Clark Terry - Daylight Express

Bitrate: MP3@320K/s
Time: 63:52
Size: 146.2 MB
Styles: Bop, Trumpet jazz
Year: 1998
Art: Front

[2:00] 1. Caravan
[2:20] 2. Candy
[2:28] 3. Clark's Expedition
[4:04] 4. Trumpet Mouthpiece Blues
[3:01] 5. Phalanges
[4:31] 6. Blues For Daddy-O's Jazz Patio Blues
[2:43] 7. Basin Street Blues
[2:15] 8. Daylight Express
[2:18] 9. Taking A Chance On Love
[6:52] 10. Festival
[3:36] 11. Clark's Bars
[2:14] 12. Daddy-O's Patrio
[4:58] 13. Blues
[4:18] 14. Impeccable
[2:46] 15. Paul's Idea
[3:16] 16. Phat Bach
[2:31] 17. Milli Terry
[4:00] 18. Funky
[3:31] 19. The Girl I Call Baby

Bass – Jimmy Woode; Drums – Sam Woodyard; Flute, Saxophone – Mike Simpson (5) (tracks: 1 to 9); Guitar – Remo Biondi (tracks: 1 to 9); Piano – Willie Jones (7); Tenor Saxophone – Paul Gonsalves (tracks: 10 to 19); Trumpet – Clark Terry.

Two obscure but very enjoyable and complementary former Lps are reissued in full on this generous CD. The first half of the disc is primarily a showcase for trumpeter Clark Terry who is joined by Mike Simpson (on tenor and flute) in a sextet. C.T. sounds a bit more influenced by Dizzy Gillespie at this time than he would but he was already quite distinctive on such numbers as "Candy," "Blues For Daddy O's Jazz Patio Blues" and "Basin Street Blues." "Phalanges" is a hot bop line (by Louie Bellson) that deserves to be revived while "Trumpet Mouthpiece Blues" sounds like an ancestor of "Mumbles." The second half of the album matches Terry with tenor-saxophonist Paul Gonsalves (who is actually the leader) and a rhythm section that features some surprisingly advanced piano from Willie Jones that sometimes hints strongly at both Cecil Taylor and Sun Ra! Terry and Gonsalves (who were both with Duke Ellington at the time) always made for a good team. The tenor revisits the 1956 Newport Jazz Festival with his long solo on "Festival" and other tunes (all originals by one of the horn players) are basic and swinging; a previously unissued ballad, "The Girl I Call Baby" closes the rewarding and memorable set. Highly recommended. ~Scott Yanow

Daylight Express

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Abdullah Ibrahim - Cape Town Flowers

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 50:57
Size: 118,9 MB
Art: Front

(2:52)  1. Excursions
(4:22)  2. Eleventh Hour
(2:38)  3. Kofifi Blue
(3:59)  4. Chisa
(3:28)  5. Song For Aggerey
(3:20)  6. The Stride
(4:45)  7. The Call
(5:25)  8. African Marketplace
(9:30)  9. Joan - Cape Town Flower
(4:35) 10. Maraba Blue
(6:02) 11. Monk In Harlem

Cape Town Flowers is an enchanting effort from Abdullah Ibrahim, finding the pianist in a trio setting performing 11 original compositions. With the exception of the nine-minute title track and "Monk In Harlem," most of the album's songs clock in at under five minutes, many under four. Each of the pieces is understated, lovely, and nearly dreamlike. The length of the tracks may make Cape Town Flowers seem like a slight record, but the truth is, that very brevity and the way the songs form a sonic tapestry is exactly what makes the record a modest gem.

~Stephen Thomas Erlewine http://www.allmusic.com/album/cape-town-flowers-mw0000025041

Personnel: Abdullah Ibrahim (piano); Marcus McLaurine (bass); George Gray (drums).

Cape Town Flowers

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Nick Colionne - Feel The Heat

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 42:22
Size: 97,4 MB
Art: Front

(3:30)  1. Some Funky
(3:32)  2. The Windy Dance
(4:24)  3. Let's Spend Some Time
(4:55)  4. The Connection
(3:39)  5. There It Is
(4:39)  6. Midnight And You
(4:02)  7. It's Gonna Be Alright
(5:06)  8. Wessin'
(4:13)  9. Can't Let Go
(4:18) 10. Po' House

In 2006, guitarist Nick Colionne released an album called Keepin' It Cool; five years later, this one is called Feel the Heat. (In between came one called No Limits.) The alternating temperature descriptions are not so much an indication of different styles as of a similarity in conceiving clichés and a way of suggesting that Feel the Heat is a collection of more of the same from Colionne. Happily, that is no bad thing. Though lumped in with smooth jazz musicians, Colionne actually harks back to earlier styles. His hero is Wes Montgomery, and he demonstrates that by putting a Montgomery-like track on every album and labeling it as such. This time there's a tune called "Wessin'." Colionne hails from Chicago, and he usually finds a way of indicating that, too. (Another number is called "The Windy Dance.") The importance of his hometown lies in his musical influences. He is quite cognizant of the city's blues and R&B heritage, and he employs a Chicago funk style to open ("Some Funky") and close ("Po' House") the disc, in between applying himself to a straight electric blues on "Can't Let Go." Keyboard player James Lloyd brings in a pop influence on compositions such as "It's Gonna Be Alright." And when he isn't playing, Colionne is singing in a grainy baritone, contributing vocals to four of the ten tracks, most memorably the loverman ballad "Let's Spend Some Time." There are passages during the album that sound like smooth jazz, but most of the time this sounds like another diverse and rootsy Nick Colionne album, one that ranks with its predecessors.

~William Ruhlmann http://www.allmusic.com/album/feel-the-heat-mw0002155308

Feel The Heat

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Cleo Laine & Tubby Hayes - Palladium Jazz Date

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 42:31
Size: 97,8 MB
Art: Front

(3:53)  1. Old Devil Moon
(3:29)  2. Just A-Sittin' And A-Rockin'
(2:46)  3. Mean To Me
(4:17)  4. 'Round Midnight
(2:37)  5. Hand Me Down Love
(3:03)  6. I'm Gonna Sit Right Down And Write Myself A Letter
(7:39)  7. Ah-Leu-Cha
(7:55)  8. Young And Foolish
(6:47)  9. All Members

With a multi-octave voice similar to Betty Carter's, incredible scatting ability, and ease of transition from a throaty whisper to high-pitched trills, Cleo Laine was born in 1927 in the Southall section of London, the daughter of a Jamaican father and English mother. Her parents sent her to vocal and dance lessons as a teenager, but she was 25 when she first sang professionally, after a successful audition with the big band led by Johnny Dankworth. Both Laine and the band recorded for Esquire, MGM and Pye during the late '50s, and by 1958, she was married to Dankworth. With Dankworth by her side, Laine began her solo career in earnest with a 1964 album of Shakespeare lyrics set to Dankworth's arrangements, Shakespeare: And All That Jazz. Laine also gained renown for the first of three concert albums recorded at New York's Carnegie Hall, 1973's Cleo Laine Live! At Carnegie Hall. She also recorded two follow-ups (Return to Carnegie and The 10th Anniversary Concert) the latter of which in 1983 won her the first Grammy award by a Briton. She has proved a rugged stage actress as well, winning a Theater World award for her role in the Broadway musical The Mystery of Edwin Drood, (in addition to Tony and Drama Desk nominations as well). In 1976 she recorded a jazz version of Porgy and Bess with Ray Charles, and also recorded duets with James Galway and guitarist John Williams. Laine and Dankworth continued to tour into the 1990s, and she received perhaps her greatest honor when she became the first jazz artist to receive the highest title available in the performing arts: Dame Commander.
John Bush https://itunes.apple.com/nz/artist/cleo-laine/id2214762#fullText

Palladium Jazz Date

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Archie Shepp - Live In San Francisco

Styles: Piano Jazz
Year: 1966
File: MP3@320K/s
Time: 75:02
Size: 172,8 MB
Art: Front

( 1:18)  1. Keep Your Heart Right
( 7:31)  2. The Lady Sings The Blues
( 5:37)  3. Sylvia
( 2:56)  4. The Wedding
(10:25)  5. Wherever June Bugs Go
( 6:17)  6. In A Sentimental Mood
( 7:59)  7. Things Ain't What They Used To Be
(32:54)  8. Three For A Quarter, One For A Dime

A great counterpart to some of Archie Shepp's studio albums for Impulse a live date recorded in San Francisco, with a slightly freer, sharper edge! The sound is almost free at times, but always with that strong sense of focus that Archie brought to his brilliant work of the time and the group's a well-honed ensemble who really understand each others motivations and inspirations Roswell Rudd on trombone, Donald Garrett and Lewis Worrell on bass, and Beaver Harris on drums all almost working at an ESP level together. Shepp plays a bit of piano on the record in sharply angular tones that are almost more modern than his tenor and titles include "The Wedding", "Wherever June Bugs Go", and "Keep Your Heart Right". https://www.dustygroove.com/item/742818

Personnel: Archie Shepp (tenor saxophone, piano); Roswell Rudd (trombone); Donald Garrett, Lewis Worrell (bass); Beaver Harris (drums).

Live In San Francisco

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Sammy Price - S/T

Bitrate: MP3@320K/s
Time: 32:46
Size: 75.0 MB
Styles: Jazz/blues piano
Year: 2011
Art: Front

[3:14] 1. Jazzland Boogie
[2:45] 2. Ox-Tail Blues
[2:30] 3. Ivory Coast Blues
[2:41] 4. Play The Blues For J.J.
[2:29] 5. Memory Of The Schweizerhof Hotel In Bern
[2:15] 6. Go Denis Go
[2:35] 7. The Swiss Boogie
[3:37] 8. Sako-Anoh Bush Boogie
[3:58] 9. Yesterday
[2:49] 10. Walkin' Down The Champs-Elysées
[3:48] 11. Valetta's Dream

Price has been largely overlooked, despite his key role arranging, accompanying, and directing sessions during the 1930s and ‘40s for Decca's extensive Blues catalog. Even less well-known are his achievements outside of music in the 1950s and ‘60s as a progressive political activist campaigning for Democrats Adam Clayton Powell, President LBJ and Bobby Kennedy . . . not to mention his success as a businessman and entrepreneur.

Sammy Price

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João Gilberto - João

Bitrate: MP3@320K/s
Time: 49:58
Size: 114.4 MB
Styles: Bossa Nova, Latin jaz
Year: 1991
Art: Front

[4:07] 1. I Really Samba
[4:11] 2. Go On
[3:50] 3. Little Rose
[5:00] 4. Malaga
[3:41] 5. Woman
[5:11] 6. My Heart And I
[2:38] 7. You Do Something To Me
[3:52] 8. Unhappy Remark
[4:14] 9. Ave Maria On The Hill
[5:01] 10. Sampa
[3:05] 11. Smiled At Me
[5:02] 12. I Wish You Love

Recent but classic jazz-bossa is played by one of its defining spirits. Vocally, Gilberto is in fine muttering form, communicating intensely with somebody in his breast pocket, and his guitar is as delicate as ever. This recording expresses the close links of bossa nova and jazz. Joao has Clare Fisher arranging and on some cuts playing keyboards, along with one of those saccharin string-sections even the most avant-garde Brazilians love. ~John Storm Roberts

João

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Tim Hagans - Alone Together

Bitrate: MP3@320K/s
Time: 52:48
Size: 120.9 MB
Styles: Trumpet jazz
Year: 2013
Art: Front

[7:05] 1. See You Again
[7:59] 2. Not Even The Rain
[6:54] 3. Sweet Peach Tree
[7:29] 4. Over And Back
[8:40] 5. You Don't Know What Love Is
[8:46] 6. Alone Together
[5:52] 7. Stella By Starlight

Tim Hagans: trumpet; Marc Copland: piano; Drew Gress: bass; Jochen Ruckert: drums.

On the surface, Tim Hagans' Alone Together looks more like a Marc Copland disc with trumpeter Hagans as the leading voice. The rhythm section is Copland's longstanding trio, responsible for albums that include the pianist's resplendent Some Love Songs (Pirouet, 2005). The set list, like many of Copland's, is a mix of re-imagined standards and the pianist's own writing, which (while undeniably mainstream) occupies a position left of center, the result of a uniquely ambiguous and sophisticated harmonic aesthetic.

But Alone Together belongs to Hagans by virtue of its greater propensity for fiery swingers. Hagans' first Pirouet disc, the sublime Beautiful Lily (2005), more clearly inhabited Copland's stylistic territory, with greater emphasis on impressionistic writing and playing, though the trumpeter contributed four of that album's eleven tracks, alongside two Copland tunes, one standard, and four spontaneous duet inventions. To be sure, while Copland has never been averse to pulling out some stops, as he did on his Both / And (Nagel-Heyer, 2006), his albums invariably lean towards introspection. Alone Together does gaze inward occasionally, but is largely brighter and more boisterous than most of Copland's discography. ~John Kelman

Alone Together

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Anita O'Day & The Three Sounds - S/T

Bitrate: MP3@320K/s
Time: 55:23
Size: 126.8 MB
Styles: Jazz vocals
Year: 1962/2007
Art: Front

[3:28] 1. When The World Was Young
[4:23] 2. Someday My Prince Will Come
[3:18] 3. All Too Soon
[3:36] 4. My Heart Stood Still
[4:32] 5. My Ship
[4:15] 6. Leave It To Me
[2:56] 7. Whisper Not
[4:39] 8. Blues By Five
[3:52] 9. Fly Me To The Moon
[2:38] 10. You And The Night And The Music
[3:00] 11. Let Me Off Uptown
[3:43] 12. My Heart Stood Still
[6:32] 13. Leave It To Me
[4:26] 14. Blues By Five

This strange (and strangely compelling) album is the most controversial of all O'Day's Verve Records releases, popular among O'Day's hardcore fans for the showcase that the Three Sounds' near-minimalist accompaniment affords her singing. On a lot of levels, however, it wasn't a successful record. The album was a one-shot collaboration that happened in the narrowest possible window-of-opportunity. The Three Sounds, having left Blue Note, were passing through the Verve roster, where they would be active for about a week in October of 1962, cutting two albums in that time including this one with Anita O'Day, who was leaving the label after 10 years there. Anita O'Day & The Three Sounds is as much a Three Sounds record as it is an Anita O'Day recording -- the group is represented by four instrumentals, including "Someday My Prince Will Come," "My Heart Stood Still," and "Blues By Five," cut at the same time as their album Blue Genes, while O'Day sings five songs. She is amazingly restrained and low-key throughout most of her work here; on songs like the sultry "All Too Soon," that works out fine, but elsewhere the fit between singer and group seems uncomfortable. There's very little excitement or tension to give her songs energy, and O'Day never interacts with the trio in any discernable way. Additionally, she seems uninspired in terms of any inventiveness, with long stretches of silence where one would have expected her to improvise. What is here is fine, her husky yet playful voice a wonder to hear on "When The World Was Young" (where Gene Harris's piano does come to life), but there's amazingly little life to the procedings. The one exception is "Whisper Not," which also has the distinction of featuring O'Day's Gene Krupa-era collaborator Roy Eldridge on trumpet and is the most successful cut here, as what one would look for on a more conventional Anita O'Day album. [Some reissues feature a second, previously unissued Eldridge cut from the same sessions, a hot remake of his and O'Day's Gene Krupa-era hit "Let Me Off Uptown," with the two of them in a duet on their old 1940's hit.] ~Bruce Eder

Anita O'Day & The Three Sounds

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Red Garland - When There Are Grey Skies

Bitrate: MP3@320K/s
Time: 39:07
Size: 89.6 MB
Styles: Hard bop, Piano jazz
Year: 1992/2014
Art: Front

[ 5:11] 1. Sonny Boy
[ 3:36] 2. My Honey's Lovin' Arms
[ 6:36] 3. St. James Infirmary
[ 3:51] 4. I Ain't Got Nobody
[ 4:04] 5. Baby Won't You Please Come Home
[11:56] 6. Nobody Knows The Trouble I've Seen
[ 3:50] 7. My Blue Heaven

This set was pianist Red Garland's 25th session as a leader since 1956, but it would be eight years before his next record. Garland's influential style had been fully formed since the mid-'50s and his chord voicings were immediately recognizable. With the assistance of bassist Wendell Marshall and drummer Charlie Persip, Garland explores and updates seven veteran songs (including a previously unreleased "My Blue Heaven") dating from the '20s era. This fine LP is highlighted by such unlikely material as "Sonny Boy," "St. James Infirmary," "Baby Won't You Please Come Home," and a 12-minute "Nobody Knows the Trouble I've Seen." ~Scott Yanow

When There Are Grey Skies

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Tubby Hayes Orchestra - 100% Proof

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 42:34
Size: 97,7 MB
Art: Front

(14:13)  1. 100% Proof
( 6:31)  2. Night In Tunisia
( 7:43)  3. Milestones
( 4:39)  4. Sonnymoon For Two
( 5:06)  5. Bluesology
( 4:19)  6. Nutty

"But being as this is 100% Proof, the most powerful big band album in the world, and would blow your head clean off, you've got to ask yourself one question: Do I feel lucky? Well, do ya punk? As a jazz fan himself, I'm sure Clint 'Dirty Harry' Eastwood wouldn't object too much to the plagiarising and adaptation of one of his most famous lines, but it does seem strangely appropriate to apply it to one of the best big band albums ever made. But, "and I know what you're thinking , why all the hype? Well, maybe hype is what's needed in order to get folks to listen to something of outstanding quality and originality that's been sadly overlooked for nearly forty years. 100% Proof represented the pinnacle of modern British jazz in the '60s. The stellar line-up of musicians employed on the record underpinned its sumptuous and gloriously overstated arrangements. In order to assess the album in terms of the canon of outstanding jazz recordings, it is important to avoid the all-too ubiquitous stereotyping of Brit-jazz or 'British ness' (whatever this means) as applied to Tubby Hayes. Although certainly one of the UK's most famous jazz musician by a mile, (perhaps second only to his friend and one time fellow Jazz Courier, Ronnie Scott who was undoubtedly the most famous jazz musician in Britain, probably because he owned one of the greatest jazz clubs in the world, although Scott himself, like Hayes was a world-class tenor player and indeed played and soloed on 100% Proof) Hayes was also England's most accomplished musician and arranger. His fame was not limited to the parochial shores of the sceptered isle. Tubbs travelled on more than one occasion to the USA where he played as part of a musician exchange deal. He recorded with many of the greats of jazz including, amongst others, Clark Terry, Rahsaan Roland Kirk, James Moody, Louis Hayes, Horace Parlan, Eddie Costa, and had already recorded in the UK with the likes of Dizzy Reece, Victor Feldman and John Dankworth. He even famously sat in with the Ellington band on one of their concerts in London, with virtually no notice.

So without doubt, Tubby Hayes was a global player who, had he lived longer than his 38 years and been in good health, which had steadily deteriorated over the latter part of his life, would have been recognised as the most significant and talented musician to emanate from the United Kingdom, even in comparison to other later eminences from Britain including the redoubtable John McLaughlin, John Surman and Dave Holland. By the beginning of the '60s, Hayes had moved from the small British Tempo label to the Philips-owned Fontana label which had international connections and other prestigious jazz stars recording for it, such as John Dankworth. 100% Proof, recorded in London on 10, 12 and 13 May 1966, was a follow-up to Hayes' previous big-band album Tubbs' Tours recorded in 1964. Tubbs' Tours was a very successful session with some wonderful tracks which drilled deeply into the memory banks of the brain. Perhaps the most notable, though least vaunted, of these tracks was Tubbs' own composition, the elegant "In the Night on which he played flute. Other standout tracks include "Pedro's Waltz and "The Killers of W1. Tubbs' Tours really has to be heard to appreciate the dynamism of Tubbs' big band arrangements. 100% Proof was different to Tubbs' Tours in that there were fewer tracks and a warmer sound, perhaps due to being performed by a more well-rehearsed big band that had played together for quite a while.

The arrangement of the title track was Tubby Hayes own work. He also did a fine job arranging "Milestones and "Bluesology. Trumpeter Ian Hamer did a superlative job arranging "Sonnymoon for Two and especially "Night in Tunisia transforming it into something extremely different, volatile and very powerful, and arguably one of the best arrangements ever heard of this terrific number. The final track "Nutty was arranged by Stan Tracey, who was an excellent arranger as well as a superb pianist with a unique style. All the arrangements are so good that they transform what might otherwise be a predominantly 'standards' type album into a totally novel one. To a certain extent it's the arrangements of these standards that push the boundaries of this recording into unchartered waters of cohesion, dynamics and originality. The personnel on the album comprised some of the most talented jazz musicians in Britain at that time and included Roy Willox, Ray Warleigh, Ronnie Scott, Bob Efford, Ronnie Ross and Harry Klein on saxophones. Kenny Baker, Ian Hamer, Greg Bowen, Les Condon and Kenny Wheeler played trumpets. Keith Christie, Nat Peck, Johnny Marshall and Chris Smith were on trombones. The rhythm section was made up of Gordon Beck on piano, Jeff Clyne on bass and and Ronnie Stephenson/Johnny Butts on drums. Tubbs plays with equal confidence and ability tenor, flute and vibes and positively tears up a storm on "100% Proof with his trusty tenor sax deployed in his typically shaken not stirred style, although paradoxically leaving the listener both shaken and stirred. Interestingly there are a couple of short phrases in Tubbs' solo here that seem to have influenced at least a couple of other British sax players of the next generation.

His sensitive flute playing is heard on Dizzy Gillespie's "Night in Tunisia and Miles Davis' "Milestones where Gordon Beck has a good piano solo too followed by further Tubby tenoring. Sonny Rollins' "Sonnymoon for Two has further typically coruscating Hayes tenor and on the penultimate track, Milt Jackson's "Bluesology he demonstrates his outstanding ability on vibes which is closely followed by an excellent Ronnie Scott tenor solo. The recording concludes with Thelonius Monk's "Nutty where Tubbs takes a step back to allow Ray Warleigh and Les Condon to shine on the solos whilst Hayes can be heard on flute in the orchestra. Perhaps the defining 'proof' of the success of 100% Proof was its success in the Melody Maker jazz polls of 1968 where it came top in the LP of the year section. Also in that poll Hayes won first position in the top musician, flute, tenor and vibes categories. Although originally issued in both mono and stereo on the Fontana label and a few years ago disappointingly issued in mono only on a Japanese CD reissue, it really is important to hear this album in stereo. Produced at a time when stereophonic recording was still something of a novelty, it clearly demonstrates how essential it is to have big band jazz spread out over a wide aural spectrum, and the mono and stereo versions of the album do sound different, the former distinctly less effective. One of the ironies of Hayes dying so young was that his fame was based primarily on his playing and his recordings, yet during the '60s, the last full decade of his career, his composing abilities had begun, albeit in a modest way, to burgeon. It was only with his penultimate Fontana studio album Mexican Green that he had composed an entire album of material. 

Listening to the BBC recording that was posthumously released as 200% Proof on the Mastermix label, it was clear that his compositional skills were on an upward trajectory. It is quite probable that the main obstacle to his composing hitherto was the fact that he was kept so busy with playing both live gigs and as an in-demand session musician and ironically, only when he, perforce, started to slow down due to ill-health did he have more time to write. As it states on the LP's original sleevenotes, written by Terry Brown, it was without hesitation and a unanimous decision by all concerned that when they heard the playback tapes of 100% Proof the only title that could possibly be used for the LP title was indeed 100% Proof. This was surely not merely a measure of loyalty but a gauge of the strength of the music Hayes had composed and arranged. 100% Proof will certainly 'blow your head clean off.'~Roger Farbey http://www.allaboutjazz.com/tubby-hayes-100-proof-by-roger-farbey.php 

Personnel: Tubby Hayes (tenor sax, flute, vibes); Roy Willox, Ray Warleigh, Ronnie Scott, Bob Efford, Ronnie Ross and Harry Klein (saxophones); Kenny Baker, Ian Hamer, Greg Bowen, Les Condon and Kenny Wheeler (trumpets); Keith Christie, Nat Peck, Johnny Marshall and Chris Smith (trombones); Gordon Beck (piano); Jeff Clyne (bass); Ronnie Stephenson, Johnny Butts (drums).

100% Proof

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Morgana King - Wild Is Love

Styles: Vocal
Year: 1966
File: MP3@320K/s
Time: 31:55
Size: 73,5 MB
Art: Front

(2:21)  1. Anything Goes
(2:47)  2. Nobody Else But Me
(2:33)  3. I Thought of You Last Night
(3:07)  4. You Are a Story
(3:18)  5. Don't Explain
(2:55)  6. Bee-Bom
(2:25)  7. You Fascinate Me So
(3:38)  8. The Moment Of Truth
(3:56)  9. The Shadow Of Your Smile (Love Theme Form The MGM Motion Picture "The Sandpiper")
(2:57) 10. The Best Is Yet To Come
(1:53) 11. Wild Is Love

The title hints at exotica and there's some of that here in the layered arrangements of Torrie Zito, who worked with this fine vocalist on several albums. But Wild Is Love is really one of Morgana King's swingier albums; the uncredited musicians, bless them whoever they are, know how to walk a bassline, lightly brush over a snare drum, or honk the line. King's vocals are also less-flamboyantly nonsensical, although there are still a couple of moments where one would have to be a relative of hers not to wince in the high register. For the most part she really concentrates on a lush sound and swinging timing, establishing her mastery of the latter with the soul-defining opener, a cover of "Anything Goes" that will wipe the memory clean of all other versions, especially the horrid ones. "The Shadow of Your Smile," likewise, is interpreted in a manner simultaneously graceful and perfect. Zito often can be credited with little touches that set the arrangement up perfectly; in "Don't Explain," the way the tempo seems to be slowing down and speeding up like summer canyon winds, and in "You Fascinate Me," turnarounds in which an instrument or an entire section will perform casual acrobatics. 

It was pretty much standard practice in the '60s to back a singer up with a lavish production, complete with full orchestra. That went even for the vocalists who would have been better-served by a small combo. King was an adept enough performer to handle either situation, and this Reprise offering includes the best examples of her in spectacular, technicolor accompaniment mode.

~Eugene Chadbourne http://www.allmusic.com/album/wild-is-love-mw0000573660

Wild Is Love

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Eric Dolphy & Booker Little Remembered - Live at Sweet Basil Vol. II - Fire Waltz

Styles: Trumpet Jazz

Year: 1988

File: MP3@320K/s

Time: 47:31

Size: 108,9 MB

Art: Front

(15:56)  1. Number Eight

(17:28)  2. Fire Waltz

(14:05)  3. Bee Vamp

Terence Blanchard and Donald Harrison continued their homage to the Eric Dolphy/Booker Little duo with a second set of performances recorded at Sweet Basil. They featured "Fire Waltz" and "Bee Vamp," two more tunes the duo immortalized during their Five Spot performances. Their versions are well-intentioned, frequently exciting, and superbly played. But they are not transcendent for the simple reason that Harrison lacks Dolphy's fluency on either alto sax or bass clarinet, and Blanchard does not possess Little's command of the upper register or his embouchure. That is not a knock; they certainly clicked with the rhythm section of pianist Mal Waldron, bassist Richard Davis, and drummer Ed Blackwell, who did play on the originals. Both of these volumes are highly recommended, but if you have not heard the originals, do whatever it takes to get them.~Ron Wynn http://www.allmusic.com/album/eric-dolphy-booker-little-remembered-live-at-sweet-basil-vol-2-fire-waltz-mw0000200967

Personnel: Terence Blanchard (trumpet); Donald Harrison (alto saxophone, bass clarinet); Mal Waldron (piano); Richard Davis (bass); Eddie Blackwell (drums).

Fire Waltz

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The Good Fellas - 13 Women

Styles: Swing
Year: 2007
File: MP3@320K/s
Time: 62:30
Size: 148,6 MB
Art: Front

(3:04)  1. Ruby The Redheaded Bartender
(2:01)  2. Il Tuo Bacio È Come Un Rock
(4:30)  3. Rick'N'Roll Boogie
(2:24)  4. Okie Dokie Stomp
(2:41)  5. Dracula Cha Cha Cha
(2:29)  6. Ain't Nobody Here But Us Chickens
(5:02)  7. Sentirsi Solo
(2:56)  8. The Return Of Sofisticated Ledar
(3:19)  9. Kansas City
(4:24) 10. Those Lips (I'm Livin' For)
(4:25) 11. I'll Never Fall In Love Again
(3:01) 12. I Get A Kick Out Of You
(5:17) 13. You Rescued Me
(4:00) 14. Walkin' With Mr.S
(2:54) 15. Il Ribelle
(4:15) 16. Tickle Toe
(2:30) 17. The Grasshopper
(3:10) 18. Thirteen Women

The band was formed in 1993 from an idea of bassist bassist Mr. Lucky Luciano , with the inseparable friend and drummer Fabrice "Bum Bum" La Motta , with whom he had shared the experience of the rock and roll band Jumpin 'Shoes . Over the years they have collaborated with various artists, including fellow Jerry Montefiori ( Germano Montefiori ), the British saxophonist Ray Gelato , the singer punk ska Italian Olly (former singer-guitarist with Shandon ), the comic trio Aldo, Giovanni and Giacomo accompanying in several shows and also collaborated on the soundtrack of their movie the legend of Al, John and Jack , and the duo Cochi and Renato . Have their holdings also active in several demonstrations in Italy , like Umbria Jazz or the Summer Jamboree in Senigallia and abroad In 2005, they published together with the aforementioned Olly , met with Shandon during a tour in which they shared the same stage, the album Olly meets the Good Fellas , where elaborate in key swing music extract songs also far from the original style of the band, including pieces of Queens of the Stone Age , Marilyn Manson , Ramones as well as Luigi Tenco , Cole Porter and Matt White.https://it.wikipedia.org/wiki/The_Good_Fellas

13 Women

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Rebecca Kilgore & Hal Smith's Rhythm Makers - Sings The Music Of Fats Waller

Size: 151,8 MB
Time: 64:36
File: MP3 @ 320K/s
Released: 1999/2016
Styles: Jazz Vocals
Art: Front

01. How Jazz Was Born (3:53)
02. If It Ain't Love (4:46)
03. What's Your Name (2:48)
04. I Hate To Leave You Now (4:43)
05. Concentratin' (On You) (2:39)
06. Gone (3:35)
07. Old Yazoo (2:48)
08. How Can I (With You In My Heart) (3:04)
09. I'm More Than Satisfied (3:31)
10. My Heart's At Ease (2:21)
11. It's You (3:19)
12. Honey Hush (4:29)
13. What Will I Do In The Morning (3:29)
14. When Gabriel Blows His Horn (3:44)
15. Sittin' Up, Waitin' For You (3:37)
16. Gotta Be, Gotta Be Mine (3:17)
17. Dixie Cinderella (3:48)
18. That Rhythm Man (4:36)

Out of the West Coast traditional jazz (often erroneously referred to as Dixieland) mold of Lu Watters, Turk Murphy, and the Firehouse Five Plus Two comes the Hal Smith Rhythmakers with guest, the undervalued but very talented singer Rebecca Kilgore. She also works a little on guitar. The regular Rhythmakers have also been expanded with the addition of three young musicians, to wit, trumpet player Marc Caparone, bass player Clint Baker, and pianist Chris Dawson. Together they have fashioned an album of Fats Waller melodies ranging from the infectious swinging material he was famous for as well as some very pretty melodies, most, but not all, penned with Andy Razaf. The album is by no means limited to oft-played Waller tunes. To their credit, Smith and Kilgore saw fit not to include "Ain't Misbehavin" and "Honeysuckle Rose" on the program. Instead, there is more than a smattering of Waller tunes that get a lot less play than these two warhorses. The very pretty "Gone" and the slow drag "How Can I, With You in My Heart" are just a few of the many gems that have been unearthed. There's plenty of hot jazz, too, to get the toe tapping. "I'm More Than Satisfied" features Caparone's burning muted trumpet and "It's You" once more with Caparone's trumpet on top along with stride piano by Dawson and strong bass by Baker. The New Orleans-like clarinet of Bobby Gordon, rarely stirring from the middle register, adds to the authenticity of this session's traditional style, especially with his solo on "I Hate to Leave You Now." There's a risk with issuing an album of traditional jazz in that it can get humdrum after a while. That trap is avoided with the presence of Rebecca Kilgore who has shown time and time again that no matter what she sings, she brings it to life. Moreover, Kilgore is quite familiar with this style of playing having recorded music in a similar vein with Dan Barrett and Dave Frishberg. A balanced play list performed by enthusiastic and talented musicians at home with Waller tunes pushes this album into the recommended category. ~by Dave Nathan

Sings The Music Of Fats Waller  

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Francisco Mela - Fe

Size: 120,7 MB
Time: 51:58
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Contemporary Jazz
Art: Front

01. Ancestros (4:12)
02. Mr. Alden (5:47)
03. Don Mccoy (6:23)
04. Fe (3:57)
05. Romeo Y Julieta (5:04)
06. Reflections (4:43)
07. Curcuros (3:24)
08. Lovano's Mood (4:02)
09. Just Now (6:43)
10. Open Dance (7:38)

Cuban drummer, percussionist, and bandleader, Francisco Mela (Joe Lovano, McCoy Tyner), is releasing his upcoming album entitled, FE.

The album is the fourth release for Francisco Mela, and features The Crash Trio, comprising Mela (drums), Gerald Cannon (bass) and Leo Genovese (piano) with special guest, renowned guitarist John Scofield. Mela assembled the trio to celebrate the life’s work of one of his mentors, legendary pianist, and composer, McCoy Tyner. The members of the group share an enduring friendship and have frequently collaborated over the years through a variety of different creative endeavors. The group has a signature sound, and international influences can be heard throughout their playing as the musicians’ nationalities include the United States, Argentina, and Cuba.

Mela states: “While recording this project, I was able to express some of my emotions with very special musicians who have played a major part in my development and musical growth. With them, I share a musical and spiritual friendship. We have a commitment based on trust and good faith; we simply want the best for one another. For this I am thankful.” This album is of particular significance to Mela, as he is releasing it shortly after the passing of his mother last year. He writes: “This album is dedicated to the memory of my parents, and I have faith that someday I will see them again.”

Fe

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Nicki Parrott, Rossano Sportiello, Eddie Metz - Strictly Confidential

Size: 165,6 MB
Time: 71:59
File: MP3 @ 320K/s
Released: 2016
Styles: Piano Jazz, Vocals
Art: Front

01. Strictly Confidential (5:55)
02. Sunset And The Mockingbird (5:25)
03. John Hardy's Wife (4:23)
04. What A Difference A Day Made (4:12)
05. Hallelujah, I Love Him So (4:13)
06. Misty (5:29)
07. A Brush With Bunji (3:49)
08. She (5:32)
09. Shoe Shine Boy (5:33)
10. What Are You Doing The Rest Of Your Life (6:01)
11. Pure Imagination (5:10)
12. Sunny Morning (2:33)
13. Close To You (3:19)
14. Shiny Stockings (4:52)
15. How Beautiful Is Night (5:26)

Personnel:
Rossano Sportiello - Piano
Nicki Parrott - Bass and vocals
Eddie Metz - Drums

Here's a piano trio of vet jazzbos that can play the kind of mannered cocktail jazz hotels demand in their sleep, but they wink at each other and slip in loads of swing when nobody is looking. Tasty stuff from a crew of unmistakable pros that love their work and have proven their mettle over and over again behind A listers than enlisted them, the set card has a few familiar tent poles in it but for the most part, they've done their homework to make sure the program is interesting and populated with goodies that shouldn't be forgotten from several different eras. State of the art piano trio work throughout. Reviewed by Chris Spector --Midwest Record

Strictly Confidential

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Andrea Carlson - Love Can Be So Nice

Size: 129,9 MB
Time: 56:13
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Nice Work If You Can Get It (3:09)
02. No Moon At All (3:35)
03. Cryin' (3:17)
04. Que Reste-T-Il De Nos Amour (4:19)
05. Love Can Be So Nice (4:19)
06. Lullaby Of The Leaves (5:23)
07. J'attendrai (3:35)
08. La Vie En Rose (3:52)
09. I'm Confessin' (3:57)
10. So Nice - Samba De Verao (3:50)
11. I Won't Dance (4:05)
12. How Long Has This Been Going On (4:04)
13. Avant Que L'amour Nous Prenne (4:42)
14. Let Me Cook For You (4:00)

How does a girl from Tennessee (in red saddle shoes!) grow up to create captivating songs in French and English, with fresh elements of 1920s jazz, gypsy swing, and bossa nova? Andrea Carlson's new CD "Love Can Be So Nice" is all of that, perfectly prepared with the help of an array of leading musicians from Philadelphia, Buenos Aires, Chicago, and Paris.
Andrea is a classically-trained guitarist and versatile jazz vocalist. Her new album glows with passion and sizzles with free spirited joy, echoing her personal adventures in Europe and the USA, and her musical explorations of American standards, French chanson, and Brazilian samba.
As with her previous all-original release "Drivin' Myself Wild For You", the sessions were recorded and mixed by Grammy-winning engineer Glenn Barratt, and the CD is wrapped in Andrea's own delightfully expressive artwork.

Love Can Be So Nice

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John Klopotowski - Project 59

Size: 135,0 MB
Time: 58:07
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Bebop
Art: Front

01. Subconscious Lee (4:42)
02. The Scale Song (4:24)
03. Breaking the Ice (5:19)
04. Wes' Tune (5:02)
05. Child's Play (7:02)
06. Street of Dreams (6:15)
07. Loco 47 (5:00)
08. You'd Be so Nice to Come Home To (5:33)
09. Passata On Guitar You're Welcome To A Prayer (8:59)
10. Defragment Now (5:45)

"Project 59" is my first recording as a leader and was done in August 2015 at Tedesco Studio in Paramus, NJ. I reunited with my old friend pianist Rave Tesar for the project, and the CD features Rave’s Trio with Kermit Driscoll on bass and Bill Tesar on drums as the rhythm section. We are also joined by another longtime close friend, Bob Keller on tenor saxophone.

The music consists of a typical jazz guitar recital or concert that I would perform if the opportunity were present. As this is my first recording as a leader, I drew on material related to key influences over my time as a student and player of jazz.

Project 59 has meant a great deal to me and has represented the opportunity to celebrate friendship, family, love, great art, excellence, hard work, and acceptance of ‘what is’! We offer our music to listeners with best wishes. Please enjoy!

Project 59

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Ilse Huizinga - Here's To Maya Angelou

Size: 104,3 MB
Time: 44:26
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. A Caged Bird Sings (4:33)
02. Equality And I Will Be Free (3:01)
03. Turned To Blue (2:54)
04. The Old Ones (3:49)
05. Song For Willie (3:34)
06. Gamut (3:14)
07. Call Letters (3:58)
08. Work (4:46)
09. Poor Girl, Just Like Me (4:50)
10. Adhering (3:37)
11. The Human Family (3:20)
12. A Phenomenal Woman (2:45)

The Amsterdam jazz singer Ilse Huizinga has made six albums up to now. Here's to You Maya Angelou is her latest pitch, an album with new compositions for which composer and pianist Erik van der Luijt wrote the music, while the artist browsed through the oeuvre of the American author and poet Maya Angelou (deceased in 2014). In The Jazz Singer, the Ultimate Guide by Scott Yanow, Ilse Huizinga is rated among the 500 best international jazz vocalists, and that is reason enough to listen to her latest album.

The songs on Here's to You are performed on piano, double bass and drums. Consequently, the material sounds very different than what we can expect in a smoky jazz cafe, where blaring trumpets and saxophones often deter interested listeners. Ilse Huizinga opts for simplicity, and as a result her warm and sexy voice gets a lot of space. She studied Public Administration at the University of Amsterdam and later at the Amsterdam Conservatory, which has guaranteed her a wide range of vocal possibilities, amply illustrated on this album.

The lyrics that Ilse Huizinga has selected from the work of Maya Angelou deal with racism, identity, travel and love. The atmosphere, tone and strength of the poems struck me deeply, the singer says in the liner notes, Maya Angelou found the words that we often seek to express love, loss, hope and confidence. Erik van der Luijt is the perfect translator of those feelings, resulting in a versatile and often cheerful piano sound, sometimes dreamy and subdued, other times explicit and pronounced, with quiet and then rumbling drums in the background and a silky double bass as in the beautiful and understated peace ballad A Caged Bird Sings. Equality and I Will be Free refers to Angelou’s political commitment that inspired many people. Huizinga hops at a reasonable rate through the lyrics, backed by a sparkling piano and panting percussion: a testimony and an indictment at the same time. Turned to Blue gets a dreamy and peaceful pace with Ilse Huizinga's understated vocals against a backdrop of warm double bass sounds. A deep and throbbing bass introduces the first notes of The Old Ones, a fragile composition in which Huizinga can steam ahead, supported by versatile percussion and an appealing piano.

The drums take the lead in Song of Willie. The piano rises and falls, and Ilse Huizinga spreads beautiful vocals over it, while Gamut is quieter again, with a relaxed jazz voice, a gentle rippling piano and minimal percussion: an attractive love song that grows into a beautiful ballad. Call Letters is again more upbeat with a singing piano, pretty much spoken vocals, but also beautiful inflections in the melody. Halfway through, Work gets a strong melody. It's an up-tempo ballad that settles in your ear during the first listen. In Poor Girl, Just Like Me, Ilse Huizinga pulls out all the stops to color the melody, subdued and dreamy, backed by gorgeous and versatile piano music by Erik van der Luijten. Adhering would fit on a Billy Holliday album, a melancholy jazz ballad with varied piano, rumbling percussion and gentle vocals. The Human Family attracts our attention with a nice rhythm, and closing song A Phenomenal Woman is an attractive and sunny ballad with the quality of a singer-songwriter’s composition.

If you do not like jazz and jazz-related music, then we may not be able to convince you with this album, but fans and interested music lovers will surely be interested in these 12 compositions. ~William Lienard

Here's To Maya Angelou

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