Chris Byars - Photos in Black, White and Gray

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 60:13
Size: 138,2 MB
Art: Front

(8:05)  1. Aquarian Epoch
(7:27)  2. Milton
(7:14)  3. Safe at Home
(9:30)  4. Acoustic Phenomenon
(7:51)  5. Manhattan Valley
(6:48)  6. Cliff Diving
(6:40)  7. Riddle of the Sphinx
(6:35)  8. A.T.

Saxophonist Chris Byars has made a name for himself as one of many promising neo-bop musicians who perform on a regular basis at Smalls in New York City, while also appearing on a number of CDs (as either a sideman or leader) issued by the Smalls label. He has played since the age of seven and earned a Masters degree at the Manhattan School of Music at the age of twenty. For his third date as a leader, Byars is joined by several of the label's regulars, including pianist Sacha Perry, bassist Ari Roland and drummer Andy Watson. A talented player, Byars is clearly finding his own voice on each of his three instruments (alto, tenor and soprano sax) and his program of originals is well-paced with a fair amount of variety. He shows a bit of playfulness in "Aquarian Epoch," while the brisk samba "Manhattan Valley" is another obvious highlight. Byars' robust tenor is on display in the pulsating piano-less setting of "A. T." (dedicated to the late drummer Art Taylor). He then switches to soprano sax for the enticing ballad "Safe at Home." Perry, who studied with Barry Harris, is a solid bop pianist who pushes the leader with his driving accompaniment. Roland provides a firm foundation, his arco bass technique inviting comparison to recorded Paul Chambers. Watson is a refreshingly restrained drummer who effortlessly keeps a strong beat, though he is no slouch when he takes the opportunity to solo in "A. T.."~ Ken Dryden https://www.allaboutjazz.com/photos-in-black-white-and-gray-chris-byars-smalls-records-review-by-ken-dryden.php
 

Personnel: Chris Byars: alto, tenor and soprano saxophones; Sacha Perry: piano; Ari Roland: bass; Andy Watson: drums.

Photos in Black, White and Gray

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Courtney Pine - Underground

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1997
File: MP3@320K/s
Time: 66:10
Size: 164,4 MB
Art: Front

(1:11)  1. Intro - Inhale
(6:59)  2. Modern Day Jazz
(6:15)  3. Tryin' Times
(5:55)  4. Oneness Of Mind
(5:37)  5. Invisible (Higher Vibe)
(9:50)  6. The Book Of ... (The Dead)
(5:55)  7. Children Of The Sun
(4:52)  8. The In-Sense Song
(7:50)  9. Silver Surfer
(6:57) 10. Underground
(0:56) 11. Outro - Xhale
(3:46) 12. Save The Children

The first thing that becomes clear on Courtney Pine's Underground is that the hip-hop-jazz hybrids of the 1990s (such as Digable Planets, A Tribe Called Quest, US3, or even the Dream Warriors) missed their target; the combination is much stronger when it's jazz-hip-hop, and the latter becomes a textural element. Pine sticks to his guns-frenetic melodies, engaging song structures, and a keen ability to keep his jazz cool and never lite. Those talents shine further when given the icing of exquisite samples, particularly when the rapid-fire cuts and sharp sense of humor show a respect for turntablism. And lest Pine's jazz fans be dismayed, tracks like "Invisible" seamlessly slip back into Pine's masterful (more traditional) jazz persona. 

Of particular note is "Tryin' Times," one of the few tracks with vocals, which acts as both a lounge singer vehicle as well as venue for Pine's dizzying saxophone acrobatics. Underground is a great introduction to Pine's work, and if there's any justice, will someday be recognized as a benchmark jazz-hip-hop hybrid experiment. ~ Jaime Vázquez http://www.allmusic.com/album/underground-mw0000595653

Personnel: Courtney Pine (soprano & tenor saxophones, bass clarinet, flute); Jhelisa (vocals); Nicholas Payton (trumpet); Cyrus Chestnut (acoustic piano, Hammond B-3 organ, Wurlitzer electric piano); Mark Whitfield (guitar); Reginald Veal (acoustic bass); Jeff "Tain" Watts (drums); DJ Pogo (DJ).

Underground

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Jan Akkerman & Claus Ogerman - Aranjuez

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 43:30
Size: 107,1 MB
Art: Front

(5:57)  1. Adagio from 'Concierto de Aranjuez'
(4:53)  2. Nightwings
(5:09)  3. Modinha (preludio)
(5:36)  4. Espanoleta
(6:48)  5. Pavane pour une infante defunte
(3:38)  6. Love remembered
(5:40)  7. The seed of god (from 'Magdalena')
(5:45)  8. Bachianas Brasileiras No. 5

This is a reissue of a 1978 release by Dutch rock guitarist Jan Akkerman. The album mystified listeners at the time with its still-unusual combination of electric guitar and lush string arrangements, and it remains something of an oddity from a rock perspective. The orchestral writing by the underrated German arranger Claus Ogerman, however, is quite unusual, and the album has a following among Ogerman's fans. Indeed, although Akkerman gets top billing, the partnership is equal or even tilted a bit toward Ogerman. The opening Adagio from Rodrigo's Concierto de Aranjuez is perhaps the most interesting, and it differs entirely in effect from Miles Davis' presentation of the same music. Akkerman is in the foreground here, of course, but the music is a sort of double fantasy, with Akkerman slightly altering Rodrigo's guitar line and Ogerman providing much deeper hues to the orchestral parts. 

The rest of the music is given over to adaptations of other classical pieces, three of them by Heitor Villa-Lobos, and one original each by Ogerman and Akkerman. The string writing contains some of the richest and most harmonically intricate examples in the entire genre of orchestral pop, and it paradoxically seems to overwhelm the rock guitar at times. However, the continuing interest in the album is easy to understand: it offers a musical idea that makes intuitive sense rock, it has often been suggested, is at bottom a Romantic music yet has been little explored.~James Manheim http://www.allmusic.com/album/aranjuez-mw0000259976

Personnel:  Bass – Niels-Henning Ørsted Pedersen;  Guitar – Jan Akkerman

Aranjuez

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Jim Hall - Concierto

Bitrate: MP3@320K/s
Time: 65:34
Size: 150.1 MB
Styles: Guitar jazz
Year: 1975/2011
Art: Front

[ 7:04] 1. You'd Be So Nice To Come Home To
[ 3:48] 2. Two's Blues
[ 7:37] 3. The Answer Is Yes
[19:19] 4. Concierto De Aranjuez
[ 6:09] 5. Rock Skippin'
[ 2:34] 6. Unfinished Business
[ 7:25] 7. You'd Be So Nice To Come Home To
[ 5:33] 8. The Answer Is Yes
[ 6:02] 9. Rock Skippin'

Guitarist Jim Hall is the sort of musician who displays such technical expertise, imaginative conception, and elegance of line and phrase that almost any recording of his is worth hearing. Still, Concierto ranks among the best albums of his superb catalog. For starters, the personnel here is a jazz lover's dream come true. Paul Desmond (saxophone), Chet Baker (trumpet), Roland Hanna (piano), Ron Carter (bass), and Steve Gadd (drums) are on board, creating -- along with Hall -- one of the highest profile lineups ever put to tape. Yet Concierto is not about star power and showboating. As subtle, nuanced, and considered as any of Hall's output, the ensemble playing here demonstrates great group sensitivity and interplay, giving precedence to mood and atmosphere over powerhouse soloing. Conductor and arranger Don Sebesky evinces a chamber ambience from the sextet on "You'd Be So Nice to Come Home To," the smoky "The Answer Is Yes," and the Hall centerpiece "Concierto de Aranjuez." ~Anthony Tognazzini

Concierto

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Don Redman & His Orchestra - The Very Best Of Don Redman & His Orchestra

Bitrate: MP3@320K/s
Time: 47:47
Size: 109.4 MB
Styles: Big band
Year: 2011
Art: Front

[2:51] 1. Puddin' Head Jones
[3:02] 2. I Found A New Way To Go To Town
[3:02] 3. My Old Man
[2:49] 4. Keep On Doin' What You're Doin'
[2:45] 5. Shuffle Your Feet Bandanna Babies
[3:13] 6. Chant Of The Weed
[2:57] 7. How Ya Feelin'
[2:53] 8. She's Not Bad
[3:13] 9. Underneath The Harlem Moon
[2:51] 10. It's A Great World After All
[3:21] 11. Got The South In My Soul
[2:54] 12. After Sundown
[2:52] 13. Our Big Love Scene
[2:57] 14. Try Getting A Good Night's Sleep
[2:55] 15. Two Time Man
[3:04] 16. Tired Of It All

Redman was born in Piedmont, Mineral County, West Virginia. His father was a music teacher, his mother was a singer. Don began playing the trumpet at the age of three, joined his first band at the age of six and by the age of 12 was proficient on all wind instruments ranging from trumpet to oboe as well as piano. He studied at Storer College in Harper's Ferry and at the Boston Conservatory, then joined Billy Page's Broadway Syncopaters in New York City. (He was the uncle of saxophonist Dewey Redman, and thus great-uncle of saxophonist Joshua Redman and trumpeter Carlos Redman.)
Career

In 1923, Redman joined the Fletcher Henderson orchestra, mostly playing clarinet and saxophones. He soon began writing arrangements, and Redman did much to formulate the sound that was to become swing. A trademark of Redman's arrangements was that he harmonized melody lines and pseudo-solos within separate sections; for example, clarinet, sax, or brass trios. He played these sections off each other, having one section punctuate the figures of another, or moving the melody around different orchestral sections and soloists. His use of this technique was sophisticated, highly innovative, and formed the basis of much big band jazz writing in the following decades.

In 1927 Jean Goldkette convinced Redman to join the Detroit, Michigan-based band McKinney's Cotton Pickers as their musical director and leader. He was responsible for their great success and arranged over half of their music (splitting the arranging duties with John Nesbitt through 1931). Redman was occasionally featured as their vocalist, displaying a charming, humorous vocal style.

Redman then formed his own band in 1931, which got a residency at the famous Manhattan jazz club Connie's Inn. Redman signed with Brunswick Records and also did a series of radio broadcasts. Redman and his Orchestra also provided music for the animated short I Heard, part of the Betty Boop series produced by Fleischer Studios and distributed by Paramount. Redman composed original music for the short, which was released on September 1, 1933. The Brunswick records Redman made between 1931–1934 were some of the most complex pre-swing hot jazz arrangements of popular tunes. Redman's band didn't rely on just a driving rhythm or great soloists, but it had an overall level of arranging sophistication that was seldom heard by other black bands of the period. The popular vocalist, Harlan Lattimore, provided about half of the vocals during this period.

The Very Best Of Don Redman & His Orchestra

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Dinah Shore - 16 Most Requested Songs

Bitrate: MP3@320K/s
Time: 46:47
Size: 107.1 MB
Styles: Vocal
Year: 1991
Art: Front

[2:00] 1. Buttons And Bows
[3:21] 2. Georgia On My Mind
[3:08] 3. Two Silhouettes
[2:39] 4. Dear Hearts And Gentle People
[3:12] 5. Willow Weep For Me
[2:40] 6. There'll Be Some Changes Made
[2:51] 7. Shoo Fly Pie And Apple Pan Dowdy
[3:00] 8. Tess' Torch Song (I Had A Man)
[3:08] 9. Doin' What Comes Natur'lly
[2:56] 10. Taking A Chance On Love
[3:08] 11. Mad About The Boy
[2:59] 12. Lavender Blue (Dilly Dilly)
[2:54] 13. It's De-Lovely
[3:16] 14. I'm Yours
[3:09] 15. They Didn't Believe Me
[2:19] 16. Baby, It's Cold Outside

Dinah may now be remembered more as a TV star, but she was one of the most successful female pop singers of the 1940's. This collection and it's companion volume, 16 greatest hits Encore!, contain all the essential hits that Dinah recorded for Columbia from 1946 to 1950. Some lesser hits have been omitted to allow the inclusion of some high quality recordings (like Willow weep for me) that were not hits - perhaps they were B-sides.

Dinah's biggest hit, the lightweight but brilliant Buttons and bows (#1 for ten weeks), opens this collection, which includes the major hits Shoo fly pie and apple pan dowdy (#6), The gypsy (#1), Doin' what comes naturally (#3), Dear hearts and gentle people (#2) and Baby it's cold outside (with Buddy Clark) (#4). Some of these songs faced stiff competition from other versions of the same song and it wasn't always Dinah's version that charted highest, but Dinah's versions are all of a high quality. The 1940's were a particularly strong decade for female singers, but Dinah was certainly among the best of them. This CD and it's companion provide a wonderful introduction to her music. ~ Peter Durward Harris

16 Most Requested Songs

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Jack Teagarden - Think Well Of Me

Bitrate: MP3@320K/s

Time: 36:13

Size: 82.9 MB

Styles: Trombone jazz

Year: 1962/2016

Art: Front

[2:53] 1. Where Are You

[3:49] 2. Cottage For Sale

[3:35] 3. Guess I'll Go Back Home This Summer

[3:36] 4. I'm A Fool About My Mama

[3:22] 5. Don't Smoke In Bed

[3:53] 6. In A Little Waterfront Cafe

[2:44] 7. Think Well Of Me

[2:48] 8. Old Folks

[3:43] 9. Country Boy Blues

[2:40] 10. Tain't So Honey, Tain't So

[3:04] 11. Round The Old Deserted Farm

In the years between leaving Louis Armstrong's All-Stars and his death (1952-1963), the great trombonist and singer Jack Teagarden led a Dixieland-oriented sextet. Most of his recordings during that time period, while quite worthy, featured the usual standards and swing songs that had been associated with Teagarden since the '30s. But this particular project, which in 1998 was reissued as a limited-edition CD, was something quite different. Willard Robison was an unusual composer whose nostalgic and wistful songs usually extolled the virtues of country life; best-known among his tunes are "Old Folks," "Cottage for Sale," and "Tain't So, Honey Tain't So." For what would be his next-to-last album in January, 1962, he recorded ten Robison songs (plus the slightly out of place non-Robison standard "Where Are You") while backed by a string orchestra that included both a harp and his trumpeter Don Goldie. Bob Brookmeyer and Russ Case contributed all but one arrangement, and although the strings were certainly not necessary (since they do not add much to the music), the prestigious setting must have pleased the trombonist. All of the songs except for "I'm a Fool About My Mama" have vocals by Teagarden, and he puts plenty of restrained feeling into such obscure tunes as "Guess I'll Go Back Home This Summer," "Think Well of Me," and "'Round My Old Deserted Farm." His short solos are often quite exquisite, and this often touching, somewhat rare date is one of the strongest of his final period. ~Scott Yanow

Think Well Of Me

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Nicholas Payton - Dear Louis

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 68:16
Size: 161,5 MB
Art: Front

(5:59)  1. Potato Head Blues
(8:30)  2. Hello, Dolly
(4:35)  3. I'll Be Glad When You're Dead, You Rascal You
(7:07)  4. Tight Like This
(0:42)  5. Interlude (St. James Infirmary)
(4:04)  6. On The Sunny Side Of The Street
(6:03)  7. Dear Louis
(3:49)  8. Blues In The Night
(5:25)  9. The Peanut Vendor
(2:53) 10. Mack The Knife
(6:06) 11. Tiger Rag
(4:59) 12. I'll Never Be The Same
(7:58) 13. West End Blues

At the risk of stating the obvious, the best tribute albums involve musicians with their own personalities capable of interpreting the material in such a way as to bring something new and fresh to the table. That is exactly what Nicholas Payton does with Dear Louis. And things could have come out quite to the contrary considering that on the surface this has all the trappings of a major label concept album. You know how that works, a rotating cast of characters, including some big name vocalists. Not that Dr. John or Dianne Reeves add anything all that considerable to the whole, but they certainly don't distract from what has to be Payton's most ambitious work to date. On most of the numbers, Payton writes charts for a large ensemble that gets a major boost in the lower register by the addition of Bob Stewart's tuba. "Tiger Rag" makes the most of this, with Scott Robinson adding even more bottom end via his use of a contrabass saxophone. The same track is also one of several to feature Melvin Rhyne on B-3 organ. 

Not to be missed are the roles that Payton's regular band plays in this affair, namely the rock solid support of bassist Reuben Rogers and drummer Adonis Rose. "Hello, Dolly" escapes any degree of its kitsch quality, as Payton turns it into a bossa nova. The same goes for the approach to "I'll Never Be the Same," with the trumpeter flexing his own vocal chords (he does the same on "I'll Be Glad When You're Dead, You Rascal You," with jubilant results). Even the most overtly apparent nods to Satchmo, such as a verbatim introduction to "West End Blues" from Payton, give way to more modern territory. Again, this leads Payton to explore his own pastures on this greatly varied and immensely satisfying disc.~ C.Andrew Hovan https://www.allaboutjazz.com/dear-louis-nicholas-payton-verve-music-group-review-by-c-andrew-hovan.php

Personnel: Nicholas Payton: trumpet, flugelhorn, vocals, Fender Rhodes electric piano; Paul Stephens: trumpet, flugelhorn; Ray Vega: trumpet; Vincent Gardner: trombone; Bob Stewart: tuba; Bill Easley: clarinet, alto saxophone, flute; Scott Robinson: bass clarinet, baritone and contrabass saxophones, flute; Tim Warfield: tenor and soprano saxophones, flute; Peter Bernstein: guitar; Melvin Rhyne: organ; Anthony Wonsey: piano; Walter Payton: bass; Reuben Rogers: bass; Adonis Rose: drums; Kenyatta Simon: percussion; Dr. John: vocals; Dianne Reeves: vocals.

Dear Louis

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Jenny Evans - Nuages

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 51:07
Size: 117,4 MB
Art: Front

(5:05)  1. Mad About The Boy
(5:47)  2. Remember Me
(3:28)  3. Nuages
(4:29)  4. Our Revels Are Now Ended
(5:49)  5. Within You, Without You
(5:43)  6. Flow My Tears
(5:02)  7. I'm Alone After All
(3:08)  8. The Feeling Of You
(4:37)  9. Veris Leta Facies
(4:49) 10. No Love Without Tears
(3:04) 11. What Joy

Born in London, England, in the lowly outskirts of Beckenham, Jenny Evans is a talented master of many trades. She is an unforgettable jazz singer, but she has also been an actress and lyricist, and she has run a jazz club for five years called Jenny's Place. She has been in musicals such as Blood Brothers, her voice has been used in films, and she even has a M.A. degree in linguistics to fall back on (as if she would ever need to). Evans moved to Munich, Germany, in 1976 to study to be a teacher of music and English. While working toward her degree, she became the lead singer for a band called Old Socks New Shoes. The ragtime numbers she performed with the group slowly blended toward classic jazz. Though she appears comfortable and capable singing anything from Gershwin songs to numbers by the Beatles, her sultry voice seems made just for jazz. In 1997, Evans released her debut album for ENJA Records, Shiny Stockings. The album won her good reviews by many. Girl Talk hit the stores in 1999 with tracks like "Love for Sale," "Mr. Bojangles," and "I Wanna Be Near to You." Evans keeps busy between recordings, playing at many clubs and festivals, and touring in Europe, Germany, Australia, Russia, and Japan. ~ Charlotte Dillon  https://itunes.apple.com/us/artist/jenny-evans/id58282661#fullText

Nuages

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Jed Levy - Gateway

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 66:27
Size: 152,8 MB
Art: Front

(5:35)  1. Life of Riley
(8:24)  2. Irony
(9:23)  3. Gateway
(7:18)  4. Lost April
(8:44)  5. Positivity
(6:01)  6. Chorale
(8:01)  7. How Am I To Know
(6:43)  8. Afterthought Blues
(6:14)  9. Carillon

Some players seem to enjoy the adventure of not knowing with whom they are going to play with next, while others would rather develop the interpersonal communication that can only come with time. Since jazz is, at its core, an improvisational art, playing in the moment is the ideal, with different kinds of music requiring different musical reflexes. Jed Levy, as demonstrated on the most attractive Gateway, lives in the mainstream world, but one that is filled with unexpected twists and turns while bringing together musicians who had never played together as a quartet. However, the interpersonal chemistry which one might think would be lacking is more than balanced by the extremely high level of musicianship present at the session. What is clear from the music is that these players really listen to each other and are so quick of musical thought that they have more than enough time to negotiate the detours in the road while reacting to what is happening around them.

Levy's tunes cannot be called adventurous, but neither are they totally predictable. Odd phrase lengths abound, as do changes in meter, but they never sound overtly shocking for their own sake. In the notes, Levy actually speaks of his compositions as representing the natural outcome of what he is hearing at the moment and not any artificial constructs. As the tunes of Gateway each flow by, the record's pacing moves from the up tunes through ballads and back. Jazz that has that warm comfort level, which comes from recognizable structures, exists simultaneously with the excitement of players who are so facile that they can play around within Levy's music. This facility comes at a price however, since everyone makes it sound so easy. Someone who looks to jazz for the shock of the new or who wants to listen in the moment as the players play in that moment will not find it here. But, then again, that is not what Gateway is about, which is simply to present good music and to play it honestly and directly.~ Budd Kopman https://www.allaboutjazz.com/gateway-jed-levy-steeplechase-records-review-by-budd-kopman.php
 

Personnel: Jed Levy: tenor saxophone;  George Colligan: piano;  Ugonna Okegwo: bass;  Billy Drummond: drums.

Gateway

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Russell Gunn - Love Stories

Styles: Trumpet Jazz

Year: 2008

File: MP3@320K/s

Time: 56:20

Size: 129,4 MB

Art: Front

(5:08)  1. Love Requiem

(6:04)  2. All You Need Is Love

(5:52)  3. Because I Love You (The Stalker Song)

(6:31)  4. I'm in Love With a Stripper

(6:10)  5. Bitch, You Don't Love Me

(5:01)  6. Love Me in a Special Way

(5:09)  7. Love for Sale

(8:27)  8. Ghandi's Love

(6:25)  9. He Loves Me

(1:29) 10. The Stalker Song - Alternate Ending

Love is strange, all right, and Love Stories is stranger still. Hardly a bouquet of ballads, the album is inspired by “love in all its dysfunction,” as trumpeter Russell Gunn explains in David R. Adler’s revealing liner notes. But don’t leap to logical conclusions. Gunn also points out that “Because I Love You (The Stalker Song)” and “Bitch, You Don’t Love Me” aren’t the residue of some soured love affair. The former has more to do with Hitchcock-ian atmospherics than heartbreak, apparently, and the latter, notes Gunn, is “basically a song about being used. For me, more than anything it means the music business.” The album’s overarching theme and hip-hop-inspired production allows Gunn a lot of creative latitude. For openers, the trumpeter reinvents “Love Requiem,” a previously recorded original composition, before unveiling arrangements of pop tunes that reflect his broad musical tastes without sounding contrived or congested. A prime example of how deftly he juggles vintage and contemporary sounds is the go-go-triggered “Love for Sale,” featuring vocalist Heidi Martin. Primarily acting as conceptualist on this collection, Gunn nevertheless plays some fine trumpet and flugelhorn: blue-toned on “All You Need Is Love,” appropriately noir-ish on the aforementioned “Stalker.” Meanwhile, saxophonist Kirk Whalum, keyboardist Orrin Evans, bassist Carlos Henderson, drummer Montez Coleman, percussionist Kahlil Kwame Bell and others contribute to the album’s colorful textures and tangents. Perhaps more than a few fence-sitters out there on the jazz/hip-hop front may find themselves quickly falling for this imaginatively arranged and programmed session.~ Mike Joyce http://jazztimes.com/articles/21173-love-stories-russell-gunn

Personnel: Russell Gunn (trumpet, flugelhorn, keyboards, drum programming); Heidi Martin (vocals); Mike Scott (guitar); Brian Hogans (alto saxophone); Kirk Whalum (tenor saxophone); Orrin Evans (piano, keyboards); Carlos Henderson (acoustic bass, electric bass, bass guitar); Montez Coleman (drums); Kahlil Kwame Bell (percussion).

Love Stories

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Stan Getz - At The Shrine

Bitrate: MP3@320K/s
Time: 69:55
Size: 160.1 MB
Styles: Saxophone jazz
Year: 1954/2009
Art: Front

[8:33] 1. Flamingo
[5:25] 2. Lover Man
[6:45] 3. Pernod
[8:21] 4. Tasty Pudding
[7:31] 5. I'll Remember April
[4:37] 6. Polka Dots And Moonbeams
[5:47] 7. Open Country
[5:55] 8. It Don't Mean A Thing
[8:43] 9. We'll Be Together Again
[8:14] 10. Feather Merchant

Bass – Bill Anthony; Drums – Art Mardigan, Frank Isola; Piano – John Williams; Tenor Saxophone – Stan Getz; Valve Trombone – Bob Brookmeyer.

Tenor Stan Getz and valve-trombonist Bob Brookmeyer made a mutually beneficial team. Although they had not played together all that much in 1954 (Brookmeyer had left Getz's band earlier in the year to join the Gerry Mulligan Quartet), the strong musical communication between the two horns during this set is obvious. Eight of the ten selections are from a live concert (with pianist John Williams, bassist Bill Anthony, and drummer Art Mardigan) while the final two numbers (on what was originally a pair of LPs) were cut in the studio the following day with the same personnel except that Frank Isola was on drums. Highlights of this cool-toned bop music (which, in addition to the solos, has many exciting ensembles) include "Lover Man," "Pernod," "Tasty Pudding," and "It Don't Mean a Thing." ~Scott Yanow

At The Shrine

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Duke Jordan Trio - Wait And See

Bitrate: MP3@320K/s
Time: 56:14
Size: 128.8 MB
Styles: Piano jazz
Year: 1989
Art: Front

[7:27] 1. Love Train
[7:27] 2. Misty
[7:20] 3. My Heart Skips A Beat
[7:39] 4. Dancer's Call
[6:31] 5. The Bullet
[6:16] 6. Undecided Lady
[4:31] 7. Wait And See
[6:40] 8. Out Of Nowhere
[2:20] 9. Jordu

Bass – Wilbur Little; Drums – Dannie Richmond; Piano – Duke Jordan. Recorded (live) in Copenhagen, Denmark, November 16 & 17, 1978.

Recorded at the same Copenhagen session that resulted in "Tivoli One" and "Tivoli Two," this trio set -- reissued on CD with two additional selections -- features pianist Duke Jordan, bassist Wilbur Little and drummer Dannie Richmond on seven Jordan originals (including his famous "Jordu"), "Misty" and "Out of Nowhere." Another excellent bop-oriented Duke Jordan session, one of many for SteepleChase. ~Scott Yanow

Wait And See

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Karen Mason - Sweetest Of Nights

Bitrate: MP3@320K/s
Time: 44:52
Size: 102.7 MB
Styles: Easy Listening, Cabaret
Year: 2006
Art: Front

[2:58] 1. A Whole New World
[2:49] 2. You And I
[5:23] 3. Watch What Happens / I Will Wait For You
[2:17] 4. Almost Like Being In Love
[2:31] 5. My Foolish Heart
[3:20] 6. He's Got A Way
[4:18] 7. Now I Have Everything / Married
[4:18] 8. What's Wrong With This Picture
[3:23] 9. Cold Enough To Cross
[3:53] 10. The Winner Takes It All
[2:50] 11. Let's Face The Music And Dance
[3:32] 12. People
[3:14] 13. The Sweetest Of Nights And The Finest Of Days

Karen Mason has starred on Broadway, Off-Broadway, television, and recording: and "has few peers when it comes to ripping the roof off with her amazing voice that knows no bounds!" (TheatreScene.net) Karen is an nine time MAC Award winner and has won the MAC Award for Major Female Vocalist of the Year for six consecutive years. She has also won the 2006 Nightlife Award for Major Female Vocalist and three Bistro Awards.

Ms. Mason originated the role of Tanya on Broadway in Abba’s MAMMA MIA!, and was awarded a 2002 Drama Desk nomination as Best Actress. Her other leading roles include Norma Desmond in SUNSET BOULEVARD which she performed to critical acclaim and standing ovations on Broadway and in Los Angeles for three years; Mazeppa in JEROME ROBBIN’S BROADWAY; Rosalie in CARNIVAL (another Drama Desk nomination); plus featured roles in Broadway’s TORCH SONG TRILOGY; and PLAY ME A COUNTRY SONG.

Karen won the Outer Critics Circle Award for her performance in AND THE WORLD GOES ROUND, and starred Off-Broadway in her own show KAREN MASON SINGS BROADWAY, BEATLES AND BRIAN. Her television appearances include the hit dramas ED and LAW & ORDER SVU. Film credits include SLEEPING DOGS LIE and A CHORUS LINE.

Sweetest Of Nights

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Bobby Darin - The Ultimate Bobby Darin

Bitrate: MP3@320K/s
Time: 41:53
Size: 95.9 MB
Styles: Vocal, Traditional pop
Year: 1988/2004
Art: Front

[2:10] 1. Splish Splash
[2:11] 2. Queen Of The Hop
[1:54] 3. Plain Jane
[2:29] 4. Dream Lover
[3:02] 5. Mack The Knife
[3:12] 6. Clementine
[2:04] 7. Won't You Come Home Bill Bailey
[2:32] 8. Lazy River
[2:08] 9. You Must Have Been A Beautiful Baby
[2:32] 10. Irresistable You
[2:15] 11. Multiplication
[2:30] 12. Things
[2:11] 13. I'll Be There
[2:14] 14. Early In The Morning
[3:17] 15. Artificial Flowers
[2:10] 16. Somebody To Love
[2:54] 17. Beyond The Sea

At the time of its release in 1988, The Ultimate Bobby Darin was arguably the most thorough single-disc compilation available. And for range and selection it remains the most thorough single-disc retrospective of the legendary singer, effectively capturing the stunning range of his unique musical vision. Each of its 17 songs is a gem. Included are "Splish Splash," "Dream Lover," "Mack the Knife," and "Beyond the Sea," as well as "Somebody to Love" and "I'll Be There," which don't appear on The Hit Singles Collection. For sound quality, however, both this release and the early-'90s retrospectives Splish Splash: The Best of Bobby Darin, Vol. 1 and Mack the Knife: The Best of Bobby Darin, Vol. 2 have been supplanted by the more recent Hit Singles Collection and other post-2000 releases of his Atlantic catalog. ~Bruce Eder

The Ultimate Bobby Darin

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Jed Levy - Sleight of Hand

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 57:10
Size: 134,2 MB
Art: Front

(4:27)  1. Sleight Of Hand
(7:44)  2. Zinno
(8:12)  3. Three And Me
(5:27)  4. Bird's Mother
(9:18)  5. Desert Church
(5:34)  6. Did I Remember?
(5:06)  7. Bright Lights
(8:03)  8. Nice And Easy
(3:16)  9. Indigenous

Saxophonist Jed Levy has been a mainstay on the New York jazz scene for over 20 years. In addition to performing and recording as a leader, he has had long standing working relationships with such jazz luminaries as Jaki Byard (a musical mentor, 3 recordings and countless performances), Don Patterson, Jack McDuff (valuable road experience), Ron McClure (2 CDs and on going performances), and Headhunters drummer Mike Clark (2 CD's and new projects in the works.)  He has also been fortunate to have worked with, Junior Mance, Eddie Henderson, Jack Walrath,The Vanguard Jazz Orchestra, Shirley Scott, Kevin Mahogany, Gene Bertoncini,Don Friedman,Cedar Walton, Curtis Fuller, Chico O'Farrill, Attilla Zollar, Groove Holmes, Tom Harrell, and many others. Levy has toured Japan as a leader and appeared at several international jazz festivals as well as leading bands at such New York venues as Sweet Basil, Blue Note, Birdland, Visiones and Zinno. Diversity has been the key to Levy's success on the New York scene. A recent week found him moving from a concert with the Cab Calloway Orchestra to a night with Mike Clark and Charley Hunter at the Knitting Factory, to the Apollo Theater with the Temptations and the Four Tops, to Birdland with Chico O'Farill's Afro Cuban Orchestra. In his presentations as a leader, as well as in his compositions, Levy tries to incorporate these varied musical experiences. His compositions have been recorded by such artists as the Headhunters, Don Friedman, Eddie Henderson, and Mike Clark. http://www.jedlevy.com/

Personnel:  Jed Levy Tenor Sax;  George Colligan Piano;  Gerry Gibbs Drums;  Ron McClure Bass.

Sleight of Hand

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Lisa Bell - The Italian Project

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 41:33
Size: 97,0 MB
Art: Front

(3:29)  1. Bring the Love
(3:04)  2. I Can Be Anything
(4:02)  3. Set It Free (The Boomba, Boomba Song)
(4:33)  4. Come My Way
(4:12)  5. One Face, One Race
(3:59)  6. A Brighter Day
(3:17)  7. Walk With Me
(3:42)  8. Love Hurts
(3:24)  9. Quilt
(4:03) 10. From the Outside Looking In
(3:42) 11. The Best of Me

The Italian Project is the product of a beautiful dream come true; one that embodies love, hope, and the overriding positive message that we can truly achieve anything we set our minds to. In 2009, Lisa Marie Simmons and I, who both attended high school at the same time in Boulder, CO, reconnected by Facebook for the first time in more than 25 years. This synchronistic virtual meeting resulted in a four-year international music adventure that included performances in Italy and Colorado, and culminated with co-writing (along with Bob Story) the 11 songs on this CD. We wrote the songs largely via Skype over a two-year period, and recorded tracks both in Italy and Colorado. While the writing and recording process has been lengthy and challenging at times, the journey has been priceless. The Italian Project is a big departure for Lisa Bell and her band, with heavy roots rock, country, bluegrass, pop and blues influences. Throughout the writing process, we used a theme of positive messages and beautiful stories of change, manifestation and empowerment. Some of the songs are uplifting. Others share important stories such as the challenges of homelessness, racism and our societal fears. All are designed to make the listener take heart and take action. The music is fun, fresh, upbeat and thought provoking. http://lisabellmusic.com/discography/the-italian-project/

The Italian Project

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Ron McClure Sextet - Double Triangle

Styles: Jazz, Straight-ahead/Mainstream
Year: 1999
File: MP3@320K/s
Time: 72:43
Size: 167,1 MB
Art: Front

( 5:45)  1. In Flight
( 7:04)  2. Night Bird
( 5:20)  3. Con Alma
( 9:12)  4. Thunder
( 4:42)  5. More Than a Notion
( 4:20)  6. Let Freedom Ring
( 9:32)  7. Minor Spree
( 9:16)  8. Maya
(11:06)  9. April in Nimes
( 6:24) 10. We'll Be Together Again

As a vehicle for documenting his original compositions, veteran mainstream jazz bassist McClure envisions his sextet as a double triangle of rhythm section (he, pianist Marc Copland and drummer Billy Hart) and front line (Rich Perry on tenor sax, Tim Hagans on trumpet, Conrad Herwig on trombone) to work as one. With such outstanding musicianship present, and the interesting pieces they have to play with, listeners have a real treat involving themselves with this finely crafted project. There are two standards, the trombone-led ballad "We'll Be Together Again" and Dizzy Gillespie's easy swinger "Con Alma," on which Herwig is up first, Perry grabs the baton on the second and repeated first melody, and the whole group joins at the end. Leader's prerogative dictates that McClure solos frequently; he does on the known numbers, but takes more license on his own. He is dominant for "In Flight" in the intro and up front through the entire, even-tempo horn chart. "Night Bird" has him long-winded in the deliberately paced undertow of hushed melody he adapted from Herbie Hancock's "Speak Like a Child." McClure also modified Joe Henderson's "Gazelle" into "Thunder" with juggernaut trombone and bass; the rest of the horns stay on top of this well-swung melody, which is concluded with the band employing potent interplay. Swinging and especially blowing from Perry is emphasized on the Jazz Messenger-ish "Minor Spree"; a steady rhythm for "More Than a Notion" allows the horns to languish in multiple lines, while freer, darker structures and Hagans' tasteful solo inspires a pounding Hart in mid-flight during "Let Freedom Ring." Another feature for Perry, "April in Nimes," has "April in Paris" references during a wonderful tenor-bass-piano unison line, and "Maya," written for McClure's daughter, goes from waltz to 4/4 bridge time with darker trombone, clarion echoes, and Copland's always colorful piano inserts. McClure has long been underrecognized as a fine bassist, improviser, bandleader and writer. This very fine CD should start to wake the jazz world to his many gifts. Highly recommended.~ Michael G.Nastos http://www.allmusic.com/album/double-triangle-mw0000259830

Personnel:  Ron McClure: Bass, Tim Hagens: Trumpet; Conrad Herwig: Trombone; Rich Perry: Tenor Saxophone; Marc Copland: Piano; Billy Hart: Drums.

Double Triangle

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Chris Byars - Blue Lights

Styles: Flute And Saxophone Jazz
Year: 2009
File: MP3@256K/s
Time: 61:27
Size: 113,0 MB
Art: Front

( 7:04)  1. Luck Swing
( 6:17)  2. Sans Souci
(10:47)  3. Al-Ghashiyah
( 6:52)  4. The Infant Song
( 8:16)  5. Baba's Blues
( 8:09)  6. Shabozz
( 7:07)  7. Blue Lights
( 6:52)  8. Anne Marie

During a relatively brief career, alto saxophonist/composer Gigi Gryce was one of the promising contributors to hard bop, though he suddenly stopped playing and composing to take up music education. Though Gryce wrote a number of important works that have been frequently explored by other jazz artists, alto saxophonist Chris Byars chose to record seven of his lesser known works, in the process, discovering several previously unrecorded compositions, premiering one of them. Joined by two of his frequent collaborators, pianist Sacha Perry and bassist Ari Roland, plus trombonist John Mosca and drummer Stefan Schatz, Byars utilizes the composer's arrangements as written, though a bassline was not included in the charts. Gryce's enchanting "Al-Ghashiyah" is the undiscovered gem, blending a peppy opening and closing with an exotic central section. The leader switches to flute for the Latin-flavored introduction to "Sans Souci" (derived from the changes to "Out of Nowhere"), though the chart quickly shifts into a midtempo bop setting showcasing Perry, with the leader's father James Byars added on oboe in the ensemble sections. Byars is equally skilled on tenor in the driving blues "Blue Lights." Roland adds a taste of Paul Chambers with his solid arco technique on several tracks. This is an excellent tribute to an unjustly neglected jazz musician. ~ Ken Dryden http://www.allmusic.com/album/blue-lights-mw0000833156

Personnel: Chris Byars (flute, alto saxophone, tenor saxophone); John Mosca (trombone); Sacha Perry (piano); Stefan Schatz (drums).

Blue Lights

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Harry Allen - Christmas in Swingtime

Styles: Christmas
Year: 2007
File: MP3@320K/s
Time: 68:30
Size: 158,0 MB
Art: Front

(5:44)  1. O Christmas Tree
(6:22)  2. Santa Claus Is Coming to Town
(5:46)  3. Have Yourself a Merry Little Christmas
(5:52)  4. Let It Snow! Let It Snow! Let It Snow!
(6:10)  5. God Rest Ye Merry Gentlemen
(5:51)  6. White Christmas
(3:28)  7. Blue Christmas
(6:07)  8. We Wish You a Merry Christmas
(5:13)  9. Rudolph Red-Nosed Reindeer
(5:26) 10. I'll Be Home for Christmas
(3:01) 11. Ding! Dong! Merry on High
(5:20) 12. Winter Wonderland
(4:03) 13. A Christmas Love Song

Although it was recorded in New York City, the liner notes for this splendid holiday release by tenor saxophonist Harry Allen are in Japanese, an indication that it was not necessarily aimed at a domestic audience but one that is somewhat farther east. What’s more, the copy I have is on the BMG label while the accompanying press release is from Koch Jazz, which, presumably, obtained the distribution rights from BMG (and has provided an English translation of Dan Polletta’s notes). Are you following me so far? Good. There’ll be a pop quiz later. Allen, who turned thirty–five in October (happy birthday, Harry), is a throwback to an earlier era in which lyricism and a lovely sound reigned supreme, and his influences range from Coleman Hawkins, Lester Young and Ben Webster to Stan Getz, Zoot Sims, Al Cohn and, among his contemporaries, Scott Hamilton. To these ears, he sounds most like Getz with Zoot’s unerring sense of time. What’s important, of course, is that Allen swings under any and all conditions including seasonal. When it comes to Jazz, there’s little difference between Christmas songs and others; they’re all comprised of chord changes, and once one knows the changes he can treat them like any other number, which is what Allen and his talented colleagues do here. After stating the melody they take the song wherever it leads them, which is invariably along a most picturesque and agreeable byway. Larry Goldings, who’s also an excellent pianist, stays with the Hammond on this date. He and mellow guitarist Peter Bernstein obviate the need for a bassist, while drummer Jake Hanna is a model of taste and proficiency. The quartet is augmented on one number, “Blue Christmas,” by vocalist John Pizzarelli who sounds rather like a latter–day version of Chet Baker. Most of these tunes should be immediately familiar to anyone who’s not been sequestered in a cave, the possible exception being Johnny Mandel’s “Christmas Love Song,” which closes the album. There’s one bona fide “burner,” the traditional carol “Ding! Dong! Merry on High,” on which everyone is in an exuberant holiday mood. The rest is slow to medium but no less earnest. If you can envision Stan Getz playing carols and other seasonal fare you’ll have a reasonably accurate idea of what to expect from Christmas in Swingtime.

 ~ Jack Bowers https://www.allaboutjazz.com/christmas-in-swingtime-harry-allen-koch-international-jazz-review-by-jack-bowers.php
 

Personnel: Harry Allen, tenor saxophone; Larry Goldings, organ; Peter Bernstein, guitar; Jake Hanna, drums; John Pizzarelli, vocal

Christmas in Swingtime

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