibraphonist Teddy Charles, who contributed three of the six selections (two of the other songs are by pianist Mal Waldron, while the lone standard is "Embraceable You") was really the musical director. Jones, Charles, and Waldron are joined by Frank Wess (doubling on tenor and flute), bassist Doug Watkins, and drummer Elvin Jones for a set of modern hard bop. Although this was not a regular group and there is not an obvious leader, the music is on a higher level than that of a routine jam session. The challenging material and the high quality playing of the young greats makes this fairly obscure modern mainstream set (reissued on CD in 1998) well worth exploring. ~ Scott Yanow  http://www.allmusic.com/album/olio-mw0000047957

Personnel:  Bass – Doug Watkins;  Drums – Elvin Jones;  Flute – Frank Wess;  Piano – Mal Waldron;  Tenor Saxophone – Frank Wess;  Trumpet – Thad Jones;  Vibraphone – Teddy Charles

Olio

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Thelonious Monk - Underground

Styles: Piano Jazz
Year: 1967
File: MP3@320K/s
Time: 70:08
Size: 161,4 MB
Art: Front

( 3:13)  1. Thelonious (Take 1)
(10:30)  2. Ugly Beauty (Take 5)
( 6:48)  3. Raise Four***
( 5:48)  4. Boo Boo's Birthday (Take 11)
( 7:42)  5. Easy Street
(13:11)  6. Green Chimneys
( 6:36)  7. In Walked Bud
( 7:39)  8. Ugly Beauty (Take 4)
( 5:29)  9. Boo Boo's Birthday (Take 2)
( 3:07) 10. Thelonious (Take 3)

Underground was recorded in 1967, about 20 years into the career of this wholly distinctive and unorthodox pianist-composer. Whenever the understated saxophone talents of Charlie Rouse accompany Thelonious Monk, one is assured of an invigorating set of music and this collection is no exception. Supported by Larry Gales on bass and the inimitable Ben Riley on drums, Monk and Rouse elaborate on immortal compositions like "Ugly Beauty." 

On "In Walked Bud," the quartet is joined by vocalist Jon Hendricks. With jagged themes and unusual variations of meter and key, Underground showcases an aging Monk's still-brilliant eccentricity on the piano. A good bit looser than much of Monk's earlier work, he and Rouse infuse this date with their tag-team humor and unrelenting musical enthusiasm. ~ Mitch Myers Editorial Reviews  http://www.amazon.com/Underground-Thelonious-Monk/dp/B0000AVHBO

Personnel: Thelonious Monk (piano); Jon Hendricks (vocals); Charlie Rouse (tenor saxophone); Larry Gales (bass); Ben Riley (drums).

Underground

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Ethel Ennis - If Women Ruled The World

Bitrate: MP3@320K/s
Time: 59:35
Size: 136.4 MB
Styles: Standards, Vocal jazz
Year: 1998
Art: Front

[5:05] 1. Spider Web
[4:59] 2. If Women Ruled The World
[5:54] 3. God Bless The Child
[4:43] 4. You Gotta Be
[5:33] 5. For Free
[4:41] 6. Sometimes I Don't Wanna Go Home
[6:31] 7. Tell It Like It Is
[4:08] 8. So Far Away
[3:12] 9. When I Need You
[5:47] 10. Willow Weep For Me
[4:07] 11. Nick Of Time
[4:49] 12. Hey You

This is a historic release on two levels. It was one of the first recordings of new jazz for Savoy in a couple decades (unfortunately the label's venture into recording new music did not last long) and it was singer Ethel Ennis' first recording in quite some time. For this project, she interprets a dozen songs written by women, ranging from "God Bless the Child" and "Willow Weep for Me" to more recent songs by Joan Osborne, Joan Armatrading, Joni Mitchell, Tracy Chapman, Carole King, and herself ("Hey You"). The performances range from swinging pieces to folk music with Ennis assisted by pianist Marc Copland, trumpeter Ingrid Jensen, guitarist John Abercrombie, soprano saxophonist Jane Ira Bloom, and a couple different rhythm sections. This is a fine effort, making one wish that Ethel Ennis would record much more often. ~Scott Yanow

If Women Ruled The World

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Don Byas - All The Things You Are

Bitrate: MP3@320K/s
Time: 61:19
Size: 140.4 MB
Styles: Bop, Saxophone jazz
Year: 1996/2012
Art: Front

[ 6:50] 1. All The Things You Are
[ 6:18] 2. Walkin'
[ 7:37] 3. Don't Blame Me
[ 8:07] 4. Lady Bird
[ 7:27] 5. There'll Never Be Another You
[ 7:13] 6. Billie's Bounce
[ 7:16] 7. Moonlight In Vermont
[10:28] 8. A Night In Tunisia

Despite his bebop associations, Byas always remained deeply rooted in the sounds of swing. He started out by emulating Coleman Hawkins, but Byas always cited Art Tatum as his greater influence: “I haven’t got any style, I just blow like Art”. ~Clyde Hart

All The Things You Are

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Bellevue Cadillac - The Best Of Bellevue Cadillac: 20 Years Of Swing!

Bitrate: MP3@320K/s
Time: 79:56
Size: 183.0 MB
Styles: Retro Swing
Year: 2013
Art: Front

[3:32] 1. Black And White
[4:51] 2. Call Of The Wild
[4:15] 3. (Unknown) -3 Rules
[4:43] 4. One Girl 2 Pretty
[4:17] 5. Snake Charmer
[3:26] 6. Cruisin'
[4:02] 7. Guilty
[4:24] 8. Shoulda Woulda Coulda
[4:15] 9. Ships
[3:05] 10. Perfect Crime
[4:43] 11. Prozac
[3:53] 12. Must Be Love
[3:07] 13. Cuppa Joe
[5:21] 14. Havana Moon
[4:03] 15. Can't Win For Losin'
[4:31] 16. Hazel Eyes
[2:37] 17. Pay Pay Pay
[2:25] 18. Pull The Plug
[2:58] 19. Blow Wind Blow
[5:18] 20. Talkin' Jive (Who Knew)

Neo swing at it's best! 20 songs that swing from the kings of swing. wild and crazy drums, horns that come out blazing and LYRICS that are funny, topical,original and SMART! "put a bar in your car and drive yourself to drink" on the song prozac, just for starters. this is a PARTY CD! you'll swing, sway and tap your feet till the very end. The songs have been nominated on the grammy ballots 11 times! there are crime novel songs, caribbean songs, cuban, surf, dieselpunk, 20s jazz, new orleans whorehouse ballads with storylines that will tantalize. The horn arrangements are dazzling, the big bold upright bass is thumping and the hammond organ's deep throaty growl pulls you in with songs like PRZAC, PULL THE PLUG, and flatline 'em, CUPPA JOE, HAVANA MOON, PERFECT CRIME, SHIPS, and signature songs like, BLACK AND WHITE as well as CALL OF THE WILD. Nothing is held back, ALL the hits on one CD. Fasten your seat belt, turn up the volume and step on the gas...........ENJOY!

The Best Of Bellevue Cadillac: 20 Years Of Swing!

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Wynton Kelly - A Portrait Of Jenny

Bitrate: MP3@320K/s
Time: 80:33
Size: 184.4 MB
Styles: Hard bop, Piano jazz
Year: 2015
Art: Front

[ 4:36] 1. Portrait Of Jennie
[ 2:45] 2. Escapade
[ 3:55] 3. Moving Up
[ 6:43] 4. Four On Six
[ 5:56] 5. Not A Tear
[ 7:08] 6. Speak Low
[ 2:50] 7. Studio Chatter And Count Off-It's All Right
[ 6:34] 8. Just Friends
[ 4:32] 9. On The Trail
[ 7:05] 10. I Remember Clifford
[10:10] 11. All The Things You Are
[ 3:09] 12. One For Joan
[ 9:00] 13. Stretchin' Out
[ 4:04] 14. Nadia
[ 1:59] 15. The Fall Of Love

A superb accompanist loved by Miles Davis and Cannonball Adderley, Wynton Kelly was also a distinctive soloist who decades later would be a strong influence on Benny Green. He grew up in Brooklyn and early on played in R&B bands led by Eddie "Cleanhead" Vinson, Hal Singer, and Eddie "Lockjaw" Davis. Kelly, who recorded 14 titles for Blue Note in a trio (1951), worked with Dinah Washington, Dizzy Gillespie, and Lester Young during 1951-1952. After serving in the military, he made a strong impression with Washington (1955-1957), Charles Mingus (1956-1957), and the Dizzy Gillespie big band (1957), but he would be most famous for his stint with Miles Davis (1959-1963), recording such albums with Miles as Kind of Blue, At the Blackhawk, and Someday My Prince Will Come. When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy Cobb) with him to form his trio. The group actually sounded at its best backing Wes Montgomery. Before his early death, Kelly recorded as a leader for Blue Note, Riverside, Vee-Jay, Verve, and Milestone. ~bio by Scott Yanow

A Portrait Of Jenny

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David "Fathead" Newman - Fire!: Live at the Village Vanguard

Styles: Flute And Saxophone Jazz

Year: 1989

File: MP3@320K/s

Time: 68:09

Size: 156,3 MB

Art: Front

( 7:44)  1. Old Devil Moon

( 8:31)  2. Chenya

( 6:52)  3. Slippin' Down

( 7:32)  4. Wide Open Spaces

( 7:46)  5. Lonely Avenue

( 7:20)  6. Filthy McNasty

(12:43)  7. Blues for Ball

( 9:38)  8. Hard Times

For this excellent all-around date, David "Fathead" Newman and a fine rhythm section (pianist Kirk Lightsey, vibraphonist Steve Nelson, bassist David Williams and drummer Marvin "Smitty" Smith) are joined by tenor saxophonist Stanley Turrentine on "Wide Open Spaces" (a tune that years earlier Newman had recorded with fellow tenor James Clay), altoist Hank Crawford on "Lonely Avenue" and both Turrentine and Crawford on two other songs. In addition, Newman takes "Filthy McNasty" as a flute feature and is showcased on the opening "Old Devil Moon." An enjoyable set of soulful, straight-ahead jazz. ~ Scott Yanow  http://www.allmusic.com/album/fire!-live-at-the-village-vanguard-mw0000199458

Personnel:  David "Fathead" Newman (flute, tenor saxophone); Steve Nelson (vibraphone);  David Williams (double bass);  Hank Crawford (alto saxophone);  Stanley Turrentine (tenor saxophone); Kirk Lightsey (piano); Marvin "Smitty" Smith (drums).

Fire!: Live at the Village Vanguard

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Thelonious Monk - 'Round Midnight

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 71:43
Size: 164,9 MB
Art: Front

(3:09)  1. 'Round Midnight
(3:05)  2. Epistrophy
(3:20)  3. Misterioso
(3:02)  4. Nice Work If You Can Get It
(3:19)  5. April in Paris
(3:12)  6. Introspection
(2:53)  7. Humph
(3:06)  8. Ruby My Dear
(3:03)  9. Evonce
(3:07) 10. Monk's Mood
(3:00) 11. Thelonious
(2:57) 12. Well You Needn't
(3:00) 13. Off Minor
(2:41) 14. Who Knows?
(3:00) 15. Suburban Eyes
(2:56) 16. In Walked Bud
(2:49) 17. Flyin' Hawk
(2:41) 18. On the Bean
(8:58) 19. Charlie's Choice (Swing to Bop)
(8:16) 20. Stompin' at the Savoy

Thelonious Sphere Monk (October 10, 1917 – February 17, 1982) was an American jazz pianist and composer. Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including "'Round Midnight", "Blue Monk", "Straight, No Chaser" "Ruby, My Dear", "In Walked Bud", and "Well, You Needn't". Monk is the second-most recorded jazz composer after Duke Ellington, which is particularly remarkable as Ellington composed more than 1,000 pieces, whereas Monk wrote about 70. His compositions and improvisations feature dissonances and angular melodic twists, and are consistent with Monk's unorthodox approach to the piano, which combined a highly percussive attack with abrupt, dramatic use of silences and hesitations.He was renowned for his distinctive style in suits, hats, and sunglasses. He was also noted for an idiosyncratic habit observed at times during performances: while the other musicians in the band continued playing, he would stop, stand up from the keyboard, and dance for a few moments before returning to the piano. Monk is one of five jazz musicians to have been featured on the cover of Time, after Louis Armstrong, Dave Brubeck, and Duke Ellington, and before Wynton Marsalis. more... https://en.wikipedia.org/wiki/Thelonious_Monk

'Round Midnight

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Bobby Timmons Trio - In Person

Styles: Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 52:18
Size: 120,2 MB
Art: Front

(7:57)  1. Autumn Leaves
(6:24)  2. So Tired
(4:46)  3. Goodbye
(0:56)  4. Dat Dere (Theme)
(6:48)  5. They Didn't Believe Me
(4:31)  6. Dat Dere
(6:12)  7. Popsy
(8:14)  8. I Didn't Know What Time It Was
(5:30)  9. Softly, As In A Morning Sunrise
(0:56) 10. Dat Dere (Theme)

This enjoyable LP presents a relaxed, agreeable live date, but not one that generates sparks. Pianist Bobby Timmons, who made his name as a writer and invaluable part of the rhythm section in the Art Blakey and Cannonball Adderley bands of the late '50s and early '60s, is a different proposition in his role here as a leader. Although able and energetic, Timmons demonstrates little taste for adventure and, consequently, can sustain himself in the spotlight only intermittently. Still, with Timmons in the company of bassist Ron Carter and drummer Albert Heath, both in their early twenties at the time of this 1961 recording, there would seem to have been potential for great things something beyond the sum of the parts. As it is, Carter and Heath provide little more than reliable support relative to their superior skills.

Things may have sounded differently to the Village Vanguard audience, but on the LP Carter is uncharacteristically two-dimensional. His volume is about right, but the tone is rendered as an anonymous, mid-range pulsing. There is no sense of flesh, wood, and strings interacting with one another. Heath, predominantly using brushes, is also at about the right volume in the mix, but there are nuances missing and his snare is overemphasized. The players sound most together on the parts they've worked out, but the telepathy that distinguishes an excellent trio from an average one is missing in the group's improvisations. The result is a release that stops short of satisfying expectations. ~ Jim Todd  http://www.allmusic.com/album/in-person-mw0001956146

Personnel:  Bobby Timmons (piano);  Ron Carter (bass);  Albert "Tootie" Heath (drums).

In Person

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Janine Gastineau - All My Wildest Dreams

Styles: Vocal Jazz, Brazilian Jazz
Year: 2015
File: MP3@320K/s
Time: 67:09
Size: 155,6 MB
Art: Front

(4:29)  1. The Nearness of You
(4:23)  2. Blue Skies - In Walked Bud
(5:47)  3. Fragile
(4:52)  4. Take Five
(6:08)  5. It Never Entered My Mind
(5:52)  6. My Funny Valentine
(4:22)  7. Caravan
(6:32)  8. Summertime
(5:24)  9. Vivo Sonhando
(5:32) 10. Blame It On My Youth
(4:15) 11. Blue River
(4:24) 12. Insensatez
(5:04) 13. God Bless the Child

Multi-genre vocalist Janine Gastineau sings jazz, Brazilian MPB, French chanson & other music from Denver, Colorado. All My Wildest Dreams, her first solo album, reflects her gift for investing emotion and soul in everything she sings. "I adore the music of the Great American Songbook as well as the tunes of great jazz composers like Thelonious Monk," Gastineau says. "On All My Wildest Dreams, I wanted to include at least one tune by my very favorites among the many in the jazz pantheon: Duke Ellington, George Gershwin, Rodgers & Hart, Monk, Hoagy Carmichael. Adding the two Jobim tunes was a no-brainer, because of my love for bossa nova & samba. Incorporating Brazilian rhythms in several tracks thanks to bassist & arranger Eduardo "Bijoux" Barbosa also reflects this growing passion of mine."

"I made this album with six musicians who are both my friends and frequent collaborators. Stellar sidemen all, they've performed and recorded with myriad jazz artists of national & international fame, so I'm honored to have them playing on my CD. These thirteen songs contain our collective joy for the music and a respect & affection for one another that I cherish."

"How did I get here? Well, I grew up listening to a bit of everything: Beethoven, Chopin & Tchaikovsky, Johnny Cash, Peter Paul & Mary, Barbra Streisand, the Ink Spots, the Beach Boys and the Mamas & Papas, Smokey & Stevie & Sly & Marvin, plus every Motown group on Top 40 radio. I studied classical voice in college, where I began singing in foreign languages: French, Italian, Latin & German, and in 2006 began my solo singing career. Singing, for me, is kinesthetic, intellectual, emotional and spiritual. 

The elements of a song melody, lyrics, harmonics, rhythm are all vehicles that connect you with the human condition. I try to bring that expression, that emotion, to every performance."  But jazz and Brazilian music remain Gastineau’s first and best loves, and make up much of what she performs year-round. “These two genres contain the most poetic, intricately constructed, and beautifully melodic songs ever written," she says. "Songs that demand strong musical chops, great technique AND the emotional honesty to bring them to fullest fruition. That’s why I never tire of singing them, and will forever consider myself a student of both genres. It's my biggest hope that hearing the songs on All My Wildest Dreams will inspire others to fall in love with them, too." http://www.cdbaby.com/cd/janinegastineau

All My Wildest Dreams

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Zoot Sims, Lambert Hendricks & Ross - Zoot Sims Meets Lambert, Hendricks & Ross (2-Disc Set)

Zoot Sims, Bill Perkins (ts), Russ Freeman (p), Freddie Green, Jim Hall, Billy Bean (g), Eddie Jones, Monty Budwig (b), Sonny Payne, Mel Lewis, Frank Capp (d), Dave Lambert, Jon Hendricks, Annie Ross (vcl).

Although Zoot Sims was born in Inglewood, in southwest downtown Los Angeles, he is always regarded as one of the great talents of the New York scene, to which he had moved in 1955, tired of the jazz they played on the West Coast and looking for fresh excitement. A follower of Lester Young, he became one of the most innovative tenor saxophonists of his generation. In March 1959 he went back to Los Angeles for a month. The first night, he was offered a spot in the Terry Gibbs band.

Highly regarded by the musicians, he was much in demand in clubs around the L.A. area. And, significantly, he also joined as a featured tenor soloist in two remarkable albums for the World Pacific Jazz Records label. The first was The Swingers!, by Lambert, Hendricks & Ross, who added vocals to famous instrumentals and had become the hottest singing group in the country. The second, A Gasser! featured the talented voice of Annie Ross, with Zoot booting her along, and swinging superbly in his own solos. During these sessions, Zoot and the rhythm sections which included Russ Freeman on piano, and guitarists Freddie Green, Jim Hall, and Billy Bean also recorded some instrumental sides that were issued on several LP compilations later on.

All the recordings from these two albums are gathered here for the first time in chronological order, including two tracks recorded after Zoot had returned to New York, on which he would be replaced by Bill Perkins. It had been a memorable visit, as these recordings amply prove.

Album: Zoot Sims Meets Lambert, Hendricks & Ross (Disc 1)
Bitrate: MP3@320K/s
Time: 41:23
Size: 94.8 MB
Styles: Saxophone jazz, Contemporary jazz vocals
Year: 2011

[3:27] 1. Little Niles
[2:01] 2. Jackie
[4:11] 3. Four
[5:05] 4. Swingin' Till The Girls Come Home
[2:54] 5. Where
[3:14] 6. Babe's Blues
[3:29] 7. Airegin
[2:56] 8. Now's The Time
[3:30] 9. Dark Cloud
[3:43] 10. Love Makes The World Go 'round
[6:48] 11. Clap Hands, Here Comes Charlie

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Album: Zoot Sims Meets Lambert, Hendricks & Ross (Disc 2)
Bitrate: MP3@320K/s
Time: 59:06
Size: 135.3 MB
Styles: Saxophone jazz, Contemporary jazz vocals
Year: 2011
Art: Front

[2:53] 1. Everything I've Got
[5:29] 2. I Didn't Know About You
[2:34] 3. I Was Doin' All Right
[3:51] 4. You Took Advantage Of Me
[5:59] 5. I Don't Want To Cry Any More
[5:38] 6. Brushes
[4:21] 7. Bones For Zoot
[2:12] 8. Lucky Day
[4:09] 9. Invitation To The Blues
[4:49] 10. You're Driving Me Crazy
[2:52] 11. Nobody's Baby
[4:24] 12. Choice Blues
[5:02] 13. You're Nearer
[4:46] 14. Lucky So And So


Zoot Sims Meets Lambert, Hendricks & Ross(Disc 1),(Disc 2)

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Frances Faye - Swingin' All The Way

Bitrate: MP3@320K/s
Time: 37:59
Size: 87.0 MB
Styles: Jazz vocals
Year: 1962/2013
Art: Front

[3:12] 1. Do Nothin' Till You Hear From Me
[3:40] 2. It's All Right With Me
[3:15] 3. Love For Sale
[3:13] 4. So In Love
[2:27] 5. Should I
[2:39] 6. Them Who Has Gets
[2:20] 7. There Will Never Be Another You
[2:27] 8. Miss Otis Regrets (She's Unable To Lunch Today)
[3:53] 9. Everything Hapens To Me
[3:53] 10. More Than You Know
[3:53] 11. That's All
[3:03] 12. Don't Worry 'bout Me

Alto Saxophone – Bud Shank; Arranged By – Marty Paich; Guitar – Al Hendrickson; Trumpet – Stu Williamson.

Fans of female vocalists of the '50s inevitably bemoan the lack of respect given to one of the true greats. Frances Faye, like Peggy Lee, was a dishy, somewhat off-kilter blonde who could scribble out a mean tune when the mood hit her. She was actually a recording presence in the decades prior, writing and co-writing songs that were recorded by herself and other artists such as the Andrews Sisters all through the late '30s and '40s. Faye started her professional career at 16, filling in for a local pianist on an amateur show when some misfortune befell him. She made her first stage appearance in Brooklyn two years later, and spent the next few years on the vaudeville and nightclub circuit, as an accompanist for singers. When one of these singers was canned by a nightclub owner right before the downbeat, Faye took over. An extensive career as a nightclub performer followed and, by 1934, her schedule had her working 11 months a year, much of that out on the road. In 1936, she had her first hit record, the thoughtful "No Regrets," in 1936. "Well, All Right" primed the jukeboxes across the nation after the Andrews Sisters cut the song. She made her last major recordings in 1964, but continued club gigs all the way into the '80s. Well into the 1970s, she was still headlining in New York, Los Angeles, Las Vegas, Chicago, Miami, as well as England and Australia. In 1977, Frances Faye played a wise-cracking madam in the French film director Louis Malle's controversial film Pretty Baby, which, in the words, of Faye, "opens with me in bed smoking an opium pipe with a wig half off my head." After a series of strokes, perhaps brought on by so much excitement, she died in the early '90s. It was only near the end of that decade that any of her previously out of print material began to see the light of day in reissue form. Bethlehem led the charge with Frances Faye Sings Folk Songs, which manages to be simultaneously marvelous and a completely misleading example of her style. Fans surely sang their own chorus of "Well, All Right" when the artist's two volumes of live recordings were repackaged on a single CD, entitled Frances Faye: Caught in the Act. Her career was one of the subjects of the interesting documentary film Chop Suey, directed by Bruce Weber. ~Excerpts from bio by Eugene Chadbourne

Swingin' All The Way

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Art Farmer - Central Avenue Reunion

Styles: Trumpet, Hard Bop
Year: 1989
File: MP3@320K/s
Time: 61:49
Size: 141,9 MB
Art: Front

(8:50)  1. Star Eyes
(7:17)  2. Farmer's Market
(7:04)  3. Embraceable You
(7:18)  4. Blue Minor
(9:15)  5. I Remember You
(5:59)  6. Don't Blame Me
(9:33)  7. Cool Struttin'
(6:30)  8. Donna Lee

Three of the five musicians on this quintet date (flügelhornist Art Farmer, altoist Frank Morgan, and pianist Lou Levy) had played on Central Avenue in Los Angeles of the late '40s. Not all of the eight songs that they perform with bassist Eric Von Essen and drummer Albert "Tootie" Heath are from the era ("Blue Minor" and "Cool Struttin'" were written by Sonny Clark several years later), but the outing is very much in the bop style of the period. Their live set is highlighted by spirited versions of "Star Eyes," "Farmer's Market," "I Remember You," and "Donna Lee." This CD is filled with high-quality bebop that is easily recommended to straight-ahead jazz fans. ~ Scott Yanow  http://www.allmusic.com/album/central-avenue-reunion-mw0000207356

Personnel: Art Farmer (trumpet, flugelhorn); Frank Morgan (alto saxophone); Lou Levy (piano); Eric Von Essen (acoustic bass); Albert "Tootie" Heath (drums).

Central Avenue Reunion

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Bobby Timmons - From The Bottom

Styles: Piano Jazz, Soul Jazz
Year: 1964
File: MP3@320K/s
Time: 33:08
Size: 76,0 MB
Art: Front

(4:59)  1. From The Bottom
(4:17)  2. Corcovado (Quiet Nights Of Quiet Stars)
(3:37)  3. Medley: You're Blase/Bewitched
(4:51)  4. If I Should Lose You
(3:20)  5. Samba Triste
(6:31)  6. Someone To Watch Over Me
(5:31)  7. Moanin'

The cover offers a hint: a silhouette of Bobby Timmons in all colors, but just a pinch of blue. No one can explain it, but the music Timmons wrote has always been more famous than the music he played. A father of soul-jazz, he was a sparkplug with Blakey and Cannonball, his times there magic. But here could do more, as he shows here. He turns wistful on ballads, highlights his partners (Sam Jones gets a lot of space) and even gives the vibes a charming go-round. There are many styles here, many flavors. And blues; there’s some of that too. We begin "From the Bottom". It’s nearly a duet; Jones is submerged in the fury of piano and drums. Jimmy Cobb is pure insistence; Timmons blisters it good, a line simply dripping with soul. (The note says the song’s here "to keep his soul franchise" it does that and more.) The keys go pouncing, and the cymbals float upward like smoke. The real deal, you bet.

The night grows calmer: Jones plucks high, while Cobb sets the samba with wonderful echo. Bobby starts "Corcovado" with ease, some notes more thought than played. He leaves, and Jones has another go at that riff. Now come the stars: Timmons, on vibes, has light touch and heavy vibrato. He makes it sound like a celeste, which is a wonderful choice: it sounds like pixie dust, scattered on an open field. Quiet, yet how it speaks! The piano medley goes solo, with two sides: the lush sophisticate on "You’re Blase", brittle rhythm on "Bewitched". It’s a deconstruction, with unexpected turns, tempo shifts then back to the lush "Blase". No one can hear this and say he can’t do ballads. And yet they did I am bothered (bewildered, too.)

"If I Should Lose You" scampers wild: hear Bobby rush and Jimmy match him blow for blow. There’s big voicing, bits of blues, frantic little patterns what doesn’t it have? "Samba Triste" takes gentle steps, then punctuated by loud chords – reminds me a bit of Wynton Kelly. A light effort, simple and charming. And "Someone" has another surprise: starting as a Big Ballad, the vibes come out. Brushes march on, the sustain rings forever; with less vibrato, Bobby sounds cool, his notes made of glass. The chords at the end do the trick, as does his note-rolling; this is no novelty. Timmons’ vibe skills are real, and I’m glad he had the opportunity to show them. This "Someone" is certainly worth watching.

This is the third time Bobby taped "Moanin’"; he premiered it with the Messengers, and a piano version appeared on This Here is Bobby Timmons. He returns to the organ, which he played in his uncle’s church; this sounds like a big model, with pipes. The sound is reedy, perhaps too thick on the theme but wonderfully spooky on the solo. Notes snake around, twist around corners, all before a big beat  thrilling. Jones gets practically his only solo (he has a short turn on "Bottom"), and swoops low as the organ goes spectral. A different sound, and your ears should get acquainted. Same with this album; if you need proof Timmons is more than soul, here ‘tis. ~ AAJ Staff  http://www.allaboutjazz.com/from-the-bottom-bobby-timmons-fantasy-jazz-review-by-aaj-staff.php

Personnel:  Bobby Timmons (piano, organ, vibes); Sam Jones (bass); Jimmy Cobb (drums).

From The Bottom

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Jeff Lorber And Chuck Loeb - BOP

Styles: Jazz Fusion
Year: 2015
File: MP3@320K/s
Time: 49:23
Size: 114,1 MB
Art: Front

(3:32)  1. Straight No Chaser
(7:38)  2. A Night In Tunisia
(4:32)  3. Donna Lee
(6:22)  4. Round Midnight
(6:09)  5. St. Thomas
(6:11)  6. Confirmation
(5:28)  7. Now's the Time
(5:48)  8. All the Things You Are
(3:39)  9. Giant Steps

It’s an all-star cast, although it falls under the heading of two leaders: Jeff Lorber and Chuck Loeb. Bop (2015) is the junction of vintage jazz, a popular festival and charity. The core group consists of Lorber, Rhodes; Loeb, guitar; Everette Harp, tenor saxophone; Harvey Mason, drums; Brian Bromberg, bass; Rick Braun, trumpet and flugelhorn; and Till Broenner, trumpet. Special guests appear on selected tracks.

The ensemble goes for the jugular on the opening track, a thrilling arrangement of Thelonius Monk’s “Straight No Chaser.” After the horns bring us into the mood of the piece, Loeb takes off on a jaunt worthy of Wes Montgomery. Braun and Bronner take their turns and engage in a brief call-and-response sequence, followed by Lorber. The track ends with Braun’s signature throaty wail.  Monk’s “’Round Midnight” is also on the playlist. Eric Marienthal steps in for “Confirmation,” playing the alto saxophone. It’s one of two Charlie Parker compositions to make the session.

The other is “Now’s the Time,” a sassy, swinging tune. The horns and guitar blend beautiful on the opening. After that sequence, Loeb stretches out, his fingers deftly hopping among the strings. Harp goes old school on the tenor, Lorber puts his mark on the track as well. The finale, “Giant Steps,” brings in John Patitucci, bass; Brian Dunne, drums; and Randy Brecker, trumpet. Most of the musicians on Bop are normally associated with smooth jazz or some variant: R&B, pop instrumental, etc. To hear them play straight jazz is a treat. Lorber says it grew out of a tradition over the last six years to dedicate one night of the Berks Jazz Festival to bop, music that was popular in the late 1940s and 1950s. Over the years, Lorber and Loeb discussed using this music to raise awareness and funds for polycystic kidney disease, or PKD. It’s an ailment that has affected Lorber and his family. The musicians donated their time and resources to the project.  http://www.smooth-jazz.de/Woodrow/Lorber/Bop.htm

BOP

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David 'Fathead' Newman - Blue Head

Bitrate: MP3@320K/s
Time: 73:27
Size: 168.1 MB
Styles: Soul-jazz, Saxophone jazz
Year: 1990/2008
Art: Front

[11:09] 1. Strike Up The Band
[14:10] 2. Blue Head
[12:58] 3. Willow Weep For Me
[12:04] 4. Blues For David
[11:48] 5. What's New
[11:15] 6. Eye Witness Blues

The distinctive tenors David Newman and Clifford Jordan make for a potent team on this live jam session set which finds Jordan sitting in with Newman's quartet (which includes guitarist Ted Dunbar, pianist Buddy Montgomery, bassist Todd Coolman and drummer Marvin "Smitty" Smith). The six performances each clock in between 11 and 15 minutes with plenty of stretching out for the two veteran saxophonists, guitarist Dunbar and pianist Montgomery. "Fathead" mostly alternates between tenor and alto while Jordan switches to his rarely heard soprano on "Blues For David." The good-natured tenor tradeoffs on "Strike Up The Band" are in the tradition of Sonny Stitt and Gene Ammons, Newman's "Blue Head" is strongly reminiscent of "Goodbye Pork Pie Hat" and his alto playing on a medium-tempo "Willow Weep For Me" takes solo honors. Of the other cuts, "What's New" is a tasteful feature for Dunbar's guitar and Jordan's "Eyewitness Blues" wraps up the fine performance with a 32-bar romp. Easily recommended to straightahead jazz fans. ~Scott Yanow

Blue Head

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