Eric Gale - Gingseng Woman

Styles: Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 36:36
Size: 85,5 MB
Art: Front

(7:43)  1. Gingseng Woman
(3:52)  2. Red Ground
(6:21)  3. Sara Smile
(6:19)  4. De Rabbit
(6:12)  5. She Is My Lady
(6:07)  6. East End, West End

Good fusion, light jazz, and instrumental pop/R&B session from a talented guitarist who's made his living by carefully editing his solos and plugging into funk dates. Gale doesn't cut loose, but shows enough to hold interest, while the arrangements and production are geared for Urban and Adult Contemporary outlets and audiences. ~ Ron Wynn http://www.allmusic.com/album/ginseng-woman-mw0000865784

Personnel:  Eric Gale – guitar;  Bob James - Fender Rhodes, ARP, Yamaha YC 30 organ;  Richard Tee - acoustic piano;  Anthony Jackson – bass;  Steve Gadd – drums;  Ralph MacDonald – percussion;  Bass - Anthony Jackson, Gary King;  Cello - Alan Shulman , Charles McCraken;  Clarinet Bob James; Drums - Andrew Smith,  Steve Gadd;  Electric Piano [Fender Rhodes] - Bob James;  Organ - Richard Tee; Percussion - Ralph MacDonald;  Piano - Richard Tee ;  Saxophone - Eddie Daniels , George Young, Mike Brecker;  Saxophone [Solo] - George Young, Grover Washington, Jr. Steel Drums [Electric; ] Synthesizer - Bob James Tin Whistle - Grover Washington, Jr.;  Trombone - Dave Taylor , Wayne Andre;  Trumpet - Alan Rubin , Jon Faddis , Lou Soloff , Randy Brecker;  Viola - Emanuel Vardi , Lamarr Alsop;  Violin - David Nadien , Diane Halprin, Harold Kohon , Harry Cykman , Harry Glickman , Marvin Morgenstern , Max Ellen , Max Pollikoff , Paul Gershman Vocals - Lani Groves , Patti Austin , Ray Simpson , Vivian Cherry , Bill Eaton , Zack Sanders

Gingseng Woman

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Dinah Washington - Dinah Sings Bessie Smith

Bitrate: MP3@320K/s
Time: 54:47
Size: 125.4 MB
Styles: Jazz/Blues, Big band
Year: 1958/1999
Art: Front

[3:35] 1. After You've Gone
[3:17] 2. Send Me To The 'lectric Chair
[3:09] 3. Jailhouse Blues
[3:34] 4. Trombone Butter
[4:02] 5. You've Been A Good Old Wagon
[3:37] 6. Careless Love
[4:55] 7. Backwater Blues
[2:47] 8. If I Could Be With You One Hour Tonight
[3:13] 9. Me And My Gin
[3:03] 10. Fine Fat Daddy
[3:35] 11. Trombone Butter
[4:01] 12. Careless Love
[3:53] 13. Send Me To The 'lectric Chair
[3:20] 14. Me And My Gin
[4:38] 15. Backwater Blues

Dinah Washington, Composer, Vocals; Eddie Chamblee, Arranger, Sax (Tenor); Melba Liston, Guest Artist, Trombone; Quentin Jackson, Julian Priester, Trombone; Sahib Shihab, Charles Davis, Guest Artist, Sax (Baritone); McKinley Easton, Sax (Baritone); Harold Ousley, Sax (Tenor); Blue Mitchell, Clark Terry, Guest Artist, Trumpet; Flip Ricard, Trumpet; Wynton Kelly, Guest Artist, Piano; Jack Wilson, James Craig, Piano; Robare Edmonson, Arranger, Bass; Paul E. West, Robert Lee Wilson, Bass; Max Roach, Guest Artist, Drums; James Slaughter, Drums.

Gifted with a strong, beautiful voice and very precise phrasing, Dinah Washington translated Bessie Smith's irrepressible spirit and flair even better than Billie Holiday, Smith's most famous devotee. For her tribute album, Washington avoided Smith's best-known songs ("'Tain't Nobody's Bizness If I Do," "Nobody Knows You When You're Down and Out," "Baby Won't You Please Come Home"). Instead, she wisely concentrated on the more defiant standards from "The Empress of the Blues," including "Send Me to the 'Lectric Chair," "Jailhouse Blues," and "You've Been a Good Ole Wagon." Washington sounds simply glorious, focused on alternating Smith's phrasing to emphasize her own gospel roots. The accompaniment, by Eddie Chamblee and His Orchestra, emphasizes the vaudeville and Dixieland sound of early-century blues, heavy on the slide trombone, growling trumpet, and skeletal, rickety percussion. Reissued several times (occasionally under the title The Bessie Smith Songbook), Dinah Washington Sings Bessie Smith charts a perfect balance between tribute and genuine artistic statement. A Verve master edition reissue added alternate takes of "Trombone Butter" and "Careless Love," plus three songs taken from a Newport performance later in 1958. ~John Bush

Dinah Sings Bessie Smith

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Clifford Jordan & The Magic Triangle - The Highest Mountain

Bitrate: MP3@320K/s
Time: 54:33
Size: 124.9 MB
Styles: Saxophone jazz
Year: 1976/1989
Art: Front

[6:52] 1. Bearcat
[9:22] 2. Seven Minds
[4:52] 3. Impressions Of Scandinavia
[3:54] 4. Scorpio
[6:35] 5. Firm Roots
[7:40] 6. The House On Maple Street
[6:01] 7. Miss Morgan
[9:15] 8. The Highest Mountain

Bass – Sam Jones; Drums – Billy Higgins; Piano – Cedar Walton; Tenor Saxophone, Flute – Clifford Jordan. Recorded at Trixi Ton Studio, München, on April 18, 1975.

Tenor-saxophonist Clifford Jordan teams up with pianist Cedar Walton, bassist Sam Jones and drummer Billy Higgins for this excellent modern hard bop set which has been reissued on CD by Muse. Of the five compositions (which include an original apiece by Jordan, Walton, Jones and Bill Lee), only Thelonious Monk's "Blue Monk" and Jordan's title cut had much life beyond this set but the music is consistently memorable, including Walton's "Midnight Waltz." All of the musicians play up-to-par and Clifford Jordan (who was continually underrated throughout his life) is immediately recognizable as usual. ~Scott Yanow

The Highest Mountain

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King Pleasure & The Biscuit Boys - Smack Dab In The Middle

Bitrate: MP3@320K/s
Time: 58:11
Size: 133.2 MB
Styles: Pop/Rock/Jazz
Year: 1998
Art: Front

[2:38] 1. Girl In The Gold Dress
[4:01] 2. Smack Dab In The Middle
[2:18] 3. Happy As A Fella Can Be
[2:18] 4. Can't Get Enough Of Your Stuff
[3:05] 5. Red Headed Woman
[3:26] 6. Who Drank My Beer (While I Was In The Rear)
[2:56] 7. Great Great Pleasure
[4:23] 8. Ain't It Lonesome
[2:59] 9. Your Cash Ain't Nothin' But Trash
[3:02] 10. Fat Sam From Birmingham
[2:56] 11. It Don't Happen No More
[2:14] 12. Soft Pillow
[2:53] 13. Mush Mouth
[5:34] 14. Forgive A Fool
[2:20] 15. Be Good Or Be Gone
[2:38] 16. I'll Be Satisfied
[2:52] 17. Tight Skirts
[2:49] 18. Big Wheel
[2:41] 19. I'm The Boss At My House

This group has a 1940s Chicago look and feel but is actually from the United Kingdom - they have a terrific sound that is sort of a jazz/swing/pop/combo blend and EVERY song is upbeat - no downers, even when they sing "Who Drank My Beer while I was in the Rear?". The words are easy to understand; you can't help but sing along. This particular release has a somewhat "naughty" drawing on the cover and the CD, but the music will not teach your kids anything worse than what we learned from Burl Ives when we were little (I think there are one or two "d-mn's" and "h-ll's" but they are not emphasized). We first discovered them via some children's "Teletubbies" videos, on which the group has three or four video spots where they really swing some familiar kid's songs (like Hickory Dickory Dock, The Grand Old Duke of York). Those types of songs aren't on this CD, but if they were, you would find yourself enjoying them for the first time since you were a kid, even after dozens (hundreds?) of repetitions. ~Amazon

Smack Dab In The Middle

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Rob McConnell & The Boss Brass - Present Perfect

Bitrate: MP3@320K/s
Time: 46:14
Size: 105.8 MB
Styles: Big band
Year: 1980/2014
Art: Front

[5:48] 1. You Took Advantage Of Me
[7:39] 2. Everything Happens To Me
[9:11] 3. Twist Of The Wrist
[9:43] 4. The Waltz I Blew For You
[6:37] 5. Smoke Gets In Your Eyes
[7:13] 6. Start With Mrs. Beanhart

Alto Saxophone, Clarinet, Flute – Jerry Toth; Alto Saxophone, Soprano Saxophone, Flute, Piccolo Flute – Moe Koffman; Baritone Saxophone, Bass Clarinet, Flute – Dave Caldwell; Bass – Don Thompson; Bass Trombone – Ron Hughes; Drums – Terry Clarke; French Horn – Brad Warnaar, George Stimpson; Guitar – Ed Bickert; Percussion – Marty Morell; Piano, Electric Piano – James Dale; Tenor Saxophone, Clarinet – Rick Wilkins; Tenor Saxophone, Clarinet, Flute – Eugene Amaro; Trombone – Dave McMurdo; Trombone [Lead] – Bob Livingston, Ian McDougall; Trumpet [Assistant Lead], Flugelhorn – Erich Traugott; Trumpet [Lead], Flugelhorn – Arnie Chycoski; Trumpet, Flugelhorn – Dave Woods (2), Guido Basso, Sam Noto. Recorded at Sound Stage Studio, Toronto, Oct. 29, 30, 31, 1979. Mixed at MPS Studio, Villingen, Jan. 14, 15, 16, 1980.

The Boss Brass has always featured some of the finest jazz-oriented session players from Toronto, Canada. Valve trombonist Rob McConnell's swinging arrangements give the orchestra its own personality, as can be heard on this obscure Pausa LP, which was originally put out by the European MPS label. The band performs fresh versions of three swing-era standards (including "You Took Advantage of Me"), a lesser-known tune, and a couple of McConnell originals, including "The Waltz I Blew for You." The key soloists include trumpeters Guido Basso and Sam Noto, altoists Jerry Toth and Moe Koffman, Rick Wilkins and Eugene Amaro on tenors, guitarist Ed Bickert, and McConnell (who is featured on "Smoke Gets In Your Eyes"). Worth searching for, as are virtually all of the recordings by this very consistent big band. ~Scott Yanow

Present Perfect

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Virginia Younger - Fall In Love Again

Bitrate: MP3@320K/s
Time: 34:56
Size: 80.0 MB
Styles: Easy Listening
Year: 2008
Art: Front

[3:02] 1. Can't Get Used To Losing You
[3:37] 2. Here There And Everywhere
[3:49] 3. Here I Am
[3:20] 4. Colour My World
[3:41] 5. Sorry Seems To Be The Hardest Word
[3:29] 6. I'll Never Fall In Love Again
[3:59] 7. I Just Fall In Love Again
[3:03] 8. Top Of The World
[3:57] 9. Dream A Little Dream Of Me
[2:54] 10. If

FALL IN LOVE AGAIN revisits some of the classic songs from the '60s' and '70s' including: "Sorry Seems To Be The Hardest Word" (Elton John), "I'll Never Fall In Love Again" (Dionne Warwick), "Here, There And Everywhere" (The Beatles), "Here I Am" (Air Supply) and "If" (Bread). Produced in the UK by Jason Perry and Julian Emery (McFly) with renowned string arranger Richard Cottle, this captivating album showcases Virginia's exquisite vocals, breathing new life into these great songs, whilst staying close to the spirit of the originals

Fall In Love Again

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Fern Lindzon - Like A Circle In A Spiral

Size: 115,6 MB
Time: 49:40
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Jazz At The Bookstore (4:48)
02. The Windmills Of Your Mind (4:42)
03. Mishaela (5:19)
04. Carrie (6:17)
05. Night And Day (3:43)
06. A Malekh Veynt (An Angel Weeps) (4:21)
07. Shashado - Loro (5:00)
08. Wishing - Papir Is Dokh Vays (Paper Is White) (4:29)
09. Even Divas Get The Blues (3:55)
10. What's Your Story, Morning Glory (4:43)
11. This Little Love (2:19)

With the release of Like a Circle in a Spiral, Toronto's Juno Award-nominated pianist and singer Fern Lindzon again puts her own, unique spin on contemporary jazz. Her much-anticipated follow-up to Two Kites, which was nominated for a Juno as Vocal Jazz Album of the Year 2012, leads off with Ron Sexsmith's Jazz at the Bookstore, a track inspired by meeting Ron on the train to the Juno Awards. Drawing as always on a wide range of inspirations, Fern once more finds both the personal and the universal in the work of Michel Legrand, Egberto Gismonti, Cole Porter, Mary Lou Williams and others old and new, near and far — all warmly sung, imaginatively arranged and gracefully played. A wealth of musical riches.

"I look everywhere," Fern says. "My listening is not limited to the Great American Songbook. I also listen to music from Brazil, Israel and Eastern and Western Europe. Classical, pop, klezmer and jazz. And when I’m struck by a lyric, a melody or a groove, I find my own way into it. Because for me, jazz is about forms and improvisations that take me to places I've never imagined. A good arrangement is a platform, a diving board — a place where I can take the leap and circle and spiral my way into the deepest possible understanding of a song, and then share that understanding with the listener. With Like a Circle in a Spiral I am exploring the crazy windmills of our inner thoughts – love and loss, joy and sorrow, hope and laughter. These are the recording’s poetic themes.”

Like A Circle In A Spiral

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Jose Feliciano & Harri Stojka - Djangoizing

Size: 131,4 MB
Time: 56:24
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Gipsy Jazz
Art: Front

01. How High Is The Moon (5:23)
02. East Of The Sun (5:04)
03. Djangoizing (2:57)
04. Moon Glow (4:44)
05. Lover (3:20)
06. Sweet Georgia Brown (4:29)
07. Sheik Of Arabic (4:19)
08. My Blue Heaven (3:49)
09. Whispering (5:07)
10. Twelfth Street Rag (3:37)
11. Caravan (3:15)
12. Bye Bye Blue (3:54)
13. Muskrat Ramble (3:13)
14. Sweet Sue (3:05)

DJANGOIZING: a realization of a dream inspired by one of Jose’s childhood heroes, Django Reinhardt. Django’s gypsy swing moved Jose to explore and absorb his style, resulting in a brilliant collection of Latin-Gypsy Swing pieces he calls Djangoizing. Simply speaking, with the corroboration of Harri Stojka, the Viennese-Roman-Gypsy jazz-swing guitarist, and with his own stroke of genius, they simply sent the project over the Moon.

Djangoizing

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VA - Shades Of Beautiful: The Tracy Stark Songbook

Size: 147,1 MB
Time: 63:07
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01 Ann Hampton Callaway - Woman On The Stage (4:59)
02 Lesley Gore - Find My Strength (5:05)
03 Lillias White - You Changed Me (3:54)
04 Jane Monheit - Mr. Moon (4:28)
05 Nona Hendryx - Walk With Me (5:09)
06 Janis Siegel - Camera (5:00)
07 Nicolas King - The Only One (3:40)
08 Johnny Rogers & Tracy Stark - Morning Light (4:26)
09 Tanya Holt - Let Love In (3:56)
10 Karen Black - Greatest Nightmare (3:31)
11 Barb Jungr - Portrait (4:15)
12 Janice Pendarvis - Hungry (3:23)
13 Marcus Simeone - Fluffy World (3:27)
14 Tonya Pinkins - Life's Been Kind (3:45)
15 Tracy Stark - Welcome Home (4:02)

Tracy Stark’s newest CD, Shades of Beautiful:?The Tracy Stark Songbook, is proof that this multi-award-winning, busy lady is much more than a skilled piano partner who is a great arranger. She is an accomplished songwriter who deserves more recognition. In his liner notes, James Gavin quotes Stark: “… Cabaret used to be a genre: the Great American Songbook, show tunes, standards. In the present world, I see it as a giant umbrella of any genre, as long as you can create a sense of intimacy.” Mission accomplished. Those words describe a CD that is sure to make a mark. It’s an intimate album for sure and it touches several genres with intelligence and great style.

The new release on Miranda Music is proof of the scope of Stark’s songwriting talent. The songs, sung by various gifted artists—with the last cut performed solo by the songwriter (who also provides back-up vocals on a number of cuts)—should be rated on what they are and what they offer. They are sublime—some darn good stuff with terrific songs about the midnight hour and some longing pieces straight from the heart. Some have an optimistic, timeless quality. Others are reflective and come to life with pieces of a pop/soul craft that are pensive, echoing a likeness to ladies like the late Laura Nyro, as on “Walk with Me” (sung by Nona Hendryx), which repeats its message of believing, supported by a subtle backup chorus. This is carried through on a reflective ballad called “Life’s Been Kind” sung with passion by Tonya Pinkins.

With so many wonderful artists, it’s hard to single out one over the other. Ann Hampton Callaway kicks off the CD on a light, yet discreetly powerful nod with a cool reading of “Woman on the Stage” that makes a statement about ladies in the spotlight. “Fluffy World,” sung by frequent musical partner Marcus Simeone, is a personalized, melancholic, sleepy ballad about waking up next to her husband after a hard night’s work in a smoky, crowded place (a piano bar?): “… You are everything supreme and the reason I can truly love.” “Morning Light” has Stark in a bluesy, jazz-tinged duet with Johnny Rodgers that is a highlight. The great Lillias White offers a soulful “You Changed Me” that really cooks. It’s about a tough woman who admits to poor life choices, who gave up, and ultimately found someone. A strong cut. Jazz artist Jane Monheit flawlessly caresses “Mr. Moon” with a sexy reading that could melt butter: “… I lay myself down, but I’m gonna get up again… It’s all under wraps.” And so it goes.

All the cuts are so special and all reflect a songwriter who deserves a wider platform. There’s more to be said indeed. For now, Stark, whose songs often lean toward jazz stylings, are introspective and memorable with simple challenges. Most exemplify the relevance of how less is more. There are fifteen cuts by impressive artists that stand out for their interpretive and musical gifts. However, Tracy Stark is the real winner here on a haunting album that is worthy of attention.

The album is produced by Richard Barone. Other singing artists include the late Lesley Gore, Janis Siegel, Nicolas King, Tanya Holt, Barb Jungr, Janice Pendarvis and the late Karen Black.

In addition to Stark on piano for most tracks, the musicians including: guitarists Gene Bertoncini, Ronald Drayton; drummers Trevor Gale, Ratso Harris, Donna Kelly (percussion, too), Danny Mallon, David Silliman; bassists Warren McRae, Maryann McSweeney, Michael Visceglia, Skip Ward; keyboardist Etienne Stadwijk; and a special nod to Sean Harkness whose guitar brilliance is on almost every cut. ~by John Hoglund

Shades Of Beautiful

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Herb Ellis & The All-Stars - The Midnight Roll

Bitrate: MP3@320K/s
Time: 38:46
Size: 88.8 MB
Styles: Bop, Swing, Guitar jazz
Year: 1962/2010
Art: Front

[4:14] 1. Broadway
[3:04] 2. Gravy Waltz
[3:38] 3. Poor Darlin' Nellie
[3:32] 4. Old Folks
[4:44] 5. Roy Showed
[3:56] 6. Things Ain't What They Used to Be
[3:54] 7. Willow Weep for Me
[3:19] 8. Symphony
[3:35] 9. It Makes No Difference Now
[4:45] 10. It Don't Mean a Thing

Bass – Israel Crosby, Jimmy Rowser; Drums – Gus Johnson; Guitar, Leader – Herb Ellis; Piano – Ray Bryant; Tenor Saxophone – Buddy Tate; Trumpet – Frank Assunto, Roy Eldridge.

Herb Ellis is known primarily for playing with small ensembles, so this recording as part of an octet is a departure for the great guitarist. This "all-star" combo includes trumpeter Roy Eldridge in a sublimated role, while tenor saxophonist Buddy Tate is featured a bit more, and pianist Ray Bryant solidifies the nucleus of a very talented band of old pros and unsung heroes. Trumpeter Frank Assunto may not be a common garden-variety name to most, but he asserts himself quite well during this session. Twin bass underpinnings from Israel Crosby and Jimmy Rowser add heft to the rhythm section, while always reliable drummer Gus Johnson shows his mettle as a solidly swinging timekeeper. The fare is split between standards, originals, and favorites, including Duke Ellington's rousing "It Don't Mean a Thing" with the jamming Eldridge leading the charge, and "Things Ain't What They Used to Be" as everyone joins in and Assunto takes a fine, distinctive solo. The classic "Gravy Waltz" of Ray Brown is done here, as Bryant's deft chords with the sax and trumpets form a strolling, impenetrable front line -- one of the very best, fully formed and realized versions of this great song. Ellis contributed the folkish "Poor Darlin' Nellie," derived from the story of banished African-American slave Nellie Gray, a light rural swing with no horns save Assunto's muted trumpet solo. "Roy Showed" is a bouncy bop blues punctuated by Tate's tenor as Ellis further accents with sharp strumming chords. Everybody plays together in sweet agreement on "Broadway," a stock jam tune that shows the band has no issues with grandstanding, egos, or finding enough space to play. The band strips down to a trio on the pristine ballad "Willow Weep for Me" and Tate presents a spare, spacious melody line during "It Makes No Difference Now." The balance of this group should duly receive high marks (especially since it was a one-shot), Ellis sounds right at home with these fellow legends, and the obscure Assunto deserves individual stars on his own. ~Michael G. Nastos

The Midnight Roll

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Jean Frye Sidwell - From The Heart

Bitrate: MP3@320K/s
Time: 60:53
Size: 139.4 MB
Styles: Jazz vocals
Year: 2001
Art: Front

[5:08] 1. Misty
[5:16] 2. Alfie
[3:37] 3. The Girl From Ipanema
[6:31] 4. Love Dance
[5:01] 5. Bird Of Beauty
[4:37] 6. Like A Lover
[4:41] 7. Here's That Rainy Day
[4:10] 8. Bridges
[6:27] 9. Meditation
[3:45] 10. On A Clear Day
[4:55] 11. Being Cool
[6:40] 12. Kisses

With her rich contralto voice and smooth, soulful phrasing, Jean is truly a jazz singer's, jazz singer. The consummate performer, she beams with honesty and passion, delivering silky nuances and vocal shadings that captivate even the most sophisticated music lovers. Her dramatic vocal expression renders new shape and meaning to some of our most beloved classic jazz treasures, be it Gershwin, Ellington or Jobim. A native of Southern California, Jean received music, voice and dance training in Los Angeles. Her professional singing career has spanned 30 years and culminated in the recording of six self-produced CDs. Partnered with husband, bassist/composer Chris Sidwell, she is co-creator and co-owner of Pacific Coast Music, an independent record label. Due to the overwhelming success of her CDs Jean is recognized today as an international recording artist.

From The Heart

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Hot Lips Page - Walking In A Daze

Bitrate: MP3@320K/s
Time: 60:52
Size: 139.4 MB
Styles: Trumpet jazz
Year: 2016
Art: Front

[2:40] 1. Walking In A Daze
[3:22] 2. Double Trouble Blues
[3:02] 3. Blooey
[2:49] 4. Rockin' At Ryan's
[3:12] 5. My Gal Is Gone
[3:24] 6. Evil Man's Blues
[2:54] 7. Pagin' Mr. Page
[2:38] 8. Gee Baby Ain't I Good To You
[3:15] 9. I Keep Rollin' On
[2:58] 10. It Ain't Like That
[2:53] 11. Just Another Woman
[3:13] 12. My Fightin' Gal
[3:11] 13. You'd Be Frantic Too
[3:14] 14. Thirsty Mama Blues
[2:50] 15. Six, Seven, Eight Or Nine
[2:31] 16. Small Fry
[3:18] 17. The Blues Jumped The Rabbit
[2:50] 18. The Lady In Bed
[3:13] 19. You Need Coachin'
[3:16] 20. Uncle Sam's Blues

One of the great swing trumpeters in addition to being a talented blues vocalist, Hot Lips Page's premature passing left a large hole in the jazz world; virtually all musicians (no matter their style) loved him. Page gained early experience in the 1920s performing in Texas, playing in Ma Rainey's backup band. He was with Walter Page's Blue Devils during 1928-1931, and then joined Bennie Moten's band in Kansas City in time to take part in a brilliant 1932 recording session. Page freelanced in Kansas City and in 1936 was one of the stars in Count Basie's orchestra but, shortly before Basie was discovered, Joe Glaser signed Hot Lips as a solo artist. Although Page's big band did alright in the late '30s (recording for Victor), if he had come east with Basie he would have become much more famous. Page was one of the top sidemen with Artie Shaw's orchestra during 1941-1942 and then mainly freelanced throughout the remainder of his career, recording with many all-star groups and always being a welcome fixture at jam sessions. ~ bio by Scott Yanow

Walking In A Daze

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Diego Figueiredo - Tempos Bons

Bitrate: MP3@320K/s
Time: 67:02
Size: 153.4 MB
Styles: Guitar jazz, Latin rhythms
Year: 2012
Art: Front

[ 5:07] 1. Na Baixa Do Sapateiro
[ 2:30] 2. El Colibri
[ 4:25] 3. Spain
[ 4:51] 4. Que Reste-T-Il
[10:42] 5. Retratos Do Nordeste
[ 3:33] 6. Carinhoso
[ 2:57] 7. Old Devil Moon
[ 5:43] 8. Granada
[ 4:19] 9. Wave
[ 6:16] 10. Lamentos Do Morro
[ 5:02] 11. Dindi
[ 4:06] 12. Round Midnight
[ 1:58] 13. Las Abejas
[ 5:27] 14. Stella By Starlight

At only 29, Brazilian Diego Figueiredo is already considered one of the world’s great guitarists. His story is that of the child prodigy who was first photographed with a guitar at the age of four. At six he received a mandolin, and he went through a succession of various other instruments, before settling down with the guitar at twelve. Soon he was performing locally, and his improvisational and har- monic talent was apparent even at this early stage. At fifteen he was playing in small concert halls and nightclubs either alone or with others. While performing with various Brazilian bands, he was also studying classical guitar and popular Brazilian music and jazz at the conservatory in his hometown Franka and in Ribeirão Preto and Tatuí. He won his first prize at a contest in South America and received a grant to study at Berklee College of Music. In 2001 Diego Figueiredo received the Visa Award for his performance of “instrumental Brazilian popular music”; and the shower of honors on this modest, but giant talent has never ceased – the first prize at Montreux Jazz Competition is but one example.

These days Diego is accompanist to vocalist and composer Belchior on tours of Brazil and abroad. He has played with Hermeto Pascoal, Sebastião Tapajos, Osvaldo Montenegro, Jair Rodrigues, Toquinho Horta, Tunai, Paulinho da Viola, Moraes Moreira, Fafa de Belém, Amelinha, Zeca Baleiro and other prominent Brazilian musicians. But he is also known outside South America, and he tours most of the world as a soloist. He is famous for his technique as well as his sensitive interpretations of South American, classical and jazz music. He is often compared with Baden Powell, Helio Delmiro and Joe Pass. After hearing his set at the Montreux Jazz Festival, George Benson exclaimed, “Diego is the best guitarist I’ve ever heard!” Pat Metheny was equally impressed, and spoke of magic moments. Next time he visits Brazil, he says he will insist on playing with Diego. Diego has released several albums, including DADAIÔ, recorded in Copenhagen with bassist Rodolfo Stroeter and legendary drum- mer and percussionist Robertinho Silva, and released on Stunt Records. The Danish critic Henrik Palle gave the CD six out of six possible stars, calling it “a lovely dream of a record... enticing and enchantingly show-offish”, tying up his review with the following statement: “contagious joy in portions large enough to make it damn hard to keep a winter depression alive”. His newspaper, Politiken, placed DADAIÔ among the year’s ten best albums.

With TEMPOS BONS, Stunt Records continues its collaboration with Diego Figueiredo. The compilation includes solo guitar selections recorded in Brazil, a trio recording, and three songs with the charming French vocalist Cyrille Aimée, with whom Diego has celebrated long, triumphant American tours. The repertoire on this compilation is varied: the Brazilian mainstay is spiced with a few jazz standards and a wonderful French song, originally made famous by Charles Trenet. Enjoy the good times – TEMPOS BONS – with Diego. Sensitive and lyrical musical postcards from genuine and imagined landscapes, where melody and rhythm go hand in hand with youthful creative prowess in joyous and sensual music.

Tempos Bons

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Conrad Herwig - Hieroglyphica

Bitrate: MP3@320K/s
Time: 60:21
Size: 138.1 MB
Styles: Trombone jazz
Year: 2001
Art: Front

[10:04] 1. Hieroglyphica
[ 6:39] 2. The Orange Dove
[ 5:22] 3. Solar Circle
[ 4:59] 4. Quiet Mountain
[ 8:50] 5. Island Of The Day Before
[ 6:22] 6. The Intruder
[ 7:04] 7. The Antipodes
[10:58] 8. The Eleventh Hour

Trombonist extraordinaire Conrad Herwig continues his spiritual journey here on his fourth Criss Cross recording, Hieroglyphica. Long reknowned for his superb work with Slide Hampton's World of Trombones, the Mingus Big Band, Eddie Palmieri and, more recently, Joe Lovano and Tom Harrell, Conrad Herwig's trombone playing is bold, brash and unpredictable.

Through musical conversations with the wonderful rhythm section of Bill Charlap (piano), James Genus (bass) and Gene Jackson (drums), Conrad's Hieroglyphica speaks equally well to Herwig's prowess as a leader and composer. Hieroglyphica is the real thing: full of compelling ideas, attitude and groove.

Hieroglyphica

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The Band - Rock Of Ages (2-Disc Set)

Released on the heels of the stilted, static Cahoots, the double-album Rock of Ages occupies a curious yet important place in Band history. Recorded at a spectacular New Years Eve 1971 gig, the show and album were intended to be a farewell of sorts before the Band took an extended break in 1972, but it turned out to be a last hurrah in many different ways, closing the chapter on the first stage of their career, when they were among the biggest and most important rock & roll bands. That sense of importance had started to creep into their music, turning their studio albums after The Band into self-conscious affairs, and even the wildly acclaimed first two albums seemed to float out of time, existing in a sphere of their own and never having the kick of a rock & roll band. Rock of Ages has that kick in spades, and it captures that road warrior side of the band that was yet unheard on record. Since this band -- or more accurately its leader, Robbie Robertson -- was acutely aware of image and myth, this record didn't merely capture an everyday gig, it captured a spectacular, in retrospect almost a dry run for the legendary Last Waltz. New Orleans R&B legend Allen Toussaint was hired to write horn charts and conduct them, helping to open up the familiar tunes, which in turn helped turn this music into a warm, loose, big-hearted party. And that's what's so splendid about Rock of Ages: sure, the tightness of the Band as a performing unit is on display, but there's also a wild, rowdy heart pumping away in the backbeat of this music, something that the otherwise superb studio albums do not have. Simply put, this is a joy to hear, which may have been especially true after the dour, messy Cahoots, but even stripped of that context Rock of Ages has a spirit quite unlike any other Band album. Indeed, it could be argued that it captured the spirit of the Band at the time in a way none of their other albums do. ~Stephen Thomas Erlewine

Album: Rock Of Ages (Disc 1)
Bitrate: MP3@320K/s
Time: 79:55
Size: 182.9 MB
Styles: Country rock, Album rock
Year: 1972/2016

[1:22] 1. Introduction
[5:00] 2. Don't Do It
[4:05] 3. King Harvest (Has Surely Come)
[3:38] 4. Caledonia Mission
[3:33] 5. Get Up, Jake
[3:54] 6. W.S. Walcott Medicine Show
[4:38] 7. Stage Fright
[4:35] 8. The Night They Drove Old Dixie Down
[3:59] 9. Across The Great Divide
[4:07] 10. This Wheel's On Fire
[4:33] 11. Rag Mama Rag
[5:32] 12. The Weight
[4:14] 13. The Shape I'm In
[4:48] 14. The Unfaithful Servant
[4:17] 15. Life Is A Carnival
[7:48] 16. The Genetic Method
[5:24] 17. Chest Fever
[4:20] 18. (I Don't Want To) Hang Up My Rock And Roll Shoes

Rock Of Ages (Disc 1)

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Album: Rock Of Ages (Disc 2)
Bitrate: MP3@320K/s
Time: 45:15
Size: 103.6 MB
Styles: Country rock, Album rock
Year: 1972/2016
Art: Front

[3:27] 1. Loving You Is Sweeter Than Ever
[4:03] 2. I Shall Be Released
[4:38] 3. Up On Cripple Creek
[5:02] 4. The Rumor
[4:06] 5. Rockin' Chair
[4:07] 6. Time To Kill
[5:26] 7. Down In The Flood
[4:17] 8. When I Paint My Masterpiece
[4:38] 9. Don't Ya Tell Henry
[5:25] 10. Like A Rolling Stone

Rock Of Ages (Disc 2)

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Solveig Slettahjell, Knut Reiersrud - Trail Of Souls

Bitrate: MP3@320K/s
Time: 50:35
Size: 115.8 MB
Styles: Blues, Roots, Jazz
Year: 2015
Art: Front

[4:36] 1. Borrowed Time
[4:57] 2. Grandma's Hands
[5:26] 3. Mercy Street
[3:38] 4. Sometimes I Feel Like A Motherless Child
[5:01] 5. Come Healing
[5:45] 6. Is My Living In Vain
[4:14] 7. Holy Joe
[3:08] 8. Trouble In Mind
[4:25] 9. His Eye Is On The Sparrow
[3:19] 10. I Don't Feel Noways Tired
[6:01] 11. Soul Of A Man

Solveig Slettahjell: vocals; Knut Reiersrud: guitar, harmonica; Morten Qvenild: piano, synth; Roger Arntzen: bass; Pål Hausken: drums, percussion.

Vocalist Solveig Slettahjell and blues guitarist/harmonica player Knut Reiersrud record together for the first time on Trail Of Souls. They're joined by another three Norwegian musicians—pianist Morten Qvenlid, bassist Roger Arntzen and drummer Pål Hausken, known collectively as In The Country—on a programme of songs drawn from early blues, spirituals and classic rock songwriters. The performances are uniformly high quality—Qvenild's synth and piano parts are subtle, Sletahjell's vocals are heartfelt and understated, Reiersrud's acoustic guitar is lyrical and flowing. However, the decision to take every song at a very slow pace, coupled with the songs' tales of sadness and failure, results in an overall effect that's more depressing than elating. Although Shakespeare's suggestion that "If music be the food of love, play on" is quoted on the album sleeve, there's little love in these lyrics—most of these songs paint a picture of a far from loving world.

"Sometimes I Feel Like A Motherless Child" combines Slettahjell's vocal with Qvenild's slow, stately, piano in a way that successfully emphasises the despair of the tale. "Borrowed Time" and "Is My Living In Vain," both gracefully performed, project similar pessimistic emotions. Even when Slettahjell sings—on "Trouble In Mind"—that "The sun's gonna shine in my back door someday" she sounds as if she doesn't really believe it'll happen. The closest Trail Of Souls gets to a feel good song is Bill Withers' "Grandma's Hands." But even here, the grandparent comes across as someone to be respected, even feared, rather than loved. So, Trail Of Souls proves to be a musically successful meeting of spiritual and bluesy Americana with a Nordic jazz sensibility—as was intended—but one that veers too much towards a downbeat, even depressing, worldview. ~Bruce Lindsay

Trail Of Souls

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The Claude Williamson Trio - South Of The Border West Of The Sun

Bitrate: MP3@320K/s
Time: 45:33
Size: 104.3 MB
Styles: Bop, Piano jazz
Year: 1992/2014
Art: Front

[6:33] 1. South Of The Border
[4:38] 2. Star Crossed Lovers
[4:55] 3. Robbin's Nest
[5:51] 4. Embraceable You
[5:22] 5. Pretendo
[5:24] 6. Corcovado
[6:53] 7. As Time Goes By
[5:55] 8. West Of The Sun

Claude Berkeley Williamson (November 18, 1926 – July 16, 2016) was an American jazz pianist. Williamson studied at the New England Conservatory of Music before moving to jazz, influenced mainly by Teddy Wilson, then by Al Haig and Bud Powell. In 1947 he moved to California, working first with Teddy Edwards, then with Red Norvo in San Francisco, with Charlie Barnet in 1949, and with June Christy for two years. Later he worked with Max Roach, Art Pepper and others. Williamson was a longtime member of the Lighthouse All-Stars (substituting for pianist Russ Freeman), performing with Bud Shank, Stan Levey, Bob Cooper, Conte Candoli and Howard Rumsey. In 1956 he became the piano player in the Bud Shank quartet. In 1968 he started working as a pianist for NBC, first on The Andy Williams Show, then for Sonny and Cher. In 1978 Williamson went back to the jazz world and released many albums, mainly for Japanese labels, often accompanied by Sam Jones and Roy Haynes. In 1995 he made a trio recording for Fresh Sound Records at the Jazz Bakery in Los Angeles. He died on July 16, 2016 at the age of 89.

South Of The Border West Of The Sun

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Lenny Breau - Swingin' On A Seven String

Bitrate: MP3@320K/s
Time: 40:20
Size: 92.4 MB
Styles: Guitar jazz
Year: 1984/2005
Art: Front

[4:01] 1. Back In Indiana
[3:20] 2. You Needed Me
[2:57] 3. Bonaparte's Retreat
[3:37] 4. I Can't Help It If I'm Still In Love With You
[4:10] 5. I Love You Because
[4:25] 6. Please Release Me
[2:12] 7. Blue Moon Of Kentucky
[4:17] 8. She Thinks I Still Care
[4:19] 9. I'm So Lonesome I Could Cry
[3:41] 10. Anytime
[3:16] 11. Blue Eyes Crying In The Rain

Lenny Breau (7-string classical and 6-string electric guitar, vocals); Buddy Emmons (pedal steel guitar); Jim Ferguson (acoustic bass); Kenny Malone (drums).

While guitarist Lenny Breau's innovations may not seem so significant now, he was like a bolt of lightning when he emerged in the '70s out of Manitoba, Canada. A true self-accompanist who integrated virtuosic skills in jazz, country, and flamenco into an unmistakable voice, Breau made his guitar sound like an ensemble. Legend has it that Chet Atkins was walking down the hall of a Nashville studio and, hearing music coming out of one of the rooms, said to himself, "Who are those guys? When he went into the studio and found Breau playing by himself, it was the beginning of a friendship that would last until Breau's untimely and still mysterious death in '84.

With the upsurge of archival Breau sessions in recent years, Art of Life Records' recent rescue of Breau's last studio release, When Lightn' Strikes—now remastered with a bonus track and retitled Swingin' on a Seven-String—finds him at the peak of his musical powers. That Breau was a substance abuser for most of his adult life seems miraculously to have had absolutely no effect on the pristine perfection of his playing. Breau pioneered a number of techniques, including a self-accompaniment that roots contemporary players like eight-string guitarist Charlie Hunter, as well as an uncanny ability to wring rapid-fire harmonics out of his instrument that gave his guitar an almost bell-like timbre. He was equally at home on classical guitar—and a seven-string variant comprises the majority of Swingin' on a Seven-String—as he was on electric. The new title is wholly appropriate, given the way the entire session swings along comfortably with an unhurried pace. Five duet tracks feature bassist Jim Ferguson; on six tunes, Breau fleshes things out to a quartet with drummer Kenny Malone and pedal steel player Buddy Emmons (both of whom Breau had already collaborated with on Emmons' '78 recording, Minors Aloud, to be reissued by Art of Life in August of '05). Breau's growing posthumous discography has plenty of high points, most notably his '83 live duet set with bassist Dave Young, Live at Bourbon Street (Guitarchives, '95), but he has never sounded so completely relaxed as on Swingin'.

The record draws from popular tunes of the time, like singer Anne Murray's hit "You Needed Me and Engelbert Humperdinck's faux country tune "Please Release Me, as well as country tunes like Bill Monroe's "Blue Moon of Kentucky and Hank Williams' "I'm So Lonesome I Could Cry. Breau reinvents and reharmonizes, shaping a programme where a wealth of musical riches are masked by an unforced and easy-going complexion. Breau may not have broken any turf in terms of pushing jazz out of the mainstream, but his interpretive skills and ability to retain a tune's essence while reimagining it in a pure jazz context remains evocative to this day. For those unfamiliar with Breau's magic, Swingin' on a Seven-String is a perfect place to start. ~John Kelman

Swingin' On A Seven String

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Teddi King - All The Kings Songs

Bitrate: MP3@320K/s
Time: 36:04
Size: 82.6 MB
Styles: Jazz vocals
Year: 1954/1987
Art: Front

[2:32] 1. April Showers
[2:49] 2. A Cottage For Sale
[3:06] 3. That's For Me
[2:43] 4. Temptation
[2:57] 5. Unforgettable
[2:59] 6. Keeping Out Of Mischief Now
[3:20] 7. Flamingo
[2:33] 8. June In January
[3:49] 9. This Love Of Mine
[2:44] 10. You Brought A New Kind Of Love To Me
[2:50] 11. When It's Sleepy Time Down South
[3:36] 12. Let's Face The Music And Dance

The basic conceit behind All the King's Songs is simple -- recast signature hits by male vocalists including Frank Sinatra, Nat King Cole, and Billy Eckstine as torch songs for Teddi King, ably supported here by arrangers Lew Douglas and Johnny Richards. To her immense credit, King makes the music here her own -- her rich contralto and serene phrasing reveal rich new meanings in familiar material like "Unforgettable" and "This Love of Mine," quickly evolving the project past novelty status to explore with sincerity and depth the transformation of the popular song as it passes from one gender to the other. ~Jason Ankeny

All The Kings Songs

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Bobby Vee - The Legendary Masters Series

Bitrate: MP3@320K/s
Time: 62:57
Size: 144.1 MB
Styles: AM Pop, Pop-rock
Year: 2011
Art: Front

[2:47] 1. Suzie Baby
[2:20] 2. It's Too Late
[1:51] 3. Love Must Have Passed Me By
[2:08] 4. Everyday
[2:09] 5. Someday
[1:50] 6. Buddy's Song
[2:17] 7. Devil Or Angel
[2:19] 8. Rubber Ball
[2:02] 9. It Might As Well Rain Until September
[2:02] 10. Stayin' In
[2:26] 11. More Than I Can Say
[2:17] 12. Walkin' With My Angel
[2:01] 13. The Opposite
[2:27] 14. Take Good Care Of My Baby
[2:07] 15. Run To Him
[3:03] 16. Don't Ever Take Her For Granted
[2:00] 17. Sharing You
[2:01] 18. Please Don't Ask About Barbara
[1:54] 19. Punish Her
[2:03] 20. Do I Really
[2:10] 21. Charms
[2:33] 22. The Night Has A Thousand Eyes
[2:28] 23. A Letter From Betty
[2:24] 24. I'll Make You Mine
[2:13] 25. Come Back When You Grow Up
[2:16] 26. Beautiful People
[2:05] 27. Maybe Just Today
[2:31] 28. My Girl Hey Girl (Medley)

This 28-song compilation has a lot more going for it than "Take Good Care of My Baby" or "The Night Has a Thousand Eyes" -- indeed, some of Bobby Vee's less-well-known singles are more interesting than certain of the hits, with "Suzie Baby" and "What Do You Want" leading the pack, the latter especially, for emulating the sound of Buddy Holly's final single, "It Doesn't Matter Anymore." And "One Last Kiss" is an unexpectedly strong rendition of the song from Bye Bye Birdie. Beyond that point, the disc goes into the familiar territory of his hits ("Devil or Angel," "Rubber Ball," etc.), most of them mastered in their stereo versions, which, given the polish of Snuff Garrett's production, isn't a bad thing. Some of the teen pop, such as "Stayin' In" -- a song about after-school detention and affairs of the heart -- and "How Many Tears," don't hold up except as artifacts of their era, but they're not too obtrusive in the overall scheme of this CD, which covers a lot of territory, occasionally in unexpected ways. "The Night Has a Thousand Eyes," for instances, is mastered from a source that includes the four-second count-off before the song actually begins and has a sound so close and loud that it actually ends up rocking quite a bit harder than it ever did as a single on the radio. Even his plunge into pop around 1964-1965 gets its best possible face, with the opulently produced and beautifully sung "Be True to Yourself." And the songs extend to Vee's post-1966 reshaping of his sound with "Look at Me Girl," "Come Back When You Grow Up" (which was, in fact, his biggest selling if not his highest charting single), and so on. Among the non-single tracks included, incidentally, is Vee's excellent version of Buddy Holly's "Everyday," but among the pieces promised but not present is the supposed 26th track, a Bobby Vee radio spot that's listed but is nowhere to be found on the disc. The sound is generally of a very high standard, though one suspects that a new compilation done by a competent producer and engineer could get better results today. And the annotation is very thorough, providing a good introduction and overview of this underrated artist -- anyone seeking more should go to Beat Goes On's reissues of Vee's individual albums, two-on-one to a CD. ~Bruce Eder

The Legendary Masters Series

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