Cecil Payne - Patterns of Jazz

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 44:04
Size: 101,2 MB
Art: Front

(3:50)  1. This Time the Dreams on Me
(7:52)  2. How Deep Is the Ocean
(5:31)  3. Chessman's Delight
(3:41)  4. Arnetta
(6:43)  5. Saucer Eyes
(5:37)  6. Man of Moods
(6:23)  7. Bringing Up Father
(4:23)  8. Groovin' High

This 1956 set partners baritone saxophonist Cecil Payne with the superb rhythm section of pianist Duke Jordan, drummer Art Taylor, and bassist Tommy Potter. Their performances of originals, standards, and a pair of Randy Weston compositions are unpretentious bop artistry of a high caliber. Jordan and Potter played together in Charlie Parker's quintet of the late '40s and are well-equipped to meet the demands of bebop. The pianist's economical, swinging style falls somewhere between Count Basie's and Thelonious Monk's. Like them, Jordan is supremely skilled at saying a lot with a little. His open approach leaves plenty of space for the unassuming virtuosity of Potter and Taylor. Potter, in particular, merits close attention. He is a master of the walking bass, spilling out a relentless four to the bar with the precision of a Swiss timepiece and the obsession of one whose calling is, above all, to swing and to swing righteously. Payne's conception is the opposite of the big-throated, baritone sax roar of his Savoy labelmate Pepper Adams. Rather, his light tone calls to mind Lester Young's tenor sax, a parallel that is most apparent on Payne's extended solo on his ballad treatment of "How Deep Is the Ocean." On four of the eight tracks on this 1991 CD reissue the quartet is joined by trumpeter Kenny Dorham, who is in excellent form, adding a high-energy second voice to the frontline and a fearless chorus on the quintet's version of Dizzy Gillespie's "Groovin' High." For listeners who have yet to become acquainted with Cecil Payne, this classic mid-'50s Savoy recording would make a good introduction.~ Jim Todd http://www.allmusic.com/album/patterns-of-jazz-mw0000098304

Personnel: Cecil Payne (baritone saxophone), Kenny Dorham (trumpet), Duke Jordan (piano), Tommy Potter (bass), Art Taylor (drums).

Patterns of Jazz

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Susan Wong - Just A Little Bossa Nova

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 51:05
Size: 117,4 MB
Art: Front

(4:19)  1. The Look Of Love
(3:54)  2. Girl From Ipanema
(4:25)  3. Emotion
(2:50)  4. And I Love Her
(3:37)  5. Somewhere Beyond The Sea
(3:30)  6. All The Way
(3:41)  7. The Shadow Of Your Smile
(5:15)  8. Just The Way You Are
(3:27)  9. Imagine
(4:23) 10. Desafinado
(4:12) 11. Get Here
(3:07) 12. If
(4:22) 13. Kissing Of Fool

Susan Wong maintains a low-profile in her home town of Hong Kong yet is one of the best selling Hong Kong artists throughout South East Asia, and has a global following with releases in Japan, Germany, USA and Korea and a strong following in Brazil, Mexico and Spain. If you talk to many serious music fans in South East Asia they’ll give rave recommendations of Susan, who has been labeled as the ‘Queen of audiophile’, for her soft and sultry vocal style and laid-back music that has won the hearts of her wide and diverse legion of loyal fans. From those audiophile enthusiasts who enjoy listening to fine recordings to young listeners who adore the heart touching love songs the one thing that unites all her fans is their knowledge that they’ve discovered Asia’s best kept secret. Susan Wong was born in Hong Kong and immigrated to Sydney, Australia with her family at the age of seven. Musically inclined from a young age, she learned to play the piano at age five and later she also learned the violin. Her first break in the music world was at the age of sixteen when her parents entered her for a singing contest in Sydney organized by the TVB. Susan won the competition and was offered a contract with music label. After much deliberation she decided that the time wasn’t right and instead returned to Australia to study at University. She pretty much just settled back into life at University and put aside any dreams of a music career. http://susanwong.net/index.php?option=com_content&view=article&id=1&Itemid=28

Just A Little Bossa Nova

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Chris Byars Octet - Music Forever

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 54:37
Size: 125,3 MB
Art: Front

(8:25)  1. Somewhere/Music Forever
(7:59)  2. Minor Interlude
(8:04)  3. Time to Smile
(4:45)  4. Just A Ballad For My Baby
(8:11)  5. Emily Reno
(9:01)  6. Old Spice
(8:09)  7. The Thespian

Chris Byars has enjoyed exploring great jazz compositions that have been overlooked by other bandleaders. He found a mother lode by undertaking a CD of material by pianist Freddie Redd, who had a flurry of activity as a recording artist from the mid-'50s to the mid-'60s, before leaving for Europe and only sporadically recording since then. The tenor saxophonist arranged eight of Redd's compositions for his octet, a strong group including trumpeter Scott Wendholt, trombonist John Mosca, alto saxophonist Zaid Nasser and baritone saxophonist Mark Lopeman, with pianist Sacha Perry, bassist Ari Roland, and drummer Stefan Schatz making up the rhythm section. Byars fleshes out Redd's music with thoughtful, lively arrangements, while the solos are short and passed quickly from one player to the next and the ensembles are tight. The snappy "Minor Interlude" moves at a brisk clip, with potent solos by the brass and reed players, along with Ari Roland's Paul Chambers-like arco bass. The jaunty "Time to Smile" deserved to become a hard bop staple, and Byars' harmonically rich arrangement adds to its luster. "Emily Reno" is a lesser-known Redd piece from the 1970s, showcasing Perry's potent bop chops and Mosca's robust trombone. With so many players striving to make a splash with CDs full of originals, it is refreshing to see musicians like Chris Byars who enjoy delving for buried treasures from throughout the history of jazz. ~ Ken Dryden http://www.allmusic.com/album/music-forever-mw0002399341

Personnel: Zaid Nasser (alto saxophone); Chris Byars (tenor saxophone); Mark Lopeman (baritone saxophone); Scott Wendholt (trumpet); John Mosca (trombone); Sacha Perry (piano); Stefan Schatz (drums).

Music Forever

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Marion Brown - Vista

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 41:23
Size: 95,4 MB
Art: Front

(7:33)  1. Maimoun
(5:40)  2. Visions
(7:44)  3. Vista
(4:37)  4. Moment Of Truth
(6:02)  5. Bismillahi 'Rrahmani' Rrahim
(9:45)  6. Djinji

Altoist Marion Brown, one of the potentially great high-energy saxophonists to emerge in the mid-'60s (he was on John Coltrane's famous Ascension record), has had somewhat of a directionless career. This disc certainly boasts an impressive backup crew (including both Anthony Davis and Stanley Cowell on keyboards along with bassist Reggie Workman and some appearances by drummer Ed Blackwell) but does not seem to know what it wants to be. The solos are relatively short, there is a poppish vocal by Allen Murphy on a Stevie Wonder tune and little that is all that memorable actually occurs. Better to acquire Marion Brown's earlier recordings. ~ Scott Yanow http://www.allmusic.com/album/vista-mw0000452724

Personnel:  Marion Brown — alto saxophone, wind chimes;  Stanley Cowell (tracks 1-4), Anthony Davis — piano, electric piano;  Bill Braynon — celeste, electric piano (tracks 1-4);  Reggie Workman — bass (tracks 1 & 3-6);  Jimmy Hopps — drums (tracks 1 & 3-5);  Ed Blackwell — drums, slit drums, (tracks 3 & 6);  Jose Goico — congas, tambourine (tracks 1 & 3-6);  Allen Murphy — vocals (track 2), bells (track 5);  Harold Budd - celeste, gong (track 5)

Vista

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Wild Bill Davison - With Alex Welsh & His Band

Bitrate: MP3@320K/s
Time: 60:55
Size: 139.5 MB
Styles: Dixieland, New Orleans jazz
Year: 2009
Art: Front

[4:58] 1. Beale Street Blues
[6:45] 2. Sugar
[4:19] 3. Surf Side Samba
[6:45] 4. Oh, Baby!
[3:49] 5. Blue Again
[2:47] 6. Love Is Just Around The Corner
[5:03] 7. That's A-Plenty
[6:56] 8. If I Had You
[5:40] 9. Sweet Georgia Brown
[4:00] 10. Blue And Broken-Hearted
[7:06] 11. After You've Gone
[2:43] 12. Royal Garden Blues

Wild Bill Davison - Cornet; Alex Welsh - Trumpet; John Barnes - Clarinet, alto sax, baritone sax; Roy Williams - Trombone; Fred Hunt - piano; Jim Douglas - Guitar; Gerry Higgins - Double bass; Lennie Hastings - Drums.

If there was one British ensemble extremely well-suited to accompanying Wild Bill Davison, it was Alex Welsh's band. Wild Bill always sounded most at ease when playing with the groups assembled by Eddie Condon - and Condon obviously appreciated Davison, as he used him whenever he could. Alex Welsh's band was closer than any other British ensemble to matching the spirit created in Eddie Condon's jam sessions, with that easy-going Dixieland/Chicago style. This session was recorded at Manchester Sports Guild in 1966 when Wild Bill was visiting Britain - the first of many visits. It is a pity that the album mis-spells Bill's name as "Davidson" but otherwise this is a CD to enjoy.

The session opens with a bang, as drummer Lennie Hastings introduces Beale Street Blues with one of his perfectly-formed breaks. There is a fine baritone solo from the immaculate John Barnes, and an outspoken solo from Davison, who is clearly enjoying the occasion. Roy Williams, Alex Welsh and Fred Hunt stoke the fire with their solos, and Jim Douglas is slightly more restrained but melodic. Lennie Hastings leads back into the theme with a short but excellent drum solo. This stimulating opener sets the mood for an evening which was understandably enjoyed by the appreciative audience. The band members also shout encouragement to one another. Sugar includes further noteworthy solos from John Barnes (on baritone), the punchy but husky Davison, and the always dependable Roy Williams. You can credit Alex Welsh with good taste for choosing some of the country's best musicians for his band. The rather tinny-sounding piano is the only thing that lets this track down. Surf Side Samba is a piece of exotica - perhaps added to the programme because of the craze for the bossa nova, although it also has hints of the calypso. John Barnes wails on the alto sax, and his baritone is marvellous in the following Oh, Baby! Blue Again opens with the tinny piano but it is primarily a feature for Wild Bill, who switches between throaty emotion and uninhibited declamation, proving what a superb ballad player he is. Love is Just Around the Corner has a neat piece of counterpoint at the start of the final chorus. That's A-Plenty speeds along at an intense tempo, impelled by Lennie Hastings' driving drums. The number ends with one of those Eddie Condon-type series of four-bar swaps which always manage to raise the temperature. If only Lennie Hastings had resisted the temptation to add irritatingly random drum beats at the end of so many numbers! Matters calm down for If I Had You, where John Barnes blossoms on clarinet and Wild Bill solos with feeling, as do Roy Williams and Alex Welsh. The ending of this tune exhibits the band's sensitivity during Davison's closing flourish. Sweet Georgia Brown does its rabble-rousing work, after which Wild Bill again shows his ballad credentials on Blue and Broken Hearted. After You've Gone has excellent clarinet from John Barnes and classic cornet from Wild Bill. The concert closes with a short, flag-waving Royal Garden Blues which consists entirely of those irresistible four-bar sequences. Wild Bill Davison's first visit to the UK clearly yielded a night to remember, and we can thankfully experience it through this album. ~Tony Augarde

With Alex Welsh & His Band

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Marianne Faithfull - S/T

Bitrate: MP3@320K/s
Time: 30:41
Size: 70.2 MB
Styles: Rock, AM pop
Year: 1965/2002
Art: Front

[2:22] 1. Come Stay With Me
[2:13] 2. If I Never Get To Love You
[1:37] 3. Time Takes Time
[2:33] 4. He'll Come Back To Me
[2:45] 5. Downtown
[2:32] 6. Plaisir D'amour
[2:25] 7. Can't You Hear My Heartbeat
[2:45] 8. Paris Bells
[2:09] 9. They Never Will Leave You
[2:51] 10. What Have They Done To The Rain
[2:17] 11. In My Time Of Sorrow
[1:52] 12. What Have I Done Wrong
[2:13] 13. I'm A Loser

Her erratic, self-titled debut features lovely baroque arrangements by Mike Leander and decent tunes like "As Tears Go By," and Jackie DeShannon's "Come and Stay With Me" and "In My Time of Sorrow," and Bacharach/David's "If I Never Get to Love You," as well as fairly crummy covers of hits by the Beatles, Herman's Hermits, and Petula Clark. Look for the Japanese CD reissue: It adds six non-LP bonus tracks from mid-'60s singles, including a couple (the girl-groupish "The Sha La La Song," the melancholy "The Morning Sun") that rank among her best '60s recordings. ~Richie Unterberger

Marianne Faithfull

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New York Trio - Begin The Beguine

Bitrate: MP3@320K/s
Time: 57:22
Size: 131.3 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[8:02] 1. You'd Be So Nice To Come Home To
[6:12] 2. My Heart Belongs To Daddy
[6:48] 3. So In Love
[6:48] 4. Begin The Beguine
[6:30] 5. I Love Paris
[6:54] 6. From This Moment On
[3:02] 7. Just One Of Those Things
[6:19] 8. Easy To Love
[6:41] 9. Every Time We Say Goodbye

The New York Trio consists of pianist Bill Charlap, bassist Jay Leonhart, and drummer Bill Stewart, though it exists solely as a studio band for the Japanese label Venus, as Charlap's regular trio includes Peter Washington and Kenny Washington. Even though this band only meets occasionally in the studio to record yet another release in their prolific series for the Japanese jazz market, there is plenty of chemistry between the three veterans, while the nine songs from the vast Cole Porter songbook were likely to have been a part of each musician's repertoire long before these 2005 sessions. Charlap's lyrical piano style is quite effective, capturing the nuances of Porter's humor (even though none of his lyrics are heard), while the rhythm section gels nicely with the pianist. Highlights include a jaunty "My Heart Belongs to Daddy," a dreamy "Begin the Beguine," and a snappy "From This Moment On." ~Ken Dryden

Begin The Beguine

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Seamus Blake - The Bloomdaddies

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 50:28
Size: 115,9 MB
Art: Front

(5:50)  1. Newton's Law
(6:05)  2. Hick as Heck
(3:35)  3. To Be Ornette to Be
(6:56)  4. Sing, Sing, Sing
(6:01)  5. Shelter
(9:49)  6. Trilogy: End of Time, Space Sh
(4:35)  7. Final Sauna
(7:33)  8. Do We?

Criss Cross is famous as one of the top European bop-oriented labels, so this particular release was a real departure. The music uses electronics a bit; the playing is open to the influences of the avant-garde and funk, and the instrumentation is a bit different: Seamus Blake and Chris Cheek on tenors, Jesse Murphy on electric bass and both Jorge Rossy and Dan Reiser on drums. With the exception of an eccentric version of "Sing, Sing, Sing," all of the tunes are originals by either Blake or Cheek, including such titles as "Hick As Heck," "Final Sauna" and "To Be Ornette to Be." An intriguing, if not essential set. ~ Scott Yanow http://www.allmusic.com/album/bloomdaddies-mw0000648376

Personnel: Seamus Blake (tenor saxophone); Chris Cheek (tenor saxophone); Jessie Murphy (bass guitar); Dan Reiser, Jorge Rossy (drums).

The Bloomdaddies

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Marjorie Barnes - Time Heals Everything

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 54:15
Size: 124,5 MB
Art: Front

(3:10)  1. A Blossom Fell
(4:05)  2. Old Flames Never Die
(5:18)  3. In Love In Vain
(3:56)  4. Something Known But Never Spoken
(2:55)  5. I'm Through With Love
(4:19)  6. What Is Love
(3:46)  7. Where Can I Go Without You
(4:48)  8. You Don't Remember Me
(2:42)  9. Time Heals Everything
(3:07) 10. Wild Is The Wind
(3:48) 11. Sleepless Hours
(3:47) 12. Daydream
(4:07) 13. My Heart Will Go On
(4:20) 14. On The Day You Leave Me

Marjorie Barnes was born and raised in New York City. In a long and diverse career in music, she has made a name for herself as a world class singer and also as an actress, with starring roles on Broadway in the musicals Hair and Dreamgirls. In the mid 70’s she worked as the lead vocalist in the renowned pop group The Fifth Dimention; touring and recording with them for two years. From 1978 – 2000, Ms. Barnes made Europe her home; living in London, Paris, Vienna and finally settling in Holland. During this time she became known throughout Europe as a first class jazz vocalist and performer, working in musicals, at jazz festivals, with symphonies and big bands and with her own trio. She also initiated jazz vocal education in the conservatories in Holland, teaching in Hilversum and the Hague. Ms. Barnes has performed in concert at the Royal Albert Hall in London, the Concertgebouw in Amsterdam and the Las Vegas Hilton. She has appeared in concert with the Metropole Orchestra, the Rotterdam Symphony and the Tampere Symphony in Finland. She has worked alongside such artists as Frank Sinatra, Lena Horne, Sammy Davis Jr., Billy Eckstein, Marcus Miller and Mel Lewis.  After living in America for twelve years, Marjorie Barnes returned to Holland in 2012 in full command of her unique vocal gifts and her commanding stage presence. Her Collaboration with Equinox began in 2014, a year which saw her and the group tour Ireland, record a project with award winning Irish musician/composer and producer Bill Whelan and perform at some of Holland’s most esteemed venues, including the Doelen in Rotterdam. http://www.equinoxjazzquintet.com/marjorie-barnes/

Personnel: Majorie Barnes (vocals); Rob Van Bavel (piano); Rene Van Beek (acoustic bass); Chris Strik (drums).

Time Heals Everything

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Ahmad Jamal Trio - Cross Country Tour 1958-1961 (Disc 1) And (Disc 2)

Album: Cross Country Tour 1958-1961 (Disc 1)

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 65:06
Size: 149,8 MB
Art: Front

(3:32)  1. But Not For Me
(2:35)  2. Surrey With The Fringe On Top
(3:09)  3. Moonlight In Vermont
(2:57)  4. Music! Music! Music! (Put Another Nickel In)
(3:40)  5. Woody'n You
(8:06)  6. Poinciana
(2:30)  7. Too Late Now
(3:13)  8. All The Things You Are
(3:43)  9. Cherokee
(3:27) 10. It Might As Well Be Spring
(2:42) 11. I'll Remember April
(3:24) 12. Gone With The Wind
(3:00) 13. Billy Boy
(3:36) 14. It's You Or No One
(3:31) 15. You Don't Know What Love Is
(3:03) 16. Tater Pie
(4:56) 17. This Can't Be Love
(3:55) 18. Old Devil Moon

Album: Cross Country Tour: 1958-1961   (Disc 2)

Year: 1998
File: MP3@320K/s
Time: 66:12
Size: 152,1 MB

(4:01)  1. Sweet And Lovely
(4:00)  2. The Party's Over
(7:40)  3. Broadway
(2:31)  4. Snowfall
(6:20)  5. Time On My Hands
(4:13)  6. Angel Eyes
(6:10)  7. What Is This Thing Called Love?
(6:17)  8. I'll Take Romance / My Funny Valentine
(2:53)  9. Like Someone In Love
(4:20) 10. Falling In Love With Love
(4:39) 11. The Best Thing For You
(4:09) 12. April In Paris
(4:15) 13. The Second Time Around
(4:37) 14. Darn That Dream

This two-CD set has highlights from pianist Ahmad Jamal's famous trio dates for Argo, with selections drawn from At the Pershing, At the Pershing Vol. 2, Portfolio of Ahmad Jamal, Alhambra, and At the Blackhawk, plus one selection only out before in a sampler. It is a pity that the five valuable albums were not reissued in full on a three-CD set, for these were among the most important recordings of Jamal's career. His trio (with bassist Israel Crosby and drummer Vernel Fournier) had a unique sound, utilizing close communication and dynamics to an extraordinary degree. 

"Poinciana" was a huge hit, and other highlights included on this twofer include "But Not for Me," "Cherokee," "Billy Boy," "This Can't Be Love" and "Falling In Love With Love." Although easily recommended as an introduction to this classic group, the preferred complete sessions will hopefully appear on CD someday too.~ Scott Yanow http://www.allmusic.com/album/cross-country-tour-1958-1961-mw0000035421

Personnel: Ahmad Jamal (piano); Israel Crosby (bass); Vernel Fournier (drums).

Cross Country Tour: 1958-1961 (Disc 1)
Cross Country Tour: 1958-1961 (Disc 2)

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Larry Willis Trio - Let's Play

Styles: Piano Jazz
Year: 1991
File: MP3@256K/s
Time: 66:52
Size: 122,7 MB
Art: Front

( 9:08)  1. I Hear a Rhapsody
( 6:48)  2. Who Can I Turn to?
(11:57)  3. Let's Play
( 7:31)  4. No Blues
( 6:35)  5. Anne
( 9:00)  6. The Children of Harlem
( 8:19)  7. Bess You is My Woman Now
( 7:31)  8. Nardis

Once identified with on-the-edge free music, keyboardist Larry Willis had a profitable flirtation with fusion in the '70s, then moved to hard bop in the '80s and '90s. Willis' playing has been frenetic, ambitious, and interesting, but during his jazz-rock and fusion days it was funky but greatly restrained and simplistic. A devotee of Herbie Hancock, Willis has found a good balance, with expertly constructed modal solos and also lyrical, relaxed statements. Willis graduated from the Manhattan School of Music in the early '60s, then played with Jackie McLean and Hugh Masekela. He recorded with Lee Morgan and McLean in the mid-'60s, and worked with Kai Winding and Stan Getz, as well as recording with Robin Kenyatta in 1969. Willis turned to synthesizer and electric piano in the '70s, doing sessions with Cannonball Adderley, Earl May, Joe Henderson, Richard "Groove" Holmes, and Masekela again. He joined Blood, Sweat & Tears in 1972, recorded with Alphonse Mouzon in both 1972 and 1973, and did dates as a leader and freelance session musician. Willis also recorded with Ryo Kawasaki and Sonny Fortune in the late '70s, and with David "Fathead" Newman and Carla Bley in the '80s. Willis toured and recorded with Nat Adderley in the '80s and joined Woody Shaw's quintet in 1986. He's done sessions as a leader for Groove Merchant, Steeplechase, Audioquest, Brunswick, and Mapleshade, among others, including Blue Fable and Offering on Highnote in 2007 and 2008, respectively. ~ Ron Wynn and Michael G. Nastos https://itunes.apple.com/ng/artist/larry-willis/id3273573#fullText

Personnel:  Bass – Santi Debriano;  Drums – Victor Lewis;  Piano – Larry Willis

Let's Play

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Orrin Evans - Listen to the Band

Styles: Piano Jazz
Year: 1999
File: MP3@224K/s
Time: 64:58
Size: 104,5 MB
Art: Front

( 8:11)  1. I Want to Be Happy
(12:21)  2. In His Place
( 5:51)  3. Mat-Matt
( 3:47)  4. There Is a Quiet Palce
(10:30)  5. For Miles
( 9:37)  6. Dorm Life
( 4:25)  7. Forgiven
(10:12)  8. Diva Black

The title of Evans' fourth Criss Cross album conveys his excitement over a new, steady trio configuration, with Reid Anderson on bass and Nasheet Waits on drums. Joining the pianist and his trio on many of the cuts are trumpeter Duane Eubanks, soprano saxophonist Sam Newsome, and tenor/alto man Ralph Bowen. This group seems to push Evans into freer, more rhythmically adventurous territory, particularly on a strikingly abstract rendition of "I Want to Be Happy" and on Eubanks' "Diva Black," which goes through a series of stirring tempo and feel changes. Most of the remaining material is quite good but not as unusual. One of Evans' frequent colleagues, bassist Darryl Hall, contributes the wonderful, Wayne Shorter-esque "In His Place," while Anderson, one of the best emerging composers in jazz, rounds out the program with the enigmatic ballad "Forgiven." Evans also waxes meditative with a solo piano rendition of "There Is a Quiet Place." The three Evans originals are "Dorm Life," a cut first heard on his 1997 debut Justin Time, along with "For Miles" and the rather stunning "Mat-Matt" -- named for his two young sons. There's plenty of substance to these pieces, but one should also turn to Evans' independently released Seed for a more complete picture of his compositional ability. All in all, however, there's superior playing from all involved, and an animating vision that makes Listen to the Band a significant step in Evans' career.~ David R.Adler http://www.allmusic.com/album/listen-to-the-band-mw0000107625

Personnel: Orrin Evans (piano); Ralph Bowen, Sam Newsome (saxophone); Duane Eubanks (trumpet); Reid Anderson (bass); Nasheet Waits (drums).

Listen to the Band

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Jack Sheldon - The Warm World Of Jack Sheldon

Bitrate: MP3@320K/s

Time: 38:41

Size: 88.6 MB

Styles: Easy Listening, Trumpet jazz

Year: 1968/2011

Art: Front

[2:34] 1. The Look Of Love

[3:04] 2. More And More Amore

[5:00] 3. Forget

[2:35] 4. The Odd Couple

[3:33] 5. Holiday

[2:46] 6. Grazin' In The Grass

[3:23] 7. Emily

[2:04] 8. With A Little Help From My Friends

[2:48] 9. In The Wee Small Hours Of The Morning

[5:13] 10. Nature Boy

[2:52] 11. Daydream

[2:43] 12. Sweet Talk

Still an excellent record more than 40 years after it was recorded. ~jbjazz

One of the great jokesters in jazz (whose spontaneous monologues are as hilarious as they are tasteless), Jack Sheldon's personality has sometimes overshadowed his excellent trumpet playing and effective vocals. Sheldon started playing professionally at age 13. He moved to Los Angeles in 1947, joined the Air Force and played in military bands. After his discharge, Sheldon became a popular figure on the West Coast, playing and recording with many top musicians including Jimmy Giuffre, Herb Geller, Wardell Gray, Stan Kenton, Benny Goodman, Curtis Counce, and Art Pepper. He worked as an actor in the 1960s (including starring in the short-lived television series Run Buddy Run), was seen nightly on The Merv Griffin Show, and in the 1970s and '80s he performed with Benny Goodman, Bill Berry's big band, in the studios, and with his own groups. He also made his mark on millions of American children by being the vocalist for both "Conjuction Junction" and "I'm Just a Bill" from the Schoolhouse Rocks! series. Into the mid-'90s, Jack Sheldon (who often uses a big band arranged by Tom Kubis) remained quite active in the Los Angeles area, recording regularly for Concord and his Butterfly label. ~bio by Scott Yanow

The Warm World Of Jack Sheldon

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Karen Francis - Little Sunflower

Bitrate: MP3@320K/s
Time: 70:21
Size: 161.0 MB
Styles: Standards, Vocal
Year: 1998
Art: Front

[8:50] 1. The Great City
[5:51] 2. Here's That Rainy Day
[3:34] 3. I Could Have Danced All Night
[7:36] 4. Brown Skin Gal
[6:07] 5. Love Yourself
[8:57] 6. Little Sunflower
[7:54] 7. Learn From Your Mistakes
[9:00] 8. Dindi
[7:01] 9. You Go To My Head
[5:26] 10. Man, That Was A Dream (Monk's Dream)

In the summer of 1994 in Washington D.C., jazz vocalist Karen Francis was discovered by world renown jazz master (pianist, composer, record label executive, producer, and professor) Stanley Cowell. Cowell, one of jazz music's most talented architects who, with Charles Tolliver in 1971, established and launched Strata-East Records, was hosting a party in his home one evening when he had occasion to be introduced to Francis by one of his students - William Knowles. A significant turn of events during the course of the evening revealed that Karen was a singer and Cowell invited her to sit in with him at an impromptu jam session. They played two duets together - Round Midnight and Lush Life. Once Cowell heard her sing, he knew that this was a voice that would go places and decided to record her. After becoming acquainted with her, Cowell discovered that Francis was relatively new to singing, but not so new to music, as she had played several instruments while in high school in Augusta, Georgia and at Tuskegee University in Alabama.

A few short weeks after his discovery of this extraordinary talent, Cowell gave Francis her first professional recording opportunity and introduction to the international jazz community through an invitation to be a featured artist on a coming project “Mandara Blossoms”. Overwhelmed, nervous, and honored, Karen accepted and in October of ’94, her first efforts as a featured recording artist were committed to history on record in the SteepleChase Records catalogue. This recording featured Cowell on piano, tenor saxophonist Billy Pierce, and drummer Ralph Peterson. Notably, SteepleChase alumni include monumental luminaries such as Ben Webster, Bud Powell, Shirley Horn, Kenny Dorham, Dizzy Gillespie - to name a few. On this roster an awed Francis founds herself in stellar company. Four weeks after the project with Cowell had been recorded, SteepleChase called on Francis to record as a leader. This was an industry nod in light of the fact that SteepleChase's roster of vocalists numbers a very select few.

Little Sunflower

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Bill Watrous, Pete Christlieb, Gary Urwin Jazz Orchestra - Kindred Spirits

Bitrate: MP3@320K/s
Time: 63:09
Size: 144.6 MB
Styles: Swing, Big band
Year: 2006
Art: Front

[5:03] 1. Lester Leaps In
[5:31] 2. Theme From Chinatown
[5:44] 3. Girl Talk
[4:57] 4. Beautiful Love
[6:34] 5. My Foolish Heart
[5:29] 6. Kindred Spirits
[4:08] 7. Danny Boy
[5:30] 8. E.S.P
[6:48] 9. That Old Feeling
[4:40] 10. My Ship
[6:04] 11. No More Blues
[2:35] 12. I'll Be Seeing You

Alto Saxophone – Rusty Higgins; Alto Saxophone, Soprano Saxophone – Kim Richmond; Baritone Saxophone – John Mitchell; Bass – Trey Henry; Bass Clarinet, Bassoon – John Mitchell; Bass Trombone – Rich Bullock; Drums – Ralph Razze; English Horn – John Yoakum; Flute – Kim Richmond, Rusty Higgins; Flute [Alto, Bass] – Rusty Higgins; Flute [Alto] – Kim Richmond; Flute, Clarinet – Pete Christlieb; Guitar – Frank Browne; Harp – Amy Shulman; Leader, Arranged By, Liner Notes – Gary Urwin; Percussion – Michito Sanchez, Richie Gajate-Garcia; Piano – Christian Jacob; Tenor Saxophone – Jeff Driskill, Pete Christlieb; Tenor Saxophone, Flute, Flute [Alto], Clarinet – Dan Higgins; Trombone – Alex Iles, Bill Watrous, Charlie Loper, Dave Woodley; Trumpet, Flugelhorn – Bobby Shew, Dan Fornero, John Thomas, Mike McGuffey, Rick Baptist, Ron King., Warren Luening., Wayne Bergeron.

For a fellow who practices law for a living, Gary Urwin is one heck of an arranger. His charts for his third CD, though solidly in the modern-mainstream-big-band tradition, use traditional elements in fresh, imaginative ways, such as ending Wayne Shorter’s “E.S.P.” with a sudden and unexpected accelerando. Urwin wrote the arrangements expressly to feature the extraordinary soloists Pete Christlieb on tenor and Bill Watrous on trombone, and they more than do them justice. Christlieb is a whiz of a player and he’s in fine form here, whether sailing through the changes of “Lester Leaps In” or caressing the melody of “I’ll Be Seeing You.” And Watrous employs his phenomenal technique and lush sound for some hard swinging on up-tempo tunes like “Beautiful Love” and a warm expressiveness on ballads like “Danny Boy.”

With saxophonist Kim Richmond, trumpeter Wayne Bergeron and trombonist Charlie Loper as section leaders and a rhythm section of pianist Christian Jacob, guitarist Frank Browne, bassist Trey Henry and drummer Ralph Razze, the personnel couldn’t be more illustrious. And in spite of the focus on Christlieb and Watrous, a few other players, especially trumpeter Bobby Shew and pianist Jacob, shine in solos of their own. ~David Franklin

Kindred Spirits

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Duke Jones - Thunder Island

Styles: Trumpet Jazz
Year: 1994
File: MP3@320K/s
Time: 39:03
Size: 101,1 MB
Art: Front

(4:08)  1. Little Boy Blue
(4:29)  2. No Ordinary Love
(5:09)  3. You And I (Thunder Island)
(4:57)  4. Let's Have It All
(6:13)  5. You Don't Know What Love Is
(5:46)  6. Caribbean Windsor
(4:41)  7. Thunder In The Sky
(3:36)  8. True Lovers

Trumpeter Albert Jones is affectionately known to all friends and followers as “Duke”. A nickname is acquired from his favorite aunt, because of his love of music at an early age. A native of New York City via White Plains. Duke began playing trumpet at the age of nine. In elementary school and through White Plains High School, Duke played and formed a band with The Lewis Brothers and Sharon Bryant. The group, which ultimately became the popular R&B / Pop success “Atlantic Starr”, recorded their first two albums, “Radiant”(1980) and “Brillance” (1982), both featuring Duke. This led to the recording of Duke’s debut solo album for CTI Records entitled “Thunder Island”.

Duke attended Northwestern University in Evanston, Illinois, studying music and film. Like most artists; prior to his commercial success, he worked the New York club circuit; i.e., Fat Tuesday’s, Metropolis, Birdland, etc. In the late 70’s, Duke had the privileged opportunity to study traditional Island Rhythms, Calypso and Soca at the University of Virgin Islands with then Professor Larry McCleallan who went on to serve as Dean at the prestigious Berklee School of Music in Boston.  With influences such as Kenny Dorham, Woody Shaw, Lee Morgan, Benny Bailey and of course, Miles Davis, all of whom helped shape Duke’s trumpet voice. Duke went on to tour Japan, Europe and Africa, working with established musicians such as The Temptations, Angela Bofill, Larry Coryell and Marion Meadows. He began collaborating and recording with such artists as August Darnell of Kid Creole and the Coconuts, and drummer, producer Norman Connors, serving as an original member of his Starship Orchestra and spin-off group Aquarian Dream on Buddah Records. In 1992, Duke served as Vice President of Creole Records, a label started with then band mate August Darnell (Kid Creole). The label, distributed by Nippon Columbia, released seven CD’s in Japan and the U.S. with one CD, “The KC2 Meets KC3”, becoming the fifth largest selling English speaking record in Japan. In 2005, he formed Café Soul All-Stars and recorded their debut CD “Love Pages” which featured George Benson, Roy Ayers and Kenny Garrett among other great musicians. https://musicians.allaboutjazz.com/dukejones

Thunder Island

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Marian Montgomery - Let There Be Love, Let There Be Swing, Let There Be Marian Montgomery

Styles: Vocal
Year: 1963
File: MP3@256K/s
Time: 28:11
Size: 59,3 MB
Art: Front

(2:42)  1. Bill Bailey, Won't You Please Come Home
(2:31)  2. Hum-Drum Blues
(1:45)  3. There'll Be Some Changes Made
(2:38)  4. Romance In The Dark
(2:33)  5. Danke Schoen
(2:08)  6. Kansas City
(2:18)  7. They Can't Take That Away From Me
(1:53)  8. Candy
(2:28)  9. I Wonder
(2:24) 10. Alright, Okay, You Win
(2:08) 11. The Good Life
(2:37) 12. Let There Be Love

Born Maude Runnels, 17 November 1934, Natchez, Mississippi, USA, d. 22 July 2002, Bray, Berkshire, England. Montgomery quit school to sing on television in Atlanta, Georgia. After working in advertising and publishing, performing in plays and singing in strip joints and jazz clubs, she became an established cabaret performer. Montgomery was signed to Capitol Records after Peggy Lee heard her demo tape, and she recorded three albums for the label. She moved to the UK in 1965 to sing at a new London club, the Cool Elephant, with John Dankworth’s band. That same year she married composer and musical director Laurie Holloway and began to establish herself on the London club scene, equally at home at Ronnie Scott’s jazz club as she was on the less demanding cabaret circuit.

Possessing a voice that was once likened to ‘having a long, cool glass of mint julep on a Savannah balcony’, she expanded her career with a starring role in the 1969 West End revival of Anything Goes, and frequent appearances on radio and television, as well as concerts and cabaret in the UK and abroad. Her one-woman show was televised by the BBC in 1975. Besides her musical association with Holloway, she successfully collaborated with classical composer/pianist Richard Rodney Bennett on several projects, including Puttin’ On The Ritz, Surprise Surprise andTown And Country. With an instantly recognizable, relaxed and intimate style, Montgomery became one of a handful of American artists to take up permanent residence in the UK. She lost her long battle against cancer contracted from passive smoking in July 2002. http://www.allmusic.com/artist/marian-montgomery-mn0000233883

Let There Be Love, Let There Be Swing, Let There Be Marian Montgomery

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Larry Willis - Heavy Blue

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 61:08
Size: 140,5 MB
Art: Front

( 8:17)  1. To Wisdom, The Prize
( 6:33)  2. Winther Blue
( 6:32)  3. Earthlings
( 8:37)  4. When I Fall In Love
(10:07)  5. Nightfall
( 6:26)  6. Heavy Blue
( 7:17)  7. Ballad For Frederick
( 7:15)  8. Habiba

Once identified with on-the-edge free music, keyboardist Larry Willis had a profitable flirtation with fusion in the '70s, then moved to hard bop in the '80s and '90s. Willis' playing has been frenetic, ambitious, and interesting, but during his jazz-rock and fusion days it was funky but greatly restrained and simplistic. A devotee of Herbie Hancock, Willis has found a good balance, with expertly constructed modal solos and also lyrical, relaxed statements. Willis graduated from the Manhattan School of Music in the early '60s, then played with Jackie McLean and Hugh Masekela. He recorded with Lee Morgan and McLean in the mid-'60s, and worked with Kai Winding and Stan Getz, as well as recording with Robin Kenyatta in 1969. Willis turned to synthesizer and electric piano in the '70s, doing sessions with Cannonball Adderley, Earl May, Joe Henderson, Richard "Groove" Holmes, and Masekela again. He joined Blood, Sweat & Tears in 1972, recorded with Alphonse Mouzon in both 1972 and 1973, and did dates as a leader and freelance session musician. Willis also recorded with Ryo Kawasaki and Sonny Fortune in the late '70s, and with David "Fathead" Newman and Carla Bley in the '80s. Willis toured and recorded with Nat Adderley in the '80s and joined Woody Shaw's quintet in 1986. He's done sessions as a leader for Groove Merchant, Steeplechase, Audioquest, Brunswick, and Mapleshade, among others, including Blue Fable and Offering on Highnote in 2007 and 2008, respectively. ~ Ron Wynn and Michael G. Nastos https://itunes.apple.com/us/artist/larry-willis/id3273573#fullText

Heavy Blue

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Pat LaBarbera - From the Heart

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 64:56
Size: 149,0 MB
Art: Front

( 5:06)  1. Dream Steps
(10:52)  2. From the Heart
( 6:50)  3. Another Day in the Sun
( 4:50)  4. Second Time Out
( 9:27)  5. Kind of Bill
( 4:29)  6. Just Say Yes
( 9:03)  7. Fantazm
( 7:32)  8. A New Town Is a Blue Town
( 6:44)  9. I Wished on the Moon

The older brother of Joe LaBarbera (drummer with Bill Evans during 1978-1980) and arranger/trumpeter John LaBarbera, Pat has been a fixture in Toronto since moving to Canada in 1974. 

He played in a family band early on, attended Berklee (1964-1967), and gained recognition for his exciting solos with Buddy Rich's big band (1967-1973). After settling in Toronto (where he has done quite a bit of studio work), LaBarbera toured with Elvin Jones (1975-1978). He has recorded as a leader for PM, Sackville, and Justin Time. ~ Scott Yanow https://itunes.apple.com/ca/artist/pat-labarbera/id5892818#fullText

Personnel:  Pat LaBarbera – soprano, tenor saxophone;  George Cables – piano;  Rufus Reid - stand-up bass;  Joe LaBarbera – drums

From the Heart

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Vincent Gardner - Elbow Room

Styles: Trombone Jazz
Year: 2005
File: MP3@320K/s
Time: 75:10
Size: 173,0 MB
Art: Front

( 7:24)  1. DoomZoom
( 7:24)  2. Snake Charmin'
( 8:03)  3. I Guess I'll Hang My Tears Out To Dry
( 7:17)  4. Can You Read My Mind?
(10:16)  5. Four And One
( 9:03)  6. Blubber
( 7:16)  7. W. M. II
( 8:22)  8. Relaxin' At Camarillo
(10:01)  9. Liberia

Trombonist Vincent Gardner, an alumnus of the Lincoln Center Jazz Orchestra, makes an impressive debut as a leader on Elbow Room, a balanced mix of standards and challenging originals. Joining him in his quintet are saxophonist Walter Blanding, pianist Aaron Goldberg, bassist Greg Williams and drummer Quincy Davis. The band gets off to a light-footed start on the Dixieland-inflected "Doomzoom. Gardner stretches out on his crisp solo and Blanding's tenor passage is gritty without being grating. "Snake Charmin' is something of a long distance bop conversation between Gardner and Blanding's soprano sax, anchored expertly by the rhythm section. Gardner's soulful touch on "I Guess I'll Hang My Tears Out To Dry blends with Davis' gentle brushstrokes and Williams' plucked solo to underscore the song's melancholy theme. The splendid "Can You Read My Mind? begins with a Mighty Mouse fanfare, then jumps right into Gardner and Blanding engaging in a dynamic, Latin-tinged trombone/soprano dialogue.

The group's clever reading of Monk's "Four and One is equally spirited, with excellent soloing all around. One would expect blues and sadness on a tune entitled "Blubber, but Blanding sprints out of the box exuberantly, Gardner follows with arguably his best playing of the date, and Goldberg is absolute quicksilver, with Davis finally getting some real light on the drums. And the band's slick interpretation of Coltrane's "Liberia, particularly with two horns, gives the song an added dimension. Gardner plays with maturity and confidence, and his supporting members are excellent, but the standout here is Aaron Goldberg, whose solid comping and sometimes dazzling solos enhance the disc. Goldberg plays ascending notes to open "Relaxin' at Camarillo instead of the standard descending intro; and on "Liberia he cleverly frames his stylistic homage to McCoy Tyner within his own keyboard idiom. These inspired elements give Elbow Room added depth, resulting in a top-flight maiden voyage for Gardner.~ Terrell Kent Homes https://www.allaboutjazz.com/elbow-room-vincent-gardner-steeplechase-records-review-by-terrell-kent-holmes.php
 

Personnel: Vincent Gardner: trombone; Walter Blanding: tenor & soprano saxophones; Aaron Goldberg: piano; Greg Williams: bass; Quincy Davis: drums.

Elbow Room

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