Thelonious Monk - 'Round Midnight: The Complete Blue Note Singles 1947-1952 (2-Disc Set)

Alto Saxophone – Danny Quebec West, Lou Donaldson, Sahib Shihab; Bass – Al McKibbon, Robert Paige, Gene Ramey, John Simmons, Nelson Boyd; Drums – Art Blakey, Max Roach, Shadow Wilson; Piano – Thelonious Monk; Tenor Saxophone – Billy Smith, Lucky Thompson; Trumpet – George Taitt, Idrees Sulieman, Kenny Dorham; Vibraphone – Milt Jackson; Vocals – Kenny 'Pancho' Hagood.

This collection presents for the first time Monk’s Blue Note recordings in their original 78 rpm sequence of release, adding as bonus tracks the alternate takes that appeared on later LP and CD releases.

The two-disc Thelonious Monk anthology, 2014's 'Round Midnight: The Complete Blue Note Singles (1947-1952)), compiles all of the influential jazz pianist’s original 78 rpm singles released on the storied Blue Note label. These are Monk's first recordings under his own name, leading a group (not his debut recordings as a sideman with Coleman Hawkins). All of these recordings were later collected on various albums including Genius of Modern Music, Vol. 1., and other anthologies. Here, they are presented in chronological order and with alternate takes. Recorded in six separate sessions beginning in October of 1947 and ending in May of 1952, these sides showcase many of the songs Monk composed, and which would quickly become part of the jazz canon. Included are "Evidence," "Mysterioso," "Well, You Needn't," and others. While the focal point of these albums is Monk's innovative use of dissonance and unexpected, angular melodicism, the recordings also benefit from a veritable who's-who of modern jazz of the period. Backing Monk here, variously, are such luminaries as drummers Art Blakey and Max Roach, vibraphonist Milt Jackson, trumpeters Kenny Dorham and Idrees Sulieman, saxophonists Lou Donaldson and Lucky Thompson, and many more. While these recordings are widely available, it's both historically enlightening and aesthetically pleasing to have them collected so thoughtfully here. ~Matt Collar

Album: 'Round Midnight: The Complete Blue Note Singles 1947-1952 (Disc 1)

Bitrate: MP3@320K/s

Time: 75:10

Size: 172.1 MB

Styles: Bop, Piano jazz

Year: 2014

[2:57] 1. Thelonious

[2:59] 2. Suburban Eyes

[3:09] 3. 'round Midnight

[2:57] 4. Well, You Needn't

[3:01] 5. Evonce

[2:59] 6. Off Minor

[2:54] 7. In Walked Bud

[3:04] 8. Epistrophy

[3:11] 9. Ruby, My Dear

[2:30] 10. Evidence

[2:51] 11. Humph

[3:19] 12. Misterioso

[2:55] 13. All The Things You Are

[2:59] 14. I Should Care

[2:43] 15. I Mean You

[3:06] 16. Monk's Mood

[2:40] 17. Who Knows

[2:59] 18. Nice Work If You Can Get It

[3:19] 19. April In Paris

[3:26] 20. Four In One

[2:55] 21. Straight, No Chaser

[2:54] 22. Criss-Cross

[3:02] 23. Eronel

[3:13] 24. Ask Me Now

[3:00] 25. Willow Weep For Me 

Round Midnight: The Complete Blue Note Singles 1947-1952 (Disc 1)

---

Album: 'Round Midnight: The Complete Blue Note Singles 1947-1952 (Disc 2)

Bitrate: MP3@320K/s

Time: 70:13

Size: 160.8 MB

Styles: Bop, Piano jazz

Year: 2014

Art: Front

[2:58] 1. Skippy

[3:46] 2. Let's Cool One

[3:11] 3. Hornin' In

[3:25] 4. Carolina Moon

[3:00] 5. Evonce

[2:54] 6. Suburban Eyes

[2:59] 7. Nice Work If You Can Get It

[3:04] 8. Ruby, My Dear

[2:53] 9. Well, You Needn't

[2:40] 10. April in Paris

[3:10] 11. Introspection

[2:43] 12. Who Knows

[3:00] 13. I Should Care

[2:42] 14. Misterioso

[3:26] 15. Four in One

[2:47] 16. Criss-Cross

[4:26] 17. Ask Me Now

[3:06] 18. Skippy

[3:05] 19. Hornin' In

[3:26] 20. Sixteen

[3:38] 21. Sixteen

[3:44] 22. I'll Follow You

Round Midnight: The Complete Blue Note Singles 1947-1952 (Disc 2)

---

Judy Holliday - Trouble Is A Man

Bitrate: MP3@320K/s
Time: 40:50
Size: 93.5 MB
Styles: Easy Listening
Year: 1958/1995
Art: Front

[2:36] 1. Trouble Is A Man
[3:30] 2. How About Me
[2:34] 3. What I Was Warned About
[3:29] 4. I Got Lost In His Arms
[2:43] 5. What'll I Do
[3:40] 6. Lonely Town
[2:56] 7. Am I Blue
[1:59] 8. Confession
[2:20] 9. Occasional Man
[3:38] 10. A Ride On A Rainbow
[3:16] 11. Where Have You Been
[3:15] 12. I'm One Of God's Children (Who Hasn't Got Wings)
[2:19] 13. Loving You
[2:31] 14. The Party's Over

Judy Holliday was an actress, not a singer, but she recorded two albums of songs in 1958 and 1960. Her voice is just OK, so the stronger pieces on this offering are the ones where her sincerity wins out or she gets to show off her ability as a comedian while joined by an orchestra arranged by Glenn Osser. Fans of the actress will find this CD of interest, but most other listeners can safely pass this by. ~Scott Yanow

Trouble Is A Man

---

Sue Bell - Starry Night

Size: 121,9 MB
Time: 52:21
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz Vocals
Art: Front

01. I Won't Last A Day Without You (5:11)
02. It's Going To Take Some Time This Time (3:36)
03. Vincent (Starry Starry Night) (6:58)
04. All Is Fair In Love (5:34)
05. One Less Bell To Answer (6:12)
06. Let Me Be The One (4:32)
07. The Very Thought Of You (4:16)
08. Too Late Baby (3:50)
09. Can't Make You Love Me (6:49)
10. Never Dreamed You'd Leave In Summer (5:18)

Personnel:
Sue Bell - Vocals
John Hansen - Piano
Chuck Deardorf - Bass
John Morton - Guitar
Steve Hill - Drums
Tony Grasso - Trumpet

Starry Night, continues to gain interest from Europe and has received notice from a radio station in Germany and a concert promoter in Italy.

Thank you for the continued sales through itunes and cdbaby from Japan, Switzerland, the UK, Canada and here in the U.S.

With qualities compared to that of Norah Jones, Carly Simon and Nancy Wilson, vocalist Sue Bell, presents"Starry Night" a collection of outstanding pop tunes arranged and performed by a group of some of the Northwest's premier jazz musicians. From Ray Noble's "The Very Thought of you", to songs by Stevie Wonder, Carole King, Burt Bacharach and others, Sue Bell offers heartfelt interpretations of some of America's finest popular music.

Starry Night

---

Bob Sneider - Out Of The Darkness

Size: 138,1 MB
Time: 59:40
File: MP3 @ 320K/s
Released: 2001
Styles: Jazz
Art: Front

01. Isfahan (6:47)
02. Out Of The Darkness (5:20)
03. David’s Tune (4:24)
04. Waltz For Aleta (6:04)
05. Love Walked In (8:40)
06. Ev’ry Time We Say Goodbye (7:27)
07. Vivo Sonhando (Dreamer) (3:40)
08. If I Had You (6:14)
09. You’d Be So Nice To Come Home To (6:11)
10. Pyramid (4:49)

Guitarist Bob Sneider, based in Rochester, New York, won two Downbeat awards for "Best Performance" before he was out of college, then went on to perform with Houston Person, Freddie Cole, Nnenna Freelon, and Jon Faddis; he also toured with Chuck Mangione for four years. Now teaching jazz guitar at the prestigious Eastman School of Music, Sneider is a classy player with a honeyed tone and smooth, melodic lines. Out of the Darkness is a good title for a CD where dissonance is an accent, rather than a lifestyle; listening to it is like taking a springtime ride with the top down.

On Sneider's second outing for Sons of Sound , he appears in different settings - duo with percussion, bebop quintet, trio - each revealing a different color in his extensive palette. His writing gifts are especially evident on the burning title tune and the tender "Waltz for Aleta," and his addition of an intriguing head-twist to "Love Walked In." There's a good mix of electric and acoustic guitar, and the pacing is a naturalistic, satisfying sequence of density and mood. A string quartet enhances two tracks without adding any of that cloying sweetness; in fact, "Ev'ry Time We Say Goodbye" is a highlight of the album, along with the graceful takes on "Isfahan," "Pyramid," and Jobim's "Dreamer." Bassist Bob Stata, pianist Paul Hofmann and drummer Mike melito are consistently first-rate. The last track, Kenny Burrell's "Lyrestro," is actually a concert video, playable on Quicktime 3.0, which my antique equipment will not accommodate; but while I can't report on the audio, the video reveals that a good time was had by all. It certainly sounds like it. A thoroughly enjoyable CD. ~Dr. Judith Schelesinger

Personnel: Bob Sneider (electric and classical guitar), John Sneider (trumpet), Paul Hofmann (piano), Bob Stata (bass), Mike Melito (drums), Tony Padilla (percussion), string quartet: Diedre Foley (violin), Heather Netz (violin), Adrienne Sommerville (viola), Christoher Hutton (cello), strings arranged by David Ravello

Out Of The Darkness

---

Rhonda Ross - In Case You Didn't Know

Size: 140,9 MB
Time: 60:30
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Fusion, Soul, R&B
Art: Front

01. In Case You Didn't Know (5:10)
02. All I Want (0:00)
03. Summer Day (Prelude) (1:01)
04. Summer Day (3:54)
05. Breathe (5:53)
06. Here Right Now (6:42)
07. Drumbeat Of Life (5:25)
08. Evermore (4:42)
09. Run On (4:20)
10. From Now On (5:39)
11. Nobody's Business (5:06)
12. It Don't Matter (4:00)
13. You're My Song (3:34)
14. Run On (Feat. Jaliyl Yaseen) (4:58)

Singer-songwriter, Rhonda Ross, is an international Social-Artist, who explores questions of race, gender, sexuality and spirituality through her art. Her original music lives in the gap between jazz, funk and gospel while her lyrics delve into life's biggest questions and answers. From racism, sexism and homophobia to the need for self-love and spirituality, Rhonda uses her music to examine the society in which she lives and through all of it, asks “In the midst of THIS, how can I still be free?" She has great power on stage and her refreshingly personal and moving performances set her apart from other vocalists of her era. Rhonda's music flows straight from her essence and her bright spirit uplifts everyone in the room. With a crown of natural hair, Rhonda graces the stage with the gravitas and glamour of a modern-day queen. As the only child of Diana Ross and Motown Founder Berry Gordy, it has become evident that Rhonda not only has the talent, but the significance to carry on her parents’ legacy, all the while establishing her own unique musical destination.

Rhonda's music is based in traditional jazz, but pulls from the entire African diaspora. In 1994, she met, married, and began a 20-year musical collaboration with jazz pianist and composer Rodney Kendrick. Through him, Rhonda commenced studying with the late jazz great Abbey Lincoln. “It was Abbey and Rodney who convinced me to begin my journey as a singer-songwriter.” Rhonda says, “I primarily consider myself a story-teller and poet. I use my music to inspire and to uplift. To teach people – including myself.” Their live CD, Rhonda Ross Live: Featuring Rodney Kendrick is a hot internet seller.

Now a mother to a young son, Rhonda’s music has taken on the more mature stance of a woman “with the understanding and wisdom of a 40 yr old, but the passion and dream-seeking of a 20 yr old!” And what a combination it is! Rhonda is one of the rare artists today using her music to examine the society she lives in – from racism to sexism to homophobia to the need for self-love and spirituality, Rhonda’s songs look through all of it and ask “In the midst of THIS, how can I still live the best life possible? New songs have emerged. Songs like: “Nobody’s Business” – a groovy, bass-led reminder that “your joy comes from the inside and that it’s nobody else’s job to make you happy”, and “Summer Day” - an upbeat realization that even after the harshest winter, the sun will re-emerge and “the buds of hope can still bloom”. ”Through Rhonda’s individual and creative expression, the legendary Ross influence continues to live on and expand.

Rhonda headlined one of President Obama’s 2nd Inaugural Balls, and later performed to standing ovations and rave reviews at The Hollywood Bowl, The Montreal International Jazz Festival, Wolf Trap, and The Theater at Madison Square Garden. Rhonda's live performance will thoroughly entertain you and move you to the point of tears – all while inspiring you to believe that you can do or be anything!

In Case You Didn't Know

---

Sonny Stitt - Live At The Hi Hat Vol. 2

Size: 150,3 MB
Time: 64:07
File: MP3 @ 320K/s
Released: 1996
Styles: Jazz
Art: Front

01. S.O.S. (Colombus Avenue Rhythm) (Live) ( 8:05)
02. Rockin' At The Hi Hat (Live) ( 2:22)
03. Indiana - Second Version;live ( 3:14)
04. They Can't Take That Away From Me (Live) ( 4:24)
05. Lover (Live) ( 3:03)
06. Flying Home - Second Version (Live) ( 2:54)
07. Mass Ave Swing (Live) ( 2:29)
08. They Say It's Wonderful (Live) ( 2:10)
09. One O'clock Jump (Live) (12:20)
10. Jeeper's Creepers (Live) ( 4:16)
11. Baritone Blues (Live) ( 4:01)
12. How High The Moon (Live) ( 6:10)
13. Body And Soul (Live) ( 3:53)
14. If I Had You (Live) ( 1:58)
15. Jumpin' With The Symphony Sid (Live) ( 2:41)

Sonny Stitt spent most of his career touring as a single, picking up rhythm sections wherever he appeared. On February 11, 1954, he was booked at the Hi-Hat in Boston and the local sidemen he came up with (pianist Dean Earl, bassist Bernie Griggs, and drummer Marquis Foster) were competent but undistinguished. That didn't matter much, though, because they were able to state basic chord changes, allowing Stitt to stretch out on standards and his riffing originals. Most unusual about this typical bebop jam is that in addition to his alto and tenor, Stitt triples on baritone (an instrument he otherwise only utilized on two songs for a Prestige date during this period). Stitt often switches horns during the brief piano spots and in fact, on a 12-minute version of "One O' Clock Jump," he takes solos on tenor, alto, and baritone. Although his flights and constant double-time passages could be predictable, Stitt's huge mental storage of ideas, song quotes, and personal licks is impressive and his fans will certainly enjoy this reasonably well-recorded set. ~by Scott Yanow

Live At The Hi Hat Vol. 2

---

Buddy Greene - December's Song

Size: 102,6 MB
Time: 40:36
File: MP3 @ 320K/s
Released: 2013
Styles: Folk, Holidays
Art: Front

01. Canticle Of The Turning (4:12)
02. Come Darkness, Come Light (4:37)
03. Sleigh Ride (3:01)
04. Christmas Time Is Here (Feat. Georganna Greene) (3:30)
05. If We Make It Through December (3:30)
06. Children Go Where I Send Thee (3:49)
07. I'll Be Home For Christmas (3:26)
08. Si Bheag Si Mhor/In The Bleak Midwinter (3:29)
09. Mary, Did You Know (3:31)
10. Joy To The World (Feat. Joyce Martin Sanders) (3:15)
11. Immanuel (God Is With Us) (4:12)

Buddy Greene is perhaps most well known as the co-writer of the Christmas favorite, "Mary, Did You Know?". On December's Song, his second seasonal recording (and 18th recording project), he offers up some of his favorite tunes of the season.

Highlights includes Buddy's extraordinary harmonica playing and accompany fellow musicians and singers. You'll hear: Bryan Sutton on guitar, mandolin, and bouzouki; Jeff Taylor on accordion, piano, and whistles; Byron House on upright bass; Aubrey Haynie on fiddle; and background singers Angie Primm, Joyce Martin, Jill Phillips, Charlotte Ritchie, Todd Suttles.

December's Song

---

Peggy Lee & George Shearing - Beauty and the Beat

Styles: Vocal Jazz
Year: 1959
File: MP3@320K/s
Time: 34:04
Size: 108,6 MB
Art: Front + Back

(3:01)  1. Do I Love You
(2:24)  2. I Lost My Sugar in Salt Lake C
(2:17)  3. Dreams Come True
(2:33)  4. All Too Soon
(1:40)  5. Mambo in Miami
(2:52)  6. Isn't It Romantic
(2:03)  7. Blue Prelude
(2:48)  8. You Came a Long Way from St Lo
(1:55)  9. Always True to You in My Fashi
(2:21) 10. There'll Be Another Spring
(1:54) 11. Get Out of Town
(2:44) 12. Satin Doll
(2:29) 13. Nobody's Heart
(2:56) 14. Don't Ever Leave Me

Upon its first release Beauty and the Beat! was billed as a live recording from a Miami convention of disc jockeys. Though Peggy Lee and George Shearing did in fact perform there (and attempts were made to record them for later release), the songs heard on the subsequent LP were recorded in the studio and overdubbed with rather obvious canned applause, announcements, and even post-production echo. Lee and Shearing, who had never recorded before, conceived a set of completely new arrangements that played to their strengths: stately blues and effervescent swing. The best of the former comes on a pair of locale-referencing quasi-blues, "I Lost My Sugar in Salt Lake City" and "You Came a Long Way From St. Louis," both of which Lee and Shearing are able to transform into languorous, respectable torch songs. The usually downcast "Blue Prelude" is actually taken at a laissez faire tempo that Lee treats well, and the original set ends with "Get Out of Town" and "Satin Doll," a pair of bemused, affectionate performances that perfectly suit the pair. Lee and Shearing's only collaboration on record- though both would occasionally perform together thereafter is a supremely chilled session of late-night blues from two masters of the form. ~ John Bush  http://www.allmusic.com/album/beauty-and-the-beat!-mw0000611837

Personnel: Peggy Lee (vocals); George Shearing (piano); Toots Thielemans (guitar); Ray Alexander (vibraphone); Carl Pruitt (bass); Ray Mosca (drums); Armando Peraza (congas, percussion).

Beauty and the Beat

---

Grover Washington, Jr. - Reed Seed

Styles: Flute and Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 39:45
Size: 92,7 MB
Art: Front

(4:27)  1. Do Dat
(6:15)  2. Step 'N' Thru
(4:54)  3. Reed Seed (Trio Tune)
(4:48)  4. Maracas Beach
(6:54)  5. Santa Cruzin
(4:46)  6. Just the Way You Are
(7:37)  7. Loran's Dance

Reed Seed was Grover Washington, Jr.'s final album for Kudu/Motown. It was also one of two recordings his issued in 1978 the other is the stone-killer live set Live at the Bijou. While the saxophonist had been experimenting with funk since 1971's Inner City Blues, by 1975's breakthrough recordings Mister Magic and Feels So Good, he'd perfected his groove. His appeal to fans of more radio-friendly material was ready: he had stellar grooves, very polished production, and accessible arrangements not too mention his stellar emotive attack on any saxophone he chose to play. Many straight-ahead jazz fans dug Washington's sound as well because of his technical facility on his instruments. Reed Seed, like its immediate studio predecessor Secret Place is a transition album from jazz-funk to what would become contemporary or, if you will, smooth jazz. That said, it is no less compelling than Mister Magic or Feels So Good. It follows those recordings in formula, beginning with the solidly funky "Do Dat," written by sidemen John Blake (keyboards and violin) and Leonard "Doc" Gibbs (percussion, vocals). Kicking it with a popping, repetitive bassline, Washington's tenor enters on the melody amid handclaps and the sounds of a backing chorus (provided by Rita & Lita Boggs). Containing a killer bass solo and bridge, it's a perfect length at 4:27 to be a single, and it was. This is followed by the uptown groover "Step "n" Thru," introduced by Blake's violin and synths, as well as nice guitar work from Richard Lee Steacker (the track's author). 

But the real prize is a smoking soprano solo from Washington as the tempo begins to move. The title track is a feature for Blake's violin to shine along with killer bass and percussion work, with Grover's soprano being intentionally restrained to providing its own sense of lyrical groove. There's a very fine cover of Billy Joel's "Just the Way You Are," and "Santa Cruzin'" sets the template for the direction he would follow in the future. It's a midtempo stepper with lithe funk and lots of acoustic piano and a very simple, direct melody that focuses on atmosphere as much as lyricism. The album's final number, "Loran's Dance," is a nocturnal one with Washington overdubbing his saxophone lines (alto and tenor); it develops on a Spanish-tinged theme, and the Rhodes work by Blake is exceptional. When Washington begins to solo, the atmosphere and textures are abundant yet full of space and dimension. It's sexy as hell.  Reed Seed was a fitting way for Washington to leave the Kudu/Motown stable; it's a high-quality, wonderfully memorable set of mid- and uptempo funky jazz from a master. In addition, while the charts may not support this assertion, it is, along with his other records for these imprints and CTI before them, arguably the best and most consistent string of albums he ever recorded, as well as the platform that launched him into superstardom first with Elektra and then with Columbia. ~ Thom Jurek  http://www.allmusic.com/album/reed-seed-mw0000691813

Personnel:  Grover Washington, Jr. (flute, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone);  Richard Lee Steacker (vocals, electric guitar);  John E. Blake, Jr. (vocals, electric violin, piano, Fender Rhodes piano, Clavinet);  Leonard "Doc" Gibbs (vocals, percussion);  Jeanine Otis, Rita Boggs, Lita Boggs (vocals);  James Sid Simmons (piano, electric piano, Fender Rhodes piano, Clavinet);  Tyrone Brown (acoustic bass, electric bass);  Milard "Pete" Vinann (drums).

Reed Seed

---

Bennie Moten's Kansas City Orchestra - The Chronological Classics 1929-1930

Styles: Jazz, Big Band
Year: 1991
File: MP3@320K/s
Time: 69:28
Size: 167,5 MB
Art: Front + Back

(3:05)  1. That Certain Motion
(2:50)  2. It Won't Be Long
(2:52)  3. When Life Seems So Blue
(2:55)  4. Loose Like A Goose
(2:55)  5. Just Say It's Me
(2:41)  6. New Goofy Dust Rag
(2:50)  7. Rumba Negro (Spanish Stomp)
(3:08)  8. The Jones Law Blues
(2:31)  9. Band Box Shuffle
(3:18) 10. Small Black
(3:07) 11. Every Day Blues (Yo Yo Blues)
(3:16) 12. Boot It
(3:18) 13. Mary Lee
(2:49) 14. Rit-Dit-Ray
(2:59) 15. New Vine Street Blues
(2:40) 16. Sweetheart Of Yesterday
(3:14) 17. Won't You Be My Baby?
(3:13) 18. I Wish I Could Be Blue
(2:56) 19. Oh! Eddie
(3:21) 20. That Too, Do
(3:03) 21. Mack's Rhythm
(3:23) 22. You Made Be Happy
(2:55) 23. Here Comes Marjorie

From 1929-30, the Bennie Moten Orchestra could hold its own with fellow big bands like Fletcher Henderson, Paul Whiteman and McKinney's Cotton Pickers, although it was the least known nationally of the four. The third of four Classics CDs completely reissuing Moten's recordings finds the young Count Basie taking over the piano slot and such stars joining the band as singer Jimmy Rushing and (by 1930) trumpeter Hot Lips Page. With cornetist Ed Lewis, Eddie Durham on trombone and guitar, clarinetist Harlan Leonard and Buster Moten (on accordion) also heard from, this was a mighty orchestra, as displayed on such numbers as "New Goofy Dust Rag," "The Jones Law Blues" and "New Vine Street Blues." The four imported Classics sets are certainly more complete than the two CDs put out domestically by Bluebird. ~ Scott Yanow http://www.cduniverse.com/productinfo.asp?pid=1065137&style=music&fulldesc=T

The Chronological Classics   1929-1930

---

Duke Pearson - Sweet Honey Bee

Styles: Piano Jazz
Year: 1966
File: MP3@320K/s
Time: 39:30
Size: 90,7 MB
Art: Front

(5:00)  1. Sweet Honey Bee
(5:43)  2. Sudel
(4:45)  3. After The Rain
(6:01)  4. Gaslight
(5:58)  5. Big Bertha
(6:00)  6. Empathy
(6:01)  7. Ready Rudy?

Pianist/composer Duke Pearson leads an all-star group on this run-through of seven of his compositions. The musicians trumpeter Freddie Hubbard, altoist James Spaulding, Joe Henderson on tenor, bassist Ron Carter, drummer Mickey Roker, and the pianist/leader are actually more impressive than many of the compositions, although the swinging minor-toned "Big Bertha" deserved to become a standard. The frameworks are quite intelligent, everyone doesn't solo on each selection, and the improvisations are concise and clearly related to each tune's melody and mood. Although not quite essential, this set has some rewarding music. ~ Scott Yanow http://www.allmusic.com/album/sweet-honey-bee-mw0000620441

Personnel: Duke Pearson (piano); James Spaulding (alto saxophone, flute); Joe Henderson (tenor saxophone); Freddie Hubbard (trumpet); Ron Carter (bass); Mickey Roker (drums).

Sweet Honey Bee

---

Kandace Springs - Kandace Springs EP

Styles: Vocal, Soul
Year: 2014
File: MP3@320K/s
Time: 14:25
Size: 33,4 MB
Art: Front

(3:14)  1. Love Got In The Way
(4:11)  2. West Coast
(3:41)  3. Meet Me In The Sky
(3:16)  4. Forbidden Fruit

Through her father, session vocalist Scat Springs, adult contemporary R&B artist Kandace Springs was able to get a demo recording heard by veteran producers Evan Rogers and Carl Sturken (Stephanie Mills, Christina Aguilera, Rihanna). The duo signed the Nashville native to their SRP Music Group, then shopped her material to labels, including Blue Note, who ultimately offered a recording contract that Springs signed. A singer, songwriter, and keyboardist who cites inspirations ranging from Billie Holiday to Lauryn Hill, Springs caught another break in July 2014 when Prince saw a clip of her performing Sam Smith's "Stay with Me." Prince contacted her and she flew to Minneapolis to perform at Paisley Park. Two months later, she issued her debut EP, a self-titled four-track release for SRP/Blue Note. Through 2015, she appeared on Ghostface Killah's 36 Seasons, Aqualung's 10 Futures, and Black Violin's Stereotypes. Her refined first album for Blue Note, Soul Eyes, was released in June 2016. It featured new songs, some of which were co-written by Springs, along with versions of Mal Waldron's "Soul Eyes" and War's "The World Is a Ghetto." ~ Andy Kellman https://itunes.apple.com/us/artist/kandace-springs/id338439458#fullText

Kandace Springs EP

---

Camille Howard - Vol. 1: Rock Me Daddy / Vol. 2: X-Temporaneous Boogie

Album: Vol. 1: Rock Me Daddy

Bitrate: MP3@320K/s

Time: 62:29

Size: 143.1 MB

Styles: R&B, Jump blues

Year: 1993

Art: Front

[2:12] 1. The Boogie And The Blues

[2:10] 2. You Don't Love Me

[2:24] 3. You Used To Be Mine

[2:44] 4. Unidentified Boogie #1

[2:39] 5. Has Your Love Grown Cold

[2:36] 6. The Mood I'm In

[2:02] 7. Gotta Have A Little Lovin'

[2:32] 8. How Long Can I Go On Like This

[2:28] 9. I'll Cry Over You

[2:20] 10. O Sole Mio Boogie

[2:10] 11. Within This Heart Of Mine

[2:34] 12. Modulation Boogie

[2:36] 13. I'm Blue

[2:44] 14. Rock Me Daddy

[2:31] 15. Broken Memories (Sad And Blue)

[2:33] 16. I Ain't Got The Spirit

[2:45] 17. Shrinking Up Fast

[2:40] 18. Easy

[2:29] 19. Money Blues

[2:25] 20. Schubert's Serenade Boogie

[2:36] 21. You Lied To Me Baby

[2:34] 22. Real Gone Daddy

[2:57] 23. Unidentified Boogie #2

[2:19] 24. Old Baby Boogie

[2:16] 25. Song Of India Boogie

25-song reissue of her 1947-52 Specialty material, about half previously unreleased. Includes "You Don't Love Me" and "Money Blues," but not the chart items "Fiesta In Mexico" and "XTemporaneous Boogie." Perhaps too suave and refined for the R&B/rock era, and as comfortable with jazzy ballads as boogies, Howard was nonetheless an important, and nowadays overlooked, star of the transitional era between jump blues and R&B. ~Richie Unterberger

Vol. 1: Rock Me Daddy

---

Album: Vol. 2: X-Temporaneous Boogie

Bitrate: MP3@320K/s

Time: 61:58

Size: 141.9 MB

Styles: R&B, Jump blues

Year: 1996

Art: Front

[2:19] 1. It's A Hit

[2:53] 2. Thrill Me

[2:03] 3. X-Temperaneous Boogie

[2:27] 4. Sweetheart Of All My Dreams

[2:39] 5. Scat Boogie

[2:46] 6. Sundays With You

[2:24] 7. Viper Boogie

[2:36] 8. Why Did You Do It

[2:18] 9. Fluff Boogie

[2:22] 10. Tired Of Me

[2:29] 11. I'll Cry Over You

[2:42] 12. Peggy's Boogie

[2:46] 13. Maybe It's Best After All

[2:10] 14. Ivory And Pick Boogie

[2:23] 15. I Wonder Who's To Blame

[2:33] 16. Modulation Boogie

[2:45] 17. Fool About You Daddy

[1:10] 18. Terri's Boogie

[2:40] 19. Please Don't Stay Away So Long

[2:56] 20. My Heart Goes Out To You

[2:12] 21. Belmont Boogie

[2:10] 22. Everything He Lacks (Everything You Like)

[2:53] 23. Sutherland Blues

[2:27] 24. Goldberg Boogie

[2:44] 25. Nobody Else

Twenty of these 25 sides, recorded for Specialty between 1947 and 1952, were previously unissued. But there's no difference in quality between these and the better-known ones presented on volume one; the label's decision on what to release was based more on marketing strategies than the level of the performances. Divided between instrumentals and pop-influenced vocal numbers, Howard again proves herself the master of boogie and jump blues piano styles, sometimes slowing things down into a jazzier mode. In addition to the storehouse of vault material, this compilation also includes a couple of late-'40s Top Ten R&B hits, "Thrill Me" and "X-Temporaneous Boogie." ~Richie Unterberger

Vol. 2: X-Temporaneous Boogie

---

Stuff Smith Quartet - Swingin' Stuff

Bitrate: MP3@320K/s
Time: 72:01
Size: 164.9 MB
Styles: Swing
Year: 1965/2005
Art: Front

[7:24] 1. Caravan
[5:08] 2. Take The A Train
[4:26] 3. Old Stinkin' Blues
[3:52] 4. Only Time Will Tell
[4:54] 5. Mack The Knife
[5:45] 6. One O'clock Jump
[5:08] 7. Blues For Timme (Timme's Blues)
[3:45] 8. My Blue Heaven
[3:09] 9. Bugle Blues
[5:10] 10. C Jam Blues
[6:58] 11. Perdido
[7:30] 12. S'posin
[8:47] 13. How High The Moon

Bass – Niels Peterson; Drums – Alex Riel; Piano – Kenny Drew; Violin – Stuff Smith. Recorded Copenhagen Denmark live.

Recorded five days after a similar performance at the Montmartre in Copenhagen by the same personnel (violinist Stuff Smith, pianist Kenny Drew, bassist Niels Pedersen and drummer Alex Riel), Stuff and his quartet are once again heard in top form. Four of the nine songs are repeated from the earlier date, but unfortunately, the music on this LP is currently out of print. On such tunes as "Bugle Blues," "Mack the Knife," "One O'Clock Jump" and "Take the 'A' Train," Stuff Smith shows that he was as hard-swinging an improviser as any horn player and that at the age of 55 he had not run out of gas yet. ~Scott Yanow

Swingin' Stuff

---

Alain Pacowski, Alan Chaubert - Double A

Bitrate: MP3@320K/s
Time: 74:04
Size: 169.5 MB
Styles: Contemporary jazz
Year: 2014
Art: Front

[ 9:09] 1. Children Of The Night
[10:23] 2. Shoshana Et La Valse Des Souvenirs
[ 7:06] 3. Comecar De Novo
[ 9:20] 4. Grande Late
[ 7:09] 5. Strawberry Fields Forever
[10:49] 6. In The Shadow
[11:09] 7. You'll Always Be In My Heart
[ 8:55] 8. Saying Goodbye

Double A Is a jazz quintet co-created by guitarist Alain Pacowski and trumpet player Alan Chaubert both musicians for NYC. Recorded in 2013 with pianist Helio Alves, bassist Essiet Essiet and drummer Mark Ferber, this album contains original compositions as well as covers by Wayne Shorter, Ivan Lins and the Beatles. The music is creative and always stays melodic and lyrical with influences ranging from straight ahead modern jazz to folk and indie rock.

Double A

---

Buddy DeFranco - Plays Artie Shaw

Bitrate: MP3@320K/s
Time: 45:47
Size: 104.8 MB
Styles: Bop, Clarinet jazz
Year: 1957/2005
Art: Front

[5:08] 1. Frenesi
[3:31] 2. Medley Dancing In The Dark Moonglow Time On My Hands
[2:44] 3. Keepin' Myself For You
[4:44] 4. Stardust
[4:31] 5. Summit Ridge Drive
[4:10] 6. My Heart Stood Still
[5:37] 7. Medley It Could Happen To You I Cover The Waterfront Someone To Watch
[4:47] 8. Cross Your Heart
[3:30] 9. Indian Love Call
[7:01] 10. Concerto For Clarinet

Bass – Joe Mondragon; Clarinet – Buddy DeFranco; Drums – Alvin Stoller, Milt Holland; Guitar – Barney Kessel, Howard Roberts; Piano, Harpsichord – Irving Garner, Jimmy Rowles; Trumpet – Ray Linn.

Buddy DeFranco is one of the great clarinetists of all time and, until the rise of Eddie Daniels, he was indisputably the top clarinetist to emerge since 1940. It was DeFranco's misfortune to be the best on an instrument that after the swing era dropped drastically in popularity and, unlike Benny Goodman and Artie Shaw, he has never been a household name for the general public.

When he was 14, DeFranco won an amateur swing contest sponsored by Tommy Dorsey. After working with the big bands of Gene Krupa (1941-1942) and Charlie Barnet (1943-1944), he was with TD on and off during 1944-1948. DeFranco, other than spending part of 1950 with Count Basie's septet, was mostly a bandleader from then on. Among the few clarinetists to transfer the language of Charlie Parker onto his instrument, DeFranco has won a countless number of polls and appeared with the Metronome All-Stars in the late '40s. He recorded frequently in the '50s (among his sidemen were Art Blakey, Kenny Drew, and Sonny Clark) and participated in some of Norman Granz's Verve jam session. During 1960-1963 DeFranco led a quartet that also featured the accordion of Tommy Gumina and he recorded an album with Art Blakey's Jazz Messengers on which he played bass clarinet. Work, however, was difficult to find in the '60s, leading DeFranco to accept the assignment of leading the Glenn Miller ghost band (1966-1974). He has found more artistic success co-leading a quintet with Terry Gibbs off and on since the early '80s and has recorded throughout the decades for many labels. ~bio by Scott Yanow

Plays Artie Shaw

---

Joel Press - Live at Smalls

Styles: Saxophone Jazz, Bop
Year: 2015
File: MP3@320K/s
Time: 68:55
Size: 158,9 MB
Art: Front

(7:27)  1. There Will Never Be Another You
(4:46)  2. I Never Knew
(7:41)  3. All of Me
(7:52)  4. I Hear a Rhapsody
(6:32)  5. Lover Man
(7:10)  6. All the Things You Are
(4:10)  7. On a Slow Boat To China
(8:51)  8. That Old Feeling
(7:58)  9. Sunrise
(6:26) 10. It's You or No One At All

Saxophonist Joel Press is a versatile musician who has performed with such diverse players as pianist Jaki Byard, bassist Jimmy Garrison of the John Coltrane Quartet, vocalist Sheila Jordan and Duke Ellington's ubiquitous cornetist/ violinist/ vocalist Ray Nance. A native New Yorker, he pursued classical studies at The Manhattan School of Music, where he earned a Master's degree. Joel Press speaks the language of swing based, post-World War II jazz in as singular a fashion as any living saxophonist. He has been listening to this music all of his life, and playing it for almost a half century. In recognition of the scope of his artistry, Cadence Jazz Records which released his Cd, Mainstream Extensions, included his Music From a Passionate Time in their historical series. The latter is a unique sampling of multi-track recordings of compositions and improvisations written for dance and film in the early 1970s. While reflecting his mainstream roots, this music is of a distinctly avant garde nature, a language which Press continues to explore in his duo and quartet performances with pianist Kyle Aho.

National Public Radio recently described Press as "The legendary Boston jazz musician." (He relocated to Boston in the late 1970s.) Grammy award winner, Bob Blumenthal wrote in his review of The Boston Globe Jazz Festival 's, Tribute to Lady Day and Prez, for which Joel served as music director: "All three tenors played well throughout and got better as the evening wore on. Press, closest to the source, took the coolest approach, but all burned in their own manner". In a subsequent concert review, Arthur Hepner, of The Boston Globe wrote" Solid techniques, rich sounds, imaginative improvisations and well meshed interplay yielded fine embroideries of music by Johnny Green, Cole Porter and others. Press's supple work on Body And Soul constituted the high point.

Personnel:  Joel Press - Tenor Saxophone;  Mike Kanan – Piano;  Spike Wilner - Piano (tracks 2, 5 & 7);  Chris Haney – Bass;  Boots Maleson - Bass (tracks 2, 5 & 7);  Fukushi Tainaka – Drums;  Steve Little - Drums (tracks 2, 5 & 7)

Live at Smalls

---

Nils Lindberg & Margareta Bengtson - As We Are

Styles: Vocal And Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 58:42
Size: 134,7 MB
Art: Front

(5:24)  1. Remember
(4:40)  2. B.B. Blues
(5:31)  3. As You Are
(6:00)  4. Springtime
(3:29)  5. I Remember Karelia
(2:45)  6. Santa Barbara
(4:49)  7. Skylark
(4:26)  8. Tingsmarschen
(4:56)  9. Tomorrow
(4:08) 10. Dry Martini
(4:45) 11. Blues For Bill
(4:51) 12. Shall I Compare Thee
(2:52) 13. Epilogue

With climate change and recent weather, the Shakespearean sonnet "Shall I Compare Thee to a Summer's Day?" would seem to have become a trifle outmoded. Still, where there's a Will there's a way and Nils Lindberg has set the piece to music. Lindberg is a true Renaissance man. From his home in Gagnef, a small village deep in the forests of the Swedish province of Dalecarlia, he emerges every now and again to dazzle us ordinary mortals with his many talents. Best known as a composer and arranger, he refuses to accept categorization and works with choirs, jazz bands, and symphony orchestras at will. Lindberg was the eminence grise behind Duke Ellington's favorite vocalist, Alice Babs. He wrote arrangements for Duke and composed a number of works for the Hanover Symphony Orchestra. He also, without batting an eyelid, collaborated with Josephine Baker, one-time infamous Jazz Age stripper and Judy Garland, who was as American as apple pie. In 1986 Lindberg performed his own works at the funeral service for Olof Palme, Sweden's assassinated prime minister. Three years later he wrote the music for a service given by the Pope in Uppsala Cathedral. He also found time to bring the lilting, melancholic strains of Dalecarlian folk music to the attention of a wider world in a memorable series of concerts and records.

At the age of 75, this remarkable man has once more left Gagnef to record As We Are. It is more jazz than anything else and launches the solo career of Margareta Bengtson (ex-The Real Group), the Swedish soprano most likely to take over the mantle of Alice Babs on the world stage. Out of his (loosely) classical bag, along with his Shakespearean foray, Lindberg has put music to "Remember," a haunting (and still pertinent) piece by 19th century English metaphysical poet Christina Rosetti. It's one of the album's best tracks. Had just a little more attention been paid to the clarity of the words, it might even have achieved greatness. Unfortunately Bengtson "swallows" some of them. Unlike the Muppet cook, Swedes actually do English exceedingly well, but as non-native speakers they're bound to get small things wrong and God is in the detail. Especially when it comes to poetry. No such problems on the jazz front. "B.B. Blues" (BB = Baritone Bass) and its brother "Blues for Bill" provide a chance for Bengtson to shine at wordless scatting. She makes a nice job too of the ballad "As You Are," probably Lindberg's best known composition, with words by American bassist Red Mitchell. The attractive ballad "Tomorrow" is by Jan Ohman, a Dalecarlian neighbor of Lindberg's. "Springtime" and "Dry Martini" are kinda-Dukish, "Santa Barbara" kinda-Bossa Nova.

Folk music is represented by an irreverently jazzy arrangement of the Finnish anthem "I Remember Karelia" with good work by Anders Paulsson on soprano saxophone. On "Tingsmarschen," a Dalecarlian marching tune, Lindberg takes a piano break to remind you that he's also no slouch as an instrumentalist. It's infuriating just how talented this man is! At his age, it can only be hoped that he did not intend the closer, the piano solo "Epilogue," as a reference to his life's work. His music is both experimental and intensely melodic, angularly lyrical if there is such a thing. It refuses politely but very firmly to sit comfortably in the background. In this day and age we need more of that sort of thing. ~ Chris Mosey https://www.allaboutjazz.com/as-we-are-nils-lindberg-prophone-records-review-by-chris-mosey.php

Personnel: Nils Lindberg: piano, arranger, composer, conductor; Margareta Bengtson: vocals; Jan Allan: trumpet; Anders Paulsson: soprano, tenor saxophones; Alberto Pinton: baritone saxophone; Joakim Milder: tenor saxopPhone; Hans Akesson, Hakan Brostrom: alto saxophone; Jan Adefelt: bass; Bengt Stark: drums.

As We Are

---

Marion Meadows - Dressed to Chill

Styles: Saxophone Jazz, Smooth Jazz
Year: 2006
File: MP3@320K/s
Time: 56:33
Size: 130,1 MB
Art: Front

(4:01)  1. Dressed to Chill
(4:17)  2. Remember Me
(4:44)  3. Dance with My Daughter
(4:35)  4. Miss Know It All
(4:32)  5. Bounce
(4:36)  6. I Believe I Can Fly
(4:20)  7. Coco Flow
(4:31)  8. Just My Style
(5:21)  9. Scent of a Woman
(4:05) 10. Steppers...Let's Do This
(6:09) 11. 1000 Dreams
(5:17) 12. To Love Her

Soprano saxist Marion Meadows has been a crown prince in the smooth jazz court for so long, it's easy to wonder if he remembers his days woodshedding with Joe Henderson and Norman Connors' Starship Orchestra. He's been wildly successful, and his time with the Heads Up label has hardly been wasted; his rep is deep and wide, and his records move. Unlike a better selling counterpart on the same instrument, Meadows has a keen sense of rhythm and pitch, and his tonal control is top-notch. Given the tunes here, interchangeable deep relaxing grooves that borrow on everything from trip-hop to jazz, and house to Wes Montgomery's early experiments check "Remember Me," for evidence of the latter it's easy to forget the individuality Meadows possesses not only on soprano, but also on tenor and flute (he employs all three on "Coco Flow,") as well as alto on the opening title track. He duets with himself on soprano and tenor on "Bounce" and "Remember Me." Meadows' key collaborator here is composer, programmer, and keyboard whiz Mike Broening. He's the guy who comes up with the skeletal, wispy rhythm loops leaving the need for a drummer non-existent. There are three tracks with vocals here, "Miss Know It All," an urban soul ballad with Will Brock doing his best Terence Trent D'Arby, and "1000 Dreams" with Caji Da Bahia, an overblown sunstorm of loaded overdubbing. The cover of R. Kelly's "I Believe I Can Fly" is an understated ballad with some beautiful phrasing by Meadows, even when the all too familiar chorus kicks in. When the backing vocalists Vanessa and Lori Williams and Raymond Reeder enter, they are so utterly masked by production technique, it's hard to tell they are real singers. But it works, especially in the bridge when Meadows actually plays some blues lines. Meadows is a seriously gifted if unchallenged musician. He could use a new writing partner, but that doesn't mean that Dressed to Chill won't satisfy fans; it most certainly will. ~ Thom Jurek http://www.allmusic.com/album/dressed-to-chill-mw0000534068

Personnel: Marion Meadows (flute, bass clarinet, soprano saxophone, alto saxophone, tenor saxophone); Will Brock (vocals); Freddie Fox (guitar, electric guitar, flugelhorn); Chuck Loeb, Randy Bowland (guitar); Thano Sahnas (acoustic guitar); Mike Broening (piano, keyboards, programming); Lori Williams, Raymond Reeder (background vocals).

Dressed to Chill

---

Greg Manning - Sugar & Spice

Styles: Jazz, Smooth Jazz
Year: 2016
File: MP3@320K/s
Time: 42:52
Size: 98,7 MB
Art: Front

(4:11)  1. Sugar & Spice (feat. Donald Hayes)
(4:36)  2. Round 'N'Round (feat. J. Reid)
(4:46)  3. I Need to Know (feat. Adam Hawley)
(4:57)  4. When You Love Someone (feat. Gabriel Hasselbach)
(3:42)  5. Caribbean Breeze
(4:44)  6. Les Étoiles de Paris (feat. Patrick Bettison)
(4:12)  7. Esperanza
(2:30)  8. The Beauty Within
(5:04)  9. Happy (feat. Donald Hayes)
(4:05) 10. Before the Dawn

Born in Nigeria and brought up in Switzerland, composer producer and keyboard player Greg Manning moved to Los Angeles in the nineties. Since then he has been building a niche position within the annals of contemporary jazz not only through his collaborations with Mindi Abair and Jonathan Butler but also with his own ever-expanding discography. His 2010 project, ‘The Calling’, quickly got the ball rolling and he followed up four years later with the excellent ‘Dance With You’.  Now, with a release date of July 22, comes ‘Sugar & Spice’ from which the title cut is already blazing a trail to radio. http://smoothjazztherapy.typepad.com/my_weblog/2016/06/greg-manning-sugar-spice.html

Sugar & Spice

---