VA - Jazz On A Summer's Day OST

Size: 176,8 MB
Time: 75:59
File: MP3 @ 320K/s
Released: 1960/2006
Styles: Jazz: Vocal Jazz, Swing, Big Band
Art: Front

01. Jimmy Giuffre - Train And The River (4:37)
02. Thelonious Monk - Blue Monk (3:29)
03. Sonny Stitt - Loose Walk (2:54)
04. Anita O'Day - Sweet Georgia Brown (4:26)
05. Anita O'Day - Tea For Two (3:43)
06. George Shearing Quintet - Rondo (2:15)
07. Dinah Washington - All Of Me (4:17)
08. Gerry Mulligan - Catch As Catch Can (3:50)
09. Big Maybelle - I Ain't Mad At You (3:46)
10. Chuck Berry - Sweet Little Sixteen (3:53)
11. Chico Hamilton - Chico's Chiquittas (5:48)
12. Louis Armstrong - Up A Lazy River (3:06)
13. Louis Armstrong - Tiger Rag (2:02)
14. Louis Armstrong - Rockin' Chair (3:33)
15. Louis Armstrong - When The Saints Go Marching In (1:44)
16. Mahalia Jackson - Everybody's Talkin' (1:59)
17. Mahalia Jackson - Didn't It Rain (3:24)
18. Mahalia Jackson - The Lord's Prayer (4:14)
19. Unknown - Intro Rehersal Interview (2:39)
20. Eli's Chosen Six - When Saints Go Marching (0:50)
21. Chico Hamilton Quintet - Rehersal (0:45)
22. Eli's Chosen Six - Bill Bailey Won't You Please Come Home (2:01)
23. Nathan Gershman - Rehersal (2:12)
24. Eli's Chosen Six - Maryland, My Maryland (Version 1) (1:12)
25. Louis Armstrong - Interview With Louis Armstrong (2:15)
26. Eli's Chosen Six - Maryland, My Maryland (Version 2) (0:53)

Jazz On A Summer’s Day is one of the greatest jazz movies ever made.

Filmed over the four days of the 1958 Newport Jazz Festival the film not only captured inspired performances from the biggest names in jazz at the time, but also the style and fashions of late Fifties America.

Includes performances by Thelonious Monk, Anita O'Day, Louis Armstrong, Dinah Washington, Gerry Mulligan and concludes with the peerless gospel singer Mahalia Jackson.

Jazz On A Summer’s Day was the only film made by leading stills photographer Bert Stern (Vogue magazine, Marilyn Monroe, Audrey Hepburn), his photographer’s eye for the subject matter and his picture composition being apparent in the film’s series of unforgettable images of the performers, the audience and the picturesque setting of Rhode Island.

This set includes an hour long CD of music highlights from the movie. This soundtrack CD was recently chosen as one of the all-time classic albums by Mojo magazine in its compendium, The Mojo Collection.

Jazz On A Summer's Day

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Tina Ferris - Out Of The Blue

Size: 108,4 MB
Time: 46:06
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues Vocals
Art: Front

01. Don't Misunderstand (4:06)
02. You Better Go Now (3:03)
03. All The Things You Are (3:34)
04. Out Of The Blue (3:16)
05. Close To You (3:18)
06. Am I Blue (2:32)
07. Mean To Me (2:44)
08. Didn't We (2:06)
09. You've Changed (3:58)
10. I Should Care (2:56)
11. It Never Entered My Mind (4:12)
12. Ain't Got Nothing But The Blues (3:30)
13. Guess I'll Hang My Tears Out To Dry (2:53)
14. Something Cool (3:51)

"Out Of the Blue" is my second album and features songs from "The Great American Songbook" plus one original tune which gave the album its name. This album tells a romantic tale of love found and love lost. A story we all know so well. I have some of the best jazz musicians who live in the San Francisco Bay Area accompanying me on this album. These songs create the feeling of an intimate evening at a small jazz club.

Out Of The Blue

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Brian Bromberg - Full Circle

Size: 168,0 MB
Time: 72:36
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Jazz Me Blues (2:22)
02. Full Circle (8:46)
03. Sneaky Pete (7:01)
04. Saturday Night In The Village (5:25)
05. Boomerang (9:54)
06. Havana Nights (Aka Havana Nagila) (8:32)
07. Bernie's Bop (8:09)
08. Don't Stop 'til You Get Enough (5:56)
09. Naw'lins! (8:21)
10. Susumu's Blues (5:48)
11. Washington And Lee Swing (2:18)

Personnel:
Arturo Sandoval: Trumpet
Alex Acuña: Percussion
Bob Sheppard, Doug Webb, Kirk Whalum: Saxophone
Otmaro Ruíz, Randy Waldman, Mitch Forman: Piano

Renowned jazz bassist Brian Bromberg is back with Full Circle, his first album since 2012.

In the interim between albums, Bromberg suffered an injury that left him with a back broken in two places and requiring rehabilitation to be able to walk. Full Circle is a testament to his recovery.

A desire to play music with his late father, a drummer, inspired Bromberg, who copied an acetate of his father and some buddies playing music and the overdubbed his bass, so that he could play as “part” of his dad’s group on two songs. These songs open and close the album.

“A few really amazing things happened to me when I was recording those tracks with my father; those tracks originally were recorded before I was born, so it was such a trip playing with my Dad before I was even on this planet! When I was playing with him I realized at that moment where I got my time feel and swing from, it was effortless to play with him, mind-blowing actually,” Bromberg said. “I guess the experience that inspired the whole concept of this album was feeling his time feel and swing inspired me to start playing drums again, because it felt so good.”

Bromberg played not only bass on the album, but also drums and piccolo bass, on which he created a “guitar”-like sound. And, while the album features a slew of originals, it also includes a jazz cover of Michael Jackson’s “Don’t Stop ’Til You Get Enough.”

Full Circle

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Andy Meadows - Modern Day Crooner

Size: 99,0 MB
Time: 36:46
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues Vocals, Swing
Label: Oscar Records
Art: Front

01. Just One Of Those Things (4:04)
02. You're Something Special To Me (3:22)
03. Never Be The Same (3:16)
04. One For My Baby (4:03)
05. House Of Blue Lights (3:38)
06. Trouble With A Ten (2:52)
07. You Don't Know Me (2:52)
08. I Don't Wanna Know (4:23)
09. The Way You Look Tonight (3:35)
10. Drunk On A Stool (4:37)

With his second full length CD on Oscar Records, Andy Meadows shows why many consider him one of the most versatile and talented crooners in the Lone Star State. With a playful duet on, "House of Blue Lights" a soulful rendition of Sinatra's classic, "One for my Baby" and a few originals that blend right in among the classics, this CD doesn't disappoint. Make yourself and Old Fashion, call up your favorite gal, and throw this album on!

Modern Day Crooner

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Kevin Eubanks - The Messenger

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 56:22
Size: 129,7 MB
Art: Front

(5:40)  1. The Messenger
(5:47)  2. Sister Veil
(5:40)  3. Resolution
(4:27)  4. JB
(4:18)  5. 420
(5:33)  6. Led Boots
(6:00)  7. M.I.N.D.
(3:50)  8. Queen Of Hearts
(5:30)  9. The Gloaming
(4:09) 10. Loved Ones
(5:23) 11. Ghost Dog Blues

It's a shame that so few people only know guitarist Kevin Eubanks as the always-smiling, lick-delivering bandleader and guitar sidekick on The Tonight Show with Jay Leno. He was sharing the stage with drummer Art Blakey and recording with drummer Billy Hart long before he ever did the daily grind in television studios, but time has an unfortunate way of rewriting history. Eubanks added volumes to Leno's program during his tenure with the comedian-turned host, both in terms of music and personality, but his creativity was shackled in such a restrictive setting; now, his mind is free to roam wherever he pleases. Eubanks left the land of late night television in 2010 and immediately announced his return to jazz with the worth-the-wait Zen Food (Mack Avenue Records, 2010). Now, he's back with a follow-up that's both slick and mellow at the same time.

It's hard to know exactly what to make of an album that contains a funky rewrite of saxophonist John Coltrane's music with a vocal bass line ("Resolution"), a sensitive solo guitar number ("Loved Ones") and a plain-as-day, but pleasing-as-anything blues ("Ghost Dog Blues"), but then again, this is Kevin Eubanks; if his time on television proved anything, it marked him as a versatility man and he's game to show that quality here. His music can be alternately moody ("Sister Veil"), powerful ("420") or peaceable ("The Gloaming"), and he's one of the only artists who can really be funky without being overly forceful ("JB"). His take on guitarist Jeff Beck's "Led Boots" proves to be the only misstep, as it's stripped of its potency and made into a bit of nonsensical jamming with the presence of Alvin Chea's vocal bass work; Chea is phenomenal on "Resolution," but a bit over-the-top here.

Eubanks' instincts about personnel decisions help to further the diversity at play in the music. His working quartet, which was also featured on Zen Food, controls the scenery and intensity, but the guests help to change the sonic identity of each number. Percussionist Joey De Leon Jr. adds a rumbling Latin presence to the title track, Chea has his day on the aforementioned tunes, and Eubanks' horn wielding siblings join the program in a few places; they never disappoint. Robin Eubanks' electronically shadowed trombone work on "JB" is an absolute gas and trumpeter Duane Eubanks immediately takes the baton and runs with it. Their appearances, both together and on separate tracks, help to make the argument that the Eubanks brothers are due for an official family offering. Eubanks sought "to communicate the breadth of his artistic influences" with this album and he can rest knowing that he accomplished his mission. The Messenger is Kevin Eubanks' wonderfully open personality filtered into music.~Dan Bilawskyhttp://www.allaboutjazz.com/the-messenger-kevin-eubanks-mack-avenue-records-review-by-dan-bilawsky.php
 

Personnel: Kevin Eubanks: acoustic guitar, electric guitar; Bill Pierce: tenor saxophone, soprano saxophone (1-5, 7-9, 11); Rene Camacho: bass (1-7, 11); Robin Eubanks: trombone (4, 8); Duane Eubanks: trumpet (2, 4, 5); Alvin Chea: vocals (3, 6); Joey De Leon, Jr.: congas, percussion (1, 5).

The Messenger

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Wynton Kelly Trio - It's All Right

Styles: Piano Jazz
Year: 1964
File: MP3@320K/s
Time: 39:33
Size: 91,6 MB
Art: Front

(2:51)  1. It's All Right
(5:30)  2. South Seas
(5:59)  3. Not A Tear
(4:37)  4. Portrait Of Jennie
(3:52)  5. Kelly Roll
(2:06)  6. The Fall Of Love
(3:53)  7. Moving Up
(4:31)  8. On The Trail (from The Grand Canyon Suite)
(2:57)  9. Escapade
(3:11) 10. One For Joan

The Wynton Kelly Trio (consisting of the pianist, bassist Paul Chambers, and drummer Jimmy Cobb) are augmented by guitarist Kenny Burrell and percussionist Candido on this 1997 CD reissue. The music is essentially easy listening jazz with concise versions of ten numbers, including a rendition of Charles Lloyd's "One for Joan" that was only previously out in Europe. In addition to the one "new" selection, a few unnecessary false starts for "Kelly Roll" have been included. A brief "The Fall of Love" finds the group joined by a steel drum band, although it makes little impression. The best are "Portrait of Jeannie" and "On the Trail," but overall, this effort is not too essential.~Scott Yanow http://www.allmusic.com/album/its-all-right!-mw0000028160

Personnel: Wynton Kelly (piano); Kenny Burrell (guitar); Paul Chambers (bass); Jimmy Cobb (drums); Candido Camero (congas).

It's All Right

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Dorothy Donegan - Live At The Widder Bar

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 63:30
Size: 146,3 MB
Art: Front

( 5:09)  1. Lover
( 7:42)  2. Tea For Two/Honeysuckle Rose
(10:19)  3. Autumn In New York/ I Can't Get Started/ On Green Dolphin Street
(12:42)  4. Makin' Whoope/ Warsaw Concerto/Darn That Dream/All Blue/ Sweet Lorraine
( 4:51)  5. Take The A Train
(12:35)  6. Prelude To A Kiss/ Mood Indigo/Perdido/Take The A Train
(10:09)  7. Like Someone In Love/ Here's That Rainey Day/For Once In My Life/In The Mood

After years of obscurity, pianist Dorothy Donegan finally started to gain some recognition in the mid-1980s. A brilliant pianist whose playing often takes unusual and unexpected turns (she always keeps her bassist guessing), Donegan is fond of not only putting together unlikely medleys, but suddenly switching styles altogether. 

For this live session with bassist Jimmy Woode and drummer Norman Fearrington, Donegan mostly sticks to a modern mainstream style, but her song quotes are very surprising and she somehow makes a medley out of "Like Someone In Love," "Here's That Rainy Day," "For Once In My Life" (a la Erroll Garner) and "In the Mood."~Scott Yanow http://www.allmusic.com/album/live-at-the-widder-bar-mw0001011148

Personnel: Piano – Dorothy Donegan;  Bass – Jimmy Woode;  Drums – Norman Fearrington

Live At The Widder Bar

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Sue Sheriff - Better Than Anything

Styles: Jazz, Vocal
Year: 2016
File: MP3@320K/s
Time: 48:00
Size: 110,4 MB
Art: Front

(3:16)  1. The Face That I Love
(3:00)  2. Can't Get out of This Mood
(4:11)  3. Remembering the Rain
(3:15)  4. Better Than Anything
(3:33)  5. Turn out the Stars
(4:40)  6. Devil May Care
(3:54)  7. Where Did the Summer Go
(3:15)  8. Beloved (Daahoud)
(5:25)  9. If You Went Away
(2:35) 10. Whisper Not
(5:57) 11. The Lonely Night (Night Lights)
(4:55) 12. All Blues

It was in one of those art pieces often used to close an hour out on National Public Radio where a jazz vocalist was being interviewed about the durability and longevity of the "Great American Songbook." The singer remarked that as long as listeners age and have life experience, the standards composed between 1920 and 1960 will always be rediscovered...one must have lived to properly appreciate these songs. Age, experience, life...these are what have been distilled to their essence in these great songs. Life experience is also one of the principal elements necessary for singing these songs. While many fine singers exist, educated in the conservatory, there is an authenticity rendered from life alone that lends a potent seasoning the art of singing. Bessie Smith, Billie Holiday, Ella Fitzgerald and Sarah Vaughan never saw the New School. But they did see real life, up close and personal. That is something you don't learn in the conservatory. There are also those artists among us, that had day jobs and pursued their respective arts on a semi- professional to professional basis. Portland, Maine vocalist Sue Sheriff is just such a voice. With her, there is a new sheriff in town: just not new like you think. Sheriff's brand of jazz singing is like that of Louise Van Aarsen (Destiny (Self Produced, 2012)) and that is their brand of jazz singing is for grownups by grownups. The two also share a most important teacher and benefactor in one Rebecca Parris, the modern queen of the jazz ballad. Parris has a knack for pointing artists in a direction and allowing nature to take care of the rest.

Sheriff lived a complete life in a variety of formats: wife, mother, real estate professional. Sheriff also remained creatively busy. Inspired by her children, she began writing children's songs, releasing her first collection Love Buddies in 1998. A second children's album in 2005 entitled Believe in Yourself which morphed into a show. In 2008, Sheriff expanded her expression, published an illustrated children's book and accompanying CD with original songs entitled In Harmony and Other Songs of Peace. For the past five years, Sheriff has worked locally with pianist Pete Blue as the doo "Sue n' Blue." This latter experience led to a good part of the repertoire presented on her jazz debut Better Than Anything. Better Than Anything is a delightful mix of standard and not-so-standard tunes that reveal a wide stylistic appeal. On ballads like, "Remember the Rain" and "Turn Out the Stars" Sheriff displays all lessons learned from Rebecca Parris, principally, a potent musical momentum at slow tempi and a perfectly balanced midrange as its vehicle. "Where did Summer Go" and "If You Went Away" are enhanced by Bill Vint's tart flute in the former and Mike Turk's superb jazz harmonica in the latter. 

As fine as Sheriff's aptitude for ballads is, her grasp to the upbeat is better. While ballad singing has its own unique challenges, it is equally difficult to master the drama and dynamics to address the swinging pieces. The title piece and "Devil May Care," provocative vehicles for Bob Dorough. Sheriff captures Dorough's ebullience, magnifying it a mirthful spotlight. Sheriff slays to instrumental standards-cum-vocalese vehicles, Clifford Brown "Daahoud" and Miles Davis' "All Blues." With those, Sue Sheriff shows she has arrived and is the new sheriff in jazz town.~C.Michael Bailey http://www.allaboutjazz.com/better-than-anything-sue-sheriff-self-produced-review-by-c-michael-bailey.php
 

Personnel: Sue Sheriff: vocals; Chris Taylor: piano; Gene Roma: drums; Peter Kontrimas: bass; Mike Turk: harmonica; Bill Vint: saxophones and flute.

Better Than Anything

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Grover Washington, Jr. - Winelight

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 39:26
Size: 90,8 MB
Art: Front

(7:36)  1. Winelight
(5:54)  2. Let It Flow (For 'Dr. J')
(5:31)  3. In The Name Of Love
(6:19)  4. Take Me There
(7:27)  5. Just The Two Of Us
(6:37)  6. Make Me A Memory (Sad Samba)

When Grover Washington, Jr. passed away in 1999 the jazz world lost one of its most successful and talented creators, and in his wake a slew of saxophonists have stepped up to fill the void. None have. Philadelphia jazz deejay Bob Perkins said, of Washington, a native of the City of Brotherly Love, "He was the originator of smooth jazz, and all the rest Najee, Kenny G followed him."  It is absolutely true that Washington was, along with George Benson, one of the founding fathers of smooth jazz and following the monster hit that was the Grammy-winning Winelight it wasn't long before the saxophone became, along with the electric guitar, the two most preeminent instruments in the genre. For better or worse (and there's an argument to be made for either side), Washington blazed a trail many others have followed, with varying degrees of success. Within the crowed group of smooth jazz saxophonists there are a few originals following their own muse and blazing their trails of their own. Regretfully, the vast majority bland cookie cutter clones slavishly hacking out infinite versions of the R&B/jazz fusion of "Mister Magic" and "Just the Two of Us" without bringing anything fresh to the table. Smooth jazz is stuck in a rut of safe sax where nothing is risked and nobody wants to step out of their comfort zone. Real jazz is all about taking risks, not playing it safe.

Washington was not so much a daring innovator as much as he was a solid musician who had paid his dues as part of Creed Taylor's CTI and Kudu record labels, where the music was glossy and the album jackets were distinctive. Washington was labelmates with Benson, Stanley Turrentine, Freddie Hubbard, Bob James, Hubert Laws and Esther Phillips to name but a few of the artists on the CTI roster.  With his move to Elektra Records, in 1980 Washington uncorked Winelight. Predictably, it reached number one on Billboard's Top Jazz, but then it crossed over to other charts. The album went to number five on Billboard's Pop Albums, number two Top Soul Albums and "Just the Two of Us" reached number two on the Billboard Hot 100, and stayed there for three weeks. The album would go on to win two Grammy awards. The quiet greatness of Winelight has not faded 35 years after its release. It's far and away the best album of Washington's long career. The slip n' slide funk of "Mister Magic" put Washington on the map, but Winelight was the evidence he could flat out play.

Washington would go on to record 11 more albums before his horn fell silent, but none approached the all-time high of Winelight. Not much of Washington's extensive catalog garners much airplay beyond "Mister Magic," "Let It Flow" and "Just the Two of Us," and that's a shame because he continued to make some interesting albums at Columbia which deserve to be heard. Perhaps this new reissued and limited edition multichannel 5.1 SACD release will rekindle a discovery of the extensive Washington discography. The Surround Sound remix was produced by Ralph MacDonald, the renowned percussionist who also co-wrote "Just the Two of Us" and shared production duties on Winelight with Washington. MacDonald died in 2011. Other notable musicians include drummer Steve Gadd, guitarist Eric Gale and a 21-year-old wizard on bass by name of Marcus Miller. The only complaint with the remastered release is the absence of any bonus tracks or new liner notes. It is a missed opportunity not to provide some details and insights into the recording process or how Washington and McDonald convinced the reclusive Withers to provide the vocals for "Just the Two of Us." When most lists of the Top 25 Jazz Albums of All Time are compiled, Winelight is nowhere to be seen. It likely wouldn't make the top 100 for the truly hardcore fan who likes their music with a rougher edge than smooth jazz provides. No way does it knock a Kind of Blue, A Love Supreme, Time Out or Blue Trane off the list, but when the list includes the 25 most influential jazz albums, Winelight belongs in there as much as Head Hunters or Breezin' for taking jazz into a brand new direction even if everybody wasn't happy with where it went.~Jeff Winbush http://www.allaboutjazz.com/winelight-by-jeff-winbush.php
 

Personnel:  Grover Washington, Jr.: soprano, alto, tenor saxophone;  Bill Withers: vocals (5);  Ralph McDonald: congas, percussion; syndrums;  Steve Gadd: drums; Marcus Miller: bass; Eric Gale: guitar; Paul Griffin: Fender Rhodes (2, 4), clavinet (1); Richard Tee: Fender Rhodes: (3, 5); Bill Eaton: synthesizer (5); Ed Walsh: Oberheim 8-voice synthesizer; Raymond Chew: clavinet (1); Robert Greenidge: steel drums (tuned by Rudolph Charles); Hilda Harris, Yvonne Lewis, Ullanda McCullough: background vocals.

Winelight

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Kevin Eubanks - Zen Food

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 59:20
Size: 136,3 MB
Art: Front

(5:36)  1. The Dancing Sea
(6:27)  2. Spider Monkey Cafe
(8:30)  3. The Dirty Monk
(7:34)  4. Adoration
(7:22)  5. Los Angeles
(3:52)  6. I Remember Loving You
(8:00)  7. 6/8
(4:13)  8. G.G.
(6:28)  9. Offering
(1:13) 10. Das It

As the former Tonight Show's music director for 18 years, guitarist Kevin Eubanks admirably performed the necessary duties of leading the house band, trading comedic barbs with host Jay Leno, and whatever else it took to get the job done. But before the glamor and glitz of Hollywood, most folks probably didn't know that Eubanks was and still is a superb jazz musician who has performed with Art Blakey and the Jazz Messengers, bassist Dave Holland, and released a number of fine recordings. Eubanks' new chapter begins with Zen Food, showcasing his continued guitar mastery with a new band and fresh material. The recording's dynamics mirror his talent: an intrepid player with the ability to play with deep feeling; and a robust writer, covering a range of hard hitting vamps ("The Dancing Sea"), stealthy grooves ("Spider Monkey Cafe"), and blue serenity (" The Dirty Monk"), and tender ballads ("I Remember Loving You").

The band's symbiotic connection is crucial, beginning with the cornerstone of bassist Rene Camacho and veteran trap-master Marvin "Smitty" Smith who was also a member of the Tonight Show band. Moments such as the hymnal inspired "Adoration" are vivid, as Eubanks' acoustic chord-work is the perfect accompaniment to Gerry Etkins' ethereal keyboards. The set feels, at times, like a potpourri of styles, but the high level of musicianship elevates tracks such as the Wes Montgomery-like storm of "6/8," and the infectiously hip "G G (Gerry's Groove)," where Bill Pierce's saxophone laments sweet blues and Eubanks' electric guitar echoes the sentiment with elongated and improvised notes. Eubanks is a complete player, whether delivering jaw-dropping solos or flavorful comps. On top of that, he's not lost his superlative chops on acoustic guitar, as "Das It" attests. This short barn-burner displays a dexterity, intensity, and muscular finger picking reminiscent of his killer Shadow Prophets (GRP, 1988). What lies ahead for Eubanks is anyone's guess, but it is sure to be an interesting journey that begins with the welcome return of Zen Food.~Mark F.Turner http://www.allaboutjazz.com/zen-food-kevin-eubanks-mack-avenue-records-review-by-mark-f-turner.php

Personnel: Kevin Eubanks: guitars; Bill Pierce: saxophone; Gerry Etkins: keyboards; Rene Camacho: bass; Marvin "Smitty" Smith.

Zen Food

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Sarah Vaughan - Embraceable You

Styles: Vocal Jazz
Year: 1996
File: MP3@320K/s
Time: 48:16
Size: 110,8 MB
Art: Front

(2:58)  1. Embraceable You
(4:11)  2. Scat Blues
(2:22)  3. 'Lover' Come Back To Me
(7:18)  4. Round Midnight
(4:29)  5. Sassy's Blues
(5:03)  6. Misty
(2:35)  7. Just One Of Those Thing
(6:10)  8. Alfie
(3:33)  9. What Now My Love
(1:45) 10. I Had A Ball
(2:46) 11. The Theme
(5:00) 12. Lover Man

Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future. Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theater, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians' recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstine's orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie.

Other than a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although she looked a bit awkward in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her incredible voice. She made several early sessions for Continental: a December 31, 1944 date highlighted by her vocal version of "A Night in Tunisia," which was called "Interlude," and a May 25, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included "If You Could See Me Now," "Tenderly" and "It's Magic") that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, "Sassy" continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones' band during May 18-19, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best. During the 1950s, Vaughan recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including Sarah Vaughan, a memorable collaboration with Clifford Brown) for the label's subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). 

Through the years, Vaughan's voice deepened a bit, but never lost its power, flexibility or range. She was a masterful scat singer and was able to out-swing nearly everyone (except for Ella). Vaughan was with Norman Granz's Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. However, up until near the end, Vaughan remained a world traveler, singing and partying into all hours of the night with her miraculous voice staying in prime form. The majority of her recordings are currently available, including complete sets of the Mercury/Emarcy years, and Sarah Vaughan is as famous today as she was during her most active years.~Scott Yanow http://www.allmusic.com/artist/sarah-vaughan-mn0000204901/biography

Personnel: Sarah Vaughan (vocals, piano); Hank Mobley (tenor saxophone); Dizzy Gillespie (trumpet); Wade Legge, Bob James (piano); Al Jones , Omar Clay (drums)

Embraceable You

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Wynton Kelly & Wes Montgomery - Smokin' at the Half Note

Styles: Guitar And Piano Jazz

Year: 1965

File: MP3@320K/s

Time: 41:07

Size: 94,3 MB

Art: Front

(12:56)  1. No Blues

( 8:25)  2. If You Could See Me Now

( 6:46)  3. Unit 7

( 6:46)  4. Four on Six

( 6:12)  5. What's New?

Smokin' at the Half Note is essential listening for anyone who wants to hear why Montgomery's dynamic live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. Pat Metheny calls this "the absolute greatest jazz guitar album ever made," and with performances of this caliber ("Unit 7" boasts one of the greatest guitar solos ever recorded) his statement is easily validated. Montgomery never played with more drive and confidence, and he's supported every step of the way by a genuinely smokin' Wynton Kelly Trio. In 1998, Verve reissued the complete show on disc two of Impressions: The Verve Jazz Sides, although the scrambled track order and some non-essential cuts don't diminish the appeal of the original album.~Jim Smith http://www.allmusic.com/album/smokin-at-the-half-note-mw0000188578

Personnel: Wes Montgomery (guitar); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums).

Smokin' at the Half Note/a>

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Wes Montgomery - The Incredible Jazz Guitar Of Wes Montgomery

Styles: Guitar Jazz
Year: 1960
File: MP3@320K/s
Time: 44:03
Size: 101,2 MB
Art: Front

(4:26)  1. Airegin
(5:23)  2. D-Natural Blues
(4:44)  3. Polka Dots And Moonbeams
(6:15)  4. Four On Six
(7:25)  5. West Coast Blues
(4:54)  6. In Your Own Sweet Way
(4:33)  7. Mister Walker
(6:20)  8. Gone With The Wind

Ask a dozen jazz guitar fans for their all-time top guitar albums and The Incredible Jazz Guitar of Wes Montgomery is likely to be high on every list. If it isn't, chances are Montgomery's live set Full House (Riverside, 1962), recorded two years later, will be. With these discs, Indianapolis-born Montgomery (1923-68) gave the guitar its biggest quantum leaps forward, both stylistically and in terms of listener acceptance, since Charlie Christian in the late 1930s/early 1940s and Johnny Smith in the 1950s. Full House got the 24-bit remastering treatment in 2007 as part of Riverside's Keepnews Collection series, supervised and annotated by label founder/producer Orrin Keepnews. Now The Incredible Jazz Guitar joins it.  Almost entirely self-taught (initially by immersing himself in Christian's recordings with clarinetist Benny Goodman's chamber groups), and unable to read a note of music, by 1959 when he was brought to Keepnews' attention by saxophonist Cannonball Adderley, who'd been gigging in Indianapolis Montgomery had developed a revolutionary new approach to the instrument. His style featured three signature elements: he played with his thumb, never a pick, and he improvised entire choruses using either octaves or pianistic block chords. None of these techniques were unique, but until Montgomery came along no other guitarist had mastered them so completely (let alone combined them) or made them so integral to sound and improvisation. An exception is Smith, whose Moonlight in Vermont (Roulette, 1953) and later albums featured extended passages of block chording as beautiful and fluid as Montgomery's.

The Incredible Jazz Guitar burst onto the US scene in 1960 like a benign hurricane, and it still sounds like a gale almost 50 years later. Over four bluesy originals, the standards "Polka Dots And Moonbeams" and "Gone With The Wind," Dave Brubeck's gorgeous "In Your Own Sweet Way" and a fast-paced reading of Sonny Rollins' "Airegin," Montgomery empathetically accompanied by pianist Tommy Flanagan, bassist Percy Heath (then riding high with the Modern Jazz Quartet), and drummer Albert Heath makes the guitar sound like it never had before. It has sounded similar since, of course, thanks to the legion of Montgomery-influenced players, but rarely so close to perfection. In his revealing new extended liner notes, Keepnews, born within a few days of Montgomery and at 85 a fluent anecdotal historian, paints a vivid portrait of Montgomery as a musician and as a private person. He expresses some regret that he was unable to give Montgomery the big mainstream audience he achieved with producer Creed Taylor on Verve and CTI 1964-68 (but is proud that Montgomery's Riverside recordings made no attempt at pop crossover) and some embarrassment over the lack of alternate takes or bonus tracks (the reissued Full House by contrast had both), recalling the many Riverside archive tape boxes he's come across with the original data crossed out and supplanted by something later. 

But he doesn't beat himself up about it, and nor should he. At 43:58 divine minutes, The Incredible Jazz Guitar endures, and will continue to do so.~Chris May http://www.allaboutjazz.com/the-incredible-jazz-guitar-of-wes-montgomery-wes-montgomery-riverside-review-by-chris-may.php

Personnel: Wes Montgomery: guitar; Tommy Flanagan: piano; Percy Heath: bass; Albert Heath: drums.

The Incredible Jazz Guitar Of Wes Montgomery   

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Lils Mackintosh - About Crazy

Styles: Jazz, Vocal
Year: 2008
File: MP3@320K/s
Time: 51:08
Size: 118,3 MB
Art: Front

(4:47)  1. The Way We Were
(4:08)  2. 5-10
(4:30)  3. I've Seen That Face Before
(2:58)  4. Pack Your Memories and Go
(3:11)  5. I Feel Good
(2:55)  6. Some of These Days
(3:39)  7. Stormy Weather
(2:42)  8. About Crazy
(3:29)  9. Ain't No Sunshine
(4:53) 10. You Know I Would
(4:56) 11. This Masquerade
(2:50) 12. Crazy
(4:00) 13. Too Darn Hot
(2:06) 14. Sway

Mackintosh is a Dutch singer, composer, actress and writer, born in Amsterdam, and the daughter of Surinamese singer Max Woiski, Jr. and granddaughter of musician Max Woiski, Sr. At seventeen she was talent scouted by the Dutch actor Jack Monkau and traded a formal education for a career in music. Being the daughter of two parents in the music industry, a career along that road seemed a natural step to take. Mackintosh became a professional singer with the acceptance of a role in the musical Hair. Next she played key roles in the Dutch rock opera Ik, Jan Cremer and the high-profile musical Barnum. Mackintosh then decided to become more experienced as a lead singer and played in different rock and hard rock bands. She also toured on a regular basis. One of the highlights was an extended tour in Sudan, Kuwait and Egypt. This was also the period in her career where she had the honor to perform with jazz legends like Oscar Peterson and B.B. King. In 1977, Mackintosh released her first jazz single, a cover version of the Rodgers and Hart classic "My Funny Valentine". Winning the 1990 'Vocalistenprijs' at the Dutch Jazzconcours in Breda led to a significant career change. Mackintosh then decided to specialize in jazz music. She started to perform extensively in Europe and the United States and was a regular performer at the legendary North Sea Jazz Festival.

In 1993 she released her debut album, It's not perfect to be easy. She received recognition for this album with the nomination for an Edison Jazz Award. Two more albums were released in this period: This is the strangest life I've ever known is released in 1994, followed by Seasons, in 1997. Being an artist with the desire to develop and transform, Mackintosh took a different take on her career when she formed the 'Lils Mackintosh & The Swing Cats' band in 1998. This period also marked the return to the theatre, with the Jazznight theatre tour, together with the Beets Brothers, the Stylus Horns and the Rosenberg Trio. Her fourth studio album, Black girl, produced by the renowned saxophone player Hans Dulfer, is a tribute to the American blues singer and guitar player Huddie Ledbetter. The album was released in 1999 and made a big impression in the jazz scene. This, in turn, led to Mackintosh's first Edison Jazz Award. Published on multi-channel SACD in 2002, Mackintosh's first live endeavor was a recording session at the Bimhuis in Amsterdam, in front of a live audience. The album, named 'In the wee small hours of the morning' was well received by both critics and audiophiles. 

That same year the Beets Brothers released the first-ever Dutch jazz DVD, featuring Mackintosh and Hans Dulfer. A close collaboration with saxophone player Wouter Kiers led to the release of the concept album Comes love in 2005. All of the songs deal with different aspects of love and relationships. After a period of extensive touring in Europe, Mackintosh released the album About crazy. This 2008 album is an intimate portrait of an artist who has seen significant ups and downs in her personal life. Mackintosh also used the classic Hammond organ to create a distinctive moody and melancholic sound. The album coincidentally marked the start of her long term collaboration with the Dutch saxophone player Clous van Mechelen. The release of the 2010 album A fine romance is an audiophile's delight. This was actually a remastering of Mackintosh's debut album. In this version, extra care was taken in finding the right balance between voice and band, and achieving the highest possible sound quality. The album is a classic demo disc for the demonstration of high-end audio systems. Mackintosh learned most of her craft by doing many performances, and has always had the desire to share her knowledge, experience and mostly her passion for singing. 

In 1995 Mackintosh started giving masterclasses and workshops, at jazz festivals and in theatres. In these master classes Mackintosh used her experience to help aspiring singers further develop their voices, to use the stage to their advantage, and above all, to emote. Nowadays, Mackintosh does a monthly masterclass in Amsterdam...More..https://en.wikipedia.org/wiki/Lils_Mackintosh

Personnel:  Lils Mackintosh – vocals;  Rob Mostert- hammond organ;  Clous van Mechelen – tenor;  Chris Strik - drums

About Crazy

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Benny Golson - Groovin' With Golson

Styles: Saxophone Jazz

Year: 1992

File: MP3@320K/s

Time: 34:13

Size: 79,5 MB

Art: Front

(9:29)  1. My Blues House

(4:02)  2. Drum Boogie

(5:26)  3. I Didn't Know What Time It Was

(9:21)  4. The Stroller

(5:54)  5. Yesterdays

This is one of at least four recordings that matched up tenor saxophonist Benny Golson and trombonist Curtis Fuller prior to the formation of the Jazztet; ironically, Fuller only stuck around for one Jazztet record before departing. Reissued on CD, the LP-length program has two lesser-known Golson compositions along with "Drum Boogie," "I Didn't Know What Time It Was," and "Yesterdays." Three of the tunes are blues, and the two ballads are taken at a medium-tempo pace. With pianist Ray Bryant, bassist Paul Chambers, and drummer Art Blakey forming a solid rhythm section, the hard bop music does indeed groove in its own fashion.~Scott Yanow http://www.allmusic.com/album/groovin-with-golson-mw0000093023

Personnel: Benny Golson (tenor saxophone); Curtis Fuller (trombone); Ray Bryant (piano); Paul Chambers (bass); Art Blakey (drums).

Groovin' With Golson

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Sonny Stitt - New York Jazz

Styles: Saxophone Jazz

Year: 2005

File: MP3@320K/s

Time: 46:08

Size: 106,3 MB

Art: Front

(2:43)  1. Norman's Blues

(4:30)  2. I Know That You Know

(6:19)  3. If I Had You

(4:54)  4. Alone Together

(3:34)  5. Twelfth Street Rag

(5:13)  6. Down Home Blues

(5:32)  7. Sonny's Tune

(4:11)  8. Stars Fell On Alabama

(4:31)  9. Body And Soul

(4:37) 10. Between The Devil And The Deep Blue Sea

"Genius" is a misunderstood, overused term. In music there have been only a few geniuses visionaries who have tapped into the original, vital stream that we might consider musical consciousness and changed it Bach, Beethoven, Mozart, Armstrong, Parker, Coltrane. Sonny Stitt was not one of the geniuses, nor one of the innovators. Rather, he took the complex language of Charlie Parker and created a syntax and rhetoric that the rest of us could understand and even employ. The 2003 reissue of New York Jazz (Verve, 1956), one of an estimated 150 sessions recorded under the saxophonist's name, appears to have passed beneath the radar screen of many who follow this music, but it's simply consummate saxophone playing by a musician driven by a need for completeness and perfection.

One of the big myths among even those players who respect Stitt's playing is that his so-called "commercial" recordings the early Roosts and Verves on which he turns in five or six flawless gems on each side of the record can be overlooked in favor of his earlier pairings with Gillespie and Rollins, or his later virtuosic work on Muse and Cobblestone. On the contrary, it's on these miniature performances where Sonny's brilliance is especially apparent. Allowing himself no more than a couple of choruses, he still manages to construct logically complete, emotionally satisfying solos with a beginning, middle and end, time and time again. Just listen to what he does with "Alone Together" first on tenor, then switching horns and taking the tune out with another textbook solo on alto. This studio reissue is also especially welcome because it finds Stitt in the company of an ideal rhythm section. Jo Jones was the prototypical straight-ahead swinging drummer during his Basie tenure; Jimmy Jones was always the self-effacing accompanist for Sarah Vaughan; and Ray Brown could be whatever the occasion demanded. All three merely lay down a harmonic/rhythmic track and stay out of Sonny's way as it should be.~Samuel Chell http://www.allaboutjazz.com/new-york-jazz-sonny-stitt-verve-music-group-review-by-samuel-chell.php

Personnel: Sonny Stitt: alto and tenor saxophones;  Jimmy Jones: piano;  Jo Jones: drums;  Ray Brown: bass.

New York Jazz                

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Pharoah Sanders - Moon Child

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 52:26
Size: 120,8 MB
Art: Front

( 8:10)  1. Moon Child
( 6:15)  2. Moon Rays
(12:19)  3. The Night Has A Thousand Eyes
( 9:25)  4. All Or Nothing At All
( 5:31)  5. Soon
(10:44)  6. Moniebah

By this point in his career, Sanders had largely withdrawn from the kind of screeching avant-gardism on which he at first staked his reputation. The opening "Moon Child," with its attractively spacy vocals, is reminiscent of the days of "The Creator Has a Master Plan," but this version sounds too contrived to rival the classic earlier recording. The mood is subdued throughout and the choice of tunes definitely on the conservative side ("All or Nothing at All" and "The Night Has a Thousand Eyes," among the six tracks). William Henderson is lovely on piano, while the drummer (Eddie Moore) and percussionist (Cheikh Tidiane Fale) keep to the quiet side.

The results may have originally disappointed some of Sanders' fans, but with time the saxophonist clearly reinvented himself as a more traditional improviser capable of thoughtful and pensive deliberations.~Steve Loewy http://www.allmusic.com/album/moonchild-mw0000678343

Personnel: Pharoah Sanders (soprano saxophone, tenor saxophone); William Henderson (piano); Eddie Moore (drums).

Moon Child

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Ira Kaspi - Monrepos In My Heritage

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 42:11
Size: 105,0 MB
Art: Front

(3:43)  1. Monrepos
(4:17)  2. Distant Memories
(5:35)  3. Tears Will Dry In Time
(3:41)  4. Take Me For A Ride
(4:20)  5. Why Call It A Night
(4:24)  6. Angels
(3:18)  7. Soft Whisper
(5:27)  8. My Love
(3:27)  9. Hitch-Hiking Rendez-Vous
(3:54) 10. In Time I'll Fall In Love Again

Ira Kaspi graduated from the prestigious Berklee College of Music in Boston 1990. She spent several years abroad in her childhood (Stockholm and Brussels) during which time she went to the American International School. These years led Ira later to start her studies in the United States. Ira spent four years in Boston after which she spent a few years in London. Jazz vocals became Ira´s way of interpretation at a very young age even though she recorded some pop songs in her young teens. Even then she was already convincing herself as well as everybody aroung her that she was going to be a jazz singer. 

Ira Kasp Jazz Diva Band ´You and the Night and the Music´ is Ira´s 7th album – the first one for the international Prophone Records. Her previous recordings include several duo recordings and a CD with her own popinfluenced jazz songs. You and the Night and the Music features Iras´Jazz Diva quintet as well as the Lohja City Symphonic Orchestra.

In addition to her main bands Ira Kaspi Jazz Diva Band and Ira Kaspi & Peter Engberg Duo Ira has performed with several Big Bands for example UMO Jazz Orchestra and the Danish Odence Big Band. In addition to having sung at most of the Finnish Jazz festivals Ira has performed in amongst others the US, UK, Germany, Czeck Rep, Denmark and Sweden. Ira is a face for the international Dr.Hauschka biodynamic cosmetic brand in Finland.https://www.reverbnation.com/artist_219546/bio

Monrepos In My Heritage

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Bob Dorough - Too Much Coffee Man

Styles: Vocal And Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 53:52
Size: 123,9 MB
Art: Front

(3:57)  1. The Coffee Song
(3:52)  2. Wake Up Sally, It's Saturday
(4:19)  3. There's Never Been a Day
(5:58)  4. I've Got Just About Everything
(2:33)  5. Oklahoma Toad
(2:55)  6. Too Much Coffee Man
(5:14)  7. Fish for Supper
(4:04)  8. Marilyn, Queen of Lies
(4:57)  9. Yesterday, I Made Your Breakfa
(5:54) 10. Where Is the Song?
(5:35) 11. Love (Webster's Definition)
(4:28) 12. Late in the Century

Loaded with songs for the average guy or gal, Bob Dorough’s newest jazz album takes its name from an item we can all relate to readily. Hopefully, that particular medium constitutes only a minor role in our childhood reading development: the comic book. Too Much Coffee Man is the name of a comic book character. There’s a web site at www.tmcm.com . Dorough had written a jingle for Too Much Coffee Man’s creator, intended to serve as music for an animated television series. In a telephone conversation from his home in Eastern Pennsylvania last month, Dorough said, "He loved the jingle, so when I started my second Blue Note album, I told him that I’d be expanding that jingle into a full-length song. And he’s doing the artwork for the album’s cover." Too Much Coffee Man is due to be released early next month. Compared to his last album Right On My Way Home, Dorough says, "This one is more of a songbook, since most of the songs are my own. Some have a blues appeal. I’ve added an old Cootie Williams jazz song called "Fish for Supper." "Marilyn, Queen of Lies" is a re-recording from my first album. I wrote that one with Ann Landisman." Dorough’s first album, Devil May Care was recorded in 1956 and is the same one that a few years later caught the ear of Miles Davis. 

Articulating the lyrics in his usual crisp fashion, Dorough tells stories while ensuring that he’s supported musically. Long overlooked, Dorough’s piano playing makes a world of difference supporting his songs alongside bass and drums. The trio works out for much of the album, but some songs are backed by an expanded ensemble, adding guitar, alto saxophone, brass and/or percussion. "The Coffee Song" (They’ve Got A Lot Of Coffee in Brazil) takes on a big band sound with Phil Woods in the featured spotlight. He and Dorough work hand in glove for the four tracks on which Woods appears, and both share a bright and positive aura throughout. The title track a funky, jive number with two guitars, electric bass and organ – may be aimed at a younger audience, but its wigged-out attitude is one to which we can all relate. Dave Frishberg’s down home country lesson "Oklahoma Toad" serves to remind us that you have to get out once in a while and do some real work if you expect to see your next meal on time. Like Schoolhouse Rock, "Wake Up Sally, It’s Saturday" bounces with a deep tuba and rhythmic ride cymbal on what is clearly a jazz tune timeless and comfortable. Dorough’s piano interlude stands out and the piece serves to remind us that Saturday morning is a time to be at ease. Jamey Haddad’s extended drum solo punctuates Dorough’s romantic and positive "I’ve Got Just About Everything," to emphasize Joe Cohn’s guitar solo and Woods’ upbeat alto solo. Drawing from many styles, Too Much Coffee Man blends the exotic world beat feeling of "Marilyn, Queen of Lies," with the supple Brazilian rhythm of "The Coffee Song," and the romantic tango overtones of "Love." The album’s closing piece, a sweeping waltz, includes a vocal trio harmonizing with Dorough, offering wishes for a better world, without war, without intolerance, and without hate. There’s enough in this world to make us sad. Bob Dorough makes you feel good.~Jim Santella http://www.allaboutjazz.com/too-much-coffee-man-bob-dorough-blue-note-records-review-by-jim-santella.php

Personnel:  Bob Dorough- vocals, piano, electric piano, whistling;  Phil Woods- alto saxophone;  Ray Drummond, Steve Gilmore, Tony Marino- bass;  Billy Hart- drums;  Bill Goodwin- drums, percussion;  Jamey Haddad- drums, Hagimi Drum

Too Much Coffee Man

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Dan Barrett & Tom Baker - In Australia

Styles: Trumpet, Trombone and Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 60:16
Size: 139,0 MB
Art: Front

(4:03)  1. Vignette
(4:16)  2. Fore!
(4:59)  3. Then I'll Tired Of You
(3:46)  4. See If I Don't
(3:31)  5. After I Say I'm Sorry (What Can I Say)
(2:20)  6. It's Like Reaching For The Moon
(3:26)  7. That's A Plenty
(6:31)  8. Nobody Knows
(4:16)  9. Just Ducky
(3:51) 10. Indian Summer
(3:07) 11. Oh Lady Be Good
(4:25) 12. Overtime
(2:38) 13. Jug
(4:05) 14. Dynaflow
(4:55) 15. Through For The Night

Trombonist Dan Barrett teams up with a particularly strong band of Australian mainstream jazzmen on this highly enjoyable release. Co-leader is Tom Baker who mostly plays tenor but also switches to his pretty alto on "Indian Summer" and "Through for the Night." The rhythm section (pianist Chris Tapperell, guitarist Ian Date, bassist Don Heap and drummer Lynn Wallis) is supportive and swinging, and the great Australian cornetist Bob Barnard sits in on three exciting numbers. One of them, "That's a Plenty," finds both Barrett and Baker switching to trumpets and the well-arranged results for the three brassmen is very exciting. Other highlights include "Vignette," "It's Like Reaching for the Moon," "Lady Be Good" (which finds Barrett and Baker reproducing Lester Young's famous solo) and Gene Ammons' "Jug." Highly recommended.

~Scott Yanow http://www.allmusic.com/album/dan-barrett-and-tom-baker-in-australia-mw0000029392

Personnel: Dan Barrett (trumpet, trombone); Ian Date (guitar); Tom Baker (alto saxophone, tenor saxophone, cornet); Bob Barnard (cornet).

In Australia

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