Chris Byars - Jasmine Flower

Styles: Saxophone Jazz 
Year: 2013
File: MP3@224K/s
Time: 64:24
Size: 103,7 MB
Art: Front

(6:56)  1. Shhh... It's A Library
(5:16)  2. Say you'll stay
(7:00)  3. Mustang
(6:36)  4. I Know It's You
(6:16)  5. Jasmine Flower (MO Li Hua)
(7:29)  6. Lucky Swing
(6:39)  7. The Wind On The Bridge
(7:21)  8. Rose Water
(4:35)  9. Bye, Sandy
(6:12) 10. Song From Morocco

Chris Byars is an award-winning saxophonist, composer, bandleader, conductor and educator based in New York City. He divides his artistic focus between development of original material and studying the vast repertoire of jazz composers of the 20th century. Chris plays alto, tenor and soprano saxophones, flute and clarinet. He performs with his band, which ranges from trio to octet, and as a sideman. Chris is also available to lead big bands and conduct full orchestras. For over two decades, he has been a staple of the New York City jazz scene, performing at the city's finest venues, including the Village Vanguard, Dizzy's Club Coca-Cola, Birdland, Smalls, Mezzrow, The Jazz Gallery and Iridium. Chris is an innovative and prolific composer. He has written for ensembles of all sizes, from trio to full orchestra. His twelfth commercially-released CD as a leader, The Music of Frank Strozier, is slated for release in January 2017. Chris is also an original and elegant arranger. He has been commissioned by the WDR Big Band to arrange a centennial celebration concert of Thelonious Monk’s compositions, to be performed in March 2017. As a Cultural Ambassador for the U.S. State Department, Chris has traveled to over 50 countries to perform concerts and present educational workshops. Chris is an enthusiastic jazz educator. He teaches in affiliation with The New School and also privately, through his own studio or via Skype. He conducts jazz clinics at colleges throughout the U.S., such as The School for International Teaching in Brattleboro, VT. http://www.chrisbyars.net/bio/

Personnel:  Chris Byars, alto sax;  Stefano Doglioni, bass clarinet;  Johm Mosca, trombone;  Ari Roland, bass;  Phil Stewart, drums;  James Byars, english horn (1,2,3,6,9);  Mine Sadrazam, piano (5)

Jasmine Flower

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Vincent Gardner - The Good Book Chapter Two: The Book Of Now

Styles: Trombone Jazz

Year: 2011

File: MP3@320K/s

Time: 63:06

Size: 147,1 MB

Art: Front

(10:04)  1. A Servant Of The People

( 7:49)  2. Calypso

(10:02)  3. 466-64 (Freedom Fighters)

( 9:57)  4. Speak Low

( 8:39)  5. Like A Son

( 7:25)  6. Love Letters

( 9:08)  7. The Paper Chase

Vincent Gardner's The Good Book series is a refreshing change from many jazz CDs by up-and-coming artists, in that he is not only exploring standards and familiar jazz works, but also overlooked gems by musicians currently on the scene. The trombonist assembled a top-shelf quintet consisting of saxophonist Walter Blanding, pianist Aaron Goldberg, bassist Neil Caine, and drummer Ulysses Owens. It's not every day that someone records one of pianist Marcus Roberts' pieces, but his "A Servant of the People" is a perfect vehicle for Gardner's expressive chops. Fans of Kenny Barron will be very familiar with his "Calypso," a lighthearted, infectious work that showcases Goldberg, Blanding (on soprano), and the leader. Jimmy Heath's compositions have long been favorites of jazz musicians, so the breezy "Like a Son" is another uncovered treasure as well, a hip bop tune with a few twists. Kurt Weill's "Speak Low" has been a standard for decades and Gardner's spacious playing in this easygoing treatment is complemented by Blanding's rich soprano sax. Victor Young's "Love Letters" isn't as well known, though Goldberg's lush backing to Gardner's melancholy horn conveys its message without lyrics in the introduction, though a quick tempo change turns it into an upbeat cooker. It is clear that Vincent Gardner is destined to be one of the greats of his generation on trombone. ~ Ken Dryden http://www.allmusic.com/album/the-good-book-chapter-two-the-book-of-now-mw0002195036

Personnel: Vincent Gardner (trombone); Walter Blanding (soprano saxophone, tenor saxophone); Aaron Goldberg (piano); Ulysses Owens (drums).

The Good Book Chapter Two: The Book Of Now

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Donald Edwards - Evolution Of An Influenced Mind

Styles: Post Bop, Contemporary Jazz 
Year: 2014
File: MP3@320K/s
Time: 63:56
Size: 147,1 MB
Art: Front

(2:08)  1. American Drum Call To Mama
(7:19)  2. History Of The Future
(4:56)  3. Niecee
(6:55)  4. The Dream
(6:53)  5. The Essential Passion
(5:18)  6. Dock's House
(5:30)  7. Nichtmare Of Fun
(6:52)  8. When
(6:58)  9. Culmination For Now
(5:24) 10. Not Really Gumbo
(5:37) 11. Truth Of Consequence

Donald Edwards is one of those drummers that seem to be taken for granted. He's constantly being called upon to support others, shaping moods and grooves on record for everybody from saxophonist Dayna Stephens to trombonist Conrad Herwig to vocalist Carolyn Leonhart, but he's largely avoided being in the spotlight. He's only released two other leader dates in his two-plus decades as a professional drummer, and both records went largely unnoticed. Now, after serving as a sideman on a half dozen Criss Cross sessions, Edwards is stepping out with his own date for the venerable Dutch label.  Evolution Of An Influenced Mind finds Edwards fronting and backing a fiery quintet of like-minded musicians on a program of original music; ten of the eleven pieces on the album are credited to the drummer, and "When" comes from the pen of the pianist on the date the incomparable Orrin Evans. 

After hearing this material, it's hard to understand why Edwards hasn't occupied the driver's seat more often. Edwards, Evans, and the rest of the cast guitarist David Gilmore, tenor saxophonist Walter Smith III, and bassist Eric Revis aren't known for pussyfooting around, and this music reflects each man's assuredness and strength(s). These qualities can be manifested in edgy post-modern scenarios ("History Of The Future"), frantic burners ("The Essental Passion"), measured swing, and mutable constructs. Tempos aren't always of the metronome busting variety, yet things rarely feel relaxed here; Gilmore's tonal tweaks, Smith's sense of unpredictability, and the fantastic flights undertaken by each of these men see to that. Strict time is occasionally dispensed with, as when Edwards marries his drums to chants ("American Drum Call To Mama"), or when the band visits spiritually-charged material that reaches for a higher plane ("When"), but rhythm remains Edwards' business. Mid-tempo swing fits him like a glove, laid-back funk futurism sounds just fine when he plays it ("Culmination For Now"), and aggressive environments suit him. Edwards may be selfless when he works for others, but this man has a strong sense of self that shines through on Evolution Of An Influenced Mind. ~ Dan Bilawsky https://www.allaboutjazz.com/evolution-of-an-influenced-mind-donald-edwards-criss-cross-review-by-dan-bilawsky.php

Personnel: Donald Edwards: drums; Walter Smith III: tenor saxophone; David Gilmore: guitar; Orrin Evans: piano; Eric Revis: bass. 

Evolution Of An Influenced Mind

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Sam 'The Man' Taylor - Jazz For Commuters / Salute To The Saxes

Bitrate: MP3@320K/s
Time: 66:49
Size: 153.0 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[5:03] 1. Bucks County Bounce
[8:29] 2. Long Island Railroad Blues
[3:03] 3. Westchester Waltz
[3:40] 4. Rockland County Round Trip
[3:11] 5. Westport Wail
[4:10] 6. Lester Leaps In
[3:51] 7. Body And Soul
[6:30] 8. Air Mail Special
[4:19] 9. All Too Soon
[3:31] 10. Flyin' Home
[2:32] 11. Taylor Made
[2:29] 12. Sam's Blues
[2:34] 13. Ride, Sammy, Ride
[2:51] 14. Do-A-Lu
[2:27] 15. Road Runner
[2:38] 16. Lock Out
[2:46] 17. The Big Beat
[2:32] 18. Cloudburst

Charlie Shavers, Thad Jones (tp), Frank Rehak, Jimmy Cleveland (tb), Sam Taylor, Georgie Auld (ts), Budd Johnson (ts, bs), Haywood Henry (bs), Hank Jones (p), Barry Galbraith, Billy Bauer (g), Milt Hinton (b), Panama Francis (d). All sessions recorded in New York. Album tracks were recorded on October 15 & 22, 1958. The Bonus tracks (11-17) came from different sessions cut between March, 1955 and June, 1956

Sam The Man Taylor is a saxophonist as adept at swinging jazz as he is at the blues and R&B for which he is most famous. With his unending drive and energy, he stood out in the bands he was in, including those of Cootie Williams, Cab Calloway and others. During the 50s he spent much of his time playing R&B sessions, but he also performed and recorded often with his own combo and, ten years later, he achieved wide recognition in Japan thanks to his ballads.

This CD, however, presents an exultant Taylor, deeply rooted in the most genuine jazz, during a swinging 1958 session with great jazzmen like Charlie Shavers, Georgie Auld, Budd Johnson and Hank Jones. As a bonus, there is an example of his more rocking side, fronting a group that exudes Taylors typically soulful essence.

Jazz For Commuters/Salute To The Saxes

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Frances Faye - Relaxin' With Frances Faye

Bitrate: MP3@320K/s
Time: 30:07
Size: 69.0 MB
Styles: Jazz vocals
Year: 1957/2014
Art: Front

[2:21] 1. Love Is Just Around The Corner
[2:12] 2. I'm Gonna Sit Right Down And Write Myself A Letter
[2:36] 3. Don't Blame Me
[3:07] 4. Ain't Misbehavin'
[2:17] 5. All The Things You Are
[2:30] 6. Darktown Strutters' Ball
[2:23] 7. Just You, Just Me
[2:02] 8. You're My Thrill
[2:32] 9. My Baby Just Cares For Me
[3:18] 10. Well All Right
[2:10] 11. The Thrill Is Gone
[2:35] 12. Way Down Yonder In New Orleans

Frances's recording career took off when Phil Kahl, founder of Roulette Records, brought her to Capitol in 1952. She released several singles starting with "Night and Day": "This is the first time I've come out sounding like myself on a record. The other times they would hear me in a club, but when they would ask me to record they would make me close the piano, ask me to sing softly, tell me not to bang, and they didn't let me keep my shoes on. The Capitol date was different."

In 1953, the album No Reservations was compiled from her singles and new material, including two Faye compositions, and Dave Cavanaugh's arrangements showcased Faye's musicianship perfectly. However, Capitol also insisted Faye record novelty tunes of their choosing, such as "Tweet Tweet Tweetheart." These musical impositions are one of the reasons Frances left the label. Approached by Red Clyde, Frances moved to Bethlehem Records, a major jazz label founded by Gus Wildi, where her recording work blossomed. Her first Bethlehem LPs, I'm Wild Again and Relaxin' with Frances Faye, as well as her entire Capitol outpout, were included in the 2006 Jasmine release. She worked with terrific musicians (some working without credit due to contractual problems) such as Maynard Ferguson, Herbie Mann and conductor/arranger Russ Garcia.

Relaxin' With Frances Faye

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Ted Howe - Love Song

Bitrate: MP3@320K/s
Time: 61:52
Size: 141.6 MB
Styles: Piano jazz, Vocals
Year: 2007
Art: Front

[5:07] 1. Let's Do It
[4:42] 2. True Love
[6:09] 3. I'll Remember Your Smile
[7:09] 4. Come Rain Or Come Shine
[4:38] 5. If I Had Known
[7:34] 6. Let's Fall In Love
[6:23] 7. Moonlight Becomes You
[5:58] 8. Midnight On The Beach
[9:10] 9. All The Way
[4:58] 10. Love Song

In this third release for Summit, TED HOWE invites the listener into a jazz time capsule of love songs, showcasing his eclectic arrangements in the sassy, sophisticated style for which he is noted. HOWE pays tribute to three of our most beloved composers: HAROLD ARLEN, COLE PORTER and JAMES VAN HEUSEN. In addition, HOWE premieres four of his own compositions with lyrics by REBEKAH MILLER. The featured vocalists on HOWE’S tunes are star of stage, screen and television, LAINIE KAZAN, along with the great, popular jazz baritone, GIACOMO GATES–thus creating a continuum of love songs from then and now. So, buckle your seat belts for a high flight over memory lane and back again–where the golden age of standards is respectfully reinvented as HOWE zooms and caresses the eighty-eights and makes everything old new again. Whether it’s an old song or a new song, this Love Song’s for you. Because as always, the heart of a simple love song still beats strong.

Love Song

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Various - Capitol Records From The Vaults: Vine Street Divas

Bitrate: MP3@320K/s
Time: 75:06
Size: 172.0 MB
Styles: Easy Listening
Year: 2000
Art: Front

[2:53] 1. Jo Stafford - Long Ago (And Far Away)
[3:15] 2. Ella Mae Morse - Shoo-Shoo Baby
[2:49] 3. Benny Carter - Hurry, Hurry
[3:09] 4. Betty Hutton - It Had To Be You
[3:15] 5. Martha Tilton - I'll Walk Alone
[3:06] 6. Stan Kenton - And Her Tears Flowed Like Wine
[3:10] 7. Margaret Whiting - Moonlight In Vermont
[2:57] 8. Martha Tilton - I Should Care
[3:10] 9. Paul Weston And His Orchestra - It Might As Well Be Spring
[3:07] 10. Martha Tilton - A Stranger In Town
[2:42] 11. June Christy - It's Been A Long, Long Time
[3:02] 12. Betty Hutton - Doctor, Lawyer, Indian Chief
[3:19] 13. Peggy Lee - I Don't Know Enough About You
[2:57] 14. Jo Stafford - Day By Day
[2:50] 15. Peggy Lee - It's A Good Day
[2:24] 16. Nellie Lutcher - Hurry On Down
[3:11] 17. Benny Goodman - I Want To Be Loved (But Only By You)
[2:58] 18. Peggy Lee - Golden Earrings
[2:54] 19. Jo Stafford - Serenade Of The Bells
[3:04] 20. Margaret Whiting - But Beautiful
[3:12] 21. Peggy Lee - Everybody Loves Somebody
[3:05] 22. Kay Starr - You Were Only Fooling (While I Was Falling In Love)
[2:12] 23. Blue Lu Barker - A Little Bird Told Me
[3:05] 24. Helen O'Connell - Teardrops From My Eyes
[3:11] 25. Jo Stafford - Some Enchanted Evening

This volume of From the Vault highlights early Capitol Records hits by the ladies of the tower, so to speak. Individual talents such as Jo Stafford, Anita O'Day, and Peggy Lee began to emerge from many top orchestras and soon became Vine Street divas in their own right. The timing for this incipient wave of girl power couldn't have been better -- since WW II was preoccupying many of the country's top male vocalists. The extensive selection of musical genres on the label didn't hurt either. Among the most popular of these were show tunes. Jo Stafford led her fellow female artists scoring Top Ten hits with songs from both stage and screen. Vine Street Divas includes two Stafford classics -- "Long Ago (And Far Away)" from the film Cover Girl, as well as "Some Enchanted Evening" from the stage adaptation of South Pacific. Among the other soundtrack or cast recordings featured on this compilation are Ella Mae Morse's "Shoo-Shoo Baby" from the motion picture Three Cheers for the Boys," and Betty Hutton's classic "Doctor, Lawyer, Indian Chief" as featured in The Stork Club. This volume has cleverly gathered rare and hard to find early recordings by ladies who quickly gained international acclaim -- such as Anita O'Day ("And Her Tears Flowed Like Wine,") June Christy ("It's Been a Long, Long Time"), and Margaret Whiting -- who is featured with no less than three different orchestras on this collection. Vine Street Divas is accompanied by a ten-page liner notes booklet containing vintage memorabilia, photos, and other previously unpublished eye candy. Plus, to fill in the details is an essay by musician and music historian, Billy Vera. Initial pressings -- limited to 10,000 -- are cleverly packaged in a digipack designed to replicate the 78 rpm records and sleeves of the era. ~LindsayPlaner

Capitol Records From The Vaults: Vine Street Divas

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Horace Parlan - Relaxin' With Horace

Bitrate: MP3@320K/s
Time: 67:42
Size: 155.0 MB
Styles: Bop, Piano jazz
Year: 2004
Art: Front

[6:56] 1. Like Someone In Love
[6:20] 2. Don't Take Your Love From Me
[6:02] 3. Thinking Of You
[7:09] 4. Theme For Ernie
[6:47] 5. For Heaven's Sake
[8:12] 6. Everything Happens To Me
[7:09] 7. Love And Peace
[7:59] 8. Everytime We Say Goodbye
[4:42] 9. Blues For Hp
[6:21] 10. Nobody Knows You When You're Down And Out

Double Bass – Jesper Lundgaard; Drums – Ed Thigpen; Piano – Horace Parlan.

Pianist Horace Parlan has long dealt with the damage done to his right hand, which came from a childhood bout with polio, by developing a potent left hand. As a result, Parlan has never had the opportunity to play completely to the potential he would have had if spared his serious illness, though his recordings have been consistently rewarding. He was 73 years old at the time of this 2004 studio session, which features old friends Jesper Lundgaard on bass and drummer (and fellow expatriate) Ed Thigpen, yet one doesn't sense that age is cramping his style in the least. The focus is primarily on standards that aren't played much in the 21st century, generally low-key ballads, with Lundgaard's strong bassline and Thigpen's crisp brushwork in support of the leader. It is refreshing to hear a relaxed, choppy interpretation of a ballad such as "Like Someone in Love," which many artists have the tendency to rush through and destroy the melody. Parlan slows "Don't Take Your Love from Me" to a crawl in order to pack an emotional punch, without having a vocalist sing its maudlin lyrics. The pianist's "Love and Peace" has a bit of a wistful air, while Thigpen's "Blues for HP" is a good bit more intense than the remainder of the session, with the drummer returning to sticks and Parlan sounding a bit more playful. All in all, this is a remarkable effort by the trio. ~Ken Dryden

Relaxin' With Horace

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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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