Gerry Mulligan, Ben Webster - The Complete Gerry Mulligan Meets Ben Webster Sessions (2-Disc Set)

Although an earlier CD added five previously unissued tracks to the original LP Gerry Mulligan Meets Ben Webster, this Verve Master Edition two-CD set adds just about everything else recorded during the two sessions that produced the original record, and also features 20-bit sound. Even though Gerry Mulligan was outspoken against issuing material omitted from his original recordings, it is a treat to hear how the songs evolved in the studio. Webster and Mulligan seem mutually inspired throughout the sessions, and strong performances by pianist Jimmy Rowles, bassist Leroy Vinnegar, and drummer Mel Lewis are of considerable help. The music is presented in the order in which it was recorded, with each CD devoted to a separate session. In both cases it is clear that the initial takes of music from the Ellington songbook ("In a Mellotone" and "Chelsea Bridge") are more focused than the follow-up versions. They only needed one try to nail "What Is This Thing Called Love?" (also left off the LP), in an understated setting that shows off their beautiful interplay. Their barely disguised reworking of "I Got Rhythm," called "Who's Got Rhythm," was likely an effortless performance, though Webster seems to briefly laugh in the middle of his solo. Webster's swinging "Fajista" opens the second date, followed by two takes of Mulligan's beautiful ballad "Tell Me When." Webster's "Blues in B-Flat" is another fine swinger inexplicably left off the LP, and Rowles kicks off the oldie "Sunday" with a brief stride piano introduction (something Webster played himself but rarely in a recording studio). Fans on a budget can probably make due with the earlier CD reissue but serious fans of Mulligan and/or Webster should invest in this very rewarding set instead. ~Ken Dryden

Album: The Complete Gerry Mulligan Meets Ben Webster Sessions (Disc 1)
Bitrate: MP3@320K/s
Time: 64:35
Size: 147.9 MB
Styles: Cool jazz
Year: 1997
Art: Front

[7:03] 1. In A Mellow Tone
[6:45] 2. In A Mellow Tone
[7:21] 3. What Is This Thing Called Love
[7:17] 4. Chelsea Bridge
[7:29] 5. Chelsea Bridge
[2:12] 6. Go Home
[9:58] 7. Go Home
[7:34] 8. Who's Got Rhythm
[5:40] 9. For Bessie
[1:44] 10. Go Home
[1:28] 11. Go Home

The Complete Gerry Mulligan Meets Ben Webster Sessions (Disc 1)

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Album: The Complete Gerry Mulligan Meets Ben Webster Sessions (Disc 1)
Bitrate: MP3@320K/s
Time: 71:09
Size: 162.9 MB
Styles: Cool jazz
Year: 1999
Art: Front

[0:43] 1. Fajista
[6:21] 2. Fajista
[1:23] 3. Fajista
[5:46] 4. Fajista
[4:42] 5. Tell Me When
[5:02] 6. Tell Me When
[2:32] 7. Blues In B Flat
[8:04] 8. Blues In B Flat
[7:21] 9. Blues In B Flat
[3:14] 10. The Cat Walk
[5:38] 11. The Catwalk
[2:04] 12. The Catwalk
[5:41] 13. The Cat Walk
[5:09] 14. Sunday
[7:20] 15. Sunday

The Complete Gerry Mulligan Meets Ben Webster Sessions (Disc 1)

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Kenny Ball & His Jazzmen - That's A Plenty

Bitrate: MP3@320K/s
Time: 60:29
Size: 138.5 MB
Styles: Dixieland
Year: 1999/2008
Art: Front

[4:53] 1. That's A Plenty
[3:41] 2. Sunday
[4:21] 3. Savoy Blues
[3:09] 4. Autumn Leaves
[3:33] 5. Blueberry Hill
[3:05] 6. At A Georgia Camp Meeting
[2:47] 7. Lazy River
[2:30] 8. Way Down Yonder In New Orleans
[2:52] 9. You're Nicked
[4:41] 10. West End Blues
[3:46] 11. Ain't Misbehavin'
[3:17] 12. Get Out Of Here
[2:45] 13. My Blue Heaven
[6:16] 14. Tishmingo Blues
[4:09] 15. Beautiful Dreamer
[4:33] 16. Riverboat Shuffle

English jazz musician Kenny Ball was born Kenneth Daniel Ball on May 22, 1930 in Ilford, Essex, England. During his teens Ball first worked as a clerk in an advertising agency to make ends meet. At the same time, he also took trumpet lessons. When Ball was promoted as a salesman, he started performing in some bands as his sideline. In 1953, he became a professional trumpeter, performing with the bands of Sid Phillips, Terry Lighftoot, Charlie Galbraith and Eric Delaney.

After playing for several bands, Ball eventually formed his own band in 1958 called Kenny Ball and his Jazzmen. In 1961, the band recorded Cole Porter’s original “Samantha.” The song became a hit in the U.K. which peaked at #13. Later, a bigger success came with the release of “Midnight in Moscow.” It went to #2 on both US Billboard Hot 100 and the U.K. charts. It sold over a million copies and earned a gold disc. In 1962, it was followed by “March of the Siamese Children” which was included in The King and I soundtrack. It peaked at #4 on the U.K. charts.

One of Ball’s notable releases was The Best of Ball, Barber and Bilk, which he recorded with rival contemporaries Acker Bilk and Chris Barber. It soared to the top of the UK albums chart in 1966.

While Ball was being noted as a one-hit wonder in the U.S., he was hugely popular in the U.K. He had been on the cover of July 1962 issue of New Musical Express along with Cliff Richard, Craig Douglas, Brenda Lee, Joe Brown and Frank Ifield. In the winter of 1963, Ball performed in the biggest trad jazz event held in Alexandra Palace. Later that year, he appeared in Gene Vincent’s movie, Live It Up! and became the first English jazzman who was granted an honorary citizen of New Orleans. In 1968, he and his band toured with Louis Armstrong for his last European shows. During the 1970’s, he became a part of the first six series of BBC’s Morecambe and Wise Show. In 1981, he performed at the wedding reception of Prince Charles and Lady Diana which he considered the peak of his career.

That's A Plenty

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Joshua Breakstone - The Music Of Bud Powell

Bitrate: MP3@320K/s

Time: 56:02

Size: 128.3 MB

Styles: Guitar jazz

Year: 2000

Art: Front

[3:58] 1. Tempus Fugit

[6:29] 2. Una Noche Con Francis

[6:17] 3. Strictly Confidential

[4:20] 4. Elegy

[8:49] 5. Celia

[7:56] 6. Un Poco Loco

[4:30] 7. Sub City

[3:40] 8. Comin' Up

[6:30] 9. Time Waits

[3:30] 10. The Scene Changes

As Breakstone points out in his notes, Bud Powell is severely underrated as a composer. What credit he does get (and it is nowhere near enough) is as a soloist. A guitar-trio record wouldn't seem the ideal showcase for Bud's richly harmonized compositions, but the lines stand well on their own, and the setting of Un Poco Loco is most impressive.

Breakstone is a fluid and convincing soloist with a style perfectly suited to Bud's bop. His lines build logically and even at breakneck speed he's in command of his box. I like the way he paces himself, developing his ideas in a leisurely way even when they involve a long stream of eighth notes. I also like the way he refers back to the melodies and his penchant for sly, unobvious quotes (was that the "Harlem Nocturne" bridge in the middle of "Una Noche Con Francis"? Sure was.)

Keith Copeland proves his considerable worth as a big-eared drummer, and Earl Sauls has a great bass sound and understands the importance of staying out of the leader's way. The trio interplay is terrific, the guitar soloing top-notch, and the choice of material exemplary. How can you go wrong? ~Duck Baker

The Music Of Bud Powell                 

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Elaine Delmar, Brian Dee Trio - The Spirit Of The Song

Bitrate: MP3@320K/s

Time: 54:51

Size: 125.6 MB

Styles: Jazz vocals

Year: 1990

Art: Front

[3:48] 1. Honeysuckle Rose

[4:22] 2. Like A Lover

[2:07] 3. Old Man River

[3:28] 4. I've Grown Accustomed To His Face

[3:28] 5. All The Things You Are

[3:35] 6. Wait Till You See Him

[2:05] 7. If Love Were All

[3:55] 8. Just One Of Those Things

[4:58] 9. I Loves You Porgy

[3:15] 10. There'll Be Some Changes Made

[5:15] 11. Halcyon Days

[3:38] 12. Getting To Know You

[4:31] 13. Sophisticated Lady

[3:31] 14. Tea For Two

[2:47] 15. Guess Who I Saw Today

Bass – Mario Castronari; Drums – Frank Gibson; Piano – Brian Dee; Vocals – Elaine Delmar.

The daughter of late Jamaica-born jazz pianist Leslie "Jiver" Hutchinson, Elaine Delmar is one of England's truly loved entertainers. Having made her debut as a pianist on BBC radio show The Children's Hour at the age of 13, Hutchinson has gone on to balance a career as a solo performer on England's club circuit and appearances in musical theater productions. She appeared in a 1962 revival of Finian's Rainbow in Liverpool and has appeared in such London productions as No Strings, Cowardly Custard, Bubbling Brown Sugar, and The Wiz. She made her Broadway debut in the 1985 production Goes to Hollywood, featuring music by Jerome Kern. She toured with actor/singer Paul Jones in Let's Do It, celebrating the 100th birthday of Cole Porter, in 1991. Reuniting with Jones two years later, she appeared in a series of concerts, Hooray for Hollywood, that featured songs from Porgy & Bess, Annie Get Your Gun, and Top Hat. Delmar appeared as a princess in Ken Russell's 1974 biopic Mahler, based on the life of Austrian conductor/composer Gustav Mahler. A member of her father's band, while still in high school Delmar performed at United States Air Force bases in England throughout the late '50s. She was touring with the group when her father died in a fatal auto accident in 1959. ~ bio by Craig Harris

The Spirit Of The Song     

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Roberto Menescal - Jazz & Bossa 1 & 2

Roberto Menescal (born October 25, 1937) is a Brazilian composer, producer, guitarist/vocalist, important to the founding of bossa nova. In many of his songs there are references to things related to the sea, including his best-known composition "O Barquinho" ("Little Boat"). He is also known for work with Carlos Lyra, Nara Leão, Wanda Sá, Ale Vanzella, and many others. Menescal has performed in a variety of Latin music mediums, including Música popular brasileira (Brazilian pop), Bossa Nova and Samba. He was nominated for a Latin Grammy for his work with his son's bossa group Bossacucanova in 2002 and received the "2013 Latin Recording Academy Special Awards" in Las Vegas in November 2013.

Album: Jazz & Bossa
Bitrate: MP3@320K/s
Time: 38:23
Size: 87.9 MB
Styles: Bossa Nova
Year: 2013
Art: Front

[2:59] 1. Garota De Ipanema
[3:08] 2. The Lady Is A Tramp
[3:08] 3. Meditacao
[4:00] 4. Tenderly
[2:07] 5. Samba De Uma Nota Só
[3:21] 6. Take Five
[2:38] 7. Só Danço Samba
[4:11] 8. Secret Love
[2:59] 9. Samba Do Avião
[2:55] 10. Satin Doll
[3:20] 11. Só Tinha Que Ser Com Você
[3:32] 12. Corcovado

Jazz & Bossa

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Album: Jazz & Bossa 2
Bitrate: MP3@320K/s
Time: 45:41
Size: 104.6 MB
Styles: Bossa Nova
Year: 2013
Art: Front

[4:50] 1. Summertime
[3:06] 2. O Barquinho
[4:21] 3. Night In Tunisia
[4:45] 4. Água De Beber
[2:33] 5. Cheek To Cheek
[2:10] 6. Influência Do Jazz
[4:20] 7. My Funny Valentine
[3:18] 8. Ela é Carioca
[4:34] 9. All The Things You Are
[2:59] 10. Você
[4:16] 11. Round Midnight
[4:22] 12. Manhã De Carnaval

Jazz & Bossa 2

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John Donaldson, Oli Hayhurst, Asaf Sirkis - Music Box

Bitrate: MP3@320K/s
Time: 46:36
Size: 106.7 MB
Styles: Piano jazz
Year: 2006
Art: Front

[2:55] 1. Trinkle Tinkle
[5:48] 2. Light Blue
[3:50] 3. Petrucciani
[1:48] 4. Unknown
[7:32] 5. Pearl's Song
[5:41] 6. What's New
[5:30] 7. Dis Here
[2:03] 8. Music Box
[7:43] 9. Hey There
[3:41] 10. We Will Meet Again

From top UK pianist a beautifully recorded New Piano Trio featuring Asaf Sirkis and Oli Hayhurst. Originals compositions, Monk Tunes and standards.

"The album is simply superb, fluent, flowing pianistics set against a busy, energetic polyrhythmic drum and bass support. Altogether a magnificent piano album." ~Chris Yates

Music Box

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Ernestine Anderson - Never Make Your Move Too Soon

Bitrate: MP3@320K/s
Time: 38:54
Size: 89.1 MB
Styles: Jazz-blues vocals
Year: 1981/2005
Art: Front

[3:27] 1. Never Make Your Move Too Soon
[4:44] 2. What A Diff'rence A Day Made
[4:37] 3. As Long As I Live
[7:13] 4. Old Folks
[5:26] 5. Just One More Chance
[3:31] 6. My Shining Hour
[4:18] 7. Why Did I Choose You
[5:34] 8. Poor Butterfly

Bass – Ray Brown; Drums – Frank Gant; Piano – Monty Alexander; Vocals – Ernestine Anderson.

The title cut of this near-classic album became a sort of theme song for Ernestine Anderson, but it is not the only high point. The singer sounds in top form on such fine material as "As Long As I Live," a touching "Old Folks," "My Shining Hour," and "Poor Butterfly." With fine assistance from pianist Monty Alexander, bassist Ray Brown, and drummer Frank Gant, Ernestine Anderson is heard throughout in prime form, sounding quite enthusiastic and powerful. Highly recommended. ~Scott Yanow

Never Make Your Move Too Soon

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Pat Kelley - The Road Home

Bitrate: MP3@320K/s
Time: 49:17
Size: 112.8 MB
Styles: Guitar jazz
Year: 1994/2002
Art: Front

[6:39] 1. The Road Home
[4:52] 2. The Blue Nile
[5:05] 3. Toucan Dance
[4:41] 4. The Way You Look Tonight
[5:12] 5. Long Cold Winter
[4:03] 6. Big Sky
[5:33] 7. This Side Up
[4:45] 8. Natural Wonder
[4:58] 9. Green Country
[3:22] 10. Amazing Grace

On "The Road Home", jazz guitarist Pat Kelley surrounds himself with some of the greatest musicians in the world such as John Patitucci, Gary Novak, Tim Landers, Gary Herbig, David Witham, Michael Shapiro, and more.

After touring for five years with George Benson, George wrote the back cover liner notes which read: "Pat's latest effort shows his versatility and why he is so likeable and easy to work with. I'm glad to see that Pat is expressing himself through the jazz medium which he loves. Pats chops allow him to move about with ease and freedom and show his musical experiences to be broad. I even enjoy his vocals here and I am sure you will too. If this isn't enough, Pat has surrounded himself with nothing less that some of the best musicians around today. Right on Pat!"

The Road Home

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Various - Belo Horizonte Que Eu Gosto: Musicas De Pacifico Mascarenhas (2-Disc Set)

Meu nome é Pacífico Mascarenhas. Nasci em Belo Horizonte, em 21 de maio de 1935. Eu sempre vivi na região da Savassi – nasci ali no Bairro dos Funcionários, onde eu convivi muito tempo. Ali na Savassi nós tínhamos uma turma muito grande. E a gente fazia serenata todo fim-de-semana. Nessas serenatas eu descobri que estava faltando música de coisas que a gente queria falar para as namoradas, como por exemplo “se eu tivesse coragem de dizer que te amo…”. Então eu ia fazendo essa letra e outras, explicando, por exemplo, que “não sou culpado de ter enfim apaixonado.” Então fui fazendo letras de acordo não só para o meu caso, mas para o caso de diversos amigos e o que eles queriam dizer para as namoradas. A gente se reunia lá na Savassi, em um bar chamado Bar do Pinto, na Praça Diogo Vasconcelos. E de noite a gente saía fazendo serenata pela rua, pelo bairro todo. Foi aí que tudo começou. Eu virei compositor nesse momento de necessidade de fazer letra. Eu já gostava de tocar piano e violão, então foi um pulo para começar a fazer só isso. Isso foi bem no final da década de 50 – talvez antes. Nessa época até conheci o João Gilberto, lá em Diamantina – ele não era conhecido ainda. Ele não tinha nem gravado disco. Ele estava morando lá com a cunhada dele. E nessa época eu já estava fazendo umas músicas. Mais tarde eu o reencontrei no Rio de Janeiro.

Album: Belo Horizonte Que Eu Gosto: Musicas De Pacifico Mascarenhas (Disc 1)
Bitrate: MP3@320K/s
Time: 23:14
Size: 53.2 MB
Styles: Brazilian rhythms
Year: 2005

[3:41] 1. Sambacana - Belo Horizonte Que Eu Gosto
[1:25] 2. Paula Santoro - Praça Da Savassi
[1:17] 3. Beto Lopes - Ônibus Colegial
[3:22] 4. Sambacana - Belo Horizonte De Antigamente
[0:46] 5. Renato Motha - Dia Sorrindo Na Savassi
[1:19] 6. Gilberto Mascarenhas - Anos Savassi
[2:49] 7. Sambacana - Minha Cidade
[1:26] 8. Renato Motha - Fui No Minas Tênis Clube
[1:03] 9. Claudinho Campos - Vamos Comemorar
[1:10] 10. Marina Machado - O Jogo
[1:01] 11. Espero Você Em Lourdes
[1:43] 12. Renato Motha - Belo Horizonte, Londres, Pequim
[2:05] 13. Sambacana - Programa No Domingo

Belo Horizonte Que Eu Gosto: Musicas De Pacifico Mascarenhas (Disc 1)

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Album: Belo Horizonte Que Eu Gosto: Musicas De Pacifico Mascarenhas (Disc 2)
Bitrate: MP3@320K/s
Time: 22:45
Size: 52.1 MB
Styles: Brazilian rhythms
Year: 2005
Art: Front

[0:57] 1. Renato Motha - Triste Horizonte
[1:26] 2. Marilton Borges - Di
[1:45] 3. Renato Motha - Minas Gerais
[1:30] 4. Gilberto Mascarenhas - Meus Velhos Amigos
[2:41] 5. Renato Motha - Um Ilustre Brasileiro
[1:09] 6. Andando Na Bandeirantes
[1:33] 7. Renato Motha - Vem Para O Minas
[0:57] 8. Gilberto Mascarenhas - Turma Da Savassi
[1:46] 9. Renato Motha - Sou Do América
[3:09] 10. Alarme Falso - Ao Mestre Com Carinho
[1:07] 11. Renato Motha - Belo Horizonte Que Eu Gosto
[2:24] 12. Sambacana - Praça Da Savassi
[1:29] 13. Sergio Santos - Belo Horizonte De Antigamente
[0:45] 14. Affonsinho - Programa No Domingo

Belo Horizonte Que Eu Gosto: Musicas De Pacifico Mascarenhas (Disc 2)

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Louisa Bey, Nico Morelli - T For 2

Bitrate: MP3@320K/s
Time: 38:31
Size: 88.2 MB
Styles: Jazz/blues/gospel vocals
Year: 2014
Art: Front

[2:04] 1. So Wonderful
[5:05] 2. The Book
[4:36] 3. T For 2
[3:40] 4. Moi & Toi
[4:05] 5. Je Suis
[3:21] 6. Beautiful Love
[3:52] 7. Cross My Way
[6:12] 8. Fever
[3:31] 9. Le Pont Mirabeau
[2:00] 10. Love

Louisa Bey – vocal; Nico Morelli – piano.

Une complicité artistique sous le charme entre lyrisme romantique et envolée passionnée entre Louisa Bey et Nico Morelli qui offrent un duo simple et fort à la fois aux grès des compositions de Louisa et des judicieuses reprises qui jalonnent ce nouveau et bel album (le 3è de la dame).

T For 2

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Calvin Owens - That's Your Booty

Bitrate: MP3@320K/s
Time: 66:39
Size: 152.6 MB
Styles: Contemporary blues
Year: 2015
Art: Front

[3:39] 1. That's Your Booty
[3:48] 2. Eat Where You Sleep
[6:02] 3. One Of Those Nights
[5:53] 4. Texas Red Shuffle
[4:53] 5. Trumpet Blues
[4:44] 6. Show Me
[4:17] 7. All My Fault
[4:12] 8. On My Feet Again
[5:47] 9. The Blues I Have For You
[3:54] 10. The Dog
[6:20] 11. Vincent Van Gogh
[3:21] 12. How Long
[5:12] 13. Take Time To Love
[4:29] 14. Mr. Head

Calvin and company come out of the gate with the wheels smoking. The lyrics on the first tune are really cool and quite humorous. The song has a jazzy feel to it with it's rather complex phrasings, but the blues roots are still in the base of the structure on the tune. This music is strongly rooted in the Blues genre but it's seasoned with hints from other genres (when it sounds right). That is the true genius behind Calvin Owens and his music, he has the gift of creating great arrangements that captivate the listener. The melody lines are charismatic and they're impossible to get out of your head, while the musicians on this album are of the highest caliber.

That's Your Booty

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René Marie - Serene Renegade

Bitrate: MP3@320K/s
Time: 64:37
Size: 147.9 MB
Styles: Jazz vocals
Year: 2004
Art: Front

[6:18] 1. Red Shoes
[7:10] 2. The South Is Mine
[4:49] 3. Autobiography
[6:30] 4. Wishes
[5:05] 5. Pause
[5:34] 6. Hard Day's Night
[5:41] 7. Lover Man Oh Where Can You Be
[6:16] 8. Many Years Ago
[5:29] 9. Little Girl
[4:09] 10. Rufast Daliarg
[7:30] 11. Ode To A Flower

Jeff Ballard: Drums; Bruce Barth: Piano; Roz Corral: Vocals; Steve Davis: Trombone; Larry Grenadier: Bass; John Hart: Guitar.

René Marie continues her string of inventive and soulful interpretations on Serene Renegade, her fourth MAXJAZZ adventure. Marie has it all -a rich, dark voice, an intensely brilliant sense of drama and a perfect presentation of song as entertainment and edification. And -like Betty Carter and Abbey Lincoln -she writes strikingly personal and original songs that display all her wares to their best advantage. There are pain and discomfort in these songs to be sure but what raises them to a different level are the spirit and talent of the singer and the fact that the songs and the voice don't sound like anything else. Marie notes that her song "Wishes , to take one example, hits home with woman listeners but Marie's words and sound are so poignant and deep that the heartbreak is transformed into the positive beauty of art. That kind of experience happens often here.

Marie is blessed with musicians who translate her ideas and tunes into true visions and it doesn't hurt that she herself has created the beautiful arrangements in which they express themselves. Gorgeous indeed are the interplay of the muted trumpet of Jeremy Pelt, the piano of Takana Miyamoto, the delicate rhythmic underpinnings and punctuations of Herman Burney and Quentin Baxter and the amazing singing of the leader on "Pause. And talk about intriguing versions of other material -what a tapestry she weaves on the Beatles' "Hard Days Night! The song pulses like heavy breathing itself and builds to several powerful climaxes. John Toomey did the hip arrangement that's buoyed by the bowed bass work of Burney. The singing suggests a more out-and-out theatrical Shirley Horn.

On the notes here René Marie thanks "the little girl and the waterproof bitch who co-exist quite peacefully inside of me. These personae come together to create a dazzling individual talent. And she keeps on coming at you. ~Donald Elfman

Serene Renegade

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Various - The Art Of The Saxophone

Bitrate: MP3@320K/s
Time: 39:46
Size: 91.0 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[ 6:12] 1. John Coltrane - Stars Fell On Alabama
[11:08] 2. Eric Dolphy - 245
[ 6:27] 3. Al Cohn - Halley's Comet
[ 6:57] 4. Al Cohn - The Red Door
[ 3:17] 5. Coleman Hawkins - Body And Soul
[ 5:44] 6. John Coltrane - Wabash

For some, the saxophone is the sound of jazz. The unique fusion of brass and woodwind that is the sax found an electrifying vibrato in the hands of jazzmen that truly changed the world. The pale "pure" tone of the instrument, as first used in classical compositions, vanished in a musical blast of slurs (Coleman Hawkins and Johnny Hodges, occasional exciting "false-fingering" (Lester Young) and runs almost too fast, for some at the time, to listen to (Charlie Parker). Parker employed the range of the alto sax and its keying system to show the world a new music entirely, while "sonorists" like Stan Getz (possessor of "The Sound") turned the instrument into, effectively, the "sexophone." And so Hollywood movies have always automatically cued a sax solo " When Lights Are Low," as the Benny Carter title says.

The Art Of The Saxophone

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Jimmy Bruno - Burnin'

Bitrate: MP3@320K/s
Time: 62:38
Size: 143.4 MB
Styles: Guitar jazz
Year: 1994
Art: Front

[5:42] 1. The Eternal Triangle
[5:09] 2. Pastel
[4:45] 3. One For Amos
[5:01] 4. Love Is Here To Stay
[4:34] 5. Burnin'
[8:12] 6. Moonlight In Vermont
[1:57] 7. Central Park West
[5:39] 8. Giant Steps
[4:35] 9. Witch Craft
[5:01] 10. On The Sunny Side Of The Street
[4:36] 11. A Rose For Peg
[7:21] 12. That's All

Bass – Craig Thomas; Drums – Steve Holloway; Guitar – Jimmy Bruno.

Burnin' is a most appropriate title for Jimmy Bruno's second album because much of the time, the guitarist is doing exactly that. A hard bopper with superb chops, Bruno loves to swing hard and fast, and he takes no prisoners on bop standards like Sonny Stitt's "Eternal Triangle" and John Coltrane's "Giant Steps." Known for its insanely difficult chord changes, the latter has long been considered a test piece for jazz musicians; Bruno sails right through the tune at maximum speed without even blinking an eye. But while his technique is impressive, it wouldn't mean as much if Bruno (who forms a trio with bassist Craig Thomas and drummer Steve Holloway) didn't have so much soul to go with his massive chops. As intensely as he plays on the fast numbers, Bruno has no problem turning around and showing his lyrical side on Trane's "Central Park West" and the standard "That's All." Burnin' was recorded at Philly's legendary Sigma Sound, where so many great R&B sessions were done in the '70s. ~Alex Henderson

Burnin'

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Jon Hendricks & Friends - Freddie Freeloader

Bitrate: MP3@320K/s
Time: 57:53
Size: 132.5 MB
Styles: Vocalese, Vocal jazz
Year: 1990/2010
Art: Front

[3:27] 1. Jumpin' At The Woodside
[5:46] 2. In Summer
[9:05] 3. Freddie Freeloader
[3:55] 4. Stardust
[5:08] 5. Sugar
[3:00] 6. Take The A Train
[5:37] 7. Fas' Livin' Blues
[1:28] 8. High As A Mountain
[4:42] 9. Trinkle Tinkle
[2:50] 10. Swing That Music
[2:28] 11. The Finer Things In Life
[6:31] 12. Listen To Monk
[3:51] 13. Sing Sing Sing

This CD would be highly recommended if only for Jon Hendricks' brilliant vocalese version of "Freddie Freeloader," which has Bobby McFerrin singing pianist Wynton Kelly's part, Al Jarreau as Miles Davis, George Benson as Cannonball Adderley, and Hendricks re-creating John Coltrane. However, all 13 selections on this very memorable set have their strong moments, and the other guests include the Manhattan Transfer, the Count Basie Orchestra, Wynton Marsalis, Stanley Turrentine, Tommy Flanagan, Al Grey, and the Jon Hendricks Vocalstra. "Jumpin' at the Woodside" recalls the Lambert, Hendricks & Ross version, Judith Hendricks sings Louis Armstrong's solos on "Stardust" and "Swing That Music," Turrentine helps to re-create "Sugar," there are a couple of Thelonious Monk tunes, and the exciting proceedings conclude with "Sing, Sing, Sing." Essential music. ~Scott Yanow

Freddie Freeloader

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Yusef Lateef - The Blue Yusef Lateef

Bitrate: MP3@320K/s
Time: 36:19
Size: 83.1 MB
Styles: Bop, Free jazz
Year: 1968/2005
Art: Front

[4:19] 1. Juba Juba
[7:33] 2. Like It Is
[4:35] 3. Othelia
[3:15] 4. Moon Cup
[5:01] 5. Back Home
[3:43] 6. Get Over, Get Off And Get On
[4:46] 7. Six Miles Next Door
[3:04] 8. Sun Dog

Alto Saxophone – Sonny Red; Bass – Cecil McBee; Bass [Fender] – Bob Cranshaw; Drums – Roy Brooks; Guitar – Kenny Burrell; Harmonica – Buddy Lucas; Piano – Hugh Lawson; Tenor Saxophone, Flute, Flute [Pneumatic], Flute [Bamboo], Instruments [Shannie], Tambura, Koto [Taiwan Koto], Percussion [Scratcher] – Yusef Lateef;
Trumpet – Blue Mitchell.

Though there is some confusion about what happened to the 32 Jazz label, producer Joel Dorn's other project, his label M, is following closely in its footsteps; unique packaging and a wealth of fine material licensed from Dorn's years as a jazz producer at Atlantic Records seems its sole M.O.. On The Blue Yusef Lateef, listeners get an amazing chapter from the late '60s, an amazing period when everything in the world of jazz was changing. Lateef was big on concept recordings. He and Dorn did no less than ten during their tenure together at Atlantic. This one examines, in a painterly way, all the different ranges of emotion contained within the blues genre. With a band that included Detroit jazz gods Roy Brooks on drums and Kenny Burrell on guitar, Blue Mitchell on trumpet, Hugh Lawson on piano, Sonny Red on alto, Bob Cranshaw on electric bass, and a very young Cecil McBee on acoustic bass, you get the idea that Lateef was after something different. Lateef performs on not only his tenor and flute, but bamboo and pneumatic flutes, tamboura, koto, and others; Lateef was exploring the outer reaches of the blues as they might appear and appeal to Eastern as well as Western cultures. From the opening moments in "Juba Juba," everything comes in one package -- the slow, snaky groove only the blues can provide, with the Eastern scale modalities and polyphony attached via Lateef's flute and Brook's percussion. But before becoming too ethereal, Mitchell chimes in with a barrelhouse muted trumpet and Buddy Lucas wails a shuffle on harmonica. There is also an unidentified female gospel chorus humming in the background -- reminiscent of the Staples at their spookiest. Next up is the even-more Eastern-tinged "Like It Is," sounding like it was left off "Blues from the Orient." Lawson's minor key explorations and Brooks' spontaneous actions with a variety of percussion instruments usher in a groove that only Lateef could create. It is very slow, harmonically complex, and lush in a manner that suggests exotica sans the corniness of Les Baxter. It quietly roars with a melodic polytonality courtesy of Lateef's tenor, joined by Lawson's striking mode changes in his solo. Then comes the barrelhouse romp of "Othelia," the Japanese psychedelia of "Moon Cup," and the samba-fied bluesiana of "Back Home," citing Afro-Cuban pop Machito arrangements inside a Brazilian carnival-chant created of vocal overtones and greasy rhythms. You get the picture. The Blue Yusef Lateef is one wild album. In sound, it is the very best the '60s had to offer in terms of experimentation and accessibility. This is blues you can dance to, but also meditate to and marvel at; a pearl worthy of the price. ~Thom Jurek

The Blue Yusef Lateef

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Joe Cohn - The Emeryville Sessions Vol 1: Marathon Man / The Emeryville Sessions Vol 2: S'posin

Album: The Emeryville Sesions Vol 1: Marathon Man
Bitrate: MP3@320K/s
Time: 75:02
Size: 171.8 MB
Styles: Bop
Year: 2014
Art: Front

[4:40] 1. Speedball (Feat. Dayna Stephens, Joe Bagg & Akira Tana)
[6:56] 2. Autumn Nocturne (Feat. Joe Bagg & Akira Tana)
[7:33] 3. I Concentrate On You (Feat. Akira Tana & Joe Bagg)
[5:48] 4. God Bless The Child (Feat. Joe Bagg & Akira Tana)
[5:32] 5. Cohn On The Cob (Feat. Joe Bagg, Akira Tana & Dayna Stephens)
[4:46] 6. Mama Flosie (Feat. Joe Bagg & Akira Tana)
[5:08] 7. Trick Bag (Feat. Joe Bagg & Akira Tana)
[5:07] 8. Bittersweet (Feat. Joe Bagg & Akira Tana)
[6:26] 9. The Very Thought Of You (Feat. Dayna Stephens, Joe Bagg & Akira Tana)
[6:18] 10. Estate (Feat. Akira Tana & Joe Bagg)
[4:07] 11. U.M.M.G. (Upper Manhattan Medical Group) [feat. Joe Bagg & Akira Tana]
[6:30] 12. If Ever I Would Leave You (Feat. Joe Bagg & Akira Tana)
[6:05] 13. Turn Around (Feat. Joe Bagg & Akira Tana)

Drums – Akira Tana; Guitar – Joe Cohn; Organ [Hammond B-3] – Joe Bagg; Tenor Saxophone – Dayna Stephens.

Guitarist Joe Cohn, son of the late great, Al Cohn in trio and quartet setting playing standards. Joe Bagg on Hammond B3, Akira Tana on drums and Dayna Stephens on tenor on a few tracks. A blowing session displaying Joe's incredible improvisatory skill.

The Emeryville Sessions Vol 1: Marathon Man

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Album: The Emeryville Sessions Vol 2: S'posin'
Bitrate: MP3@320K/s
Time: 59:08
Size: 135.4 MB
Styles: Bop
Year: 2015
Art: Front

[3:34] 1. S'posin' (Feat. Noel Jewkes & John Wiitala)
[5:24] 2. The Gentle Rain (Feat. Noel Jewkes & John Wiitala)
[7:11] 3. All Too Soon (Feat. Noel Jewkes & John Wiitala)
[4:39] 4. Autumn In New York (Feat. Noel Jewkes & John Wiitala)
[6:16] 5. Emily (Feat. Noel Jewkes & John Wiitala)
[5:58] 6. How Am I To Know (Feat. John Wiitala & Noel Jewkes)
[7:26] 7. I Hadn't Anyone 'til You (Feat. Noel Jewkes & John Wiitala)
[8:21] 8. People Will Say We're In Love (Feat. Noel Jewkes, & John Wiitala)
[4:29] 9. Skylark (Feat. Noel Jewkes & John Wiitala)
[5:45] 10. When Lights Are Low (Feat. Noel Jewkes & John Wiitala)

Joe Cohn- guitar, Noel Jewkes - saxophone, John Wiitala - bass.

Drumless Trio music of classic standards featuring the great sax sounds of Noel Jewkes, the inventive guitarist, Joe Cohn and the very supportive bassist, John Wiitala.

The Emeryville Sessions Vol 2: S'posin'

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Annie Ross - Annie By Candlelight

Bitrate: MP3@320K/s
Time: 22:43
Size: 52.0 MB
Styles: Jazz vocals
Year: 1965/2011
Art: Front

[2:37] 1. The Gypsy In My Soul
[2:20] 2. I Love Paris
[3:23] 3. I Didn't Know About You
[2:10] 4. The Lady's In Love With You
[2:41] 5. Tain't What You Do
[4:46] 6. Don't Let The Sun Catch You Crying
[2:22] 7. Between The Devil And The Deep Blue Sea
[2:20] 8. Don't Worry 'bout Me

Bass – Lennie Bush; Clarinet – Bob Burns; Guitar – Roy Plummer; Piano – Tony Crombie.

Not just the canary female whose dexterous vocals highlighted recordings by the vocal group Lambert, Hendricks & Ross, Annie Ross recorded more than a dozen albums of solid vocal jazz and appeared in many movies. Though she was the last member to join LH&R, she had been pursuing the same pioneering fusions of vocal music with bop delivery for several years before she joined Dave Lambert and Jon Hendricks. Born Annabelle Lynch in Surrey, England, she moved to Los Angeles at the age of three, with the musical comedienne Ella Logan (either her mother or her aunt, according to differing accounts). By the age of five, she had begun acting and landed roles in the Our Gang series. She later studied acting in New York, then moved back to England where she began singing in nightclubs. Her recording debut came in Paris, with a quartet including James Moody. By 1952, Ross was back in New York and recording with most of the Modern Jazz Quartet for her first album, Singin' and Swingin'. Later that year, she recorded an album with vocalese pioneer King Pleasure. Though she featured on only four tracks of King Pleasure Sings/Annie Ross Sings, her reprise of tenor Wardell Gray's solo on the song "Twisted" became a vocalese landmark. During 1953, Annie Ross toured throughout Europe with one of Lionel Hampton's best bands (including Clifford Brown, Art Farmer, Quincy Jones, and Gigi Gryce). She stayed there for several years and recorded albums for HMV and Pye before returning to America in 1957 when a New York nightclub engagement beckoned. While there, she did a vocal session with Dave Lambert and Jon Hendricks, who were working on an album of Basie solos transposed for vocals. Realizing they shared much in common, Ross was invited to join the group, naturally christened Lambert, Hendricks & Ross. An immediate success with their first album, 1957's Sing a Song of Basie, the trio revolutionized vocal music with a set of light-speed scats that treated words as mere tools in the construction of exciting feats of vocal musicianship. Relentless touring and rumors of a falling out with Hendricks finally led to Ross' exit from the band in 1962. (Though LH&R soon became LH&B with the addition of Yolande Bavan, it was quite clear that Ross' role had been an important one, and the group disbanded less than two years later.) Even while involved with the group, Annie Ross had continued her solo career with few interruptions. In late 1957, she recorded Sings a Song with Mulligan for the World Pacific label, with West Coast stars Gerry Mulligan and Chet Baker in support on a set of bright standards that highlighted her interpretive skills as well as a few flights of vocal fancy. Two additional LPs followed for World Pacific, A Gasser! (with Zoot Sims) and a straight rendition of the Broadway hit Gypsy. After LH&R split, she moved back to England and resumed her stage and film career, recording only three more albums during the '60s. A few years back in Los Angeles gained her parts in high-profile movies during the '80s and '90s, including Superman III, Pump Up the Volume, and Robert Altman's Short Cuts. For the latter film, she recorded several numbers for the soundtrack, and re-emerged with a new recording for 1995, Music Is Forever. ~ bio by John Bush

Annie By Candlelight

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Bobby Hackett - Bobby Hackett Plays Tony Bennett's Greatest Hits

Bitrate: MP3@320K/s
Time: 28:05
Size: 64.3 MB
Styles: Easy Listening
Year: 1966
Art: Front

[2:46] 1. Smile
[2:46] 2. Put On A Happy Face
[2:35] 3. I Left My Heart In San Francisco
[2:48] 4. The Good Life
[2:35] 5. Rags To Riches
[2:43] 6. Just In Time
[2:55] 7. Stranger In Paradise
[2:57] 8. I Wanna Be Around
[2:58] 9. The Shadow Of Your Smile (Love Theme From The Sandpiper )
[2:57] 10. Because Of You

Throughout his career, Hackett was in demand for a wide variety of studio dates due to his highly appealing tone on cornet. He was utilized by Jackie Gleason for a series of commercially successful mood music albums and spent a period touring with Tony Bennett. In tribute to Bennett, Hackett recorded ten songs associated with the singer.

Bobby Hackett Plays Tony Bennett's Greatest Hits

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Ray Brown Jr. - Friends And Family

Bitrate: MP3@320K/s
Time: 56:47
Size: 130.0 MB
Styles: R&B/Jazz/Soul
Year: 2008
Art: Front

[4:44] 1. Can’t Take My Eyes Off You (Feat. Jane Monheit)
[2:42] 2. I’m Beginning To See The Light (Feat. Melba Moore & Terry Gibbs)
[3:46] 3. Sunny Side Of The Street (Feat. James Moody)
[4:33] 4. Too Close For Comfort (Feat. Maria Muldaur)
[4:36] 5. I Wish You Love (Feat. Dionne Warwick & David Fathead Newman)
[3:30] 6. Lullaby Of Birdland (Feat. Freda Payne & Terry Gibbs)
[4:23] 7. Up On The Roof (Feat. Sophie B. Hawkins)
[4:27] 8. Ordinary Fool (Feat. Paul Williams)
[2:11] 9. A-Tisket-A-Tasket (Feat. Haylee)
[3:18] 10. Something’s Gotta Give (Feat. Freda Payne)
[4:03] 11. Everybody’s Cryin’ Mercy (Feat. Dr. Lonnie Smith)
[3:43] 12. Girls On The Beach (Feat. Dave Somerville)
[3:55] 13. Laughter In The Rain (Feat. Kim Hoyer)
[3:22] 14. I Thought About You (Feat. Sally Kellerman)
[3:27] 15. How High The Moon (Feat. Ella Fitzgerald & Ray Brown Sr)

If you’re expecting any vocal similarity between Ray Brown Jr. and his mother, Ella Fitzgerald, you’ll be disappointed. Brown is, after all, not her natural son, but was adopted by Fitzgerald and Ray Brown in 1949, midway through their six-year marriage. But if his parents’ acute musicality isn’t in his genes, then he must have absorbed it, because Jr. is a first-rate performer with a deep, slightly raspy sound that suggests a blend of Bobby Short and Michael McDonald, plus a soupcon of Billy Eckstine.

The 59-year-old scion started out in the music business in the ’70s, toying with rock and then country before setting into a pop/soul groove. Friends and Family is his fourth album, but the first that inches toward jazz. The “friends” are an eclectic bunch, spanning young (Jane Monheit, Sophie B. Hawkins), old (septuagenarian David Somerville, one-time lead singer of the ’50s group the Diamonds), iconic (James Moody, Dr. Lonnie Smith, Dionne Warwick), obscure (little-known but impressive jazz chanteuse Kim Hoyer) and unexpected (Oscar-nominated M*A*S*H actress Sally Kellerman).

The results are generally excellent—particularly a funky “Memphis” featuring both Smith and Dr. John, a slow and sexy “Too Close for Comfort” with Maria Muldaur and a scorching “I’m Beginning to See the Light” with Melba Moore and Terry Gibbs. Unfortunately, the “family” portion of the program proves less rewarding. Brown teams with daughter Haylee for a rendition of “A-Tisket, A-Tasket” that zooms way past cute toward cloyingly sticky-sweet. Most disappointing is the disc-closing attempt at a family reunion, with Jr. awkwardly wedged into the middle of a muddy, old recording of mom and dad performing “How High the Moon.” ~Christopher Loudon

Friends And Family

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