The New York Allstars - Stompin' At The Savoy: The New York Allstars Play Lionel Hampton Vol 2

Bitrate: MP3@320K/s
Time: 57:11
Size: 130.9 MB
Styles: Contemporary jazz
Year: 2001
Art: Front

[9:04] 1. Seven Come Eleven
[5:48] 2. Stompin' At The Savoy
[5:48] 3. Hamp's Boogie Woogie
[5:28] 4. Stardust
[7:42] 5. How High The Moon
[6:47] 6. Pennies From Heaven
[9:48] 7. Air Mail Special
[6:43] 8. Avalon

The New York Allstars, under the leadership of trumpeter Randy Sandke, follow up an earlier tribute to Lionel Hampton with a second volume recorded during the same 1998 concert. Half of this swinging octet is made of Americans (guitarist James Chirillo, trombonist Roy Williams, and drummer Eddie Metz) while the rest are from Europe. No attempt is made to copy Hampton's famous recordings or drastically rearrange them -- it is simply good, loose, and inspired playing throughout, with no one musician hogging the spotlight. Sandke has long since earned his stripes as a soloist and bandleader, though he seems appreciated more in Europe. Clarinetist and tenor saxophonist Antti Sarpila and vibraphonist Lars Erstrand, on the other hand, deserve to be better known in the U.S., though their opportunities to perform in the land that gave birth to jazz are few. Pianist Thilo Wagner and bassist Dave Green help anchor the rhythm section. In addition to an easygoing "Stompin' at the Savoy" and a brisk "How High the Moon," alternate versions of "Air Mail Special" and "Avalon" (both of which are present on the first volume) are added, indicating that the two CDs are likely composites of two separate concerts from the same evening. This is another example of Nagel Heyer's efforts to keep swing alive without turning the music into a series of stuffy museum exhibits. ~Ken Dryden

Stompin' At The Savoy: The New York Allstars Play Lionel Hampton Vol 2

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Pier Angeli - Italia

Bitrate: MP3@320K/s
Time: 34:21
Size: 78.7 MB
Styles: Vocal
Year: 1961/2010
Art: Front

[3:35] 1. Volare
[3:16] 2. Luna Rossa
[2:54] 3. Amore Baciami
[2:37] 4. Na Voce, Na Chitarra, E 'o Poco 'e Luna
[2:17] 5. Nu Quarto Ae Luna
[2:52] 6. Aenma E Core
[2:38] 7. Torero
[2:28] 8. Say You Will Not Forget Me
[3:29] 9. Souvenir D'italie
[2:54] 10. Return To Me
[2:38] 11. Aggio Perduto O Suonno
[2:38] 12. Arrivederci Rome

Pier Angeli (19 June 1932 – 10 September 1971) was an Italian-born television and film actress. Her American cinematographic debut was in the starring role of the 1951 film Teresa, for which she won a Golden Globe Award for Young Star of the Year - Actress. Twenty years later it was rumored she was chosen to play a part in The Godfather. Filming for The Godfather began on 24 March 1971, six months before her death. When she didn't get the part, she began working on the low-budget film Octaman. She had romantic relationships with actors Kirk Douglas and James Dean before going on to marry Vic Damone.

Italia

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Nat Adderley - Don't Look Back

Styles: Cornet Jazz
Year: 1976
File: MP3@320K/s
Time: 48:34
Size: 111,3 MB
Art: Front

(6:11)  1. Funny Funny
(9:32)  2. K. High
(4:54)  3. Just a Quickie
(7:00)  4. I Think I Got It
(6:30)  5. Home
(7:33)  6. Don't Look Back
(6:53)  7. Home [Take 1]

Nat Adderley's cornet (which in its early days was strongly influenced by Miles Davis) was always a complementary voice to his brother Cannonball in their popular quintet. His career ran parallel to his older brother for quite some time. Nat took up trumpet in 1946, switched to cornet in 1950, and spent time in the military, playing in an Army band during 1951-1953. After a period with Lionel Hampton (1954-1955), Nat made his recording debut in 1955, joined Cannonball's unsuccessful quintet of 1956-1957, and then spent periods with the groups of J.J. Johnson and Woody Herman before hooking up with Cannonball again in October 1959. This time the group became a major success and Nat remained in the quintet until Cannonball's death in 1975, contributing such originals as "Work Song," "Jive Samba," and "The Old Country" along with many exciting hard bop solos. 

Nat Adderley, who was at the peak of his powers in the early to mid-'60s and became adept at playing solos that dipped into the subtone register of his horn, led his own quintets after Cannonball's death; his most notable sidemen were altoists Sonny Fortune (in the early '80s) and Vincent Herring. Although his own playing declined somewhat Adderley's chops no longer had the endurance of his earlier days Nat continued recording worthwhile sessions in the years prior to his death on January 2, 2000. Many but not all of his recordings through the years are currently available (for such labels as Savoy, EmArcy, Riverside, Jazzland, Atlantic, Milestone, A&M, Capitol, Prestige, SteepleChase, Galaxy, Theresa, In & Out, Landmark, Evidence, Enja, Timeless, Jazz Challenge, and Chiaroscuro). ~ Scott Yanow  http://www.allmusic.com/artist/nat-adderley-mn0000377060/biography

Personnel: Nat Adderley (trumpet, cornet); Ken McIntyre (flute, bass clarinet, oboe, alto saxophone); John Stubblefield (soprano saxophone, tenor saxophone); Onaje Allan Gumbs (piano, electric piano, Clavinet); Ira Buddy Williams (drums); Victor See-Yuen (congas, percussion).

Don't Look Back

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Eydie Gorme & Trio Los Panchos - Amor

Styles: Vocal
Year: 1972
File: MP3@320K/s
Time: 33:32
Size: 79,9 MB
Art: Front

(2:22)  1. Piel Canela
(2:50)  2. Y...
(2:48)  3. Nosotros
(2:42)  4. Cuando Vuelva A Tu Lado
(2:56)  5. Di Que No Es Verdad
(2:30)  6. Historia De Un Amor
(2:52)  7. Sabor A Mi
(2:57)  8. Amor
(3:22)  9. Noche De Ronda
(2:42) 10. Caminito
(2:33) 11. Media Vuelta
(2:53) 12. La Ultima Noche

Although most of her career was conducted during the rock era, traditional pop singer Eydie Gorme carved out a place for herself in several areas of entertainment. For 20 years, from the mid-'50s to the mid-'70s, she consistently scored in the pop charts, with a parallel place in the Latin pop field from the 1960s on. She appeared on television and on the Broadway stage. And she was a major nightclub entertainer, headlining in Las Vegas showrooms and around the U.S. For most of her career, she worked both solo and in a duo with her husband, Steve Lawrence.

Gorme was born Edith Gormezano, the youngest of three children of Sephardic Jewish immigrant parents (her father was a tailor from Sicily, her mother was from Turkey), in the New York City borough of the Bronx on August 16, 1931. Spanish and English were spoken in her home, and she grew up fluent in both languages. She showed an interest in singing early and made her radio debut at the age of three. By the time she was in high school, she was singing with a band led by a friend named Ken Greengrass. After graduating from high school, she got a job as a Spanish interpreter with the Theatrical Supply Export Company and attended the City College of New York at night. Soon, however, she determined to try to become a professional singer, and Greengrass became her manager. In 1950, she was hired by bandleader Tommy Tucker and toured with his group for two months. 

She then spent a year with Tex Beneke's band before going solo. In 1952, she was signed to Coral Records, which released a series of singles, beginning with "That Night of Heaven." In September 1953, she became a regular on the late-night talk show Tonight!, hosted by Steve Allen, which at that time was only broadcast in New York. Already on the show was singer Steve Lawrence. On September 27, 1954, the program began broadcasting nationally on NBC. Around the same time, Lawrence and Gorme released their first single as a duo, "Make Yourself Comfortable"/"I've Gotta Crow," the latter from the Broadway musical Peter Pan. More.. William Ruhlmann  http://www.allmusic.com/artist/eydie-gorme-mn0000128249/biography

Amor

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Slim Gaillard - Slim Gaillard Rides Again!

Styles: Vocal, Swing
Year: 1959
File: MP3@320K/s
Time: 40:37
Size: 93,6 MB
Art: Front

(2:25)  1. Oh, Lady Be Good
(2:24)  2. I Don't Stand a Ghost of a Cha
(4:36)  3. How High the Moon
(2:38)  4. Slim's Cee
(3:43)  5. One Minute of Flamenco for Thr
(2:16)  6. Chicken Rhythm
(2:52)  7. I Love You
(4:00)  8. Tall and Slim
(2:27)  9. My Blue Heaven
(2:11) 10. Thunderbird
(4:35) 11. Walking and Cooking Blues
(2:14) 12. Sukiyaki Cha Cha
(4:10) 13. Don't Blame Me

Slim Gaillard's career had stalled a bit by the time of this 1958 studio session for Dot, as his blend of comic jive vocals and jazz had likely worn a little thin. Unlike his earlier recording with bassist Slam Stewart (and later Bam Brown), Gaillard seems to pretty much abandon the mysterious hip language he referred to as "McVouty," though the emphasis is on his humorous vocals in most of the tracks with an unidentified bassist and drummer. One of the best songs is an instrumental, a blues called "Slim's Cee" featuring the leader on piano. 

Unfortunately, his routines aren't particularly amusing and haven't survived the test of time very well on either the several standards (including "Oh, Lady Be Good!" and "How High the Moon") or originals, which make up the rest of the disc; while he is adequate on piano and guitar, there's nothing included on this CD that would make this an essential purchase for anyone except the most ardent Slim Gaillard fan. It's not surprising to learn that Gaillard's opportunities to record were almost nonexistent for over a dozen years after this record was released. Like other titles in Verve's limited-edition reissue series, this title will be available only until September 2005. ~ Ken Dryden  http://www.allmusic.com/album/slim-gaillard-rides-again-mw0000226214

Personnel: Slim Gaillard (vocals, guitar, piano).

Slim Gaillard Rides Again!

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Eric Alexander - The Real Thing

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 53:58
Size: 123,8 MB
Art: Front

(6:24)  1. The Real Thing
(6:43)  2. Pure Pat
(6:44)  3. Summertime
(9:58)  4. The Night Has a Thousand Eyes
(5:57)  5. Little Boat
(5:52)  6. For George and Trane
(6:17)  7. Sleep Warm
(6:00)  8. The Chief

More than one jazz critic has claimed that listening to tenor saxman Eric Alexander unfettered and at length, is one of the greatest treats in jazz. This imposing improviser is reunited here with his mentor, the veteran pianist Harold Mabern and joined by another hot favorite, the legendary and amazing guitarist Pat Martino on three of the eight tracks. Add in the still stunning engineering of Rudy Van Gelder and the swing engendered by bassist John Webber and drummer Joe Farnsworth and you have a formula for excellence, if ever there was one. Martino and Alexander perform together often in a variety of venues and their collaborations have produced some of the most inspired playing on disc. ~ Editorial Reviews  http://www.amazon.com/The-Real-Thing-Eric-Alexander/dp/B010B796E2

Personnel: Eric Alexander (tenor saxophone); Harold Mabern (piano); Joe Farnsworth (drums);  Pat Martino (guitar); John Webber (bass).

The Real Thing

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Yvonne Walter - Close Enough

Size: 135,4 MB
Time: 58:09
File: MP3 @ 320K/s
Released: 1994
Styles: Jazz Vocals
Art: Front

01. North Sea Night (4:11)
02. You Can Let Me Go (3:39)
03. Quiet Now (4:05)
04. The Day You Left (2:49)
05. The Island (4:29)
06. Born To Be Blue (4:54)
07. Being Green (1:56)
08. Winchester In Appleblossom Time (4:48)
09. Sails (4:46)
10. People Will Try Again (3:51)
11. You Turned The Tables On Me (3:27)
12. Spring In Manhattan (3:48)
13. Inside A Silent Tear (3:41)
14. Close Enough For Love (7:38)

After singing jazz standards for more than two decades as Yvonne de Kok, she changed her artist name into Yvonne Walter (her mother’s name) and started to record her own compositions. On stage she merges jazz standards with her own songs and with today’s composers like Ivan Lins, Johnny Mandel and works of the hands of talented friends.
Yvonne Walter was born in Eindhoven, a town in the southern part of the Netherlands. She started studying piano at the age of seven and in her teens, she performed as a singer in high school bands. At that time she started to compose songs. Yvonne lives in Antwerp, Belgium.
Yvonne likes to work with different accompanists to keep the real jazz spirit high. Although she will not avoid arrangements, which are necessary for a larger band, she prefers the challenge of a fresh rendition in duo, trio or quartet in which her only demands are tempo, rhythm and key.

Close Enough

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Matt Hopper - First Love

Size: 111,6 MB
Time: 48:11
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Guitar Jazz, Hammond Organ
Art: Front

01. Green Lady Low Down (3:15)
02. Song For Wes (4:53)
03. Heartbreak Hurts (4:07)
04. Set Your Fears Aside (7:08)
05. First Love (9:51)
06. Straight Chill'n' (4:57)
07. Darn That Dream (8:23)
08. My Ideal (5:34)

First Love is the debut release by Kansas City jazz guitarist and composer Matt Hopper.

Matt has studied and absorbed the rich history of jazz guitar and the blues drenched tradition of Kansas City jazz. Matt's playing and approach to composing, however, is original rather than derivative. His unique playing reflects the romantic, Spanish roots of the guitar. Matt has also explored the rich musical culture of Brazil with frequent trips playing and listening to music and just hanging out with new friends.

On First Love, Matt brings all of these influences to bear as he creates something new. The instrumentation is the traditional organ jazz trio format: guitar, hammond organ, and drums.

Drummer Kevin Frazee has worked with Matt for many years. Initially, they played music together with jazz organ master and musical mentor to many, Everette DeVan. Organist Ken Lovern has worked with both Kevin and Matt often, and their musical empathy and telepathy are present in both the arrangements and the numerous extended solos.

The material for this release developed over several years during weekly gigs at Kansas City's Green Lady Lounge. The release includes 6 original compositions and 2 new arrangements of jazz standards.

First Love

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Miriam Aida - Quatro Janelas

Size: 103,7 MB
Time: 44:37
File: MP3 @ 320K/s
Released: 2015
Styles: Samba, Brazilian Rhythms
Art: Front

01. Poeira De Estrelas (3:44)
02. Agbara (3:49)
03. Agora Sou Eu (3:53)
04. O Melro (4:15)
05. Starman (O Astronauta De Marmore) (3:47)
06. Semente (4:38)
07. Stiff Necked Fools (Pessoas Normais) (3:44)
08. No Ritmo Do Tambor (3:36)
09. Depois Do Fim (5:02)
10. Consolaçao (3:22)
11. Estampas De Solidao (4:43)

Miriam Aïda is releasing her new album ”Quatro Janelas” (Connective Records) in December and the album contains mostly original music, with lyrics by 4 brazilian lyricists: Etel Frota, Adriana Sydor, Alexandre Lemos and Thiagu Gentil.

The music of Miriam Aïda and her band, Mats Andersson on 7 string acoustic guitar, Ola Bothzén and Finn Björnulfson on percussion, is a lovely mix of samba from Rio, afro-Brazilian rhythms from candomblé and capoeira with influences of reggae, jazz and soul, and along with their own Swedish musical background, they create a unique vibe with a strong identity and sound.

Except the original songs, the album also includes versions of Bob Marley’s Stiff Necked Fools, David Bowie’s Starman and Baden Powell’s Consolacão – all with portuguese lyrics.

Quatro Janelas

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Jazz House Blues Band - Fusion: To The Core

Size: 100,9 MB
Time: 39:02
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Blues. Fusion
Art: Front

01. Bytown Be Bop (2:22)
02. Love That Thing (2:52)
03. Feed My Cat (2:58)
04. Dry Your Eyes (3:03)
05. Uptown Jungle Jive (2:54)
06. Love That Smile (2:28)
07. Gonna Get You (2:48)
08. Tight Squeeze (2:34)
09. Rocking With Roley (3:00)
10. Shoeless Monday (2:50)
11. Three Thirty Blues (2:44)
12. She Said Goodbye (2:40)
13. Blue City Nocturne (2:56)
14. Blues In The Night (2:46)

With all the advances in audio technology over the years, they still can't synthesize the sound of a wailing saxophone played by someone who has been around the block a few times. Live musicians playing traditional instruments bring an unparalleled and unique character to the music. On bass and keyboards is the amazing Jim Owens. On lead guitar is the fabulous Scott Hatton . Blowing hot tenor sax is Brian Asselin and Sam Cousineau. Vocals are done by Fiona Hammond and the Jazz house Blues Band singers. We know you'll enjoy the music.

Fusion: To The Core

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Ritsuko Iwayama - Dramatic Moments

Size: 129,2 MB
Time: 55:29
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. A Nightingale Sang In Berkley Square (5:50)
02. Puttin' On The Ritz (3:21)
03. Emmanuelle Song (6:09)
04. Fever (4:21)
05. In The Wee Small Hours Of The Morning (4:26)
06. The April Fools (4:14)
07. But Not For Me (5:15)
08. Moon River (4:13)
09. The Long And Winding Road (3:45)
10. Love Is A Necessary Evil (3:32)
11. The Shadow Of Your Smile (4:37)
12. The Windmills Of Your Mind (5:41)

Born in Tokyo, Japan.
Ritsuko has grown up with classical music in childhood with her father who was an enthusiast of the music, especially Bach, and he occasionally listened to the Jazz band, Jacques Loussier Trio, playing Bach. That was her first experience of Jazz, although it had been a long time to get close into Jazz in the next place.

Ritsuko passed an audition of Toho movie company in her high school age and became an actress and the screen name was Mai Tachihara. While she performed a professional actress, she went on to a college and her major was acting. In the college, she learned Japanese new/old stage acting, Classical Japanese dance, shamisen, Japanese classical strings, and Japanese drum. After graduation, Ritsuko, Mai Tachihara, has been performing an actress on TV drama, movie, theater and commercial film up to the present date.

Ritsuko happened to visit the Jazz Club Daphne in Kamakura for the first time immediate before her 40th birthday with her mother who was a regular customer of the club. That was her second and big encounter with Jazz. After that she has been participating regularly in the sessions of Jazz vocalists of Daphne, which was held at the club monthly. She had learned how to sing Jazz songs and some of the people she met there gave her chances to sing on live stage at Jazz club. At first she enjoyed singing Jazz as a hobby, however, Ritsuko had been increasingly fascinated with Jazz and started to perform singing professionally while she was working as an actress.

In 2014, Ritsuko stayed in New York City to learn more about Jazz. She studied with Carol Fredette and Marianne Solivan about vocal training. And she attended workshops of Barry Harris, Marion Cowings and Bob Stroof and some jam sessions and she began to build a friendship with many Jazz musicians in NYC.

Ritsuko’s life has changed with Jazz. She started the career as a professional Jazz vocalist which even herself had not expected. Jazz makes her believe all the experiences in her life, whether good or not, are wonderful. Ritsuko has her mind on singing and acting wholeheartedly with her own experiences.

Currently, Ritsuko is performing regularly at the Jazz clubs in Tokyo, Yokohama and Kamakura.

Dramatic Moments

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Al Strong - Love Strong Vol. 1

Size: 139,3 MB
Time: 60:13
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz, Funky Blues
Art: Front

01. Getaway 9 (Feat. Jeremy Bean Clemons) (5:04)
02. The Itsy Bitsy Spider (Feat. Ira Wiggins & The Kidznotes Mozart Chorus) (5:28)
03. Lilly's Lullaby (Feat. Joey Calderazzo) (4:57)
04. Ci's Blues (7:01)
05. My Favorite Things (4:47)
06. Fond Of You (6:15)
07. Liquid (7:17)
08. Voyage (8:57)
09. Was (Feat. Devonne Harris) (5:02)
10. Blue Monk (Feat. James Saxmo Gates & Brian Miller) (5:22)

Raised in the city that created Go-Go music, Washington, DC, Strong undoubtedly carries an affinity for dance music of all disciplines. Many of his influences can be heard on his debut album Love-Strong, set to be released at the top of the year. Love-Strong is a "feel good" record for people who just like to feel good. This album traverses through various moods and colors of Strong's life experiences and is sure to capture the ear of unassuming listeners who may not usually listen to what is commonly called, jazz music. The listener who is well adept to improvisation and the blues will certainly be in for a treat as well, as they will find quite a few moments when the musicians on this album tell stories of struggle, triumph, mystery, and LOVE. This body of work has been several years in the making, as Strong balances his adjunct teaching responsibilities at North Carolina Central University, as well as festivals, shows, and summer jazz camps with his non-profit organization, The Art of Cool Project.
The goal for creating an album such as Love-Strong is to positively contribute to the body of work that already exist in the realm of music by so many other well-versed and well-traveled artists. These artists have paved the way for him and many others, believing in their musical connection with the creator and mankind. In addition to having the pleasure of performing for artists such as Branford Marsalis and Aretha Franklin, you can hear Al Strong's sound on a number of other projects available for distribution. These artists include Yazarah, Soul Understated featuring Mavis "Swan" Poole, and The Foreign Exchange.

Love Strong Vol. 1

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Lester Young - Lester Young With The Oscar Peterson Trio

Bitrate: MP3@320K/s
Time: 62:56
Size: 144.1 MB
Styles: Piano/Saxophone jazz, Mainstream jazz
Year: 1952/1997
Art: Front

[5:50] 1. Ad Lib Blues
[3:38] 2. I Can't Get Started
[7:36] 3. Just You, Just Me
[3:30] 4. Almost Like Being In Love
[7:42] 5. Tea For Two
[3:24] 6. There Will Never Be Another You
[7:01] 7. (Back Home Again In) Indiana
[3:23] 8. On The Sunny Side Of The Street
[3:31] 9. Stardust
[3:38] 10. I'm Confessin' (That I Love You)
[3:19] 11. I Can't Give You Anything But Love
[3:23] 12. These Foolish Things
[6:03] 13. (It Takes) Two To Tango Rehearsal, False Start And Chatter, ..
[0:52] 14. I Can't Get Started

Defying what has become conventional wisdom, tenor saxophonist Lester Young cut some of his greatest recordings in the 1950s -- that is, when he was reasonably healthy. On this wonderful effort with pianist Oscar Peterson, guitarist Barney Kessel, bassist Ray Brown, and drummer J.C. Heard, Prez performs definitive versions of "Just You, Just Me" and "Tea for Two," and plays a string of concise but memorable ballad renditions: "On the Sunny Side of the Street," "Almost Like Being in Love," "I Can't Give You Anything But Love," "There Will Never Be Another You," and "I'm Confessin'." This is essential music from a jazz legend. [Some reissues augment the original dozen songs with a version of the good-humored "It Takes Two to Tango," which features Young's only recorded vocals, plus a rather unnecessary false start (on "I Can't Get Started," ironically), along with some studio chatter.] ~Scott Yanow

Lester Young With The Oscar Peterson Trio

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Jake Langley - Movin' And Groovin'

Bitrate: MP3@320K/s
Time: 52:40
Size: 120.6 MB
Styles: Guitar jazz
Year: 2006
Art: Front

[6:08] 1. Dis Here
[6:56] 2. Jeanine
[7:28] 3. Who Can I Turn To
[4:42] 4. Uptown
[7:57] 5. Canadian Sunset
[5:23] 6. Jingles
[4:32] 7. Take It Easy
[5:11] 8. Minor League
[4:17] 9. Crazy She Calls Me

Jake Langley: guitar; Joey DeFrancesco: Hammond B3; Byron Landham: drums.

It would be wholly inappropriate to say that guitarist Jake Langley "as arrived." In fact, he arrived a long time ago and makes up one third of one of two working bands that Hammond B3 master, Joey DeFrancesco takes on the road. On Movin' & Groovin' DeFrancesco and drummer, Byron Landham return the favor. It is a truly joyful spirit union for the three musicians. Langley believes that during the recording, the spirit of Hammond B3 master, Jimmy Smith moved and grooved with the three musicians, almost like a muse. This is a legend that is easy to subscribe to. After all, Smith bequeathed his beloved instrument to DeFrancesco and to this day the disciple has never disappointed the master.

But here the spotlight is assuredly on Jake Langley. There was a time when he, like many Canadian musicians of his age, was little known outside Canada. Now he tours some 200 days a year, many of these with DeFrancesco and is less known—certainly less heard—in Canada. Fortunately, producer Peter Cardinali has ensured that many an artist has a voice here in Canada. This is his second production for Langley, the first to be available through a distribution arrangement with Ryko in the US. And it is just as well...

Jake Langley is in fine form right from the first curved notes of Bobby Timmons' "Dis Here." There is something about Langley that few guitarists today are able to serve up, and that is, the ability to make their instruments sing like human voices. His, however, is distinct, throaty and soaring, whether he is playing single note lines, octaves or chords. The result is like having a fourth member in the band: a vocalist. This lesser-known Timmons' classic is delivered in inimitable style: racy, bluesy with robust machismo.

Joey DeFrancesco, a class act, is on top of his game, as always. It appears that his instrument—the Hammond B3—is an umbilical extension of him, and that his fingers have minds of their own. He is especially exquisite on Duke Pearson's "Jeanine," with its classic, 'weeping' melodic line. No harm then if the trio favors Pearson with another chart of "Minor League," with its racy, chopped, near-Cubist melody, which textures both Langley and DeFrancesco paint with wonderful colors. Langley also brought two blues charts to the gig. "Take it Easy" is the heavier, more moving track of the two, Langley and DeFrancesco sounding noirish throughout.

Byron Landham and Langley have a rollicking time on "Minor League" as they exchange fours and it is one of the few times that one notices that Landham is, in fact, there at all. So wonderful a listener and steady a cohort is he throughout the gig. Not generally known for flash, Landham is a melodic percussionist who holds his line with classic grace and sophistication and leaves his rhythmic imprint on this fine set, together with Joey DeFrancesco and of course, the leader, Jake Langley. ~RAUL D'GAMA ROSE

Movin' And Groovin'

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Anita Kerr Singers - Remember The 60s & The 70s?

Bitrate: MP3@320K/s
Time: 59:52
Size: 137.1 MB
Styles: Easy Listening, Vocal harmonies
Year: 1973/2003
Art: Front

[2:53] 1. All You Need
[4:28] 2. My Coloring Book
[3:37] 3. Sunny
[3:21] 4. Michelle
[3:37] 5. Eleanor Rigby
[4:08] 6. Fool On The Hill
[3:04] 7. If Not For You
[2:54] 8. If
[5:03] 9. Something In The Way She Moves
[2:22] 10. Yesterday
[3:27] 11. Good Vibrations
[3:33] 12. Superstar
[3:01] 13. You Are The Sunshine Of My Life
[4:39] 14. Your Song
[4:17] 15. You've Got A Friend
[5:20] 16. Bridge Over Troubled Water

In the 1950s and '60s, the Anita Kerr Singers were one of the most popular group of backup vocalists in all of country music, appearing on countless recordings by renowned Nashville artists. Kerr was the group's leader, but was joined by alto Dottie Dillard, tenor Gil Wright, and baritone Louis Nunley, as the quartet initially gained attention by performing on the NBC radio program Sunday Down South in the early '50s, which led to a contract with Decca Records. In 1956, the Anita Kerr Singers landed a spot on the New York-based Arthur Godfrey Talent Scouts TV show, which led to further broadcast appearances (although the group never let their session work for others subside). Around the same time, Chet Atkins (then the head of RCA Records' country division) took the group under his wing, which led to the quartet appearing on countless recordings by renowned artists. The Singers continued to record and tour straight through the '60s, even managing to issue several of their own albums, including Anita Kerr Singers Reflect on the Hits of Burt Bacharach & Hal David, Velvet Voices and Bold Brass, and Simon & Garfunkel Songbook, among others. ~bio by Greg Prato

Remember The 60s & The 70s?

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Roy Haynes - Further Up The Road

Bitrate: MP3@320K/s
Time: 76:08
Size: 174.3 MB
Styles: Bop, Avant-Garde
Year: 2015
Art: Front

[ 6:57] 1. Sweet And Lovely
[ 5:56] 2. Gone Again
[ 3:43] 3. As Long As There's Music
[11:18] 4. After Hours
[ 6:38] 5. Moonray
[ 4:20] 6. Reflection
[ 6:59] 7. Cymbalism
[ 8:50] 8. Solitaire
[ 4:20] 9. Sneakin' Around
[ 3:28] 10. Some Other Spring
[ 7:03] 11. Speak Low
[ 6:31] 12. Con Alma

A veteran drummer long overshadowed by others, but finally gaining recognition for his talents and versatility, Roy Haynes has been a major player since the 1940s. He worked early on with the Sabby Lewis big band, Frankie Newton, Luis Russell (1945-1947), and Lester Young (1947-1949). After some engagements with Kai Winding, Haynes was a member of the Charlie Parker Quintet (1949-1952); he also recorded during this era with Bud Powell, Wardell Gray, and Stan Getz. Haynes toured the world with Sarah Vaughan (1953-1958); played with Thelonious Monk in 1958; led his own group; and gigged with George Shearing, Lennie Tristano, Eric Dolphy, and Getz (1961). He was Elvin Jones' occasional substitute with John Coltrane's classic quartet during 1961-1965, toured with Getz (1965-1967), and was with Gary Burton (1967-1968). In addition to touring with Chick Corea (1981 and 1984) and Pat Metheny (1989-1990), Haynes has led his own Hip Ensemble on and off during the past several decades. When one considers that he has also gigged with Miles Davis, Art Pepper, Horace Tapscott, and Dizzy Gillespie, it is fair to say that Haynes has played with about everyone. He led dates for EmArcy and Swing (both in 1954), New Jazz (1958 and 1960), Impulse (a 1962 quartet album with Roland Kirk), Pacific Jazz, Mainstream, Galaxy, Dreyfus, Evidence, and Storyville. In 1994, Haynes was awarded the Danish Jazzpar prize, and two years later, he received the prestigious French Chevalier des l'Ordres Artes et des Lettres. In the late '90s, Haynes formed a trio with pianist Danilo Perez and bassist John Pattitucci, and they released their debut album, The Roy Haynes Trio Featuring Danilo Perez & John Pattitucci, in early 2000 on Verve. Haynes' son Graham is an excellent cornetist. Haynes paid tribute to Charlie Parker in 2001 with Birds of a Feather, his fourth release for the Dreyfus Jazz label, which was subsequently nominated for a Grammy in 2002; Fountain of Youth followed two years later. Also released in 2004, Quiet Fire compiled two of his prior releases for Galaxy (1977's Thank You Thank You and 1978's Vistalite) into one back-to-back record. Whereas appeared in mid-2006, and it earned Haynes a Grammy nomination for Best Jazz Instrumental Solo. ~Biio by Scott Yanow

Further Up The Road

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Barney Wilen - Modern Nostalgie (Starbust Forever)

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 65:58
Size: 155,6 MB
Art: Front

(6:07)  1. Forever
(7:56)  2. Angelica
(5:04)  3. Recado
(4:28)  4. Espinhos Do Ser
(5:01)  5. Wave
(4:59)  6. Bemsha Swing
(4:01)  7. Darn That Dream
(5:31)  8. Stardust
(7:17)  9. In A Sentimental Mood
(2:38) 10. J'ai Le Cafard
(4:48) 11. Tu Ne Sais Pas Aimer
(4:42) 12. Tenderly
(3:18) 13. As Time Goes By

Barney Wilen's mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960). Wilen began working in a rock-influenced style during the '60s, recording an album entitled Dear Prof. Leary in 1968. In the early '70s, Wilen led a failed expedition of filmmakers, musicians, and journalists to travel to Africa to document pygmy music. Later Wilen played in a punk rock band called Moko and founded a French Jazzmobile-type organization that took music to people living in outlying areas. He also worked in theater. By the mid-'90s, he was working once again in a bebop vein in a band with the pianist Laurent de Wilde. Much of Wilen's later work was documented on the Japanese Venus label. ~ Chris Kelsey  http://www.allmusic.com/artist/barney-wilen-mn0000117853/biography

Personnel:  Barney Wilen Sax (Tener, Alto, Soprano);  Olivier Hutman (Piano);  Gilles Naturel (Bass ); Peter Gritz (Drums);  Rovert Persi (Piano);  Leonardo Ribeiro (Guitar);  Serge Marne (Percussion);  Marie Moor (Vocal)

Modern Nostalgie (Starbust Forever)

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Arnett Cobb, Dizzy Gillespie, Jewel Brown - Show Time

Styles: Vocal, Trumpet and Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 41:21
Size: 95,1 MB
Art: Front

(7:25)  1. Sweet Mama
(4:28)  2. Nearness Of You
(5:46)  3. Just A Closer Walk With Thee
(3:23)  4. Kathy's Blues
(5:06)  5. This Bitter Earth
(4:32)  6. Time After Time
(7:29)  7. Night In Tunisia
(3:09)  8. Jazz Heritage Boogie

Tenor saxophonist Arnett Cobb's next-to-last recording was cut at a concert in Houston that was held to celebrate his 69th birthday. Cobb is in typically fine form. He plays three numbers with a rhythm section comprised of four local players; best is "Just a Closer Walk with Thee" although the lack of any romps is disappointing. His friend trumpeter Dizzy Gillespie helps out on two songs, an okay version of "Night in Tunisia" (Dizzy was past his prime) and "Sweet Mama" which contains some of Gillespie's humorous vocalizing. Jewel Brown, best-known for singing with Louis Armstrong in the 1960s, made her first public appearance in 17 years for this date, resulting in two so-so numbers. Closing the album is veteran pianist Sammy Price jamming a blues in a trio. This CD is a mixed bag, not essential but generally quite interesting. ~ Scott Yanow  http://www.allmusic.com/album/showtime-mw0000197698

Personnel: Arnett Cobb (tenor saxophone); Dizzy Gillespie (vocals, trumpet); Jewel Brown (vocals); Paul English, Kenny Andrews, Sammy Price (piano); Clayton Dyess (guitar); Derrick Lewis (bass); Mike Lefebvre, Malcolm Pinson (drums).

Show Time

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Clea Bradford - Her Point Of View

Styles: Vocal
Year: 1968
File: MP3@320K/s
Time: 37:57
Size: 88,0 MB
Art: Front

(2:55)  1. My Love's A Monster
(3:19)  2. Spring Is Here
(3:00)  3. Summertime
(2:56)  4. The Thrill Is Gone
(2:51)  5. Bye Bye Blackbird
(3:11)  6. Think About That
(2:59)  7. I Need Love
(3:18)  8. A Place In The Sun
(2:48)  9. What Is This Thing Called Love
(2:59) 10. Anything Goes
(4:23) 11. Any Day Now
(3:12) 12. The View From Up Here

Vocals. Exuberant jazz and blues vocalist who had series of good albums released in '60s, enjoyed some success with Cadet in late '60s, though these were more soul-oriented records arranged by Richard Evans. She had more straight jazz sessions with Clark Terry, Oliver Nelson and others on Mainstream, Tru-Sound. ~ Ron Wynn  http://www.allmusic.com/artist/clea-bradford-mn0001161653/biography

Her Point Of View

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Mark Weinstein - In Jerusalem

Styles: Flute Jazz
Year: 2015
File: MP3@320K/s
Time: 46:29
Size: 108,6 MB
Art: Front

(7:26)  1. Berditchever Nigun
(4:40)  2. Repozarás
(6:27)  3. Mizmor L' David
(4:40)  4. Yaakov U' Malka
(8:44)  5. Adayin Chashoock
(3:42)  6. Ozidanie
(4:08)  7. Meir's Nigun
(6:39)  8. Breslov Nigun

Flutist Mark Weinstein has made a career of fusing world music elements with jazzy sensibilities with finesse and style. On In Jerusalem he tackles the rich Hasidic heritage of song. He and his band interpret both secular and religious tunes as well as original compositions with delightful spontaneity and ethereal diapason. The Sabbath hymn "Repozaras" opens with Weinstein's flute dancing over bassist Gilad Abro's oud like strums and dual thumping gallop of drummer Haim Peskoff and percussionist Gilad Dobrecky. Weinstein embellishes the melodic theme with lyricism and effervescence while Dobrecky lays down infectious rhythms. The resulting ambience is uplifting and celebratory. Dobrecky engages Haim Peskoff in a thunderous and thrilling duet on the blues-flavored take of "Mizmor L'David." Guitarist Steve Peskoff takes center stage with a complex, pensive improvisation that simmers with reserved passion. Weinstein deftly expands on the song's motifs with a fluid and soulful approach all the while preserving its mystical essence.

The Russian dance "Ozidanie" is performed gently like a lullaby as Weinstein's mellifluous lines float within a hypnotic atmosphere. Dobrecky's instruments chime and cascade like rainfall while Haim Peskoff spellbinding solo complements Abro's deeply sonorous and heady reverberations. Abro demonstrates breathtaking agility as he constructs a complex extemporization with surefootedness and alacrity on Steve Peskoff's cinematic "Adayin Chashoock." Weinstein showcases his characteristic charm and elegance as his warm, thick phrases undulate over the rumbling, rattling refrains. Peskoff's unhurried and expressive string work builds a captivating monologue that draws upon Middle Eastern harmonies and Western Classical structural rigor. The engaging album concludes on a high note with the sublime "Breslov Nigun." Rolling thuds and primal beats set a dramatic ambience that Weinstein's muscular, yearning flute enhances. 

Steve Peskoff's thick resonant chords add a serene and solemn mood. An intriguing group conversation gives way to Abro's poetic and angular monologue. Weinstein's expectant and evocative tones close the piece with nocturnesque melancholy. ~ Hrayr Attarian  http://www.allaboutjazz.com/in-jerusalem-mark-weinstein-zoho-music-review-by-hrayr-attarian.php
 

Personnel: Mark Weinstein: concert, alto and bass flutes; Steve Peskoff: guitar; Gilad Abro: bass; Haim Peskoff: drums; Gilad Dobrecky: percussion.

In Jerusalem

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