Skip Wilkins - Skip Wilkins Quintet Disc 2

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 72:07
Size: 165,1 MB
Art: Front

( 9:26)  1. For Ten Percent
( 7:38)  2. Used to Be
( 7:06)  3. Agitated
( 7:09)  4. Need Some Ice
( 6:37)  5. Quiet, Please!
(10:14)  6. Not Perfect
( 7:16)  7. Betrayal
( 5:44)  8. Fortuitous Fifteen
(10:52)  9. Hold Me

"Quintet Volume II contains nine original tunes by the leader, some terrific, all interesting. What’s more, this is definitely a group effort...these fellows have played together for awhile, and its straight-ahead, cohesive sound shows it....The style is solid straight-ahead, many numbers on the contemplative side. ...Most tracks are seven to ten minutes long. Democratically, each musician gets equal solo time, ample opportunity to stretch out. The highly-rated Rissmiller particularly shines throughout, knitting the group together, embellishing each tune with his tasty touches on drums. Some stand outs--'Used to Me' features Kozik’s relaxed guitar and Marino’s soft bass. On 'Not Perfect,' Wilkins' jaunty piano introduces the tune, and Kendall’s soft sax effectively builds to a strong climax, blending with piano and guitar for a delicate, pensive finish.  Wilkins shows Bill Evans’ influence, stretching out for his strongest improvising in 'Fortuitous Fifteen,' a guitar-piano collaboration. 'Hold Me,' Wilkins' remembrance of 9/11, starts starkly, making way for Kendall’s haunting sax solo. The piano provides a moving coda, concluding a very fine album."~  JazzReview.com 

"Pianist Skip Wilkins continues his easy-to-take ways on this follow-up to last year's Volume I. Wilkins...doesn't wax professorial on this set of nine originals. The session sounds like West Coast cool but with updated, East Coast suavity. The quintet...regularly creates a likable languor. The tunes evolve - the fast-moving 'Needs Some Ice' hits a soulful interlude courtesy of (Tom Kozic's) guitar, while 'Quiet, Please,' written for a local politician whom Wilkins found irritating, comes off as chamomile mellow. Neat trick... 'Fortuitous Fifteen' is more angular and boppish yet still melodic, while 'Hold Me' is all liquid ballad."~  Philadelphia Inquirer

"Pianist Skip Wilkins gathers some musically sympathetic colleagues in Easton, Pennsylvania, for the second part of a marathon session. Wilkins' pieces are well thought out, with plenty of musical mile-markers in the solo sections to tie in with the various head structures...the musical quality is always there. The CD begins with a Silver-Blakey influenced mid-tempo quasi-shuffle, 'For Ten Percent,' a tune with some definite soul. Paul Kendall’s straight-ahead tenor solo reminds a little of Frank Foster or Benny Golson in its overall approach. Guitarist Tom Kozic comes through with a burnished tone like Burrell and he is no slouch. The rhythm section cooks along, drummer Rissmiller sounds tasty. Skip takes a solo next in an impeccable way according to the style at hand. An engaging tune. A pretty ballad in three follows, called 'Used to Be.' Wilkins takes a solo which gives you his lyrical-melodic sincerity and Kendall’s tenor sounds a bit like Shorter in a wistful mood. He builds the solo as the rhythm section takes on a kind of 1965 Miles feel... A Shorter ESP period-like 'Betrayal' follows, with a rather nice wispy tenor motif and piano response. Then follows an almost polite post-Evans 'Hold Me' with quiet chords on piano with quiet guitar commentary. The tenor does a Shorteresque cantabile and it’s all quite sensitive......well-wrought, quite pleasant...the song craft is in abundant evidence... the rhythm section strongly anchors the date and it’s all solid..." ~ Cadence  http://www.dreamboxmedia.com/wilkins.htm

Skip Wilkins Quintet

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George Cables Trio - Dark Side, Light Side

Styles: Piano Jazz
Year: 1997
File: MP3@224K/s
Time: 65:17
Size: 107,1 MB
Art: Front

( 9:39)  1. Dolphin Dance
( 9:15)  2. Dark Side, Light Side
( 7:37)  3. Ruby, My Dear
( 7:24)  4. Alone Together
(10:26)  5. In a Sentimental Mood
( 5:12)  6. One Finger Snap
( 7:10)  7. Sweet Rita Suite, Pt. 1
( 8:30)  8. Ah, George, We Hardly Knew Ya

George Cables focuses primarily on works by other jazz pianists on this trio date with bassist Jay Anderson and drummer Billy Hart. Thoughtful treatments of Thelonious Monk's "Ruby, My Dear" and Duke Ellington's "In a Sentimental Mood" contrast with the elaborate workouts of two Herbie Hancock tunes, the easygoing "Dolphin Dance" and the rapid-fire "One Finger Snap." The sole standard is a brisk rendition of "Alone Together." Don Pullen's quirky "Ah George, We Hardly Knew You" adds an exotic air. Cables' two originals especially stand out. "Dark Side, Light Side" is an intricate post-bop vehicle with an infectious tension-and-release highlighted by Cables' breezy improvising in a swinging setting, while "Sweet Rita Suite" is actually a Spanish-flavored waltz in disguise. This is another fine recording from George Cables' productive association with Steeplechase. ~ Ken Dryden http://www.allmusic.com/album/dark-side-light-side-mw0000050643

Personnel: George Cables (piano); Jay Anderson (bass); Billy Hart (drums).

Dark Side, Light Side

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Andre Previn, David Finck - We Got Rhythm: A Gershwin Songbook

Bitrate: MP3@320K/s
Time: 71:04
Size: 162.7 MB
Styles: Standards, Jazz-pop
Year: 1998
Art: Front

[3:15] 1. They All Laughed
[4:59] 2. Someone To Watch Over Me
[4:15] 3. Oh, Lady, Be Good
[5:47] 4. A Foggy Day
[5:33] 5. Do It Again Soon
[5:09] 6. Girl Crazy I Got Rhythm
[4:52] 7. Girl Crazy Embraceable You
[6:49] 8. He Loves, She Loves/Our Love Is Here To Stay
[3:31] 9. Fascinating Rhythm
[4:39] 10. Isn't It A Pity
[4:27] 11. boy what love has done to me/i've got a crush on you
[6:00] 12. Love Walked In
[5:21] 13. The Man I Love
[6:22] 14. 's Wonderful

André Previn moves seamlessly from the world of classical music to jazz and film, but on this occasion, the pianist covers 14 gems from the vast repertoire of George Gershwin. Well accompanied by bassist David Finck, Previn faces the same challenge every jazz musician must address: finding new paths through Gershwin's frequently recorded masterpieces. Previn uses a train-like bassline substitution to open and close a rollicking take of "They All Laughed," while the pianist is more laid-back in the bluesy treatment of "Oh, Lady Be Good" to better feature Finck initially. Previn's modification of "I Got Rhythm" provides some added dissonance. The haunting setting of the ballad "The Man I Love" suggests an added degree of melancholy. While this session was released on a classical label, Deutsche Grammophon, something that always seems to confuse record-label marketing departments, music store personnel, and consumers as well, it is very much a jazz date and a fine effort by André Previn and David Finck. ~Ken Dryden

We Got Rhythm: A Gershwin Songbook

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Hendrik Meurkens - Harmonicus Rex

Bitrate: MP3@320K/s

Time: 58:11

Size: 133.2 MB

Styles: Harmonica jazz

Year: 2016

Art: Front

[4:28] 1. Mundell's Mood

[5:06] 2. Slidin'

[5:42] 3. In Your Own Sweet Way

[4:09] 4. Aftenoon

[6:37] 5. Skj

[4:54] 6. Falling In Love With Love

[5:30] 7. A Summer In San Francisco

[5:41] 8. Up Jumped Spring

[5:05] 9. Mean Dog Blues

[5:21] 10. Darn That Dream

[5:33] 11. What's New

Hendrik Meurkens: harmonica; Dado Moroni; piano; Marco Panascia: bass; Jimmy Cobb: drums; Joe Magnarelli: trumpet, flugelhorn; Anders Bostrom: alto flute.

While the swing side of harmonica master Hendrik Meurkens' personality has basically been dormant for the past fifteen years, it hasn't disappeared. After highlighting his Brazilian jazz bona fides on record after record, Meurkens now returns to straight-ahead jazz on this instantly pleasing date. Harmonicus Rex, despite it's humorously monstrous title, isn't a roaring beast. There are no high speed scenarios to speak of and no bash-and-crash displays to witness. This record's strength is in its ability to get the point across without all of that needless showboating. It's essentially a model for how feel and taste can trump tempo and dynamic excess in terms of establishing a swinging environment. And with a cast that includes drumming legend Jimmy Cobb and under-the-radar heavies like pianist Dado Moroni and bassist Marco Panascia, it's easy to see why this album projects that train of thought.

In observing Meurkens here, it becomes increasingly clear that he's a master conversationalist with some incredible ears and reflexes. That's something that's often overlooked in discussions of his work, but it's central to the success of his art. Whether trading solos with trumpeter Joe Magnarelli on "Mundell's Mood," responding to Moroni with brief and subtle gestures during "In Your Own Sweet Way," blending and balancing his sound against that of Anders Bostrom's alto flute, or playing off of the rhythm section when in the spotlight, Meurkens' foremost concern is how he relates to the other musicians and the music at hand. Meurkens clearly relies on a recipe that calls for stirring all of the essential elements of a straightforward date together and cooking everything on low to medium settings. It's a formula for success. By exploring the mellow environs of ballads like "Afternoon" and "Darn That Dream," inviting a little heat and embracing the swing uplift on "SKJ" and "Up Jumped Spring," finding the sweet spots between those locales, and even taking a quick dip into bossa territory on "A Summer In San Francisco," Meurkens manages to create a complete picture that offers rich viewpoints to admire from wherever you happen to be standing. ~Dan Bilawsky

Harmonicus Rex

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The Hollies - Essential

Bitrate: MP3@320K/s
Time: 60:00
Size: 137.4 MB
Styles: British Invasion, AM Pop-Rock
Year: 2012
Art: Front

[2:11] 1. Stay
[2:08] 2. (Ain't That) Just Like Me
[2:17] 3. Here I Go Again
[2:13] 4. We're Through
[2:28] 5. Just One Look
[2:15] 6. Look Through Any Window
[2:23] 7. I'm Alive
[2:48] 8. Stop Stop Stop
[2:51] 9. Bus Stop
[2:42] 10. Jennifer Eccles
[2:52] 11. Carrie Anne
[3:11] 12. On A Carousel
[2:40] 13. Listen To Me
[4:19] 14. He Ain't Heavy He's My Brother
[3:54] 15. Gasoline Alley Bred
[3:14] 16. Long Cool Woman (In A Black Dress)
[4:02] 17. The Air That I Breathe
[3:52] 18. The Day That Curly Billy Shot Down Crazy Sam Mcgee
[3:59] 19. Soldier's Song
[3:34] 20. The Woman I Love

The Hollies are a well-respected British beat and rock and roll band that formed in the early 60s. Initially they had a squeaky-clean image and were famous for their rich vocal harmonies, rivaling those of The Beach Boys. Between 1964 and 1969, only two Hollies songs failed to reach the UK Top 10. Their most famous member was Graham Nash, who left in 1968 to form the folk supergroup Crosby, Stills & Nash. Two of the core members, drummer Bobby Elliott and lead guitarist Tony Hicks, still perform with The Hollies into the new millennium. Frequent releases during the mid-60s included many cover versions of popular songs, as well as a few group-penned hits and many songs written especially for them by professional songwriters.

The Hollies were formed in 1962 in Lancashire, England. By 1965,the group had been established as one of Britain's pre-eminent singles bands. As part of the British Invasion, they enjoyed huge chart success in many countries in the mid-Sixties, releasing a string of classic harmony-pop hits including Bus Stop I'm Alive, a UK No. 1, I Can't Let Go, Stop Stop Stop, Carrie Anne, On A Carousel, Look Through Any Window, and Jennifer Eccles. In 1972, the hit Long Cool Woman in a Black Dress reached #2 in the US. Their last mega hit was He Ain't Heavy, He's My Brother, hitting #1 in the UK in 1988 (albeit 19 years after its first release).

The band are noted for their longevity, with their 2006 tour chalking up 45 years. Despite numerous changes in line-up, Tony Hicks & Bobby Elliott have been with the band almost from its inception. Lead singer Allan Clarke left The Hollies in 1971, though he rejoined the band at later times. He was eventually replaced by Carl Wayne, ex lead singer of The Move, who passed away in 2004. Wayne was replaced by Peter Howarth. The 2007 line up is, Ian Parker on keyboards, Ray Stiles (Ex Mud, remember 'Tiger Feet') on bass guitar and Alan Coates on guitar and vocals by Steve Lauri.

The Hollies were inducted into the Rock and Roll Hall of Fame on March 15, 2010. Allan Clarke (vocals, 1962-71, 1973-99), Graham Nash (guitar, vocals, 1962-68, 1983), Eric Haydock (bass, 1962-66), Vick Farrell (guitar, 1962), Don Rathbone (drums, 1962-63), Tony Hicks (guitar, banjo, mandolin, electric sitar, vocals, 1963-present), Bobby Elliott (drums, percussion, 1963-present), Bernie Calvert (bass, 1966-81), Terry Sylvester (guitar, vocals, 1969-81), Mikael Rickfors (vocals, 1971-73), Denis Haines (bass, 1981-86), Alan Coates (guitar, 1981-2004), Ray Stiles (bass, vocals, 1986-present), Ian Parker (keyboards, vocals, 1991-present), Carl Wayne (vocals, 2000-04), Peter Howarth (vocals, acoustic guitar, 2004-present), Steve Lauri (guitar, vocals, 2004-present)

Essential

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Bobby Troup - Tell Me You're Home

Bitrate: MP3@320K/s
Time: 53:15
Size: 121.9 MB
Styles: Vocal jazz
Year: 2007/2015
Art: Front

[ 1:38] 1. Dream Of You
[ 1:44] 2. Route 66
[ 1:29] 3. Lullaby Of Birdland
[ 1:36] 4. Daddy
[ 1:58] 5. Their Hearts Were Full Of Spring
[ 1:16] 6. They Didn't Believe Me
[ 1:58] 7. Tell Me You're Home
[ 1:18] 8. Lulu's Back In Town
[ 2:00] 9. Do Re Mi
[ 1:31] 10. They Can't Take That Away From Me
[ 1:38] 11. You're Looking At Me
[ 1:52] 12. Hungry Man
[ 1:20] 13. You're In Love
[ 1:43] 14. Cuckoo In The Clock
[ 2:00] 15. It Happened Once Before
[ 1:31] 16. I'm With You
[ 1:47] 17. The Gypsy In My Soul
[ 1:34] 18. Lemon Twist
[ 1:30] 19. Indiana
[ 2:02] 20. The Three Bears
[ 2:21] 21. Baby, Baby All The Time
[ 1:45] 22. Heidi
[ 2:02] 23. Skylark
[ 1:25] 24. Tangerine
[12:06] 25. Interview Bobby Troup's Take On Route 66

Bobby was a first-rate songwriter (and much else). As a performer, he is more a "song stylist" than a strong singer, but a very pleasing stylist he is. This is a slightly odd jazz album. No number is developed. Rather, the songs average between 1:30 to 2:00 minutes apiece--a fine, light-touch jazz trio with the vocalist following the principle "do you remember this one?" then moving on. That's why there are 24 selections here! The 25th, however, is a 12-minute interview about Troup's early career and nervously auditioning a still untested Route 66 for Nat King Cole. Tom Snyder is the interviewer but he is sympathetic and restrained (no barking laughs a la Dan Aykroyd) and it's fun to listen to. Overall, a first rate album. ~Ronald L. Levao

Tell Me You're Home

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Lou Donaldson & Grant Green - Cool Blues

Styles: Saxophone And Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 71:01
Size: 162,9 MB
Art: Front

(6:38)  1. A Foggy Day
(9:26)  2. Here 'Tis
(6:53)  3. Cool Blues
(7:32)  4. Watusi Jump
(8:36)  5. Walk Wid Me
(8:33)  6. Misty
(6:08)  7. Please
(5:48)  8. Man With a Horn
(5:11)  9. Prisoner of Love
(6:12) 10. Stardust

Lou Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets throughout the years. Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver, and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the '50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-'50s up until the present.

Donaldson's early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961, his bands often had an organist rather than a pianist. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of "Alligator Boogaloo" in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent. However, after a few years off records, Lou Donaldson's artistic return in 1981 and subsequent soul-jazz and hard bop dates for Muse, Timeless, and Milestone have found the altoist back in prime form, interacting with organists and pianists alike and showing that his style is quite timeless. ~ Scott Yanow http://www.allmusic.com/artist/lou-donaldson-mn0000808198/biography

Personnel: Lou Donaldson - alto sax,  Grant Green - guitar,  Baby Face Willette - organ on tracks 1-5,  Dave Bailey - drums on tracks 1-5,  Brother Jack McDuff - organ on tracks 6-10,  Joe Dukes - drums on tracks 6-10.

Cool Blues

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Lisa Bell - Dare To Be...

Styles: Jazz, Vocal
Year: 2002
File: MP3@320K/s
Time: 54:34
Size: 125,4 MB
Art: Front

(4:25)  1. Summertime
(5:50)  2. God Bless The Child
(5:41)  3. Skylark
(6:15)  4. Black Coffee
(2:28)  5. I'll Remember April
(3:45)  6. For All We Know
(4:45)  7. That Old Black Magic
(5:04)  8. What Can I Do
(5:01)  9. They Can't Take That Away From
(2:56) 10. Do Nothin'' till You Hear From
(4:41) 11. My Romance/That's The Way Of The World
(3:38) 12. In A Sentimental Mood

Singer Lisa Bell was born and raised in Boulder, CO, where she first showed an interest in singing after being taken to Dionne Warwick and Ella Fitzgerald concerts when she was six. She sang in school choirs, and as a high school student was selected to be a member of the jazz choral group Excalibur, which performed material associated with the Manhattan Transfer and Lambert, Hendricks & Ross. She earned a scholarship to the Conservatory of Music at the University of Missouri-Kansas City, graduating with a B.A. in Communications and Vocal Performance. Settling in Kansas City, she had various singing jobs that included studio and jingle work, stage appearances in musicals, and concert performances as a backup vocalist for Bobby McFerrin. Moving back to Colorado, she became a member of the Colorado Symphony Chorus, the Boulder Philharmonic Chorus, and a vocal jazz quartet called Jazz on the Rocks. Her debut album, Dare to Be..., was released by Hapi Skratch Records in 2002 and featured her versions of jazz standards such as "Summertime" and "Do Nothin' Till You Hear from Me." The album's release led to her appearances in jazz clubs and at jazz festivals. For her second album, It's All About Love (2005), she took a different tack, writing most of the songs herself and using instruments not generally associated with jazz such as a Dobro and a pedal steel guitar. ~ William Ruhlmann https://itunes.apple.com/us/artist/lisa-bell/id58897081#fullText

With her premier full-length CD recording Lisa has taken a fresh look at popular jazz standards to create modern soulful renditions that are all her own. The CD also features her first recorded original, What Can I Do, on which Nelson Rangell adds his magic with Soprano Sax. As an artist, Lisa dares to be different, expressive and musically eclectic. Her first CD reflects her unique style, smooth vocals and a band of musicians second to none. From the first notes of Summertime with a searing Latin beat, to the final In a Sentimental Mood with its exquisitely poignant vocal/guitar arrangement, Dare To Be...provides variety and excitement for standard and "cool" jazz lovers of all kinds. Dare To Be...is presented on the Hapi Skratch Records label. Lisa Bell has loved and has been performing jazz since she can remember, receiving her BA degree in vocal performance with an emphasis in jazz from the Conservatory of Music at the University of Missouri-Kansas City. In Kansas City, Lisa worked with Bobby McFerrin, Marilyn Maye and Ida McBeth among others. She also recorded numerous jazz demo albums as well as jingles during her eight years in the Kansas City area. Lisa has been singing tight vocal harmonies since high school, and was a founder and member of two professional vocal ensembles, More or Less Jazz and Jazz on the Rocks. She writes original songs in jazz, pop and contemporary Christian realms. Lisa honed her vocal skills over the years by performing every genre of music from musical theater to opera and country western, but her true passion is vocal jazz. http://www.cdbaby.com/cd/lisabellmusic

Dare To Be...

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Dave Stryker - Strike Up The Band

Styles: Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 68:00
Size: 156,0 MB
Art: Front

(10:16)  1. Strike Up The Band
( 7:23)  2. The Message
( 8:32)  3. Airegin
( 7:19)  4. I Love You
( 8:35)  5. What Is This?
( 8:39)  6. Peace Song
( 8:16)  7. Blues Strut
( 8:56)  8. Saints And Sinners

Dave Stryker is a strong guitarist with an excellent back-catalog of credits to his name. While Strike Up The Band doesn't show off his full capabilities in their best light, it makes for a listenable jaunt, and a clear reminder that musicians on Stryker's level can seek out more demanding material. The album has a definite polish: Nils Winther's production is of a very high quality, and each of the four musicians plays with a distinctive and clear sound, too. So at root, the disappointment of the album is in its material. There are no bad songs here, to be sure; but neither are there any challenges, for the listener or for the musicians. Half the tracks are constructed over the same essential textures and tempos. Although the title track is indeed different from Gershwin's original envisioning, it burns with a high energy (thanks largely to a percussive rising line on the bass) that never resolves into anything. As a result, it's hard to tell what the effect of the arrangement is supposed to be: it feels tense and a little empty at once. Pianist Xavier Davis has a conventional style, but he relies principally on the adapted language of minor pentatonic harmony first popularized by McCoy Tyner. It's a great, full sound, but when used equally on "Airegin," "Strike Up The Band" and "Saints and Sinners," it loses some of its poignancy. There are definitely highpoints, though. "What Is This?" makes for a quirky play on "What Is This Thing Called Love?" And "I Love You," after an urbane bass riff under the intro and melody, features an intelligent guitar solo, though not Stryker's most dynamic. Still, Stryker and his band mates are capable of more than they attempt with this outing. ~ Jay Deshpande https://www.allaboutjazz.com/strike-up-the-band-dave-stryker-steeplechase-records-review-by-jay-deshpande.php
 

Personnel: Dave Stryker: guitar; Andy McKee: bass; Xavier Davis: piano; Billy Hart: drums.

Strike Up The Band

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Doug Snyder & Bob Thompson - Daily Dance

Styles: Guitar Jazz
Year: 1973
File: MP3@320K/s
Time: 41:41
Size: 95,6 MB
Art: Front

(10:28)  1. Daily Dance
( 1:28)  2. Living With The Crocodiles
( 8:05)  3. Time Overlaps Itself
( 4:53)  4. Soul And Universe
( 5:34)  5. Hit And Run
( 2:42)  6. Truth Is A Pathless Land
( 8:28)  7. Teenage Emergency

This is the 25th year anniversary reissue of a noteworthy historical and musical document. Daily Dance was recorded in rural Fayette County, Ohio in 1972, yet its clangorous drones sound as if they could have been recorded yesterday (or, perhaps, a few hours ago). Daily Dance was originally released as an LP in 1973 on the New Frontiers label...and has been out of print for about fifteen years.  Five years later Doug (largely on the strength of this recording) would become a “key” member of recondite NYC noise-improv ensemble Sick Dick and the Volkswagens, along with Donald Miller (Borbetomagus and Lhasa Cement Plant), Mark Abbott (see John Zorn's  School) and Brian Doherty (Borbeto and Lhasa).  

After Sick Dick’s demise (1983), Doug returned to Ohio. To this day, Snyder and Thompson perform and record together on a regular basis.  All in all, here is a disc that looks back toward The Velvet Underground, the Stooges and Elvin Jones, as it looks forward to Ascension, Keiji Haino and William Hooker (and any number of other free-noising, free-rocking manifestations)……and it was recorded over 25 years ago! http://www.sonic.net/~chm/warpodisc/daily_dance.htm

Personnel:  Doug Snyder - electric guitar;  Bob Thompson - drums and percussion

Daily Dance

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Blue Mitchell - Blue's Blues (Feat. John Mayall)

Bitrate: MP3@320K/s
Time: 55:25
Size: 126.9 MB
Styles: Bop, Trumpet jazz
Year: 1974/1991
Art: Front

[ 8:22] 1. Casa Blues
[ 7:31] 2. Just Mad Up
[ 7:03] 3. Blue's Blue
[ 9:55] 4. Granite And Concrete
[10:07] 5. I Didn't Ask To Be
[12:24] 6. Valerie

At the time that this Mainstream LP was recorded, Blue Mitchell was the featured trumpeter with John Mayall's blues group. Mayall returned the favor for Blue's set, playing harmonica with an electric octet headed by Mitchell. Among the sidemen are Herman Riley (on tenor and flute), keyboardist Joe Sample and guitarist Freddy Robinson. The material (all obscure originals) is primarily blues-oriented, and the music overall is listenable and funky, but not particularly memorable. Just an average date from these fine musicians. ~Scott Yanow

Blue's Blues (Feat. John Mayall)

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Jimmy Rosenberg - Trio

Bitrate: MP3@320K/s
Time: 31:00
Size: 71.0 MB
Styles: Gypsy jazz guitar
Year: 2004
Art: Front

[2:37] 1. Just One Of Those Things
[1:42] 2. China Boy
[3:16] 3. Made For Wesley
[1:53] 4. Cherokee
[2:06] 5. Noto Swing
[3:42] 6. Chega De Saudade
[2:38] 7. Place De Broukere
[2:11] 8. Number One
[2:15] 9. Swing 48
[3:34] 10. Blue Bossa
[2:51] 11. Old Waltz
[2:10] 12. Georgia

Joseph "Jimmy" Rosenberg (born 10 April 1980, in Helmond) is a Dutch Sinto-Romani guitarist, known for his virtuoso playing of Gypsy jazz and other related styles. He was initially active in the Romani (Gypsy) cultural center of Sinti, and was inspired by his relative Stochelo Rosenberg, after the release of his trio's album "Seresta" (Hot Club Records, 1989). Jimmy Rosenberg's international reputation started with the British Channel 4 show (Django's Legacy, 1990) with the trio "The Gypsy Kids", who consisted of Falko Reinhart and Sani van Mullum. In 1995 he was in the trio together with Johnny Rosenberg on guitar and Rinus Steinbach on bass. With this group he toured in Oslo, New York City and the Django festival in Paris until he pursued a solo career in 1997. Rosenberg has often taken part in the Norwegian Django Festival in Oslo, his first attendance having been made at only twelve years of age.

In 2000 he made his debut at Carnegie Hall, as part of the Django Reinhardt Festival at Birdland, New York City. He has released many records, and has worked together with Norwegians such as Hot Club de Norvège, Ola Kvernberg, and Stian Carstensen. Internationally, he has worked and released records with Romane, Jon Larsen, Andreas Öberg, Bireli Lagrene, Angelo Debarre and Frank Vignola. He has also played with Willie Nelson. His life is documented in the Dutch film The Father, The Son, and the Talent (2007).The film is an account of Jimmy's relationship with his father and his struggles with drugs, in addition to live performances. It documents the high regard given Jimmy by artists such as James Brown, Stevie Wonder and Willie Nelson, including inviting him to play guitar with them. Jimmy says, about performing, "That feeling is beyond description. A lot of love goes into it. When I play at a concert after I've been very angry or very upset.. and I play it all out of my system, after the concert I feel as light as a feather. It was all gone and I felt happy and cheerful. And I would enjoy everything I did".

Trio

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Di Anne Price & Her Boyfriends - Love Come And Go

Bitrate: MP3@320K/s
Time: 45:14
Size: 103.5 MB
Styles: Jazz/blues piano & vocals
Year: 2009
Art: Front

[4:33] 1. Sing Sing Sing
[3:55] 2. Love Come And Go
[3:06] 3. When You Love Me
[4:31] 4. Too Many Drivers
[2:45] 5. Reekin' With Love
[3:23] 6. I'm Not Drunk, I'm Just Drinkin'
[5:22] 7. Going Down Slow
[5:03] 8. Black Cat Blues
[4:22] 9. The Spinach Medley: I Didn't Like It The First Time
[8:08] 10. The Key Hole Song

Memphis pianist-vocalist Di Anne Price channels the spirit of classic blues divas Ida Cox, Alberta Hunter, Stippie Wallace, and Memphis Minnie. A profoundly soulful singer, her expressive voice is etched with pain or brimming with sly humor while tickling the ivories barrel piano style on two-fisted shuffles, rolling blues, and boogie woogie workouts. ~ Jazz Times

Love Come And Go m

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Duke Jordan Quartet - Duke's Artistry

Bitrate: MP3@320K/s
Time: 49:35
Size: 113.5 MB
Styles: Bop, Piano jazz
Year: 1976/1987
Art: Front

[5:50] 1. My Heart Skips A Beat #1
[6:37] 2. Midnight Moonlight
[5:48] 3. My Heart Skips A Beat #2
[4:54] 4. My Heart Skips A Beat #3
[8:17] 5. Lady Dingbat
[6:04] 6. Midnite Bump #1 2
[6:08] 7. Midnite Bump #1
[5:55] 8. Dodge City Roots

Bass – David Friesen; Drums – Philly Joe Jones; Flugelhorn – Art Farmer; Piano – Duke Jordan.

Duke Jordan’s long association with SteepleChase has produced a number of outstanding recordings and this is one of them, selected by Billboard as recommended jazz album. Having played with Charlie Parker in his best group in 1947, Jordan the quintessential bop player is a veteran but never stopped improving with age. As a prolific composer, Jordan contributed numerous intriguing tunes to the jazz literature.

Duke's Artistry

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Boilermaker Jazz Band - Slipped Disc

Bitrate: MP3@320K/s
Time: 64:51
Size: 148.5 MB
Styles: Big band, Swing
Year: 2015
Art: Front

[2:46] 1. Slipped Disc
[4:13] 2. Rose Room
[3:55] 3. Taking A Chance On Love
[5:12] 4. Deep Purple
[3:14] 5. Flying Home
[5:03] 6. Memories Of You
[2:30] 7. Goody Goody
[4:05] 8. There's A Small Hotel
[3:58] 9. Lady Be Good
[2:33] 10. Seven Come Eleven
[3:52] 11. My Heart Belongs To Daddy
[5:17] 12. These Foolish Things
[4:13] 13. Airmail Special
[3:51] 14. Don't Be That Way
[3:50] 15. Why Don't You Do Right
[3:19] 16. Between The Devil And The Deep Blue Sea
[2:54] 17. Goodbye

Paul Cosentino- Clarinet; Jeff Bush- Trombone; Eric Emmons- Guitar; Jeff Lashway- Piano; Ernest McCarty- String Bass; Richard Strong- Drums; Jennifer McNulty- Vocals. Recorded January 14 & 15, 2015.

Was Benny Goodman really the “King of Swing”? Unfortunately, this marketing nickname has garnered more debate than it deserves. Who can say who really was the “King”? But one thing is certain: Benny Goodman played and recorded a LOT of really swinging music in his lifetime. He was one of the finest clarinet players who ever lived, and created a unique sound that is still recognizable and fresh today. None other than the great composer and bandleader Duke Ellington remarked in the early 1940’s in a statement that “swing has gone stale” that the only band playing anything interesting (other than his own of course) was the Goodman group.

Goodman developed a style born out of his upbringing in Chicago in the 1920’s that incorporated many influences. Jazz was all over Chicago, being played by the greats from his hometown and the recent transplants from New Orleans such as the fabulous Jimmie Noone who was one of his earliest heroes. Goodman also infused his music with the klezmer sounds of his own Jewish background, as well as classical music that he studied as a child. In fact, his early small band recordings were often referred to as “Chamber Jazz”.

Goodman also had the sense to surround himself with the best arrangers and side- men the jazz world had to offer, regardless of race. Fletcher Henderson arranged some of the most iconic big band masterpieces of the swing era, which Goodman and his men played to perfection. The Goodman small groups were the first openly integrated jazz group in the U.S. The fire of those early recordings featuring the amazing talents of Teddy Wilson on piano, Gene Krupa on drums, and later Lionel Hampton on vibes, is still thrilling. Goodman also stayed ahead of the curve by hiring Charlie Christian to perform with him on the new fangled electric guitar. This paring brought forth iconic riff tunes that hearken the be-bop era to come.

There were wonderful singers as well, starting with the swinging hit- maker Helen Ward, who recorded the earliest #1 chart topper- “These Foolish Things”- with the Goodman band in 1936. The band then brought on Liltin’ Martha Tilton who sang so many great Tin Pan Alley favorites with the big and small bands, as well as Cole Porter’s klezmer infused “My Heart Belongs to Daddy”. Arguably the greatest big band singer of all- Helen Forrest (who also sang with Artie Shaw and Harry James) chimed in with a #1 hit of her own: “Taking a Chance on Love” in 1940. And of course there was the iconic Peggy Lee with her sultry “Why Don’t You Do Right?” in 1942.

In recording the music of Benny Goodman, we have tried to pay homage to the great musicians, singers, composers and arrangers that made his music so wonderful. It is not our intent to copy, re-create or transcribe the recordings of the original Benny Goodman groups. (That would be an act of pure folly!!) It is our interpretation of these iconic themes- done our way, with of course a humble nod to those who first created it. We hope you enjoy it. ~Paul Cosentino, Boilermaker Jazz Band

Slipped Disc

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Curtis Fuller - Two Bones

Styles: Trombone Jazz

Year: 1958

File: MP3@320K/s

Time: 39:35

Size: 91,1 MB

Art: Front

(7:48)  1. Fuss Budget

(4:40)  2. Oatmeal Cookie

(7:33)  3. Da-Baby

(5:39)  4. Pajama Tops

(4:00)  5. Slide's Ride

(4:12)  6. Loquacious Lady

(5:40)  7. Mean Jean

One of the hippest Curtis Fuller albums for Blue Note and one of the rarest too a set that was recorded in 1958, but only ever issued on vinyl in this rare Japanese pressing from the 80s! The date's quite unique as it features "two bones", that is, two trombonists both Curtis Fuller and Slide Hampton, the latter of whom makes a rare Blue Note appearance with a hard, heavy, soulful groove. Rhythm is from the trio of Sonny Clark on piano, George Tucker on bass, and Al Harewood on drums and the quality of the record is all super-high another one of those Blue Note mysteries as to why the label never issued the set at the time. Titles include "Pajama Tops", "Fuss Budget", "Oatmeal Cookie", "Da-Baby", and "Loquacious Lady". (SHMCD pressing.) © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/700816

Personnel:  Bass – George Tucker;  Drums – Al Harewood;  Piano – Sonny Clark;  Trombone – Curtis Fuller, Slide Hampton

Two Bones

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Andrea Motis, Joan Chamorro - Live at Casa Fuster

Styles:  Vocal, Trumpet And Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 43:49
Size: 101,7 MB
Art: Front

(3:06)  1. East of the sun
(5:16)  2. Jim
(3:34)  3. What is this thing called love
(3:36)  4. Carinhoso
(3:32)  5. I Didn't Know What Time It Was
(5:34)  6. You know I’m no good
(6:25)  7. Poor Butterfly
(4:14)  8. Garota De Ipanema
(5:53)  9. Moon River
(2:33) 10. I'm An Errand Girl For Rhythm

Andrea Motis and Joan Chamorro are an unlikely musical team. Born more than 30 years apart, they hail from two very different and distinct musical generations. And yet they are the two primary figures in a series of projects in their hometown of Barcelona since 2010. In less than five years, Motis and Chamorro have set their city and other parts of Europe ablaze with the energetic sounds of jazz from either side of the Atlantic. Since they began collaborating, Motis and Chamorro have recorded four albums together, 5 with the Sant Andreau Jazz Band, 7 more with different projects, toured throughout Europe and South America, and have worked on stage or in the studio with a variety of high-profile musicians, including Dick Oatts, Scott Hamilton, Ken Peplowski, Scott Robinson, Terrell Stafford, Wycliffe Gordon, Jesse Davis, Bobby Gordon and many others. Andrea Motis and Joan Chamorro are an unlikely musical team. Born more than 30 years apart, they hail from two very different and distinct musical generations. And yet they are the two primary figures in a series of projects in their hometown of Barcelona since 2010. In less than five years, Motis and Chamorro have set their city and other parts of Europe ablaze with the energetic sounds of jazz from either side of the Atlantic. Since they began collaborating, Motis and Chamorro have recorded four albums together, 5 with the Sant Andreau Jazz Band, 7 more with different projects, toured throughout Europe and South America, and have worked on stage or in the studio with a variety of high-profile musicians, including Dick Oatts, Scott Hamilton, Ken Peplowski, Scott Robinson, Terrell Stafford, Wycliffe Gordon, Jesse Davis, Bobby Gordon and many others. Along the way, they have received numerous awards and accolades for their artistic endeavors. In 2011, they received an ARC Award for Best New Artist (2011) and an Artist of the Year Award from the Enderrock Jaç Awards.

In addition to the awards, they have also received nominations by some of the most prestigious music organizations in Europe: Best Group of the Year (ANJIM, 2011), Best Jazz and Blues Group (Arc Awards, 2011), and Best Theater and Concert Hall Tour (ARC Awards, 2011). And yet, for all of their successes, their story is a simple one that begins with little more than a teacher, a student, and a shared passion for music in general and jazz in particular. Joan Chamorro was born in Barcelona in September 1962. He spent his childhood listening to pop music, but didn’t start focusing on classical music and jazz until he began playing the saxophone and guitar at age 18. He attended the Taller de Musics, a music school in Barcelona devoted to jazz. After four years, he gave up classical music and the guitar and focused his efforts entirely on jazz and the saxophone. In addition to playing and recording with the Taller de Musics, Chamorro also played live gigs with several local big bands. “I was very lucky to be a part of this scene,” he recalls, “and to have the chance to play with great soloists from some very popular big bands.” In the years since he received his music degree, Chamorro has played with numerous high-profile musicians from around the world: Stevie Wonder, Manhattan Transfer, Slide Hampton, Randy Brecker, and recorded with Tete Montoliu, Bebo Valdes, and many others. “It is always great to share experiences and music with such a great cast of international musicians,” he says. “And it’s an amazing opportunity to grow as an artist.” In the midst of these various collaborations, Chamorro has also directed the Sant Andreu Jazz Band, a group in Barcelona made up of children and teenagers between the ages of 9 and 20. It was here that he first met Andrea Motis, an 11-year-old trumpeter who was also one of his saxophone students.

“She was always a very serious student,” Chamorro recalls. “One day I was teaching the band and I asked if anyone wanted to sing a song, and she was the first and only one who said yes. She was 13 years old by this time. From the very beginning, I heard something special in her voice, something that could be improved if she were given the opportunity to learn and grow in the company of good musicians. I talked with her parents, and everyone agreed that she would be part of my various music projects.” By this young age, Motis had already been immersed in music of every kind. She’d been playing the trumpet since age 7, and her earliest musical memories include Charlie Mingus (one of her father’s favorite musicians) as well as Cuban jazz. By age 10, she starts exploring just about every form of American jazz until nowadays listening to great American female vocalists such as Sarah Vaughan, Billie Holliday and Nancy Wilson, also Cécile McLorin Salvant, Amy Winehouse, Esperanza Spalding, Gretchen Parlato and instrumentalists such as Tom Harrell, Roy Hargrove, Wynton Marsalis, Perico Sambeat as well as iconic jazz artists like Charlie Parker, Cannonball Adderley, Miles Davis, Dizzy Gillespie and Clifford Brown. “The first time I sang in public was for Chamorro’s audition at the Taller de Music school,” says Motis. “I sang a Basin Street blues number that Joan later uploaded to the internet. After that, he invited me to sing on his album.”

The album was Joan Chamorro Presenta Andrea Motis, released in 2010 when Motis was 14. As the title suggests, the album is a showcase for Chamorro’s young protégé who plays trumpet, saxophone and sings throughout the recording. “We recorded a lot of songs in different ways,” says Motis. “While deciding the final album repertoire we realized that we liked most of the songs that were sung. That’s why Joan thought of the album as a way to introduce me as a musician and singer, because my role turned out to be more important than we had originally thought it would be.” In the final cut of the album, Motis sings on 16 of the 17 tracks. “She showed a great sensibility and a capacity to share emotions,” says Chamorro. “There was a great natural quality in every song we recorded.” The project proved to be an extremely valuable learning experience. Motis recalls: “It gave me the opportunity to play for the first time with amazing musicians such as Ignasi Terraza, Josep Traver, Eseve Pi, Dani Alonso and Bobby Gordon, and American clarinetist who played with all the great classic jazz artists before he died.” Feeling Good, a recording of live performances throughout Barcelona, followed in 2012. Two years after the first album, Motis had grown and matured as a musician and a vocalist. “This was the point where she started improvising, and it’s reflected in the CD, where all of her solos are entirely hers,” says Chamorro. “I trusted her knowledge and encouraged her to improvise during our shows too. We were performing a lot at that time and it was a good time to practice that. It was amazing to see her progression in every rehearsal and every show.”Their third recording, Live in Jamboree Barcelona, captured the band during their three appearances at the Barcelona music festival with guest saxophonist Scott Hamilton. “The thing flowed so smoothly,” says Motis. “We played new songs and some others that were in our previous repertoire. We felt truly at ease playing the music. It was a very special experience and I was truly happy with the final result.”

Chamorro and Motis recorded yet another live big band performance this time on video as well as audio in 2014 at the Barcelona International Jazz Festival. The CD/DVD package is scheduled for release in August 2014. The majority of the repertoire in the upcoming release by The Motis Chamorro Big Band is sung by Motis, but Chamorro’s baritone sax and Motis’s trumpet also figure prominently in the mix.“This project includes the very best musicians in the Barcelona jazz scene,” says Chamorro. “Many of them are excellent soloists who play an important role in the tracks on which they play.” In addition to their extensive work in the Barcelona scene, The Motis Chamorro Group has also played numerous festivals in France, Switzerland, Brazil and Turkey. “Andrea and I are doing the best we can to share our music with as many people as possible,” says Chamorro. “Who knows what we’ll be doing in the future, or where we’ll be doing it? But I do envision a beautiful future for her. She is already a well known artist, and she will be even more well know in years to come. She deserves it. She has a great talent, ability and magic necessary to do so. All of this comes from the things that I think are most important: honesty, authenticity and humility.” “I’m very happy to be collaborating in new musical projects, experimenting with new styles,” says Motis. “And as Joan says: ‘Creativity has no bounds or limits.’ We have so many projects and opportunities, and the chance to collaborate with so many artists. Maintaining this vibe is the best that I can hope for right now and for the future. We’ll see!”  http://www.sasamusic.com/artist/andrea-motis-and-joan-chamorro

Live at Casa Fuster

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Peter Bernstein & Joachim Schoenecker - Dialogue

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 53:40
Size: 123,1 MB
Art: Front

(5:19)  1. Stretch
(7:26)  2. Gone With The Wind
(6:43)  3. Lazy Bird
(5:14)  4. Along Came Betty
(6:09)  5. How Deep Is The Ocean
(5:06)  6. Visiting Darkness
(6:08)  7. Stella By Starlight
(5:53)  8. Song 4 2
(5:40)  9. Burglaria Blues

Born September 3rd, 1967 in New York City, guitarist Peter Bernstein has been a part of the jazz scene in New York and abroad since 1989. During that time he has participated in over 60 recordings and numerous festival, concert and club performances with musicians from all generations. As a leader, Peter has made five recordings for the Criss Cross Jazz label. The latest, Heart’s Content, features the all-star rhythm section of Brad Mehldau, Larry Grenadier, and Bill Stewart. While a student at The New School, Peter met the legendary guitarist Jim Hall, who asked him to participate in his Invitational Concert as part of the 1990 JVC Jazz Festival. The event featured such guitarists as John Scofield and Pat Metheny and was released as a CD by Music Masters. Hall once noted that Peter “…has paid attention to the past as well as the future. He is the most impressive young guitarists I’ve heard. He plays the best of them all for swing, logic, feel and taste.”

That same year, Peter was discovered by alto saxophonist Lou Donaldson and took part in the first of four recordings with him. He was a regular member of his group throughout the 1990s. “Some people just have it.” Donaldson said. “…most of the time you have to teach someone what to do, but Peter knows it all.” Peter has also played with legendary drummer Jimmy Cobb (Cobb’s Mob), organist Larry Goldings, Dr. Lonnie Smith, Melvin Rhyne, drummer Bill Stewart, Joshua Redman, Diana Krall, Nicholas Payton, Lee Konitz, Tom Harrell, and Eric Alexander and performed in North America, Europe and Asia and making numerous television appearances. Peter has taught at the Julliard School, Berklee College of Music, North Texas State University, the New School Jazz Program and the Jazz Conservatory in Amsterdam.

Born in 1966 and living in Cologne, Joachim Schoenecker is already according to music magazine Jazz Podium – one of only a handful of people who have succeeded, with his début CD, in “rising, in just one step, to the level of master guitarist of the modern age of classical jazz”. Since the release of his second CD, “In the Moment”, with an all-star American line-up comprising Chris Potter, Adam Nussbaum and John Goldsby, he has been fêted by the specialist press as one of the most outstanding European jazz guitarists on the scene. Schoenecker’s own compositions have all the makings of classics. And even pieces from the pens of luminaries such as Bill Evans or even Billy Joel become one with the musical vision of this recording artist and his companions. Numerous appearances in German and European jazz clubs and festivals, as well as a raft of guest appearances in various line-ups with internationally renowned musicians are further proof of Joachim Schoenecker’s high-quality talent. Since 1999, he has also been teaching jazz guitar and ensemble playing at the University of Music and Theatre in Leipzig. With outstanding ease and clarity, Joachim Schoenecker masters even the most difficult passages and fast-paced runs. But his virtuosity, though much lauded by the specialist press, is only one element of his playing. Schoenecker’s remarkable feel for melodic development, harmony and dramaturgical form, his amazingly original instrumental voice and the clear, sometimes melancholy, structures of his compositions will most certainly win over even those listeners who are not aficionados of jazz. http://www.cdbaby.com/cd/peterjoachim

Dialogue

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Skip Wilkins - Skip Wilkins Quintet

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 69:54
Size: 160,6 MB
Art: Front

( 6:40)  1. It Was Bound to Happen
(10:53)  2. Stephanie's Song
( 7:27)  3. No Parking
(10:49)  4. Would Aldous Huxleys
( 7:59)  5. The Hand-off
( 5:30)  6. Unforgotten
( 6:46)  7. One Last Look
( 7:16)  8. Longing
( 6:30)  9. Take the Fourth

Pianist/composer/bandleader Skip Wilkins is a talented musician working out of Eastern Pennsylvania, where he teaches at the Williams Center of the Arts in Easton in addition to making gigs in Philadelphia, the Poconos and New York City. He's recorded several albums with flutist Jill Allen and has compiled, over the years, an impressive catalog of original compositions, now available on Quintet, Vol. 1, soon to be followed by a companion volume.  Culled from three separate concerts given at his college, this recording documents the interworkings of a cohesive band playing over well-conceived material. Consisting of Wilkins, tenorist Paul Kendall, guitarist Tom Kozic, bassist Tony Marino and drummer Gary Rissmiller, the quintet makes music marked by an informality and intimacy gained only through close association and mutual respect. Wilkins has penned some very fine tunes here, including "It Was Bound to Happen (a two-beat funker with an expansive and lyrical phrase structure), "Stephanie's Song (a beautiful ballad in 3/4), and "Unforgotten (a pensive, exploratory ballad). 

There are some brisk up-tempo numbers, too Wilson likes to call them "rumbles over which the group members acquit themselves to forceful effect, as on "No Parking, when Kozic's guitar comes crashing out of the starting gate, only to catch a mellow stride at the solo's mid-stretch. The band (with a pinch-hitter on bass) gave New Yorkers a chance to sample its wares at a mid-December mid-afternoon concert at BigAppleJazz/EZ's Woodshed, a newish Harlem one-stop bop-shop created and curated by Gordon Polatnick. The camaraderie and compatibility suggested by the recording was immediately apparent on the bandstand. Wilkins and friends treated listeners to selections from the recording, as well as some from the yet-to-be-released Vol. II, setting these compositional gems in an aesthetically apposite musical jewel box. 

~ Tom Greenland https://www.allaboutjazz.com/skip-wilkins-quintet-vol-i-skip-wilkins-dreambox-media-review-by-tom-greenland.php

Personnel: Skip Wilkins: piano; Paul Kendall: tenor saxophone; Tom Kozic: guitars; Tony Marino: bass; Gary Rissmiller: drums.

Skip Wilkins Quintet

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Bob Thompson - Brother's Keeper

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 37:57
Size: 88,0 MB
Art: Front

(7:36)  1. Shooting Star
(5:23)  2. Undercover
(5:08)  3. Waiting For You
(5:24)  4. Brother's Keeper
(5:03)  5. My First Lady
(4:51)  6. Overjoyed
(4:28)  7. Vitoria

The music of West Virginia pianist Bob Thompson, active as a leader or sideman since the 1970s, ranges from electric and acoustic in a mostly dance-funk style to excellent modal jazz à la McCoy Tyner. In the late '80s Thompson also became house pianist for the Mountain Stage radio program, produced by West Virginia Public Broadcasting and widely distributed by National Public Radio. He recorded a number of albums for the Atlanta-based Ichiban label during the 1990s and into the 2000s while also establishing his own Colortones.com label for such releases as the 1998 holiday outing Joy to the World and the Bob Thompson Unit's Caught in the Act (1999), Homeland (2002), and Hit from the Git (2006). More Joy to the World and Bob Thompson "Live" on Mountain Stage followed on Colortones in 2007. ~ Michael G.Nastos http://www.allmusic.com/artist/bob-thompson-mn0000074042/biography

Personnel:  Piano, Synthesizer – Bob Thompson ;  Acoustic Guitar, Electric Guitar – Kevin Eubanks;  Bass – Gerald Veasley;  Drums – Omar Hakim;  Keyboards [Keyboard Programming And Sampling] – Jay Hetler;  Violin – John Blake

Brother's Keeper

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