The Solomon Douglas Swingtet - Swingmatism

Bitrate: MP3@320K/s
Time: 62:16
Size: 142.6 MB
Styles: Swing, Big band
Year: 2006
Art: Front

[2:34] 1. For Dancers Only
[2:49] 2. Johnny Come Lately
[2:57] 3. Big Apple Contest
[5:05] 4. Black And Tan Fantasy
[5:43] 5. Shiny Stockings
[3:55] 6. Indiana
[2:53] 7. Good Bait
[2:33] 8. Swingmatism
[4:17] 9. Cherokee
[5:14] 10. Moonglow
[4:16] 11. Cherry Point
[4:18] 12. Alfie's Theme
[4:52] 13. Stolen Moments
[3:31] 14. There Will Never Be Another You
[7:12] 15. Funky Blues

Solomon Douglas is a jazz pianist and bandleader, whose various bands have played at countless events in North America, Asia, and Australia in the past nine years. Solomon toured with the world-famous Glenn Miller Orchestra as their pianist in 2006, and is now working as a full-time musician, bandleader, and dance instructor.

The Solomon Douglas Swingtet is a ten-piece dance band whose repertoire is rooted in that of the Basie band (Shiny Stockings, Cherry Point, One O’Clock Jump, Jive at Five, Splanky, Shorty George) and that of the Ellington band (Mood Indigo, Johnny Come Lately, Take The “A” Train, Cottontail, “C” Jam Blues), with other big-band standards and classic jazz tunes thrown in as well.

Swingmatism

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Anita O'Day - An Evening With Anita O'Day

Bitrate: MP3@320K/s
Time: 38:02
Size: 87.1 MB
Styles: Jazz vocals
Year: 1955/2016
Art: Front

[2:38] 1. Just One Of Those Things
[2:30] 2. Gypsy In My Soul
[4:10] 3. The Man I Love
[3:34] 4. Frankie And Johnny
[3:23] 5. Anita's Blues
[3:43] 6. I Cover The Waterfront
[2:42] 7. You're Getting To Be A Habit With Me
[3:09] 8. From This Moment On
[3:12] 9. Medley There Will Never Be Another You Just Friends
[2:53] 10. You Don't Know What Love Is
[3:40] 11. I Didn't Know What Time It Was
[2:23] 12. Let's Fall In Love

A combination of three sessions with three different small backing groups available currently on a Japanese CD -- this is an early revealing example of Anita O'Day's growth as a jazz artist since her days as a big band thrush. Her virtuosity at fast tempos is right on the dot, and she is fearlessly willing to take wide-open liberties with the melodies. The tune of "The Man I Love," and for instance, is completely taken apart and personalized; you wouldn't even recognize it were it not for the words. O'Day also shows us her vulnerable side in a remarkable on-the-edge performance of "You Don't Know What Love Is," and she gives listeners a rare taste of her songwriting in "Anita's Blues." Barney Kessel and Tal Farlow sit in on guitar on four tracks apiece; the other four are with piano trio. Low-key, modestly produced, this is best heard as directed -- in the evening. ~Richard S. Ginnell

An Evening With Anita O'Day

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Blue Plate Special - A Night Out With...

Bitrate: MP3@320K/s
Time: 46:27
Size: 106.3 MB
Styles: Retro Swing
Year: 1998
Art: Front

[4:04] 1. Night Out
[5:02] 2. Evening
[3:50] 3. Double Talkin' Fool
[3:08] 4. The Hornet
[6:31] 5. A Message For Paul Drake
[4:01] 6. Opus One
[5:39] 7. Tango Of Sorrow
[4:59] 8. Work That Skirt
[3:22] 9. Skin Tight & Tapered
[5:47] 10. A Night In Havana

Blue Plate Special is among the latest of the swing revival latecomers to grab a Louis Jordan fake book, some high-waisted trousers and gimlet glasses, and join what may be a soon-passing craze. Featured on Swing This Baby (released by -- surprise! -- Slimstyle/Beyond), a collection comprised predominately of like-minded "new" swing bands and a few authentic acts, Blue Plate Special on an entire album is no stronger than they were in their compilation sample. Trying their hand at obvious lounge sub-genres such as spy, torch, and Latin, the septet's attempts are weak and misconstrued. Though most chapters of this musical Decalog are originals, none of them are really such. The stories of booze and bombshells are often repetitive and obvious, and the arrangements are likewise, with only the occasional catchy riff or punchy line. As for the admitted covers, there is not much new here. Anthony Marcesi's vocals are either weak or bellowy, as are most of the horn solos. From the likes of BPS, it would appear at this point that the field of Johnny-swing-latelys is growing far too fast for even the Gap-crazed market and needs to be weeded-out. If this is the "special," I'll have the soup! ~Matthew Robinson

A Night Out With...

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Jeff Hamilton - Hands On

Bitrate: MP3@320K/s
Time: 49:39
Size: 113.7 MB
Styles: Contemporary jazz
Year: 2007
Art: Front

[6:35] 1. Juicy Lucy
[6:30] 2. Whisper Not
[8:00] 3. Somewhere
[6:32] 4. Move
[8:34] 5. 3,000 Miles Ago
[3:52] 6. Daahoud
[4:33] 7. To You
[5:00] 8. Split Season Blues

Jeff Hamilton is the epitome of a great jazz musician. Every group he plays with are enhanced by his never ending virtuosity and talent. It is safe to say..... don't miss anything this guy puts out.... it's all great jazz and very listenable. ~D. Fowler

Hands On

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Joel Frahm and Brad Mehldau - Don't Explain

Styles: Saxophone And Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 50:28
Size: 115,9 MB
Art: Front

(3:22)  1. Don't Explain
(3:52)  2. Get Happy
(3:58)  3. Oleo
(4:39)  4. Round Midnight #3
(5:43)  5. Mother Nature's Son
(5:03)  6. East Of The Sun
(5:32)  7. Turnaround
(5:34)  8. Away From Home
(5:06)  9. Smile
(7:35) 10. Round Midnight

Saxophonist Joel Frahm's third outing on Palmetto is a showcase for duets with pianist Brad Mehldau. Frahm impressed with his 1999 debut Sorry No Decaf as a neo bopper and I missed his 2000 venture on The Navigator. The studio can get pretty lonely with only two artists performing and we're happy to report that this is a relaxed and stimulating session for these two old friends from West Hartford, Connecticut. Frahm has chosen standards and jazz standards with a minimal number of original compositions so that the listener can easily gauge his performance with the many artists who have recorded tunes like "Don't Explain", "Smile" and "Get Happy". I don't hear any of the swagger of his tenor sax debut recording but that isn't what is called for here. His musical persona on the ballads is akin to Lee Konitz, although on tenor sax, both introspective and inherently swinging. Likewise Frahm's use of soprano sax on the Lennon-McCartney "Mother Nature's Son", "East of the Sun" and "Smile" displays probing lines rather than bold declarative sentences. Brad Mehldau, one of the hottest piano figures of the past decade, acts here as a good foil and provides the piano feeds that are needed. Although he isn't given much solo space, Mehldau is playing a melodic backbone for Frahm's statements. Mehldau also occasionally uses a stride-like left hand on some up-tempo work. Since this is Frahm's date, we do not get the usual Mehldau liner notes which explain the Existential meaning of liner notes. Instead the two musicians individually reflect back to their high school years and what it meant to them. So this is a good multi-purpose album to start the New Year off with for wining, dining or romancing.~Michael P.Gladstone https://www.allaboutjazz.com/dont-explain-palmetto-records-review-by-michael-p-gladstone.php
 

Personnel: Joel Frahm,tenor and soprano sax;  Brad Mehldau, piano

Don't Explain

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Dennis Chambers - Big City

Styles: Jazz Funk
Year: 1991
File: MP3@320K/s
Time: 22:48
Size: 53,7 MB
Art: Front

(4:38)  1. Straight Red
(4:50)  2. Nuji
(8:40)  3. No Return
(4:38)  4. Lydian Cowboy

Dennis is an American drummer who has made a name for himself in the world of music despite the fact that he had no formal education in music. He learnt by playing in clubs from early age. Born in 1960 in Baltimore, Dennis Chambers started playing drums at the age of 4. His ardent interest in drums at that age propelled him to keep playing whenever he got a chance. This child prodigy started performing in clubs at the age of 6. Within a short time, he had been invited to perform in most night clubs in Baltimore area. After graduating from high school in 1978, Chambers joined Parliament and Funkadelic, a band he played with until 1985. Parliament and Funkadelic is a funk music group headed by vocalist George Clinton. It’s a collective of two bands consisting of the same members but records for different labels. 

After leaving the group in 1985, he did a number of session work projects in New York. He also landed a job as the house drummer for Sugar Hill Records Company. After working for a while, he joined another band, Special EFX the same year. After working with Special EFX for two years, Chambers joined the David Sanborn Band and later on worked with John Scofield Band. The band disbanded in 1989. After that, Chambers joined the Mike Stern and Bob Berg Band. Chambers has however played for many other bands since then, including those of Randy Breckers and Michael Breckers, Mike Urbaniak, Bill Evans, CTI All Stars, George Duke, Stanley Clark, Steve Kahn's Eyewitness and John McLaughlin. Dennis Chambers has also recorded his own record called "Getting Even" on Pioneer Records, and an instructional video on DCI.

Chambers is currently playing with Niacin, a group founded in 1996. Other Members of the group includes Billy Sheehan and John Novello. Though Chambers, as it is with other members, continues to work solo on other side projects, they always come together to perform as a unit. They have so far made remarkable success and gained a large following even though they play non-commercial instrumental fusion. With Chambers, the group has produced the following albums. Niacin 1996, Live 1997, High Bias 1998, Live! Blood, Sweat & Beers 2000, Deep 2000, Time Crunch 2001, and Organik 2005. Chambers is also touring with Carlos Santana. If you have a chance, I definetely recommend checking out some of Dennis Chambers drumming. I guarantee you won't be disappointed.http://www.freedrumlessons.com/drummers/dennis-chambers.php

Personnel: Dennis Chambers: Drums;  Carl Filipiak: Guitar;  Jimmy Charlsen: Bass;  David Fairhall: Sax

Big City

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Wolfgang Puschnig - Alpine Aspects

Styles: Flute, Saxofone Jazz, Big Band
Year: 1991
File: MP3@320K/s
Time: 63:21
Size: 145,7 MB
Art: Front

(9:14)  1. Root March
(8:41)  2. Little Stars, Dancing and Jumping
(8:39)  3. We Reach for the Sky
(7:36)  4. First Meeting
(9:43)  5. Strange March
(8:53)  6. March of the Lost Illusion
(8:19)  7. Like a Song, Like a Dance
(2:15)  8. Looney Tune

Early nineties took the Carinthian saxophonist Wolfgang Puschnig with much seriousness, heart and wit of the old and often sad songs at his home, and transformed it into the sound of the present. The final analysis, "Alpine Aspects" meant a piece of music, which to this day the most important, because the most original, Austrian jazz productions counts at all. "Alpine Aspects" was and is like a moderate, erratic block in Austria musical landscape, a brilliant milestone of European jazz as a whole. 

The project has remained without successor. It screamed then to resurrect the "Alpine Aspects" program with his plump, rousing vitality of relish out-living making music again. As an Austrian brass band to fat radio of electric bassists Jamaaladeen Tacuma fits, just sound marching clocks to oblique jazz rhythms and Harmolodik of Ornette Coleman for functional harmony of local folk songs, of which evidence can be found in the Vienna Sargfabrik on 23 November.http://www.musicaustria.at/wolfgang-puschnig-alpine-aspects/

Personnel: Alto Saxophone, Piccolo Flute – Wolfgang Puschnig;  Clarinet – Ingrid Schaupp;  Clarinet [Eb] – Robert Pussecker;  Clarinet, Alto Saxophone – Johann Leonhartsberger;  Clarinet, Tenor Saxophone – Raimund Aichinger;  Drums – Thomas Alkier, Wolfgang Schneider;  Electric Bass – Jamaaladeen Tacuma;  Flugelhorn – Franz Rappersberger, Hans Schaupp; Flute – Oskar Eder;  Horn [Tenor] – Hermann Berger;  Leader, Conductor – Robert Pussecker;  Trombone – Günter Innerlohinger, Leopold Libal;  Trumpet – Josef Burcharts, Bumi Fian, Rudolf Pilz;  Tuba – Herbert Klaus, Jon Sass;  Vocals – Linda Sharrock (tracks: 3, 6)

Alpine Aspects

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The Red Rock Hot Club - Gypsy Daydream

Size: 121,9 MB
Time: 51:23
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Gipsy Jazz
Art: Front

01. After You've Gone (3:32)
02. Nuages (4:18)
03. J' Attendrai (3:05)
04. Bouncin' Around (4:48)
05. Blues For Ike (2:36)
06. Gypsy Daydream (5:11)
07. It Had To Be You (2:48)
08. Swing 48' (2:02)
09. Loose Marbles (3:14)
10. Tears (5:55)
11. Place De Brouckere (2:51)
12. Topsy (3:37)
13. When You're Smiling (3:50)
14. St. James Infirmary (3:29)

The Red Rock Hot Club is based in Salt Lake City but inspired by Paris. And this album of Gypsy Jazz is the real deal.
The quintet is an intriguing blend of Django Reinhardt’s early Hot Club Jazz with his war-era swing music, inspired respectively by the American Jazz of Louis Armstrong and Benny Goodman. Led by Rich D’aigle the band blends the the violin of Dan Salini playing Stephane Grappelli’s role with the Clarinet of John Flanders taking Hubert Rostaing’s place. The group is filled out by guitarist Pat Terry and Bassman Scott Terry. With both violin and clarinet melding with the strings, the band boasts a full rich, full sound.
The setlist here is pretty true to the Django Songbook,with the addition of a couple of D’aigle originals “After You’ve Gone” steps spritely into Django’s ”Nuages” moving into “J’Attendrai” and more standards and classics.
But it’s the style with which they swing their music that lifts the Red Rock Hot Club above the ordinary. On cuts like Eddie Durham’s “Topsy”, The band rides the melody with abandon, charging into inspired improvisations, and trading eights that are truly Hot. ~by Michael Dregni

Gypsy Daydream

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Rebecka Larsdotter - Whirlwind

Size: 128,9 MB
Time: 55:16
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Peace (4:21)
02. Tomorrow's Yesterday (5:13)
03. Indigo Child (6:18)
04. Like Someone In Love (6:27)
05. Kvar (6:04)
06. Zane's Tune (4:16)
07. Into (4:11)
08. Morning After Pill (4:08)
09. If The Wind Will Allow (6:39)
10. Hmm (4:00)
11. My Shining Hour (3:34)

Finding a balance between original material and the great tradition of jazz classics and standards can be difficult as a singer. Sometimes, you end up with albums that merely replicate what has already been said, and other times you encounter music that cuts all ties to tradition and ends up being strangely anonymous. This is not to say that albums consisting of pure standard material or all original songs cannot be the right path to choose, but the most interesting music is often created in a dialogue with tradition.

On her album Whirlwind, Swedish born singer Rebecka Larsdotter, who is now based in New York, successfully navigates in a territory of singer/songwriter material, modern lyrical jazz and the timeless expression of the standards.

The opener, "Peace," penned by the iconic pianist and composer, Horace Silver, sets the mood in a tune where the text tells of a place where "the sycamores grow / And daffodils have their fun." Larsdotter gets deep into the idyllic mood of the song while Aaron Parks' liquid piano lines grace the song. His beautiful, bell-like harmonies resurface on "Into" with a pop chorus where Larsdotter sings about the starlit sky.

Whirlwind was recorded in three different sessions and drummer Ari Hoenig plays a vital role on the session that produced the majority of the tracks on the album. His energetic playing drives the music forward and is an intriguing contrast to the gentleness of the songs, but he also shows a more soft side on his own ballad "If the Wind Will Allow."

Besides the original songs, standards "Like Someone in Love" and the concluding "My Shining Hour" fit seamlessly into the program where the only oddity is the organ-blues-funk of "Morning After Pill," but even this tune is a charming break from the introspective mood that carry many of the songs. Still, Larsdotter also knows how to swing, and in many ways, Whirlwind is a complete portrait of a singer whose own shining hour has come. ~By Jakob Baekgaard

Personnel: Rebecka Larsdotter: vocal; Aaron Parks: piano (1, 6, 7); Shai Maestro: piano (2, 3, 4, 5, 9, 10, 11); Dayna Stephens: saxophone (1, 3, 4, 6, 7, 11); Oz Noy: guitar track (8); Dennis Hamm: keyboards (8); Rick Rosato: bass (2, 3, 4, 5, 9, 10, 11); Ben Street: bass (1, 6, 7); Hadrien Feraud: bass (8); Ari Hoenig: drums (2, 3, 4, 5, 9, 10, 11); Nate Wood: drums (1, 6, 7); Gene Coy: drums (8).

Whirlwind

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Joanie Samra - Still Me

Size: 112,5 MB
Time: 47:37
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. The Music That Makes Me Dance (4:15)
02. Call Me (3:52)
03. Moonglow (4:34)
04. Danny Boy (3:49)
05. At Seventeen (5:06)
06. What Now My Love (4:26)
07. California Dreamin' (5:18)
08. That's The Way I've Always Heard It Should Be (5:34)
09. Sunny (3:27)
10. I'm Okay (I'm Telling A Lie) (4:19)
11. Mister Sandman (2:52)

Growing up in Paterson, New Jersey, Joanie Samra always knew music would be an important piece of her life. Her love of song seemed to begin at the moment she could speak. From the early years of elementary school right on through college, she often demonstrated her talent for singing, which was expanded through dance, piano and voice lessons. Her performance experience continued to grow through her involvement with high school and college musicals and weekend bands. Sometime after her college graduation, Joanie’s calling changed as she developed an interest in educating children with special needs.

After moving to Pennsylvania, staying home to care for her three children and returning to her profession as a special needs teacher, Joanie’s passion for singing was still very much alive. Joining a community chorus in 2003 sustained her enthusiasm until November of 2007 when she became a vocal student of jazz pianist, Jesse Green. Throughout their association, he produced numerous custom arrangements of her favorite songs and subsequently provided her with opportunities for live performances; all critical toward the development of her own unique style. In November of 2011 Joanie and Jesse released a CD of twenty-one unforgettable songs entitled Serendipity.

In August of 2015, Joanie began her association with jazz vocalist Nancy Reed in order to gain more performance skills derived from a female perspective. During this time an idea for another CD took shape and Still Me was conceived, produced by Nancy and featuring Skip Wilkins at the piano, Spencer Reed on guitar, Evan Gregor playing bass and Daniel Gonzalez on drums and percussion. Released in June of 2016, this is indeed another labor of love as Joanie continues her musical journey performing many of the songs that impacted the story of her life.

Still Me

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Onna Project - Un Hogar

Size: 177,7 MB
Time: 76:28
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Little Bird (4:09)
02. Let Me Cry (6:20)
03. Riddles (7:34)
04. Now That I Know (5:29)
05. My Home Should Be (3:57)
06. Un Hogar (8:55)
07. Billie Jean (5:36)
08. Platform (8:30)
09. Cry Me A River (6:16)
10. Txoria Txori (6:54)
11. Unstoppable Water (7:02)
12. L'arbre I L'ocell (5:41)

Onna Project es una mezcla vibrante, elegante y moderna de jazz con ritmos funk, afro, una voz profunda que nada entre el soul, el r&b y el jazz con influencias de raíz, que van desde el Mediterráneo hasta el Cantábrico.
Acaban de grabar un disco autoeditado y autoproducido que estrenarán este año llamado Un Hogar.
Empezaron su andadura en el 2012 y desde entonces han tocado por todo el país, han ganado el Certamen Internacional de jazz de Talavera, han tocado en el Festival de Jazz de Getxo y han obtenido el reconocimiento de expertos y del público, tanto de jazz como de otros estilos.

Un Hogar

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Kim Waters - Rhythm And Romance

Size: 103,6 MB
Time: 44:34
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Smooth Jazz
Art: Front

01. Bring It (4:27)
02. No Sleeep (3:56)
03. Rhythm And Romance (4:28)
04. Forever Yours (4:16)
05. Morning Star (4:13)
06. Time Will Reveal (4:23)
07. Smoothness (4:59)
08. Can't Let You Go (5:15)
09. Heaven's Gate (4:10)
10. I'm Not The Only One (4:22)

Smooth Urban Jazz superstar Kim Waters has sold over one million albums in his more than 20 years of touring and recording. Loved by R&B and Jazz fans alike, his crossover appeal, twenty Smooth Jazz number 1 radio hits, and dynamic performances have placed him among the elite in his field.

Rhythm and Romance, Kim's most satisfying release yet, has it all.

Cover versions of the Janet Jackson smash No Sleep featuring Chris Big Dog Davis, Sam Smith's multi platinum I'm Not the Only One and Kim's reimagining of the DeBarge classic Time Will Reveal.

Surefire radio hits the joyful Waters original Vibin', the spirited Feelin' It and the romantic ballads Moments With You, In Deep and much more.

Rhythm And Romance

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Carolyn Lee Jones - In A Long White Room

Size: 102,1 MB
Time: 41:25
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. In A Long White Room (2:40)
02. Tainted Love (4:41)
03. Piano In The Dark (4:43)
04. Moondance (4:22)
05. Creepin' (2:27)
06. 98.6 (4:31)
07. Give A Damn (3:07)
08. Like To Get To Know You (3:49)
09. Happy Together (2:45)
10. The Sweetest Taboo (4:23)
11. Midnight At The Oasis (3:24)
12. In A Long White Room (Reprise) (0:25)

“In A Long White Room” is classic vintage pop united with jazz-tinged arrangements. 60's & 70’s favorites are renewed with swinging rhythms, straight-ahead jazz & Latin grooves, soulful & sultry ballads, and a touch of R&B. These songs have been a part of me for a very long time. Now, I call them “vintage pop”! If you give this CD a listen from start to finish, I know you’ll feel where I’m coming from! Each song paints a vivid picture in my mind of when and where! Perhaps it will do the same for you.

My wonderfully talented bandmates are Brad Williams (piano), Jonathan Fisher (electric & acoustic bass), Dennis Durick (drums & percussion), Tom Burchill (guitar), Dave Monsch (flute,bass clarinet, saxes). Tracks 2&9 originally released in 2008 and remixed for this CD were recorded with my NYC trio Wells Hanley (piano), Saadi Zain (bass) and Jacob Melchior (drums).

In A Long White Room

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Lee Wiley - Sings The Songs Of Rodgers & Hart And Harold Arlen

Bitrate: MP3@320K/s

Time: 48:14

Size: 110.4 MB

Styles: Standards, Vocal jazz

Year: 1980/1990

Art: Front

[3:11] 1. Baby's Awake Now

[3:24] 2. Here In My Arms

[2:52] 3. You Took Advantage Of Me

[3:00] 4. A Little Birdie Told Me So

[3:28] 5. A Ship Without A Sail

[2:51] 6. I've Got Five Dollars

[3:13] 7. Glad To Be Unhappy

[2:29] 8. As Though You Were There

[3:16] 9. Let's Fall In Love

[2:52] 10. Moanin' In The Mornin'

[2:40] 11. Between The Devil And The Deep Blue Sea

[2:53] 12. Stormy Weather

[2:46] 13. Down With Love

[2:53] 14. I've Got The World On A String

[3:23] 15. Fun To Be Fooled

[2:56] 16. You Said It

Lee Wiley pioneered the "songbook" concept, for which a singer exclusively interpreted the work of one composer. Her Gershwin and Cole Porter projects of 1939-40 were major successes, as is the music on this Audiophile reissue. In a fairly straight but strangely sensuous manner, Wiley sings eight songs apiece by Rodgers & Hart and Harold Arlen while backed by a variety of all-star players associated with Eddie Condon, including pianist Joe Bushkin, trumpeters Max Kaminsky, Billy Butterfield and Bobb Hackett, tenor saxophonist Bud Freeman, and Ernie Caceres on baritone and clarinet. Although many of these songs have been interpreted countless times since, few singers have reached the emotional peaks that Lee Wiley scaled in her versions of "A Ship Without a Sail," "Let's Fall In Love," "I've Got the World On a String," "Down With Love" and especially "Glad to Be Unhappy." This set (along with the previous one) belongs in every serious jazz collection. ~Scott Yanow

Sings The Songs Of Rodgers & Hart And Arlen

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Wynton Kelly - Piano

Bitrate: MP3@320K/s
Time: 46:56
Size: 107.4 MB
Styles: Hard bop, Piano jazz
Year: 1959/1989
Art: Front

[7:06] 1. Whisper Not
[7:07] 2. Action
[5:54] 3. Dark Eyes
[5:19] 4. Dark Eyes (Take 2)
[5:12] 5. Strong Man
[4:20] 6. Ill Wind
[5:32] 7. Don't Explain
[6:22] 8. You Can't Get Away

In January 1958, producer Orrin Keepnews brought pianist Wynton Kelly and guitarist Kenny Burrell into the studio. Although he had for years been a highly regarded sideman with the likes of Dizzy Gillespie, Lester Young and Dinah Washington, Kelly had only cut one date as a leader prior to this -- and that had been seven years earlier. Whisper Not showcases Kelly and Burrell in a trio setting with bassist Paul Chambers, and for one side adds drummer Philly Joe Jones. The tunes include Harold Arlen's "Ill Wind," Billie Holiday's "Don't Explain," and the title track, penned for the Gillespie band by Benny Golson. Unfortunately, Kelly is not given an opportunity to shine in the conventional piano trio setting -- with only bass and drums -- a format in which he excelled. His distinctive drive and buoyant swing feel is in evidence, however, and despite a less than perfect audio mix (a bit dry), Whisper Not is recommended as an important recording in the oeuvre of Wynton Kelly. ~Lee Bloom

Piano

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The Ames Brothers - Down Memory Lane With The Ames Brothers

Bitrate: MP3@320K/s
Time: 31:01
Size: 71.0 MB
Styles: Vocal harmony group
Year: 1964/2014
Art: Front

[1:36] 1. When My Sugar Walks Down The Street
[2:40] 2. Don't Blame Me
[2:33] 3. I'm Beginning To See The Light
[2:17] 4. You And I
[2:04] 5. You Were Meant For Me
[2:43] 6. Por Favor
[2:45] 7. Anniversary Song
[3:25] 8. Oh What It Seemed To Be
[2:36] 9. Gotta Be This Or That
[2:18] 10. Remember
[2:23] 11. All I Do Is Dream Of You
[3:33] 12. I Couldn't Sleep A Wink Last Night

A close-harmony vocal quartet with few equals during the '50s, the Ames Brothers hit number one in 1950 with "Sentimental Me," and found their biggest hit three years later with "You, You, You." Though they were indeed a family group, the Ames Brothers' surname was actually Urick. Joe, Gene, Vic and Ed were all born within four short years of each other in Malden, Massachusetts. After winning a few talent contests in their hometown, the group moved to Boston and began performing in nightclubs. They soon made the leap to New York and even Los Angeles, and signed to the Coral label in late 1958. After a few moderate hits, the Ames Brothers hit big in early 1950 with a double-sided number one hit, "Rag Mop"/"Sentimental Me." The B-side eventually triumphed over its flip, and the group hit again later in 1951 with "Undecided." The biggest hit of the Ames Brothers' career was 1953's "You You You," and their continued success during 1954 with "The Naughty Lady of Shady Land" bore fruit in the form of their own television program.

Though the quartet continued to record throughout the '50s, the dawn of the rock era definitely damaged their career; the group managed two Top Ten hits in 1957 ("Tammy," "Melodie d'Amour"), but then folded in 1959. Ed, the youngest Ames brother, continued a performing career and appeared as an Indian named Mingo on the Daniel Boone TV series before hitting the Top Ten as a solo act with 1967's "My Cup Runneth Over." He also appeared on Broadway. ~bio by John Bush

Down Memory Lane With The Ames Brothers

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Bob Sneider, Joe Locke - Nocturne For Ava

Bitrate: MP3@320K/s
Time: 70:15
Size: 160.8 MB
Styles: Contemporary jazz
Year: 2004
Art: Front

[6:45] 1. Last Tango In Paris
[5:54] 2. Afterglow
[7:31] 3. Theme From Blow Up
[6:10] 4. Laura
[5:54] 5. Black Dahlia
[6:12] 6. Windmills Of Your Mind
[5:51] 7. Nocturne For Ava
[7:12] 8. Kiss Me, Kill Me
[6:57] 9. I Want To Live
[5:19] 10. Flirtbird
[6:25] 11. Los Feliz

John Sneider: trumpet; Grant Stewart: tenor; Bob Sneider: guitar; Joe Locke: vibes; Paul Hofmann: piano; Martin Wind: bass; Tim Horner: drums; Luisito Quintero: percussion.

In 2006, guitarist Bob Sneider and vibraphonist Joe Locke assembled a collective devoted to the jazz soundtrack of noir fiction called The Film Noir Project. That same year they released Fallen Angel (Sons of Sound). Switching labels, Sneider and Locke release their second Film Noir Project installment in Nocturne for Ava, honoring the brunette bombshell Ava Gardner and her contributions to the noir genre like the film adaptation of Ernest Hemingway's The Killers.

It is a subtle hypnotism Sneider and Locke perform by naming their collective The Film Noir Project. Billed as being dedicated to the spirit of the jazz soundtrack as part of film noir sets up certain expectations. Cleverly, The Film Noir Project immediately stimulates aural images of smoky saxophones and martini-bright brass complementing the environs of West Coast crime in the '40s and '50s. While this expectation is partially realized, The Project polishes the concept with brass cleaner to a high sheen.

Nocturne for Ava consists of eleven selections, eight of which are reinterpretations of noir soundtracks with the remainder being stylized realizations of the genre. The Project is nominally an octet, or sub-atomically a trumpet- saxophone quintet with guitar, vibes, and percussion. Sneider, Locke, and percussionist Luisito Quintero are the added degrees of freedom to this quintet equation that provide the noir atmospherics. An early example is Sneider and Locke weaving a gossamer spell beneath John Sneider's muted trumpet on Mark Isham's "Afterglow." The pair state the piece's extended melody languidly while drummer Tim Horner (using brushes) and pianist Paul Hofmann, equally languid, add color and grit.

Herbie Hancock's "Theme From Blow Up" is deftly stated by Hofmann and Locke and propelled by drummer Horner and percussionist Quintero. The musical effect is of a fast moving urban landscape like that of the movie's center of London. Of the originals, Sneider's "Black Dalia" and Locke's title piece readily mesh with the directed compositions in both execution and the atmosphere that results. The theme of film noir soundtrack works well and this group ably interprets the theme. ~C. Michael Bailey

Nocturne For Ava

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Lee Konitz - Round & Round

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 54:32
Size: 125,0 MB
Art: Front

(7:33)  1. Round and Round and Round
(5:10)  2. Someday My Prince Will Come
(6:16)  3. Luv
(4:51)  4. Nancy
(5:34)  5. Boo Doo
(6:27)  6. Valse Hot
(4:33)  7. Lover Man
(6:56)  8. Blusette
(7:08)  9. Giant Steps

The most unusual aspect to this outing by altoist Lee Konitz is that all nine selections are performed in 3/4 time. "Someday My Prince Will Come" and Sonny Rollins's "Valse Hot" were originally waltzes but "Lover Man," "Bluesette" and particularly "Giant Steps" were never recorded in that time signature before. 

With the assistance of pianist Fred Hersch, bassist Mike Richmond and drummer Adam Nussbaum, Konitz manages to uplift this session above the level of a potential gimmick and finds unexpected beauty in these standards and originals.~Scott Yanow http://www.allmusic.com/album/round-and-round-mw0000200509

Personnel: Lee Konitz (soprano saxophone, alto saxophone); Fred Hersch (piano); Mike Richmond (bass instrument, bass guitar); Adam Nussbaum (drums).

Round & Round

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Perla Batalla - Bird on the Wire: The Songs of Leonard Cohen

Styles: Vocal

Year: 2005

File: MP3@320K/s

Time: 53:09

Size: 122,0 MB

Art: Front

(4:40)  1. If It Be Your Will

(4:21)  2. Seems So Long ago Mancy

(4:04)  3. Coming Back to You

(5:23)  4. Dance me to the end of Love

(6:58)  5. So Long Marianne

(3:14)  6. Came so far for Beauty

(6:16)  7. Ballad of the Absent Mare

(5:11)  8. Famous Blue Raincoat

(6:55)  9. Bird On the Wire

(6:02) 10. Suzanne

Leonard Cohen’s gruff voice has kept many from properly appreciating the brilliance and utter romanticism of his songs. Perla Batalla here lovingly wraps her warm voice around 10 of them to glorious results. The best are the ones where she takes the most liberties: “Famous Blue Raincoat” backed by a string quartet, a jazzy “Seems So Long Ago, Nancy,” “Ballad of the Absent Mare” as a duet with David Hidalgo of Los Lobos, “Dance Me to the End of Love” as a duet with Bill Gable partially translated into Spanish, “Suzanne” cleverly interpolating bits of Steven Foster’s “O Susanna.” The sound is sumptuous. Engineer/mixer Leanne Unger is an excellent choice for the project as she has worked on many of Cohen’s own albums over the years. Her sympathy and love for Cohen’s songs, plus her familiarity with them, greatly enhances the album. The three cover shots of Perla Batalla and Leonard Cohen sharing warm moments speaks volumes both to Perla’s sincerity and love for Cohen’s songs and Cohen’s endorsement of Perla’s work. Beautifully conceived and executed, Bird on the Wire is a rewarding listening experience I find myself returning to frequently. It is every bit the equal of Jennifer Warnes’ classic Cohen tribute album Famous Blue Raincoat. For those uninitiated to the glories of the songs of Leonard Cohen this is a wonderful introduction. For the rest of us it is simply heavenly.~ Michael Tearson http://www.amazon.com/Bird-Wire-Songs-Leonard-Cohen/dp/B000CAJQC6

Bird on the Wire: The Songs of Leonard Cohen

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Joel Frahm - We Used To Dance

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 61:01
Size: 140,9 MB
Art: Front + Back

(6:08)  1. Bob's Blues
(6:43)  2. Nad Noord
(8:57)  3. Joanne Julia
(4:24)  4. A Whole New You
(7:54)  5. Spring Can Really Hang You Up The Most
(4:29)  6. Jobimiola
(5:59)  7. My Ideal
(6:23)  8. Song For Abdullah
(4:23)  9. The Dreamer
(5:38) 10. We Used To Dance

Joel Frahm is a big, gentle looking man with a big, warm sound on the tenor saxophone. On We Used To Dance, he reunites with pianist Kenny Barron, with whom Frahm studied at the Rutgers University jazz program. Frahm has also enlisted the services of the rest of the rhythm section that contributed so much to the later recordings of Stan Getz: bassist Rufus Reid and drummer Victor Lewis. The result is a solid disc of outstanding music. Frahm can play, and shows it on all ten tracks, including two well-known standards ("Spring Can Really Hang You Up the Most" and "My Ideal"), two of Barron's fine compositions ("Joanne Julia" and "Song for Abdullah") and six Frahm originals. "Bob's Blues" belies Frahms's contention in the liner notes that his originals are "another baby step in my continuing attempts to write music." This fine piece is far more than that, evoking an irresistible late night vibe. As he does throughout the disc, Barron quickly establishes that he is not simply sitting in to comp behind a former student; he solos beautifully, connecting with Frahm in a sustaining musical partnership.

On Frahm's aptly titled "Jobimiola," Lewis opens and the band jumps into a swinging Brazilian-inflected romp. Frahm is clearly enjoying himself as he quotes "You and the Night and the Music," then heads back towards more Tom Jobim-like riffs. Lewis and Reid create a compelling context for Frahm's entrance to "Song for Abdullah." Throughout the recording, the bassist and drummer are consistently tasteful and musical, whether soloing or keeping time behind Frahm and Barron. "Spring Can Really Hang You Up the Most" highlights Frahm's gorgeous tone on the tenor. In his interplay with Barron he establishes clearly that this is far more than a recital by teacher and graduate. Frahm has learned his musical lessons well, and his ample talent establishes him as an equal participant in music making with these three outstanding players.~Geoff Mirelowitz https://www.allaboutjazz.com/we-used-to-dance-joel-frahm-anzic-records-review-by-geoff-mirelowitz.php
 

Personnel: Joel Frahm: tenor saxophone; Kenny Barron: piano; Rufus Reid: bass; Victor Lewis: drums.

We Used To Dance

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