Laurent de Wilde - Over The Clouds

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 53:55
Size: 123,8 MB
Art: Front

(7:55)  1. Prelude to a Kiss
(7:35)  2. Over the Clouds
(6:42)  3. Fe Fe Naa Efe
(4:57)  4. Le bon médicament
(6:00)  5. Edward K
(6:23)  6. Some Kinda Blues
(4:16)  7. Irafrica
(6:45)  8. New Nuclear Killer
(3:18)  9. Over the Clouds (Radio Edit)

Dividing his time between the United States and France, Laurent de Wilde has found a welcoming audience in both countries. His third solo album, Open Changes, resulted in de Wilde receiving a Django Reinhardt Award for Best French Musician of 1992. In addition to leading his own group, de Wilde has worked as a session player for Reggie Workman, Ralph Moore, Greg Osby, Joshua Redman, Dee Dee Bridgewater, Aldo Romano, André Ceccarelli, Harold Land, and Tom Harrell. His first four albums featured tenor saxophonist Joe Coleman, drummer Jack DeJohnette, and trumpet player Eddie Henderson. His fifth release, Spoon-a-Rhythm, released in 1997, featured St. Thomas-born drummer Dion Parson and former Miles Davis and Weather Report percussionist Bobby Thomas Jr.. Born in Washington, D.C., de Wilde moved to France before his fifth birthday. After studying philosophy at Ecole Normale Superieure in Paris, he returned to the United States to attend Long Island University. 

While there, he met and befriended pianist Joey Calderazzo. Settling in New York, de Wilde was mentored by such influential pianists as Jim McNeely, Kirk Lightsey, and Mulgrew Miller. A member of Eddie Henderson's band in 1986, he recorded his debut solo album, Off the Boat, the following year. He followed with the impressive solo albums Odd and Blue in 1989 and Colors of Manhattan in 1990. Signing with Sony Jazz France in 1994, he released his fourth album, The Back Burner, in 1995. De Wilde authored a biography of influential jazz pianist Thelonious Monk in 1996, which received a Charles DeLaunay Prize for Best Book on Jazz.~Craig Harris http://www.allmusic.com/artist/laurent-de-wilde-mn0000785373/biography

Personnel:  Laurent de Wilde, piano;  Ira Coleman, bass;  Clarence Penn, drums

Over The Clouds

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David Binney - Balance

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 60:13
Size: 142,5 MB
Art: Front

(6:35)  1. Balance
(4:55)  2. Marvin Gaye
(6:49)  3. Arlmyn Trangent
(7:50)  4. I'll Finally Answer
(1:34)  5. Midnight Sevilla
(5:39)  6. Speedy's 9 Is 10
(5:25)  7. We Always Cried
(4:18)  8. Lurker
(4:44)  9. Rincon
(4:18) 10. Fidene
(3:06) 11. Arlmyn Trangent Reliv
(4:54) 12. Perenne

Alto saxophonist David Binney's follow-up to his extraordinary CD South offers a different approach overall while retaining the fresh contemporary style that underlines his status as an innovator and unique voice. Pianist Uri Caine is retained, drummer Jim Black takes over for Brian Blade, tenor saxophonist Donny McCaslin teams with Binney on two tracks, Tim LeFebvre is a new addition on electric bass guitar, and Wayne Krantz is in for Adam Rogers on electric guitar. To Binney, balance is an elusive commodity, and nearly impossible to maintain. His love for the fusion and funk music of the '70s is translated into modern terms and gradations. On the high-end level of complexity, the title track displays repeat themes in varying modes and shifting accented tempos, mixed meters, and a funky underpinning completely slowing on the bridge. The chase is on during "Speedy's 9 Is 10" with Binney and McCaslin in hot pursuit, interrupted by the steel guitar of Rogers during his lone cameo appearance on the CD with bassist Fima Ephron. A wild dissected funk delivered by Black during "Fidene" is shaded by creature-feature and groping electronic sounds. There are a few soul ballads that frame Binney's tart alto better than the larger group pieces, and Caine's pretty piano is also showcased in "We Always Cried" and "Perenne." An expanded ensemble with guest Peck Almond elicits clarion calls in 10/8 time during the short "Midnight Sevilla," and there are two takes of the fun and funky "Arlmyn Trangent," again with the wonderful McCaslin. Black is a constant source of rhythmic drive and inventiveness, giving Binney a large palette to paint broad color strokes. While not as vital as South, Balance is a worthy addition to the discography of one of the top performers in modern progressive jazz.~Michael G.Nastos http://www.allmusic.com/album/balance-mw0000998909

Personnel:  Alto Saxophone – Jon Haffner (tracks: 1);  Alto Saxophone, Tenor Saxophone – David Binney;  Bass – Fima Ephron (tracks: 6, 11), Tim Lefebvre;  Brass – Peck Almond;  Drums – Jim Black;  Guitar – Adam Rogers (2) (tracks: 6,12), Wayne Krantz;  Piano, Synthesizer – Uri Caine;  Sounds [Broom] – Kenny Wollesen (tracks: 12);  Tenor Saxophone – Donny McCaslin (tracks: 5,6,8,9);  Vocals – Tanya Henri

Balance

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Peggy Lee - Let's Do It

Styles: Vocal Jazz
Year: 1997
File: MP3@320K/s
Time: 58:46
Size: 135,8 MB
Art: Front

(2:51)  1. Elmer's Tune
(3:08)  2. My Old Flame
(3:20)  3. How Deep Is The Ocean?
(3:10)  4. That's The Way It Goes
(3:00)  5. I Threw A Kiss In The Ocean
(3:16)  6. I Got It Bad And That Ain't Good
(2:46)  7. Shady Lady Bird
(2:02)  8. Let's Do It
(3:09)  9. Somebody Else It Taking My Place
(3:17) 10. We'll Meet Again
(2:10) 11. Full Moon
(3:22) 12. All I Need Is You
(3:13) 13. Why Don't You Do Right?
(3:22) 14. Not A Care In The World
(3:16) 15. How Long Has It Been Going On?
(2:30) 16. That Did It Marie
(3:17) 17. Not Mine
(2:17) 18. These Foolish Things (Remind Me Of You)
(2:11) 19. The Lady Is A Tramp
(3:01) 20. Winter Weather

Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes, singles including "Mañana," "Lover" and "Fever" that showed her bewitching vocal power, a balance between sultry swing and impeccable musicianship. Born Norma Egstrom in Jamestown, North Dakota, she suffered the death of her mother at the age of four and endured a difficult stepmother after her father remarried. Given her sense of swing by listening to Count Basie on the radio, she taught herself to sing and made her radio debut at the age of 14. She made the jump to Fargo (where she was christened Peggy Lee), then to Minneapolis and St. Louis to sing with a regional band. Lee twice journeyed to Hollywood to make her fortune, but returned unsuccessful from both trips. She finally got her big break in 1941, when a vocal group she worked with began appearing at a club in Chicago. While there, she was heard by Benny Goodman, whose regular vocalist Helen Forrest was about to leave his band. Lee recorded with Goodman just a few days later, debuting with the popular "Elmer's Tune" despite a good deal of nerves. That same year, several songs became commercial successes including "I Got It Bad (And That Ain't Good)" and "Winter Weather." In 1943, "Why Don't You Do Right" became her first major hit, but she left the Goodman band (and the music industry altogether) later that year after marrying Goodman's guitarist, Dave Barbour. After just over a year of domestic life, Peggy Lee returned to music, first as part of an all-star jazz album. Then, in late 1945, Capitol signed her to a solo contract and she hit the charts with her first shot, "Waitin' for the Train to Come In." Lee continued to score during the late '40s, with over two dozen chart entries before the end of the decade, including "It's a Good Day," "Mañana (Is Soon Enough for Me)" the most popular song of 1948 and "I Don't Know Enough About You." Many of her singles were done in conjunction with Barbour, her frequent writing and recording partner.

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

Peggy Lee was an early advocate of rock and made a quick transition into rock-oriented material. Given her depth and open mind for great songs no matter the source, it wasn't much of a surprise that she sounded quite comfortable covering the more song-oriented end of late-'60s rock, including great choices by Jimmy Webb, Buffy Sainte-Marie, Burt Bacharach, Randy Newman, Goffin & King and John Sebastian. She nearly brushed the Top Ten in 1969 with Leiber & Stoller's "Is That All There Is?" She continued recording contemporary material until 1972's Norma Deloris Egstrom From Jamestown, North Dakota brought her back to her roots. It was her last LP for Capitol, however. Lee recorded single LPs for Atlantic, A&M, Polydor UK and DRG before effectively retiring at the beginning of the 1980s. She returned in 1988 with two LPs for Music Masters that revisited her earlier successes. Her last album, Moments Like This, was recorded in 1992 for Chesky. Her voice was effectively silenced after a 1998 stroke, and she died of a heart attack at her Bel Air home in early 2002.~John Bush http://www.allmusic.com/artist/peggy-lee-mn0000256349/biography

Let's Do It

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Clarence Penn - Dali in Cobble Hill

Styles: Post-Bop, Straight-Ahead Jazz
Year: 2012
File: MP3@320K/s
Time: 66:06
Size: 152,0 MB
Art: Front

(7:10)  1. The B 61
(5:34)  2. Cobble Hill
(7:49)  3. A Walk on the B-H-P
(6:12)  4. Dali
(7:02)  5. I Hear Music
(6:46)  6. Mr. C
(6:00)  7. Persistence of Memory
(7:01)  8. My Romance
(6:06)  9. Solato's Morning Blues
(6:21) 10. Zoom Zoom

Clarence Penn's 2012 album, Dali in Cobble Hill, is a rhythmically and harmonically varied date conceptualized around the fanciful notion of painter Salvador Dali taking a walk through Penn's Brooklyn neighborhood. Penn evokes the disjointed surrealism of Dali with some original compositions that include several propulsive, high-energy cuts, as well as a few more sparse, atmospheric, and stream-of-consciousness arrangements. Adding to the high level of craft exhibited on Dali in Cobble Hill is Penn's choice of sidemen here: saxophonist Chris Potter, guitarist Adam Rogers, and bassist Ben Street. The rounded tone of Rogers' amplified guitar set against Potter's bright but full-sounding tenor sax helps give the ensemble a unified sound out front, while Penn and Street fill in the layers underneath them. 

To these ends, the band flies through the frenetic Afro-Cuban/drum'n'bass-inflected "The B 6 1 "; floats together through the languid atmosphere of "A Walk on the B-H-P," and spars jauntily over the midtempo swing of "Solato's Morning Blues." Penn is one of the most accomplished and in-demand sideman of his generation, and it’s always a joy to hear him leading his own ensemble. These are adroit, fluid, and virtuosic post-bop tracks that should appeal to fans of the cerebral, adventurous jazz that just skirts the avant-garde while remaining firmly grounded in the straight-ahead jazz tradition.~Matt Collar http://www.allmusic.com/album/dali-in-cobble-hill-mw0002409319

Personnel: Clarence Penn (drums, percussion); Adam Rogers (guitar); Chris Potter (bass clarinet, soprano saxophone, tenor saxophone).

Dali in Cobble Hill

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Sonny Rollins - Tour De Force

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 41:56
Size: 96,3 MB
Art: Front

(6:56)  1. Ee-Ah
(9:13)  2. B. Quick
(7:41)  3. Two Different Worlds
(5:18)  4. B. Swift
(4:23)  5. My Ideal
(8:22)  6. Sonny Boy

A better purchase than Sonny Boy (OJC 348) which has four of this set's six numbers plus "The House I Live In" from an earlier date. None of the Sonny Rollins' originals (which include "B. Swift," "B. Quick" and "Ee-Ah") on this release caught on. With pianist Kenny Drew, bassist George Morrow and drummer Max Roach completing the quartet, Rollins was in consistently creative form during this prime period but the overall set is not as classic as most of the tenor's other recordings from the 1950s.~Scott Yanow http://www.allmusic.com/album/tour-de-force-mw0000654776

Personnel: Sonny Rollins (tenor saxophone); Earl Coleman (vocals); Kenny Drew (piano); George Morrow (bass); Max Roach (drums).

Tour De Force

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David Linx - Rock My boat

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 53:12
Size: 122,5 MB
Art: Front

(5:01)  1. Rock My Boat
(5:09)  2. I Never Went Away
(3:13)  3. Just Give Me Time
(5:57)  4. Letter To My Son/Aos Nossos Filhos
(4:52)  5. Childhood
(2:06)  6. Foolkiller
(5:22)  7. Northern Star
(4:01)  8. Where Rivers Join
(5:14)  9. A Quiet Place
(5:41) 10. Even Make It Up
(2:48) 11. Yesternow
(3:42) 12. On The Other Side

Belgian vocalist David Linx is to jazz what Rufus Wainwright is to pop, a chameleonic avant-gardist of the first order. Though Linx has been recording since the mid-1980s, a survey of just his 2010 projectsthe richly imaginative tribute Follow Jon Hendricks… If You Can, with Michele Hendricks and the French singer-songwriter André Minvielle; the clever quasi-travelogue Follow the Songlines, with Portuguese vocalist Maria João; and One Heart, Three Voices, a magnificent summit with Dutch vocalist Fay Claassen and pianist Diederik Wissels is enough to illustrate his remarkable dexterity. Throughout Rock My Boat, featuring Rhoda Scott on Hammond B3 and André Ceccarelli on drums, Linx’s adventurous eclecticism continues unabated. At various points, Linx suggests Kurt Elling channeling Jimmy Scott and Allen Ginsberg by way of Smokey Robinson, with shades of Hendricks and George Benson. Half of the dozen tracks are given over to a wide-ranging assortment of covers, extending from the hushed glory of Christian music pioneer Ralph Carmichael’s “A Quiet Place” and a bruised, bilingual exploration of Ivan Lins’ “Aos Nossos Filhos,” to a coolly swinging reading of Mose Allison’s “Foolkiller” and an arresting treatment of Miles Davis’ “Yesternow,” fitted to a Tejan Karefa poem, that suggests a lost, smoke-filled night at San Francisco’s City Lights bookstore. 

The six originals are equally heterogeneous. There’s the rollicking Carnaby Street-esque title track, the sweet innocence of “Childhood,” the stealthily romantic “Where Rivers Join,” the joyful, fresh-from-Sunday-service closer, “On the Other Side,” and, most arresting, the swirling carnival of “Even Make It Up.”~Christopher Loudon http://jazztimes.com/articles/29194-rock-my-boat-david-linx

Personnel: David Linx (vocals); André Ceccarelli (drums); Rhoda Scott (Hammond b-3 organ).

Rock My boat

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Sarah Vaughan - How Long Has This Been Going On?

Styles: Vocal Jazz

Year: 1978

File: MP3@320K/s

Time: 49:00

Size: 157,3 MB

Art: Front

(5:38)  1. I've Got the World on a String

(4:40)  2. Midnight Sun

(6:03)  3. How Long Has This Been Going On?

(5:10)  4. You're Blase

(4:40)  5. Easy Living

(6:46)  6. More Than You Know

(6:14)  7. My Old Flame

(3:06)  8. Teach Me Tonight

(3:43)  9. Body and Soul

(2:54) 10. When Your Lover Has Gone

This set features the great Sarah Vaughan in a typically spontaneous Norman Granz production for Pablo with pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Louie Bellson. Sassy sounds wonderful stretching out on such songs as "Midnight Sun," "More Than You Know," "Teach Me Tonight," and "Body and Soul," among others. All ten of the melodies are veteran standards that she knew backwards but still greeted with enthusiasm. A very good example of late-period Sarah Vaughan.~Scott Yanow http://www.allmusic.com/album/how-long-has-this-been-going-on-mw0000032467

Personnel: Sarah Vaughan (vocals); Oscar Peterson (piano); Joe Pass (guitar); Ray Brown (bass); Louis Bellson (drums).

How Long Has This Been Going On?

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David Linx, Maria João & Brussels Jazz Orchestra - A Different Porgy & Another Bess

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 72:24
Size: 166,2 MB
Art: Front

(7:06)  1. A red-headed woman
(4:59)  2. A woman is a sometime thing
(6:00)  3. I love you, Porgy
(7:16)  4. Buzzard song
(8:09)  5. My man is gone now
(6:32)  6. Oh Lord, I'm on my way
(6:53)  7. Clara, Clara, don't be downhearted
(5:48)  8. Bess you are my woman now
(7:04)  9. Oh, doctor Jesus
(7:04) 10. I've got plenty of nothing
(5:28) 11. Summertime

The French classical label Naive has made a successful foray into jazz with recordings like Mina Agossi's Red Eyes (2012); and Tania Maria's Tempo (2012). A Different Porgy and Another Bess is the first thematic big-band offering from the label. Drawing from the George Gershwin/DuBose Heyward opera, Porgy and Bess (1935), A Different Porgy highlights eleven vocal pieces from the book. The music performed by the Brussels Jazz Orchestra, under the direction Frank Vaganee, features David Linx in the role of Porgy and Maria Joao as Bess. The arrangements are bright and progressive, courtesy of a wide swath of people in and outside the band. A portion of the eleven pieces chosen for recital are expected. "I Love You Porgy," "My Man is Gone Now," "I Got Plenty of Nothing" and "Summertime" are all present and accounted for. But there are also Lesser-heard songs here: "A Red-Headed Woman," "Oh Lord, I'm On My Way" and "Oh, Dr. Jesus" are included to great effect in breaking up preconceptions and expectations that might cloud a Porgy and Bess-based disc. That said, there is actually no danger in this simply being one more interpretation of an over-interpreted collection of songs; the songs' arrangers and the Brussels Jazz Orchestra see to that.

A first listen sounds like a wild ride in one of those hover-cars from Luc Besson's 1997 film, The Fifth Element. Songs that should be familiar sound about as foreign as they possibly can: think playing "The Maple Leaf Rag" backwards in the Star Wars (1977) bar scene. Well, maybe not that jarring, but certainly provocative. Subsequent listens bear out the relationships of these songs with those Gershwin penned. This is where the invention of arrangement and free spirit benefit the old book, making it new again. This, coupled with a crack and very big band, makes A Different Porgy and Another Bess a valuable contribution to understanding the evolution of jazz.~C.Michael Bailey http://www.allaboutjazz.com/a-different-porgy-and-another-bess-david-linx-naive-review-by-c-michael-bailey.php
 

Personnel: David Linx: vocals; Maria Joao: vocals; Frank Vaganee: artistic director, lead alto and soprano saxophones, flute; Dieter Limbourg: alto and soprano saxophones, clarinet, flute; Kurk Van Herck: tenor saxophone, flute, clarinet; Bart Defoort: tenor saxophone, clarinet; Bo Van Der Werf: baritone saxophone; bass clarinet; Serge Plume: lead trumpet, flugelhorn; Nico Schepers: trumpet, flugelhorn; Pierre Drevet: trumpet, flugelhorn; Jeroen Van Malderen: trumpet, flugelhorn; Marc Godfroid: lead trombone; Lode Mertens: trombone; Ben Fleerakkers: trombone; Laurent Hendrick: bass trombone; Hendrick Braeckman: guitar; Nathalie Loriers: piano, Fender Rhodes; Jos Machtel: double bass; Martijn Vink: drums; Chris Joris: congas; Carlo Willems: glockenspiel, tam tam gong.

A Different Porgy & Another Bess

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George Coleman - Amsterdam After Dark

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 44:52
Size: 103,5 MB
Art: Front

( 8:29)  1. Amsterdam After Dark
( 7:21)  2. New Arrival
( 4:58)  3. Lo-Joe
(10:17)  4. Autumn In New York
( 7:54)  5. Apache Dance
( 5:50)  6. Blondie's Waltz

Legendary tenor saxophonist blows up a storm with the Hilton Ruiz Trio. This has been reissued on CD. Best cut is "New Arrival." ~ Michael G. Nastos, Rovi

George Coleman's highest visibility occurred when he was a member of the Miles Davis Quintet (1963-1964), playing alongside Davis, Herbie Hancock, Ron Carter, and Tony Williams. His decision to leave the group after several notable recordings cut short his potential fame (his eventual replacement was Wayne Shorter), but Coleman has created a great deal of rewarding music since. Part of the rich Memphis jazz scene of the early '50s, he started playing in blues bands in the South (including with B.B. King in 1952 and 1955-1956). He moved to Chicago in 1957 (where he played with the MJT+3), and to New York the following year. Coleman was with the Max Roach Quintet (1958-1959), Slide Hampton's octet (1959-1961), and Wild Bill Davis (1962), before joining Davis. Following that association, he was with Lionel Hampton, Elvin Jones, and Charles McPherson. Since the mid-'70s, George Coleman has mostly led his own groups, and has recorded both as a leader (for Timeless, Theresa, and Verve) and as a sideman quite frequently; one of his more notable appearances from earlier years was on Herbie Hancock's 1964 classic Maiden Voyage. ~ Scott Yanow https://itunes.apple.com/us/artist/george-coleman/id4833395#fullText

Personnel: George Coleman (tenor saxophone); Hilton Ruiz (piano); Billy Higgins (drums).

Amsterdam After Dark

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The John Webber Quartet - Down for the Count

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 64:42
Size: 156,7 MB
Art: Front

( 5:26)  1. Look Love Away
( 5:14)  2. Down for the Count
( 5:44)  3. Lulu's Hope
( 6:33)  4. The Thrill Is Gone
( 8:00)  5. This Love of Mine
( 9:40)  6. Big G Blues
( 6:58)  7. Twilight in Seville
( 6:45)  8. Minor March
(10:17)  9. Make Someone Happy

Recorded live before a studio audience at New York City s Unity Center, Down for the Count, named for an actual Italian Count and Bologna benefactor to many in NYC s straight-ahead jazz scene, fulfills the expectations of the bandleader; I got the guys I was comfortable working with, because I know that with them, it s always going to be swinging. And swing it does! Featuring a mixed program of originals: Lulu s Lope (named for Webber s daughter), Twilight in Seville (reflective of the guitarist s time spent listening to Andrés Segovia and one of the few pieces contained here in which Webber lays down a beautiful chordal introduction utilizing Spanish harmony or was the true inspiration behind the tune a night spent in a Spanish Bodega while on tour when, after buying drinks for the local musicians, Webber found himself down for the count when the sunrise rolled in) and Minor March; George Coleman s blues line Big G Blues; and obscure jazz standards that Webber has creatively reimagined and arranged, Down for the Count is a loose, swinging affair. Clear communicative phrasing, effervescent rhythmic interplay, complete mastery of the jazz language and a bright Gibson ES-330 tone (Grant Green s 1960s guitar of choice) that soars hornlike above the blue chip rhythm section of Mabern, Farnsworth and Nat Reeves (a veteran of the bands of Jackie MacLean and Mabern and, as evidenced by the tremendous synchronization between bass and drums, a long time musical running mate of drummer Farnsworth), all coalesce to, as the title of the final tune trumpets (a favourite of Coleman s and a song which this rhythm section with Webber on bass perform regularly in Big G s band) Make Someone Happy. This recording does just that.~Editorial Reviews http://www.amazon.com/Down-Count-John-Webber-Quartet/dp/B00L4X49A4

Personnel: John Webber (guitar); Harold Mabern (piano); Nat Reeves (acoustic bass); Joe Farnsworth (drums).

Down for the Count

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Roy Eldridge - Little Jazz And The Jimmy Ryan All-Stars

Styles: Trumpet Jazz
Year: 1975
File: MP3@320K/s
Time: 57:50
Size: 133,8 MB
Art: Front

(2:48)  1. Between The Devil And The Deep Blue Sea
(5:18)  2. St. James Infirmary
(5:09)  3. Beale Street Blues
(4:52)  4. Black And Blue
(3:33)  5. Sing Sing Sing (With A Swing)
(7:43)  6. Wynola
(2:15)  7. Cute
(2:46)  8. Bourbon Street Parade
(2:33)  9. All Of Me
(4:58) 10. Last Call At Jimmy Ryan's
(5:55) 11. Black And Blue [Alternate Take]/Alternate Take
(4:49) 12. Between The Devil And The Deep Blue Sea [Alternate Take]/Alternate Take
(5:04) 13. Last Call At Jimmy Ryan's [Alternate Take]/Alternate Take

During the 1970s, Roy Eldridge had a regular gig at Jimmy Ryan's in New York playing music that fell between swing and Dixieland. For this Pablo LP, he sought to play a program with his regular group (Joe Muranyi on clarinet and soprano, trombonist Bobby Pratt, pianist Dick Katz, bassist Major Holley and drummer Eddie Locke) that, although recorded in the studio, would sound like one of the Jimmy Ryan sets. 

So, in addition to such standards as "Between the Devil and the Deep Blue Sea" and "All of Me," Eldridge also performs (and takes occasional vocals on) some older tunes like "St. James Infirmary," "Beale Street Blues" and "Bourbon Street Parade." The music is quite joyful and spirited, with Eldridge in exuberant form. This LP is recommended and well-deserving of being reissued on CD.~Scott Yanow http://www.allmusic.com/album/little-jazz-the-jimmy-ryan-all-stars-mw0000006337

Personnel: Roy Eldridge (vocals, trumpet); Joe Muranyi (saxophone); Bobby Pratt (trombone); Dick Katz (piano); Major Holley (bass); Eddie Locke (drums).

Little Jazz And The Jimmy Ryan All-Stars

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Clark Terry with Thelonious Monk - In Orbit

Styles: Jazz, Bop
Year: 1958
File: MP3@320K/s
Time: 48:29
Size: 112,6 MB
Art: Front

(4:43)  1. In Orbit
(7:22)  2. One Foot In The Gutter
(4:33)  3. Trust In Me
(4:56)  4. Let's Cool One
(4:31)  5. Pea-Eye
(6:15)  6. Argentia
(2:36)  7. Moonlight Fiesta
(3:26)  8. Buck's Business
(3:04)  9. Very Near Blue
(7:00) 10. Flugelin' The Blues

One of Thelonious Monk's rare appearances as a sideman is on this quartet set led by flügelhornist Clark Terry. 

With bassist Sam Jones and drummer Philly Joe Jones, Terry and pianist Monk perform a set that surprisingly has only one Monk song ("Let's Cool One"). Among the high points of this spirited, boppish date are Terry's "One Foot in the Gutter" and "Argentia."~Scott Yanow http://www.allmusic.com/album/in-orbit-mw0000198803

Personnel:  Clark Terry – flugelhorn;  Thelonious Monk – piano;  Sam Jones – bass;  Philly Joe Jones – drums

In Orbit

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Horace Parlan - Pannonica

Styles: Piano Jazz
Year: 1981
File: MP3@320K/s
Time: 38:08
Size: 87,5 MB
Art: Front

(5:34)  1. No Greater Love
(6:22)  2. Pannonica
(7:04)  3. C-Jam Blues
(9:18)  4. Hi-Fly
(9:48)  5. Who Cares

Good early '80s trio session with pianist Horace Parlan working alongside bassist Reggie Johnson and drummer Alvin Queen. The material, mostly standards with some originals and ballads, isn't overly ambitious, but Parlan's dense, strong blues-influenced solos and good interaction among the three principals keeps things moving.~Ron Wynn http://www.allmusic.com/album/pannonica-mw0000077164

Horace Parlan Trio: Horace Parlan (piano), Reggie Johnson (bass), Alvin Queen (drums).

Pannonica

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Chris Barber Jazz Band & Sweet Substitute - British Bash: Live In New Orleans

Size: 125,1 MB
Time: 53:38
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: New Orleans Jazz, Vocals
Art: Front

01. Take Me Back To New Orleans (Live) (1:35)
02. Mary Had A Little Lamb (Live) (6:28)
03. When You Wore A Tulip (Live) (5:29)
04. Big Bass Drum (Live) (4:18)
05. I Got An Uncle In Harlem (Live) (2:46)
06. Sing Sing Sing/Boogie Woogie Bugle Boy (Live) (4:07)
07. Smoke Rings (Live) (3:28)
08. Twisted (Live) (2:21)
09. Basin Street Blues (Live) (2:30)
10. Do You Know What It Means To Miss New Orleans (Live) (4:06)
11. Choo Choo Ch'boogie (Live) (2:52)
12. Ride On (Live) (6:01)
13. Chris Barber Outro (Live) (7:31)

British trombonist Chris Barber was born in 1930 and actually began the British invasion of musicians in the 1960's with his transatlantic hit "Petite fleur" in 1959 followed by another hit, "Rock Island Line", which sparked young musicians like Eric Clapton and the Rolling Stones.

In the spring of 1982, he brought over his band along with a cappella, jazz fusion, swing trio of three young ladies, Angie Masterson, Teri Leggett and Kate McNab, AKA "Sweet Substitute.

Backed up by Chris Barber and his seven piece swing band, including blues guitarist Roger Hill, this one hour show was taped before a live audience at DUKES PLACE, high atop the Monteleone Hotel in New Orleans French Quarter.

Chris Barber Jazz Band:
Trombone - Chris Barber
Trumpet- Pat Halcox
Reeds - Ian Wheeler & John Crocker Banjo/Guitar - Johnny McCallum Electric Guitar - Roger Hill

British Bash:
Bass - Vic Pitt
Drums - Norman Emberson

Sweet Substitute:
Vocals - Teri Leggett, Kate McNabe

A British Bash: Live In New Orleans

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Jane Monheit - The Songbook Sessions: Ella Fitzgerald

Size: 135,7 MB
Time: 58:19
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. All Too Soon (4:00)
02. Somebody Loves Me (3:49)
03. Chelsea Mood (6:27)
04. Something's Gotta Give (4:53)
05. I Was Doing All Right - Know You Now (7:57)
06. Ev'ry Time We Say Goodbye (4:56)
07. Where Or When (3:56)
08. I'll Wind (You're Blowing Me No Good) (4:08)
09. All Of You (4:18)
10. I Used To Be Colorblind (3:55)
11. I've Got You Under My Skin (5:47)
12. This Time The Dream's On Me (4:08)

Songbook Sessions: Ella Fitzgerald is a tale of two titans, Monheit and Nicholas Payton, who arranged and played trumpet on a majority of the selections. Payton, through is svelte arranging, created an accurate picture of what jazz is supposed to sound like in the near future. Compare the 1960s television show Lost in Space to Ridley Scott's Blade Runner (Warner Brothers, 1982). Lost in Space's vision of the future was foolish hyperbole to the point of being campy. The "futuristic" clothing and technology was overwrought and inaccurate. In Blade Runner, there existed remnants of things that would have been familiar to anyone living 100 years before (Harrison Ford's noir trench coat, fedora, earth tone shirt and tie, for example). Payton's deft touch is similar to that of Scott's in that he makes the songs performed here sound out of the present ordinary while not jettisoning them into unrecognizability.

Monheit's elastic voice is comparable only to that of Betty Carter. A contemporary specialist with the Great American Songbook, Monheit is an aural encyclopedia of singing styles blended into her own vision. In the same way that Payton quotes Sonny Rollin's "Sonnymoon for Two" on "All of You," Monheit quotes the style of Phoebe Snow from 1975's "Poetry Man." There are examples of this synergy between Monheit and Payton throughout this recording. On the lengthy medley "I Was Doing All Right/Know Your Now," Payton quotes "he Girl from Ipanema" and "If I Only Had a Brain" in the same solo phrase. Monheit, for her part, combines the diction of Fitzgerald with the occasional slurred, dragging phrasing of Holiday to approximate Sarah Vaughan in Heaven, all the while sounding like only Monheit can.

The repertoire is classic Ella. Superbly articulated Ellington-Strayhorn, "Chelsea Mood" rubs up against an insistent and sexy "Something's Gotta Give." This performance of "I've Got You Under My Skin" competes with Beat Kaestli's performance of the same on his 2010 Invitation (Chesky Records) for best original arrangement while Monheit's "Ev'ry Time We Say Goodbye" is as emotionally wrenching as any song could be sung. Perhaps the best thing about Songbook Sessions: Ella Fitzgerald is the title, one that promised more of the same. And that is good...very good. ~C. Michael Bailey

Personnel: Jane Monheit: vocals; Nicholas Payton: trumpet (1-5, 6-11), piano (11), organ (11, 12); Michael Kanan: piano (1-11); Neal Miner: bass (1-11); Rich Montalbano: drums (1-11); Daniel Sadowrick: percussion (1-11); Brandee Younger: harp (5,12).

The Songbook Sessions: Ella Fitzgerald

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Sonny Rollins - Holding The Stage: Road Shows Vol. 4

Size: 169,3 MB
Time: 73:08
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. In A Sentimental Mood (Live) (4:58)
02. Professor Paul (Live) (9:02)
03. Mixed Emotions (Live) (1:49)
04. Keep Hold Of Yourself (Live) (9:30)
05. Disco Monk (Live) (9:46)
06. You're Mine You (Live) (6:02)
07. H.S. (Live) (8:07)
08. Sweet Leilani (Live) (7:18)
09. Solo (Live) (5:38)
10. Don't Stop The Carnival (Live) (10:56)

Holding the Stage (Road Shows, Vol. 4) is pure Sonny Rollins it is the essence of Sonny Rollins as a musician. The music is some of his most expressive live recordings, from 1979 at the Pori Jazz festival in Finland to 2012 in Marseille and Prague. The album features a stunning five minute solo performance, a groovy version of Don t Stop the Carnival and a beautiful In a Sentimental Mood . The ten tracks on the album simply confirm: Sonny Rollins is one of a kind, a master improviser and unique musician.

Over the span of his storied and still-unfolding 65-year career, Sonny Rollins has established himself as one of the giants of jazz a towering influence, a trailblazer, a powerfully creative force in music. From his earliest masterpieces, such as Saxophone Colossus and Freedom Suite, to the Road Shows archival series, Rollins has presented his peerless music without compromise and to consistent international acclaim. Grammy®-winner Rollins received a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences in 2004. Rollins was presented with the National Medal of Arts at a White House ceremony in 2011 and later that year received the Kennedy Center Honors.

Out Holding The Stage: Road Shows Vol. 4

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Robyn Bennett & Bang Bang - The Song Is You

Size: 105,6 MB
Time: 45:11
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. The Song Is You (2:48)
02. Meant To Be (4:28)
03. Do Our Thing (3:35)
04. Right On Time (3:41)
05. Give It Time (4:33)
06. Take It All (2:53)
07. Crazy (3:54)
08. Get Yourself Together (3:21)
09. Have My Way (4:23)
10. It's Here (3:18)
11. Everyday (4:24)
12. Quand On N'a Que L'amour (3:47)

The red-headed beauty, daughter of university professors grew up in Pennsylvania (USA). Music and dance have always been a big part of her life. She started jazz and ballet lessons at only 3 years old, piano lessons at 6, trumpet at 10 and she sang regularly in different choirs. Her early influences were eclectic, including Frank Sinatra, Michael Jackson, Ray Charles, Fleetwood Mac, Harry Connick Jr., Ella Fitzgerald, Willie Nelson, Billy Holiday and Billy Joel.

Robyn’s love of music, dance and the stage led her to musicals, performing in productions of «West Side Story», «Carousel» and «South Pacific». After high school, she left her small, rural town and headed for New York University where she studied in the musical theater program for two years. Having a hard time finding balance in the big city, seeking out calm and open spaces, she then continued her studies at the prestigious Vassar College where she graduated in 2001 with a Bachelor of Arts.

Having always been attracted to France and French culture, Robyn packed her bags and went to Paris to get a Masters degree in French literature at the Sorbonne. In 2006, she settled definitively in Paris and a new adventure began. She joined the cast of the musical « Cabaret » (Dir. Sam Mendes) which played for 2 years at the famous Folies Bergères theater. Dance captain of the cast, she also played the role of Texas and understudied the lead role of Sally Bowles.

It was during this production that Robyn met the jazz trombone player, Ben Van Hille. The chemistry they had together was instantaneous. The energy and emotion they shared on stage was infectious, and they decided that they had to make music together. Robyn Bennett and Bang Bang is born ! After two self-produced albums comprised mostly of cover material (Bang Bang in 2009 and Live Until You Die in 2011), they put their songwriting skills together to create their first album of original songs. « The Wait « is released in 2013 and is a real success ! A true melting pot of the music of New Orleans today: blues, funk, country, soul and rock, with jazz as the thread tying it all together.

This year, on April 8th, the band unveils « The Song is You » a second album, more polished and open to an even wider audience. Jazz influences are still present, but the « pop » aspect becomes more important. Rock and swing, soul and funk come together for a powerful shot of musical energy ! Irresistible rhythms, melodies that stay in your head and explosive horns are all in there. Surely Robyn is the best person to speak about it : « This album is about empowerment, about knowing who you are, about being confident in the choices you make, and not succumbing to the pressures of society or caring about what other people think. It's about being positive, open, and knowing that the answers lie within you. We are affirming a style, affirming a sound, and there is so much positive energy in knowing that you're doing the right thing. That you're living life to the fullest, the way you want to live it, and not by anyone else's rules. »

Robyn Bennett & Bang Bang is: Robyn Bennett (vocals) ; Ben van Hille (trombone) ; Max Mastella (guitar) ; David Pouradier Duteil (drums) ; Gino Chantoiseau (doublebass) ; Julien Raffin (saxophones)!

Out The Song Is You

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Shirley Scott, Clark Terry - Soul Duo

Styles: Soul Jazz, Hard Bop
Year: 1968
File: MP3@320K/s
Time: 35:33
Size: 81,7 MB
Art: Front

(5:32)  1. Soul Duo
(5:26)  2. Until I Met You
(3:41)  3. This Light of Mine
(3:46)  4. Joonji
(4:03)  5. Clark Bars
(3:52)  6. Taj Mahal
(4:51)  7. Up a Hair
(4:21)  8. Heat Wave

Digitally remastered edition of this 1966 collaboration between two Jazz greats. Soul Duo is a remarkable collaboration between jazz organist Shirley Scott from Philadelphia and trumpeter, composer and bandleader Clark Terry from St. Louis. Soulful and upbeat, it includes 'Until I Met You', better known to Count Basie listeners as 'Corner Pocket', and a reading of Irving Berlin s 'Heat Wave'. The album was originally recorded and released on ABC/Impulse and produced by Bob Thiele who went on to form Flying Dutchman Records. This is the first time the album has been released on CD.~Editorial Reviews http://www.amazon.com/Soul-Shirley-Scott-Clark-Terry/dp/B008IAQPL2

Personnel:  Bass – Bob Cranshaw, George Duvivier;  Drums – Mickey Roker;  Organ – Shirley Scott;  Trumpet – Clark Terry

Soul Duo

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Kelley Johnson - Make Someone Happy

Styles: Jazz, Vocal
Year: 1998
File: MP3@320K/s
Time: 63:42
Size: 148,7 MB
Art: Front

(4:13)  1. How Long Has This Been Going On?
(5:27)  2. Moment To Moment
(6:02)  3. I Haven't Got Anything Better To Do
(5:55)  4. Recorda Me
(5:24)  5. Solitude
(5:20)  6. Stompin' At The Savoy
(4:46)  7. A Little Tear
(2:47)  8. Falling In Love With Love
(4:58)  9. So Many Stars
(4:54) 10. September In The Rain
(5:08) 11. Throw It Away
(5:28) 12. The Maestro
(3:14) 13. Make Someone Happy

Kelley Johnson's CD is full of surprises. She sings her own lyrics to Joe Henderson's "Recorda Me," arranges several of the pieces, and holds her own with an impressive group that includes either Fred Hersch or John Hansen on piano and several different horn players (including altoist Steve Nelson). Although the repertoire contains quite a few standards, each treatment sounds fresh, with some rhythmic displacement of the melodies, unusual frameworks, and consistently mature singing. Whether it be a faster than usual "How Long Has This Been Going On," "Stompin' at the Savoy," Abbey Lincoln's "Throw It Away," or an introspective version of "Make Someone Happy," this is a CD that rewards repeated listenings; it introduces a potentially significant new voice in the Seattle-based Kelley Johnson.~Scott Yanow http://www.allmusic.com/album/make-someone-happy-mw0000043495

Personnel: Kelley Johnson (vocals); Steve Wilson (alto saxophone); Brian Lynch (trumpet); Greg Gisbert (trumpet, flugelhorn); Mike Davis (trombone); Fred Hersch, John Hansen (piano); Paul Myers (guitar); Michael Davis (trombone);

Make Someone Happy

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Doug Raney - Something's Up

Styles: Guitar Jazz
Year: 1994
File: MP3@320K/s
Time: 61:19
Size: 141,2 MB
Art: Front

( 6:28)  1. Something's Up
(11:10)  2. Good Morning Heartache
( 6:10)  3. Speedy Recovery
( 6:45)  4. Upper Manhattan Medical Group
( 7:47)  5. Nobody Else But Me
( 6:54)  6. Visceral Drives
( 9:04)  7. Dolphin Dance
( 6:58)  8. Mohawk

The son of legendary guitarist Jimmy Raney, Doug Raney has understandably been heavily influenced by his father. He's an impressive soloist, and utilizes almost identical full tones, crisp chording, and fluid voicings. He made his first recording with his father and Al Haig in the mid-'70s, then did duo dates with his dad in the late '70s. Raney recorded for Steeplechase in the '70s and '80s, and Criss Cross in the '80s. He recorded with Chet Baker and Bernt Rosengren, and played in Horace Parlan's band. Raney has a couple of sessions available on CD.~Ron Wynn https://itunes.apple.com/us/artist/doug-raney/id159190087#fullText

Personnel: Doug Raney (guitar); Ben Besiakov (piano); Jesper Lundgaard (bass); Billy Hart (drums).

Something's Up

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