Various - Alanna Records Greatest 46th Anniversary Edition

Bitrate: MP3@320K/s
Time: 59:54
Size: 137.1 MB
Styles: Big band, Swing
Year: 2005
Art: Front

[3:29] 1. The Spitfire Band - New York, New York
[4:08] 2. The Spitfire Band - Laura
[3:02] 3. The Spitfire Band - It Happened In Monterey
[1:56] 4. Al Caiola - Be True To Me (Sabor A Mi)
[3:41] 5. Al Caiola - You Are Always In My Heart (Siempre En Mi Corazon)
[2:42] 6. Al Caiola - Magic Is The Moonlight
[3:05] 7. Main Stream Power Band - Road To Swing
[2:57] 8. Main Stream Power Band - Main Stream Power Boogie
[3:03] 9. Main Stream Power Band - Way Down Yonder In New Orleans
[3:14] 10. Charlie Shaffer - Here's That Rainy Day
[2:55] 11. Charlie Shaffer - Our Day Will Come
[3:42] 12. Charlie Shaffer - South Of The Border
[3:59] 13. Laurie Bower - Don't Blame Me
[3:20] 14. Laurie Bower - I Go To Rio
[3:00] 15. Laurie Bower - You Needed Me
[4:17] 16. Tony Corbiscello - Don't Worry About Me
[4:16] 17. Tony Corbiscello - Dream
[2:59] 18. Tony Corbiscello - Lover

Greatest hits from the Spitfire Band, Al Caiola, Main Stream Power Band, Charlie Shaffer, Laurie Bower Singers and Tony Corbiscello Big Band! "The good days never sounded this good." Alanna Records Greatest: 46th Anniversary Edition songs ~ MEL TORME

Alanna Records Greatest 46th Anniversary Edition

---

Nellie Lutcher - The Best Of Nellie Lutcher

Bitrate: MP3@320K/s
Time: 57:50
Size: 132.4 MB
Styles: R&B, Jazz vocals
Year: 1995
Art: Front

[2:24] 1. Hurry On Down
[2:41] 2. The One I Love Belongs To Somebody Else
[2:57] 3. You Better Watch Yourself, Bub
[3:13] 4. My Mother's Eyes
[2:59] 5. He's A Real Gone Guy
[3:05] 6. Let Me Love You Tonight
[2:58] 7. Chi-Chi-Chi-Chicago
[3:11] 8. Fine And Mellow
[2:42] 9. I Thought About You
[2:31] 10. Kinda Blue And Low
[2:24] 11. The Song Is Ended
[2:33] 12. Lake Charles Boogie
[2:53] 13. Fine Brown Frame
[3:07] 14. My Man (Mon Homme)
[2:06] 15. A Chicken Ain't Nothin' But A Bird
[2:55] 16. He Sends Me
[3:00] 17. My New Papa's Got To Have Everything
[2:48] 18. Come And Get It, Honey
[2:27] 19. That Will Just About Knock Me Out
[2:27] 20. Baby, What's Your Alibi
[2:21] 21. Pa's Not Home

Nellie Lutcher was at the peak of her fame during her period with Capitol (1947-1951). A fine swing-based pianist, Lutcher was best known for her unique vocal style, which included witty asides that often sounded spontaneous. This well-conceived CD has 18 of her recordings from 1947 and one apiece from 1949-1951. Highlights include "Hurry on Down," "The One I Love Belongs to Somebody Else," "He's a Real Gone Guy," "Chi-Chi-Chi Chicago," "The Song Is Ended," "Fine Brown Frame," and two previously unissued numbers. With sympathetic and swinging backing from various guitarists (including Ulysses Livingstone and Irving Ashby), bassists, and drummers, the spotlight is on Nellie Lutcher throughout. This highly recommended disc is easily her definitive CD. ~Scott Yanow

The Best Of Nellie Lutcher

---

Sonny Fortune - Last Night At Sweet Rhythm

Bitrate: MP3@320K/s
Time: 61:25
Size: 140.6 MB
Styles: Saxophone jazz
Year: 2009
Art: Front

[ 6:19] 1. It Ain't What It Was
[10:07] 2. The Blues Are Green
[ 6:45] 3. Never Again In Such A Long Time
[ 9:53] 4. In Waves Of Dreams
[ 7:29] 5. A Tribute To Holiday
[14:08] 6. The Joneses
[ 6:41] 7. Laying It Down

Sonny Fortune: alto and soprano saxophone, flute; Michael Cochrane: piano; David Williams: bass; Steve Johns: drums.

In January, 2010, Fortune released Last Night At Sweet Rhythm. Sadly, the title also signifies the end of this venerable Greenwich Village jazz club, originally incarnated as Sweet Basil back in the '80s. Fortune chose this final opportunity to record eight original compositions at one of his favorite performance venues.

On the opening "It Ain't What It Was," Fortune explodes on alto sax like a sprinter at the firing of the starter's pistol. But unlike sprinters, Fortune has both the juice and a rhythm section to push him into going the distance on this up-tempo burner. Fortune displays his compositional versatility on "Never Again Is Such A Long Time," an introspective, medium tempo ballad. Fortune, long recognized as a master of the flute, explores sensitive and vulnerable emotional territory, his compelling sound seemingly imploring his lover, "Don't leave!"

The band stretches out on "The Blues Are Green," as Fortune opens with a restrained statement of the melody on alto, before ascending on a relentless exploration of manic intensity. In support, pianist Michael Cochrane employs a McCoy Tyner-esque touch on the ivories, while David Williams' embraceable bass supplies the aural warmth that only flesh on string can yield. On "The Joneses," Fortune's unaccompanied flute establishes a Zen-like tranquility. Drummer Steve Johns' somber yet determined playing enhances Fortune's Eastern mood before a solo of his own takes the song—and the rest of the band—into a torrid blues. Fortune, again on alto, gets off a gritty, emotionally wrenching solo, before the song seamlessly concludes with Zen simplicity, just gentle flute and potent bass drum.

The Sonny Fortune Quartet's inspired performance not only reveals a multi-talented artist still at the top of his game more than four decades after his recording debut, but also bids an appropriate adieu to a night club that will be sorely missed on the New York jazz scene. ~Chuck Koton

Last Night At Sweet Rhythm

---

Bill Charlap Trio - Written In The Stars

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 69:48
Size: 160,3 MB
Art: Front

(7:25)  1. In The Still Of The Night
(6:44)  2. Dream
(5:26)  3. The Man That Got Away
(6:23)  4. Blue Skies
(8:19)  5. Where Have You Been?
(6:33)  6. Where Or When
(3:59)  7. On A Slow Boat To China
(9:38)  8. One For My Baby
(3:11)  9. I'll Never Go There Anymore
(5:29) 10. Lorelei
(6:36) 11. It Was Written In The Stars

Able to paint with a rich and melodic pallet, while possessing a natural and bell-like tone, pianist Bill Charlap is a musician who is actively looking for new ways to express himself and compliment any musical situation. His sophisticated harmonic knowledge and sense of drama make him one of the most stimulating pianists around. It should come as no surprise that Charlap would pursue a career in music; his parents are the late Broadway composer Moose Charlap and vocalist Sandy Stewart. At the age of three, Bill began his piano studies, his formal musical education including graduation from New York's High School of the Performing Arts. Over the past several years, Charlap has gained valuable experience through work with Gerry Mulligan, Benny Carter, Louis Bellson, Shelia Jordan, and Tony Bennett, among many others. He has been a key member of the Phil Woods Quintet since 1995, the year he also began to record as a leader for the Criss Cross label. 

Over the course of Charlap’s three Criss Cross dates one could sense the development of a truly exceptional artist and to say that these records, especially the inspirational Distant Star, are among the state-of-the-art when it comes to piano trio jazz is simply indulging in understatement. His first major label set, Written In the Stars, doesn’t quite scale the heights of Charlap’s Criss Cross sides but it comes pretty darn close. Musically there’s much to get excited about. Tin Pan Alley standards make up the program as usual, but it’s the interpretations that put things over the top. For example, “Blue Skies” is voiced by the bass and piano, its melody displaced and reshaped in angular phrases. 

“Where Or When” becomes a very attractive waltz and “One For My Baby” takes on a reflective calm like no other previous version ever has. Don’t expect moments of technical flash from Charlap. He has nothing to prove and he’s more interested in milking everything he can from the melody and timbre of the moment. Of course, he can hard bop as intensely as the rest of them (a point he has proven via his sideman appearances on Criss Cross), but chooses to be more thoughtful in his own trio work. If there were one bone to pick with this album it would have to be concerning the engineering. The bass is simply too high up in the mix and the drums come across as sterile, with no room ambiance or reverberation to add to the overall sound (just listen to Kenny Washington on just about anything else he’s ever recorded to get a truer picture of his sound). It’s a small point of contention, however, with what is overall a very winning release. ~ C.Andrew Hovan http://www.allaboutjazz.com/written-in-the-stars-bill-charlap-blue-note-records-review-by-c-andrew-hovan.php

Personnel: Bill Charlap (piano), Peter Washington (bass), Kenny Washington (drums)

Written In The Stars

---

Teddy Wilson - Gentleman Of Keyboard (1934-1957)

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 73:07
Size: 170,5 MB
Art: Front

(2:53)  1. Somebody Loves Me
(2:57)  2. I'm Painting The Town Red
(3:11)  3. All My Life
(3:02)  4. Why Do I Lie To Myself About You?
(3:05)  5. The Way You Look Tonight
(2:51)  6. Sailin'
(2:39)  7. I'Ve Found A New Baby
(6:48)  8. Just A Mood
(3:07)  9. If Dreams Come True
(5:09) 10. I Got Rhythm
(3:06) 11. Jumpin' For Joy
(2:53) 12. Wham (Re-Bop-Boom-Bam)
(2:24) 13. Liza
(3:02) 14. 71
(2:39) 15. China Boy
(3:02) 16. Indiana
(3:15) 17. I Want To Be Happy
(2:20) 18. Rose Room
(2:49) 19. Just Like A Butterfly
(1:40) 20. Fine And Dandy
(2:57) 21. Under A Blanket Of Blue
(3:19) 22. Sweet Lorraine
(3:46) 23. Airmail Special

Gentleman of Keyboard, a Giants of Jazz compilation released in 1998, is a jumbled assemblage of great jazz recordings made between May 1934 and July 1957 by pianist and bandleader Teddy Wilson (1912-1986). The list of collective personnel on this one disc is staggering, as Wilson consistently worked with innovators and individualists who decisively shaped the evolution of jazz over the years. Among literally dozens of noteworthy participants are vocalists Billie Holiday and Ella Fitzgerald as well as tenor saxophonists Ben Webster and Lester Young. Wilson is also heard in his famous role as a member of the Benny Goodman Quartet and Sextet. Though it would take quite a number of Wilson collections to accurately demonstrate the magnitude of his contribution to the history of jazz, Gentleman of Keyboard is a good place to begin. 

~ arwul arwulf  http://www.allmusic.com/album/gentleman-of-keyboard-1934-1957-mw0000935485

Gentleman Of Keyboard (1934-1957)

---

Bette Midler - A Gift Of Love

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 75:28
Size: 173,3 MB
Art: Front

(2:46)  1. Favorite Waste Of Time
(4:12)  2. In This Life
(4:07)  3. The Gift Of Love
(4:13)  4. Bed Of Roses
(4:38)  5. From A Distance
(4:54)  6. Wind Beneath My Wings
(3:15)  7. Come Rain Or Come Shine
(3:34)  8. The Rose
(5:11)  9. As Dreams Go By
(4:42) 10. It's Too Late
(4:09) 11. All I Need To Know
(3:49) 12. Every Road Leads Back To You
(4:48) 13. Shining Star
(5:15) 14. To Deserve You
(5:31) 15. Night And Day
(3:01) 16. (Talk To Me Of) Mendocino
(3:36) 17. The Hunter Gets Captured By The Game
(3:40) 18. Let Me Just Follow Behind

2008's Rhino-issued Jackpot: The Best Bette was the Grammy-winning vocalist and Emmy-winning actress' first career-spanning compilation since 1993, and it served as an excellent window into her often eclectic career, touching on nearly all of her stylistic forays. 2015's Gift of Love is a more myopic take on the greatest-hits package, offering up an amorous 18-track set devoted entirely to Midler's love for balladry. As the humble love song has served as the legendary diva's bread and butter since the '70s, it should hardly come as a surprise that Gift of Love is well stocked with hits. Any proper Midler collection would be incomplete without the holy trinity of last-call karaoke balladry that is "The Rose," "Wind Beneath My Wings," and "From a Distance," and Gift of Love doesn't disappoint, delivering those modern standards early on in the proceedings. 

It also serves up some less ubiquitous gems, like her spirited 1983 cover of Marshall Crenshaw's "My Favorite Waste of Time" and her sultry, jazzy rendering of the Marvelettes' Smoky Robinson-penned "The Hunter Gets Captured by the Game." For the most part, Gift of Love sticks with the benchmarks, with the aforementioned triple threat, "Every Road Leads Back to You" (from For the Boys), and 1995's "It's Too Late" and "As Dreams Go By," the latter two of which appeared on the platinum-selling Bette of Roses leading the charge. Fans looking for a more diversified retrospective should probably check out Jackpot (also a Rhino release), but as the perfect soundtrack for a campy romantic evening or a boozy post-breakup meltdown, one would be hard-pressed to find anything better. ~ James Christopher Monger  http://www.allmusic.com/album/a-gift-of-love-mw0002896730

A Gift Of Love 

---

Donald Byrd - The Cat Walk

Bitrate: MP3@320K/s
Time: 40:21
Size: 92.4 MB
Styles: Bop, Trumpet jazz
Year: 1961/2007
Art: Front

[7:18] 1. Say You're Mine
[7:00] 2. Duke's Mixture
[5:34] 3. Each Time I Think Of You
[6:40] 4. The Cat Walk
[6:16] 5. Cute
[7:30] 6. Hello Bright Sunflower

Trumpeter Donald Byrd and baritone saxophonist Pepper Adams worked together on several recordings between 1958 and 1961, and The Cat Walk (released on LP in 1962) is among the best. A quintet setting, with pianist Duke Pearson (another longtime Byrd collaborator), bassist Laymon Jackson, and a lively Philly Joe Jones on drums joining the front line of Byrd and Adams, the sessions for The Cat Walk benefited from the writing and arrangement skills of Pearson, who contributes three compositions here, the impressive opener "Say You're Mine," "Duke's Mixture," and "Hello Bright Sunflower," which borrows its melodic structure from the opening bars of "Lullaby of Broadway" and features Byrd using a muted trumpet. Byrd contributed the title track, which attempts to capture the coiled, taut, but somehow still relaxed and assured gait of a tomcat, thanks in no small part to Jones' inspired drumming which hits the mark with stops and turns and smooth run-outs that are indeed very feline in nature. Byrd's playing throughout is typically sleek and lyrical, and Adams' sturdy, husky baritone sound is the perfect counterbalance, making The Cat Walk an essential Byrd purchase. ~Steve Leggett

The Cat Walk

---

Jill Barber - Jill Barber Sings The Standards EP

Bitrate: MP3@320K/s

Time: 14:14

Size: 32.6 MB

Styles: Vocal

Year: 2015

Art: Front

[3:58] 1. Ev'ry Time We Say Goodbye

[3:44] 2. A Kiss To Build A Dream On

[2:41] 3. Lullaby Of Birdland

[3:50] 4. Sukiyaki

2 time Juno Award nominee Jill Barber, is one of Canada’s brightest stars – selling out theatres coast to coast and headlining the country’s most prestigious festivals. Her albums have sold over 100,000 copies and her album Mischievous Moon spent 13 straight weeks at #1 on the Canadian Jazz Charts and debuted at #12 on the US Billboard Jazz charts. Her song “Chances” was also featured on the soundtrack for the hit series “Orange is the New Black.” She has fans in Josh Ritter, Kathleen Edwards, Kris Kristofferson (who hails Jill as a “real songwriter, a damn good songwriter”) and collaborator Ron Sexsmith.

Having earned over twenty award nominations and with two top-selling albums in English, in 2013 Jill released the french language album “Chansons,” after a celebrated performance at the prestigious Montreal Jazz Festival where she sang (for the first time ever) a French translation of one of her songs, “Tous Mes Rêves” (“All My Dreams”). Chansons has firmly established Jill as an artist to watch in both French and English.

Jill Barber Sings the Standards

---

Stan Getz - The Complete Roost Recordings (3-Disc BoxSet)

The Complete Roost Recordings is a three-disc, 59-track box set that contains all of the recordings Stan Getz made for the Roost record label in the '50s. The set includes all of his officially released sessions- including the date led by guitarist Johnny Smith, the live performances with Count Basie, and a full disc of live performances with his quintet - as well as many unreleased and alternate takes. Roost was the first label Getz recorded for as a leader, and what's surprising about these sessions is how mature he sounds here. He had already arrived at his full, rich tone and was able to improvise with skill and grace. That's what makes this box set so rewarding -- it's not only historically important, but it offers a wealth of excellent music. ~Leo Stanley

Album: The Complete Roost Recordings (Disc 1)

Bitrate: MP3@320K/s

Time: 66:43

Size: 152.8 MB

Styles: Saxohone jazz

Year: 1997

[2:42] 1. On The Alamo (Alt Take)

[2:43] 2. On The Alamo

[2:53] 3. Gone With The Wind

[2:45] 4. Yesterdays

[2:28] 5. Sweetie Pie

[2:58] 6. You Go To My Head

[2:34] 7. Hershey Bar

[2:07] 8. Tootsie Roll

[2:28] 9. Strike Up The Band

[2:31] 10. Imagination (Alt Take)

[2:21] 11. Imagination

[2:48] 12. For Stompers Only

[2:41] 13. Navy Blue (Alt Take)

[2:25] 14. Out Of Nowhere

[2:52] 15. 's Wonderful

[2:48] 16. Penny

[3:08] 17. Split Kick (Alt Take)

[2:51] 18. Split Kick

[2:44] 19. It Might As Well Be Spring (Alt Take)

[2:51] 20. It Might As Well Be Spring

[2:41] 21. The Best Thing For You

[5:34] 22. Signal (Alt Take)

[4:38] 23. Budo (Alt Take)

The Complete Roost Recordings (Disc 1)

---

Album: The Complete Roost Recordings (Disc 2)

Bitrate: MP3@320K/s

Time: 71:43

Size: 164.2 MB

Styles: Saxophone Jazz

Year: 1997

[4:23] 1. Thou Swell

[7:08] 2. The Song Is You

[5:21] 3. Mosquito Knees

[5:06] 4. Pennies From Heaven

[6:02] 5. Move

[6:06] 6. Parker 51

[3:30] 7. Hershey Bar

[4:24] 8. Rubberneck

[5:50] 9. Signal

[3:20] 10. Everything Happens To Me

[7:23] 11. Jumpin' With Symphony Sid

[2:57] 12. Yesterdays

[5:10] 13. Budo

[4:56] 14. Wildwood

The Complete Roost Recordings (Disc 2)

---

Album: The Complete Roost Recordings (Disc 3)

Bitrate: MP3@320K/s

Time: 63:09

Size: 144.6 MB

Styles: Saxophone Jazz

Year: 1997

Art: Front

[2:44] 1. Melody Express

[2:55] 2. Yvette

[2:38] 3. Potter's Luck

[2:45] 4. The Song Is You

[3:03] 5. Wildwood

[2:22] 6. Lullaby Of Birdland

[2:58] 7. Autumn Leaves (Alt Take)

[3:04] 8. Autumn Leaves

[2:24] 9. Fools Rush In (Alt Take)

[2:29] 10. Fools Rush In

[2:59] 11. These Foolish Things

[2:23] 12. Where Or When

[2:39] 13. Tabú

[3:12] 14. Moonlight Is Vermont

[2:31] 15. Jaguar

[2:17] 16. Sometimes I'm Happy

[3:02] 17. Stars Fell On Alabama

[2:23] 18. Nice Work If You Can Get It

[3:23] 19. Tenderly

[2:36] 20. Little Pony

[4:20] 21. Easy Living

[3:52] 22. Nails

The Complete Roost Recordings (Disc 3)

---

Gary Smulyan - Smul's Paradise

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 52:41
Size: 121,4 MB
Art: Front

(9:01)  1. Sunny
(6:42)  2. Up In Betty's Room
(4:43)  3. Pistaccio
(8:27)  4. Smul's Paradise
(4:53)  5. Little Miss Halfsteps
(8:15)  6. Aires
(6:36)  7. Blues for DP
(4:01)  8. Heavenly Hours

While the tenor saxophone is no stranger to organ group gatherings, its big brother rarely comes to the party. It's hard to say whether a lack of interest amongst baritone saxophonists, insufficient opportunities for such combinations, or a paucity of players capable of pulling it off is responsible for this issue, but Gary Smulyan won't stand for it any longer. Smulyan, best known for his work with the legendary Vanguard Jazz Orchestra, has never been one to shy away from an opportunity to explore new surroundings. While he initially put his alto away and took on the mantle of a baritone saxophonist for the opportunity to join Woody Herman's band in the late '70s, it proved to be a career-altering experience and he's been one of the busiest baritones in the business ever since. He has blended his instrumental voice into the fabric of big bands, piano-less trios and various other ensembles both big and small, but Smul's Paradise marks the first time that he fronts an organ group on record.

His capable comrades on this mission are some of his closest friends, who also happen to be the cream of the crop on the New York scene. While this marks the first time that Smulyan, guitarist Peter Bernstein, organist Mike LeDonne and drummer Kenny Washington - Drums have teamed up to form a quartet, shared experiences between some of these musicians on and off the bandstand make this a comfortable fit from the get-go. The entire album may have been recorded in one day, with no rehearsal time and minimal retakes, but the finished product never betrays these facts. The eight tracks on the album hit on all of the stylistic touchstones to be expected in this setting. 

Balladry ("Aires"), bop-ish saxophone lines ("Smul's Paradise"), Brazilian-flavored fare ("Pistaccio"), swaggering, hard bop-based music ("Up In Betty's Room") and more come into play, as Smulyan explores the possibilities that live within this format. He also toys with preexisting material, as he re-imagines Bobby Hebb's "Sunny" as a waltz and creates a hybrid of "Seven Steps To Heaven" and "My Shining Hour" on the album-ending "Heavenly Hours." Along the way, Smulyan also pays tribute to a pair of oft-overlooked organists. Don Patterson gets his due with performances of two of his songs ("Up In Betty's Room" and "Aires") and an original written in his honor ("Blues For D.P."), while Rhoda Scott gets a nod with "Pistaccio." Smul's Paradise features some first-rate music, while showing off another facet of Smulyan's musicianship and filling a musical void left open by many baritone saxophone bearers of the past and present. Smulyan and company succeed on all fronts here, making this a sequel-worthy session. ~ Dan Bilawsky  http://www.allaboutjazz.com/smuls-paradise-gary-smulyan-capri-records-review-by-dan-bilawsky.php

Personnel:  Gary Smulyan: baritone saxophone;  Mike LeDonne: Hammond B3 organ;  Peter Bernstein: guitar;  Kenny Washington: drums.

Smul's Paradise

---

Stephanie Nakasian - Thrush Hour: A Study Of The Great Ladies Of Jazz

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 67:10
Size: 154,8 MB
Art: Front

(3:41)  1. A Good Man Is Hard to Find
(2:50)  2. Guess Who's in Town
(3:27)  3. Rockin' Chair
(3:49)  4. A Hundred Years From Today
(3:05)  5. It Don't Mean A Thing
(3:20)  6. Lullaby Of The Leaves
(2:25)  7. Goody Goody
(2:25)  8. All Of Me
(2:52)  9. What Is This Thing Called Love
(3:40) 10. Moments Like This
(2:42) 11. Take The 'A' Train
(3:47) 12. Million Dollar Secret
(4:47) 13. Day Dream
(2:21) 14. I Cried For You
(2:53) 15. Maybe
(4:18) 16. Too Late Now
(2:35) 17. Peel Me A Grape
(4:46) 18. Blue Gardenia
(3:57) 19. Street Of Dreams
(3:23) 20. All That Jazz

Stephanie Nakasian is a great gift to jazz buffs and especially to those who love singers. Not just for her exuberant performances but for her ability to articulate in layman's terms what it is to be a jazz singer. Her latest recording on V.S.O.P. Records, Thrush Hour, combines masterful singing, top-notch musicianship, and an educator's expertise to deliver a comprehensive "study of the great ladies of jazz, as the subtitle reads. On this release Nakasian approaches a generous number of vocal jazz classics in the style of the original recording artist, from Bessie Smith and Ethel Waters to Abbey Lincoln and Ella Fitzgerald. Along with each track is an informative biographical sketch of the original artist that places the music in its era and details its significance in jazz history. Few singers can tell you as much about where their sound comes from.

Without resorting to imitation Nakasian synthesizes each of these singers' unique vocal abilities with her own estimable talent, and the result is both educational and entertaining. Nakasian shifts from one color and feel to the next quite deftly, moving from Connee Boswell's throaty version of "Lullaby of the Leaves , say, to Helen Ward's light and swinging up-tempo "Goody Goody, to Billie Holiday's high, subtly back-phrased "All of Me, to Anita O'Day's fast-paced, scatting bop in "What Is This Thing Called Love. These tunes are just a small sample of the stylistic leaps Nakasian displays on this 20-track CD. (You will be left to figure out how Nakasian can sound so convincing on a rendering of a Sarah Vaughn tune and then on one by Blossom Dearie, but there it is.) The CD, recorded in two days (that's ten tunes a day), shows off the considerable chops of Nakasian's rhythm section: her husband Hod O'Brien on piano, Steve Gillmore on bass, Bill Goodwin on drums, and Howie Collins on rhythm guitar; and of her horn players, Randy Sandke (trumpet), Tod Hamilton (tenor sax), and John Jensen (trombone). The team borrows the arrangements from the original recordings, one assumes from reading the liner notes, but the presentation is fresh. ~ Suzanne Lorge  http://www.allaboutjazz.com/thrush-hour-stephanie-nakasian-vsop-records-review-by-suzanne-lorge.php

Personnel: Stephanie Nakasian: vocals;  Hod O’Brien: piano;  Steve Gillmore: bass;  Bill Goodwin: drums;  Howie Collins: rhythm guitar;  Randy Sandke: trumpet;  Tod Hamilton: tenor sax;  John Jensen: trombone.

Thrush Hour: A Study Of The Great Ladies Of Jazz

---

Teddy Wilson - Blues For Thomas Waller

Styles: Piano Jazz, Swing
Year: 1974
File: MP3@320K/s
Time: 54:37
Size: 125,9 MB
Art: Front

(2:37)  1. Honeysuckle Rose (Take 1)
(2:42)  2. My Fate Is In Your Hands
(3:15)  3. Ain't Cha Glad?
(2:39)  4. I've Got A Feeling I'm Falling
(2:38)  5. Stealin' Apples
(5:43)  6. Blues For Thomas Waller
(2:18)  7. Handful Of Keys
(3:00)  8. Striding After Fats
(2:52)  9. Squeeze Me (Take 1)
(2:42) 10. Zonky
(4:14) 11. Blue Turning Grey Over You
(3:20) 12. Ain't Misbehavin'
(3:06) 13. Black And Blue
(2:51) 14. Honeysuckle Rose (Take 2)
(2:18) 15. Keepin' Out Of Mischief Now
(2:46) 16. Handful Of Keys (Take 2)
(2:43) 17. Squeeze Me (Take 2)
(2:46) 18. Honeysuckle Rose (Take 3)

Teddy Wilson, the definitive swing pianist, never really sounded like Fats Waller, although his style was complementary. This solo session finds him swinging his way through 11 of Waller's compositions, including two versions of "Honeysuckle Rose," along with two tributes "Blues for Thomas Waller" and "Striding After Fats." Wilson's style was unchanged from 40 years earlier, but he still infused his solos with enthusiasm and melodic creativity, and this set is a pretty inspired effort. ~ Scott Yanow  http://www.allmusic.com/album/blues-for-thomas-waller-mw0000613742

Personnel: Teddy Wilson (piano).

Blues For Thomas Waller

---

Benny Golson - New York Scene

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 44:02
Size: 101,2 MB
Art: Front

(6:05)  1. Something In B Flat
(6:01)  2. Whisper Not
(6:54)  3. Step Lightly
(4:12)  4. Just By Myself
(6:52)  5. Blues  It
(4:22)  6. You're Mine You
(3:59)  7. Capri
(5:34)  8. B.G.'s  Holiday

Benny Golson's debut as a leader was recorded at a time when he was better known as a composer than a tenor saxophonist. This album, reissued during the CD era with "B.G.'s Holiday" added to the original LP program as a bonus track, features Golson in a quintet with fellow future Jazztet co-leader Art Farmer on trumpet, pianist Wynton Kelly, bassist Paul Chambers, and drummer Charlie Persip on five selections, and with the same group plus four horns on three other songs. The set is most significant for including an early version of Golson's "Whisper Not" (which soon became a jazz standard) along with "Step Lightly," as well as for the leader's inventive and swinging arrangements; plus, there are some excellent solos from Golson and Farmer. Overall, this underrated gem served as a strong start to Benny Golson's influential solo career. ~ Scott Yanow  http://www.allmusic.com/album/new-york-scene-mw0000202937

Personnel: Benny Golson (tenor saxophone); Gigi Gryce (alto saxophone); Sahib Shihab (baritone saxophone); Art Farmer (trumpet); Julius Watkins (French horn); James Cleveland (trombone); Wynton Kelly (piano); Paul Chambers (bass); Charlie Persip (drums).

New York Scene

---

Eddie Vinson, Jay McShann - Jumpin' The Blues

Bitrate: MP3@320K/s

Time: 62:33

Size: 143.2 MB

Styles: West Coast blues, Mainstream jazz

Year: 2003

Art: Front

[3:19] 1. Confessin' The Blues

[3:42] 2. Yardbird Waltz

[3:42] 3. My Chile

[5:16] 4. Satin Doll

[4:05] 5. Kansas City

[4:05] 6. Jumpin' The Blues

[4:15] 7. Mr. Cleanhead Blues

[4:18] 8. Wait A Minute Baby

[5:01] 9. Juice Head Baby

[8:23] 10. Kidney Stew Blues

[3:03] 11. Cherry Red

[4:54] 12. Red Top

[6:15] 13. Roll 'em C Jam Blues

[2:09] 14. C Jam Again

As part of The Definitive Black & Blue Sessions series, alto saxophonist Eddie "Cleanhead" Vinson is spotlighted on 14 digitally remastered tracks, recorded at Cargo Studio in Paris on March 9, 1969. This straight-ahead session pairs Cleanhead with pianist Jay McShann, Gene Ramey on bass, and McShann's drummer at the time, Paul Gunther. While this disc doesn't contain any unreleased tracks, it does feature several first-rate renditions of Vinson's signature tunes, including "Mr. Cleanhead Blues," "Kidney Stew," and "Juice Head Baby. ~Al Campbell

Jumpin' The Blues   

---

Ann Richards - Ann, Man!

Bitrate: MP3@320K/s

Time: 39:56

Size: 91.4 MB

Styles: Vocal jazz

Year: 1961/2005

Art: Front

[3:21] 1. Yes Sir, That's My Baby

[2:55] 2. An Occasional Man

[3:51] 3. There's A Lull In My Life

[2:19] 4. The Masquerade Is Over

[5:48] 5. You Go To My Head

[2:39] 6. Is You Is Or Is You Ain't My Baby

[2:53] 7. And That's All

[4:01] 8. Bewitched, Bothered And Bewildered

[4:09] 9. Evil Gal Blues

[1:58] 10. Love Is A Word For The Blues

[2:55] 11. How Do I Look In Blue

[3:02] 12. I Couldn't Sleep A Wink Last Night

Ann Richards, an excellent singer who was married to Stan Kenton for a few years, only recorded a few solo albums before slipping away into obscurity. Ann, Man! is her most intimate date, a quartet set with trumpeter Jack Sheldon, guitarist Barney Kessel, bassist Red Callender, and drummer Larry Bunker. Four of the songs (including "There's a Lull in My Life" and "You Go to My Head") are duets with Kessel. Richards shows off her versatility and sensitivity on this well-rounded set, swinging lightly and singing with restrained emotions. It is a pity that she did not have a prosperous career, for the talent was definitely there. ~Scott Yanow

Ann, Man!   

---

Pepper Adams, Jimmy Knepper - The Pepper-Knepper Quintet

Bitrate: MP3@320K/s
Time: 39:49
Size: 91.2 MB
Styles: Bop, Saxophone jazz
Year: 1958/2010
Art: Front

[6:02] 1. Minor Castastrophe
[5:52] 2. All Too Soon
[6:22] 3. Beaubien
[4:48] 4. Adams In The Apple
[5:12] 5. Riverside Drive
[4:26] 6. I Didn't Know About You
[7:03] 7. Primrose Path

Although Leonard Feather, in the original liner notes that are reproduced for this reissue, says that it is an oversimplification to call the music on this 1958 session "hard bop," the performances are actually pretty definitive of the idiom. Baritonist Pepper Adams, freshly arrived in New York from Detroit, co-leads a quintet with the up-and-coming trombonist Jimmy Knepper that also includes such young notables as pianist Wynton Kelly, bassist Doug Watkins and drummer Elvin Jones. They perform an obscure Jon Hendricks song, a lyrical version of "All Too Soon," the straight-ahead bebop blues "Beaubien," a couple obscure originals, Duke Ellington's "I Didn't Know About You" (which has Kelly switching to a spooky-sounding organ) and Knepper's "Primrose Path." The blend between baritone and trombone is quite effective, the musicians all take consistently excellent solos and the music is state-of-the-art 1958 modern mainstream jazz; in other words, hard bop. ~Scott Yanow

The Pepper-Knepper Quintet

---

Niels-Henning Ørsted Pedersen Feat. Renee Rosnes - Friends Forever: In Memory of Kenny Drew

Styles: Jazz, Hard Bop
Year: 1995
File: MP3@320K/s
Time: 53:08
Size: 122,7 MB
Art: Front

(8:22)  1. Hushaby
(6:26)  2. Kenny
(4:01)  3. Someday My Prince will Come
(3:59)  4. Theme from Elvira Madigan
(4:15)  5. Lullaby of the Leaves
(5:37)  6. The Shadow of Your Smile
(5:20)  7. Sometime Ago
(5:45)  8. Days of Wine and Roses
(9:20)  9. Future Child - Friends Forever

Niels Pedersen made many rewarding recordings over several decades as a sideman with the late pianist Kenny Drew, so his making of a CD in tribute to him shouldn't come as a surprise. Joined by pianist Renee Rosnes and drummer Jonas Johansen, Friends Forever: In Memory of Kenny Drew primarily include selections which Drew loved to play. The Danish folk lullaby "Hushaby" is a bit unusual, as it includes a drum solo, as well as Rosnes' dirge-like piano. Pedersen's pulsing bass helps to disguise the introduction to "Someday My Prince Will Come," a lovely waltz recorded by numerous jazz greats. A lively post-bop workout of "Lullaby of the Leaves" swings like mad; while an initially funky introduction to "The Shadow of Your Smile" quickly gives way to a more traditional samba treatment. Pedersen's originals also merit attention. The medley "Future Child-Friends Forever" begins with the leader's intricate pizzicato solo, then adds his partners for the second song, which spotlights Pedersen's flawless arco bass. His special tribute "Kenny" reflects Pedersen's sense of loss without getting overly maudlin. This brilliant date adds to the already considerable recorded accomplishments of Niels Pedersen.
~ Ken Dryden http://www.allmusic.com/album/friends-forever-in-memory-of-kenny-drew-mw0000020648

Personnel : Niels-Henning Orsted Pedersen (bass); Renee Rosnes (piano); Jonas Johansen (drums).

Friends Forever:  In Memory of Kenny Drew

---

Morgana King - A Taste of Honey

Styles: Jazz, Vocal
Year: 1964
File: MP3@320K/s
Time: 44:25
Size: 102,0 MB
Art: Front

(5:15)  1. A Taste of Honey
(2:37)  2. Fascinating Rhythm
(3:42)  3. Prelude to a Kiss
(3:38)  4. Easy Living
(3:41)  5. All Blues
(2:45)  6. Bluesette
(2:43)  7. Easy to Love
(3:05)  8. The Night Has a Thousand Eyes
(2:20)  9. The Lady Is a Tramp
(2:40) 10. Try to Remember
(3:51) 11. Meditation
(4:41) 12. I'll Follow You
(3:22) 13. Sometimes I Feel Like a Motherless Child

None of the more than 30 albums recorded by singer Morgana King since the mid-'50s have been embraced by the size of the audience that bought tickets to see the first two chapters of The Godfather film trilogy, in which King acted in the role of Mama Corleone. But it would be wrong to assume she has had more impact as an actress than as a vocalist. Her acting roles, few and far between, are chosen with care, but do not have the resonance of some of her finest recordings. Millions saw her onscreen in The Godfather films, but her performance was certainly overshadowed by performers such as Robert DeNiro and Al Pacino, not to mention the famous turn by Marlon Brando as her husband. Another role of King's was in the 1997 film A Brooklyn State of Mind; she has also appeared in several television productions. It is possible that there are actors and actresses who have named Morgana King as a great inspiration. Yet, the results of a simple Internet search under her name only yielded dozens of quotes from vocalists and other musicians about the great influence of her recordings and singing style, not her work before the camera. It might not be a surprise when a young female singer gushes about King's albums, but these fans also include deeper thinkers such as classical bass virtuoso Gary Karr. References to her music also show up regularly in fiction as a kind of mood-setting device, such as: "It was a beautiful day in Malibu. He got up, made a coffee and put on a Morgana King record."

Some record collectors might be surprised to realize that a complete set of King sides might eliminate any elbow room for, say, the discography of one of the prolific blues guitarists with this regal surname. Morgana King sides can be divided into several periods. It took her almost eight years to peak at whatever commercial success she was going to have with the 1964 A Taste of Honey album, thus ending the early years. She then was absorbed into the Atlantic and Reprise corporation and an exemplary series of releases by singers such as Big Joe Turner, Ruth Brown, Lavern Baker, and Ray Charles. The label's greatest producers stared the oncoming rock & roll in the eye, never forgetting their basic R&B orientation. Within a few years, a sub-category developed, seen through paisley glasses. The material became more philosophical, the increasing intellectual depth not surprisingly accompanied by the audience stampeding in the opposite direction. This might make sense, though; while 1965's The Winter of My Discontent is a masterpiece, 1968's Gemini Changes is laughably pretentious. By the early '70s she was anxious to get into films, the music business pushing away any and all veteran talent. Later in the decade she launched the mature period of her career, though, once again recording as more of a jazz-flavored artist for Muse, a label which in itself indicates a disinterest in pop culture. 

The label was loyal to her, regularly recording her through the following decade. This material was reissued in the late '90s by the 32 Jazz label, whose honcho, Joel Dorn, also presided over the reissue of her Reprise sides. If a special sort of bittersweet feeling pervades her later performances, perhaps it has something to do with this return to her jazz singing roots. Her father had been a performer of folk and popular music on voice and guitar, and she had begun singing in nightclubs such as Basin Street in New York City when she was in her mid-twenties. Only a few years earlier, she had been immersed in classical studies at the Metropolitan School of Music. Basin Street may have been in the same city, but it must have seemed like a completely different musical world. The formal training undoubtedly filled in aspects of her musical walk where some of her peers might have had to limp. For this reason alone, some listeners find her efforts the most swinging of the '60s generation of pop singers. It meant much critical acclaim during her career, if not great commercial success. At many stages, King seems to have been making other plans. For the 1960 Encyclopedia of Jazz by Leonard Feather, she lists this ambition: "To become a dramatic actress." ~ Eugene Chadbourne  http://www.allmusic.com/artist/morgana-king-mn0000501436/biography

A Taste of Honey

---

Tord Gustavsen - What Was Said

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 59:56
Size: 138,6 MB
Art: Front

(2:45)  1. Your Grief
(5:09)  2. I See You
(6:23)  3. Imagine The Fog Disappearing
(4:46)  4. A Castle In Heaven
(7:26)  5. Journey Of Life
(5:42)  6. I Refuse
(5:35)  7. What Was Said To The Rose-O Sacred Head
(3:03)  8. The Way You Play My Heart
(3:08)  9. Rull
(4:25) 10. The Source Of Now
(3:23) 11. Sweet Melting
(4:26) 12. Longing To Praise Thee
(3:39) 13. Sweet Melting Afterglow

What was said introduces a new trio from Norwegian pianist Tord Gustavsen, featuring German-Afghan vocalist Simin Tander, with the support of longtime collaborator drummer Jarle Vespestad (who has played on all of Gustavsen's previous ECM recordings). The inspiration for the program was the tradition of Norwegian church music, but it is explored in a most untraditional way. The most obvious difference is the polyglot approach to the sung languages. Gustavson's interest in Sufi poetry and enjoyment of the sound of the Pashto language led to the decision to translate Norwegian hymns into Pashto. Lyrics adapted from the great Persian poet Rumi get the reverse treatment, and are sung in English. One song sets a poem by U.S. poet Kenneth Rexroth (who counted Rumi among his influences), which stays in the original language (English). Gustavsen saw this as a way to make connections between these poets, establishing a dialog across centuries. However unorthodox all this cross-translation seems, Tander makes it sound completely natural. Her intimate, lyrical voice is equally at home in both languages, as well as singing wordless vocalise and improvising. Gustavson still plays the piano as his main instrument, but has augmented it with discreet electronics and occasional synthesizer bass, while Vespestad provides percussive textures or timekeeping as required. So the group is a true trio, not just a vocalist with accompanists.

They take these roles in different ways throughout the program. The opener "Your Grief" (an English Rumi translation) sounds like a voice/piano duet at first, but ends with a gentle percussion solo. "Imagine The Fog Disappearing" is the first track to use a full band sound, with drums, prominent electronics, and bass synthesizer. "Journey Of Life" (a Norwegian traditional sung in Pashto) uses toms and vocalese, and one section has a lovely sustained synthesizer pad with melodic piano on top. There is a brief instrumental interlude just past the halfway mark, two lyrical Gustavson originals played without vocals, sounding more like his previous ECM releases. "The Way You Play My Heart" has a Gospel feel, while "Rull" shows an almost martial side to Vespestad's drumming. "Longing To Praise Thee" is another Norwegian traditional tune, but this time Tander sings it without words. Closing "Sweet Melting Afterglow" begins with a collective improvisation, then fittingly ends the album with a Norwegian tune sung in Pashto. What was said presents a quietly surprising vision of a new kind of musical fusion. It's subtle, and may take a couple of listens before the beauty takes hold. ~ Mark Sullivan  http://www.allaboutjazz.com/what-was-said-tord-gustavsen-ecm-records-review-by-mark-sullivan.php

Personnel: Tord Gustavsen: piano, electronics, synth bass;  Simin Tander: voice;  Jarle Vespestad: drums.

What Was Said

---

The Housemartins - The People Who Grinned Themselves To Death

Styles: Vocal, Pop/Rock
Year: 1987
File: MP3@320K/s
Time: 38:06
Size: 87,7 MB
Art: Front

(3:34)  1. The People Who Grinned Themselves To Death
(2:28)  2. I Can't Put My Finger On It
(3:59)  3. The Light Is Always Green
(3:19)  4. The World's On Fire
(1:52)  5. Pirate Aggro
(2:54)  6. We're Not Going Back
(2:53)  7. Me And The Farmer
(2:44)  8. Five Get Over Excited
(3:55)  9. Johannesburg
(3:04) 10. Bow Down
(2:32) 11. You Better Be Doubtful
(4:47) 12. Build

Comparisons to the Smiths are essentially irrelevant by the point of the Housemartins' underrated sophomore effort  the melodies and arrangements move away from the upbeat guitar pop shimmer of London 0, Hull 4 to further explore the group's fascination with Motown and gospel, while P.D. Heaton's lyrics articulate a leftist anger and scathing social commentary the likes of which Morrissey's insularly personal lyrics only hint at. (Equally noteworthy is the defiantly British outlook of Heaton's songs it's virtually impossible from an American standpoint to fully comprehend the sheer vitriol against the Queen espoused on the title cut, and lyrical snippets like "How come you wear Rupert Check when you think you're so hard?" and "Welcome to the new Scalextric's breed" are likely impenetrable to all but the hardiest Anglophiles.)

There's some filler here "We're Not Going Back" and "You Better Be Doubtful" simply go through the motions, and the instrumental "Pirate Aggro" seems at best an afterthought but the peaks of The People Who Grinned Themselves to Death are glorious. In hindsight, however, it's obvious that the Housemartins had already run their course with its alternating lead vocals from Heaton and drummer Dave Hemingway, the achingly lovely piano ballad closer "Build" forecasts the twosome's continued collaboration in the Beautiful South, while the subtle yet soulful bass work of Norman Cook throughout the record anticipates the funk direction of his subsequent Beats International project. ~ Jason Ankeny  http://www.allmusic.com/album/the-people-who-grinned-themselves-to-death-mw0000193522

Personnel:  Norman Cook – bass, vocals;  Dave Hemingway – drums, vocals;  P.d. Heaton – vocals, guitar, trombone;  Stan Cullimore – guitar, vocals;  Guy Barker – trumpet;  Sandy Blair – tuba;  St. Winifred's School Choir – backing vocals;  Pete Wingfield – piano, keyboards;  John Williams – producer; The Housemartins – producer;  Phil Bodger – engineer;  David Storey – sleeve design;  John Sims – sleeve design;  Phil Rainey – front cover photography;  Derek Ridgers – band photography.

The People Who Grinned Themselves To Death

---