Dmitry Baevsky - Over and Out

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 69:07
Size: 158,8 MB
Art: Front

(6:39)  1. Poinciana
(5:16)  2. Reflection
(4:29)  3. Over and Out
(5:18)  4. Chega de Saudade
(4:59)  5. Brilliant Corners
(5:43)  6. The Feeling of Jazz
(4:48)  7. In the Know
(6:03)  8. Turquoise
(7:01)  9. Tonight I Shall Sleep (With a Smile on My Face)
(4:59) 10. Circus
(6:50) 11. Silver Screen
(6:56) 12. Stranger in Paradise

New York based saxophonist Dmitry Baevsky's fourth release as a leaderOver and Out finds the St Petersburg native in a spare setting backed only by bass and drums. With his alto's warm, organic tone in the spotlight, Baevsky interprets a mixture of his originals and standards with intense lyricism and confident and mature bravado. Baevsky endows pianist Cedar Walton's "Turquoise" with an eastern mysticism as his warm, languid saxophone meanders fantastically around the main theme. His clever improvisation drips with poetry and his melodic exchanges with drummer Joe Strasser's thrilling and whimsical rumble add a layer of intrigue to the tune. Strasser's thunderous beats burst to the surface on the energetic and fiery title track. Baevsky's blistering notes flood his own composition with feverish spontaneity and boppish virtuosity. Bassist David Wong anchors the delightfully stormy music with his complex walking lines. Wong takes a melancholic and mellifluous solo on pianist Ray Bryant's "Reflection." Baevsky's agile and muscular extemporization intricately constructs passionate and inventive harmonic structures around the main motif simultaneously transforming it yet staying true to its spirit.

The respectful deconstruction of well known tunes their infusion with a fresh perspective without compromise of their essence is something Baevsky does well. It allows him to craft a cohesive album with such diverse pieces as pianist Thelonious Monk's "Brilliant Corners" and multi-instrumentalist Antonio Carlos Jobim's "Chega de Saudade." Monk's splendid classic Baevsky interprets with a haunting and ethereal angularity, laying down vibrant and crystalline phrases. A contemplative and sublime duet between Wong and Strasser ushers in the conclusion. Baevsky burns through the breezy effervescence of Jobim's popular song with ardent vigor but also with deep sensitivity without losing sight of Bossa Nova's playful romanticism. Strasser and Wong weave a percolating rhythmic backdrop peppered with Brazilian hints. With this stimulating record Baevsky proves himself a superbly well-rounded musician. Solidly mainstream yet boldly explorative Over and Out is a captivating work, full of elegant charm and vivid excitement. Despite the finality of its title's colloquial meaning hopefully Baevsky will continue on this brilliantly creative path. ~ Hrayr Attarian https://www.allaboutjazz.com/over-and-out-dmitry-baevsky-bluejazz-review-by-hrayr-attarian.php
 

Personnel: Dmitry Baevsky: alto sax;  David Wong: bass;  Joe Strasser: drums.

Over and Out

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Sue Raney - Songs for a Raney Day

Styles: Vocal Jazz

Year: 1959

File: MP3@320K/s

Time: 31:43

Size: 74,3 MB

Art: Front

(2:49)  1. I Get the Blues When It Rains

(2:58)  2. Impossible

(2:09)  3. A Blossom Fell

(2:38)  4. Wrap Your Troubles in Dreams

(2:12)  5. The Whippoorwill Song

(2:49)  6. Rain

(2:11)  7. Rain on the Roof

(2:50)  8. Blue Tears

(2:36)  9. Exactly Like You

(2:32) 10. Wanna' Laugh?

(3:18) 11. My Prayer

(2:37) 12. September in the Rain

Blessed with a beautiful voice from an early age, Sue Raney has performed music ranging from swinging jazz and ballads to cabaret, middle-of-the-road pop and jingles. Her mother was a singer and a great great aunt had been in German opera. Raney started singing when she was four and a year later she first performed in public, at a party in Wichita, Kansas. Because a voice teacher could not be found for her daughter (because of her extreme youth), Raney's mother took voice lessons herself and then passed down what she learned to Sue. A professional before she was a teenager, Raney worked steadily in New Mexico when her family relocated and took several trips out to Los Angeles during a couple of summer vacations. She joined the Jack Carson radio show in 1954 in L.A. when she was barely 14. Raney then appeared on Ray Anthony's television program and became his band's main vocalist. At 18 she started working as a single. She had already recorded for Phillips and then signed with Capitol, recording several middle-of-the-road jazz-influenced pop dates for the company. In the 1960's Raney often appeared on television variety shows, she led her own group and became very active in the studios where her impressive voice helped sell products. By the early 1980's, she was also working as a voice teacher. In the 1990's Sue Raney has sung with the L.A. Voices and Supersax, the Bill Watrous big band and as a single in addition to staying active as a jazz educator and in the studios. Her main jazz recordings were a trio of albums for Discovery in the 1980's; a VSOP/Studio West CD features the singer on various live performances from the 1960's. ~ Scott Yanow  https://itunes.apple.com/us/artist/sue-raney/id18823089#fullText

Songs for a Raney Day

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Lucky Thompson, Gigi Gryce - Street Scenes

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 67:01
Size: 159,0 MB
Art: Front

(2:41)  1. Quick as a Flash
(2:14)  2. The Parisian Knights
(2:59)  3. Street Scene
(3:16)  4. Angel Eyes
(3:12)  5. To You Dear One
(4:00)  6. But Not For Tonight
(3:00)  7. A Distant Sound
(2:51)  8. Once Upon a Time
(3:01)  9. Still Waters
(3:08) 10. Theme for a Brown Rose
(3:32) 11. A Sunkissed Rose
(3:44) 12. Portrait of Django
(4:16) 13. Paris the Beautiful
(2:52) 14. Purple Shades
(3:36) 15. La Rose Noire
(3:34) 16. Anne Marie
(4:20) 17. Hello
(3:57) 18. Evening in Paris
(3:59) 19. Strike up the Band
(2:40) 20. Serenade to Sonny

Tenor saxophonist Lucky Thompson recorded enough material as a leader during the first half of 1956 (mostly in Paris) to fill up 12 LPs. This CD has music from two of his rarer sessions, featuring Thompson playing 12 songs (ten of which are his originals) with a French octet that includes pianist Martial Solal and some fine sidemen; these sessions were last available as the Xanadu LP Brown Rose. Thompson's warm tenor is well showcased at a variety of tempoes during the high-quality music. None of the songs caught on but the performances are quite enjoyable. In addition, this CD reissue features altoist Gigi Gryce on six numbers cut in France in 1953 when he was touring with Lionel Hampton's Orchestra; those selections are from the same sessions that resulted in classic recordings by trumpeter Clifford Brown although Brownie (who appears on one of these numbers) is not heard from here. The CD concludes with two selections from the same period featuring the young trumpeter Art Farmer in a sextet/septet with trombonist Jimmy Cleveland and altoist Anthony Ortega. Although not essential, this reissue is easily recommended to collectors of 1950s straightahead jazz. ~ Scott Yanow http://www.allmusic.com/album/lucky-thompson-and-gigi-gryce-in-paris-mw0000172915

Featuring : Gigi Gryce (saxophone), Lucky Thompson (saxophone), Art Farmer (trumpet), Quincy Jones (trumpet), Anthony Ortega (saxophone), Martial Solal (piano)

Street Scenes

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Aaron Neville - Apache

Styles: Vocal, Soul
Year: 2016
File: MP3@320K/s
Time: 49:20
Size: 113,3 MB
Art: Front

(5:13)  1. Be Your Man
(3:50)  2. All of the Above
(4:09)  3. Orchid in the Storm
(5:50)  4. Stompin' Ground
(4:31)  5. Heaven
(4:35)  6. Hard to Believe
(3:59)  7. Ain't Gonna Judge You
(3:46)  8. I Wanna Love You
(3:52)  9. Sarah Ann
(3:47) 10. Make Your Momma Cry
(5:43) 11. Fragile World

There are few vocalists as distinctive as New Orleans’ Aaron Neville. Between solo outings and those with his brothers in the legendary Neville Brothers Band, Neville’s golden tenor has captivated generations of lovers mostly through ballads. From his first hit “Tell It Like It Is” to 1989’s “Don’t Know Much,” his Grammy-winning collaboration with Linda Ronstadt, and onto 2013’s terrific set of Don Was produced doo-wop covers, his dulcet voice has charmed a generation. But one thing Neville isn’t known for is his songwriting. Even 1967’s “Tell It Like It Is” was penned by someone else and given to Neville. Proving it’s never too late to change, the 75-year-old Neville pens or co-writes all but one track on this album that also shifts away from the honeyed (some might say syrupy) love tunes most listeners associate with him. The opening “Be Your Man” starts with a ’70s funk vibe that sounds like an outtake from the Shaft soundtrack, while other tunes dip into Dap-Kings styled R&B (“All of the Above”) and a gutsy, bubbling New Orleans groove with horns on “Hard to Believe.”

Certainly Neville has benefitted from the work of sympathetic producers. From Don Was to Daniel Lanois, as well as this disc’s Eric Krasno (who is known for his work with Soulive, co-wrote nearly every song and contributes guitar), Neville excels when the production supports but doesn’t overwhelm his unique shimmering voice. Kranso has nailed a perfect sound for the singer to delve into, providing a tougher, grittier backing and letting Neville reveal that his singing is just as effective on harder edged material. That doesn’t mean he has abandoned the ballads he sings so convincingly. On the contrary, songs such as the cliché titled “I Wanna Love You,” the slow gospel/blues of “Heaven” and the Spanish Harlem rhythms of “Sarah Ann” allow Neville to let that sweet tone splash over quieter, more tender fare. But the album’s title that has not only been Neville’s nickname (a picture of his Apache tattoo spread across his back is included in the booklet), but an indication of the various bloods including Native American  that run through his DNA, suggesting this might be Neville’s most personal project yet. His approach, even this late in life, hasn’t lost an ounce of its shimmering luster and these original tunes never devolve into some of the sappy qualities that occasionally marred Neville’s earlier releases. Those who believe the singer’s best work is behind him will rethink that after one spin of the impressive Apache, an album significantly the first on his own label  that ranks with the finest in Neville’s storied career. ~ Hal Horowitz http://americansongwriter.com/2016/07/aaron-neville-apache/

Personnel:  Aaron Neville – Vocals;  Eric Krasno – Bass, Guitar, Vocals;  Adam Smirnoff – Guitar;  Adam Deitch – Drums;  Nigel Hall – Vocals;  Eric Bloon – Trumpet;  Ryan Zoidis – Saxophone

Apache

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Yves Brouqui - The Music Of Horace Silver

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

[6:14] 1. Quicksilver
[5:13] 2. Horacescope
[7:09] 3. Love Walk
[5:16] 4. No Smoking
[7:59] 5. Creepin'in
[5:36] 6. Yeah
[4:43] 7. Sweet Stuff
[6:53] 8. The Saint Vitus Dance
[5:45] 9. Mayreh
[6:02] 10. I Remember Dan

Double Bass – Mathias Allamane; Drums – Joe Strasser; Guitar – Yves Brouqui; Piano – Laurent Courthaliac.

Brouqui and his men attack 7 challenging Silver tunes (plus 3 originals) with drive, intensity and swing. While the players come at the music from a bebop perspective, they capture the funky Silver harmonies (e.g., first few bars of HoraceScope) but Courthaliac doesn't attempt to mimic the unique Silver right hand. Which is OK cause no-one can.

These aren't the usual Silver tunes (no Nica or Song for My Father) and thus attest to the marvelous depth of his catalog. Sweet Stuff and St. Vitus are especially a pleasure to hear in this fresh context. Some cuts are taken at breakneck speed which is both jaw-dropping and demonstrates how intimately these players know and understand what they're up to. Quite bracing and quite terrific! ~George Kaplan

The Music Of Horace Silver

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Annie Ross - I Love Paris

Bitrate: MP3@320K/s
Time: 45:12
Size: 103.5 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[2:18] 1. I Love Paris
[2:45] 2. 'taint What You Do
[2:26] 3. I've Told Every Little Star
[2:28] 4. Please Don't Talk About Me When I'm Gone
[2:17] 5. Between The Devil And The Deep Blue Sea
[2:40] 6. Gypsy In My Soul
[2:15] 7. The Lady's In Love With You
[2:16] 8. Don't Worry 'bout Me
[3:28] 9. You'll Never Get Away
[2:34] 10. Small World
[4:50] 11. Don't Let The Sun Catch You Crying
[2:54] 12. All I Need Is A Boy
[4:35] 13. Together
[2:11] 14. Lucky Day
[3:30] 15. I Feel Pretty
[1:37] 16. It Don't Mean A Thing (If It Ain't Got That Swing)

Not just the canary female whose dexterous vocals highlighted recordings by the vocal group Lambert, Hendricks & Ross, Annie Ross recorded more than a dozen albums of solid vocal jazz and appeared in many movies. Though she was the last member to join LH&R, she had been pursuing the same pioneering fusions of vocal music with bop delivery for several years before she joined Dave Lambert and Jon Hendricks. Born Annabelle Lynch in Surrey, England, she moved to Los Angeles at the age of three, with the musical comedienne Ella Logan (either her mother or her aunt, according to differing accounts). By the age of five, she had begun acting and landed roles in the Our Gang series. She later studied acting in New York, then moved back to England where she began singing in nightclubs. Her recording debut came in Paris, with a quartet including James Moody. By 1952, Ross was back in New York and recording with most of the Modern Jazz Quartet for her first album, Singin' and Swingin'. Later that year, she recorded an album with vocalese pioneer King Pleasure. Though she featured on only four tracks of King Pleasure Sings/Annie Ross Sings, her reprise of tenor Wardell Gray's solo on the song "Twisted" became a vocalese landmark. During 1953, Annie Ross toured throughout Europe with one of Lionel Hampton's best bands (including Clifford Brown, Art Farmer, Quincy Jones, and Gigi Gryce). She stayed there for several years and recorded albums for HMV and Pye before returning to America in 1957 when a New York nightclub engagement beckoned. While there, she did a vocal session with Dave Lambert and Jon Hendricks, who were working on an album of Basie solos transposed for vocals. Realizing they shared much in common, Ross was invited to join the group, naturally christened Lambert, Hendricks & Ross. An immediate success with their first album, 1957's Sing a Song of Basie, the trio revolutionized vocal music with a set of light-speed scats that treated words as mere tools in the construction of exciting feats of vocal musicianship. Relentless touring and rumors of a falling out with Hendricks finally led to Ross' exit from the band in 1962. (Though LH&R soon became LH&B with the addition of Yolande Bavan, it was quite clear that Ross' role had been an important one, and the group disbanded less than two years later.) Even while involved with the group, Annie Ross had continued her solo career with few interruptions. In late 1957, she recorded Sings a Song with Mulligan for the World Pacific label, with West Coast stars Gerry Mulligan and Chet Baker in support on a set of bright standards that highlighted her interpretive skills as well as a few flights of vocal fancy. Two additional LPs followed for World Pacific, A Gasser! (with Zoot Sims) and a straight rendition of the Broadway hit Gypsy. After LH&R split, she moved back to England and resumed her stage and film career, recording only three more albums during the '60s. A few years back in Los Angeles gained her parts in high-profile movies during the '80s and '90s, including Superman III, Pump Up the Volume, and Robert Altman's Short Cuts. For the latter film, she recorded several numbers for the soundtrack, and re-emerged with a new recording for 1995, Music Is Forever. ~ John Bush

I Love Paris

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Roy Orbison - 16 Biggest Hits

Bitrate: MP3@320K/s
Time: 41:07
Size: 94.1 MB
Styles: AM Pop, Contemporary pop/rock
Year: 1999
Art: Front

[2:23] 1. Only The Lonely
[2:49] 2. Blue Angel
[2:41] 3. I'm Hurtin'
[2:09] 4. Running Scared
[2:44] 5. Crying
[2:42] 6. Candy Man
[2:30] 7. Dream Baby (How Long Must I Dream)
[2:22] 8. The Crowd
[2:37] 9. Leah
[2:24] 10. Workin' For The Man
[2:47] 11. In Dreams
[2:20] 12. Falling
[2:23] 13. Mean Woman Blues
[2:29] 14. Blue Bayou
[2:45] 15. It's Over
[2:55] 16. Oh, Pretty Woman

Roy Orbison scored 20 consecutive Top 40 hits between 1960 and 1965, all but the last of them on the Monument Records label. This compilation presents 16 of the first 17 of those hits (missing is the 1963 Christmas song "Pretty Paper"), from the 1960 gold-seller "Only the Lonely" to the 1964 chart-topper "Oh, Pretty Woman," with Orbison's seven other Top Ten hits of the era in between. Technically, a few of Orbison's singles of 1965 and 1966 did a little better in the charts than a few of the ones here, and, of course, he scored a final, posthumous Top Ten hit with "You Got It" on Virgin Records in 1989. But this collection presents the music from the hottest part of his career in chronological order, with standards like "Crying" sharing space with lesser, but still worthy songs like "I'm Hurtin'." Aficionados know Orbison's Sun works, and his later recordings earned him a new audience, but the Monument hit singles of the early '60s are what he is best remembered for, and they're all here. ~William Ruhlmann

16 Biggest Hits

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Bobby Broom - Waitin' And Waitin'

Bitrate: MP3@320K/s
Time: 59:05
Size: 135.3 MB
Styles: Bop, Guitar jazz
Year: 1997
Art: Front

[7:33] 1. Without A Song
[7:26] 2. Hot House
[6:26] 3. Always
[6:50] 4. The End Of A Love Affair
[8:17] 5. Burt's Blues
[9:14] 6. Speedball
[9:50] 7. Waitin' And Waitin'
[3:26] 8. Mo'

Bobby Broom (G); Ron Blake (Ts); Dennis Carroll (B); George Fludas (D). Recorded December 28, 1996 in New York City, NY, USA by Max Bolleman.

A step up from guitarist Bobby Broom's first Criss Cross CD, this second effort teams him with his regular trio (bassist Dennis Carroll and drummer George Fludas) plus guest tenor saxophonist Ron Blake on half of the songs. The reason this disc gets the edge over Broom's initial Criss Cross set is the high quality of the tunes, which include "Hot House," a cooking version of "Always," "Speedball," and Broom's "Mo'." The guitarist plays quite well, seems inspired by Blake's appearances, and comes up with plenty of creative statements. Recommended. ~Scott Yanow

Waitin' And Waitin'

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Shirley Scott - Talkin' Verve

Bitrate: MP3@320K/s
Time: 61:35
Size: 141.0 MB
Styles: Soul-jazz, Hard bop
Year: 2001
Art: Front

[3:02] 1. A Shot In The Dark
[3:41] 2. For Dancers Only
[5:41] 3. Southern Comfort
[3:01] 4. Blue Bongo
[3:41] 5. On The Trail
[3:16] 6. I'm Getting Sentimental Over You
[5:31] 7. T'ain't What You Do (It's The Way That Cha Do It)
[5:19] 8. Good Lookin' Out
[6:28] 9. Proud Mary
[3:37] 10. Feeling Good
[3:18] 11. Downtown
[3:58] 12. Taj Mahal
[4:32] 13. Heat Wave
[6:23] 14. Make Someone Happy

Although she freely offered Jimmy Smith as her main influence, Philadelphia's Shirley Scott brought her own mixture of sophistication and soul jazz funk to her Hammond B-3 recordings. Less blues-based than Smith, she had a softer tone and tackled a wider range of material, although, like Smith, she was arguably at her best in the trio setting. This set brings together some key tracks from the Impulse and Cadet labels, including the soft and smooth "Taj Mahal," a pair of fine trio outings, "Blue Bongo" and "On the Trail," and she even makes John Fogerty's "Proud Mary" sound like it was written for the B-3. ~Steve Leggett

Talkin' Verve

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Bill Evans - Live at Art D'Lugoff's: Top of the Gate Disc 1 And Disc 2

The two-CD Bill Evans Live at Art D'Lugoff's Top of The Gate a never-before-released recording of the Bill Evans Trio made over 50 years ago consists of two sets recorded by then-college student George Klabin in the New York City club, October, 1968. Until now, the music has only been heard on a Columbia University radio show; now, Klabin has taken the tape out of the closet and released it on Resonance Records, the label he heads. Crisp and clear, the sound has weathered the years. The lineup that night consisted of three musicians in their prime: Evans, bassist Eddie Gomez and drummer Marty Morell. Evans had, reportedly, kicked his drug habit during this period, and this was thought by many to be his most stable and, certainly, longest-lasting group. This trio was together until 1975. The CD shows Evans in both swinging and contemplative modes and highlights the trio's superb interaction. Gomez had been with Evans since 1966, while Morell came aboard in 1968; Gomez was a master improviser, while Morell was an energetic, straight-ahead drummer, always keeping the trio on track. Along with the leader, both contribute masterful solos here. Each disc features one complete set, including two versions of three songs. There is one original; the rest are jazz standards and familiar show tunes.

Among an array of standouts, "Round Midnight " is given an assertive approach, with heavy chords for punctuation, in the manner of its composer, Thelonious Monk. Evans, though, delivers it in his own unique way, driven by Morell's extroverted drumming. A revved-up version of "Autumn Leaves" features a tasty bass solo and is spiced by the leader's swinging piano. A lilting "Someday My Prince Will Come" starts out coolly as a ballad, before becoming a fiery foray. Surprises abound in Evans' approaches, such as his unconventional treatment of the old Al Jolson favorite, "California Here I Come." To be sure, there are the trademark elegant Evans' takes, particularly on "My Funny Valentine" and "Emily." We can be thankful, indeed, that Klabin had the foresight to pack away these tapes to be opened now. This package includes a 27-page booklet, some vintage photographs and essays by producer Zev Feldman, jazz critic Nat Hentoff and vibraphonist Gary Burton. ~ Larry Taylor https://www.allaboutjazz.com/live-at-art-dlugoffs-top-of-the-gate-bill-evans-resonance-records-review-by-larry-taylor.php

Personnel: Bill Evans: piano; Eddie Gomez: bass; Marty Morell: drums.

Album: Live at Art D'Lugoff's: Top of the Gate Disc 1

Styles: Piano Jazz

Year: 1968

File: MP3@320K/s

Time: 48:48

Size: 120,7 MB

Art: Front

(4:43)  1. Emily

(5:41)  2. Witchcraft

(5:04)  3. Yesterdays

(6:22)  4. Round Midnight

(4:41)  5. My Funny Valentine

(5:40)  6. California Here I Come

(6:52)  7. Gone With the Wind

(5:05)  8. Alfie

(4:37)  9. Turn Out the Stars

Live at Art D'Lugoff's: Top of the Gate Disc 1

Album: Live at Art D'Lugoff's: Top of the Gate Disc 2

Styles: Piano Jazz

Year: 1968

File: MP3@320K/s

Time: 40:29

Size: 100,7 MB

Art: Front

(4:45)  1. Yesterdays

(5:05)  2. Emily (Alternate Version)

(4:03)  3. In a Sentimental Mood

(6:23)  4. Round Midnight (Alternate Version)

(5:27)  5. Autumn Leaves

(5:10)  6. Someday My Prince Will Come

(4:18)  7. Mother of Earl

(5:15)  8. Here's That Rainy Day

Live at Art D'Lugoff's: Top of the Gate Disc 2

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Greetje Kauffeld - My Shining Hour

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 62:00
Size: 143,8 MB
Art: Front

(5:01)  1. Happiness Is A Thing Called Love
(4:33)  2. It's Only A Paper Moon
(4:15)  3. A Sleepin' Bee
(5:01)  4. Harold Arlen Medley
(4:10)  5. My Shining Hour
(6:44)  6. Over The Rainbow
(4:24)  7. That Old Black Magic
(5:14)  8. Ill Wind
(6:13)  9. Out Of This World
(4:32) 10. Last Night When We Were Young
(5:07) 11. Let's Fall In Love
(6:40) 12. One For My Baby

This album brings together a superb team to pay eloquent tribute to a man who made more contributions to the Great American Songbook than any other composer - Harold Arlen. The twelve classic songs on this album are beautifully interpreted by Greetje Kauffeld, who receives excellent support from a quintet led by Paul Kuhn. Says Paul: "Greetje is a wonderful singer who belongs to the elite of the jazz vocalists. He singing is very soulful and her warm voice is perfectly suited to Harold Arlen's ballads." http://www.inandout-records.com/records/greetje-kauffeld/My+Shining+Hour/00000257

Personnel:  Greetje Kauffeld (vocal);  Paul Kuhn (piano & vocal);  Paulo Morello (guitar);  Kim Barth (alto saxophone & flute);  Paul G. Ulrich (bass);  Willy Ketzer (drums) 

My Shining Hour

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Acker Bilk - The Magic Clarinet Of

Styles: Clarinet Jazz
Year: 2014
File: MP3@320K/s
Time: 52:19
Size: 140,9 MB
Art: Front

(2:55)  1. Jean
(3:04)  2. We've Only Just Begun
(3:19)  3. The Rose
(3:14)  4. Eres Tu (Touch The Wind)
(3:03)  5. Morning Has Broken
(4:00)  6. You're The Best Thing That Ever Happened To Me
(2:38)  7. I Left My Heart In San Francisco
(4:05)  8. I Can`t Stop Loving You
(4:15)  9. Hey Jude
(3:43) 10. The First Time Ever I Saw Your Face
(2:43) 11. Ramblin` Rose
(2:48) 12. If I Give My Heart To You
(3:18) 13. Never My Love
(2:51) 14. Stranger On The Shore
(2:37) 15. Let It Be Me
(3:40) 16. My Way

Sixteen popular tunes (including "Hey Jude," "Ramblin' Rose, " "We've Only Just Begun, " "The Rose, " and "I Left My Heart in San Francisco") are given soothing, pleasant arrangements by the famous clarinetist on this disc. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/the-magic-clarinet-of-acker-bilk-mw0000187856

Personnel: Acker Bilk (clarinet); David Katz (violin).

The Magic Clarinet Of

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Houston Person & Ron Carter - Chemistry

Styles: Saxophone Jazz, Straight-Ahead Jazz
Year: 2016
File: MP3@320K/s
Time: 49:30
Size: 113,8 MB
Art: Front

(4:19)  1. Bye Bye Blackbird
(6:08)  2. But Beautiful
(4:10)  3. Young and Foolish
(7:09)  4. Fools Rush In
(4:13)  5. Can't We Be Friends?
(6:16)  6. Blame It on My Youth
(4:42)  7. I Did Not Know What Time It Was
(4:21)  8. I Can't Get Started
(3:30)  9. Blue Monk
(4:38) 10. When I Fall in Love

Saxophonist Houston Person and bassist Ron Carter have a duo partnership that goes back at least as far as their two 1990 recordings, Something in Common and Now's the Time! Since those albums, the legendary artists have released several more duo collaborations, each one a thoughtful and minimalist production showcasing their masterful command of jazz standards, blues, and bop. The duo's 2016 effort, the aptly titled Chemistry, is no exception and once again finds Person and Carter communing over a well-curated set of jazz standards. As on their previous albums, Chemistry is a deceptively simple conceit; just two jazz journeymen playing conversational duets on well-known jazz songs. At face value, that is certainly what you get. The deception enters into the equation with just how masterful and nuanced Person and Carter are in each song. Whether it's the way Carter anchors the duo's yearning reading of "But Beautiful" with his languorous, doomy basslines, or the way Person's languorous rubato introduction joins up with Carter on "Fools Rush In," they never fail to find surprising and deeply emotive ways to interpret each song. 

Similarly, cuts like the poignant "Blame It on My Youth" and the dewy-eyed "I Can't Get Started" are endearing romantic numbers that cradle the listener in the warmth of Person and Carter's warm tones. Elsewhere, they deliver a gleeful version of Thelonious Monk's "Blue Monk," and summon the memory of Carter's former boss, trumpeter Miles Davis, with their jaunty take on "Bye Bye Blackbird." Ultimately, Chemistry is a lovely, heartfelt album of well-loved standards imbued with the duo's decades of experience. ~ Matt Collar http://www.allmusic.com/album/chemistry-mw0002946469

Chemistry

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Milt Jackson, Sonny Stitt - In The Beginning

Bitrate: MP3@320K/s

Time: 42:41

Size: 97.7 MB

Styles: Bebop, Vibraphone jazz

Year: 1964/1991

Art: Front

[2:21] 1. Body And Soul

[2:17] 2. 3rd Song (Silver Slipper)

[2:20] 3. Red Shoes

[2:12] 4. Be Bop Blues

[2:24] 5. Royal Wedding

[2:21] 6. Fine And Dandy

[2:15] 7. Stardust

[2:15] 8. Ratio And Proportion

[2:33] 9. Slits

[2:24] 10. Baggy Eyes

[2:56] 11. In A Beautiful Mood

[2:41] 12. Baggy's Blues (Bobbin' With Robbin)

[2:54] 13. Suede Jacket

[2:50] 14. Suede Jacket

[2:48] 15. Lion's Roar

[2:50] 16. Scamper Roo

[2:13] 17. Relaxin'

Alto Saxophone – Sonny Stitt; Bass – Ray Brown; Drums – Max Roach; Piano – Sir Charles Thompson; Trumpet – Russell Jacquet; Vibraphone – Milt Jackson. Recorded in 1948.

Here are a pair of early and rare bebop sessions, recorded by Detroiters Jackson and Stitt in their hometown. On a majority of the tracks, recorded in April 1948, the sextet also includes trumpeter Russell Jacquet and pianist Sir Charles Thompson. The final four titles, from a second April ’48 date, feature a quintet that is a proto-MJQ, with Jackson, John Lewis, and Kenny Clarke joined by Milt’s brother Al on bass and the great conga drummer Chano Pozo in one of his few recordings. Four previously unreleased selections, included as CD bonus tracks, are from a third April 1948 session under the leadership of Russell Jacquet and also featuring Stitt and J.J. Johnson.

In The Beginning

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Various - Down At The Jazz Club (2-Disc Set)

A jazz club is a venue where the primary entertainment is the performance of live jazz music. Jazz clubs are usually a type of nightclub or bar, which is licensed to sell alcoholic beverages. Jazz clubs were in large rooms in the eras of Orchestral jazz and big band jazz, when bands were large and often augmented by a string section. Large rooms were also more common in the Swing era, because at that time, jazz was popular as a dance music, so the dancers needed space to move. With the transition to 1940s-era styles like Bebop and later styles such as soul jazz, small combos of musicians such as quartets and trios were mostly used, and the music became more of a music to listen to, rather than a form of dance music. As a result, smaller clubs with small stages became practical.

In the 2000s, jazz clubs may be found in the basements of larger residential buildings, in storefront locations or in the upper floors of retail businesses. They can be rather small compared to other music venues, such as rock music clubs, reflecting the intimate atmosphere of jazz shows and long-term decline in popular interest in jazz.[1] Despite being called "clubs", these venues are usually not exclusive. Some clubs, however, have a cover charge if a live band is playing. Some jazz clubs host "jam sessions" after hours or on early evenings of the week. At jam sessions, both professional musicians and advanced amateurs will typically share the stage.

Album: Down At The Jazz Cluib (Disc 1)
Bitrate: MP3@320K/s
Time: 70:45
Size: 161.9 MB
Styles: Assorted styles
Year: 2014
Art: Front

[ 9:15] 1. Tommy Flanagan - Birdsong
[12:15] 2. Grant Green - Windjammer
[ 3:48] 3. Gerry Mulligan Quartet - Poinciana
[10:24] 4. Pat Martino - El Hombre
[ 8:15] 5. Sonny Rollins - A Night In Tunisia
[ 8:44] 6. Eric Dolphy - God Bless The Child
[ 3:36] 7. Charlie Parker - Light Green
[ 8:29] 8. Gene Harris - Put On Train
[ 3:49] 9. Buddy Rich - Buddy Buddy
[ 2:05] 10. Mark Taylor - No Trouble Livin'

Down At The Jazz Club (Disc 1)

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Album: Down At The Jazz Club (Disc 2)
Bitrate: MP3@320K/s
Time: 101:21
Size: 232.0 MB
Styles: Assorted styles
Year: 2014
Art: Front

[12:02] 1. Elvin Jones - New Breed
[ 4:45] 2. Cannonball Adderley - What Is This Thing Called Love
[ 6:53] 3. Clifford Brown - Wee Dot
[ 9:29] 4. Kenny Dorham - K.D.'s Blues
[ 8:16] 5. Ornette Coleman Trio - Morning Song
[ 7:18] 6. Mel Lewis - Don't Git Sassy
[17:21] 7. Dexter Gordon - Easy Living
[ 5:37] 8. Charlie Hunter Quartet - Lively Up Yourself
[19:24] 9. Freddie Hubbard - Walkin'
[10:09] 10. Dr. Lonnie Smith - Layin' In The Cut

Down At The Jazz Club (Disc 2)

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Ethel Ennis - Once Again...

Bitrate: MP3@320K/s

Time: 32:55

Size: 75.4 MB

Styles: Jazz vocals

Year: 1964/2004

Art: Front

[2:39] 1. Since I've Been To You

[2:25] 2. Show Me A Man (I Can Look Up To)

[3:21] 3. Falling Leaves

[2:18] 4. For Every Man There's A Woman

[2:04] 5. Thrill Me

[3:11] 6. Love For Sale

[2:50] 7. Like Love

[2:30] 8. Auf Wiederseh'n, Sweetheart

[4:14] 9. Mr. Wonderful

[2:12] 10. You've Got To Want Me Enough

[3:09] 11. One Man Woman

[1:56] 12. Wild Is Love

Baltimore jazz institution Ethel Ennis was born November 28, 1932. Beginning her vocal career while a pianist in a high school jazz group, she quickly went on to sing with everyone from Louis Armstrong to Duke Ellington to Count Basie. Ennis' debut LP, Lullabies for Losers, appeared on Jubilee in 1955, with the follow-up, Change of Scenery, issued two years later on Capitol; around the same time, she toured Europe with Benny Goodman, but finding the grind of the road too intense, she returned home to Baltimore, and -- much to the detriment of her rising fame -- rarely played outside of the Charm City area in the decades to come. After 1958's Have You Forgotten?, Ennis did not resurface until six years later, landing at RCA for This Is Ethel Ennis; three more LPs -- Once Again, Eyes for You and My Kind of Waltztime -- quickly followed by another eight-year studio hiatus which finally ended with the 1973 release of the BASF album 10 Sides of Ethel Ennis. That same year, she also sang the National Anthem at the re-inauguration proceedings of President Richard Nixon. Ennis next turned up on vinyl in 1980 with Live at Maryland Inn; a self-titled follow-up was 14 years in the making, with If Women Ruled the World appearing in 1998. ~bio by Jason Ankeny

Once Again...

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Naima Shamborguer - 'Round Midnight

Size: 146,8 MB
Time: 62:52
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz Vocals
Art: Front

01. Speak Low (Feat. Vincent Bowen-Tenor Sax) (5:03)
02. Summer Me Winter Me (Feat. Eugene 'Bud' Zenza-Cello) (3:42)
03. 'Round Midnight (Feat. Vincent Bowen-Tenor Sax) (6:33)
04. I Will Never Walk Away (Feat. Vincent Bowen-Flute) (3:38)
05. I'll Remember April (Feat. Larry Willis-Piano) (7:41)
06. Doodlin (Feat. Vincent Bowen-Tenor Sax) (4:18)
07. Here's To Life (Feat. Larry Willis-Piano) (7:53)
08. Ms Sarah (Feat. Vincent Bowen-Soprano Sax) (2:52)
09. Everyday's Yesterday (Feat. Vincent Bowen-Soprano Sax) (5:31)
10. Black Coffee (Feat. Vincent Bowen-Tenor Sax) (6:11)
11. A Time For Love (Feat. Larry Willis-Piano) (6:51)
12. Anthropology (Feat. Vincent Bowen-Tenor Sax) (2:33)

In a social atmosphere of jazz, one interfaces with people from all walks of life. One such person is the late Robert (Bob) Colley. A friendship was spawned between Bob and I, as he was very helpful in so many ways to so many musicians. Bob had gotten involved with booking a jazz club in Newark N.J. and asked me if I’d be interested in accompanying a singer friend Naima Shamborguer from Detroit. Unfortunately the club decided to discontinue its jazz policy and the engagement didn’t happen. However greater things prevailed, and a friendship spawned between Naima, her husband George and I. The wonderful couple made a trip to my home in Baltimore and after a great seafood lunch at one of Baltimore’s great restaurants, we went back to my home and sat around the piano playing and singing. At that point, it was a no brainer that I would want to be involved with her recording project. A repertoire was decided and over the course of some months, I came up with some arrangements that suited her pure, almost operatic vocal sound. What you hear is a result of this endeavor.

Some of Naima’s Detroit musician friends were chosen to play on this project. Firstly, Marion Hayden, a wonderful contrabassist whom I had the pleasure of working with some years ago during one of my infrequent playing appearances in Detroit. Then there is the great Detroit drummer George Davidson, superb reed specialist Vincent Bowen, Cellist extraordinaire Eugene (Bud) Zenza and percussionist, Greco Freeman.

The set opens with the standard “Speak Low”. We decided to support Naima’s rendition of this song by using an Afro Cuban approach. Included is a wonderful tenor sax solo by Vincent Bowen.

The next track is “Summer Me Winter Me” composed by Allen and Marilyn Bergman and one of my favorite composers Michel Legrand. Here one experiences Naima’s ability to interpret a poignant lyric, and exposes her tremendous range and dynamic sensitivity.

Now we get to the great classic “Round Midnight”. This arrangement comes from a potpourri of many other recordings of this song. There is not much one can do to improve upon perfection but Naima stepped up to the plate and knocks this classic out of the park.

“I Will Never Walk Away” exhibits not only Naima’s vocal talents, but also her tremendous depth as a composer and her ability to combine thoughtful heartfelt lyrics with harmonic melody and rhythmic intelligence.

Conceptually, “I Remember April” posed somewhat of a daunting challenge for us. This song is usually played as an up tempo vehicle for improvisation. We decided that it might be interesting to approach the song the way the composer originally intended, as a ballad. A ballad by definition is a story. The concept of less is more. It worked for us.

“Doodlin” represents our acknowledgement of one of jazz’s most prolific composers the great Horace Silver. He takes us down the path of swing and respect for the bebop tradition. Naima’s interpretation of this song lets us know how important the blues are in her over-all music concepts.

“Here’s To Life” comes to us via my dear friend and singer/pianist, the late Shirley Horn. This very poignant Artie Butler and Phyllis Molinary masterpiece, addresses an approach to life, involving taking risk and the joys of love and wishes for all of us to get better. Naima’s performance here hits right where you live, another example of her high degree of musicianship and sensitivity.

“Ms. Sarah” Is Naima’s tribute to jazz’s ultimate diva Sarah Vaughan. It is interesting to note that Naima has many attributes that the “Great One” possessed. Her impeccable sense of rhythm (this is an odd meter 5/4 time) displays that magnificent instrument she has for a voice and precise intonation. Once again, Vincent Bowen’s solo work is absolutely pristine.

“Everyday’s Yesterday” is a very soulful and sensitive ballad penned by Naima. Beautiful harmonic colors and a simple approach that reminds one of two songs on Miles Davis Kind of Blue recording, which makes this track a true standout.

I believe no jazz performance is complete without paying homage to the blues. “Black Coffee” totally fits this scenario. A blues in the absolutely true sense of the word, Naima’s rendition here points directly at the paths connected with a failed relationship.

For all the incurable romantics, Johnny Mandel adds a contribution to this session
with the beautiful “A Time For Love”, another tour de force for Naima. Her voice is exposed in all her pure beauty.

To close out this wonderful music experience, Naima takes us down the bebop trail once again with her rendition of “Anthropology”. The rhythm section once again rises to the occasion with hard swinging support. At the end, Naima leaves us with “Bye”. I am convinced that we will all be hearing Naima again and again with more succulent “ear candy”.

Round Midnight

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Steve Cole - Turn It Up

Size: 101,6 MB
Time: 42:46
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Smooth Jazz
Art: Front

01. Sidechain (4:12)
02. Turn It Up! (3:32)
03. Reverence (5:02)
04. She's The One (4:12)
05. Bright Side (4:13)
06. Woman's Gotta Have It (4:02)
07. Laws Of Attraction (4:41)
08. Life Is A Groove (4:22)
09. Workhouse (3:17)
10. Mirage (5:09)

Students of chart placings and listeners of smooth jazz stations will already be familiar with an insidious little tune from sax man Steve Cole. The cut's 'Mirage' and it's just risen to #1 on Billboard's BDS chart, a placing reflected by 'Mirage's' heavy rotation on discerning music stations. The track is the first single from 'Turn It Up', Cole's newest long player and those who are digging the tune will be delighted to know there are plenty more like it on the 10 tracker.

The title track, for instance, offers more of the same soul-inflected grooves (shades of prime time David Sanborn) while the opener 'Sidechain' is another bright n' breezy, easy on the ear romp. 'Workhouse' is just a touch different.... Cole's smooth jazz take on house. We're told he's a big fan of the Chicago house scene, but don't expect it being play listed in Ibiza any time soon.

From a soul perspective, 'Turn It Up's' USP is the album's big cover, a version of Bobby Womack's 'Woman's Gotta Have It'. It's such a great tune isn't it? And Cole doesn't mess with it. He just lets his tenor glide over the melody lines while vocalist Keith Fluitt coos the title line sweetly... but he's so far back in the mix you might not even notice.

Other guests on the album include Ricky Petersen, Khari Parker and Pieces of A Dream's James Lloyd who adds pleasing, distinctive keys to 'Bright Side' - like everything else on offer here, a perfect summation of what contemporary smooth jazz is all about.

MC
Ziddu

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Nicki Parrott - Yesterday Once More: The Carpenters Song Book

Size: 124,0 MB
Time: 52:56
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Rainy Days And Mondays (3:56)
02. I'll Never Fall In Love Again (3:48)
03. There's A Kind Of Hush (3:33)
04. We've Only Just Begun (4:01)
05. Please Mr Postman (3:34)
06. I Won't Last A Day Without You (4:35)
07. Sing (3:10)
08. For All We Know (3:00)
09. Ticket To Ride (3:46)
10. Top Of The World (4:00)
11. It's Going To Take Some Time (2:50)
12. The Rainbow Connection (3:44)
13. Yesterday Once More (4:08)
14. Close To You (4:43)

Personnel:
Nicki Parrott: vocals & bass
Ken Peplowski: clarinet & tenor sax
John Di Martino: piano
Frank Vignola: guitar
Alvin Atkinson: drums

Born in Newcastle, Australia, Nicki started her musical training at age four with the piano, followed by the flute, soon after. Nicki switched to double bass at the age of 15.

After graduating high school she moved to Sydney to study jazz at the New South Wales Conservatorium of Music where she began to play with Australian musicians such as Mike Nock, Dale Barlow, Paul Grabowsky, Bernie McGann, and Ten Part Invention. She also toured Australia with Russian musicians Daniel Kramer and Alexander Fischer and American trumpeters Bobby Shew and Chuck Findley. She continued her studies with various bassists including visiting artists Ray Brown and John Clayton.

Nicki was the recipient of two awards, a scholarship to Pan Pacific Music Camps at the age of 16, and first place in the 1992 Jazz Action Society’s Annual Song Competition for her composition “Come and Get It”, which is the opening track of Nicki and her sister Lisa’s debut CD, “Awabakal Suite”. She was also nominated for the annual Australian Young Achievers Award by the Arts Council of Australia who granted her the funds to come to New York to study with Rufus Reid. Nicki came to New York in May 1994.

Yesterday Once More

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Dan Pratt - Hymn For The Happy Man

Size: 137,2 MB
Time: 59:29
File: MP3 @ 320K/s
Released: 2016
Art: Front

01. Gross Blues (6:28)
02. New Day (7:06)
03. River (9:26)
04. Warsaw (7:37)
05. Junket (5:40)
06. Riddle Me Rhumba (9:16)
07. Hymn For The Happy Man (7:56)
08. Speak Low (5:57)

With two successful organ ensemble recordings under his belt, saxophonist Dan Pratt moves in a new direction with his Hymn for the Happy Man. As his website biography points out: “The California native and longtime Brooklyn resident hadn’t recorded a piano/bass/drums quartet record before, and he felt a need to explore this instrumentation that is such an essential strand to jazz’s DNA.” Some might argue if you’ve got a good thing going, why mess with it? That kind of thinking may well be safe, but it may also lead to artistic stagnation. Safe and stale are not what Pratt is about. And that’s a good thing, because if Hymn for the Happy Man shows anything, it makes clear that new directions pursued with fervor can take an artist to a new level.

Fronting a quartet that features the ubiquitous Christian McBride on bass, Mike Eckroth on drums, and Gregory Hutchinson on piano, Pratt runs through a varied set of seven original compositions that takes him from the quirky blues opening number, “Gross Blues,” through the evocative impressionistic “River,” to the vibrant rhythms of “Junket.” “New Day” is an elegantly beautiful piece channeling the composer’s elation having just met the woman he was to marry. It features fine solo work from both Hutchinson and McBride, not to forget Pratt’s singing tenor sax.

Pratt switches from tenor to alto on the album’s title song as well as another piece called “Warsaw.” It seems he had been playing alto for less than a year, and after all he wanted to stretch. “I just thought for range and timbre it provided something a little different on this tune,” he stated in a press release. A smoldering “Riddling Rhumba” rounds out the set of Pratt originals.

For good measure, the album closes with a dynamic take on the Kurt Weill classic “Speak Low.” Pratt starts with a fairly conventional statement of the well-known melody and then he and the rest of the crew take off in all sorts of rhythmic directions. It is an exciting way to end this intelligently exploratory project.

Hymn For The Happy Man

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