Donna Venardi - I Thought About You

Bitrate: MP3@320K/s
Time: 51:27
Size: 117.8 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[3:42] 1. I Didn't Know About You
[4:02] 2. I Thought About You
[4:49] 3. You Go To My Head
[3:44] 4. Mood Indigo
[3:57] 5. I Wanna Be Around
[3:14] 6. Almost Like Being In Love
[5:58] 7. Since I Fell For You
[4:40] 8. Invitation
[4:03] 9. Watch What Happens
[4:01] 10. Day Dream
[4:19] 11. I've Got You Under My Skin
[4:54] 12. Solitude

Quote from Melinda Doolittle, American Idol star, Sony BMG recording artist: "Songs we all love, beautiful arrangements, plus a rich alto voice...a winning combination." Quote from Kevin Mahogany, award winning jazz vocalist, Mahogany Jazz Records: "A cool and relaxing mood." Quote from Raelynn, recording artist for Big Machine Records and star of NBC's The Voice: "This CD makes me smile! It's so good!" Quote from Jim Williamson, Director of the Nashville Jazz Orchestra: "A refreshing blend of musical arrangements, vocal styling and programming reminiscent of the albums I cherished growing up." If you like jazz standards, sung in an updated style to lush arrangements with horns, you'll love this CD.

I Thought About You

---

Hal Galper - Invitation to a Concert

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 68:45
Size: 157,7 MB
Art: Front

( 9:06)  1. The Lamp Is Low
( 5:10)  2. It Never Was You
( 6:25)  3. Bright Moments
( 7:33)  4. Hey There
( 9:46)  5. What's New
( 7:52)  6. Summer Night
(13:51)  7. I'll Remember April
( 9:00)  8. Balcony Rock

Recorded shortly after he left the security of Phil Woods' Quintet, pianist Hal Galper's Concord CD is a thoughtful and relaxed outing for his trio. "The Lamp Is Low" gets a groove by bassist Todd Coolman reminiscent of Ahmad Jamal's treatment of "Poinciana," with Galper not even hinting at its melody until five minutes into the performance. 

"It Never Was You" is quite somber, while "Bright Moments" is optimistic and the only uptempo piece, "Hey There," finds the pianist displaying a very light touch a la Wynton Kelly. The other selections emphasize close communication between Galper, Coolman and drummer Steve Ellington. This subtle session grows in interest the closer one listens. ~ Scott Yanow http://www.allmusic.com/album/invitation-to-a-concert-mw0000674781

Personnel:  Hal Galper (piano), Todd Coolman (bass), Steve Ellington (drums).

Invitation to a Concert

---

Karen Aoki - The Club Jazz Diva

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 67:00
Size: 154,0 MB
Art: Front

(2:51)  1. Lullaby of Birdland
(4:55)  2. Englishman in Newyork
(5:24)  3. Love for Sale
(6:33)  4. Crazy He Calls Me
(4:46)  5. Shining
(3:24)  6. Light Me Fire
(4:51)  7. Smells Like Teen Spirit
(5:41)  8. Wonderful Sound
(6:23)  9. Last Nine Days
(5:49) 10. Blue Flower
(4:13) 11. La Isla Bonita
(4:00) 12. Devil May Care
(4:47) 13. Dindi
(3:16) 14. Take The A Train

Japan's leading clubs, jazz and artists are brilliantly contested! It is!  Karen has selected himself, the best long-awaited record board. In addition to the new song "Blue Flower" which is definitely Karen's masterpiece, also includes the theme song "Take the a Train (A train)" of the Sapporo Beer Ebisu Beer Website. 

The Club Jazz Diva

---

Paul Bley Trio - Questions

Styles: Piano Jazz
Year: 1985
File: MP3@224K/s
Time: 47:42
Size: 76,6 MB
Art: Front

(6:16)  1. Lovely
(2:11)  2. Adventure 1
(2:32)  3. Adventure 2
(1:35)  4. Adventure 3
(3:18)  5. Adventure 4
(5:08)  6. Beautiful
(4:10)  7. The Pause Is Not Rhythmic
(2:41)  8. Questions
(4:47)  9. Here And Gone 1
(2:19) 10. Here And Gone 2
(3:38) 11. Here And Gone 3
(2:00) 12. Here And Gone 4
(7:02) 13. Fanfare

A February 1985 recording in a Copenhagen studio, Questions finds Canadian free jazz pianist Paul Bley paired with the Danish rhythm section of bassist Jesper Lundgaard and drummer Aage Tangaard. For a one-off recording session assumedly recorded with a minimum of rehearsal, the three mesh quite well, although the interplay between Bley and Lundgaard in the middle section of the opening "Lovely" probably was not meant to sound as hesitant and atonal as it does. Wisely, the album then moves into a series of solos by Bley, "Adventure" parts one through four. Melodic but abstract, with long pauses and unexpected glissandi, these solos sound almost like Bill Evans might have after heavy exposure to Brian Eno. The rhythm section comes back in for the gently swinging "Beautiful," then lays out again for another pair of Bley solos. Returning for the first three sections of the four-part "Here and Gone," Lundgaard and Tangaard seem perfectly attuned with Bley's fragmented, impressionistic style. (Part two of this composition has nearly as much silence as it does music.) The rhythm section's restrained, subtle support on these tracks is a perfect setting for Bley, who moves even further into quasi-ambient soloing on the seven-minute closer, "Fanfare." The more normal sounding trio recordings towards the front of the disc sound almost out of place, but the rest of Questions is Bley at his tranquil but never placid best. ~ Stewart Mason http://www.allmusic.com/album/questions-mw0000192601

Personnel:  Paul Bley (piano); Jesper Lundgaard (bass); Aage Tanggaard (drums).

Questions

---

Jeremy Pelt - Make Noise!

Styles: Trumpet Jazz
Year: 2017
File: MP3@320K/s
Time: 52:57
Size: 122,6 MB
Art: Front

(0:50)  1. Prologue: introduction to 'Make Noise!'
(5:25)  2. Make noise!
(8:16)  3. Prince
(5:25)  4. Cry freedom
(8:36)  5. Digression
(2:04)  6. Introduction to 'evolution'
(5:44)  7. Evolution
(5:56)  8. Chateau d'eau
(5:27)  9. Your first touch..
(5:10) 10. Bodega social

Trumpeter Jeremy Pelt occupies an enviably open-minded space in the modern jazz landscape. A capable traditionalist, Pelt has built his career around making acoustic post-bop, with increasing forays into electrified, electronic-tinged fusion. His mutable choices keep you in suspense as a listener you’re never sure what to expect from one album to the next. While there are no such electronic flourishes on Pelt's 2017 effort, the warmly sophisticated Make Noise!, it still pops with much of the same cross-genre creativity he's explored in the past. The album follows his similarly inclined 2016 effort #Jiveculture, which also featured an inventive acoustic sound accented by legendary bassist Ron Carter. This time out, Pelt brings along a slightly less-high-profile, if no less talented, ensemble including pianist Victor Gould, bassist Vicente Archer, drummer Jonathan Barber, and percussionist Jacquelene Acevedo. Together, they take an intimate approach to expansive post-bop that straddles the line between Miles Davis' '60s albums and Terence Blanchard's early-'80s work. Pelt has a broad, enveloping trumpet tone and a knack for laying down highly engaging solos that never hold a listener at arm's length. It's a skill he puts to good use throughout Make Noise! and one complemented by his bandmates, especially pianist Gould, who layers these tracks with a sparkling delicacy reminiscent of the late Mulgrew Miller. Similarly, with Acevedo's kinetic percussion filtered throughout, Make Noise! also has a strong Afro-Latin influence, a vibe especially apparent on the roiling title track and frenetic, salsa-infused "Bodega Social." Equally compelling, "Chateau d'Eau" has a languid, R&B-inflected melody set to a midtempo Afro-Latin groove. Elsewhere, Pelt pushes toward harmonically nuanced modalism, offering a fittingly elegiac and noir-ish tribute to the departed pop icon on "Prince," and evincing the angular, classically influenced style of Black Codes-era Wynton Marsalis on "Cry Freedom." While much of Pelt's work fits nicely into the jazz canon, he clearly has an open ear for melody, a gift he exercises on "Your First Touch...", which sounds like a Leonard Cohen song reworked as a sensuous jazz ballad. Ultimately, Make Noise! continues to reveal Pelt's maturation into a confident artist, comfortable enough with his place in the jazz tradition to keep subtly pushing the edges of audience expectation. ~ Matt Collar http://www.allmusic.com/album/make-noise!-mw0003006526

Personnel: Jeremy Pelt (trumpet); Victor Gould (piano); Jonathan Barber (drums); Jacquelene Acevedo (percussion).

Make Noise!

---

Buddy & Ella Johnson - Gotta Go Upside Your Head: The Rock'n'Roll Years 1953-55

Size: 187,1 MB
Time: 78:42
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz, Rock, R&B, Blues
Art: Front & Back

01. Mush Mouth (3:03)
02. That's How I Feel About You (3:12)
03. Hittin' On Me (3:07)
04. I'm Just Your Fool (2:53)
05. Aint'cha Got Me (Where You Want Me) (2:50)
06. My Old Man (2:27)
07. A12 (2:44)
08. One More Time (2:52)
09. Shut Your Big Mouth, Girl! (2:57)
10. Any Day Now (2:37)
11. Ain't But One (3:04)
12. Crazy 'bout A Saxaphone (2:33)
13. Jit Jit (3:08)
14. A Pretty Girl (A Cadillac And Some Money) (3:07)
15. Well Do It! (2:24)
16. Thinking It Over (2:42)
17. Someday (2:36)
18. It Used To Hurt Me (2:43)
19. Gotta Go Upside Your Head (2:43)
20. If You Would Only Say You're Sorry (3:03)
21. Alright, Okay, You Win! (2:46)
22. It's About To Break My Heart In Two (2:49)
23. Gone Walkin' (3:00)
24. So Good (2:30)
25. I Don’t Want Nobody Baby (To Have My Love But You) (2:41)
26. Bring It Home To Me (2:29)
27. It's Obdacious (2:36)
28. Doot Doot Dow (2:51)

One of the most unsung swing bandleaders of the 1940s, Buddy Johnson's astute mixture of jazzy R&B, pop, blues and jump coupled with his prolific composing ("That's the Stuff You Gotta Watch" and "Since I Fell for You" are among his standards) helped him transition his band into and throughout the '50s with a sound that came dangerously close at times to being actual rock & roll. Although Johnson featured several fine vocalists during his run, including Arthur Prysock, Nolan Lewis and Floyd Ryland, it was his younger sister Ella Johnson who arguably best interpreted her brother's material. This generous 28-track set from Rev-Ola Records features several of Ella's vocals on Buddy Johnson sides originally released by Mercury Records between 1953 and 1955, including Ella's perfectly nuanced (she sounds positively annoyed) "Hittin' on Me," the dubiously trusting "My Old Man," the gorgeous hitting-the-road threat "Any Day Now," the defiant "Well Do It!," and the aching "It's About to Break My Heart in Two," all of which are essentially jump numbers but they edge very close to the feel of rock & roll, particularly given Ella's playful vocal phrasing. With the rise of smaller guitar-led combos after Elvis Presley hit in 1956, Johnson found it increasingly difficult to sustain his large band concept, and consequently Ella and Buddy's hits fell off as the decade drew to a close. This intriguing set has all the essentials from the successful Mercury years. ~by Steve Leggett

Gotta Go Upside Your Head

---

VA - The Soprano Summit In 1975 And More

Size: 150,3+183,9 MB
Time: 64:27+78:36
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz
Art: Front

CD 1:
01. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay - Swing Parade ( 3:09)
02. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay - The Mooche ( 6:41)
03. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay - Oh Sister Ain't That Hot ( 6:11)
04. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay - Steal Away ( 7:35)
05. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay - Linger Awhile (10:50)
06. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay - Panama ( 8:38)
07. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay - Songs Of Songs ( 5:41)
08. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay - Swing Thirty Nine ( 4:27)
09. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay - Egyptian Fantasy ( 3:57)
10. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay - The Fish Vendor ( 7:14)

CD 2:
01. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay, Dick Hyman - Kansas City Stomp ( 3:22)
02. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay, Dick Hyman - Original Jell Roll Blues ( 3:41)
03. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay, Dick Hyman - Froggie Moore ( 3:41)
04. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay, Dick Hyman - Shreveport Stomp ( 3:21)
05. Kenny Davern, Bob Wilber, Marty Grosz, George Duvivier, Connie Kay, Dick Hyman - Sidewalk Blues ( 3:12)
06. Kenny Davern, Dick Wellstood, Bob Rosengarden - C.C. Rider ( 5:40)
07. Kenny Davern, Dick Wellstood, Bob Rosengarden - Fidgety Feet ( 4:58)
08. Kenny Davern, Dick Wellstood, Bob Rosengarden - Sweet Substitute ( 6:37)
09. Kenny Davern, Dick Wellstood, Bob Rosengarden - Shim-Me-Sha Wabble ( 6:16)
10. Ruby Braff, Bob Wilber, Wayne Wright, George Duvivier, Fred Stoll - Sugar ( 5:11)
11. Ruby Braff, Bob Wilber, Wayne Wright, George Duvivier, Fred Stoll - When You're Smiling (The Whole World Smiles With You) ( 6:01)
12. Ruby Braff, Bob Wilber, Wayne Wright, George Duvivier, Fred Stoll - These Foolish Things (Remind Me Of You) ( 6:14)
13. Ruby Braff, Bob Wilber, Wayne Wright, George Duvivier, Fred Stoll - All Of Me ( 9:17)
14. Ruby Braff, Bob Wilber, Wayne Wright, George Duvivier, Fred Stoll - Fine And Mellow (10:58)

While clarinetist/soprano saxophonists Kenny Davern and Bob Wilber are of the generation that produced the first wave of bebop and hard bop players, both favor earlier jazz modes of small-group swing and New Orleans-inspired hot jazz. From 1972 to 1979, Davern and Wilbur co-led Soprano Summit, a hard-swinging quintet dedicated to pre-bop styles. Recorded live in 1975 and backed by simpatico fellow travelers Marty Grosz (acoustic guitar) and George Duvivier (bass) plus inspired guest Connie Kay (drummer for the MJQ), this Summit combo goes to town on New Orleans standards and Jelly Roll Morton gems. To fill out this double-disc set, there are fine live tracks by other small groups featuring Davern and Wilber (along with trombonist Dick Wellstood and cornetist Ruby Braff, no less). ~by Mark Keresman

The Soprano Summit In 1975 And More CD 1
The Soprano Summit In 1975 And More CD 2

---

Laura Willeit & Hubert Dorigatti - Bob Dylan / Revisited

Size: 100,3 MB
Time: 43:00
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Blues Vocals
Art: Front

01. Make You Feel My Love (3:49)
02. All Along The Watchtower (3:37)
03. Like A Rolling Stone (6:12)
04. A Hard Rain's A Gonna Fall (4:56)
05. Shelter From The Storm (4:20)
06. Just Like A Woman (5:13)
07. Forever Young (4:22)
08. It's All Over Now, Baby Blue (3:24)
09. I Shall Be Released (4:56)
10. Blowin' In The Wind (2:06)

Laura Willeit grew up in Mareo (South Tyrol, Italy), where she made her first musical steps in the local children’s and church choir. In addition, she took piano and music education lessons from age 7, which was to be a sound basis for her future studies. Her study of musicology in Vienna together with the diverse types of music that she could enjoy in this city opened new musical paths and ways of expression. During her time in Vienna she finally discovered jazz music as a driving source and inspiration to make her own music and choose this type of music for her future career. From that time on, Laura took regular lessons with Sheila Cooper, and after her degree in Vienna she decided study vocal jazz at the Conservatorio di Trento. She completed her studies and apart from her teaching job engages herself in different projects such as “Laura Willeit Quartet”, “Ohrenschmaus mit Ingrid” and “Bod Dylan Revisited”, which she initiated together with the guitarist Hubert Dorigatti.

Hubert Dorigatti is the Italian national winner of the International Blues Challenge and shall represent Italy in the grand final in Memphis, USA, from Jan. 31 until Feb. 4 2017, supported by the Blues Foundation.
Hubert Dorigatti, a guitarist from Bruneck of the South Tyrol region and trained at the Conservatory of Vienna, was awarded by the panel over the two nights of the Deltablues festival in the Santa Maria Maddalena park in Occhiobello.

Bob Dylan / Revisited

---

Randy Johnston 3 - Shockwave

Size: 108,7 MB
Time: 46:56
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Soul, Hammond Organ
Art: Front

01. Shockwave (8:28)
02. Misty Roses (4:21)
03. On The Town In Old New York (5:31)
04. The Hat Man (6:31)
05. Things We Said Today (5:01)
06. Is It You (6:44)
07. Hop A-Long (6:56)
08. Out Of Nowhere (3:20)

Personnel:
Randy Johnston: Guitar, Vocals
Jonah Kane-West: Organ
John Hanks: Drums
Bobby Read: Sax, Vocals

Original combination of Jazz, Soul, Rock, Blues, and Funk. Four vocal and four instrumental tracks with great sound quality. infectious foot patting rhythm, great guitar, organ, and saxophone solos, and heartfelt emotion.

Shockwave

---

Colin Trusedell Trio - Without All The Chatter (Feat. Krista Joyce & Shawn Hanlon)

Size: 116,2 MB
Time: 50:03
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Our Love Is Here To Stay (4:37)
02. Almost Like Being In Love (4:07)
03. Ain't No Sunshine (5:12)
04. I Love Being Here With You (3:57)
05. Black Coffee (5:15)
06. An Affair To Remember (6:11)
07. Gee Baby (4:08)
08. Nature Boy (6:29)
09. The Nearness Of You (5:59)
10. Route 66 (4:03)

Colin Trusedell’s brand new release, “Without All the Chatter,” features 10 superb arrangements of some of the most iconic vocal jazz tunes ever written that are designed to make you swoon with your love or get you dancing on your feet!

The Colin Trusedell Trio consists of some of the best musicians in Colorado: Krista Joyce on vocals, Shawn Hanlon on piano and keyboard, and Colin Trusedell on upright bass. Trusedell’s new album, “Without All the Chatter,” takes the listener on a Cadillac joyride of classic vocal jazz tunes, exploring traditional jazz favorites like “Route 66” to Gershwin’s “Our Love is Here to Stay.” The album also shows off the trio’s versatility with the Bill Withers hit, “Ain’t No Sunshine” and the latin jazz flavors with “Almost Like Being in Love” and “Nature Boy.” Through the 10 new arrangements you will feel the music in this intimate recording “Without All the Chatter.”

This is Trusedell’s 6th release as a bandleader following his 2016 electric bass featured release, “Quartet of Jazz Death VOL. 2,” which was a semi finalist for the 2016 “Best Contemporary Instrumental” Grammy Award.

Without All The Chatter

---

Lavon Hardison - Everyday Gifts (Feat. David Rhys-Johnson)

Size: 71,1 MB
Time: 30:06
File: MP3 @ 320K/s
Released: 2008
Styles: Gospel
Art: Front

01. Stand By Me (3:50)
02. Relax (2:06)
03. This Little Light Of Mine (2:58)
04. Imagine (3:07)
05. No More (2:42)
06. Wade In The Water (3:36)
07. Walk In The Light (3:34)
08. Every Day (2:51)
09. Pray, Pray, Pray (2:32)
10. Paths Together (2:46)

Inspiring. Spiritual. Uplifting. Sacred. Storytelling through song. Whatever you want to call LaVon's newest album, you'll be touched by the authentic emotion with which she tells each musical tale. Digging inside each line, each phrase, LaVon manages to convey the delicate balance between hope and struggle, triumph and tears, all beneath the larger umbrella of faith.

Says one fan: “When LaVon performs a song, you can be assured that not only will it sung beautifully, with the playfulness and the poignancy the song deserves, … each song becomes a distinct and memorable experience for the listener.”

LaVon's background in the Baptist church surely inspired her powerful versions of the traditional gospel songs "Wade in the Water" and "This Little Light of Mine." Among the original songs on Everyday Gifts, the original tune "Pray, Pray, Pray" also hews to a gospel sensibility, while "No More" takes a different musical approach to declaring what is and isn't on the To Do list.

The album includes two noteworthy covers: John Lennon's "Imagine" and the classic "Stand By Me" emerge with a new freshness and clarity through LaVon's clear alto tones.

A featured artist at the 2008 World Sacred Music Festival, LaVon offers this new album to listeners of all ages who are interested in the internal workings of the human heart, and how it relates to the larger Spirit. This is music that will speak to your spirit, whatever your path.

Everyday Gifts

---

Dexter Gordon - A Swingin' Affair

Bitrate: MP3@320K/s
Time: 38:12
Size: 87.5 MB
Styles: Bop, Saxophone jazz
Year: 1962/1987
Art: Front

[6:23] 1. Soy Califa
[6:03] 2. Don't Explain
[6:30] 3. You Stepped Out Of A Dream
[6:45] 4. The Backbone
[6:47] 5. (It Will Have To Do) Until The Real Thing Comes Along
[5:41] 6. Mc Splivens

Bass – Butch Warren; Drums – Billy Higgins; Piano – Sonny Clark; Tenor Saxophone – Dexter Gordon; Recorded at the Van Gelder Studio in Englewood Cliffs, New Jersey on August 29, 1962.

Dexter Gordon was on a roll in 1962 when he recorded A Swingin' Affair. Two days earlier he and this same quartet recorded his classic album Go!; the band included pianist Sonny Clark, bassist Butch Warren, and drummer Billy Higgins. Gordon wrote two of the set's six tunes, the first of which, the Afro-Cuban-flavored "Soy Califa," is a burner. Higgins' drumming double-times the band as Gordon lays out the melody -- even his solo doesn't stray far from it and he returns to it repetitively. Clark vamps with beautiful minor-key chords that he then adds to his own solo, moving all around the lyric with his right hand. And Higgins and Warren are truly wonderful on this one. There are also three standards here. Gordon was always a master of them because his own approach to improvisation was essentially one of melodic invention. "Don't Explain" is ushered in by Clark stating the changes; Gordon's low and slow playing is romantic and sensual. On "You Stepped Out of a Dream," Gordon and Clark take the melody and invert it in the bridge; they turn it into a kind of groove as Higgins plays Latin-tinged rhythms throughout. Warren's "The Backbone" is a hard bop groover with a bossa nova flavor, as he and Gordon twin on the tune's head before Dex moves off into his solo. It's easily the best thing here. This is a hot hard bop band, playing a program that's relaxed and mostly upbeat; they even manage to stretch a bit. The Rudy Van Gelder Edition features fine sound but no bonus material. ~Thom Jurek

A Swingin' Affair

---

Teddi King - Lovers And Losers

Bitrate: MP3@320K/s
Time: 42:11
Size: 96.6 MB
Styles: Vocal
Year: 1978/1994
Art: Front

[2:26] 1. Lovers And Losers
[2:42] 2. A Ghost Of A Chance
[2:48] 3. Can't You Do A Friend A Favor
[2:59] 4. The Wine Of May
[2:29] 5. There's A Man In My Life
[2:53] 6. A Sunday Kind Of Love
[1:51] 7. Ask Yourself Why
[2:09] 8. Nobody's Heart
[3:31] 9. Honeysuckle Rose
[3:16] 10. Bewitched
[3:06] 11. Slightly Less Than Wonderful
[3:20] 12. Blackberry Winter
[2:48] 13. Wait Till You See Her
[3:13] 14. Fools Rush In
[2:31] 15. Be A Child

This session was recorded just about a year before Teddi King's untimely death at the early age of 48 from a breakdown of her immune system, weakened by lupus. Lovers and Losers was the second of three albums King made in the 1970s after a 14-year hiatus from the recording studios, during which she worked in TV and clubs (exclusively in Playboy clubs for a period of eight years). Influenced by the honeyed delivery of Mildred Bailey as well as the heavy vibrato of Sarah Vaughan, King eventually drifted toward a middle ground and this journey to the center is reflected on this CD, although the vibrato is more pronounced than on her earlier recordings. Joined by Audiophile's house trio of Loonis McGlohon, Mel Alexander, and Jim Lackey, King continues to show her immaculate sense of timing and feel for phrasing the lyrics on such tunes as "A Sunday Kind of Love" and a delicately rendered and haunting "Blackberry Winter." King could always swing, and she puts that talent to use on "Honeysuckle Rose," with added verse. Her ability to take tunes that didn't quite catch the public's fancy and make something of them is revisited with her fun styling of "Slightly Less Than Wonderful" and "There's a Man in My Life," both by Fats Waller. Her voice is more mature and deeper than it was in the 1950s, when she made some outstanding albums for RCA. It had also lost some of its vibrancy, probably due to illnesses that seemed to plague King. Nonetheless, King showed that, despite her health trouble, she could still perform with both polish and bounce. ~Dave Nathan

Lovers And Losers

---

Jim Chapin - Jim Chapin Sextet And Octet (Feat. Phil Woods)

Bitrate: MP3@320K/s
Time: 70:17
Size: 160.9 MB
Styles: Contemporary jazz
Year: 2016
Art: Front

[3:31] 1. In A Little Spanish Town
[6:34] 2. Cherokee
[4:26] 3. The Goof And I
[4:25] 4. Sonny's Tune
[4:31] 5. Blue Lou
[3:56] 6. Woodlore
[4:03] 7. Little Marty
[4:17] 8. Jazz Crossroads
[4:46] 9. Cotton Tail
[5:13] 10. Pink Ice
[5:02] 11. Like Help!
[2:23] 12. I May Be Wrong
[5:02] 13. Say What
[6:30] 14. I'll Take Romance
[5:31] 15. The Lady Is A Tramp

Don Stratton, Jimmy Nottingham (tp), Billy Byers, Urbie Green (tb), Phil Woods, George Dorsey (as), Bob Wilber (ts), Sonny Truitt, Hank Jones (p), Chuck Andrus, Wilbur Ware (b), Jim Chapin (d).

Sources:Tracks #1-4, originally issued on a 10" LP as "Jim Chapin Ensemble" (Prestige PRLP213); Tracks #1-4, plus #5-8 issued on a 12" LP as "The Jim Chapin Sextet" (Classic Jazz CJ-6); Tracks #9-15, issued on a 12" LP as "Profile of a Jazz Drummer Skin Tight" (Classic Jazz CJ-7). 24-Bit Digitally Remastered.

A name new to me and possibly to many readers, Jim Chapin was regarded highly as a drumming technician and educator, the author of at least two big-selling books, star of an instructional video and a regular at drum clinics. High-profile jazz gigs were not his style, and this album contains his only recordings as a group leader.

There’s quite a contrast between the sessions. The first perhaps owes something to the Shorty Rogers Giants, given credence by the fact Chapin had sat in with Rogers and colleagues at the Lighthouse, Hermosa Beach. Phil Woods is suitably boppish on Cherokee, but often recalls the sweeter tones of Art Pepper, with his own Jazz Crossroads and the eponymous tune by Sonny Truitt both evoking a decidely West Coast feel - incidentally, there cannot be many examples on record of Woods the arranger, more’s the pity on the evidence here. If you were asked to guess who led the group, the drummer would be in the frame. By the next date, drums are everywhere. We are told Chapin got together with Bob Wilber, who did the actual arrangements, and what they came up with was a kind of mini-Buddy Rich effect. Not to put down the level of solos: Wilber stomps engagingly on every track and Urbie Green justifies his high reputation, though Jimmy Nottingham’s habit of bursting into solos at full blast seems more suited to a big band. In short, worth checking out for scarcity value, with the assurance that the best bits are pretty good. ~Ronald Atkins

Jim Chapin Sextet And Octet(Feat. Phil Woods)

---

Juana Rodriguez - Speak Low

Bitrate: MP3@320K/s
Time: 52:33
Size: 120.3 MB
Styles: Jazz vocals
Year: 2007
Art: Front

[2:35] 1. I've Got You Under My Skin
[4:29] 2. Angel Eyes
[2:37] 3. What A Difference A Day Made
[4:15] 4. Le Sourire De Mon Amour
[2:36] 5. Summertime
[4:27] 6. Cry Me A River
[2:48] 7. Speak Low
[2:36] 8. All Of Me
[5:15] 9. Round Midnight
[3:21] 10. Desafinado
[4:58] 11. Lover Man
[2:52] 12. Love Or Leave Me
[3:52] 13. Taking A Chance On Love
[2:41] 14. Do Nothin' Till You Hear From Me
[3:04] 15. Besame Mucho

Juana Rodriguez, (Rome, 1979) Jazz singer and actress ,born in Italy grown up in Chile and Spain and at present rooted in New York , begins going to singing classes at the age of 8 ; that’s when she took her first steps in Music. Influenced since she’s 10, but with her own style, by Bessie Smith, Billie Holiday, Dinah Washington, Nina Simone, Sarah Vaughan, Ella Fitzgerald in modern singing and classically by Kiri Te Kanawa, Sumi Jo, Cecilia Bartoli, Victoria de los Angeles, Mirella Freni, Renata Scotto, listening to them all on her record-player at home. In 1988 she starts devoting herself exclusively to the training of her instrument; the voice, by exploring different styles within "BLACK MUSIC"; jazz soul blues funk r&b bossa and "OPERA", giving always priority to jazz and opera. During 1999 she intensively travels around Europe making contacts and musical artistic activities. After this experience, in 2000 she decides to settle in Barcelona-Spain, in order to enforce her musical studies. Winner of the FONDART price of MUSIC in Chile,year 2006 and scholarship to live in New York and work on the Scat-improvisation method, with the Jazz singer Jay Clayton.

Speak Low

---

Grover Washington, Jr. - Ultimate Collection

Bitrate: MP3@320K/s
Time: 72:26
Size: 165.8 MB
Styles: R&B, Crossover jazz
Year: 1999
Art: Front

[9:02] 1. Mister Magic
[7:18] 2. Just The Two Of Us
[8:15] 3. It Feels So Good
[2:30] 4. Inner City Blues (Make Me Wanna Holler)
[6:08] 5. Black Frost
[7:36] 6. Summer Song
[4:51] 7. Reed Seed (Trio Tune)
[6:25] 8. Bright Moments
[5:56] 9. The Best Is Yet To Come
[8:31] 10. Ain't No Sunshine
[5:50] 11. Moonstreams

Hip-O Select's Ultimate Collection of Grover Washington, Jr. tunes is pretty much that. It's true that it does leave out his great, side-long reading of Marvin Gaye's "Trouble Man" and his version of "Mercy Mercy Me." That said, this is an amazing set that includes in its first three selections "Mister Magic," "Just the Two of Us," (a vocal tune with Bill Withers), and "Feel So Good," arguably the late saxophonist's greatest creative period before settling into commercial success and softer groove territory with Columbia. The Kudu/CTI years with Creed Taylor established Washington as one of the great soul-jazz and jazz-funk players. His abilities as an improviser on both tenor and soprano were virtually limitless, and his technique was, to understate the case, more than enviable. Add to this that Washington chose to be a melodic improviser from the get-go: check the Bob James-penned tune "Black Frost," which carries within it the heart of funky soul and uses melody around the tune's theme to such effect, the ensemble is challenged to try to deepen its theme or fade into the background. The enormous Bob James arrangement on the medley of "Ain't No Sunshine"/"Theme from Man and Boy (Better Days)" with a the swelling strings around him makes Washington use restraint rather than compete and uses his many subtle soul harmonies to compensate, bringing a very deep and nuanced reading to both songs. One can only hope that Washington's CTI/Kudu releases get a deluxe treatment one day and come back into print, particularly Soul Box and All the King's Horses, though Feels So Good and Mister Magic already are. As a collection, this one is very tough to beat. ~Thom Jurek

Ultimate Collection

---

Eddie Higgins Trio - Secret Love

Bitrate: MP3@320K/s
Time: 60:18
Size: 138.0 MB
Styles: Piano jazz, Easy Listening
Year: 2014
Art: Front

[4:26] 1. Secret Love
[6:06] 2. Ghost Of A Chance
[4:33] 3. Star Eyes
[5:38] 4. Round Midnight
[4:51] 5. East Of The Sun
[4:22] 6. Always
[5:59] 7. Blue And Sentimental
[6:04] 8. I Let A Song Go Out Of My Heart
[4:19] 9. But Beautiful
[4:03] 10. Cheek To Cheek
[5:14] 11. But Not For Me
[4:42] 12. Avalon

Bass – Jay Leonhart; Drums – Mark Taylor; Piano – Eddie Higgins. Recorded at Clinton Studio in New York on October 14-17, 2006.

Born and raised in New England, Eddie (Haydn) Higgins started his professional career in Chicago, while studying at the Northwestern University Music School. For twenty years Eddie worked at some of Chicago's best known jazz clubs, including the Brass Rail, Preview Lounge, Blue Note, Cloister Inn and Jazz Ltd. His longest and most memorable job was at the London House, where he led the house trio for twelve years, playing opposite the biggest jazz stars of the 50's and 60's, including Stan Getz, Oscar Peterson, Dizzy Gillespie, Errol Garner, George Shearing, Cannonball Adderley, Bill Evans and many others.

During his stay in Chicago, Eddie recorded a number of albums under his auspices and many more as a sideman with a wide variety of musicians, ranging in style from Coleman Hawkins to Wayne Shorter, Don Goldie to Freddie Hubbard, Jack Teagarden to Al Grey. Eddie's versatility is well-known: he has backed singers, done studio work as both pianist and arranger and worked in every jazz medium from Dixieland to Modern Jazz. ~Bill Gallagher

Secret Love

---

Bud Shank - Girl In Love

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 32:49
Size: 75,3 MB
Art: Front

(3:08)  1. Lady Jane
(2:30)  2. Summer Wind
(2:35)  3. The Sun Ain't Gonna Shine (Anymore)
(2:49)  4. Strangers In The Night
(2:25)  5. When A Man Loves A Woman
(2:38)  6. Girl In Love
(2:37)  7. Don't Go Breaking My Heart
(2:46)  8. Everybody Loves Somebody Sometime
(3:20)  9. Time
(2:42) 10. The Shining Sea
(2:13) 11. Lara's Theme From Dr. Zhivago
(3:01) 12. Solitary Man

Bud Shank began his career pigeonholed as a cool schooler, but those who listened to the altoist progress over the long haul knew that he became one of the hottest, most original players of the immediate post-Parker generation. Lumped in with the limpid-toned West Coast crowd in the '50s, Shank never ceased to evolve; in his later years, he had more in common with Jackie McLean or Phil Woods than with Paul Desmond or Lee Konitz. Shank's keening, blithely melodic, and tonally expressive style was one of the more genuinely distinctive approaches that grew out of the bebop idiom. Shank attended the University of North Carolina from 1944-1946. Early on, he played a variety of woodwinds, including flute, clarinet, and alto and tenor saxes; he began to concentrate on alto and flute in the late '40s. After college, Shank moved to California, where he studied with trumpeter/composer Shorty Rogers and played in the big bands of Charlie Barnet (1947-1948) and Stan Kenton (1950-1951). Shank made a name for himself in the '50s as a central member of the West Coast jazz scene. In addition to those named above, he played and recorded with bassist Howard Rumsey's Lighthouse All-Stars, tenor saxophonist Bob Cooper, and Brazilian guitarist Laurindo Almeida, among others. Shank made a series of albums as a leader for World Pacific in the late '50s and early '60s.  Shank ensconced himself in the L.A. studios during the '60s, emerging occasionally to record jazz and bossa nova albums with the likes of Chet Baker and Sergio Mendes. Shank's 1966 album with Baker, Michelle, was something of a popular success, reaching number 56 on the charts. Film scores on which Shank can be heard include The Thomas Crown Affair and The Barefoot Adventure. In the '70s, Shank formed the L.A. Four with Almeida, bassist Ray Brown, and, at various times, drummer Chuck Flores, Shelly Manne, or Jeff Hamilton. Shank had been one of the earliest jazz flutists, but in the mid-'80s he dropped the instrument in order to concentrate on alto full-time. During the last two decades of the 20th century, he recorded small-group albums at a modestly steady pace for the Contemporary, Concord, and Candid labels. Shank's 1997 Milestone album, By Request: Bud Shank Meets the Rhythm Section, presented the altoist in top form, burning down the house with a band of relative youngsters who included neo-bopper pianist Cyrus Chestnut. Three years later, Silver Storm was released.  Shank continued performing and recording after the turn of the millennium, undertaking the challenging task of forming the Los Angeles-based Bud Shank Big Band in 2005 and making his recording debut as a big-band leader with Taking the Long Way Home, released the following year by the Jazzed Media label. In 2007 Jazzed Media issued Beyond the Red Door, a duet recording by Shank and pianist Bill Mays. Shank's passion for jazz remained strong to the very last days of his life; he died at his home in Tucson, AZ on April 2, 2009 of a pulmonary embolism shortly after returning from a recording session in San Diego. Shank's doctors had reportedly warned the saxophonist who had moved to Tucson for health reasons  that playing the session could be life-threatening. Bud Shank was 82 years old. ~ Chris Kelsey http://www.allmusic.com/artist/bud-shank-mn0000636382/biography

Personnel:  Bud Shank - alto saxophone;  Frank Rosolino – trombone;  Bob Florence – piano;  Dennis Budimir, Herb Ellis, John Pisano – guitar;  Bob West – bass;  Frank Capp – drums;  Victor Feldman - percussion

Girl In Love

---

Horace Parlan - Blue Parlan

Styles: Piano Jazz
Year: 1978
File: MP3@224K/s
Time: 45:59
Size: 73,8 MB
Art: Front

(8:05)  1. Goodbye Pork Pie Hat
(6:14)  2. Sunspots
(4:32)  3. Firm Roots
(5:53)  4. Monk's Mood
(5:49)  5. Neicy
(4:43)  6. Night Mist Blues
(6:06)  7. Cynthia's Dance
(4:32)  8. There's No Greater Love

Horace Parlan overcame physical disability and thrived as a pianist despite it. His right hand was partially disabled by polio in his childhood, but Parlan made frenetic, highly rhythmic right-hand phrases part of his characteristic style, contrasting them with striking left-hand chords. He also infused blues and R&B influences into his style, playing in a stark, sometimes somber fashion. Parlan always cited Ahmad Jamal and Bud Powell as prime influences. He began playing in R&B bands during the '50s, joining Charles Mingus' group from 1957 to 1959 following a move from Pittsburgh to New York. Mingus aided his career enormously, both through his recordings and his influence. Parlan played with Booker Ervin in 1960 and 1961, then in the Eddie "Lockjaw" Davis-Johnny Griffin quintet in 1962. Parlan played with Rahsaan Roland Kirk from 1963 to 1966, and had a strong series of Blue Note recordings in the '60s. He left America for Copenhagen in 1973, and gained international recognition for some stunning albums on SteepleChase, including a pair of superb duet sessions with Archie Shepp. He also recorded with Dexter Gordon, Red Mitchell, Frank Foster, and Michal Urbaniak, and recorded extensively for Enja and Timeless. He died in Denmark in February 2017 at the age of 86. ~ Ron Wynn  https://itunes.apple.com/dk/artist/horace-parlan/id4833960#fullText

Personnel: Horace Parlan (piano); Wilbur Little (bass);  Dannie Richmond (drums)

Blue Parlan

---

Anne Drummond - Like Water

Bitrate: MP3@320K/s
Time: 32:21
Size: 74.1 MB
Styles: Brazilian jazz
Year: 2009
Art: Front

[4:30] 1. Aquelas Coisas Todas
[4:25] 2. Like Water
[3:30] 3. Frevo
[3:18] 4. Curumim
[4:13] 5. Lazy Afternoon
[3:57] 6. Afoxamba
[4:19] 7. Bossa For Copacabana
[4:06] 8. Spring

Anne Drummond: flute; Klaus Mueller: piano (1-7); Xavier Davis: piano (8); Paul Meyers: guitar (2, 5); Nilson Matta: bass (3, 6, 7, 8); Duduka Da Fonseca: drums (3, 6-8) and percussion (1, 7): Tom Chiu: violin (2, 5, 6, 8); Dave Eggar: cello (1, 2, 5, 6, 8).

Listening to vibraphonist Stefon Harris's outstanding African Tarantella (Blue Note, 2006), flautist Anne Drummond's work can often fly under the radar. Her importance on these recordings, however, can't be overstated: she often provides the textural glue that makes the group gel, and the only reason her fine flute work might not be more obvious is because of the lack of solo space she is given. Like Water, her debut as a leader, emphasizes the gentler side of Brazilian jazz. While plenty of people might feel the need to fill up a CD and play as much as possible to prove themselves on their first album, Drummond is comfortable in her skin and values the group dynamic over the individual on this concise, thirty-two minute recording. Performing with Kenny Barron's Canta Brasil provided the seeds of inspiration for this project, and two key performers from the pianist's group, bassist Nilson Matta and drummer/percussionist Duduka Da Fonseca, are along for the ride here.

Drummond wrote three pieces for the album and co-wrote another ("Spring") with Mark Bordenet. The title track benefits from her warm and unobtrusive string arrangement, with guitarist Paul Meyers adding some beautiful solo work and the flautist graceful and tender throughout. Meyers appears one last time on "Lazy Afternoon," and pianist Klaus Mueller provides a gentle and soothing piano solo. The rhythm section joins in on "Afoxamba," with Da Fonseca and Matta providing an instantly appealing, authentic groove. Drummond's joy and energy is immediately noticeable and her playing is passionate throughout. The blend between the pizzicato string line, at the outset of "Spring," and the rest of the musicians is intoxicating. Pianist Xavier Davis makes his lone appearance here, providing a touching solo.

The four other pieces are, for the most part, bright and bouncy. Toninho Horta's "Aquelas Coisas Todas" opens the album, with Drummond's flute sounding vibrant and fresh as she glides over the rhythm men. Egberto Gismonti's "Frevo" is three-and-a-half minutes of musical magic; Drummond's playing is electric, and her blend and chemistry with Mueller is astounding. Whether he's running through a unison rhythmic line with Drummond, comping behind her or playing his own solo, Mueller is always exhilarating. "Curumin" is a flute and piano duo performance that further highlights the rapport between Drummond and Mueller. Matta's "Bossa for Copacabana" is a subtle, gently gliding piece that benefits greatly from Da Fonseca's touch and feel. Whether interpreting her own works or other compositions, Drummond demonstrates a unified vision and strong melodic sense throughout Like Water. ~Dan Bilawsky

Like Water

---