Thelonious Monk & Gerry Mulligan - Mulligan Meets Monk

Styles: Saxophone And Piano Jazz

Year: 1957

File: MP3@320K/s

Time: 66:00

Size: 151,4 MB

Art: Front

(8:28)  1. 'Round Midnight

(5:19)  2. Rhythm-A-Ning

(7:18)  3. Sweet and Lovely

(5:55)  4. Decidedly (take 4)

(6:59)  5. Straight, No Chaser (take 3)

(6:53)  6. I Mean You (take 4)

(6:39)  7. Decidedly (take 5)

(5:30)  8. Straight, No Chaser (take 1)

(6:25)  9. I Mean You (take 1)

(6:31) 10. I Mean You (take 2)

The beauty of the Concord Music Group's treasure trove of a catalog is that it will always provide material for the "Reassessing" column at All About Jazz and similar columns elsewhere. The newest round of re-releases celebrate the 60th anniversary of Riverside Records. Riverside Records was founded by Orrin Keepnews and Bill Grauer in 1953, remaining a major force in jazz recording in New York City for a decade, when Grauer perished from a heart attack and the label declared bankruptcy. The catalog was acquired by Fantasy Records in 1972 and the catalog released under the Original Jazz Classics imprint. Concord Records purchased Fantasy Records in 2004, creating the largest jazz catalog available. One of the first releases celebrating this anniversary are the August 12-13, 1957 recordings that were to become Mulligan Meets Monk. Is this the best Mulligan or Monk? Probably not, but, then again, compared to what? Thelonious Monk is easily the greatest composer of jazz standards (those songs composed specifically for jazz and not derived from the Great American Songbook). Gerry Mulligan, a mere three years previously, turned jazz on its ear by removing the piano as a harmonic instrument, essentially suspending the solo instruments on a highwire with the barest of rhythmic support. The meeting celebrates the spontaneity of jazz, its improvisational core.

The recital is of Monk's book. It could have been no other way. A lengthy "'Round Midnight" kicks things off. It is hard to hear and not think of the perfection Miles Davis achieved with his first great quintet in the year before while recording what would become 'Round About Midnight (Columbia, 1957). That said, the real article of Monk adds the dimension of event. This is Monk in all of his strange glory, playing his wonky brand of stride piano and demonstrating how he changed the white hot style of bebop harmonically. Two takes of "Straight, No Chaser" and three of "I Mean You" allow Mulligan plenty of time a room to fully warm up and blow. Melodically sophisticated, Mulligan's arranging capabilities inform his ensemble and solo play by giving them a deliberate trajectory within the framework of improvisation. This is not a perfectly performed recording. Mulligan fluffs his share of notes and Monk, well, Monk is Monk, still able to startle 50 years later.~C.Michael Bailey https://www.allaboutjazz.com/gerry-mulligan-and-thelonious-monk-mulligan-meets-monk-gerry-mulligan-by-c-michael-bailey.php

Personnel: Gerry Mulligan: baritone saxophone; Thelonious Monk: piano; Wilbur Ware: bass; Shadow Wilson: drums.

Mulligan Meets Monk

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Dianne Reeves - Bridges

Styles: Jazz, Vocal
Year: 1999
File: MP3@320K/s
Time: 61:05
Size: 141,7 MB
Art: Front

(5:20)  1. In Your Eyes
(5:51)  2. I Remember
(5:19)  3. Suzanne
(5:30)  4. Goodbye
(5:34)  5. Bridges
(6:22)  6. River
(2:23)  7. Olokun
(4:39)  8. Testify
(6:51)  9. Mista
(5:25) 10. 1863
(7:45) 11. Make Someone Happy

Dianne Reeves is such a talented and warm singer that many jazz fans wish that she would stick to performing jazz. Reeves, here, mostly performs music that is folk and pop oriented, sincere renditions that actually have very little improvisation. Only the closing, "Make Someone Happy" (which has a trumpet solo from Marcus Printup) is jazz oriented. Otherwise, Reeves sings pieces that apparently mean a lot to her (including a couple songs that might be autobiographical) with a band that has appearances by keyboardists Billy Childs, George Duke and Eddie Del Barrio, altoist Kenny Garrett, bassist Stanley Clarke, drummer Terri Lynn Carrington and others.~Scott Yanow http://www.allmusic.com/album/bridges-mw0000239132

Personnel:  Bass – Reginald Veal (tracks: 1 to 6, 9, 10, 11), Stanley Clarke (tracks: 8);  Bongos – Manolo Badrena (tracks: 2);  Drums – Brian Blade (tracks: 2, 3, 4, 5, 6), Terri Lyne Carrington (tracks: 1, 9, 10, 11);  Electric Piano – George Duke (tracks: 9);  Guitar – Romero Lubambo (tracks: 1, 3, 4, 5, 6, 9) Harmonica – Jimmy Zavala (tracks: 9);  Percussion – Manolo Badrena (tracks: 3, 5, 6), Munyungo Jackson (tracks: 1, 8, 9, 10);  Piano – Billy Childs (tracks: 1, 3, 7), Eduardo Del Barrio (tracks: 10), George Duke (tracks: 8, 11), Mulgrew Miller (tracks: 2, 4, 5, 6);  Producer – George Duke ;  Saxophone – Kenny Garrett (tracks: 3, 6);  Trumpet – Marcus Printup (tracks: 11);  Vibraphone, Marimba [Bass] – Joe Locke (tracks: 6);  Vocals – Dianne Reeves

Bridges

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Oscar Peterson - The Trio: Live from Chicago

Styles: Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 47:08
Size: 108,1 MB
Art: Front

( 5:41)  1. I've Never Been in Love Before
( 8:08)  2. In the Wee Small Hours of the
( 9:04)  3. Chicago
( 4:49)  4. The Night We Called It a Day
(11:44)  5. Sometimes I'm Happy
( 5:49)  6. Whisper Not
( 1:50)  7. Billy Boy

Strong work from the Peterson Trio's London House gig in Chicago in 1961 material that offers some slightly longer than usual takes on the group's sound, especially on a few numbers that really let Oscar open up on the keys! The group here is the legendary combo with Ed Thigpen on drums and Ray Brown on bass but on the album's long versions of "Sometimes I'm Happy", "In The Wee Small Hours" and "Chicago", it's Oscar's inventive work on the keys that really dominates the nearly 10 minute run of each track. Other shorter tunes include "Billy Boy", "Whisper Not", and "The Night We Called It A Day". © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/608312
 

Personnel: Oscar Peterson (piano); Ray Brown (bass); Ed Thigpen (drums).

The Trio: Live from Chicago

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Emily Remler - East To Wes

Styles: Guitar Jazz
Year: 1988
File: MP3@320K/s
Time: 51:40
Size: 119,2 MB
Art: Front

(5:19)  1. Daahound
(6:39)  2. Snowfall
(5:45)  3. Hot House
(5:38)  4. Sweet Georgie Fame
(7:25)  5. Ballad For A Music Box
(6:26)  6. Blues For Herb
(8:14)  7. Softly As In A Morning Sunrise
(6:12)  8. East To Wes

The late guitarist's last CD to be released before her premature death is her finest effort. Emily Remler's fluid technique brightens such seldom-heard numbers as Clifford Brown's "Daahoud" and her simplified arrangement of Claude Thornhill's lovely "Snowfall," as well as more relaxed tunes like "Sweet Georgia Fame." 

The polished rhythm section includes the masterful pianist Hank Jones, bassist Buster Williams, and drummer Marvin "Smitty" Smith. Highly recommended.~Ken Dryden http://www.allmusic.com/album/east-to-wes-mw0000201311

Personnel: Emily Remler (acoustic & electric guitars); Hank Jones (piano); Buster Williams (bass); Marvin "Smitty" Smith (drums).

East To Wes

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Kenny Dorham - 'Round About Midnight At The Cafe Bohemia (2-Disc Set)

Kenny Dorham: trumpet; J. R. Monterose: tenor sax; Kenny Burrell: guitar; Bobby Timmons: piano; Sam Jones: bass; Arthur Edgehill: drums.

There's a thickness to the sound of this 1956 Kenny Dorham set as reissued by Music Matters on two 45-rpm records—a density that blows from the speakers and settles in the room like smoke. Which is to say the fidelity of the Music Matters product proves itself as strong on live recordings as it has on their Blue Note studio reissues. Here, the club acoustics are palpable, requiring only the cracking of a favorite beverage to complete the scene.

Not long from his stint with Art Blakey's Jazz Messengers and their recorded blasts at the Cafe Bohemia, trumpeter Dorham gathered a tight group of young musicians to have his own go at the legendary Greenwich Village establishment. Dorham and guitarist Kenny Burrell would both go on to attain considerable success as leaders, while the others remained mostly in supporting roles, never becoming household names as leaders, even to jazz fans. Still, tenor saxophonist J.R. Monterose is a nice foil for the trumpeter, often following Dorham's bright, ballooning sound with a thinner, abrasive take—flowing where Dorham stutters ("Monaco," "Mexico City"), squeaking and giving space after the leader sprints ("Hill's Edge"). There's a nice, if unsurprising, flow to the program, with the bop burners cooled and dimmed by the interspersed "'Round About Midnight" and "Autumn in New York," the latter a solo vehicle for Dorham in which he captures a delicious, crisp moment of solitude within the Big Apple. "Monaco," a Dorham original, opens the record on a thick loping beat that showcases Sam Jones' fat, insistent bass work, which accounts for much of the record's full cloud of sound. (Eat your heart out, Phil Spector.) Dorham enters on extended phrases, but soon picks up the pace and begins punching out fast but articulated lines—the type of well-constructed progression for which he'd become known. Burrell channels Charlie Christian on his opening-track solo, but later shows sparks of his developing individual voice, most notably on "Mexico City" and "A Night in Tunisia."

Drummer Arthur Edgehill rarely steps out of his supporting role, though the flurry of his sticks is in evidence throughout "Mexico City"; his cow bell pronounced on "Tunisia"; and he's obviously given room to stretch on the Dorham-penned nod to the drummer, "Hill's Edge." Pianist Bobby Timmons solos on most tunes, but he often makes more of a statement when fashioning blunt chordal motifs beneath the horns or emerging, as in "Mexico City," to walk in thrilling harmonic step with Dorham.

'Round About Midnight at the Cafe Bohemia is a full and often exhilarating set of mid-'50s bop. It also proves, in the three Dorham originals, that the trumpeter was a quality composer, capable of rendering more than just Latin-tinged themes like "Blue Bossa" and "Una Mas." And the excellent fidelity of this vinyl reissue boosts the session's composed but inventive ambience. ~Matt Marshall

Album: 'Round About Midnight At The Cafe Bohemia (Disc 1)
Bitrate: MP3@320K/s
Time: 67:28
Size: 154.4 MB
Styles: Bop, Trumpet jazz
Year: 1956/2002

[10:40] 1. K.D.'s Blues
[ 4:38] 2. Autumn In New York
[ 5:33] 3. Monaco
[ 5:36] 4. N.Y. Theme
[ 9:30] 5. K.D.'s Blues
[ 8:16] 6. Hill's Edge
[ 9:32] 7. A Night In Tunisia
[ 4:59] 8. Who Cares
[ 8:39] 9. Royal Roost

'Round About Midnight At The Cafe Bohemia (Disc 1)

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Album: 'Round About Midnight At The Cafe Bohemia (Disc 2)
Bitrate: MP3@320K/s
Time: 55:19
Size: 126.6 MB
Styles: Bop, Trumpet jazz
Year: 1956/2002
Art: Front

[6:02] 1. Mexico City
[7:44] 2. 'round About Midnight
[6:38] 3. Monaco
[6:21] 4. Who Cares
[7:50] 5. My Heart Stood Still
[7:51] 6. Riffin'
[6:33] 7. Mexico City
[6:17] 8. The Prophet

'Round About Midnight At The Cafe Bohemia (Disc 2)

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Suzy Bogguss - American Folk Songs

Bitrate: MP3@320K/s
Time: 60:54
Size: 139.4 MB
Styles: Folk
Year: 2011
Art: Front

[2:36] 1. Shady Grove
[2:43] 2. Shenandoah
[3:52] 3. Red River Valley
[3:34] 4. Froggy Went A-Courtin'
[4:21] 5. Waywaring Stranger
[4:08] 6. Banks Of The Ohio
[3:13] 7. Joohnny Has Gone For A Soldier
[2:26] 8. Old Dan Tucker
[3:18] 9. Rock Island Line
[4:22] 10. Sweet Betsy From Pike
[4:18] 11. Swing Low Sweet Chariot
[4:02] 12. Careless Love
[3:24] 13. All The Pretty Little Horses
[4:21] 14. Git Along Little Dogies
[3:39] 15. Erie Canal
[3:21] 16. Wildwood Flower
[3:08] 17. Beautiful Dreamer

Suzy reveals that the idea for the project first came to her while on tour with Garrison Keillor. She realized that while everyone loves to sing along to such enduring folk tunes as ‘Red River Valley,’ with music education disappearing from public schools, many children aren’t being exposed to the folk songs that have been a vivid scrapbook of the American experience.

“Music has always been my purest joy even as a child,” Suzy writes in the introduction to the songbook. “One of my favorite memories is my grade-school music teacher pounding on the piano and leading the class in rousing renditions of folk songs from all around the world. In the summer of 2008, I toured with the brilliant and engaging Garrison Keillor. The energy that passed between the audience and Garrison was overwhelming at times. Several thousand people standing and singing together-old songs, hymns, the Beatles and the Everly Brothers. People of all ages, sharing music. Ahhh, pure joy.”

American Folk Songs

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Jerri Winters - Winters Again

Bitrate: MP3@320K/s
Time: 27:30
Size: 63.0 MB
Styles: Jazz vocals
Year: 1955/2012
Art: Front

[3:02] 1. The Lost And The Lonely
[1:57] 2. I'm Afraid To Love You
[2:15] 3. Elmer's Tune
[2:42] 4. This Is Our Song Of Love
[2:04] 5. Gal In Calico
[2:26] 6. It's A Wonderful World
[3:40] 7. I'm Gonna Laugh You Out Of My Life
[2:50] 8. Through Again
[2:55] 9. In The Wee Small Hours
[3:35] 10. Did I Remember

Romeo Penque (ww), Anthony Miranda (frh), Eddie Costa (vib, p), Howard Collins (g), Mundell Lowe (g, dir), George Duvivier (b), Ed Shaughnessy (d), Felix Giglio, Leo Kruczek, Charles Libove, Gene Orloff, Frank Siegfried (vn), Sid Brucher, Morris 'Lefty' Lefkowitz (vl), Seymour Barab (vc), Abe Rosen (hrp), Jerri Winters (v).

A true alto, with a lovely rich, yet light touch. Wonderful tasteful arrangements on not-so-well-known standards. I'd check her out. Another forgotten voice, and she shouldn't be. ~Mia

Winters Again

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The Johnny Coles Quartet - The Warm Sound

Bitrate: MP3@320K/s

Time: 49:54

Size: 114.2 MB

Styles: Hard bop, Trumpet jazz

Year: 1961/2007

Art: Front

[5:41] 1. Room 3

[7:47] 2. Where

[5:31] 3. Come Rain Or Come Shine

[5:37] 4. Hi-Fly

[5:47] 5. Pretty Strange

[5:21] 6. If I Should Lose You

[5:14] 7. Babe's Blues

[8:52] 8. Hi-Fly

Trumpeter Johnny Coles, best-known for his association with Charles Mingus in 1964, made his recording debut as a leader on this Epic session which was reissued on CD in 1995 by Koch. A bop-based trumpeter with a lyrical sound of his own, Coles is showcased here with an excellent quartet (Kenny Drew or Randy Weston on piano, bassist Peck Morrison and drummer Charlie Persip). He is in top form on a pair of standards (including "If I Should Lose You"), his own blues "Room 3" and four Weston originals; the reissue adds an alternate take of "Hi-Fly" to the original program. A fine outing. ~Scott Yanow

The Warm Sound

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Lee Konitz,Brad Mehldau,Charlie Haden,Paul Motian - Live At Birdland

Styles: Saxophone And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 71:21
Size: 163,7 MB
Art: Front

(11:58)  1. Lover Man
(10:16)  2. Lullaby Of Birdland
(11:39)  3. Solar
(10:17)  4. I Fall In Love Too Easily
(11:49)  5. You Stepped Out Of A Dream
(15:19)  6. Oleo

Grist for what seems like an endless flow of recordings, The Great American Songbook has, ultimately, become as much a crutch as it is an inspiration. There's no denying the staying power of music that's near-Jungian in its collective familiarity, but if an artist is simply running down the tunes, à la Real Book head, solo, head the music too easily becomes nothing more than a tired retread, a kind of whitewashing that, rather than moving jazz forward, stops it in its tracks. But there are exceptions: pianist Keith Jarrett, for example, whose near three-decade old Standards Trio continues to demonstrate there's plenty of life, still, in these iconic tunes. And there are others. Pianist Brad Mehldau may spend equal time on his own writing, and interpreting more contemporary fare from artists like Nick Drake, Soundgarden and Radiohead, but he's also been steadfastly recreating The Great American Songbook in his own image since the 1990s. And when octogenarian altoist Lee Konitz performed at the 2008 Ottawa Jazz Festival, his hour-long set of off-the-cuff standards was a whirlwind of invention and reinvention, where the material itself might almost have been irrelevant, except that it was chosen for a reason: its inherent potential.

As artists with separate and highly successful careers, Mehldau and Konitz have been linked, in the past, through their participation on recordings for Germany's ECM Records: Mehldau, on a session for saxophonist Charles Lloyd that yielded both The Water is Wide (2000) and Hyperion with Higgins (2001); Konitz, on trumpeter Kenny Wheeler's classic Angel Song (1997). More importantly, however, the two collaborated on Alone Together (Blue Note, 1997), a live trio date with bassist Charlie Haden. Live at Birdland reunites that trio, augmented by drummer Paul Motian, another player intimately familiar with the blurry nexus of form and freedom. There's nothing in the set that hasn't been played endless times before, but as old a warhorse as "Loverman" may be, this quartet's immediacy and flexibility lends it the relentless unpredictability that, despite its gentle delivery, strikes a perfect balance between respect and irreverence, and a relaxed feeling that nobody has anything left to prove. Comfort can sometimes lead to complacency, but not with these players. Instead, George Shearing's "Lullaby of Birdland" swings amiably, but not from any single player acting as anchor; instead, traditional delineations are thoroughly blurred as it becomes increasingly clear, when Mehldau pushes and pulls near the end of his solo, that time is suggested rather than defined coming, as it does, from a magical confluence of collective implication.

If there's any other well-known touchstone for this kind of open-minded use of popular song as jumping-off point, it's trumpeter Miles Davis' Plugged Nickel recordings of the mid-1960s. Not that anyone here plays anything like the members of Davis' quintet; these are all players with individual personalities far too strong. But the way that the trumpeter's "Solar" is stretched, almost beyond recognition Mehldau barely alluding to its theme, as he picks up the baton from Konitz, who reorganizes the opening melody into a quirky, contrapuntal jigsaw puzzle with the pianist speaks to a similarly unfettered approach,where everything is possible but nothing presupposed. Konitz delivers the familiar head to "Oleo" relatively faithfully, in duet with Motian, but that's about all there is to link the quartet's version to saxophonist Sonny Rollins' classic. As Mehldau enters, and Haden gradually finds his way in, it turns into a liberated tour de force, and the album's clear highlight, as Mehldau's solo builds towards a fugue-like climax that stops unexpectedly, leading to Haden's strongest solo of the set as ever the epitome of economy. Konitz's dry, soft-toned delivery makes a tender look at "I Fall in Love Too Easily" another highpoint, the interplay between the altoist and Mehldau exhilarating, paradoxical though that might seem when talking about the album's softest ballad. But it's this quartet's ability to interconnect at the deepest level that makes Live at Birdland a new benchmark for standards interpretation. Konitz, Mehldau, Haden and Motian may have done absolutely nothing to prepare for this specific gig at the legendary New York venue near the end of 2009, but they've been preparing for moments like these their entire lives.~John Kelman https://www.allaboutjazz.com/konitz-mehldau-haden-motian-live-at-birdland-by-john-kelman.php

Personnel: Lee Konitz: alto saxophone; Brad Mehldau: piano; Charlie Haden: bass; Paul Motian: drums.

Live At Birdland

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Eydie Gorme - Swings The Blues

Styles: Vocal
Year: 1957
File: MP3@320K/s
Time: 38:19
Size: 87,8 MB
Art: Front

(2:58)  1. I Gotta Right To Sing The Blues
(2:51)  2. When Your Lover Has Gone
(3:15)  3. I Got It Bad And That Ain't Good
(3:14)  4. When The Sun Comes Out
(2:37)  5. After You've Gone
(2:18)  6. Don't Get Around Much Anymore
(3:55)  7. Blues In The Night
(2:51)  8. The Man I Love
(3:33)  9. Stormy Weather
(3:24) 10. You Don't Know What Love Is
(3:33) 11. Can't Help Lovin' Dat Man
(3:45) 12. A Nightingale Can Sing The Blues

The success of "Eydie Gorme" my "first album" was so extraordinary that I became an instant headliner and with Don Costa as my musical arranger and conductor I began working the big night clubs all over the country. Steve Allen my TV boss, would allow me from time to time to go out on personal appearances and then return to the show where I could sing my songs on his "Tonight Show"... the TV exposure was astounding. Those were the days of swing and jazz clubs in every city we played. After the show, we would stop in to listen to the "greats" playing after hours... Oscar Peterson, Count Base and Joe Williams, George Shearing, Erroll Garner, Sarah Vaughn (my idol) and as many others as we could. Woody Herman, one of my mentors, came to see me one night and after the sow he took me to several secret clubs some of which required 3 knocks on the door to get in. When they saw Woody, the doors swung wide open, and the music blew us away.

Don and I were preparing our second album, and when I told Costa about my "after midnight" excursions with Woody and the music, he said" perfect"... Don and I had a close understanding with each other and parallel views on the treatment of each song. He knew about my proclivity for jazz and swing. This then became a labor of love, for the two of us. There was little doubt in his mind that the effort he put forth in his sparkling arrangements would be equaled by his admiring protégé... that would be me! So I said to Don upon completion of this album... "Do I have a right to sing the blues" ... he said, "Baby... You gotta right to sing anything". Enjoy, 

http://steve-eydie.com/eg_swingstheblues.html

Personnel: Eydie Gorme (vocals).

Swings The Blues

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Raphael Wressnig & Enrico Crivellaro - Mosquito Bite

Styles: Organ Jazz
Year: 2006
File: MP3@320K/s
Time: 56:14
Size: 131,7 MB
Art: Front

(4:12)  1. Speedin'
(3:05)  2. Mosquito Bite
(6:27)  3. Wally's March
(6:32)  4. Boom Bello
(4:51)  5. West 43rd St. Blues
(7:39)  6. Cherokee
(6:28)  7. Frankie Lee Goes Uptown
(3:59)  8. Banana Boogaloo
(5:50)  9. A-Level
(7:07) 10. Sugar

Raphael Wressnig, based in Austria but frequently on the road, is not your ordinary B-3 organ player. He’s actually one of a kind: a young master of the imposing, large instrument who is expansive in his breadth of expertise. He’s technically fluent in the blues, in jazz, in soul, and in funk, and he concocts exciting mixed-genre music from his fervid imagination. Versatile Wressnig doesn’t flaunt his virtuosic talent for the sake of spectacle but rather backs up his every movement on the keyboards, the drawbar and the bass pedal boards with a fierce emotional commitment. Influenced by royal predecessors like Jimmy Smith, Shirley Scott, Booker T. Jones and Joe Zawinul, Wressnig has taken his music throughout Europe and all over the world, from North Africa and Asia to the Middle East to the United States, Brazil, Chile, Mexico, and the Caribbean. This self-effacing musician, a native of Graz in southeast Austria, has recorded at least 16 feature albums and appeared as a guest on about 30 others. In 2013, 2015 & 2016, he was honored with a nomination for best organ player of the year in Downbeat Magazine.

A fine composer with a gift for searching out splendid classic material to rearrange, Wressnig confidently brings out the inherent pyrotechnic power and mightiness of the large B-3 console. Yet he’s also comfortable with slowing down the pace and lowering the heat in order to achieve colorful passages of quieter music. Not unlike a musician born and bred in New Orleans, the B-3 player possesses special knowledge about conjuring “groove.” As his many fans know so well, this surging or swinging rhythmic “vibe” is vastly important to the success of Wressnig’s sui generis music. In the 2010’s, Wressnig has solidified his standing as a solo artist. The sheer force of his artistic development has been a wonder to behold, whether encountered on albums or, better yet, at concerts. Live performances are particularly memorable for the happy collision of wild entertainment and focused artistry. In January of 2014 the B-3 groove master made a trip to New Orleans, literally and spiritually, to cook some Gumbo. Soul Gumbo, that is. For spice, he brought along loyal partners Alex Schultz on guitar and sax-extraordinaire Craig Handy. To bring the heat, he called on one of the funkiest drummers around, New Orleans' own, Stanton Moore. Wressnig's exciting music – a special hybrid of soul, funk, r&b, blues and jazz – benefits from the expert, soulful playing of Crescent City dignitaries Walter “Wolfman” Washington, The Meter’s George Porter, Jr. and Eric Bloom. Piano-man and soulful troubadour Jon Cleary was a special guest, as well as bayou-blues man Larry Garner from Baton Rouge and Midwestern testifier Tad Robinson. After all, Wressnig and the coterie of American and European musicians supporting him always give their best and it shows.http://raphaelwressnig.com/biography/

Personnel:  Raphael Wressnig - Hammond B-3 organ;  Enrico Crivellaro – guitar;  Lukas Knöfler – drums;  Special guest: Scott Steen – trumpet 3, 9

Mosquito Bite

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Wolfgang Puschnig - Faces and Stories

Styles: Saxofone Jazz, Big Band
Year: 2016
File: MP3@320K/s
Time: 99:47
Size: 231,3 MB
Art: Front + Back

(3:56)  1. In Another Time
(4:11)  2. Breath
(3:26)  3. Rivulets
(4:57)  4. Towards East
(2:45)  5. Jeli Don
(4:01)  6. Soundscape
(4:35)  7. In A Sentimental Mood
(3:57)  8. Dialogue
(5:34)  9. Armenian Longing
(4:32) 10. Little Suite
(3:59) 11. Out Of Somewhere
(4:58) 12. The Balsam Project
(4:17) 13. Of Other Lifes
(3:20) 14. Paul‘s Delight
(3:46) 15. Noah‘s Lullabye
(3:17) 16. Surroundings
(3:22) 17. Hommages
(3:59) 18. A Long Way From Home
(3:08) 19. Al Aylughs
(3:18) 20. Lonely Woman
(5:18) 21. Ivanka‘s World
(3:32) 22. And Then
(4:03) 23. Time Illusion
(3:46) 24. Naima
(3:39) 25. Valosn

Wolfgang Puschnig and Duos: A deja vu. An album full of dialogues with changing musical partners - like the time 1988. "Pieces of the Dream" was the plate. She was a special: Puschnig debut under his own name. 32 years old, he was at that time, known as one of the leading soloists of the "Vienna Art Orchestra", the internationally successful big band flagship of young Austrian jazz postmodernism. Wolfgang Puschnig should be a year later, in 1989, left to to embark on a solo career paths. Well prepared by band projects like "Part of Art", "Air Mail" and the "Pat Brothers", which were hailed in the 1980s in Europe Festival stages, and where Puschnig played a leading role. "Pieces of the Dream" signaled departure, initial spark, joy to our future.

28 years later, the signs are different. "Faces & Stories" sounds left, almost sober. The view is partly a retrospective, rekapitulierender. Wolfgang Puschnig is gone his way, has left deep marks in the European jazz course. Projects such as "Red Sun & Samul Nori" are on record, mainly in the 1990s, caring furore cooperation with master drummers from South Korea. The groundbreaking confrontation of deep black, from Ornette Coleman's "harmolodics" Funk-influenced jazz and traditional Austrian brass music in "Alpine Aspects". From the recent past was "For The Love of It" called a many-voiced, genre cross-experiment in musical poetry, the sounds of jazz, folk and classical music combined - and Puschnig there led back to where he himself and much of the comes from, which makes it unmistakable as a musician: Are his cantabile lines and sigh on alto saxophone but deeply marked by melancholy Slavic Melos of songs Carinthia. Wolfgang Puschnig, which is now the wonderful model case of a European musician, reflecting its origins in the rapidly identifiable sound and yet proves cosmopolitan openness. Successively it has mutated over the years and the much respected "elder statesman" of the Austrian Jazz, who willingly Younger passes on his knowledge.

A full circle. Duo is the most intensive form of interaction, because one relatively 'naked' is in this constellation. One must with much more energy act as in the context of a band, so Wolfgang Puschnig said years ago. And also that it is the most intimate, most personal form of musical exchanges. "Faces & Stories" because also has something of a sounding Photo Album, are in the meetings held with close people. A collection of acoustic stories and memories. Some of DuopartnerInnen were already present on "Pieces of The Dream": The legendary pianist and composer Carla Bley, Puschnig participates in the Big Band since the 1980s as a soloist. Singer Linda Sharrock, with many years linked him an equally intense as fruitful partnership. The once active in Ornette Coleman electric bassist Jamaaladeen Tacuma, Puschnig "twin brother" from Philadelphia. Or saxophonist Hans Koller, 2003 82-year deceased father figure of modern Austrian Jazz.

Other pieces with the New York violinist Mark Feldman, the Moravian singer-violinist Iva Bittová, the once living in Vienna Tunisian singer and oud player Dhafer Youssef or the late Indian master percussionist Pandit Arjun Shejwal who raises his voice brittle here - are Puschnig overgrown over the years. In still another is long-standing and still current companion: The 75-year-old electric bassist Steve Swallow poet should be mentioned. Or Jon Sass, who lives in Vienna, New York tuba, the Puschnig still knows "Vienna Art Orchestra" days. The Armenian pianist Karen Asatrian and his Viennese colleague Paul Urbanek. . And also the Carinthian vocal quartet "intersection vowel" Puschnig would not however Puschnig, were it not for some new faces at his side: Approximately Croatian cellist Asja Valcic, known from the "radio.string.quartet.vienna". A native of Burkina Faso balafon virtuoso Mamadou Diabaté. As Puschnig 17-year-old son Samo Weidinger. There are very personal, almost private snapshots that divides Wolfgang Puschnig here with the audience. Where a part of the message in the openness and respect are, with the alto saxophonist and flutist such different characters on opposite eye level occurs. Original sound Wolfgang Puschnig: "What is most important for me, and what is hopefully also be felt in the music, this is the love - as energy. The need to be there. She gives the music an extra dimension.” Translate by Google https://www.amazon.de/Faces-Stories-Wolfgang-Puschnig/dp/B01E9N1HFK

Faces and Stories

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Biel Ballester Trio - Gypsy Jazz Live In London

Bitrate: MP3@320K/s
Time: 73:41
Size: 168.7 MB
Styles: Gypsy jazz
Year: 2006
Art: Front

[0:10] 1. Radio Jingle
[2:50] 2. You'd Be So Nice To Come Home To
[3:11] 3. When I Was A Boy (For 2 Guitars & Jazz Trio)
[3:36] 4. In My Life
[2:33] 5. Missing Maracu
[2:45] 6. Swing 48
[4:06] 7. Per Na Colo
[3:52] 8. Jungle Rumba
[2:33] 9. Minor Swing
[3:21] 10. Le Quecumbar March
[0:09] 11. Radio Jingle
[2:09] 12. Goodnight Portocolom
[3:11] 13. Sunny
[3:41] 14. Danube
[3:02] 15. Blues Clair
[1:27] 16. La Balanguera (Solo Guitar)
[3:19] 17. La Balanguera
[5:36] 18. Artillerie Lourde
[3:04] 19. Djangology
[4:58] 20. Tears
[3:32] 21. Honeysuckle Rose
[3:17] 22. Es Soparet
[4:00] 23. What Is This Thing Called Love
[3:05] 24. Atomic Gypsy Swinging

The Biel Ballester Trio from Barcelona, Spain is composed of Biel Ballester (gtr), Graci Pedro (rhythm gtr) and Leandro Hipaucha (double bass). They are a trio ensemble from Barcelona, Spain, who play Gypsy Swing/Jazz, a style pioneered by the late great gypsy guitar genius Dajngo Reinhardt, who fused traditional gypsy songs with parisian bal musette with improvisational american jazz. The Trio gives this music a modern slant, adopting new rhythm forms such as the bossa nova, bolero and rumba, and contributing creatively with their own compostitions and original takes on classic songs of this genre.
Recorded partly at Radio HeyNow and partly at Le QuecumBar, London's world premier Gypsy Swing venue, this album captures The Biel Ballester Trio's modern, original take on Gypsy Swing in a live, intimate performance. Featuring 24 tracks, including 2 bonus tracks, of original compositions and Gypsy Jazz classics, this recording shows the Trio's versatility, virtuosity and passion, as well as their creativity in adopting new rhythm forms such as the bossa nova, bolero and rumba to breathe fresh energy into this genre.

Gypsy Jazz Live In London

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Zoot Sims - The Swinger

Bitrate: MP3@320K/s
Time: 43:18
Size: 99.1 MB
Styles: Bop, Saxophone jazz
Year: 1981/2007
Art: Front

[6:33] 1. The Moon Is Low
[6:00] 2. Now I Lay Me Down To Dream Of You
[5:33] 3. On The Alamo
[3:31] 4. Danielle
[7:40] 5. Mr. J.R. Blues
[5:35] 6. The Jeep Is Jumpin'
[4:26] 7. She's Funny That Way
[3:56] 8. Dream Of You

Bass – John Heard, Michael Moore; Drums – John Clay, Shelly Manne);Piano – Jimmy Rowles; Tenor Saxophone – Zoot Sims; Trombone, Vocals – Ray Sims.

This Pablo recording gave tenor saxophonist Zoot Sims a rare opportunity to record with his brother Ray, a spirited trombonist who was greatly influenced by Bill Harris. Together they join forces with pianist Jimmy Rowles and one of two rhythm sections (John Heard or Michael Moore on bass and Shelly Manne or John Clay on drums) for a set of standards, obscurities (including Andy Kirk's "Now I Lay Me Down to Dream of You" and Al Cohn's "Danielle"), and Zoot's "Mr. J.R. Blues." The Sims brothers (who should have collaborated more often) blend together quite well and the music often swings quite hard; other highlights include "The Jeep Is Jumping" and "She's Funny That Way." ~Scott Yanow

The Swinger

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Diahann Carroll - The Fabulous Diahann Carroll

Bitrate: MP3@320K/s
Time: 28:40
Size: 65.7 MB
Styles: Vocal
Year: 1963/2013
Art: Front

[3:07] 1. Oh, I Can't Sit Down
[2:43] 2. I Should Care
[2:43] 3. Summertime
[2:28] 4. Nobody's Heart
[3:23] 5. There's A Boat That's Leavin' Soon For New York
[2:15] 6. It's All Right With Me
[3:08] 7. The Party's Over
[2:49] 8. I Got Plenty Of Nuttin'
[3:21] 9. Glad To Be Unhappy
[2:39] 10. Why Can't You Behave

The year 1962 will remain a memorable one for Diahann Carroll, for it marked the period when complete recognition came to one of the truly fine artists of our time. Hand-picked by Richard Rodgers to star in his Broadway show, "No Strings", Diahann drew rave reviews from the critics and public for her outstanding performance as a high fashion model in what proved to be one of the smash shows of the year. This final accolade was actually long overdue. For Diahann had already conquered the swank night club audiences from coast to coast; had achieved a very special niche as an outstanding recording artist, and in the 1961 had starred in the motion picture, "Paris Blues", again winning applause from critics and public alike.

In this album Diahann joins another outstanding performer and talent, Andre Previn to present a program of modern-styled music for your listening enjoyment. And, just as the fabulous Diahann and Previn are stars, so the music represents the work of some of the finest composers of our time - men like George and Ira Gershwin, Richard Rodgers, Larry Hart, Cole Porter, Alex Stordahl and Sammy Cahn. We are sure you will find THE FABULOUS DIAHANN CARROLL one of the best albums you have listened to in a long while, and that you will agree it is further showcasing for a star who has found permanence in the world of entertainment.

The Fabulous Diahann Carroll

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Jackie McLean - Consequence

Bitrate: MP3@320K/s
Time: 36:24
Size: 83.3 MB
Styles: Hard bop, Saxophone jazz
Year: 1965/2006
Art: Front

[7:30] 1. Bluesanova
[5:32] 2. Consequence
[5:19] 3. My Old Flame
[6:02] 4. Tolypso
[6:05] 5. Slumber
[5:52] 6. Vernestune

Alto Saxophone – Jackie McLean; Bass – Herbie Lewis; Drums – Billy Higgins; Piano – Harold Mabern; Trumpet – Lee Morgan.

This 1965 session pairs Jackie McLean with Lee Morgan in the front line and features a rhythm section of pianist Harold Mabern, bassist Herbie Lewis, and drummer Billy Higgins -- a powerhouse band. Originally recorded in 1965, it wasn't released on LP until 1979. The music here is much more straight-ahead other McLean dates from the '60s. The presence of Morgan puts McLean in the position of having to be at his best, as on the stellar opening cut, "Bluesanova," which combines bossa, soul-jazz, and hard bop. Another tight moment on the set is McLean's "Tolypso," a sideways take on calypso that reaches over into hard bop. The interplay between the saxophonist and trumpet player is air-tight and rousing. Other cuts of note are Morgan's fine swinging ballad "Slumber" and the steaming title cut. This is a welcome addition to the McLean catalog. ~Thom Jurek

Consequence

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Gerry Mulligan And His Orchestra - Walk On The Water

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 39:11
Size: 90,9 MB
Art: Front

(7:20)  1. For An Unfinished Woman
(6:13)  2. Song For Strayhorn
(5:11)  3. 42nd & Broadway
(6:32)  4. Angelica
(4:31)  5. Walk On The Water
(3:13)  6. Across The Track Blues
(6:08)  7. I'm Getting Sentimental Over You

Baritonist Gerry Mulligan has had few opportunities to record with a big band since his Concert Jazz Band broke up in 1963, a real pity considering how talented a composer and arranger he has been. 

This DRG release features a strong orchestra (with such soloists as trumpeter Tom Harrell, altoist Gerry Niewood, pianist Mitchel Forman among others) performing several of Jeru's compositions (including "For an Unfinished Woman," "Song for Strayhorn" and "Walk on the Water"), Forman's "Angelica" and Duke Ellington's "Across the Track Blues" along with the standard "I'm Getting Sentimental over You."~Scott Yanow http://www.allmusic.com/album/walk-on-the-water-mw0000649666

Personnel: Gerry Mulligan (saxophone, soprano saxophone, baritone saxophone); Kenneth Hitchcock, Gerry Niewood (saxophone, alto saxophone); Ralph Olsen, Seh Broedy (saxophone, tenor saxophone); Joe Temperley (saxophone, baritone saxophone); Eric Turkel, Gary Keller (saxophone); Geraldine Keller (tenor saxophone); Danny Hayes, Michael Davis , Tom Harrell, Barry Ries, Laurie Frink (trumpet); Erik Turker, Dave Glenn, Keith O'Quinn, Alan Raph (trombone); Mitchel Forman (piano); Richard DeRosa (drums).

Walk On The Water

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Dinah Shore - Best of Dinah Shore

Styles: Jazz, Vocal
Year: 1991
File: MP3@320K/s
Time: 34:55
Size: 80,4 MB
Art: Front

(3:31)  1. Blues in the Night
(2:48)  2. Buttons and Bows
(2:46)  3. I'll Walk Alone
(2:35)  4. Dear Hearts and Gentle People
(3:02)  5. The Gypsy
(3:08) 6. Laughing on the Outside, Crying on the Inside
(3:32)  7. Jim
(2:58)  8. It's So Nice to Have a Man Around the House
(2:43)  9. I Ain't Down Yet
(2:53) 10. Mad About Him, Sad About Him, How Can I Be Glad Without Him Blues
(1:59) 11. Chantez, Chantez
(2:56) 12. Blues in Advance

One of America's most popular entertainers long after her mid-'40s commercial peak, Dinah Shore was the first major vocalist to break away from the big-band format and begin a solo-billed career. During the '40s, she recorded several of the decade's biggest singles "Buttons and Bows," "The Gypsy," and "I'll Walk Alone" all of which spent more than a month at number one on the Hit Parade. After launching a television variety series in 1951, Shore appeared on one program or another, with few gaps, into the 1980s. Born in rural Tennessee, Dinah Shore was performing on Nashville radio while still a teenager. Her professional career later took her to New York, where she sang with Xavier Cugat. After failing auditions with Benny Goodman and Tommy Dorsey however, she decided to simply become a solo singer. Shore signed to Bluebird, and recorded several hits during 1940-41, including "Yes, My Darling Daughter," "I Hear a Rhapsody" and "Jim." Her first million-seller came in 1942 with the prototypical blues crossover nugget, "Blues in the Night." Later that year, she moved to Victor and hit big with "You'd Be So Nice to Come Home To" and her first number one hit, 1944's "I'll Walk Alone." Shore also began appearing in films, including 1944's Up in Arms and 1946's Till the Clouds Roll By. The late '40s proved to be her most popular era for recording. Between 1946 and 1949, she hit big with several songs, including "The Gypsy," "I Love You for Sentimental Reasons," "Anniversary Song," "I Wish I Didn't Love You So," "Buttons and Bows" and "Dear Hearts and Gentle People." Though her records didn't chart as high during the '50s, Dinah Shore enjoyed even more exposure with her top-rated variety show, The Dinah Shore Chevy Show. For many, Shore's opening and closing every show with "See the USA in your Chevrolet, America's the greatest land of all" practically defined the '50s. Her Chevrolet sponsorship lasted until 1963, but she returned in the '70s with a new format, the daytime talk-show. During the 1980s, she began performing once again, but returned to television once more with a series that ran for two years. She died of cancer in 1994.~John Bush http://www.allmusic.com/artist/dinah-shore-mn0000260007/biography

Best of Dinah Shore

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Emily Remler - This Is Me

Styles: Guitar Jazz
Year: 1990
File: MP3@320K/s
Time: 56:38
Size: 130,4 MB
Art: Front

(5:26)  1. Deep In A Trance
(4:51)  2. Majestic Dance
(6:17)  3. "E" Samba
(4:52)  4. Love Colors
(4:48)  5. Dark Passage
(4:51)  6. You Know What I'm Saying
(5:38)  7. Song For Maggie
(5:13)  8. Around The Bend
(6:19)  9. Carenia
(4:55) 10. Simplicidaje
(3:23) 11. Second Childhood

Emily Remler's first and tragically, her last excursion into electric jazz-pop indicates that she could have become a strong force in that area had she not died. Though Remler's Concord recordings earned her a great deal of respect in hard bop circles, she felt limited creatively and was quite anxious to experiment in the electric realm. On her final session, This Is Me, the guitarist incorporates pop and rock elements on her own terms maintaining her musical integrity and avoiding radio-oriented smooth jazz drivel altogether. 

What remains constant is the warm and lyrical nature of her playing. While the influence of Wes Montgomery and Herb Ellis remains, some of these pieces indicate that she was paying close attention to Pat Metheny.~Alex Henderson http://www.allmusic.com/album/this-is-me-mw0000115667

Personnel: Emily Remler (guitar, guitar synthesizer); Maucha Adnet (vocals); Jay Ashby (trombone, percussion); Aydin Esen (piano, keyboards); Bill O'Connell (piano); David Benoit, Russ Freeman (keyboards); Romero Lubambo (acoustic guitar); Lincoln Goines, Jimmy Johnson (bass); Jeff Porcaro, Ricky Sebastian, Daduka Fonseca (drums); Luis Conte, Jeffrey Weber, Cafe (percussion).

This Is Me

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Eddie Harris - A Tale of Two Cities

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 62:19
Size: 143,9 MB
Art: Front

(13:01)  1. Chicago Serenade
( 8:14)  2. Cherokee
( 5:57)  3. Lover Man
( 4:55)  4. Sonnymoon (For Two)
( 4:31)  5. I Can't Get Started (With You)
(14:16)  6. Illusionary Dreams
( 5:54)  7. Don't Let Me Go
( 5:26)  8. Listen Here

One classic album that features two soulful performances by Eddie Harris in a nightclub setting, A Tale of Two Cities represents the artist at the Keystone Korner in San Francisco in 1978 and at Joe Segal's Jazz Showcase in Chicago in 1983. Joel Dorn has elected to debut Hyena with four 'live' memories, from Eddie Harris, Rahsaan Roland Kirk, Les McCann, and Cannonball Adderley. Who could ask for anything more?  Harris works his tenor saxophone with a vocal-like enthusiasm for most of the album. His is a light, fluid, unmistakable tone. But it's what Harris does with the horn ' his hearty improvisation ' that makes the difference. A communicator who always looked around the room, made eye contact, and took it all in while he performed, Eddie Harris related to everyone in the house. His wizardry could knock you off the barstool. Whether blowing fast and furious a la Bird, or mellowing out with the emotional heartache presence of Billie Holiday, the saxophonist brought out the best jazz had to offer. His sprightly wordless vocals on 'Sonnymoon for Two,' in unison with his piano accompaniment, set up a remarkable solo that Harris performs on the trumpet with a saxophone mouthpiece. Thus, he adds Miles Davis parallels to his winning formula. The leader's electronic saxophone is added for a lengthy 'Illusionary Dreams,' on which he performs some of his best examples of soul jazz. This track includes over four minutes of Harris' conversational rapport with his audience. He emulates Billie Holiday overtly on 'Don't Let Me Go' by singing through the horn. Then, on 'Listen Here,' we get a taste of some of the saxophonist's most memorable music. Long recognized as one of those 'desert island' albums, A Tale of Two Cities has much to offer ' even for those who do not like jazz.~Jim Santella https://www.allaboutjazz.com/a-tale-of-two-cities-eddie-harris-hyena-records-review-by-jim-santella.php
 

Personnel: Eddie Harris (vocals, tenor saxophone, electric saxophone, trumpet, piano); Rob Schneiderman, Jack Wilson (piano); Louis Spears, Herbioe Lewis (bass); Albert Heath, Eddie Marshall (drums).

A Tale of Two Cities

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