Cab Calloway - The Swinging Big Band Leader with Chu Berry 1937-1944

Styles: Big Band, Swing
Year: 2000
File: MP3@320K/s
Time: 61:54
Size: 143,1 MB
Art: Front

(2:46)  1. Queen Isabella
(2:35)  2. Savage Rhythm
(2:29)  3. Bugle Blues
(2:17)  4. Three Swings and Out
(3:25)  5. Penguin Swing
(2:50)  6. Peck-A-Doodle-Do
(2:50)  7. Hoy Hoy
(2:59)  8. Jive
(2:24)  9. Do You Wanna Jump Children
(2:20) 10. Floogie Walk
(2:41) 11. Pluckin' The Bass n'2
(3:05) 12. Paradiddle
(2:31) 13. The Lone Arranger
(3:19) 14. Hardtimes (Topsy-Turvy)
(2:55) 15. Bye Bye Blues
(2:54) 16. A Chicken Ain't Nothing But A Bird
(3:01) 17. Special Delivery n'2
(3:00) 18. The Great Lie
(2:41) 19. Tappin' Off
(2:53) 20. 105 In The Shade
(2:53) 21. Ghost Of a Chance n'2
(2:58) 22. Lonesome Nighns

One of the great entertainers, Cab Calloway was a household name by 1932, and never really declined in fame. A talented jazz singer and a superior scatter, Calloway's gyrations and showmanship on-stage at the Cotton Club sometimes overshadowed the quality of his always excellent bands. The younger brother of singer Blanche Calloway (who made some fine records before retiring in the mid-'30s), Cab grew up in Baltimore, attended law school briefly, and then quit to try to make it as a singer and a dancer. For a time, he headed the Alabamians, but the band was not strong enough to make it in New York. The Missourians, an excellent group that had previously recorded heated instrumentals but had fallen upon hard times, worked out much better. Calloway worked in the 1929 revue Hot Chocolates, started recording in 1930, and in 1931 hit it big with both "Minnie the Moocher" and his regular engagement at the Cotton Club. Calloway was soon (along with Bill Robinson, Ethel Waters, Louis Armstrong, and Duke Ellington) the best-known black entertainer of the era. He appeared in quite a few movies (including 1943's Stormy Weather), and "Minnie the Moocher" was followed by such recordings as "Kicking the Gong Around," "Reefer Man," "Minnie the Moocher's Wedding Day," "You Gotta Hi-De-Ho," "The Hi-De-Ho Miracle Man," and even "Mister Paganini, Swing for Minnie." Among Calloway's sidemen through the years (who received among the highest salaries in the business) were Walter "Foots" Thomas, Bennie Payne, Doc Cheatham, Eddie Barefield, Shad Collins, Cozy Cole, Danny Barker, Milt Hinton, Mario Bauza, Chu Berry, Dizzy Gillespie, Jonah Jones, Tyree Glenn, Panama Francis, and Ike Quebec. His 1942 recording of "Blues in the Night" was a big hit. With the end of the big band era, Calloway had to reluctantly break up his orchestra in 1948, although he continued to perform with his Cab Jivers. Since George Gershwin had originally modeled the character Sportin' Life in Porgy and Bess after Calloway, it was fitting that Cab got to play him in a 1950s version. Throughout the rest of his career, Calloway made special appearances for fans who never tired of hearing him sing "Minnie the Moocher." ~ Scott Yanow http://www.allmusic.com/artist/cab-calloway-mn0000532957/biography

Personnel:  1-20 - Cab Calloway & His Orchestra with Chu Berry (19, 20); Shad Collins, Irving Randolph, Lammar Wright, Dizzy Gillespie, Jonah Jones (tp), Claude Jones, Keg Johnson, De Priest Wheeler, Tyree Glenn (tb), Garvin Bushell, Andrew Brown, Chauncev Haughton (cl, as), Walter Thomas, Chu Berry, Ted McRae (ts), Hilton Jefferson (as), Bennie Paine (p), Morris White, Danny Barker (g), Milton Hinton (b), Leroy Maxey, Cozy Cole, J. Heard (dm), Cab Calloway (vo) and others... New York, 1937/1944;  21-22 - Chu Berry with Cab Calloway & His Orchestra – 1940

The Swinging Big Band Leader with Chu Berry 1937-1944

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Stan Killian - Unified

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 53:28
Size: 122,9 MB
Art: Front

(7:30)  1. Twin Dark Mirror
(8:17)  2. Elvin's Sight
(6:32)  3. Unified
(9:30)  4. Center
(6:42)  5. Isosceles
(7:52)  6. Window Of Time
(7:01)  7. Eternal Return

Unified is tenor saxophonist Stan Killian's third album and his debut for the Sunnyside label. It's high-quality, straight-ahead modern jazz, played with a real swing by Killian and his band, and enlivened by the contributions of three top-drawer guest horn players. Leader/composer Killian hails from Texas, home of Texas tenors like Arnett Cobb and Illinois Jacquet. Killian's own sound certainly has a big, wide open, feel to it but there's a gentleness there as well, a warmth and friendliness of tone. Venezuelan pianist Benito Gonzalez has a lightness of touch that enables him to create some delicate but swinging solos, as well as some finely tuned rhythms. Killian and Gonzalez play on all seven tunes, interlacing their instrumental lines with a skill and confidence that suggests a longstanding musical relationship. Bassists Corcoran Holt and Bryan Copeland, and drummers Darrell Green and McClenty Hunter share rhythm section duties. Whatever the combination of players, each of the quartets is impressive in its own right the rhythm playing of Gonzalez, Hunter and Holt that underpins Killian's lyrical solo on "Center" being particularly fine. The addition of a guest player to each of the numbers simply puts icing on the musical cake.

The three guest musicians on Unified are all bona fide stars of modern jazz and they more than repay Killian's invitation. Of the two trumpeters, Jeremy Pelt's brighter sound is a fine contrast to Killian's. Roy Hargrove's tone is a little warmer, less bell-like, and complements rather than contrasts with the tenor player. David Binney adds alto sax to three numbers, his sound also complementing Killian and adding depth to their unison playing. On Gonzalez's "Elvin's Sight" dedicated to drummer Elvin Jones and featuring excellent percussion from Green the pair swings beautifully, while on the hauntingly dreamlike "Unified," both saxophonists give controlled but emotionally engaging performances. The guests on Unified all play beautifully, and their presence certainly attracts attention. But Killian's own contributions as lead musician/writer are stylish and engaging, and the core quartets on the album demonstrate their ability to stand alone as musical ensembles , just as the album title suggests. ~ Bruce Lindsay https://www.allaboutjazz.com/unified-stan-killian-sunnyside-records-review-by-bruce-lindsay.php
 

Personnel:  Stan Killian: tenor saxophone;  Benito Gonzalez: piano;  Corcoran Holt: bass (1, 4, 5, 7);  Bryan Copeland: bass (2, 3, 6);  Darrell Green: drums (1-3, 5, 6);  McClenty Hunter: drums (4, 7);  Roy Hargrove: trumpet (1, 5);  Jeremy Pelt: trumpet (4, 7);  David Binney: alto saxophone (2, 3, 6).

Unified

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Ella Fitzgerald - Sings Sweet Songs For Swingers

Bitrate: MP3@320K/s
Time: 39:38
Size: 90.8 MB
Styles: Vocal jazz
Year: 1958/2003
Art: Front

[3:11] 1. Sweet And Lovely
[3:03] 2. Let's Fall In Love
[3:42] 3. Makin' Whoopee
[4:15] 4. That Old Feeling
[2:21] 5. I Remember You
[2:59] 6. Moonlight Serenade
[2:59] 7. Gone With The Wind
[3:21] 8. Can't We Be Friends
[4:33] 9. Out Of This World
[3:01] 10. My Old Flame
[3:44] 11. East Of The Sun (And West Of The Moon)
[2:25] 12. All Or Nothing At All

Recorded just before and after the period that she made the George and Ira Gershwin Songbook, Ella Fitzgerald is in fine form on this obscure LP, performing a dozen standards. Although two songs are by Harold Arlen, the composers were in most cases less prolific than the ones she saluted in her songbook series. Ella is backed by a large unidentified orchestra conducted and arranged by Frank DeVol. Swingers alternate with ballads, and as usual, Ella uplifts everything, including "Let's Fall In Love," "Moonlight Serenade," "Gone With the Wind" and "East of the Sun." An enjoyable if not classic release. ~Scott Yanow

Sings Sweet Songs For Swingers

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Ben Sidran - Dylan Different Live In Paris At The New Morning

Bitrate: MP3@320K/s
Time: 61:30
Size: 140.8 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[6:25] 1. Intro Gotta Serve Somebody
[4:45] 2. Rainy Day Woman
[5:19] 3. Blowin' In The Wind
[5:30] 4. Subterranean Homesick Blues
[4:56] 5. All I Really Want To Do
[4:09] 6. Tangled Up
[3:20] 7. Everything Is Broken
[9:54] 8. Maggie's Farm
[5:15] 9. Love Minus Zero (No Limit)
[3:16] 10. The Times They Are A-Changin'
[4:16] 11. On The Road Again
[4:18] 12. We Are Here But For A Minute

Pianist-vocalist Ben Sidran is one of those rare characters celebrated as much for their intelligent pronouncements on jazz as their ability to play it, and his 1971 book Black Talk remains one of the great dissertations to deal with both the music and its wider socio-cultural context. In fact, there has always been something wily and urbane in Sidran’s lyric writing and delivery, regardless of whether the subject is lovers, critics, or lovers who criticise. That the smart 67-year-old Chicagoan should tackle the songbook of Bob Dylan, another famously sharp pen in contemporary pop culture, thus makes a certain amount of sense and right from the downbeat Sidran appears to revel in the words as well as melodies of songs that he grew up with and on.

Recorded in concert at Paris’ celebrated New Morning, Sidran is on chipper form, backed by a European group that features both trumpeter Erik Truffaz and his longstanding bass guitarist Marcelo Guiliani as well as guitarist/vocalist Rodolphe Burger and drummer Albert Malo. They all skip heartily along the most well-trodden of roads in Dylan land – Subterranean Homesick Blues, The Times They Are Changin’ (no "a-" on this tracklisting) and All I Really Want to Do – and essentially bring more blues to the folk-blues that underpinned a major part of Dylan’s oeuvre. Certainly, the band has the chops to give the renditions the requisite energy that Sidran’s gritty, at times snarling vocal delivery requires, and, on the whole, they capture the sense of dissent and defiance that the originals embody. Maggie’s Farm, extrapolated into a dark, brooding 10-minute epic in which Giuliani’s bass and Truffaz’s trumpet improvise sinuously around a jutting two chord vamp that implies electric Miles without the electricity, is a choice cut.

It’s a shame, though, that the set ends with the sole Sidran original, We Are Here but for a Minute – it’s one that really does not highlight his proven songwriting talents to the greatest effect. It’s basically a pastiche of Lay Lady Lay with maudlin, faux-thespian spoken word that jars somewhat compared to the preceding ebullience. ~Kevin Le Gendre

Dylan Different Live In Paris At The New Morning                 

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Hilario Durán - Francisco's Song

Bitrate: MP3@320K/s
Time: 67:22
Size: 154.2 MB
Styles: Piano jazz
Year: 1996
Art: Front

[6:29] 1. Francisco's Song
[3:39] 2. Medley Matamoros
[6:06] 3. Lush Life
[9:23] 4. For Emiliano
[5:14] 5. Esto Si Tiene Que Ver
[1:59] 6. Giant Steps
[5:13] 7. Confession
[5:37] 8. Tiembla Tierra
[5:45] 9. Suavecito
[4:28] 10. Conqueta Conquín
[5:20] 11. Days Dreams
[4:34] 12. Esperando La Carroza
[3:27] 13. Hot House

Cuban pianist Hilario Duran was a dynamic presence on Jane Bunnett's "Spirits of Havana," particularly on the tune "Yo Siempre Oddara." Bunnett returns the favor here, playing alto sax and flute on five of thirteen selections. The other principals are Alain Caron, bass, and Sonny Greenwich, guitar. Duran plays solo piano on "Suavecito," "Medley Matamoros," "Conqueta Conquin," and "Lush Life." Two numbers, "Francisco's Song," and "Hot House" employ the full quartet. The remaining tunes offer various configurations of piano, guitar, and bass. Duran composed seven tunes, including "For Emiliano," his tribute to the late Cuban pianist Emiliano Salvador. The standards are the aforementioned "Hot House," "Lush Life," and "Giant Steps." His reading of "Lush Life" is Tatumesque, full of trills and runs. Duran's playing draws on his native Cuban traditions and has a strong classical component. He has a liquid tone and his virtuosity gets full play on these exploratory,ruminative selections. ~Marcela Breton

Francisco's Song

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The Gene Harris Quartet - Funky Gene's

Bitrate: MP3@320K/s
Time: 56:46
Size: 130.0 MB
Styles: Bop, Piano jazz
Year: 1994/2004
Art: Front

[6:55] 1. Blues For Basie
[5:22] 2. The Trouble With Hello Is Goodbye
[6:21] 3. Old Funky Gene's
[6:41] 4. Everything Happens To Me
[7:21] 5. Nice 'n' Easy
[5:10] 6. Ahmad's Blues
[4:37] 7. Bye Bye Blues
[7:34] 8. Children Of Sanchez
[6:41] 9. Blues In Hoss' Flat

All of Gene Harris' recordings for the Concord label in the 1990s are easily recommended, and this one is no exception. The Harris quartet (with the fine guitarist Ron Eschete, bassist Luther Hughes, and drummer Paul Humphrey) digs into such material as "The Trouble With Hello Is Goodbye," "Everything Happens to Me," "Nice 'n' Easy," "Bye Bye Blues," and Chuck Mangione's "Children of Sanchez," turning everything into a blues-oriented groove. Harris was always in his prime on piano (mixing together Oscar Peterson and the boogie-woogie greats with his own brand of soul) and this quartet was a perfect setting for him. Another fine effort. ~Scott Yanow

Funky Gene's

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Seamus Blake - The Jazz Side Of The Moon

Bitrate: MP3@320K/s
Time: 55:30
Size: 127.0 MB
Styles: Bop, Cool jazz
Year: 2001
Art: Front

[ 6:26] 1. Breathe
[ 3:43] 2. On The Run (Part1)
[11:00] 3. Time
[ 2:17] 4. Any Colour You Like
[ 8:42] 5. The Great Gig In The Sky
[ 6:49] 6. Money
[ 6:23] 7. Us And Them
[ 6:20] 8. Brain Damage
[ 3:45] 9. On The Run (Part 2)

These are somewhat loose interpretations of this classic record. They take harmonic and melodic liberties with the music that are very much in the spirit of jazz, but it still maintains the atmosphere of the original. The group is made up of premier players, and they have very good chemistry for a one-off band.

For me, the drum work of Ari Hoenig is the highlight of the record. His feel is loose and the groove constantly shifting, but his time is always solid. He is also able to play with great fire and intensity without being too loud or having too much clutter. This is my favorite type of drumming. Sam Yahel is also great on the Hammond B-3. He often plays hypnotic, repetitive figures that serve the music perfectly. When he takes the lead, there is never a wasted note - everything is always in good taste. Mike Moreno, who I was not so familiar with before hearing this, is a nice addition to the band. He is a very fluid soloist, and adds nice textures and colorations to the music that often recall David Gilmour's classic work on the original recording. Seamus Blake is also a great player. However, there are times that he doesn't quite fit in with the rest of the band in my opinion. I think his tone is different here than on his great 2007 session as a leader "Way Out Willy." This may have something to do with the way "Jazz Side" was recorded, but regardless, I prefer his playing on the aforementioned "Willy." Highly recommended, whether you're a fan of the Floyd or not. ~ScottyB

The Jazz Side Of The Moon

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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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