Caterina Zapponi - Universal Lovesongs

Styles: Vocal Jazz
Year: 2001
File: MP3@256K/s
Time: 56:30
Size: 104,0 MB
Art: Front

(4:26)  1. My Heart Sings
(4:08)  2. Morrer De Amor
(4:48)  3. Passione
(4:16)  4. All The Way
(3:23)  5. For Me Formidable
(4:14)  6. Il Nostro Concerto
(4:14)  7. Waiting In Vain
(4:06)  8. Que Nao Se Ve (Come Tu Mi Vuoi)
(3:18)  9. Mon Dieu
(4:00) 10. When You Go
(3:54) 11. L.O.V.E.
(4:14) 12. Maybe September
(4:07) 13. Acercate Mas
(3:15) 14. I Live To Love You

Caterina Zapponi, born and raised in Rome, Italy, is the daughter of one of Italy´s most famous movie script writers Bernardino Zapponi and his French wife. Zapponi Pere wrote the screen plays for two of Federico Fellini's more famous (or infamous, your choice) movies, Roma and Satyricon. Zapponi studied at the Berklee College of Music. Later she entered the Thelonious Monk competition and came in 4th among singers. The play list and the singing are both eclectic indeed. Singing in five languages, Zapponi confronts a program of love sings from different countries and sources. There are from the repertoire of the well-known French entertainer, Charles Azanour, Reggae giant Bob Marley and Brazil with Oscar Castro-Neves. But the home of the popular song, the United States, has the most selections from composers who have major entries in the great American Popular Songbook like Jule Styne, Sammy Cahn, Jimmy Van Heusen and Johnny Mandel. Irrespective of the geneses or style of the music, Zapponi handles all with skill and feeling with a soft but very expressive vocal style. 

Her ability to project the emotion of each song without overwhelming it comes across on a lovely Morrer de Amor with Monty Alexander on the melodica. She is shamelessly erotic on "My Heart Sings" as she "remembers those little things". It helps considerably that she is backed by some of jazz's best known musicians. In addition to Monty Alexander (listen to him go on "For Me Formidable)", there's drummer Martin Drew and the brothers' Petrocca on guitar and bass. This a great album. The liner notes are in just two languages. ~ Dave Nathan https://www.allaboutjazz.com/universal-love-songs-caterina-zapponi-inak-music-review-by-dave-nathan.php

Personnel: Caterina Zapponi - Vocals;  Monty Alexander - Piano/Melodica;  Martin Drew - Drums;  Davide Petrocca - Bass;  Lorenzo Petrocca - Guitar

Universal Lovesongs

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Gerry Mulligan & Paul Desmond Quartet - Blues In Time

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 45:54
Size: 106,5 MB
Art: Front

(9:03)  1. Blues In Time
(9:40)  2. Body And Soul
(3:29)  3. Stand Still
(3:08)  4. Line For Lyons
(6:59)  5. Wintersong
(7:45)  6. Battle Hymn Of The Republican
(5:47)  7. Fall Out

Three years after Gerry Mulligan initially sat in with the Dave Brubeck Quartet, the baritone saxophonist arrived at a point where he could perform alongside Brubeck's alto saxophonist, Paul Desmond, for this much anticipated session. When legal issues, wranglings with producer Norman Granz, and the question of which record label would subsidize and release this album were resolved, the two saxophonists went ahead to produce a delightful program of standards and originals where their more playful sides could fully blossom. The wonderful interaction between Mulligan's burly but agile horn and the ultimate smooth but in this case animated and energized sax of Desmond is more than just magical, and makes for a fluid, jaunty, delicious combination sure to please even the most jaded or stone-eared music listener. Weaving in and out of improvised phrases, the two sure sound like they are having a ball during Desmond's compositions  the friendly and carefree discourse of "Blues in Time," the bop vehicle with its jaundiced title "Battle Hymn of the Republican," and "Wintersong" with its subdued blues-based theme where the alto is featured while the bari observantly sits on the side and comments on occasion. Of the three pieces written by Mulligan, one is quintessential in "Line for Lyons," a classic melody and enduring standard enhanced by the harmonic richness of the horns playing together  it's a joy hearing their tones and styles mesh beautifully. "Standstill" and "Fallout" have as much merit as any of Mulligan's witty charts: the former a fun, melodic bop tune; the latter showcasing more of the harmonic compatibility of the two saxophonists. The lone popular standard, "Body and Soul," is mostly Mulligan pining on the age-old lover's plea, with Desmond listening as if to be convinced. Drummer Dave Bailey and bassist Joe Benjamin are along for the ride in this typical Mulligan pianoless quartet, doing their yeoman's work and letting the co-leaders have their spotlight. This is truly a fine example of modern mainstream jazz, another example from that definitive year of 1957, and though it's sadly a one-shot, it's a document thankfully preserved that should be treasured by all fans of jazz. ~ Michael G.Nastos http://www.allmusic.com/album/blues-in-time-mw0000177010

Personnel:  Gerry Mulligan, bari sax;  Paul Desmond, alto sax;  Joe Benjamin, bass;  Dave Bailey, drums

Blues In Time

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Ron McClure - Matchpoint

Styles: Jazz, Straight-ahead/Mainstream 
Year: 2002
File: MP3@224K/s
Time: 73:52
Size: 120,2 MB
Art: Front

(8:18)  1. Mainestay
(8:44)  2. Walter Davis
(8:18)  3. Shorter Story
(7:36)  4. Moonray
(6:01)  5. Cellular Expansion
(4:41)  6. West Side Blues
(5:35)  7. In Search of Times Lost
(7:12)  8. Something New for You
(9:14)  9. The Day After Christmas
(8:09) 10. Match Point

This swinging, laid-back date, Ron McClure's tenth for Steeplechase, features the bassist with relatively obscure but excellent players: tenor saxophonist Jed Levy, guitarist Bob DeVos, and drummer Jeff Brillinger. McClure and DeVos are the main writers, contributing four tunes each. Levy weighs in with the title track, providing a perky samba finale. The quartet also offers a snappy version of "Moonray," a minor-key standard co-written by Artie Shaw. DeVos, who has worked mainly in organ trio settings, displays a fat tone and a fluid linear approach, particularly on McClure's "Something New for You." Levy's blowing is enlivened by his highly imaginative rhythmic sense. McClure and Brillinger bring a tight yet flexible rapport to the session, peaking energetically on "Cellular Expansion." McClure's own solos are consistently strong; his downcast ballad, "The Day After Christmas," is especially heartfelt. ~ David R.Adler http://www.allmusic.com/album/matchpoint-mw0000324434

Personnel: Ron McClure (bass); Jed Levy (tenor saxophone); Bob DeVos (guitar); Jeff Brillinger (drums).

Matchpoint

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Earl ''Fatha'' Hines - Here Comes

Styles: Piano Jazz
Year: 1966
File: MP3@320K/s
Time: 30:11
Size: 69,9 MB
Art: Front

(3:24)  1. Save It Pretty Mama
(3:46)  2. Bye Bye Baby
(2:54)  3. Smoke Rings
(4:08)  4. Shoe Shine Boy
(8:00)  5. The Stanley Steamer
(3:42)  6. Bernie's Tune
(4:13)  7. Dream Of You

Once called "the first modern jazz pianist," Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat. One of the all-time great pianists, Hines was a major influence on Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole, and even to an extent on Art Tatum. He was also an underrated composer responsible for "Rosetta," "My Monday Date," and "You Can Depend on Me," among others. Earl Hines played trumpet briefly as a youth before switching to piano. His first major job was accompanying vocalist Lois Deppe, and he made his first recordings with Deppe and his orchestra in 1922. The following year, Hines moved to Chicago where he worked with Sammy Stewart and Erskine Tate's Vendome Theatre Orchestra. He started teaming up with Louis Armstrong in 1926, and the two masterful musicians consistently inspired each other. Hines worked briefly in Armstrong's big band (formerly headed by Carroll Dickerson), and they unsuccessfully tried to manage their own club. 1928 was one of Hines' most significant years. He recorded his first ten piano solos, including versions of "A Monday Date," "Blues in Thirds," and "57 Varieties." Hines worked much of the year with Jimmy Noone's Apex Club Orchestra, and their recordings are also considered classic. Hines cut brilliant (and futuristic) sides with Louis Armstrong's Hot Five, resulting in such timeless gems as "West End Blues," "Fireworks," "Basin Street Blues," and their remarkable trumpet-piano duet "Weather Bird." And on his birthday on December 28, Hines debuted with his big band at Chicago's Grand Terrace.

A brilliant ensemble player as well as soloist, Earl Hines would lead big bands for the next 20 years. Among the key players in his band through the 1930s would be trumpeter/vocalist Walter Fuller, Ray Nance on trumpet and violin (prior to joining Duke Ellington), trombonist Trummy Young, tenor saxophonist Budd Johnson, Omer Simeon and Darnell Howard on reeds, and arranger Jimmy Mundy. In 1940, Billy Eckstine became the band's popular singer, and in 1943 (unfortunately during the musicians' recording strike), Hines welcomed such modernists as Charlie Parker (on tenor), trumpeter Dizzy Gillespie, and singer Sarah Vaughan in what was the first bebop orchestra. By the time the strike ended, Eckstine, Parker, Gillespie, and Vaughan were gone, but tenor Wardell Gray was still around to star with the group during 1945-1946.

In 1948, the economic situation forced Hines to break up his orchestra. He joined the Louis Armstrong All-Stars, but three years of playing second fiddle to his old friend were difficult to take. After leaving Armstrong in 1951, Hines moved to Los Angeles and later San Francisco, heading a Dixieland band. Although his style was much more modern, Hines kept the group working throughout the 1950s, at times featuring Muggsy Spanier, Jimmy Archey, and Darnell Howard. Hines did record on a few occasions, but was largely forgotten in the jazz world by the early '60s. Then, in 1964, jazz writer Stanley Dance arranged for him to play three concerts at New York's Little Theater, both solo and in a quartet with Budd Johnson. The New York critics were amazed by Hines' continuing creativity and vitality, and he had a major comeback that lasted through the rest of his career. Hines traveled the world with his quartet, recorded dozens of albums, and remained famous and renowned up until his death at the age of 79. Most of the many recordings from his career are currently available on CD. ~ Scott Yanow http://www.allmusic.com/artist/earl-hines-mn0000455522/biography

Personnel:  Bass – Richard Davis;  Drums – Elvin Jones;  Piano – Earl Hines

Here Comes

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1 For All - Wide Horizons

Bitrate: MP3@320K/s
Time: 57:11
Size: 130.9 MB
Styles: Contemporary jazz
Year: 2002
Art: Front

[7:20] 1. The Nomad
[8:05] 2. Nemesis
[7:34] 3. Wide Horizons
[6:13] 4. Infant Eyes
[6:50] 5. Central Park South
[7:00] 6. The Conformist
[7:29] 7. Cold Smoke
[6:37] 8. A Calling

Eric Alexander (Ts); Jim Rotondi (Tp / Flh); Steve Davis (Tb); David Hazeltine (P); Peter Washington (B); Joe Farnsworth (D). Recorded December 20, 2002 in Brooklyn, NY, USA by Max Bolleman.

A frontline consisting of Eric Alexander's tenor sax, the trumpet and fluegelhorn of Jim Rotondi, and trombonist Steve Davis executes the band's arrangements of original compositions (plus two jazz standards) with elan, as well as blowing spirited solos. Stimulating the horns, pianist David Hazeltine, bassist Peter Washington, and Joe Farnsworth on drums comprise a first-class rhythm section that completes the ensemble's unique sound.

Wide Horizons

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Arthur Prysock - Here's To Good Friends

Bitrate: MP3@320K/s
Time: 38:12
Size: 87.5 MB
Styles: R&B/Soul/Pop
Year: 1978/2013
Art: Front

[5:21] 1. Midnight Blue
[2:00] 2. Here's To Good Friends
[3:02] 3. Sad Eyes
[3:46] 4. The Love I Need
[3:39] 5. All I Can Do Is Cry
[4:44] 6. Sad
[9:06] 7. Spunky
[3:39] 8. Funny How Time Slips Away
[2:51] 9. Baby I'm-A Want You

Alto Saxophone, Baritone Saxophone – Michael Pedicin, Jr; Bass – Vince Fay; Congas – Larry Washington; Drums – Grant MacAvoy; Flugelhorn – Evan Solot, Rocco Bene; Guitar – Ronnie James; Keyboards – Carlton Kent; Trombone – Bob Moore, Roger DeLillo; Trombone [Bass] – Richard Genovese; Trumpet – Evan Solot, Rocco Bene. Recorded at Sigma Sound Studios, Philadelphia, A&R Recording Studio, New York, Kingdom Sound, Syosset, Long Island.

Sometimes known as a jazz singer, sometimes known as an R&B singer, Arthur Prysock was immediately recognizable for his golden throaty baritone voice reminiscent of the great Billy Eckstein. Prysock fronted big bands throughout the 1940’s, went solo in 1952 and enjoyed great success for four decades – both on recordings and in live performance. Presented here is his classic 1978 album of R&B, pop and jazz standards “Here’s To Good Friends.” All selections newly remastered.

Here's To Good Friends

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Roy Hargrove, Christian McBride, Stephen Scott - Parker's Mood

Bitrate: MP3@320K/s
Time: 64:40
Size: 148.0 MB
Styles: Bop, Trumpet jazz
Year: 1995
Art: Front

[4:39] 1. Klactoveesedstene
[4:19] 2. Parker's Mood
[3:23] 3. Marmaduke
[4:22] 4. Steeplechase
[5:09] 5. Laura
[5:00] 6. Dexterity
[3:55] 7. Yardbird Suite
[2:07] 8. Red Cross
[6:38] 9. Repetition
[4:05] 10. Laird Baird
[2:36] 11. Dewey Square
[3:27] 12. Cardboard
[3:07] 13. April In Paris
[2:56] 14. Chasin' The Bird
[3:07] 15. Bongo Beep
[5:41] 16. Star Eyes

Bass – Christian McBride; Piano – Stephen Scott; Trumpet, Flugelhorn – Roy Hargrove. Recorded direct to 2-Track at Effanel Music Studio, April 12 - 14, 1995, NYC.

On this unusual album, Roy Hargrove (trumpet, flugelhorn), Christian McBride (bass) and Stephen Scott (piano) pay homage to the father of bebop with a generous set of (mostly) Charlie Parker compositions performed in trio, duet and solo arrangements. These three musicians, all of whom are part of the back-to-bop youth movement and all of whom have made names for themselves as session players and fledgling bandleaders, approach the tunes with a combination of reverence and iconoclastic innovation -- how often do you think you'll hear "Red Cross" as a bass solo or "Chasin' the Bird" as a trumpet/bass duet? This approach has its limitations, of course; as revealing as Hargrove's solo take on "Dewey Square" is, sometimes the weight of rhythmic responsibility weighs too heavily on McBride's shoulders during the trio numbers, and the groove suffers. Unless you're listening on headphones or in a quiet room with very good speakers, the rhythmic thread of the bassline can easily get lost in the mix, leaving Scott's syncopated comping sounding disjointed. But it doesn't happen very often, and the overall effect of this album is one of new light being shed on an aging but beautiful art collection. Those who know these tunes already will enjoy the album most. Those who don't will find they have much to learn, and should be excited at the prospect. ~Rick Anderson

Parker's Mood

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String Of Pearls - Brazilian Jewels

Bitrate: MP3@320K/s
Time: 61:21
Size: 140.5 MB
Styles: Vocal Harmony Group, Jazz vocals
Year: 2014
Art: Front

[4:05] 1. Sukiyaki
[4:34] 2. Dreamer
[3:54] 3. Without Samba Life's A Bore
[4:23] 4. This Happy Madness
[4:49] 5. Mr. Sandman
[4:24] 6. Say That You Love Me
[4:34] 7. Love Is The Seventh Wave
[4:35] 8. Perpetual Stroll
[3:26] 9. I Bet You Thought I'd Never Find You
[4:34] 10. I'll Be Back
[4:01] 11. I Say A Little Prayer For You
[3:32] 12. Madalena
[3:34] 13. Obsession
[3:15] 14. One-Note Samba
[3:35] 15. Sunday Girl

The singers in String of Pearls - namely, Sue Halloran, Jeanne O'Connor, and Holli Ross - have delighted audiences in the U.S. and abroad with their unique mix of vintage "girl group" harmonies, fresh modern jazz and swing, and sinuous Brazilian sounds. Sue Halloran, Jeanne O’Connor and Holli Ross were all working as professional solo singers in New York when they were brought together to perform at a nostalgia-oriented concert. Since then the group has created a repertoire that ranges from authentic re-creations of Boswell Sisters songs from the 1930s, to adventurous original jazz arrangements. The Pearls’ charming show can move from Andrews Sisters to Sinatra, Basie, Carole King, Brazilian, and bebop.

Brazilian Jewels

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Ramsey Lewis - Hang On Sloopy

Bitrate: MP3@320K/s
Time: 43:53
Size: 100.5 MB
Styles: Piano jazz, Soul-jazz
Year: 1965/1988
Art: Front

[4:58] 1. A Hard Day's Night
[4:18] 2. All My Love Belongs To You
[2:28] 3. He's A Real Gone Guy
[5:46] 4. And I Love Her
[3:16] 5. Movin' Easy
[5:18] 6. The More I See You
[6:11] 7. Satin Doll
[3:00] 8. Hang On Sloopy
[5:48] 9. The In Crowd
[2:45] 10. High Heel Sneakers

Bass – Eldee Young; Drums – Red Holt; Piano – Ramsey Lewis. Recorded At The Lighthouse, Hermosa Beach, CA.

This 1965 live album marks Lewis' move to more popular music capitalizing on his earlier single, In Crowd, that put him in the pop charts. In addition, this is his second live album in a row. The preceding one was The In Crowd, which contained a rendition of the title song. Although this album capitalizes on a number of pop tunes that have a wider appeal (Hard Day's Night, And I Love Her and Hang On Sloopy), the arrangements and playing were pure jazz. ~Mike Tarrani

Hang On Sloopy

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Charles Davis Quartet - Plays The Music Of Bent Jaedig: Our Man in Copenhagen

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 48:36
Size: 112,0 MB
Art: Front

(7:13)  1. Atlicity
(5:44)  2. Drum Case
(6:21)  3. The Red Lightning
(7:23)  4. Ballad For Brew
(6:05)  5. Rod's Shtick
(9:13)  6. Sizzling
(6:33)  7. The Strootch

Like Bent, Charles is well known and highly respected by his peers, but not as known to the general public as he deserves to be. He also has remained open to all types of music in his long career and today he is still found in as different contexts as Barry Harris group and the Sun Ra Arkestra. He is completely committed to his musical message, a timeless yet constantly evolving message. Like Bent, he has released only a handful of albums under his own name, but they are of extremely high quality. Charles Davis is a master of the saxophone and I am truly honored that he has agreed to do this album.
His writing was sparse, but when he wrote something it was precise. I would guess that there are around 15 Bent Jædig compositions that we know of. On this album we have recorded 8 of them. I wanted people to hear this music interpreted by the best quartet I could imagine. I see Ben Street as the most important bassist of his generation, highly original and sophisticated, also Sam Yahel, to me, is playing the most exiting stuff on the scene today on piano and organ.

This is the first album on Fresh Sound Records by the Charles Davis Quartet. This All-Star group is lead by one of the greatest exponents of true Be Bop sax playing in the world. At 75 years of age Charles Davis continues to perform regularly with such great bands as the Barry Harris group, the Jimmy Heath big band and the Sun Ra Arkestra and leads his own bands. Davis lives and works out of New York as he has been since he left Chicago in 1957. he has performed with Billy Holliday, John Coltrane, Cecil Taylor, Sun Ra, Billy Higgins, Hank Mobley, Clifford Jordan among others. He is acknowledged by his peers as a very original lyrical improviser. http://www.freshsoundrecords.com/charles-davis-albums/5029-plays-the-music-of-bent-jaedig-our-man-in-copenhagen.html

Personnel:  Charles Davis (ts), Sam Yahel (p), Ben Street (b), Kresten Osgood (d).

Plays The Music Of Bent Jaedig: Our Man in Copenhagen

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Gillian Palette - Reminisce

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 53:44
Size: 123,6 MB
Art: Front

(4:40)  1. You
(4:25)  2. One Nighter
(5:09)  3. Letting Go
(3:49)  4. When I Sit Along
(3:50)  5. No Free Jam
(5:45)  6. The Only Thing
(3:07)  7. Look Who's Here!
(4:15)  8. I Know You Love
(4:02)  9. How Do I Know
(5:38) 10. Reminisce
(3:28) 11. As Long As You Want Me
(5:29) 12. Through It All

This album consists solely of love songs that encapsulate romance in one way or other. I'm sure at least one of them will touch you deeply in a way you have felt once before, or a way you may feel in the future. There will alway be those special people you've have crossed paths with, or maybe you're still with them. Either way our songs tell stories. They are interludes of the heart. Through them, we learn that we are all bonded together regardless of age, through song. All the music on this album was written by my Dad Frank. He also wrote the lyrics on tracks 8,9,10,11. Shannon Shor a wonderful lyricist wrote the lyrics to tracks 1,2,3,4,5,6,7,12. I would like to say a special " Hello " to the wonderful people at the hospital where I work as an oncology nurse. People and families I hold dear to my heart, and will forever. This album is decicated to Becky and Aaron. https://www.cdbaby.com/cd/palette2

Reminisce

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Niels Lan Doky - Misty Dawn

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 54:23
Size: 125,0 MB
Art: Front

(7:49)  1. Ach Vaermland Du Skoena
(4:04)  2. Rough Edges
(7:07)  3. The Shadow Of Your Smile
(3:41)  4. Misty Dawn
(0:57)  5. Things
(5:00)  6. The Truth
(6:33)  7. Pax Americana
(5:03)  8. For All We Know
(4:43)  9. Serial Thriller
(4:40) 10. So Fine
(4:42) 11. All The Things You Are

Although still not that well-known in the United States, Niels Lan Doky is an impressive pianist who has recorded pretty extensively, with 14 albums as a leader by 1996. Born to a Danish mother who sang and had hit records and a Vietnamese father who was both a doctor and a classical guitarist, Niels first played guitar when he was seven, switching to piano when he was 12. Three years later, he played with Thad Jones, who wrote a letter recommending him to the Berklee School of Music. Doky lived in Boston while attending Berklee from 1981-1984, spent a long period in New York, and eventually settled in Paris. He has worked with Joe Henderson, Woody Shaw, Jack DeJohnette, Bob Berg, Clark Terry, Tom Harrell, and many others, and had such players as Niels-Henning Orsted Pedersen, Bob Berg, Terri Lyne Carrington, and John Scofield as side players on his records. Niels Lan Doky has recorded as a leader for Storyville, Milestone, and Soul Note, and occasionally co-leads the Doky Brothers with his younger sibling Chris, who plays bass; they have recorded a set for Blue Note. ~ Scott Yanow https://itunes.apple.com/us/artist/niels-lan-doky/id75566991#fullText

Personnel: Piano, Producer – Niels Lan Doky;  Bass – Niels-Henning Ørsted Pedersen;  Drums – Alex Riel

Misty Dawn

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Andy Laverne Trio - Another World

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 58:38
Size: 136,1 MB
Art: Front

(5:37)  1. Spiral
(3:56)  2. Another World
(5:22)  3. Tallboys
(6:17)  4. Arizona
(7:58)  5. Cream Puff
(5:37)  6. Utah
(6:09)  7. Straight For Life
(1:44)  8. Fleur De Lys
(6:28)  9. Arizona (Alternate Take)
(5:57) 10. Straight For Life (Alternate Take)
(3:27) 11. Another World (Alternate Take)

This trio date focuses exclusively on originals by this very underrated pianist, joined by bassist Mike Richmond and drummer Billy Hart. The intense and aptly named "Spiral" features some virtuoso playing by Richmond, as does the racehorse "Tall Boys." LaVerne's playing is especially notable on the dark ballad "Cream Puff" and the two takes of "Straight For Life." The only gripe is the unnecessary addition of a synthesizer to the opening of "Spiral," which was evidently deemed so insignificant that its presence was omitted from the instrumentation listed. ~ Ken Dryden http://www.allmusic.com/album/another-world-mw0000185110

Personnel: Andy LaVerne (piano); Mike Richmond (bass); Billy Hart (drums)

Thank You Mai Naime!!

Another World

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Woody Shaw Quintet - Lotus Flower

Styles: Trumpet Jazz
Year: 1982
File: MP3@320K/s
Time: 42:57
Size: 99,9 MB
Art: Front

( 9:45)  1. Eastern Joy Dance
( 6:46)  2. Game
( 7:01)  3. Lotus Flower
( 8:04)  4. Rahsan's Run
(11:21)  5. Songs of Song

This CD features one of trumpeter Woody Shaw's finest groups, a quintet with trombonist Steve Turre, pianist Mulgrew Miller, bassist Stafford James, and drummer Tony Reedus. The five-song program has an original apiece by each of the musicians (other than Reedus) with two by the leader. Shaw was one of the great trumpeters of all time, as he shows on such advanced yet swinging numbers as "Eastern Joy Dance," "Rahsaan's Run," and "Song of Songs." Virtually every Woody Shaw recording is well worth acquiring, including this one. ~ Scott Yanow http://www.allmusic.com/album/lotus-flower-mw0000308958

Personnel:  Woody Shaw (trumpet); Steve Turre (trombone); Mulgrew Miller (piano); Stafford James (bass); Tony Reedus (drums).

Lotus Flower

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Toots Thielemans - Blues Pour Flirter

Bitrate: MP3@320K/s
Time: 36:07
Size: 82.7 MB
Styles: Easy Listening
Year: 1989/2001
Art: Front

[2:44] 1. Winter In Madrid
[5:30] 2. Willow Weep For Me
[2:37] 3. Satin Doll
[3:18] 4. Bag's Groove
[3:46] 5. We'll Be Together Again
[2:23] 6. Hot Toddy
[4:00] 7. Try A Little Tenderness
[3:18] 8. Talk To Me
[2:42] 9. Le Trottoir
[2:57] 10. Honeysuckle Rose
[2:46] 11. Flirt

Double Bass – Roland Lobligeois; Drums – Philippe Combelle; Guitar – Toots Thielemans; Piano – George Arvanitas; Whistling – Toots Thielemans (track 11). Recorded January 3 and 4, 1961 at the Polydor studio, Paris. Digitally remastered on 24-bit.

Although Toots Thielemans is far better-known for his virtuoso harmonica playing, he sticks exclusively to guitar on this pair of studio dates, initially taped in 1961 for Polydor. Accompanied by pianist Georges Arvanitas, bassist Roland Lobligeois, and drummer Philippe Combelle, Thielemans leads a primarily laid-back session with the focus on the leader, covering standards ("Willow Weep for Me" and "We'll be Together Again"), adding a soft wordless background vocal to "Satin Doll," and giving a loping treatment to Milt Jackson's "Bags' Groove." No matter that none of Thielemans' compositions have come close to matching the widespread popularity of his huge hit, "Bluesette"; two blues he wrote for this date, "Le Trottoir" and "Flirt" (the latter of which is the only track to feature his famous whistling), are very enjoyable. Even if this Verve CD reissue falls short of being an essential purchase, any fan of Toots Thielemans will want to acquire it. ~Ken Dryden

Blues Pour Flirter

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Don Hales - Unified String Theory

Bitrate: MP3@320K/s
Time: 62:25
Size: 142.9 MB
Styles: Guitar jazz
Year: 2008
Art: Front

[ 6:56] 1. Strawberries-Rasberries
[ 7:05] 2. Seaweed Song-Tic Tac Toe
[ 6:43] 3. Feelings
[ 8:26] 4. Louie The Greek
[ 6:31] 5. Mighty Mouse
[ 6:51] 6. Motivation
[10:51] 7. Breath Of The Blues
[ 8:58] 8. Dance Of The Zodiac

Don Hales - Primary Artist, Guitar; Tony Monaco - Organ; Matt Wagner - Drums; Andy Woodson - Acoustic Guitar, Electric Bass, Acoustic Bass; Kris Keith - Flute, Tenor Saxophone.

Guitarist Don Hales is one of those jazz musicians almost too good to be true, one who has had a lengthy local career who finally bobs to the surface with a head-turning release. The disc is Unified String Theory and Tony Monaco's presence is no accident. Hales grew up in a Toledo neighborhood where he was exposed to a wide variety of ethnic and regional music. He taught himself to play guitar, was tutored by Rusty Bryant and Bobby Shaw. Hales went on to tour with the great Eddie Harris and Bill Doggett before returning home to Columbus to work in the Monaco family Italian Restaurant.

Talk about a well kept secret...Don Hales not only has chops, he is quite the funk master in composing. Six of the eight tunes presented are Hales originals. The two standards are "Feelings" and "Motivation," both dispatched with a Horace Silver soul-jazz sensibility. Hales' compositions all stretch the definition of the typical organ-guitar-tenor combo. Speaking of tenor, Kris Keith's tenor saxophone and flute fit into this quintet like a hand in a glove, a finely crafted glove. Check out "Breath of the Blues" and "Dance of the Zodiac." ~C. Michael Bailey

Incredibly gifted Midwest legend Don Hales makes a statement with this great jazz guitar recording, produced and played on by Tony Monaco. In his hometown, Hales has been performing for years with the Columbus Jazz Orchestra, Columbus Symphony, and ProMusica Chamber Orchestra.

Unified String Theory

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Suzi Woods - Sizzle

Bitrate: MP3@320K/s
Time: 31:25
Size: 72.0 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[2:58] 1. Let's Face The Music And Dance
[3:05] 2. Fever
[2:38] 3. A-Tisket A-Tasket
[2:59] 4. Summer Wind
[1:48] 5. Big Spender
[3:12] 6. Can't That Away From Me
[2:41] 7. Diamonds Are Forever
[2:28] 8. Mambo Italiano
[2:51] 9. Witchcraft
[4:00] 10. Dance Me To The End Of Love
[2:39] 11. Worrying

Suzi grew up as a Forces child along with her 3 brothers and sister, travelling with her parents to wherever her Father's job took them. Although she wanted to follow music from an early age, she had no background nor instrument to pursue. So instead she graduated in English Literature with her passion for singing and writing left as a guilty secret. She became a backing singer with local band ZooQ and eventually teamed up with guitarist and songwriter Vic Saul to form "Building Rome". In the few years that they existed they were lucky enough to tour with everyone from Tom Robinson, Labi Siffre, John Martyn, Hugh Cornwell as well as notable one-offs with the likes of the late, great Kirsty MacColl.

An 18 date tour support with Jools Holland resulted in their recording their first EP at his studio in Blackheath and the CD picked up Radio 1 airplay via Bob Harris, Johnnie Walker, Neal James and Steve Wright. It also earned them their live TV debut on Alan Titchmarsh's BBC1 show "Daytime Live" and a TV tour of Belgium. However, having achieved so much without any industry backing, they stumbled, owing to the lack of any distrbution for the CD and folded soon after. Vic now works extensively in the States and Suzi took time out to become a "Regular" artist as Receptionist on the BBC1 television series "Casualty". During this time the turmoil of the Record Business was left behind and Suzi enjoyed her new role with just occasional reminders of her musical involvement when she performed at "Casualty's" Christmas and Wrap parties. Things moved on again in the early "noughties" when the TV series revised it's booking policy and Suzi along with many others on the show, found herself without a job. It proved to be the start of her solo journey back into music making and performing.

In 2008 she was invited to become a Headline Artist guesting on most of the various cruise lines all over the world. From Crystal to Oceania via Royal Caribbean and Celebrity as well as Silver Seas and Azamara, she has worked extensively with bands both large and small entertaining in theatres and lounges for audiences of up to 1800. Her repertoire focusses on the American Songbook but mindful of the ever-changing nature of the market has evolved to include more contemporary hits from Nancy Sinatra to Adele and Amy Winehouse. In 2009 she was invited to join BASCA (British Association of Songwriters, Composers and Arrangers) and it reminded Suzi of her roots in music. It re-awakened her songwriting past and spurred her on to record and release many unfinished ideas that had lain dormant for so long. What you see here is the beginning of that re-awakening and it comes with the joy of writing and creating for its own sake.

Sizzle

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Herb Alpert & The Tijuana Brass - South Of The Border

Bitrate: MP3@320K/s
Time: 27:40
Size: 63.3 MB
Styles: Jazz-pop, Easy Listening
Year: 1964/2016
Art: Front

[2:08] 1. South Of The Border
[2:36] 2. The Girl From Ipanema
[1:55] 3. Hello, Dolly!
[2:25] 4. I've Grown Accustomed To Her Face
[2:15] 5. Up Cherry Street
[2:11] 6. Mexican Shuffle
[2:40] 7. El Presidente
[1:56] 8. All My Loving
[2:21] 9. Angelito
[2:06] 10. Salud, Amor Y Dinero (Health, Love And Money)
[2:19] 11. Número Cinco (Number Five)
[2:42] 12. Adiós, Mi Corazón (Goodbye, My Heart)

Herb Alpert was still using an array of SoCal studio all-stars as his Tijuana Brass when South of the Border (1964) began to restore the combo's good name after the modest Herb Alpert's Tijuana Brass, Vol. 2 (1963) failed to ignite a fire in listener's ears. Alpert later commented that the Sol Lake composition "Mexican Shuffle" "opened a new door for me." That passageway meant the loss of the Tijuana Brass' practically forced mariachi style and the rise of Alpert's approach in arranging familiar melodies in fresh, creative settings. Nowhere would this stylistic progression be as pronounced as in the horn-driven updates of several then-concurrent chart hits. For instance, the mod sonic wrinkle in "Girl from Ipanema" emits a darkness veiled in mystery, directly contrasting the light buoyancy of "Hello! Dolly" or the footloose feel of the Beatles' "All My Loving." They seamlessly fit in with Sol Lake's "Salud, Amor y Dinero" and a cover of Julius Wechter's playful, midtempo "Up Cherry Street" -- which Wechter's own Baja Marimba Band had just recorded for their 1964 self-titled debut. The ballads "I've Grown Accustomed to Her Face," "Angelito," and "Adios, Mi Corazon" provide contrasts with Alpert's sensitive scores never seeming maudlin or unnecessarily over the top. If the regal "El Presidente" sounds particularly familiar, it may well be due to Alpert's slight renovation of the "Winds of Barcelona" from the Tijuana Brass' previous effort, the less than impressive Herb Alpert's Tijuana Brass, Vol. 2. It was renamed "El Presidente," presumably to honor the then-recent memory of the slain U.S. leader John Fitzgerald Kennedy. ~Lindsay Planer

South Of The Border

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Maureen McGovern - Naughty Baby: Maureen McGovern Sings Gershwin

Bitrate: MP3@320K/s
Time: 58:13
Size: 133.3 MB
Styles: Standards, Traditional pop
Year: 1989
Art: Front

[3:39] 1. Stiff Upper Lip
[1:10] 2. Things Are Looking Up
[1:41] 3. (I've Got) Beginner's Luck
[4:12] 4. How Long Has This Been Going On
[3:08] 5. By Strauss
[3:22] 6. Naughty Baby
[1:49] 7. Love Walked In
[2:21] 8. Embraceable You
[3:40] 9. A Corner of Heaven With You
[5:01] 10. Somebody Loves Me
[3:32] 11. Little Jazz Bird
[2:01] 12. My Man's Gone Now
[3:21] 13. Porgy, I Is Your Woman (Bess, You Is My Woman)
[3:17] 14. The Man I Love
[1:21] 15. Piano Prelude II
[2:50] 16. Summertime
[0:50] 17. Strike up the Band
[1:40] 18. Fascinating Rhythm
[1:00] 19. Clap Yo' Hands
[2:05] 20. They Can't Take That Away from Me
[1:06] 21. 'S Wonderful
[0:50] 22. They All Laughed
[1:04] 23. I Got Rhythm
[3:03] 24. Love Is Here to Stay/Of Thee I Sing

McGovern as sophisticated pop singer, effectively handling an album of Gershwin material. Includes "Of Thee I Sing," the theme from a show in which she starred in 1987. ~William Ruhlmann

Naughty Baby: Maureen McGovern Sings Gershwin

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Freddie Redd Quartet, Jackie McLean - Music From The Connection

Bitrate: MP3@320K/s
Time: 38:27
Size: 88.0 MB
Styles: Bop, Piano jazz
Year: 1960/1995
Art: Front

[5:20] 1. Who Killed Cock Robin
[5:55] 2. Wigglin'
[5:49] 3. Music Forever
[6:21] 4. Time To Smile
[4:42] 5. Theme For Sister-Salvation
[5:38] 6. Jim Dunn's Dilemna
[4:39] 7. O.D. (Overdose)

Alto Saxophone – Jackie McLean; Bass – Michael Mattos; Drums – Larry Ritchie; Piano, Composed By [Music] – Freddie Redd. Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey on February 15, 1960.

Freddie Redd composed the music for Jack Gelber's The Connection, a gritty play about musician junkies. Gelber had originally thought that the play would feature real musicians -- who would also double as actors in minor roles -- improvising on blues and jazz standards in the tradition of Charlie Parker, but Redd convinced him to use an original score. The two weaved Redd's original compositions into the score, making it an integral part of the play, but the music holds up superbly on its own. Using the direction "in the tradition of Charlie Parker" as a starting point, the pianist wrote seven pieces of straight-ahead bop, wide open for improvisations, and then assembled a sterling quartet featuring himself, alto saxophonist Jackie McLean, bassist Michael Mattos, and drummer Larry Ritchie. The end result was a set of dynamic straight-ahead bop. While both Redd and McLean show signs of their influences -- the pianist blends Monk and Powell, while the saxophonist has built off of Bird's twisting lines -- they have developed their own voices, which gives the driving, bluesy bop on Music From the Connection an edge. McLean's full, robust tone often dominates, but he never overshadows Redd's complex, intricate playing, and both musicians, as well as Mattos and Ritchie, effortlessly keep up with the changes from hard-hitting, up-tempo bop numbers to lyrical, reflective ballads. Musically, Music From the Connection might not offer anything unexpected, but whenever straight-ahead bop is done this well, it should be celebrated. ~Stephen Thomas Erlewine

Music From The Connection

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