Cootie Williams & His Orchestra - 1946-1949

Bitrate: MP3@320K/s
Time: 64:08
Size: 146.8 MB
Styles: Big band, Swing, Early R&B
Year: 2000
Art: Front

[2:39] 1. Rhapsody In Bass
[3:06] 2. Ain't Got No Blues Today
[2:46] 3. Bring 'em Down Front
[3:08] 4. I Can't Get Started
[2:44] 5. Inflation Blues
[3:05] 6. I Want To Be Loved
[2:51] 7. Sound Track
[3:15] 8. Ooh La La
[2:52] 9. Save The Bones For Henry Jones
[3:01] 10. If It's True
[2:42] 11. I Should Have Been Thinkin' Instead Of Drinkin'
[2:54] 12. You Talk A Little Trash
[2:41] 13. Typhoon
[3:18] 14. I Love You, Yes I Do
[3:09] 15. Smooth Sailing
[3:08] 16. Gator Tail, Pt. 1
[2:46] 17. Gator Tail, Pt. 2
[2:59] 18. Let 'em Roll
[3:33] 19. Slidin' And Glidin'
[2:12] 20. Mercenary Papa
[2:46] 21. Down The Gator Tail
[2:23] 22. You Gotta Pay Those Dues

Classics picks up the story of former Ellington trumpeter Cootie Williams as the leader of his own orchestra from 1946 through 1949 on sides he recorded for Capitol, Majestic, and Mercury. Vocalists Bob Merrill, Billy Matthews, and Eddie Mack are heavily featured on these 22 cuts. The R&B jump music of Louis Jordan and Wynonie Harris were big draws in the nightclubs and jukeboxes of the time and much of this material lends itself to that style. "Inflation Blues" is a takeoff of the "Let the Good Times Roll" theme, while "Save the Bones for Henry Jones," "I Should O' Been Thinking Instead of Drinkin," "Gator Tail" (parts one and two), and "Doin' the Gator Tail" are enjoyable mixtures of novelty lyrics and stompin' R&B instrumentals. While Williams favored this commercial recipe during these years, he did manage to wax a few ballads, such as "I Can't Get Started" and "I Want to Be Loved," and orchestra numbers like "Rhapsody in Bass"; "Sound Track" leans toward the Ellingtonesque style he was an earlier participant in. ~Al Campbell

1946-1949

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Sandra King, Richard Rodney Bennett - The Magic Window

Bitrate: MP3@320K/s
Time: 53:24
Size: 122.2 MB
Styles: Vocal jazz
Year: 1988/1995
Art: Front

[2:40] 1. Like Someone In Love
[4:04] 2. Only The Lonely
[3:21] 3. It Could Happen To You
[3:38] 4. I Could Have Told You
[3:58] 5. Going My Way
[2:39] 6. What Does It Take
[4:57] 7. The Second Time Around
[3:34] 8. Humpty Dumpty Heart
[5:28] 9. Medley You Think Of Everything Welcome To My Dream
[2:37] 10. And His Rocking Horse Ran Away
[4:26] 11. I'll Only Miss Him When I Think Of Him
[2:57] 12. I Thought About You
[4:32] 13. All My Tomorrows
[4:27] 14. The Magic Window

Sandra King-voc, Richard Rodney Bennett-voc & pno, Gene Bertoncini-gtr, Michael Moore-bs in a celebration of Jimmy Van Heusen's music. Recorded at Mapelshade Studios, Glen Dale, MD (11/10/1986/11/11/1986).

The Magic Window

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Harry Connick, Jr. - Harry Connick, Jr.

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 39:02
Size: 89,6 MB
Art: Front

(4:13)  1. Love is Here to Stay
(5:51)  2. Little Clown
(1:36)  3. Zealousy
(3:26)  4. Sunny Side of the Street
(5:25)  5. I Mean You
(5:04)  6. Vocation
(5:03)  7. On Green Dolphin Street
(4:15)  8. Little Waltz
(4:04)  9. E

Harry Connick, Jr.'s first Columbia album features him mostly playing stride piano solos in a style heavily influenced by Thelonious Monk. Bassist Ron Carter drops by for a duet on his own "Little Waltz" while "E" finds Connick welcoming bassist Reginald Veal and drummer Herman Riley. The instrumental set is generally colorful even if Connick's timing was not too steady at this point. Standards alternate with forgotten originals with the highlights being "On the Sunny Side of the Street," "I Mean You" and "On Green Dolphin Street." ~ ScottYanow http://www.allmusic.com/album/harry-connick-jr-mw0000651529

Solo performer: Harry Connick, Jr. (vocals, piano).

Harry Connick, Jr.

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Terence Trent D'Arby - Introducing The Hardline According To Terence Trent D'Arby

Styles: Vocal Pop, Funk
Year: 1987
File: MP3@320K/s
Time: 47:11
Size: 108,8 MB
Art: Front

(5:17)  1. If You All Get To Heaven
(3:14)  2. If You Let Me Stay
(3:30)  3. Wishing Well
(3:36)  4. I'll Never Turn My Back On You (Father's Words)
(3:54)  5. Dance Little Sister
(4:31)  6. Seven More Days
(5:32)  7. Let's Go Forward
(2:59)  8. Rain
(4:38)  9. Sign Your Name
(5:36) 10. As Yet Untitled
(4:21) 11. Who's Loving You

Introducing the Hardline According to Terence Trent d'Arby is a strong debut by this young singer, who wrote virtually every note, played a multitude of instruments, and claimed that this was the most important album since the Beatles' Sgt. Pepper. Hits included "If You Let Me Stay," "Dance Little Sister," "Sign Your Name," and the number one "Wishing Well." His first album is a curious mixture of old and new styles. Although the production is quite modern, d'Arby shows his roots in the work of older artists, borrowing a page or two from Michael Jackson and Stevie Wonder, while James Brown appears to have had the strongest influence on d'Arby's stage presence. ~ Rob Bowman http://www.allmusic.com/album/introducing-the-hardline-according-to-terence-trent-darby-mw0000197584

Personnel: Terence Trent D'Arby (vocals, baritone saxophone, piano, Clavinet, keyboards, drums, percussion); Christian Marsac (guitar, saxophone); Pete Glenister, "Blast" Murray, Tim Cansfield (guitar); Mel Collins (saxophone); Nick Plytas, Andy Whitmore (keyboards); Cass Lewis, Sean Oliver, Phil Spalding (bass); Preston Heyman (drums, percussion); Clive Mngaza, Bruce Smith (drums); Frank Ricotti (percussion); Ivar Ybrad (sinbula); Tony Jackson, Lance Ellington, Phil Legg, Michelle Oldland, Martyn Ware, Glenn Gregory (background vocals).

Introducing The Hardline According To Terence Trent D'Arby

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Marcus Printup - Ballads - All Night

Styles: Trumpet Jazz
Year: 2010
File: MP3@224K/s
Time: 58:21
Size: 93,8 MB
Art: Front

(6:38)  1. Miles Away
(5:08)  2. Emily
(8:03)  3. Memory Box
(8:28)  4. Lullaby For Nanay
(6:36)  5. Love As Is
(4:46)  6. Corcovado
(9:56)  7. The Nearness Of You
(8:44)  8. Blues All Night

After a flurry of promising CDs for Blue Note at the beginning of his career, trumpeter Marcus Printup has found a home with the Danish label Steeplechase, which has given him pretty much free rein to hire musicians and choose material for his record dates. This mostly ballad date features a number of less familiar names, including rising young pianist Dan Nimmer, trombonist Chris Crenshaw, and harpist Riza Hequibal, varying the lineup a bit from one track to the next. Printup's tone and his reserved playing style add polish to each of the ballads, whether using open or muted horn. The blend between the leader and Crenshaw works very well in his original "Miles Away." "Blues All Night" showcases bassist Carlos Henríquez, while Crenshaw's sassy muted solo recalls some of the great trombonists from Duke Ellington's orchestra, and the leader is effective in both open and muted solos, followed by Nimmer's laid-back yet blues-drenched solo. Printup is hardly the first jazz musician to include a harp in a small-group setting, though it is still the exception rather than the rule on jazz record dates. His duets with Hequibal include moving settings of the standard "Emily" and the bossa nova gem "Corcovado" (arranged by Hequibal), while she is present on several of the other tracks as well. This is another potent date by Marcus Printup. ~ Ken Dryden http://www.allmusic.com/album/ballads-all-night-mw0001961336

Personnel:  Marcus Printup (Trumpet);  Chris Chrenshgaw (trombone);  Dan Nimmer (Piano);  Carlos Henriquez (bass); Quincy Davis (drums);  Riza Printup (harp)

Ballads

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Kristin Chenoweth - The Art Of Elegance

Styles: Vocal Jazz
Year: 2016
File: MP3@320K/s
Time: 50:48
Size: 117,1 MB
Art: Front

(4:04)  1. Someone to Watch over Me
(2:54)  2. I’ve Got a Crush on You (feat. Dave Koz)
(3:09)  3. Let’s Fall in Love
(4:59)  4. Bewitched, Bothered and Bewildered
(3:22)  5. Zing! Went the Strings of My Heart
(4:23)  6. The Very Thought of You (feat. Dave Koz)
(3:04)  7. They Can’t Take That Away from Me
(4:05)  8. A House Is Not a Home
(4:26)  9. I Get Along Without You Very Well
(4:42) 10. Skylark
(5:38) 11. I’m a Fool to Want You
(3:02) 12. Smile
(2:53) 13. You’re My Saving Grace…

Throughout a remarkable career that encompasses stellar work in live theatre, television, film, music and concerts, Kristin Chenoweth has established herself as one of the preeminent interpreters of American songcraft. After having covered country, Christian and Christmas music, the iconic artist continues her personal exploration on The Art of Elegance  her first album of American Songbook classics scheduled for release on September 23, 2016 via Concord Records. The follow-up to Chenoweth’s Concord debut Coming Home, The Art of Elegance is an ideal showcase for the charismatic artist’s sublime interpretative skills. The 13-song set, produced by veteran producer and vocalist Steve Tyrell, finds Chenoweth tackling timeless, beloved classics by the likes of George Gershwin (“Someone to Watch Over Me”), Harold Arlen (“Let’s Fall in Love”), Rodgers and Hart (“Bewitched, Bothered and Bewildered”), Burt Bacharach and Hal David (“A House Is Not a Home”), Hoagy Carmichael (“I Get Along Without You Very Well”) and Johnny Mercer (“Skylark”). Although The Art of Elegance‘s 13 songs represent a diverse assortment of periods and styles, the material, along with Chenoweth’s personally charged performances, share the attitude that provides the album’s title.

“Elegance is a quality that I look for, in music and in life,” the artist comments. “It goes back deep within me. I’ve always felt that even a little girl from Oklahoma could still be elegant, not just in her musical tastes, but in the way she treats others, how she dresses. I love all kinds of music, but this repertoire has spoken to me my whole life. I remember learning some of this music as young as twelve, and thinking to myself that one day, I would get to perform it. Now here I am with a record dedicated to the melodies and lyrics of some of our greatest composers.” Indeed, Chenoweth relishes the opportunity to bring new emotional depth to classic songs, and to introduce these time-honored compositions to new listeners. “Of course I love to sing songs that people know,” she asserts. “Songs that we’ve heard before are like our DNA; we know them in our hearts. Honoring the singers who have sung this repertoire is the most challenging part of the process, singing it from my heart and my perspective and my experience. It’s a challenge, but it’s a fun one. In every song I sing, I must find my own phrasing, down to the final breath. A lot can be said in a breath or a pause. I also chose songs like ‘Skylark’ and ‘I Get Along Without You Very Well’ because I want to reintroduce them to my younger fans.” Chenoweth sings the praises of Steve Tyrell, whose experience and expertise made him an ideal collaborator.

“Steve and I are a match made in heaven,” Chenoweth states. “Not only is he an incredible singer and performer in his own right, he has a wealth of knowledge of all music. I love that I can have a conversation with Steve from Prince to Sinatra to Adele to Gershwin. He has a fantastic ear and kept reminding me, ‘KC, you don’t have to be perfect the first time!’ He helped me choose the spots to really let go, and he knew when subtlety was required. Chenoweth is particularly pleased, too, with the haunting Frank Sinatra number “I’m a Fool to Want You,” a song which she discovered just in time to include it on the album. “I hope somewhere up there, Sinatra is happy with my version.” Another favorite is “I Get Along Without You Very Well.” “That one has personal significance for me that I think is self-explanatory.” Another favorite, she adds, “is ‘Smile.’ One of the biggest lessons I keep learning is to smile, even when you don’t feel like it. That song is in my top five of all songs ever written. Simple in nature, but deep with meaning. This may sound morbid, but I hope someday when I pass, someone sings that song in honor of me.”

Since achieving Broadway stardom with her roles in You’re a Good Man, Charlie Brown and Wicked, Kristin Chenoweth has effortlessly transitioned between her parallel careers in stage, television, film and music. After winning a Tony award for You’re a Good Man, Charlie Brown and earning Tony nominations for Wicked and On the Twentieth Century, she won an Emmy award for her role in the ABC TV series Pushing Daisies, and received two Emmy nominations for her work in the Fox series Glee. In addition to numerous other TV, film and stage projects, she was featured in 34 episodes of NBC’s The West Wing, was a guest judge on American Idol and Project Runway, and has recorded four studio albums. In 2014, Chenoweth released Coming Home, a live album, DVD and PBS special recorded at a historic concert in her hometown of Broken Arrow, Oklahoma. “It would be impossible for me not to sing,” Chenoweth concludes. “I never feel like I’m not working on my next record, my next concert, the next show… It never occurred to me not to record music that I love. Even if it’s on my own tape recorder. Even if it’s on my iPhone. Music is life for me.” http://www.officialkristinchenoweth.com/audio/the-art-of-elegance/

The Art Of Elegance

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Kenny Rankin - Hiding In Myself

Styles: Vocal, Adult Contemporary
Year: 1988
File: MP3@224K/s
Time: 53:23
Size: 86,1 MB
Art: Front

(4:49)  1. Lovin' Side
(5:33)  2. Before The Fall
(4:05)  3. Delila
(3:48)  4. Hiding Inside Myself
(4:12)  5. Trouble Man
(4:02)  6. Keep The Candle Burnin'
(4:37)  7. Lets Get It On
(5:22)  8. She Knows Me Well
(3:43)  9. Down The Road
(5:33) 10. Velez
(3:36) 11. Muddy Creek
(3:59) 12. She Moves, Eyes Follow

Returning to recording after nearly eight years, Rankin bounced back with this one and only album for the A&M subsidiary label, Cypress. With crack support from such jazz and session aces as Lee Sklar, Robben Ford, Steve Lukather, and David Benoit, along with old friends John Sebastian and David Crosby, Rankin made up for some lost ground. The fine balance between light jazz and soft rock fit in nicely with the growing genre of adult pop that would morph into Triple A radio a few years later. Still, the songs are not Rankin's best and, aside from his efforts on a couple of admirable Marvin Gaye covers and one Jimmy Webb interpretation, Rankin's stronger talents do not come through. Also, the album includes only two tracks on which Rankin plays guitar. Nonetheless, it was a clear signal that Rankin was beginning to re-emerge, and future albums would bear the fruit of his labors during this period. ~ Stephen J.Matteo http://www.allmusic.com/album/hiding-in-myself-mw0000197469

Hiding In Myself

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Gary Crosby - Gary Crosby Belts Out The Blues/The Happy Bachelor

Bitrate: MP3@320K/s
Time: 64:42
Size: 148.2 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[3:11] 1. Sentimental Journey
[3:10] 2. What's Your Story, Morning Glory
[3:20] 3. In The Wee Small Hours Of The Morning
[2:54] 4. Breeze (Blow My Baby Back To Me)
[2:55] 5. After The Lights Go Down Low
[3:40] 6. St. Louis Blues
[2:25] 7. Miss You So
[3:14] 8. Night Train
[2:52] 9. Baltimore Oriole
[3:41] 10. I'm Gonna Move To The Outskirts Of Town
[3:34] 11. Mood Indigo
[3:34] 12. Blues In The Night
[1:58] 13. The Happy Bachelor
[1:35] 14. Glow Worm
[1:29] 15. Into Each Life Some Rain Must Fall
[2:25] 16. This Little Girl Of Mine
[2:35] 17. Side By Side
[1:48] 18. You Won't Be Satisfied Until You Break My Heart
[2:57] 19. I've Got My Love To Keep Me Warm
[2:33] 20. Mañana
[2:49] 21. I'll Never Be Free
[1:52] 22. Ole Buttermilk Sky
[1:42] 23. Undecided
[2:19] 24. I'm Beginning To See The Light

Tracks #1-12 from the Verve album "Gary Crosby Belts the Blues" (MG VS-6018). Don Fagerquist, Al Porcino (tp), Frank Rosolino (tb), Bud Shank (as), Bob Enevoldsen, Bill Holman (ts), Bill Pitman, Al Viola (on #1,8,11 & 12), Al Hendrickson (g on #2-7,9 & 10), Claude Williamson (p), Joe Mondragon (b), Mel Lewis (d). Recorded in Hollywood at Radio Recorders, on December 15 (#1,8,11 & 12); December 17 (#2,4,5 & 7); and December 18 (#3,6,9 & 10), 1959. Recorded in Hollywood at Radio Recorders, on April 8 (#19-22); April 9 (#17,18,23 & 24); and April 10 (#13-16), 1959. Tracks #13-24 from the Verve album "The Happy Bachelor" (MG VS-6067). Tracks #19-22: Paul Smith (p), Howard Roberts (g), Joe Mondragon (b), Larry Bunker (d). Tracks #17-18,23 & 24: Paul Smith (p), Gene Estes (vib), Howard Roberts (g), Joe Mondragon (b), Bill Richmond (d). Tracks #13-16: Pete Candoli (tp), Paul Smith (p), Howard Roberts (g), Joe Mondragon (b), Larry Bunker (d). Recorded in Hollywood at Radio Recorders, on April 8 (#19-22); April 9 (#17,18,23 & 24); and April 10 (#13-16), 1959

The eldest of Bing Crosbys sons, Gary (1933-1995), became, almost inevitably, part of the entertainment business from his early teens, performing for quite a few years with considerable success as an actor and singer. Unfortunately, from the late 60s his career began to decline due to personal problems and never recovered. But in the late 50s, while he was still enjoying the limelight, he recorded these two albums, singing with swing, conviction and the benefit of some exceptionally crisp and driving jazz backing.

On the first, G.C. Belts the Blues, an eleven-piece band conducted and arranged by Marty Paich provides the swinging framework to Crosbys interpretations of well known, bluesy tunes. On the second, The Happy Bachelor, arranger Bunny Botkin uses a quartet with guitar, with the occasional addition of a trumpet or a vibist to make it a quintet. The groups support adds zest to a collection of pleasant tunes, while Crosbys charm and personality reveal an artist of style and individuality.

Gary Crosby Belts Out The Blues/The Happy Bachelor

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Stevie Wonder - Fulfillingness' First Finale

Bitrate: MP3@320K/s
Time: 42:36
Size: 97.5 MB
Styles: R&B
Year: 1974/2013
Art: Front

[3:28] 1. Smile Please
[5:02] 2. Heaven Is 10 Zillion Light Years Away
[3:29] 3. Too Shy To Say
[4:56] 4. Boogie On Reggae Woman
[4:20] 5. Creepin'
[3:23] 6. You Haven't Done Nothin'
[4:01] 7. It Ain't No Use
[5:59] 8. They Won't Go When I Go
[3:48] 9. Bird Of Beauty
[4:07] 10. Please Don't Go

After the righteous anger and occasional despair of the socially motivated Innervisions, Stevie Wonder returned with a relationship record: Fulfillingness' First Finale. The cover pictures his life as an enormous wheel, part of which he's looking ahead to and part of which he's already completed (the latter with accompanying images of Little Stevie, JFK and MLK, the Motor Town Revue bus, a child with balloons, his familiar Taurus logo, and multiple Grammy awards). The songs and arrangements are the warmest since Talking Book, and Stevie positively caresses his vocals on this set, encompassing the vagaries of love, from dreaming of it ("Creepin'") to being bashful of it ("Too Shy to Say") to knowing when it's over ("It Ain't No Use"). The two big singles are "Boogie on Reggae Woman," with a deep electronic groove balancing organic congas and gospel piano, and "You Haven't Done Nothin'," an acidic dismissal of President Nixon and the Watergate controversy (he'd already written "He's Misstra Know-It-All" on the same topic). As before, Fulfillingness' First Finale is mostly the work of a single man; Stevie invited over just a bare few musicians, and most of those were background vocalists (though of the finest caliber: Minnie Riperton, Paul Anka, Deniece Williams, and the Jackson 5). Also as before, the appearances are perfectly chosen; "Too Shy to Say" can only benefit from the acoustic bass of Motown institution James Jamerson and the heavenly steel guitar of Sneaky Pete Kleinow, while the Jackson 5 provide some righteous amens to Stevie's preaching on "You Haven't Done Nothin'." It's also very refreshing to hear more songs devoted to the many and varied stages of romance, among them "It Ain't No Use," "Too Shy to Say," "Please Don't Go." The only element lacking here, in comparison to the rest of his string of brilliant early-'70s records, is a clear focus; Fulfillingness' First Finale is more a collection of excellent songs than an excellent album. ~John Bush

Fulfillingness' First Finale

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The Gene Harris Quartet - Listen Here!

Bitrate: MP3@320K/s
Time: 53:09
Size: 121.7 MB
Styles: Soul-jazz, Piano jazz
Year: 1989
Art: Front

[6:22] 1. This Masquerade
[3:51] 2. Don't Be That Way
[6:39] 3. I've Got A Feeling I'm Falling
[4:58] 4. Listen Here
[3:48] 5. This Can't Be Love
[5:36] 6. To You
[5:07] 7. Blues For Jezebel
[5:55] 8. Sweet And Lovely
[5:49] 9. Lullabye
[4:59] 10. The Song Is Ended

Although often associated with the blues, only one of the ten selections on this quartet set by pianist Gene Harris (who is joined by guitarist Ron Eschete, bassist Ray Brown, and drummer Jeff Hamilton) is technically a blues. On this excellent all-around showcase for the soulful pianist, Harris sounds in prime form exploring such tunes as "This Masquerade," "Don't Be That Way," Eddie Harris' "Listen Here," and "The Song Is Ended." Listen Here! gives listeners a pretty definitive look at Gene Harris' accessible and swinging style. ~Scott Yanow

Listen Here!

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Red Holloway - Red Holloway & Company

Styles: Saxophone Jazz
Year: 1987
File: MP3@320K/s
Time: 44:19
Size: 103,6 MB
Art: Front

(6:15)  1. But Not for Me
(5:41)  2. Caravan
(5:03)  3. Passion Flower
(5:36)  4. Blues for C.J.
(4:23)  5. Well You Needn't
(6:39)  6. What's New
(5:47)  7. Summertime
(4:52)  8. Tokyo Express

Saxophonist Red Holloway (equally distinctive on tenor and alto) performs a more diverse program than usual on this Concord CD, infusing such songs as "But Not for Me," "Passion Flower," Thelonious Monk's "Well You Needn't," "Summertime" and two of his originals with plenty of soul and solid swing. Holloway, a masterful interpreter rather than an innovator, is in top form throughout the recommended set, which also features pianist Cedar Walton, bassist Richard Reid and drummer Jimmie Smith. ~ Scott Yanow http://www.allmusic.com/album/red-holloway-and-company-mw0000651175

Personnel: Red Holloway (alto & tenor saxophones); Cedar Walton (piano); Richard Reid (bass); Jimmie Smith (drums).

Red Holloway & Company

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Bobby Jaspar - With George Wallington and Idrees Sulieman

Styles: Flute And Saxophone Jazz

Year: 1957

File: MP3@320K/s

Time: 45:58

Size: 105,5 MB

Art: Front

(9:00)  1. Seven Up

(6:01)  2. My Old Flame

(5:55)  3. All Of You

(6:52)  4. Doublemint

(6:14)  5. Before Dawn

(5:40)  6. Sweet Blanche

(6:13)  7. The Fuzz

This CD reissue, which adds "The Fuzz" to the original six-song LP, is a fine showcase for Bobby Jaspar and acts as an excellent introduction to his playing. A mellow-toned tenor and a fluent flutist who was quite bop-oriented, Jaspar is featured with pianist George Wallington, bassist Wilbur Little, drummer Elvin Jones, and (on three numbers) trumpeter Idrees Sulieman. The majority of the tunes (other than "My Old Flame" and "All of You") are originals by group members, straight-ahead tunes with good blowing changes. Recommended. ~ Scott Yanow http://www.allmusic.com/album/bobby-jaspar-with-george-wallington-mw0000279813

Personnel: Bobby Jaspar (flute, tenor saxophone); Idrees Sulieman (trumpet); George Wallington (piano); Elvin Jones (drums).

With George Wallington and Idrees Sulieman

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Marcus Printup - A Time for Love

Styles: Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 65:17
Size: 149,9 MB
Art: Front

( 6:25)  1. Blue Bossa
( 6:44)  2. Besame Mucho
( 6:02)  3. I Remember Clifford
( 6:16)  4. A Time for Love
( 7:34)  5. Bewitched, Bothered and Bewildered
( 7:54)  6. Song for My Father
(10:40)  7. Maiden Voyage
( 6:59)  8. Dahil Sa'yo
( 6:38)  9. It Might as Well Be Spring

Marcus Printup's fifth CD for Steeplechase was inspired by the few tracks featuring harpist Riza Hequibal (his wife) on his previous CD for the label; this time around, it's just the two of them and bassist Kengo Nakamura. While there have been a few jazz harpists since the 1940s, the instrument is still a rarity. The trumpeter and flügelhornist has benefited from producer Nils Winther's interest in recording him on a regular basis, while Printup has delivered several outstanding sessions for Winther. The chemistry between the musicians is readily apparent from the opening track, a breezy take of Kenny Dorham's "Blue Bossa," with strong solos all around and the lack of additional players never being an issue. Printup's emotional trumpet in "I Remember Clifford" and "A Time for Love" is buoyed by Hequibal's shimmering harp. The strings give the sassy, light arrangement of Horace Silver's normally percussive "Song for My Father" a step in a new direction. Hequibal almost sounds like a guitarist at times in "Maiden Voyage." Printup switches to flügelhorn for the heartfelt "It Might as Well Be Spring," making the most of his spacious scoring of this timeless standard. Highly recommended. ~ Ken Dryden http://www.allmusic.com/album/a-time-for-love-mw0002106087

Personnel: Marcus Printup (trumpet, flugelhorn); Riza Hequibal (harp).

A Time for Love

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Flora Purim - Stories To Tell

Bitrate: MP3@320K/s
Time: 39:59
Size: 91.6 MB
Styles: Fusion, Latin jazz
Year: 1974
Art: Front

[3:40] 1. Stories To Tell
[5:52] 2. Search For Peace
[3:53] 3. Casa Forte
[2:44] 4. Insensatez
[3:14] 5. Mountain Train
[4:03] 6. To Say Goodbye
[5:38] 7. Silver Sword
[4:10] 8. Vera Cruz (Empty Faces)
[6:41] 9. O Cantador I Just Want To Be Here

Though her recordings for Chick Corea's Return to Forever provide a better introduction to her vocal talents, Stories to Tell is an excellent outing by Flora Purim and friends. Assisted by a cast of jazz/fusion all-stars led by husband Airto Moreira, Purim shows off the wide range of her abilities: from wordless vocal soaring to songs with lyrics in English and Portuguese, from uptempo percussion-driven workouts to beautiful ballads. In addition to Airto, the assembled cast includes bassists Miroslav Vitous and Ron Carter, keyboard wunderkind George Duke, guitarists Earl Klugh and Oscar Castro-Neves, and trombonist Raul de Souza. Also, Carlos Santana turns in one of his patented sizzling guitar solos on "Silver Sword." With material from Antonio Carlos Jobim, Vitous, Milton Nascimento, McCoy Tyner, and Purim herself, this is an album worth savoring. ~Jim Newsom

Stories To Tell

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George Harrison - Let It Roll

Bitrate: MP3@320K/s
Time: 80:03
Size: 183.2 MB
Styles: Contemporary Pop/Rock, Album rock
Year: 2009
Art: Front

[3:50] 1. Got My Mind Set On You
[3:35] 2. Give Me Love
[3:45] 3. Ballad Of Sir Francis Crisp (Let It Roll)
[4:37] 4. My Sweet Lord
[4:46] 5. While My Guitar Gently Weeps
[3:44] 6. All Things Must Pass
[3:50] 7. Any Road
[3:45] 8. This Is Love
[3:43] 9. All Those Years Ago
[3:38] 10. Marwa Blues
[4:20] 11. What Is Life
[5:24] 12. Rising Sun
[3:51] 13. When We Was Fab
[3:10] 14. Something
[3:58] 15. Blow Away
[4:05] 16. Cheer Down
[2:54] 17. Here Comes The Sun
[2:51] 18. I Don't Want To Do It
[7:08] 19. Isn't It A Pity
[2:59] 20. Isn't It A Pity (Demo Vers)

George Harrison had two periods of great commercial success, separated by 15 years and two record labels. This extended gap is the chief reason there hasn't been a career-spanning Harrison collection until 2009's Let It Roll: Songs By George Harrison, the first-ever disc to gather songs from George's stints at both Apple and Dark Horse, and only his third-ever hits collection, following 1976's Beatles-heavy The Best of George Harrison and The Best of Dark Horse, released in 1989 in the afterglow of Cloud Nine's comeback success. Let It Roll balances these two periods, swapping any Beatles-era song ("Something," "Here Comes the Sun," "While My Guitar Gently Weeps") for a live version from The Concert for Bangladesh, then mixing it all up chronologically, so the set starts with the pristine bounce of "Got My Mind Set on You" before giving way to "Give Me Love (Give Me Peace on Earth)" If anything jars, it's the sounds of times, as Jeff Lynne's clean, manicured arrangements don't necessarily fit with Phil Spector's lush, magisterial productions, but that's a minor quibble about a useful compilation that consolidates all of Harrison's signature tunes on one very enjoyable disc. ~Stephen Thomas Erlewine

Let It Roll

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Anke Helfrich - Stormproof

Bitrate: MP3@320K/s
Time: 53:27
Size: 122.4 MB
Styles: Ciontemporary jazz
Year: 2009
Art: Front

[4:20] 1. Hackensack
[5:57] 2. September Song
[7:30] 3. Stormproof
[5:18] 4. Sehnsucht
[7:03] 5. In Good Times As In Bad
[1:56] 6. After The Rain
[8:22] 7. Circles
[4:54] 8. Swiss Moment
[5:09] 9. Speak Low
[2:53] 10. Little Giant

Bass, Cello, Bass Guitar – Henning Sieverts; Drums, Glockenspiel, Percussion – Dejan Terzić; Trombone – Nils Wogram; Piano, Electric Piano [Fender Rhodes], Harmonium – Anke Helfrich.

German pianist Anke Helfrich has absorbed the influence of everyone from Thelonious Monk to Les McCann and channeled it into an original style that's rooted but not retro. On STORMPROOF, she covers Monk's "Hackensack," and its knotty harmonies and angular feel suit her singular style, but she really stretches out on her own compositions, where her approach feels completely contemporary. She doesn't stick strictly to the 88s, either; she occasionally moves over to electric piano and even harmonium. And while her thoughtful melodic statements are clearly the focus here, trombonist Nils Wogram offers some striking moments of his own throughout this, Helfrich's third release as a leader. ~Jim Allen

Stormproof

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Natalie Cressman & Secret Garden - Unfolding

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 62:27
Size: 144,6 MB
Art: Front

(6:33)  1. Flip
(8:01)  2. Whistle Song
(4:10)  3. Honeysuckle Rose
(6:11)  4. Echo
(5:57)  5. Skylight
(7:51)  6. Goodbye Pork Pie Hat
(8:33)  7. Waking
(5:19)  8. Reaching For Home
(9:47)  9. That Kind

Looking for antecedents for trombonist/vocalist Natalie Cressman? All About Jazz's C. Michael Bailey correctly points us to Jack Teagarden, the original singing trombonist. And, in fact, Cressman finds plenty of opportunity in the funkier passages of Unfolding, her debut album, to deploy a fluid and full Teagarden-like sound on the instrument. But Cressman twenty years old and a student at the Manhattan School of Music at the time of Unfolding's release also suggests a more contemporary reference: Esperanza Spalding, the superstar singing bassist. As with much of Spalding's vocals on her first record the fine Junjo (Ayva Musica, 2006) Cressman's wordless and vaguely Brazilian vocals on the madrigal-like "Echo" sound like sonic accents, not the stuff of a "lead singer." That said, other examples of singing on this record sound more like Spalding's subsequent albums, wherein she established herself as a bona fide singer. Cressman even pays homage here to Joni Mitchell, with a thoughtful and successfully rearranged version of Mitchell's vocal version of Charles Mingus' "Goodbye Pork Pie Hat." It's a great reach back, from the vantage point of 2012, through Mitchell's 1979 version, to Mingus' 1959 original (Mitchell's version can be found on her Mingus (Asylum, 1979); it's closely based on Mingus' from his Mingus Ah Um (Columbia, 1959), and follows both Mingus' composed melody as well as John Handy's tenor sax solo).

Cressman's vocal agility is furthermore on display in the difficult leaps and intervals of several compositions, her tone clear and true and unadorned. Pianist Fats Waller's "Honeysuckle Rose," meanwhile, is given a funk makeover not unlike the music of pianist Robert Glasper's Experiment; indeed, the comparison also reveals the attractive, Glasper-like qualities in pianist Pascal Le Boeuf's playing here (Le Boeuf, 25 years old for the session, is the oldest member of Cressman's Secret Garden band). The band is well-rehearsed and dominated, in a way, by the unsubtly forward drummer Jake Goldblas; he doesn't take much prompting to boil over, and it can be pretty exciting. Saxophonist Peter Apfelbaum like Cressman, a traveler on the Bay Area/New York jazz corridor guests for a fiery solo on "That Kind." 

Throughout, the sound is mostly acoustic, mostly mainstream with hints of Latin and rock. Unfolding shares the strengths and weaknesses of a lot of very strong debuts: highly attentive solos, carefully crafted arrangements and spirited performances on the plus side; coupled with a certain lack of focus and melodic interest in the original compositions. Cressman will only get better, as trombonist, singer, composer and leader, and that process will be accelerated with further apprenticeship with more seasoned leaders. With the release of Unfolding, her phone should be ringing off the hook. ~ Jeff Dayton Johnson https://www.allaboutjazz.com/unfolding-natalie-cressman-self-produced-review-by-jeff-dayton-johnson.php
 

Personnel: Natalie Cressman: trombone, vocals; Ivan Rosenberg: trumpet; Chad Lefkowitz-Brown: tenor saxophone (1-8); Peter Apfelbaum: tenor saxophone (9); Pascal Le Boeuf: piano, Fender Rhodes, claps; Ruben Samama: acoustic bass, claps; Jake Goldblas: drums, percussion, claps; Zach Gould: claps.

Unfolding

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Jaimee Paul - Melancholy Baby

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 55:33
Size: 127,7 MB
Art: Front

(4:12)  1. Don't cry baby
(4:26)  2. Ain't no sunshine
(4:38)  3. Come rain or come shine
(3:07)  4. want a little sugar in my bowl
(4:58)  5. You've changed
(3:53)  6. I still haven't found what i'm looking for
(4:35)  7. A sunday kind of love
(3:26)  8. Big spender
(4:49)  9. Don't explain
(3:54) 10. What'll I do
(3:44) 11. People get ready
(4:37) 12. Smile
(5:09) 13. My melancholy baby (feat. beegie adair)

Jazz vocal maven, Jaimee Paul, lends her sultry, bluesy pipes to an eclectic collection of jazz, blues and pop standards. 

While delivering impressive tributes to the likes of Billie Holiday ("Don't Explain", "You've Changed"), Etta James ("Don't Cry Baby", "A Sunday Kind of Love"), Nina Simone ("I Want A Little Sugar In My Bowl"), Paul also puts her unique spin on such contemporary classics as U2's, "I Still Haven't Found What I'm Looking For", Curtis Mayfield's, "People Get Ready", and Bill Wither's "Ain't No Sunshine." ~ Editorial Reviews https://www.amazon.com/Melancholy-Baby-Jaimee-Paul/dp/B004GFGUE0

Melancholy Baby

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Herbie Mann & Bobby Jaspar - Flute Soufflé

Styles: Flute And Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 36:21
Size: 83,4 MB
Art: Front

(14:43)  1. Tel Aviv
( 5:58)  2. Somewhere Else
( 7:26)  3. Let's March
( 8:13)  4. Chasing The Bird

At the time of this Prestige set (reissued on CD), Herbie Mann was a flutist who occasionally played tenor and Bobby Jaspar a tenor-saxophonist who doubled on flute. Two of the four songs find them switching back and forth while the other two are strictly flute features. With pianist Tommy Flanagan, guitarist Joe Puma, bassist Wendell Marshall and drummer Bobby Donaldson contributing quiet support, the two lead voices constantly interact and trade off during this enjoyable performance. Highpoints are the haunting "Tel Aviv" and a delightful version of "Chasing the Bird." ~ Scott Yanow http://www.allmusic.com/album/flute-souffle-mw0000617313

Personnel:  Herbie Mann, Bobby Jaspar - flute, tenor saxophone;  Tommy Flanagan – piano;  Joe Puma – guitar;  Wendell Marshall – bass;  Bobby Donaldson - drums

Flute Soufflé

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George Wallington - Jazz at Hotchkiss

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 40:08
Size: 92,1 MB
Art: Front

( 6:53)  1. Dance of the Infidels
( 8:46)  2. Strange Music
( 5:57)  3. Before Dawn
(10:35)  4. Ow
( 7:57)  5. 'S Make 'T

This LP-length CD reissue features pianist George Wallington and his 1957 quintet (which consists of trumpeter Donald Byrd, altoist Phil Woods, bassist Knobby Totah and drummer Nick Stabulas) stretching out on five numbers. 

The repertoire is highlighted by Bud Powell's "Dance of the Infidels" and Dizzy Gillespie's "Ow." Both Woods and Byrd (two up-and-coming players) are in excellent form, making this an enjoyable outing for bop fans. ~ Scott Yanow http://www.allmusic.com/album/jazz-at-hotchkiss-mw0000237669

Personnel: George Wallington (piano), Phil Woods (alto saxophone), Donald Byrd (trumpet), Knobby Totah (bass), Nick Stabulas (drums).

Jazz at Hotchkiss

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