Gerry Mulligan - Gerry Meets Hamp

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 59:35
Size: 138,8 MB
Art: Front

(6:18)  1. Apple Core
(7:09)  2. Song For Johnny Hodges
(6:13)  3. Blight Of The Fumble Bee
(7:44)  4. Gerry Meets Hamp
(8:35)  5. Blues For Gerry
(6:08)  6. Line For Lyons
(5:47)  7. Walking Shoes
(5:24)  8. Limelight
(6:12)  9. Fables Of Faubus

This session led by Gerry Mulligan was initially released by Who's Who in Jazz and has been released under different names by many labels. It is one of a series of recordings for the label in which vibraphonist Lionel Hampton plays with another giant of jazz, usually with a rhythm section specifically assembled for the date. Joining them are pianist Hank Jones, guitarist Bucky Pizzarelli, drummer Grady Tate and on selected tracks, conga player Candido Camero. The baritone saxophonist and the vibraphonist complement one another very well. Mulligan brought both new and old charts to the session. He revisits one of his older works "Apple Core," along with a somewhat rock-ish (due to Pizzarelli's odd playing on this track) "Walking Shoes" and "Line for Lyons;" this session marks his sole recording of "Song for Johnny Hodges," a melodic tribute to Duke Ellington's great alto saxophonist. Hampton's contributions include the brisk blues romp "Gerry Meets Hamp" and the loping "Blues for Gerry." 

This CD unfortunately omits "Ain't Misbehavin'," which has only appeared on the Kingdom Gate edition of this session. This a worthwhile meeting of the two, who combined forces once again to join Charles Mingus for the bassist's final session as a leader and performer just a few days after this album was completed. ~ Ken Dryden http://www.cduniverse.com/productinfo.asp?pid=1795775&style=music&fulldesc=T

Personnel: Gerry Mulligan (baritone saxophone); Lionel Hampton (vibraphone); Hank Jones (piano); Bucky Pizzarelli (guitar); George Duvivier (bass); Grady Tate (drums); Candido (congas).

Gerry Meets Hamp

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Diane Schuur - Music Is My Life

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 57:02
Size: 131,0 MB
Art: Front

(8:01)  1. Invitation
(3:13)  2. You'd Be So Nice To Come Home To
(4:36)  3. That Old Devil Called Love
(9:06)  4. Bewitched, Bothered and Bewildered
(3:14)  5. Keepin' Out Of Mischief Now
(5:17)  6. Good Morning Heartache
(3:58)  7. I Only Have Eyes For You
(5:42)  8. Nardis
(4:12)  9. Music Is My Life
(6:17) 10. If You Could See Me Now
(3:19) 11. Somewhere Over The Rainbow

While most jazz singers probably do not improvise enough, in the case of Diane Schuur, the less she gets away from the melody the better. The reason is obvious: Schuur has a beautiful voice but she rarely seems to know what to do with it! Her improvising can be screechy and erratic. Fortunately, Schuur mostly sticks to the themes on this strong release. Utilizing a variety of top jazz musicians, including pianist Alan Broadbent (Schuur plays piano herself on two songs) and tenor saxophonist Nino Tempo (who always emulates Stan Getz), Schuur mostly uplifts standards on her colorful outing. She goes a bit over the top with her singing on "Invitation" but her versions of "Bewitched, Bothered and Bewildered," "Keepin' Out of Mischief Now" and "If You Could See Me Now" are quite lovely, and she takes "Over the Rainbow" as a haunting, unaccompanied vocal. This is one of her better releases and an excellent example of what her live shows were like during 1998-1999.~Scott Yanow http://www.allmusic.com/album/music-is-my-life-mw0000047988

Personnel: Diane Schuur (vocals, acoustic & electric pianos); Jeff Clayton (alto saxophone); Nino Tempo (tenor saxophone); Marcus Printup (trumpet); Ira Napis (trombone); Emil Richards (vibraphone); Alan Broadbent (piano); Dean Parks (guitar); Roger Hines, Chuck Berghofer (bass); David Gibson, Larance Marable, John Guerin (drums).

Music Is My Life

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Bob Mintzer Big Band - Get Up!

Styles: Saxophone Jazz, Big Band
Year: 2015
File: MP3@320K/s
Time: 61:30
Size: 141,0 MB
Art: Front

(5:30)  1. Get Up!
(6:03)  2. Land of Oak
(6:15)  3. It’s Your Thing
(6:38)  4. I Thank You
(6:07)  5. Sing a Simple Song
(7:41)  6. Truth Spoken Here
(7:34)  7. Elegant People
(7:45)  8. Civil War
(7:52)  9. Yeah Yeah Yeah

Funk and R&B are the dominant sonic strains on Get Up! saxophonist-composer Bob Mintzer's twentieth big band release overall and his fifth for the MCG Jazz imprint. In October of 2014, Mintzer took to the stage for two nights at Pittsburgh's Manchester Craftsmen's Guild, armed with some of his grooving big band arrangements and accompanied by a group of his heavy hitter musician friends Yellowjackets, big band mainstays, and studio greats among them. The music they made, captured here for all to hear, is straight-down-the-middle, solo-heavy stuff, built from the bottom up with slick underpinnings, tight section work, supportive background riffs, and punchy interjections. Mintzer expertly plays section against section, creating tongue and groove connections between brass and reeds while the rhythm section lays down the foundations.

Most of the music on Get Up! sits in the same stylistic realm, but Mintzer keeps things interesting by investigating different subcategories under the funk and R&B umbrella(s). There's the James Brown-inspired title track, an ode to Oakland funk ("Land of Oak"), a sleek, flute-enhanced take on a Wayne Shorter composition ("Elegant People"), an expansion on a number originally written for the Yellowjackets ("Civil War"), three late '60s soul classics ("It's Your Thing," "I Thank You," and "Sing A Simple Song") and more. And then there are the soloists to contend with. Mintzer leaves plenty of room for his high profile band mates to blow, a move that proves to be a smart one. More than half of the seventeen musicians involved in the project get to shine at one time or another, bringing their unique gifts into sharp focus. Highlights include a fiery solo from trumpeter John Daversa ("It's Your Thing"), a scorching guitar spot from Ray Obiedo ("Sing A Simple Song"), a hip showing from pianist Russell Ferrante ("Civil War"), and an adrenalized performance from the leader ("Truth Spoken Here"). As unidirectional sets go, this one is pretty strong, highlighting groove music in various forms while showcasing some major talent. With Get Up!, Mintzer proves, once again, that he's a force to be reckoned with in the big band world.~Dan Bilawsky https://www.allaboutjazz.com/get-up-bob-mintzer-mcg-jazz-review-by-dan-bilawsky.php
 

Personnel: Bob Mintzer: tenor saxophone, flute; Robert Sheppard: alto saxophone, flute; Lawrence Feldman: alto saxophone, flute; Bob Malach: tenor saxophone, clarinet; Roger Rosenberg: baritone saxophone, clarinet; Tony Kadleck: trumpet; Frank Greene: trumpet; John Daversa: trumpet; Scott Wendholt: trumpet; Keith O'Quinn: trombone; Michael Davis: trombone; Andy Hunter: trombone; David Taylor: bass trombone; Ray Obiedo: guitar; Russell Ferrante: piano; Will Lee: bass; William Kennedy: drums.

Get Up!

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Eric Le Lann - Cap Frehel

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 47:38
Size: 109,4 MB
Art: Front

(4:26)  1. Cap Frehel
(9:37)  2. Nuit a credit
(6:13)  3. Footprints
(5:09)  4. Marion la nuit
(1:55)  5. Paquerette
(6:34)  6. Richard Lenoir
(5:09)  7. To Bix
(5:59)  8. Petoucas
(2:33)  9. Scorpion ascendant Belon

Born in Ploeuc-sur-Lie (Côtes d'Armor) in November 1957 Eric Le Lann was introduced to the trumpet by his father, a dentist and amateur trumpet player. After high school, he decided to leave his native Britain in 1977 and moved to Paris where he became a professional musician. During the first months of this professional career, Eric Le Lann done recording sessions in the studio, accompanied by numerous entertainers like Bernard Lavilliers, the Gibson Brothers and Henri Salvador (in the big band of Eddy Louiss) and assiduously frequent jazz clubs. With over twenty years, the young trumpet player already has a strong musical personality that will lead to rapidly emerge in front of scenes of jazz: he won in 1979 the first national competition of Jazz Price of Defense (Paris).

In 1980, the reputation of Le Lann is growing and it is engaged in the quintet of pianist René Urtreger ribs of Jean-François Jenny-Clark (bass), Aldo Romano (drums) and Jean-Louis Chautemps (saxophones). René Urtreger (born 1934) is an accomplished musician, renowned, from the "American School" bop: he recorded with Chet Baker, Miles Davis, Dizzy Gillespie, Lester Young, Dexter Gordon, Philly Joe Jones .. . experienced pianist, very demanding, he chooses his soloists with great taste, and it is through the front door Eric Le Lann integrates the middle of French jazz. The disc quintet Live Antibes is published in 1980 and gives a fair idea of ??the high quality of the group. In 1980 still, Eric Le Lann performs sixty dates with singer Henri Salvador, he will find twenty years later. The same year, bassist Henri Texier engages in his first quartet (which we find drummer Bernard Lubat, future creator of Uzeste festival). At that time enjoying a solid reputation, trumpeter gives in 1981 a series of concerts with the American saxophonist Pepper Adams, former member of Charles Mingus. It is also invited by the bass player Jacques Vidal and guitarist Frédéric Sylvestre in recording a disc, Vidal Sylvestre + 2 (with drummer Eric Dervieu). He recorded a few years later two discs with this remarkable duo. 1981 is the year when Eric Le Lann integrates Onztet bassist and conductor Patrice Caratini. He was also invited by pianist Martial Solal to integrate his big band, with whom he takes part in many European festivals (The Hague, Prague, Pori, Montreux, Berlin). Le Lann became the main soloist of the orchestra, the starting point of collaboration between the two men which still continues today. In 1982, Eric Le Lann presents his personal project, a quartet. He invited three exceptional musicians, but modern connoisseurs of tradition and history of jazz piano Olivier Hutman, Cesarius Alvim on bass and André Ceccarelli on drums. He published with this orchestra the disk Nightbird (1983), participated in the festival of European radio stations in Stockholm and wins Django Reinhardt awarded by the Academy of Jazz. The quartet has a flexibility, a sound and a remarkable unity. The music that is born is both very melodic and very rhythmic, and takes on a new dimension on stage. Far from fashions, rooted in the tradition of a nice jazz listening, swinging "American" quartet affirms immediately by maturity and respect, and stands out from most contemporary experiences of European scene  who seeks and monopolizes the press.More..Translate by Google http://www.ericlelann.com/fr/biography

Personnel:  Eric Le Lann – trumpet;  Lionel Belmondo – saxophone;  Jean-Michel Pilc - piano, synthesizer;  Richard Bona - electric bass

Cap Frehel

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Bill Haley & His Comets - Rock Around The Clock

Bitrate: MP3@320K/s
Time: 38:58
Size: 89.2 MB
Styles: Rock n Roll
Year: 1956/2004
Art: Front

[2:08] 1. Rock Around The Clock
[2:28] 2. Shake, Rattle And Roll
[2:27] 3. Abc Boogie
[2:51] 4. Thirteen Women
[2:40] 5. Razzle Dazzle
[2:57] 6. Two Hound Dogs
[2:29] 7. Dim, Dim The Lights
[2:34] 8. Happy Baby
[2:13] 9. Birth Of The Boogie
[2:36] 10. Mambo Rock
[2:43] 11. Burn That Candle
[2:18] 12. Rock-A-Beatin' Boogie
[2:19] 13. R-O-C-K
[3:26] 14. The Saints Rock And Roll
[2:43] 15. See You Later, Alligator

Rock Around the Clock was basically the Shake, Rattle & Roll 10" disc with four fine 1955 vintage numbers "Two Hound Dogs," "Razzle Dazzle," "Rock-a-Beatin' Boogie," and "Burn That Candle"added on. Frannie Beecher's break on "Razzle Dazzle" was worth the price of the platter (probably all of four dollars, albeit in 1956 dollars, when that represented most of a tank of gas, eight subway rides, or dinner for two at a drive-in restaurant), and the band as a whole never sounded more inspired and driven. Most of the tracks have been widely reissued, but this release shows off some of the most exciting music that you could buy in one shot in 1956 this and Elvis' first two albums were as good as rock & roll LPs got that year. ~Bruce Eder

Rock Around The Clock

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Abbey Lincoln - Precious And Rare: The Complete 1956-1958 (2-Disk Set)

The complete set of Abbey Lincoln's early recordings consists of three original albums (Abbey Lincoln's Affair; That's Him!; It's Magic) plus songs from singles and soundtracks including five unreleased tracks. The two CDs have been carefully remastered and the 32-page booklet includes some superb comtemporary documents, a text in English and French, as well as a detailed discography.

Album: Precious And Rare: The Complete 1956-1958 (Disc 1)

Bitrate: MP3@320K/s

Time: 72:17

Size: 165.5 MB

Styles: Jazz vocals

Year: 2011

[4:58] 1. Strong Man

[5:51] 2. Happiness Is A Thing Called Joe

[3:53] 3. My Man

[2:58] 4. Tender As A Rose

[3:22] 5. That's Him

[3:54] 6. I Must Have That Man!

[4:22] 7. Porgy

[4:24] 8. When A Woman Loves A Man

[6:35] 9. Don't Explain

[2:59] 10. Can't Help Lovin' Dat Man

[2:45] 11. I Am In Love

[4:00] 12. It's Magic

[3:32] 13. Just For Me

[3:19] 14. An Occasional Man

[4:27] 15. Ain't Nobody's Business

[4:42] 16. Out Of The Past

[3:15] 17. Music, Maestro, Please!

[2:51] 18. Exactly Like You

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Album: Precious And Rare: The Complete 1956-1958 (Disc 2)

Bitrate: MP3@320K/s

Time: 56:57

Size: 130.4 MB

Styles: Jazz vocals

Year: 2011

Art: Front

[2:38] 1. Love

[5:03] 2. Little Niles

[2:25] 3. Love Walked In

[2:45] 4. I Didn't Know About You

[2:22] 5. Would I Love You

[2:04] 6. I Wake Up Smiling

[2:20] 7. This Can't Be Love

[2:54] 8. Crazy He Calls Me

[2:36] 9. Two Cigarettes In The Dark

[3:20] 10. The Masquerade Is Over

[3:06] 11. Take Me In Your Arms

[1:52] 12. Together

[2:59] 13. Affair

[3:08] 14. No More

[3:16] 15. Warm Valley

[2:31] 16. You Do Something To Me

[2:14] 17. Do Nothin' Till You Hear From Me

[2:15] 18. The Answer Is No

[2:36] 19. Lonesome Cup Of Coffee

[2:19] 20. She Didn't Say Yes

[2:01] 21. Spread The World Spread The Gospel

Precious And Rare The Complete 1956-1958 (Disc 1), (Disc 2)

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Nat King Cole - Ballads Of The Day

Bitrate: MP3@320K/s
Time: 35:25
Size: 81.1 MB
Styles: Vocal
Year: 1956/1992
Art: Front

[2:34] 1. A Blossom Fell
[3:05] 2. Unbelievable
[2:58] 3. Blue Gardenia
[3:15] 4. Angel Eyes
[3:09] 5. It Happens To Be Me
[2:59] 6. Smile
[2:56] 7. Darling, Je Vous Aime Beaucoup
[2:56] 8. Alone Too Long
[3:00] 9. My One Sin (In Life)
[2:58] 10. Return To Paradise
[2:49] 11. If Love Is Good To Me
[2:40] 12. The Sand And The Sea

Since all but one of the tracks on Nat King Cole's 1956 LP Ballads of the Day were arranged and conducted by Nelson Riddle, the album might be thought of as a Cole/Riddle ballad album on the order of Sings for Two in Love. But it really should have been called something like "Nat King Cole's Greatest Hits, 1953-1955," since it is actually a compilation assembled from recent single releases. It boasts two Top 40 hits ("The Sand and the Sea" and "My One Sin [In Life]"), two Top 20s ("Return to Paradise" and "It Happens to Be Me"), and three Top Tens ("A Blossom Fell," "Darling, Je Vous Aime Beaucoup," and "Smile"), plus five B-sides. There are some minor efforts, but also some gems, notably a version of the saloon song "Angel Eyes" (the B-side of "Return to Paradise," arranged and conducted by Billy May). This is not, perhaps, one of the great Cole/Riddle album collaborations, but the tracks remain pleasant examples of the lengthy musical partnership between the singer and his most frequent musical facilitator. ~William Ruhlmann

Ballads Of The Day

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Joey Calderazzo - Amanecer

Bitrate: MP3@320K/s
Time: 57:13
Size: 131.0 MB
Styles: Piano jazz
Year: 2007
Art: Front

[6:22] 1. Midnight Voyage
[8:13] 2. Sea Glass
[5:39] 3. Toonay
[6:30] 4. Amanecer
[5:47] 5. The Lonely Swan
[5:47] 6. I've Never Been In Love Before
[6:16] 7. So Many Moons
[6:09] 8. Waltz For Debby
[6:27] 9. Lara

Joey Calderazzo: piano; Claudia Acuna: vocals (4, 7, 9); Romero Lubambo: guitar (4, 5, 9).

On Amanecer, pianist Joey Calderazzo continues to prove that playing solo is one of his strengths. His fearless and stalwart performances with the Branford Marsalis Quartet have been documented over the last few years but outside of the group his playing soars even more. Like its predecessor Haiku (Marsalis Music,2004), this recording is intimate, insightful, flowing with a quiet strength as the pianist delivers an effective set of tunes (both solo and with special guests). The music covers originals and a couple of standards as Calderazzo performs impressively in a variety of styles, adding a personal touch of modern expression. One could picture Calderazzo playing solo at some local venue with a tip jar on the piano. He quietly accepts a few requests, yet transforms them into brilliant displays of agility and adroitness as deceptively brillant chops kick in. You're later introduced to Calderazzo's new-blues standard "Midnight Voyage holding elements of Thelonious Monk quirkiness and Fats Waller playfulness, or the peaceful ponderings of "Sea Glass written by the late great saxophonist, Michael Brecker. And by the time "Toonay —a complex tune of lyrical improvisation—ends, you clearly realize he's not your average house pianist.

The esteemed guests, singer Claudia Acuña and guitarist Romero Lubambo, bring voice and strings with Latin persuasions to the title "Amanecer and "Lara, guided by Calderazzo's light and thoughtful playing. The tone of the recording maintains a tranquil aura after the ingenious solo rendition of "I've Never Been in Love Before and depending upon ones preference, the set might be a little too relaxed. But after a hectic day, its soothing qualities are remarkable. This is another fine "solo effort by Calderazzo; an artist who continues to grow within a group setting and most definitely on his own. ~Mark F. Turner

Amanecer

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Jeri Southern - Meets Cole Porter

Styles: Vocal
Year: 1959
File: MP3@320K/s
Time: 35:37
Size: 81,8 MB
Art: Front

(2:59)  1. Don't Look At Me That Way
(3:04)  2. Get Out of Town
(2:31)  3. Looking At You
(4:45)  4. It's All Right with Me
(2:31)  5. Let's Fly Away
(2:30)  6. Why Shouldn't I
(2:49)  7. You're the Top
(2:50)  8. After You
(2:41)  9. Which
(3:49) 10. I Concentrate on You
(2:13) 11. It's Bad for Me
(2:49) 12. Weren't We Fools

As one of the supreme students (and teachers) of American popular song, Jeri Southern was properly prepared to shine on the full album of Cole Porter songs she recorded in 1959. But instead of floating the usual batch of Porter standards, she dug deeper into the catalog for several forgotten nuggets. (This wasn't simply a lack of satisfaction in singing the songs that everyone sang; her melancholic airs weren't particularly suited to relatively contented material like "From This Moment On," "I Get a Kick Out of You," "Anything Goes," or "You'd Be So Nice to Come Home To.") Arranger Billy May conforms to Southern's gifts, keeping the charts smooth and string-filled instead of brassy, except when the mood calls for a swing tune like "Let's Fly Away." Southern appears to be near the height of her powers, wringing the melodrama from "Get Out of Town" or "I Concentrate on You." Jeri Southern Meets Cole Porter could have been a real classic if Southern had chosen a few other of Porter's overlooked torch songs, such as "Down in the Depths (On the Ninetieth Floor)" or "Just One of Those Things" or "So Near and Yet So Far," any of which would have suited her skills at the jilted lover yearning for past romance.~John Bush http://www.allmusic.com/album/jeri-southern-meets-cole-porter-mw0000904673

Meets Cole Porter

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Miles Davis - In Person Friday and Saturday Nights at the Blackhawk, Complete - Disc 1, Disc 2, Disc 3, Disc 4

In terms of remote recording, jazz more than any other type of music is most naturally found in its creative element. Musicians are most apt to improvise freely without thought to time limits when on the bandstand, and the nonverbal communication with the audience can certainly boost adrenaline levels, which in turn increases the intensity of the performance. Of the many jazz legends who have recorded in the modern era, Miles Davis was documented in more live settings than probably any other of his peers, thanks in part to the healthy coffers of Columbia Records. As a result, we have a much better picture of Davis’ many classic ensembles over the years as heard “on the job.” Back in the spring of 1961, Davis was in a period of transition. Tenor saxophone master John Coltrane had left the trumpeter’s employ to lead his own band and Hank Mobley had come on board to take his place. While the new tenor man had his own style, it was less radical than Coltrane’s histrionics and Davis was not always pleased with the end results. Still, the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb had been together for some time and the chemistry they shared was undeniably strong. It is this band that appeared at San Francisco’s Blackhawk, where all of the music performed on the weekend of April 21st and 22nd was recorded for prosperity. 

Initially released in truncated form and with edited performances in some cases, the concerts have been expanded: for the first time we get to hear every recorded note, amounting to nearly four hours of music on four discs and with the best possible sound quality. Seven sets were recorded, with a total of 29 tracks being the net result. Thirteen of these have never before been heard, adding considerably to this cache of Davis memorabilia. There are several takes on familiar tunes such as “If I Were a Bell,” “I Thought About You,” and “Green Dolphin Street,” however each one speaks with an individual sense of creativity, a testament to the resourcefulness of each one of these talented musicians. Miles himself is in solid form, often playing with a mute and stretching out at length. Mobley spins some wonderful yarns despite some reed problems, although his melodic style is similar to Davis’ and as such there’s much less of a contrast between the two lead voices. Packaging for this boxed set consists of two slim double jewel boxes housed in a hard cover outer box. Notes inside the booklet are nothing all that revelatory, with a reprint of the original liners and a brief remembrance by Eddie Henderson.

While more exciting changes were to come for Davis and his ensembles, these two nights in San Francisco solidified his mainstream manifesto and are a valuable addition to the trumpeter’s legacy.~C.Andrew Hovan https://www.allaboutjazz.com/complete-in-person-friday-and-saturday-nights-at-the-blackhawk-miles-davis-columbia-records-review-by-c-andrew-hovan.php

Personnel: Miles Davis- trumpet; Hank Mobley- tenor saxophone; Wynton Kelly- piano; Paul Chambers- bass; Jimmy Cobb- drums.

Disc 1

Styles: Trumpet Jazz

Year: 2003

File: MP3@320K/s

Time: 60:23

Size: 138,3 MB

Art: Front

( 6:56)  1. Oleo

(17:13)  2. No Blues

( 2:54)  3. Bye Bye (Theme)

(12:43)  4. If I Were A Bell

( 7:38)  5. Fran Dance

(12:12)  6. On Green Dolphin Street

( 0:44)  7. The Theme

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Disc 2

Time: 57:08

Size: 130,9 MB

(15:48)  1. All of You

(10:18)  2. Neo

( 5:04)  3. I Thought About You

( 9:46)  4. Bye Bye Blackbird

(14:16)  5. Walkin

( 1:54)  6. Love, I've Found

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Disc 3

Time: 67:44

Size: 155,1 MB

(12:44)  1. If I Were A Bell

(12:14)  2. So What

( 0:27)  3. No Blues

(12:04)  4. On Green Dolphin Street

(14:16)  5. Walkin'

( 7:29)  6. 'Round Midnight

( 8:02)  7. Well You Needn't

( 0:23)  8. The Theme

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Disc 4

Time: 58:12

Size: 133,3 MB

(11:45)  1. Autumn Leaves

(12:29)  2. Neo

( 4:36)  3. Two Bass Hit

( 3:27)  4. Bye Bye (Theme)

( 1:57)  5. Love, I've Found You

( 5:31)  6. I Thought About You

( 9:39)  7. Someday My Prince Will Come

( 8:46)  8. Softly, As In A Morning Sunrise

In Person Friday and Saturday Nights at the Blackhawk, Complete Disc 1, Disc 2, Disc 3, Disc 4

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Robbie Williams - Swing When You're Winning

Styles: Vocal, Swing
Year: 2001
File: MP3@320K/s
Time: 74:00
Size: 170,0 MB
Art: Front

( 3:17)  1. I Will Talk And Hollywood Will Listen
( 3:18)  2. Mack The Knife
( 2:50)  3. Somethin' Stupid (With Nicole Kidman)
( 2:58)  4. Do Nothin' Till You Hear From Me
( 4:28)5. It Was A Very Good Year (With Frank Sinatra)
( 2:36)  6. Straighten Up And Fly Right
( 3:50)  7. Well, Did You Evah (With Jon Lovitz)
( 3:17)  8. Mr. Bojangles
( 4:18)  9. One For My Baby
( 3:22) 10. Things (With Jane Horrocks)
( 2:28) 11. Ain't That A Kick In The Head
( 3:07) 12. They Can't Take That Away From Me (With Rupert Everett)
( 2:34) 13. Have You Met Miss Jones?
( 3:16) 14. Me And My Shadow (With Jonathan Wilkes)
(28:14) 15. Beyond The Sea / Outtakes (Hidden Track)

Performance dynamo and chameleonic entertainment personality Robbie Williams made a rapid transformation from English football hooligan to dapper saloon singer for his fourth LP, Swing When You're Winning. Still, Williams' tribute to the great American songbook is a surprisingly natural fit with its intended target: '50s trad-pop patriarchs like Frank Sinatra and Dean Martin. And just like those two loveable rogues, Williams has brawled and boozed in the past, but isn't afraid to wear his heart on his sleeve; in fact, he's one of the few modern pop stars to fully embrace affecting balladry and nuanced singing. Williams and longtime producer Guy Chambers are also extremely careful with their product, so it shouldn't be surprising that Swing When You're Winning has innumerable extra-musical touches to carry it over: the cover features Williams relaxing in the studio in a period suit; his contract with EMI enabled the addition of the treasured Capitol logo at the top of the sleeve, and several tracks were even recorded at the famed Capitol tower in Hollywood.

Fortunately, Williams is no less careful with his performances. Since he lacks the authoritative air of master crooners like Sinatra and Bing Crosby (along with the rest of humanity), he instead plays up his closer connections to the world of Broadway. His readings are dynamic and emotional sometimes a consequence of trying to put a new spin on these classics (six of the covers are Sinatra standards, three are Bobby Darin's). He also invited, with nearly universal success, a series of duet partners: Nicole Kidman for the sublime "Somethin' Stupid," Jon Lovitz for the irresistibly catty "Well, Did You Evah," Rupert Everett for "They Can't Take That Away From Me," longtime Sinatra accompanist Bill Miller on "One for My Baby," even Sinatra himself for a version of "It Was a Very Good Year" on which Williams takes the first two verses (over the 1965 arrangement), then bows out as Sinatra's original counsels him concerning the later stages of life. Though it may be an overly close tribute to a familiar original (like many of the songs here), Williams' considerable skills with expression and interpretation largely overwhelm any close criticism. He's definitely much better on the comedy songs, especially the hilarious "Well, Did You Evah" (originally a duet for Crosby and Sinatra in the 1956 film High Society). Lovitz's rounded tones and faux-affected airs are a spot-on interpretation of Brother Cros, while Williams' emulation of a boorish lug ("That's a nice dress think I could talk her out of it?") is nearly perfect as well. Though arranger Steve Sidwell hasn't done many charts (and those for the movies Moulin Rouge, Bridget Jones' Diary, and Romeo + Juliet), he also acquits himself nicely aping classic scores for "One for My Baby" and "Beyond the Sea." The lone Robbie Williams original is "I Will Talk and Hollywood Will Listen," a sweeping pipe-dream fantasy of true American superstardom for Britain's biggest pop star. It could happen, too; Pierce Brosnan surely isn't growing any younger.~John Bush http://www.allmusic.com/album/swing-when-youre-winning-mw0002051610

Personnel:  Vocals: Robbie Williams;  Piano: Jim Cox;  Guitar: George Doering;  Bass: Chuck Berghofer;  Trumpets: Chuck Findlay, Gary Grant, Wayner Bergeron, Jeff Bunnell;  Tenor Trombones: Andy Martin, Bruce Otto, Alex Iles;  Bass Trombone: Craig Ware;  Alto Saxaphones: Gary Foster, Dan Higgins;  Tenor Saxaphones: Pete Christlieb, Sal Lozano;  Baritone Saxphone: Greg Huckins.

Swing When You're Winning

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The Marcels - The Best Of The Marcels

Bitrate: MP3@320K/s
Time: 43:26
Size: 99.4 MB
Styles: Doo-wop, R&B
Year: 1986
Art: Front

[2:15] 1. Blue Moon
[2:32] 2. Heartaches
[2:33] 3. One Last Kiss
[2:23] 4. Honestly Sincere
[2:32] 5. Goodbye To Love
[2:18] 6. Crazy Bells
[2:12] 7. Summertime
[2:34] 8. Another Fool
[2:36] 9. Over The Rainbow
[2:36] 10. Blue Heartaches
[2:20] 11. Friendly Loans
[2:07] 12. Sweet Was The Wine
[2:21] 13. Footprints In The Sand
[2:19] 14. I'll Be Forever Loving You
[2:20] 15. I Wanna Be The Leader
[2:14] 16. That Old Black Magic
[2:38] 17. Allright, Okay, You Win
[2:26] 18. My Melancholy Baby

Lest anyone think the Marcels were a one-song phenomenon (i.e. "Blue Moon"), this CD will be a valuable learning experience, as well as delightful listening. Drawing primarily from their singles (with three LP cuts and an unissued outtake filling out the song lineup), this is a fairly dazzling array of vocal acrobatics, much of it hung around old pop standards, among them "Summertime," "That Old Black Magic," "My Melancholy Baby," and "Over the Rainbow," as well as songs of more recent vintage. Among the discoveries to be made here is a gloriously radiant recording of an otherwise "lost" Barry Mann/Cynthia Weill number called "Find Another Fool." Cornelius Harp's lead on "Summertime" is a glorious thing to hear, while the brilliantly arranged "Heartaches" -- dominated by Walt Maddox's baritone -- which managed to hit number nine nationally, manages to encompass something essentially poignant about R&B and rock & roll, and elicit a laugh or two (or three) in the process. Original producer Stu Phillips, whose subsequent career involved him in everything from the Monkees to the soundtrack of Battlestar Galactica, did a brilliant job on these tracks, which hold up very well today, the voices always out front and in your face, and just enough rhythm section and whatever lead instrument (usually a sax) to sweeten the mix and add a little punch behind the group. If this disc has any flaw, it's that the makers didn't follow the chronological order of the recording dates, which means that the sounds of the two distinctly different lineups of the group are intermingled -- but the notes also include a chart delineating precisely which lineup sang on which songs, and that's excellent compensation. The sound holds up extremely well for a CD mastered in 1990, and the only reason for not picking this up would be to grab Sequel records' Complete Colpix Sessions instead, which features 38 songs from the same source as these 18. ~Bruce Eder

The Best Of The Marcels

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Sean & Jimmy Gourley - Board The Straight Ahead Express

Bitrate: MP3@320K/s
Time: 49:11
Size: 112.6 MB
Styles: Guitar jazz
Year: 2006
Art: Front

[3:38] 1. Oh Look At Me Now
[4:01] 2. Moonlight Saving Time
[4:22] 3. Speak Low
[5:19] 4. Angel Eyes
[3:37] 5. Still There
[2:32] 6. Biloxy Blues Walk
[4:18] 7. The Night We Call It A Day
[4:34] 8. Too Late Now
[4:20] 9. A Nightingale Sang In Berekeley Square
[4:06] 10. In A Mellow Tone
[3:47] 11. Blue Daze
[4:30] 12. Syracuse

It's a real pleasure for any listener to hear Jimmy and his son, not only playing guitar with style but most important of all, singing unforgettable standards.

Board The Straight Ahead Express

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Jazz In Blume - What A Wonderful World

Bitrate: MP3@320K/s
Time: 40:10
Size: 92.0 MB
Styles: Jazz vocals
Year: 2006
Art: Front

[2:40] 1. The Best Is Yet To Come
[2:12] 2. 'deed I Do
[5:43] 3. Angel Eyes
[5:43] 4. Honky Tonk
[2:41] 5. Baby It's Cold Outside
[3:58] 6. One Mint Julep
[4:17] 7. Smile
[2:40] 8. Ain't Misbehavin'
[4:39] 9. Saturday Night Fish Fry
[2:31] 10. Orange Colored Sky
[3:02] 11. What A Wonderful World

Smooth. Crystal Clear. Tracy Blume transcends each song she sings going right to the heart of the music. You'll be delightfully transported by her joyful and evocative delivery of many of your favorite tunes from the classic jazz/swing era. Tracy began singing at the age of three with her first solo “I’m A Lonely Little Petunia In An Onion Patch” and has been singing ever since.

Tracy studied opera at the Escuela Superior de Canto in Madrid, Spain and she also has a background in musical theatre, jazz/pop ensembles and production. Tracy and her husband, Roger, moved to the peninsula in the fall of 2002 and have been enjoying the wealth of talented musicians and musical opportunities that life on the North Olympic Peninsula has to offer. Tracy enjoys playing around the Peninsula in all formats from duo combinations at Michael’s Divine Dining of Port Angeles the trio format at the Olympic Cellars Winery to the “anything goes!” excitement of the weekly JazzExpress Jazz jam that she and her band, Jazz in Blume host every Wednesday at the Crazy Fish Restaurant in Port Angeles.

It’s a pleasure and a privilege to play with the wonderfully talented musicians of area and its Tracy’s hope to keep live music alive and thriving on the peninsula for all to enjoy! Tracy’s vocal range along with her infectious joy in the songs that she sings makes her a true delight.

What A Wonderful World

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Manhattan Jazz Quintet - Come Together

Styles: Jazz, Post Bop

Year: 2005

File: MP3@320K/s

Time: 60:01

Size: 137,6 MB

Art: Front

(5:58)  1. Come Together

(7:19)  2. A Day in the Life

(6:24)  3. Big Apple Jam Part II

(7:55)  4. Michelle

(5:51)  5. We Can Work It Out

(6:44)  6. I Was Born to Love You

(6:18)  7. All My Loving

(6:11)  8. Don't Stop Me Now

(7:16)  9. Over the Rainbow

The Manhattan Jazz Quintet are an unusual group in that they very rarely perform as a unit in the United States (much less Manhattan) but have been a major hit in Japan, both for their recordings and occasional tours. Originally comprised of leader/pianist David Matthews, trumpeter Lew Soloff, tenor saxophonist George Young, bassist Eddie Gomez, and drummer Steve Gadd, the band (which emphasizes straight-ahead hard bop swinging) first came together in 1983 at the suggestion of the King label and the top Japanese jazz magazine Swing Journal. To everyone's surprise, its first recording (simply called Manhattan Jazz Quintet) became such a big seller that it was awarded Swing Journal's annual 1984 Gold Disk Award as the number one album in Japan. Several years later the group broke up when Gomez and Gadd needed more time to pursue their individual projects and all of the quintet members later became quite successful in their own careers but this edition of the MJQ recorded reunions in 1990 (which found John Scofield guesting on a few selections) and in 1993. Victor Lewis replaced Gadd that year, and subsequently Young was replaced by Andy Snitzer and Gomez by Charnett Moffett. The Manhattan Jazz Quintet recorded primarily for King in Japan (those dates were mostly made available in the U.S. by Projazz) during the 1980s, although they cut some later recordings among the comparative very few that actually took place in Manhattan! for the Sweet Basil label. During the new millennium the Manhattan Jazz Quintet have recorded regularly for Video Arts. ~ Scott Yanow https://itunes.apple.com/us/artist/manhattan-jazz-quintet/id79729527#fullText

Personnel:  Lew Soloff – Trumpet;  Andy Snitzer – Tenor Saxophone;  David Mathews – Piano;  Charnett Moffett – Bass;  Victor Lewis – Drums.

Come Together

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Jill Barber - Chances

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 33:38
Size: 77,9 MB
Art: Front

(3:42)  1. Chances
(3:00)  2. Be My Man
(2:41)  3. Old Flame
(4:42)  4. Oh My My
(3:38)  5. Take It Off Your Mind
(3:41)  6. Wishing Well
(2:58)  7. Never Quit Loving You
(2:40)  8. All My Dreams
(2:51)  9. Leaving You
(3:41) 10. One More Time

On her album Chances, Canadian chanteuse Jill Barber picks up the torch where the golden age of music left off. Stepping away from her folk past, Jill delivers an album of ten original, fully orchestrated songs that strongly evoke and could themselves become classics. From the moment you hear her sultry voice on the opening title track, you are transported to another time and place. 

“The best songs ever written are the ones that somehow transcend time and fashion, “says Jill. ”They may be old, but they haven’t aged. It is that timeless quality that I aspire to in my own songwriting."https://jillbarber.bandcamp.com/album/chances

Personnel: Les Cooper (guitar); Aisslinn Nosky, Nancy Kershaw, Karen Graves, Chris Church (violin); Johann Lotter, Julia Knight, Karen Moffatt (viola); Orley Bitov, Kevin Fox , Alex Grant (cello); Robbie Grunwald (piano); Victor Bateman (bass guitar); Joel Stouffer (drums); Jill Barber (vocal).

Chances

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Joshua Redman - Wish

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 61:44
Size: 142,2 MB
Art: Front

( 6:25)  1. Turnaround
( 6:32)  2. Soul Dance
( 5:26)  3. Make Sure You're Sure
( 5:40)  4. The Deserving Many
( 5:47)  5. We Had A Sister
( 3:32)  6. Moose The Mooche
( 3:23)  7. Tears In Heaven
( 5:22)  8. Whittlin'
( 7:24)  9. Wish (Live)
(12:08) 10. Blues For Pat (Live)

Joshua Redman's sophomore effort found him leading a piano-less quartet that also included guitar great Pat Metheny and half of Ornette Coleman's trailblazing late-'50s/early-'60s quartet: acoustic bassist Charlie Haden and drummer Billy Higgins. With such company, Redman could have delivered a strong avant-garde or free jazz album; Haden and Higgins had played an important role in jazz's avant-garde because of their association with Coleman, and Metheny had himself joined forces with Coleman on their thrilling Song X session of 1985. But Wish isn't avant-garde; instead, it's a mostly inside post-bop date that emphasizes the lyrical and the introspective. The musicians swing hard and fast on Charlie Parker's "Moose the Mooche," but things become very reflective on pieces like Redman's "The Undeserving Many" and Metheny's "We Had a Sister." One of the nice things about Redman is his ability to provide jazz interpretations of rock and R&B songs. While neo-conservatives ignore them and many NAC artists simply provide boring, predictable, note-for-note covers, Redman isn't afraid to dig into them and show their jazz potential. In Redman's hands, Stevie Wonder's "Make Sure You're Sure" becomes a haunting jazz-noir statement, while Eric Clapton's ballad "Tears in Heaven" is changed from moving pop/rock to moving pop-jazz. The latter, in fact, could be called "smooth jazz with substance." Some of bop's neo-conservatives disliked the fact that Redman was playing with two of Coleman's former sidemen and a fusion icon like Metheny, but then, Redman never claimed to be a purist. Although Wish isn't innovative, it's an appealing CD from an improviser who is willing to enter a variety of musical situations.~Alex Henderson http://www.allmusic.com/album/wish-mw0000104577

Personnel:  Joshua Redman – tenor saxophone;  Pat Metheny – guitar;  Charlie Haden – bass;  Billy Higgins – drums

Wish

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Eric Gale - In a Jazz Tradition

Styles: Guitar Jazz
Year: 1987
File: MP3@320K/s
Time: 50:08
Size: 115,1 MB
Art: Front

(6:17)  1. Eric's Gale
(6:39)  2. If You Could See Me Now
(5:46)  3. Bloomdido
(7:54)  4. Lover Man
(7:19)  5. Jordu
(7:39)  6. Loose Change
(8:29)  7. Blues for Everybody

Guitarist Eric Gale, best known for his work in R&B, funk, and commercial settings, was presented by bassist/producer Ron Carter on a strictly jazz date in 1987. With tenor saxophonist Houston Person, organist Lonnie Smith, and drummer Grady Tate completing the quintet, the music is soul-jazz with a strong dose of bebop. Gale performs his original "Eric's Gale," a couple of basic tunes by Carter, and four standards, including Charlie Parker's "Bloomdido" and "Jordu." Since Eric Gale rarely recorded in this type of freewheeling group, the swinging set was his definitive jazz recording.~Scott Yanow http://www.allmusic.com/album/in-a-jazz-tradition-mw0000198410

Personnel:  Eric Gale: guitar;  Houston Person: tenor saxophone;  Lonnie Smith: organ;  Ron Carter: bass;  Grady Tate: drums

In a Jazz Tradition

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Jimmy Witherspoon & Groove Holmes - Blues For Spoon And Groove

Bitrate: MP3@320K/s
Time: 32:34
Size: 74.6 MB
Styles: Urban blues
Year: 1965/2009
Art: Front

[2:08] 1. Take This Hammer, Pt. 1
[3:56] 2. Goin' To Chicago
[3:30] 3. In Blues
[2:30] 4. Gee Baby, Ain't I Good To You
[2:12] 5. Loser's Blues
[2:26] 6. Please Send Me Someone To Love
[2:25] 7. Key To The Highway
[2:23] 8. Cry The Blues
[2:07] 9. Out Blues (For Big Joe)
[3:28] 10. Since I Fell For You
[2:20] 11. Everything
[3:03] 12. Take This Hammer, Pt. 2

This was originally released as Groovin' & Spoonin' on Olympic (7107). It's a decent if unremarkable set of blues-jazz, heavier on the blues, with organist Groove Holmes being Witherspoon's most important sideman on this date (which also features tenor saxophonist Teddy Edwards). Several of the numbers are shopworn standards like "Take This Hammer," "Key to the Highway," "Please Send Me Someone to Love," and "Since I Fell for You," though everything's performed with taste. If you're looking for Witherspoon blues-jazz with an organ groove, the 1963 album Evenin' Blues (1963) is more highly recommended, though 'Spoon & Groove has no serious flaws. ~Richie Unterberger

Blues For Spoon And Groove

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Ginai - Jazz Island

Bitrate: MP3@320K/s
Time: 38:47
Size: 88.8 MB
Styles: Jazz vocals
Year: 2006
Art: Front

[2:16] 1. Them There Eyes
[4:17] 2. Puamana All Blues
[3:33] 3. Take Five
[4:29] 4. The Land Of Make Believe
[3:45] 5. Whisper Not
[4:05] 6. Blue Moon
[4:21] 7. Jazz Island
[3:41] 8. Days Of Wine And Roses
[3:49] 9. Do Nothing Til You Hear From Me
[4:28] 10. Poor Butterly

Talented, versatile Ginai steps up with a new CD, Jazz Island, that is a perfect showcase. If you’ve never been into jazz, this album could change your mind. Maybe divas are not what MTV shows us. Maybe pampered 18-year-olds singing about the loves they are yet to know don’t strike a chord of truth within us. Perhaps they should taste the bitterness of life first before we trust their opinion on things. If that is the case, then Hawaii should be proud at the final unveiling of our own local jazz diva, Ginai. On Friday, March 10, jazz aficionados island wide will finally get a chance to see what they knew all along: Ginai was meant to be one of the pre-eminent jazz solo artists in Hawaii.

The release of this album represents not just a new spin on some jazz classics, but a new lease on life for a woman who has had to battle for it her whole life.

Jazz Island

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