Larry Coryell - Cedars of Avalon

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 58:17
Size: 135,7 MB
Art: Front

(5:14)  1. Cedars of Avalon
(7:44)  2. Bemsha Swing
(6:34)  3. Fantasy in D
(7:01)  4. Theme for Ermie
(2:37)  5. Limehouse Blues
(6:28)  6. D-Natural Blues
(7:29)  7. What's New
(6:12)  8. Newest Blues
(6:11)  9. It Could Happen to You
(2:43) 10. Shapes

Spanning more genres than most of the guitarists his age, Larry Coryell was there when fusion was making its first appearance. Although largely unacknowledged, Gary Burton’s early RCA sides found Coryell playing with an edgy rock-inflected tone that was just as responsible for a new era in jazz as such commonly cited fusion classics like Miles Davis’ In a Silent Way and Bitches Brew. The guitarist’s own Eleventh House band would also challenge John McLaughlin’s Mahavishnu Orchestra, with the latter getting much of the press at the time. However, most recently its been a mainstream stance which has marked Coryell’s appearance on Joe Fields’ HighNote label, the best of these being the newly issued Cedars of Avalon.

Recorded in full 24-bit splendor by the legendary Rudy Van Gelder, the first thing you’ll notice about this latest offering from Coryell is an almost tube-like warmness to the sound that is the antithesis of modern digital technology. Coryell’s guitar is presented in burnished tones that blend ever so splendidly with pianist Cedar Walton’s crystalline middle and upper registers. Buster Williams’ bass has just enough bottom edge presence to buoy the entire ensemble, but without being a bit muddy. It’s only drummer Billy Drummond who seems to be a bit low in the mix, but that’s only in comparison to his Criss Cross appearances where he’s given such a forward presentation. With a sagacious tune selection, Coryell brings the tempos up and down in similar fashion to building a good live set. His title track and opening homage to Cedar Walton has a nice lilting feel to it and everyone seems to be equally comfortable in navigating its tricky turns. Monk’s “Bemsha Swing” kicks in with a crafty opening vamp, later to be distinguished by Coryell’s use of octaves, the Montgomery inspiration evident again in a rendition of Wes’ “D Natural Blues.” Walton’s own “Fantasy in D” reminds us of the pianist’s value as a composer and “Theme For Ernie” (mistakenly listed as “Ermie” on both the back cover and disc) gives Coryell room to stretch out at a ballad tempo. Two tracks, “Limehouse Blues” and “Shapes,” find Coryell over-dubbing acoustic guitars and Van Gelder’s artfully etched sound works wonders for these mini masterpieces. Two more standards and Walton’s “Newest Blues” round out this most enjoyable mainstream set that might surprise some Coryell fanatics but which will easily please all. ~ C.Andrew Hovan  http://www.allaboutjazz.com/cedars-of-avalon-larry-coryell-review-by-c-andrew-hovan.php

Personnel: Larry Coyell (guitar), Cedar Walton (piano), Buster Williams (bass), Billy Drummond (drums)

Cedars of Avalon

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Martin Taylor - Portraits

Styles: Guitar Jazz
Year: 1995
File: MP3@320K/s
Time: 62:34
Size: 143,8 MB
Art: Front

(3:57)  1. Shiny Stockings
(4:59)  2. Like Someone In Love (Solo)
(3:56)  3. Sweet Lorraine
(4:09)  4. I Got Rhythm
(4:49)  5. Why Did I Choose You?
(5:02)  6. My Funny Valentine
(5:12)  7. Do You Know What It Means ?
(4:30)  8. I Remember Clifford
(3:52)  9. Ol' Man River (Solo)
(4:29) 10. Here, There And Everywhere
(3:45) 11. In A Mellow Tone (Solo)
(4:11) 12. My one and only love
(3:58) 13. Kiko
(5:38) 14. Very Early

Taylor's fifth release for Linn combines solo recordings along with a few duets with Nashville legend Chet Atkins and a pair of overdubbed duets. Taylor's fluid, unaccompanied playing makes him the most obvious heir to the legacy of Joe Pass. All of Martin Taylor's recordings for the Scottish label Linn are strongly recommended. ~ Ken Dryden  http://www.allmusic.com/album/portraits-mw0000080456

Personnel: Martin Taylor, Chet Atkins (guitar).

Portraits

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Earl Hines - Fatha & His Flock On Tour

Size: 101,5 MB
Time: 40:09
File: MP3 @ 320K/s
Released: 1970/2015
Styles: Jazz: Piano Jazz, Vocals
Art: Front

01. I Just Wanna Make Love To You (3:40)
02. Second Balcony Jump (5:08)
03. Passion Flower (2:56)
04. My Heart Stood Still (3:29)
05. I Feel So Smootchy (2:16)
06. All Of Me (2:58)
07. Somebody Loves Me (2:37)
08. One Night In Trinidad (2:44)
09. Cannery Walk (2:49)
10. Things Ain't What They Used To Be (3:01)
11. Yellow Blues Blues (4:17)
12. Easy To Love (4:09)

This somewhat obscure MPS LP features pianist Earl Hines' working band of 1970. Most notable is singer Marva Josie's effective version of "I Just Wanna Make Love To You" that opens the date (although musically, this Chicago electric blues classic is a bit out of place). Josie also pops up on three other songs (including Hines' "Night In Trinidad"), but makes less of an impact on those numbers. Not enough is heard from Haywood Henry (doubling on baritone and clarinet), and the pianist's solos are not as lengthy or explorative as usual. However, there are some bright moments, most notably "Second Balcony Jump" and three solo Hines features. ~by Scott Yanow

Fatha & His Flock On Tour

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Rebecca Binnendyk - Some Fun Out Of Life

Size: 108,7 MB
Time: 46:38
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Put Your Records On (5:02)
02. Night Ride Home (3:43)
03. Sometimes I'm Happy (3:09)
04. Getting Some Fun Out Of Life (2:24)
05. Stars (3:27)
06. Sky Won't Fall (3:39)
07. You'll Be In My Heart (Kala's Lullaby) (4:22)
08. Live Now (3:42)
09. You Give Love A Bad Name (4:25)
10. Let's Do It (Let's Fall Iin Love) (3:59)
11. The Nearness Of You (5:07)
12. Smile (3:34)

One of the most positive and upbeat persons you'll meet, Rebecca Binnendyk's personality shines through on her upcoming debut album, Some Fun Out Of Life.

This album is refreshingly eclectic in its song selections. American Songbook standards by, amongst others, Cole Porter and Hoagy Carmichael are given fresh life via Binnendyk's supple, pure and versatile vocals, while her renditions of more contemporary tunes by Corinne Bailey Rae ("Put Your Records On"), Joni Mitchell ("Night Ride Home") and Phil Collins ("You'll Be In My Heart") fit seamlessly alongside, as does the most left-field choice here, Bon Jovi's hit "You Give Love A Bad Name."

As the title suggests, the mood is predominantly light and upbeat, making for a fun listening experience. Binnendyk is a new talent to watch very closely.

Some Fun Out Of Life

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Lorenzo Minguzzi New Organ Trio - N.o.t. For Me

Size: 132,5 MB
Time: 57:07
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz: Hammond Organ
Art: Front

01. Il Viaggiatore (2:53)
02. Bruma (6:20)
03. Never See Your Face Again (5:37)
04. Lunch At The Fast Food (5:14)
05. Que Linda Flor (4:04)
06. Shut Up! (4:31)
07. Argonauta (6:47)
08. Adriano (3:23)
09. Kje Je Roki (Ghost Track) (5:12)
10. Simenon E Paasilinna (3:26)
11. Dark And Grey (4:22)
12. When Everything Is Over (5:13)

Personnel:
Lorenzo Minguzzi: Guitar
Bruno Erminero: Organ
Paolo Franciscone: Drums

N.o.t. For Me

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Claffy - Claffy

Size: 101,4 MB
Time: 36:09
File: MP3 @ 320K/s
Released: Claffy
Styles: Jazz, Vocals
Art: Front

01. Preface (1:47)
02. Chapter 1 Blossoms, As They Wilt Away (5:31)
03. Chapter 2 July 30th 2.12 PM JFK-ZRH (3:37)
04. Chapter 3 I'll Be Seeing You (2:17)
05. Chapter 4 Don't Let It Bring You Down (2:25)
06. Don't Let It Bring You Down (Outro) (3:38)
07. Chapter 5 (Memories Of) Her Flat (7:14)
08. Chapter 6 With A Song In My Heart (4:42)
09. Epilogue (4:54)

Rising bassist Alexander Claffy delivers a full stream of his self-titled debut CLAFFY LP, out now via Ropeadope Records. The project from The New School alum boasts five original compositions and a striking take on the celebrated standard “I’ll Be Seeing You.” Billed as “a deeply personal story of heartbreak,” the 9-track release features Matt Stevenson on vocals, Victor Gould on piano, Michael King on organ and keys, Benny Benack III on trumpet, Ben Eunson on guitar, Matt Chalk and Troy Roberts on saxophone, Kyle Poole and Jonathan Barber on drums and David Gibson on trombone.

23 year old Alexander Claffy was raised in a musical household (his father is a pianist, his mother, a vocalist), and had many of his earliest lessons on bandstands in the heart of Philadelphia. As a teenager, Claffy was fortunate enough to find a mentor in many Philly natives, and has continued his study of the double bass with some of the world's finest musicians, including Ron Carter, Dwayne Burno and Orin O'Brien. Since moving to New York City in 2011, he has had the honor of working with many of his living heroes, including Johnny O'Neal, Jimmy Cobb, Louis Hayes, Sean Jones, Russell Malone, Christian Scott, Wallace Roney and many more. In the past 3 years he has appeared on records with Victor Lewis, Orrin Evans, JD Allen and more. Alexander currently resides in Harlem.

Claffy

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Malene Kjaergard - Here's To The Ladies

Size: 135,5 MB
Time: 58:00
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Come Rain Or Come Shine (4:11)
02. This Is I (5:16)
03. Spring Is Here (4:48)
04. Ladies Who Lunch (5:04)
05. These Boots Are Made For Wakling (5:08)
06. The Beauty Of It All (3:37)
07. I'm A Girl (4:02)
08. Throw It Away (5:43)
09. Put On A Happy Face (4:35)
10. Move Along (4:31)
11. The More I See You (5:36)
12. When Will I See You Again (5:24)

Jazz vocalist Malene Kjærgård was born in Copenhagen, but raised in the suburb of Kolding. Malene's childhood was filled with music, theater and arts of all kinds. In 2007 Malene moved back to Copenhagnen where she performs as a singer in many different collaborations. In november 2012 Malene got the 2. place in DPA's competition "Young Jazz Composer of the Year" with her composition "Temporary Love Affair". In april 2013 Malene's debut album "Happy Feet" was released at Calibrated Music. Songs from her CD are being played at the Danish National Radio Jazz Channel P8, and she was the 3rd most played artist in october 2013 with the song "Undecided" from her debut album. Malene is educated as Singer and Vocal Coach from Complete Vocal Institute in Copenhagen, she has studied acapella vocal improvisation in NY, Hawaii, Italy, Holland and Denmark and she teaches singing students on a daily basis.

Here's To The Ladies

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Dick Hyman & Tom Pletcher - If Bix Played Gershwin

Styles: Piano And Cornet Jazz
Year: 2004
File: MP3@320K/s
Time: 59:55
Size: 137,8 MB
Art: Front

(2:55)  1. I Got Plenty O' Nuttin'
(3:51)  2. Oh, Lady, Be Good!
(3:36)  3. Sweet and Low-down
(3:27)  4. I Got Rhythm
(2:58)  5. But Not for Me
(2:56)  6. Kongo Kate
(3:27)  7. I've Got a Crush on You
(3:00)  8. Rialto Ripples
(3:16)  9. The Half of It, Dearie, Blues
(3:20) 10. 'S Wonderful
(2:48) 11. Yankee Doodle Rhythm
(2:54) 12. I Was So Young
(3:01) 13. Fascinating Rhythm
(4:11) 14. In a Mist
(2:43) 15. Sunny Disposish
(4:28) 16. Embraceable You #1
(4:24) 17. Embraceable You #2
(2:30) 18. Somebody Loves Me

Pianist Dick Hyman has to be recognized as one of the foremost students of historical jazz. The authentic-sounding retro background tracks you hear behind scenes in many Woody Allen movies came from bands led by Hyman and his like-minded sidemen. Cornetist Tom Pletcher obviously shares Hyman’s enthusiasm for exploring old works and making them new again, as demonstrated on this joyous paean to two musical geniuses of the early 20th century. The concept and name for the album comes from a 1996 concert Hyman and Fletcher performed at the 92nd Street Y as part of its jazz series. The theme is so appropriate and simple, it’s surprising it hadn’t been done before. Both George Gershwin and Bix Beiderbecke were active in the ‘20s, the former changing the face of American musical theater, the latter changing the face of jazz. Both also died before their time, Gershwin of a brain tumor, Beiderbecke of alcoholism. Left to his own devices, Hyman’s piano playing sometimes suffers from his reverence for the music. This is usually more evident in his solo and duo work. Happily, on this album Hyman is nestled in a wonderful group that demonstrates an appreciation for the music while not displaying it in a museum display case. 

Dan Levinson’s clarinet and C-melody sax, David Sager’s trombone and Bob Leary’s banjo and guitar help maintain the authentic sound. At the same time, modern recording techniques afford them room for nuanced playing and subtlety not possible in the primative studios of the music’s original era. Vince Giordano, himself every bit a musicologist as Hyman, is a rollicking joy on the bass sax while Ed Metz Jr. plays his drums authentically, but with a lighter feel of someone exposed to a later generation of players. Hyman’s arrangements are perfect period pieces. If his chart on “I Got Rhythm” is guaranteed to get toes tapping, “But Not for Me” will conjure up elegant couples out for a night on the town in the roaring ‘20s. He does engage in a little musicologist speculation, playing Beiderbecke’s “In a Mist” as might have been done by Gershwin, with snippets of Gershwin tunes thrown in. ~ Mitchell Seidel  http://www.allaboutjazz.com/if-bix-played-gershwin-tom-pletcher-arbors-records-review-by-mitchell-seidel.php

Personnel: Dick Hyman piano, Tom Pletcher cornet, Dan Levinson clarinet & C-Melody saxophone, David Sager trombone, Vince Giordano bass saxophone, Bob Leary guitar & banjo, Ed Metz Jr drums

If Bix Played Gershwin 

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Laura Taylor - My Funny Valentine

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 56:56
Size: 130,8 MB
Art: Front

(3:15)  1. But Not for Me
(4:26)  2. You're My Thrill
(6:12)  3. My Funny Valentine
(3:22)  4. Just Friends
(4:10)  5. My Buddy
(6:06)  6. Spellbound
(4:44)  7. Ghost of a Chance
(5:06)  8. I Fall In Love Too Easily
(3:51)  9. Speak of Love
(3:39) 10. I Remember You
(5:41) 11. Lovelight
(3:37) 12. Let's Get Lost
(2:42) 13. He Was Too Good To Me

Laura's style is influenced by Shirley Horn, Peggy Lee, Chet Baker, Stan Getz, and in arrangements by her long-time collaborator,the great pianist Steve Kuhn.John Huddy of The Miami Herald, in an article about the great Tony Bennett, wrote, “Bennett scampers over to a desk, {and} returns with a pocket-size tape recorder. The hotel orchestra leader, Jerry Marshall, had brought a beautiful young Miami singer backstage.Bennett says with unrestrained enthusiasm, ‘she’s really unique, you gotta listen to her. I think she’s really something.’ Bennett plays a demo tape for the singer, Laura Taylor, praising every note. He sounds like a proud father describing the latest success of a talented offspring.” Bennett is not alone in his reaction to singer/songwriter Laura Taylor…Michael Paskevich, The Las Vegas Review Journal:“Taylor’s stylized singing presents her with plenty of challenges and she proved up to the task during her 45 minute early set.Taylor’s closing take on “Mountain Greenery” found her turning the song inside-out and making it her own, no mean feat when it comes to show standards, and further served notice that Taylor is a name to watch for.” Joe Delaney, The Las Vegas Sun: “…a beauty with voice to match, plus a fine jazz feel, Laura Taylor treated all concerned to a varied program that included requests and a world-class treatment of “The Nearness of You”.”

Bob Shemeligian gave Laura a full page review in Show Biz Magazine under the heading:  Songstress Laura Taylor Mesmerizes Audiences With Silky Vocal Stylings… “Many of Taylor’s listeners agree that the singer’s most remarkable quality is her voice. It’s not uncommon to see listeners captivated by Taylor’s vocal range as if they’re floating in a dream.” Laura is the product of a rich musical background. Her mother was a Juilliard graduate, concert pianist and teacher, and her father was a successful business man and gifted singer. Together they instilled in Laura a love for music which has been a guiding force in her life. Born in New Haven, Connecticut, Laura was raised in Watertown, New York and Monroe, Ohio. At seventeen, Laura was awarded a scholarship to study opera at the Cincinnati Conservatory of Music with the great voice teacher, Professor Robert Powell. After two years of study with Professor Powell, his untimely death prompted a move into commercial music and jazz for Laura. Still in her teens, she began her professional career performing in small clubs, eventually going into commercial and studio work.. Laura was the solo voice on the national campaign for United Airlines’ Fly the Friendly Skies of United- and also the now-famous Wouldn’t You Really Rather Have a Buick? campaign. A move to Miami, Florida was followed by a long association with Criteria Recording Studios, which included vocal contracting and singing for Beatles’ producer, George Martin on a soundtrack for the film Honkey Tonk Freeway, a song demo for the Bee Gee’s Morris Gibb, and solo background work for Tom Dowd on the Firefall Elan album, for which she was presented a platinum album.

Laura signed her first record deal with Criteria’s own label- Good Sounds Records- whose parent company and distributor was T.K. Records. This opened the door for Laura’s dual talents as singer and songwriter. Her first album was called Dancin’ In My Feet. The title song, Dancin’ In My Feet, became the theme song for the nationally syndicated TV show Disco Magic and rose to #4 on Billboard’s national disco chart. Three of her original songs- Lady Scorpio- All Through Me- and Some Love- also made Billboard and Record World charts. During this same period, on three separate occasions, Laura electrified Miami Dolphins fans with her a cappella version of The Star Spangled Banner. Laura’s success as a songwriter continued when Diana Ross included her original song Think I’m In Love on her album Why Do Fools Fall in Love. The song was also selected as the flip-side of Ms. Ross’ single release. This resulted in Laura being presented with her second platinum album. Enthusiasm for Laura both as a singer and songwriter led to appearances on Midnight Special, The Dinah Shore Show and The Merv Griffin Show, where she showcased several of her original songs.

Forming the Laura Taylor Trio, Laura moved to New York and enjoyed engagements at the St. Regis Hotel, the Oak Room in the Plaza Hotel, and an exclusive six year contract at the Waldorf Astoria Hotel. During this time, she also appeared in concert at Carnegie Recital Hall, which featured her trio,The Manhattan School of Music String Quartet, and special guest artist,Dave Samuels, from the group Spiro Gyra. Working in New York also gave Laura the opportunity to perform as part of the legendary Joe Henderson Quartet performing two Henderson compositions she wrote lyrics for, Isotope and Black Narcissus, and hearing Mr. Henderson perform two of her original compositions, Lovelight and Spellbound. Continuing her association with great jazz musicians, Laura was asked to record Isotope with jazz piano great Steve Kuhn on his CD, Porgy. Also featured on this CD are her vocal and lyrics to Steve’s beautiful Lullaby composition. Opening for the great comedian, Don Rickles, in Atlantic City and Las Vegas led to a long engagement in the Starlight Theater of the Desert Inn Hotel and a move to Las Vegas. Continuing her jazz career, she performed several times on the legendary Monday Night Jazz series broadcast on National Public Radio and hosted by Alan Grant. Laura’s other concert appearances included opening the Las Vegas Government Center, several Las Vegas Jazz Society concerts and two appearances at the Riviera Hotel’s Monday Night Jazz with Don Menza. 

Critical acclaim and national radio airplay have been given to Laura’s three recent jazz CDs: Mountain Greenery featuring jazz greats Jack Sheldon, Pete and Conte Condoli, Red Holloway and guitarist Joe Lano; Cry Me a River, a tribute to the late Julie London, featuring Joe Lano and Tom Warrington, and Songs of the Winter Season, also featuring Joe Lano.

Laura is currently releasing her fourth CD…My Funny Valentine…Memories of Chet Baker…featuring jazz legends Steve Kuhn, Eddie Gomez and Lewis Nash. Check current news on the web site for the release date. While continuing to live in Las Vegas, Laura does many special events and concerts, the most recent being The Duke Ellington Sacred Concert with Laura as the featured soloist with the Las Vegas Master Singers and the UNLV Jazz Ensemble performing this incredible work. Upcoming performances include her fifth appearance on The Dennis Bono Radio Show and a concert for the Henderson Arts Council on August 26th (also check current events for more information). http://www.cdbaby.com/cd/laurataylor

Personnel:  Steve Kuhn, piano; Eddie Gomez, bass; Lewis Nash, drums

My Funny Valentine

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Lester Young & Harry 'Sweets' Edison - Going For Myself

Styles: Saxophone And Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 75:51
Size: 174,2 MB
Art: Front

( 6:16)  1. Flic
( 5:53)  2. Love Is Here To Stay
(10:05)  3. St. Tropez
( 8:19)  4. Waldorf Blues
( 6:55)  5. Sunday
( 5:20)  6. You're Getting To Be A Habit With Me
( 5:51)  7. Ballad Medley : A Ghost Of A Chance / Cover The Waterfront
( 6:14)  8. Perdido
( 6:55)  9. St. Tropez [alt. take]
( 7:43) 10. You're Getting To Be A Habit With Me [alt. take]
( 6:17) 11. Waldorf Blues

This release presents the complete original Verve LP "Going for Myself" reuniting Lester Young and Harry “Sweets” Edison, one Pres’ last studio albums ever. Backing Pres and Sweets are superb musicians like Oscar Peterson, Louie Bellson and Herb Ellis. Five extra tracks have been added to the contents of the original album, including three alternate takes and two tunes not included on the originally issued set. Lester Young’s final years weren’t easy. His poor health and alcoholism began to limit his talents and even his capacity to play. The sessions included here were two of his last studio dates ever. After the second one, he would only enter the studio on two other occasions: the following day, on February 8, 1958, with Harry Edison again, and with Roy Eldridge added (the results of this session were included on the posthumous album Laughin’ to Keep from Cryin’) and a year later, on March 2, 1959, in Paris, France. Lester would die one week later on March 15, 1959, at the age of 49. The original album contained six tunes (tracks 1-6 of our CD), but more material was recorded on the two sessions, including two new tunes that weren’t issued on Going for Myself (a nice ballad medley and a nearly complete version of “Perdido”) and four alternate takes. To complement our set, we have added the two aforementioned new tunes, and three of the existing alternates. http://www.freshsoundrecords.com/going_for_myself-cd-5358.html

Featuring: Lester young (ts & cl), Harry Edison (tp), Oscar Peterson, Lou Stein (p), Herb Ellis (g), Ray Brown (b), Louie Bellson, Mickey Sheen (d)

Going For Myself

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Nat Pierce And His Orchestra - The Boston Bust-Out

Styles: Piano Jazz, Big Band, Swing
Year: 1995
File: MP3@320K/s
Time: 64:22
Size: 152,1 MB
Art: Front

(3:05)  1. What Can I Say (After I'm Sorry)
(2:46)  2. What's New?
(2:29)  3. You Were Meant For Me
(2:46)  4. Paradise
(2:57)  5. King Edward The Flatted Fifth
(2:16)  6. Pat
(3:05)  7. That's The Kinda Girl
(3:17)  8. Sheba
(3:01)  9. Babylon
(2:43) 10. Indian Summer
(2:41) 11. King For A Day
(2:43) 12. Oh You Crazy Moon
(3:46) 13. Body And Soul
(2:27) 14. All The Things You Are
(3:04) 15. Boppin' In Boston
(3:48) 16. I Cover The Waterfront
(3:47) 17. Is This The Thing?
(3:50) 18. Indian Summer
(3:15) 19. You May Not Love Me
(3:33) 20. Lonesome Crowd
(2:51) 21. Oh You Crazy Moon

Boston had a strong but greatly underpublicized bop scene in the late '40s. This Hep CD, which adds a previously unreleased session plus one extra cut to the original LP, features pianist/arranger Nat Pierce, altoist Charlie Mariano and trombonist Sonny Truitt both in big bands and combos. 

The other personnel is mostly pretty obscure although baritone great Serge Chaloff is showcased on two numbers and there are three fairly straight vocals by Teddi King. The rare studio recordings range in influences from Dizzy Gillespie to Claude Thornhill and the Miles Davis Nonet; highly recommended for bop collectors. ~ Scott Yanow  http://www.allmusic.com/album/the-boston-bust-out-mw0000613971

Personnel: Nat Pierce (piano); Mert Goodspeed (vocals, trombone); Teddi King (vocals); David Chapman , Charlie Mariano (alto saxophone); Randy Henderson, George Hamilton Green (tenor saxophone); George Meyers, Serge Chaloff (baritone saxophone); Lennie Johnson, Bill Adams, Billy Adams, Dud Harvey, Don Stratton, Perry Wilson (trumpet); Sonny Truitt, Joe Laconi, Ace Lane, Bob Carr (trombone); Ralph Burns (piano); Country Joe McDonald, Pete DeRosa (drums).

The Boston Bust-Out

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Roland Kirk with Jack McDuff - Kirk's Work

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 33:19
Size: 77,8 MB
Art: Front

(5:15)  1. Three For Dizzy
(5:09)  2. Makin' Whoopee
(6:17)  3. Funk Underneath
(3:56)  4. Kirk's Work
(4:22)  5. Doin' The Sixty-Eight
(3:54)  6. Too Late Now
(4:24)  7. Skater's Waltz

Technically his third album, following Introducing Roland Kirk (Chess, 1960), and a previously unissued R&B session (Triple Threat), Kirk's Work pre-dates the boundless surrealism of his post-Rahsaan era. Sharing the bill with organist Jack McDuff, the record is commonly regarded as a fairly straight-ahead date made years before Kirk gradually transformed from a stunning virtuoso multi-instrumentalist into an iconic musical shaman. While not as outrageous as some of Kirk's later albums, this sublime 1961 date has its fair share of unusual subtle surprises, providing a few early examples of the man's twisted genius. Already displaying remarkable prowess on his menagerie of thrift-store horns (manzello, stritch, siren), Kirk displays each to its own effect. His ability to play two and three saxophones at a time is already apparent, although his mastery of circular breathing was still a few years away. 

He limits his doubling to supportive riffing, rather than intertwining solo counterpoint, but the distinctive sound of his massed horns is still present."Funk Underneath" showcases Kirk's nascent vocalized flute stylings, blending gruff vocalizations with soaring flute harmonics. The dark-hued title track and "Skater's Waltz" demonstrate Kirk's aggressive hard bop attack, something he perfected over the course of his Atlantic Records tenure as he ascended from swinging modernist into unclassifiable genius. The rhythm section contributes heavily to the session, providing more than just run of the mill backbeats for Kirk to riff over. Jack McDuff's greasy down home organ instills the session with a buoyant sensibility, celebratory and optimistic. Benjamin and Taylor are a tight, snappy rhythm section, Taylor strikes hard and deep, sounding at times like Roy Haynes. "Doin' The Sixty-Eight" finds the rhythm duo deep in a pulsating polyrhythmic groove, dragging Kirk and McDuff headfirst into the infectious Latin rhythms. A solid and infinitely enjoyable album easily overlooked in the massive and convoluted discography of such a diverse artist, Kirk's Work is more than just an embryonic session. It's an accessible classic, the sort of unconventional soul jazz/hard bop hybrid that only Roland Kirk could deliver. ~ Troy Collins  http://www.allaboutjazz.com/kirks-work-rahsaan-roland-kirk-prestige-records-review-by-troy-collins.php
 

Personnel: Roland Kirk: tenor saxophone; manzello; stritch, flute, siren; Jack McDuff: Hammond organ; Joe Benjamin: bass; Arthur Taylor: drums.

Kirk's Work

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Dusko Goykovich - In My Dreams

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 54:13
Size: 125,5 MB
Art: Front

(7:29)  1. In my dreams
(6:53)  2. St.Germains de Pres
(4:13)  3. Sequoia song
(4:59)  4. Introduction
(8:02)  5. Skylark
(5:21)  6. One morning in may
(4:28)  7. All about love
(5:13)  8. Little Teo
(7:30)  9. I miss you so

Born in 1931 in Jajce (Bosnia), Dusko Goykovich studied at the Music Academy in Belgrade from 1948 to 1953. As a youth he played with several jazz and dixie bands, mostly for dancing audiences and eventually on parties at the embassies of the capital. When the 18-year-old joined the Radio Big Band of Belgrade, he was considered a talented young jazz man who also can read music. When he left the band five years later, he had grown into a fine big band player and featured soloist. Dusko went to Germany where he quickly became an integral part of its uprising young jazz scene. In 1956 he made his first record as a member of the Frankfurt All-Stars. After a short stint in the big band of Munich's Max Greger, Dusko stayed for four and a half years with Kurt Edelhagen's band, then Europe's leading jazz orchestra. Francy Boland, Claus Ogermann, Jerry van Rooyen and Rob Pronk were among the arrangers who worked for Edelhagen. In addition to being the band's premier trumpet soloist, Dusko performed with such as Stan Getz and Chet Baker. It came as no surprise when in 1958 he was invited to play with the Newport International Youth Band at the Newport Jazz Festival. Other members of the Newport band included Albert Mangelsdorff, Ronnie Ross, George Gruntz, and Gábor Szábo. Following the performance at Newport, Dusko's trumpet became very popular in Europe. In 1961 the Berklee School of Music offered the 29-year-old a grant for studying composition and arrangement in Boston where Herb Pomeroy was to become one of his teachers. Looking forward to writing his own arrangements for his great love, the big band, Dusko concentrated on his studies at Berklee so exclusively that he regrettingly turned down offers by Count Basie, Stan Kenton and Benny Goodman to join their bands. While at Berklee Dusko (now also on flugelhorn) recorded with the Berklee School Quintet and Orchestra including fellow students such as Gary Burton, Mike Gibbs, Sadao Watanabe, Steve Marcus, Mike Nock, and Dave Young.

When he had just finished his studies and prepared his return to Germany, Dusko received a call from Canadian bandleader Maynard Ferguson offering him Rolf Ericson's place (who had just left to join Ellington). Of course, Dusko accepted. Ferguson, a virtuoso trumpeter himself, featured him as a second trumpet soloist and even used some of his big band arrangements. When Ferguson's band split in 1964, Dusko joined Woody Herman and stayed with him for a year. It was his work for Herman that founded Dusko's international reputation as an outstanding big band player and soloist. “Woody Herman encouraged me a lot,” Dusko recalls. “He not only accepted my big band charts (with a single exception), but also recorded all of them.” The same year Dusko (together with Sal Nistico) left Herman's band and returned to Europe, eager to record his own music. Mal Waldron and Nathan Davis played on his sextet album (1966) that emphasized Dusko's personal, Balkan-influenced style. In those years, Dusko - by then a member of the leading league of international jazz artists - also worked with Miles Davis, Dizzy Gillespie, Gerry Mulligan, Clark Terry, Lee Konitz, Sonny Rollins, Phil Woods, Duke Jordan, Thad Jones-Mel Lewis, Slide Hampton and many more. He continued his big band career as a member of the Clarke-Boland Big Band in 1966 that assembled some of the best musicians living in Europe, among them US ex-patriates Benny Bailey, Idrees Sulieman, Johnny Griffin, Sahib Shihab, Jimmy Woode and - of course - Kenny Clarke. The CBBB was probably the finest jazz orchestra of the sixties, but it seldom played for live audiences at all.

After his time at Berklee, Dusko Goykovich began writing big band charts of all of his compositions and many standard tunes. He has been asked to play his arrangements with many European big bands, among them Dutch Skymasters and NDR big band. In Munich (where he settled down in 1968) Dusko soon started his own “rehearsal” big band including such as Rolf Ericson, Palle Mikkelborg, Rudi Fuesers, Ack van Rooyen, Ferdinand Povel, and Frank St. Peter. Due to the difficulties in organising a European free-lance orchestra, this band broke up in 1976 and was revived only for some performances in 1981/82. Yet in 1986 Dusko was able to re-found his own orchestra which has been on the scene ever since. In 1993, he also started a much-acclaimed international comeback as a recording artist with his prize-winning CD “Soul Connection” featuring Tommy Flanagan, Jimmy Heath, Eddie Gomez and Mickey Roker. Soul Connection was followed by “Bebop City” which featured young alto sax wizard Abraham Burton, Kenny Barron on Piano, Ray Drummond on bass and Alvin Queen on drums. 1996 saw the fullfillment of a long stanbding wish for Dusko: the recording of his own big band playing his music, “Balkan Connection”. 1997 saw the release of the 2-CD set “Balkan Blue”, another high point in his career. Disc One features a wonderfully relaxed quintet with Italian master saxophonist Gianni Basso and Disc Two is an extended work performed by the NDR Philharmonic with a jazz rhythm section and Dusko Goykovich as soloist. His compositions arranged by Palle Mikkleborg ( who had done a similar piece of work for Miles Davis ). Balkan Blue evokes strong memories of Miles Davis work with Gil Evans - a seminal recording of our days. http://musicians.allaboutjazz.com/duskogoykovich

Personnel: Dusko Gojkovic (trumpet, flugelhorn); Bob Degen (piano); Jarrod Cagwin (drums).

In My Dreams

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Hampton Hawes - Here and Now

Styles: Piano Jazz

Year: 1965

File: MP3@320K/s

Time: 39:25

Size: 90,4 MB

Art: Front

(7:01)  1. Fly Me to the Moon

(4:44)  2. What Kind of Fool Am I?

(4:08)  3. The Girl from Ipanema

(3:39)  4. Rhonda

(5:29)  5. Dear Heart

(5:07)  6. People

(4:29)  7. Chim Chim Cher-ee

(4:43)  8. The Days of Wine and Roses

For this interesting but not essential CD reissue, pianist Hampton Hawes, along with bassist Chuck Israels and drummer Donald Bailey, tries his best to uplift then-current songs (plus his original "Rhonda") including "Fly Me to the Moon," "What Kind of Fool Am I," "Chim Chim Cheree," and even "People." In general, the treatments are somewhat straight-ahead ("The Girl from Ipanema" is taken as swing rather than bossa nova), and Hawes' solos transform some of the tunes a bit. ~ Scott Yanow  http://www.allmusic.com/album/here-and-now-mw0000674696

Hampton Hawes Trio: Hampton Hawes (piano); Chuck Israels (bass); Donald Bailey (drums).

Here and Now

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Jaimee Paul - Too Marvelous: The Songs Of Johnny Mercer

Size: 101,7 MB
Time: 43:35
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Too Marvelous For Words (2:39)
02. Day Of Wine And Roses (3:24)
03. Moon River (4:19)
04. That Old Black Magic (3:44)
05. Skylark (3:55)
06. Ac-Cent-Tchu-Ate The Positive (3:50)
07. Autumn Leaves (3:25)
08. Fools Rush In (3:18)
09. I Remember You (3:37)
10. Something's Gotta Give (3:43)
11. Laura (3:29)
12. P.S. I Love You (4:05)

Growing up in Southern Illinois, Paul was influenced by many musical forms and styles; but jazz and it's rich nuances and history held a special place in her heart. In 2008, her love for and amazing interpretation of these standards led to a recording contract with Green Hill Music, signing on as their first female jazz vocalist. Paul's first album, 'At Last', reached #1 on the iTunes album charts. Jaimee is now preparing to release her newest album 'Bonded'. This album is a daring tribute to the most famous Bond themes in music history. She delves into the spirit of the artists and finds new glory in the songs. Paul fearlessly tackles the great memories of iconic songs, and brings them to a new level.

Jaimee is married to and works closely with her trumpet player, Leif Shires. Leif hails from Fresno, California, and grew up around a very eclectic mixture of music. His loves and interests have ranged from Jazz, Latin, Funk, Pop, Indy, Gospel and Rock to Classic R&B most notably with the legendary Memphis Horns. Shires is also signed to Green Hill as a solo trumpet player who has already released a couple of albums as well.

Both artists have been recognized in their fields by many notable artists and remain in high demand with their fellow musicians in Nashville which they currently call home. Jaimee has traveled around the world with vocal powerhouse Wynonna, and with Pop singing sensation Kelly Clarkson.

Too Marvelous

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Roswell Rudd & Heather Masse - August Love Song

Size: 104,5 MB
Time: 45:28
File: MP3 @ 320K/s
Released: 2016
Styles: Modern Jazz, Jazz Vocals
Art: Front

01. Social Call (3:36)
02. Love Song For August (5:08)
03. I'm Going Sane (One Day At A Time) (5:58)
04. Mood Indigo (4:43)
05. Winter Blues (4:07)
06. Blackstrap Molasses - Old Devil Moon (5:59)
07. Con Alma (4:09)
08. Open House (4:04)
09. Tova And Kyla Rain (2:49)
10. Love Is Here To Stay (4:50)

How unlikely is the pairing of youthful and exuberant vocalist like Heather Masse and the free jazz deity of one Roswell Rudd? It is almost the punchline for a punny joke. Yet, we have August Love Song and what can we make of it?

First, the cover art recalls the movie poster of Summer of '42 (Warner Brothers, 1971) crossed with Love Story (Paramount, 1970). But this love story is one of music...ageless, constant, basic, organic. Both a sepia nostalgia and a fresh, post-modern veneer are evident in these ten well-crafted pieces. They are brilliant contradictions that perfectly complement one another.

Rudd and Masse met one another about four years while appearing on A Prairie Home Companion where Masse has appeared many times, both as a solo ace and as a member of the Wailin' Jennys, a popular folk group consisting of alto Masse, with soprano Ruth Moody and mezzo Nicky Mehta (the current lineup). Masse has made two recordings with the Wailin' Jennys and two solo recordings, her last being the well-received Lock My Heart (Red House Records, 2015) made with pianist Dick Hyman. Of that recording, All About Jazz critic Dan Bilawsky said: ..."Masse may or may not be back on the folk side of the fence but, if she has indeed flown on, she'll hopefully come back to visit jazz on occasion; a songbird with her talents, after all, should be free to fly wherever she pleases." This spirit is in no way diminished on August Love Song.

Behold this curious chemistry where Rudd and Masse prod and feed off one another. Masse emulates Rudd with the most spirited scat and vocalese of recent memory and Rudd digs deep, way past his freedom days, back to when Kid Ory transmogrified into Tricky Sam Nanton crossed with Al Grey on their way to the Eminent JJ Johnson. This chemistry, alchemy really, blooms from the small confines of a quitar-bass rhythm section supporting the two principals. This gives the music a '20s and '30s Hot Club aroma, but that aroma is pine- needle sharp with gin...the good stuff, too. Masse grows languid from Rudd's almost boozy blowing, characteristically in the lower register.

Perfect is Masse and Rudd's command of Gigi Gryce's "Socal Call" as realized by Bessie Smith, Billie Holiday, and Betty Carter. She slows her crack phrasing to the rheology of Molasses. The two build a monument worthy of being strolled through with the diptych made up of "I'm Going Sane (One Day at a Time)" and "Mood Indigo," the latter introduced by Rudd with a growling "It Don't Mean a Thing." The pair duet on the Ellington piece and the results are that of a smoky diamond awaiting proper discovery. Masse reaches deep herself and finds the blues and she is not shy in sharing them with us. A musical center of beautifully titrated honey and Quaaludes languidness.

But we have yet to hear the best. The medley of "Blackstrap Molasses" and "That Old Devil Moon" look clean and clear as water from the old home place well, except for the razor bite of the moonshine when you hear it. This is music that makes you wish you could live forever just to hear more of it. Rudd and Masse close with a sweetly quaint "Our Live is Here to Stay," capping as fine a recording as I believe I can bear. ~Michael C. Bailey

Personnel: Heather Masse: vocals; Roswell Rudd: trombone; Rolf Sturm: guitars; Mark Helias: bass.

August Love Song

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Alexis Cole - Dazzling Blue

Size: 124,2 MB
Time: 53:22
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. St. Judy's Comet (3:03)
02. Jonah (3:31)
03. Dazzling Blue (4:35)
04. Something So Right (6:21)
05. Another Galaxy (5:17)
06. Nobody (3:44)
07. Song About The Moon (4:12)
08. Everything About It Is A Love Song (4:35)
09. Long, Long Day (4:09)
10. Love (4:06)
11. That's Where I Belong (4:28)
12. Quiet (5:16)

Inspired by Paul Simon's contributions, Alexis Cole offers this very special treatment of his music. With Dazzling Blue, vocalist Cole and producers David Chesky and Nicholas Prout sifted through some of Simon's lesser known compositions.

Herein they are presented in unalloyed simplicity, emphasizing the incandescent quality, and unadorned beauty of his lyrics. Ms. Cole has a marvelous voice of great depth. Her clear, warm resonance strips away all ornamentation and gets you to the marrow of the songwriter's stories. The vocals are haunting, and a testament to Cole's cross-cultural vocal training. Cole is joined by an excellent group of musicians whose collective body of work is well known to roots music aficionados. Jeff Haynes and Gus Courtsunis on percussion; Marvin Sewell on acoustic and electric guitars; Mark Peterson on bass, Julie Harris on Native American flute, and background vocals from Maria Quintanilla and Evan Sundquist; they are all an integral part of the whole.

Part of the Chesky Binaural + Series, all recorded with a single microphone, the band appears right before you with this spacious, lush and multi-dimensional recording. Now headphone users will hear the same three-dimensional sound and imaging as audiophiles have for the past 25 years with Chesky Recordings.

Also these new Binaural+ Series albums capture even more spatial realism for the home audiophile market, bringing you one step closer to the actual event. You will hear some of the most natural and pure music ever recorded.

Dazzling Blue

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The Horace Silver Quintet (feat. J.J. Johnson) - The Cape Verdean Blues

Styles: Piano Jazz
Year: 1965
File: MP3@320K/s
Time: 43:44
Size: 101,0 MB
Art: Front

(4:58)  1. The Cape Verdean Blues
(9:36)  2. The African Queen
(7:31)  3. Pretty Eyes
(7:15)  4. Nutville
(8:37)  5. Bonita
(5:45)  6. Mo' Joe

After the success of Song for My Father and its hit title cut, Horace Silver was moved to pay further tribute to his dad, not to mention connect with some of his roots. Silver's father was born in the island nation of Cape Verde (near West Africa) before emigrating to the United States, and that's the inspiration behind The Cape Verdean Blues. Not all of the tracks are directly influenced by the music of Cape Verde (though some do incorporate Silver's taste for light exoticism); however, there's a spirit of adventure that pervades the entire album, a sense of exploration that wouldn't have been quite the same with Silver's quintet of old. 

On average, the tracks are longer than usual, and the lineup -- featuring tenor saxophonist Joe Henderson (a holdover from the Song for My Father sessions) and trumpeter Woody Shaw  is one of the most modernist-leaning Silver ever recorded with. They push Silver into more advanced territory than he was normally accustomed to working, with mild dissonances and (especially in Henderson's case) a rawer edge to the playing. What's more, bop trombone legend J.J. Johnson appears on half of the six tracks, and Silver sounds excited to finally work with a collaborator he'd been pursuing for some time. Johnson ably handles some of the album's most challenging material, like the moody, swelling "Bonita" and the complex, up-tempo rhythms of "Nutville." Most interesting, though, is the lilting title track, which conjures the flavor of the islands with a blend of Latin-tinged rhythms and calypso melodies that nonetheless don't sound quite Caribbean in origin. Also noteworthy are "The African Queen," with its blend of emotional power and drifting hints of freedom, and "Pretty Eyes," Silver's first original waltz. Yet another worthwhile Silver album. ~ Steve Huey  http://www.allmusic.com/album/the-cape-verdean-blues-mw0000204335

Personnel:  Bass – Bob Cranshaw;  Drums – Roger Humphries;  Piano – Horace Silver;  Tenor Saxophone – Joe Henderson;  Trombone – J.J.Johnson (tracks: 4 to 6);  Trumpet – Woody Shaw 

The Cape Verdean Blues

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Dina Blade - S' Wonderful

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 46:19
Size: 106,5 MB
Art: Front

(3:04)  1. S'Wonderful
(4:18)  2. On the Street Where you Live
(5:16)  3. That's All
(3:10)  4. Summer Samba
(2:38)  5. In the Cool Cool Cool of the Evening
(3:46)  6. How Strange
(3:52)  7. Waltz for Debby
(2:11)  8. It's Allright with Me
(4:32)  9. Suddenly It's Spring
(3:46) 10. That Old Black Magic
(4:10) 11. The Boy Next Door
(2:42) 12. On the Atchinson, Topeka and the Santa Fe
(2:48) 13. Too Marvelous for Words

Backed by a rhythm section of world class musicians, Dina Blade delivers classic jazz standards with a relaxed vocal style that is "smooth and delicious" ~ KMUN radio

I have been singing all my life. I began accompanying myself on the guitar at age eleven, singing folk songs. Eventually I added jazz standards and bossa nova to my repertoire. One day I received a recording of vocal exercises as a gift. It stayed on the shelf for ten years. When I scheduled my first jazz vocal recording session, I decided to try the exercises in preparation. Within three weeks I noticed a remarkable improvement in my breath control, pitch and range, and I was hooked! Today, as a professional vocalist, I have found vocal exercises to be an absolutely essential part of my daily routine. My vocal students are busy folks, and I wanted to give them a fun tool to help them stay relaxed while they warm up to sing. Thus, this cd was born. "Nothing complicated here, and you can use it anywhere." ~Victory Music Review  http://www.cdbaby.com/cd/dinablade5

S' Wonderful

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Eddie Daniels & Gary Burton - Benny Rides Again

Styles: Vibraphone And Clarinet Jazz
Year: 1992
File: MP3@320K/s
Time: 58:39
Size: 135,8 MB
Art: Front

(3:42)  1. Sing, Sing, Sing
(5:44)  2. Stompin' At The Savoy
(4:12)  3. Moonglow
(3:51)  4. Airmail Special
(5:13)  5. Let's Dance
(4:07)  6. Slipped Disc
(5:29)  7. Memories Of You
(3:01)  8. Avalon
(5:22)  9. In A Mist
(4:55) 10. Grand Slam
(3:33) 11. After You've Gone
(5:47) 12. Goodbye
(3:37) 13. Knockin' On Wood

During 1991-92, clarinetist Eddie Daniels and vibraphonist Gary Burton teamed up on a tour, performing a tribute to Benny Goodman and Lionel Hampton. Never mind that they sound nothing at all like their predecessors. On the CD that resulted from the collaboration, the duo use pianist Mulgrew Miller (who sounds much more like McCoy Tyner than Teddy Wilson), bassist Marc Johnson and drummer Peter Erskine for 11 songs associated with the King of Swing plus Bix Beiderbecke's "In a Mist." Actually the most memorable selection is "Knockin' on Wood," which has nothing to do with Goodman or Hampton (it was a feature for Red Norvo) and features Burton romping on a xylophone. Other highlights include a surprisingly brief "Sing, Sing, Sing," "Airmail Special," "Slipped Disc" and "Avalon." ~ Scott Yanow  http://www.allmusic.com/album/benny-rides-again-mw0000073047

Personnel:  Bass – Marc Johnson;  Clarinet – Eddie Daniels;  Drums, Percussion – Peter Erskine;  Piano – Mulgrew Miller;  Vibraphone, Xylophone – Gary Burton

Benny Rides Again

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