Kidd Jordan, Hamid Drake, William Parker - Palm of Soul

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 54:49
Size: 125,7 MB
Art: Front

( 0:58)  1. Peppermint Falls
( 8:24)  2. Forever
(14:58)  3. Kidd Jordan, Hamid Drake, William Parker
(10:21)  4. Unity Call
( 2:22)  5. So Often
( 5:42)  6. Resolution
(12:01)  7. Last of the Chicken Wings

Hurricane Katrina left tenor saxophonist Kidd Jordan homeless less than a month before this recording session. Undeterred, the New Orleans native kept a prearranged studio date with bassist William Parker and drummer Hamid Drake. Regularly joined by tenor saxophonist Fred Anderson for powerhouse quartet gigs, Jordan, Parker and Drake had never recorded before as a trio. Improvising collectively with no preset material, they settled into a meditative mood underscored by restless energy. It would seem plausible that such turbulent melancholy is at least partially attributable to an emotional reaction in the aftermath of such disaster. While there is no denying the possibility of such an influence, Palm of Soul is steeped in musical traditions that existed long before. Eschewing the vigorous free-bop at which they excel (tantalizingly hinted at on the brisk one-minute opener, "Peppermint Falls"), they elect to explore a panorama of multi-ethnic, rubato rhythms tempered by an undercurrent of simmering introspection. Though it's not without its frenetic moments, this session is primarily focused on mutual conversation, nuanced interplay, exotic texture and rich, resplendent tonality.

Such a tone belongs to Kidd Jordan. At seventy, his resume boasts innumerable collaborations, from Ray Charles to Cecil Taylor. He conveys years of experience in even the most unadorned of phrases. Supported by a superlative rhythm section, Jordan is able to explore every facet of his horn. Accompanied by shimmering percussion and resounding gongs on "Forever" and "Last of the Chicken Wings," he extracts lissome, forlorn melodies from his breathy, multiphonic tenor. Alternately, he elicits hoarse, cacophonous testimonials on "Living Peace" while Parker bows dissonant harmonics and Drake sporadically accents the ascending drama. Parker and Drake's harmonically rife rhythmic accompaniment is anything but conventional. Parker plays African hunter's guitar (guimbri), gongs and resonating bowls more often than the bass. Drake alternates between traditional trap set, frame drum and tablas. These exotic instruments lend a very strong Asian, African and Indian feel to the majority of the set, invoking none other than Don Cherry, Drake and Parker's former employer. "Unity Call" is especially emblematic of Cherry's pan-global aesthetic. Drake's wordless chanting and loping frame drum rhythm combine with Parker's pulsing guimbri ostinato, driving Jordan into a wailing, raspy frenzy reminiscent of Cherry's work with Frank Lowe in the 1970s. Flirting with tradition, "Living Peace" borrows conventional devices, employing walking bass and a casual ride rhythm that modulates, Mingus-like, from bluesy gait to bop sprint. Building to grandeur worthy of late-period Coltrane, the piece culminates in a burning arco/altissimo finale that is as strident as "Forever" is melancholy and ethereal. With steely determination and emotional resolve in the face of great tragedy, Jordan, Parker and Drake have created a timeless album of understated, dark beauty. Palm of Soul is spiritually revelatory free jazz, hauntingly beautiful and emotionally resonant. ~ Troy Collins https://www.allaboutjazz.com/palm-of-soul-kidd-jordan-aum-fidelity-review-by-troy-collins.php

Personnel: Kidd Jordan: tenor saxophone; William Parker: bass, guimbri, gongs, bowls, talking drum; Hamid Drake: drums, tablas, frame drum, voice.

Palm of Soul

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Alain Caron - Multiple Faces

Styles: Jazz Funk, Soul  
Year: 2013
File: MP3@320K/s
Time: 51:47
Size: 118,6 MB
Art: Front

(6:53)  1. Right After 4
(6:22)  2. Sfing
(6:24)  3. The Lost Foot
(7:28)  4. Jazz Pool
(5:50)  5. Slick Shift
(5:47)  6. Canuba
(6:49)  7. Hurry Up and Wait
(6:11)  8. Then and After

Since the release in 2010 of his Felix award winning album Sep7entrion, Alain Caron has been quite busy touring the world. For this new album Multiple Faces, his eighth solo album to date, the bassist, composer calls on the same core musicians that shined on Sep7entrion. The quartet is also joined by a brilliant five piece brass section on two cuts: Hurry Up & Wait & Sfing. Pierre Côté (guitars), John Roney (Keyboard) and Damien Schmitt (drums and percussions) who all took part in the Sep7entrion recordings travelled extensively with Alain, bringing with them a wide range of influences and colors which ultimately helped shape Multiple Faces. Recorded and filmed live in studio, Multiple Faces holds true to its name. Following in the footsteps of the preceding album, Multiple Faces is a step ahead in Alain’s musical evolution, largely inspired by his countless years of developing his artform, his visits around the world and his clear and an unrelenting desire to always look forward in jazz; you can hear these textures and cultures well fused in his vision of today’s modern Jazz. The compositions are sharp and passionate as are the breathtaking musical performances, arrangements and sound! The album regroups eight new titles that tacitly blend jazz, rock, funk even Classical with a world outview!  With his mastery of an exceedingly rare instrument the six-string bass Alain Caron has earned international status as an exceptional artist, and is the worthy recipient of the 2013 prestigious Oscar-Peterson Award. Named best electric bassist 8 years in a row by Jazz Report, winner of 11 Félix Awards and awarded an honorary doctorate by UQAR, the former member of legendary jazz fusion group UZEB has released over 20 albums and returns with his latest, Multiple Faces. Prepare for the peerless prowess of a poet of the bass guitar (FDJM). https://www.cdbaby.com/cd/alaincaron11

Personnel:  Alto Saxophone – Jean-Pierre Zanella );  Baritone Saxophone – Alexandre Côté;  Bass – Alain Caron;  Drums – Damien Schmitt;  Guitar – Pierre Côté;  Piano, Keyboards – John Roney;  Tenor Saxophone – David Bellemare;  Trumpet – Jocelyn Couture, Ron Di Lauro

Multiple Faces

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James Farrelli - Acoustic Eighties

Bitrate: MP3@320K/s
Time: 37:07
Size: 85.0 MB
Styles: Easy Listening
Year: 2016
Art: Front

[3:12] 1. Tarzan Boy
[3:44] 2. Eye In The Sky
[3:20] 3. Power Of Love
[4:10] 4. Africa
[4:02] 5. Take My Breath Away
[3:13] 6. Drive
[4:19] 7. Rebel Yell
[4:06] 8. Glory Of Love
[3:28] 9. It's A Sin
[3:30] 10. Stay The Night

James Farrelli, the artist owner of a gorgeous voice, who became famous taking part of the giant success Vintage Café present his solist album, developing in acoustic versions the greatest hits of 80s compositors such as Billy Idol, Zedd, Baltimora, The Alan Parsons Project, Huey Lewis and The News, Toto, Berlin, The Cars, Peter Cetera and Pet Shop Boys.

Acoustic Eighties

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Billy Taylor - One For Fun

Bitrate: MP3@320K/s
Time: 36:48
Size: 84.2 MB
Styles: Bop, Piano jazz
Year: 1959/2002
Art: Front

[3:45] 1. Summertime
[3:31] 2. One For Fun
[1:52] 3. That's For Sure
[4:23] 4. A Little Southside Soul
[5:06] 5. Blue Moon
[4:25] 6. Makin' Whoopee
[5:30] 7. Poiniana
[3:31] 8. At Long Last Love
[4:41] 9. When Lights Are Low

Bass – Earl May; Drums – Kenny Dennis; Piano – Billy Taylor; Recorded in NYC, June 24, 1959.

Billy Taylor's touch at the piano is supple, stylish, and elegant. It was cultivated in the New York City bop scene of the 1940s, where Taylor played in combos led by Gerry Mulligan, Lee Konitz, Dizzy Gillespie, Oscar Pettiford, and others. Taylor's bebop heart and mind are happily at work throughout this 75-minute CD of upbeat, swinging music that brings together two LPs made up of three distinct sessions. Throughout, Taylor's sophisticated ease of execution, his rich musical imagination, and the strong support of his sidemen make this a classy and satisfying compilation. Seven of the tracks for The Billy Taylor Touch were recorded with Taylor's first regular trio in 1951. On these, Taylor, bassist Earl May, and drummer Ed Thigpen are joined by the fine guitarist John Collins, a rhythm specialist who gives the music much of its personality. Collins would make a similar contribution later in the '50s with the Nat "King" Cole trio. There are also four tracks from a 1958 session, again with Taylor joined by May and Thigpen. On One for Fun from 1960, May is back on bass, this time with Kenny Denis on drums. The set has a more contemporary feel than the earlier tracks and features three Taylor originals, including the cool, yet cooking, "A Little Southside Soul." Among the standout tracks, the Rogers and Hart classic "Blue Moon" is transformed by Taylor and company into a vehicle for some of the CD's best solo and group work. ~Jim Todd

One For Fun

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Jan Findlay - Old Devil Moon

Bitrate: MP3@320K/s
Time: 49:30
Size: 113.4 MB
Styles: Vocal jazz
Year: 2006
Art: Front

[3:15] 1. Old Devil Moon
[3:15] 2. Lover Man
[2:34] 3. Love Is Here To Stay
[5:47] 4. Black Coffee
[4:11] 5. My Funny Valentine
[3:01] 6. Whisper Not
[4:17] 7. Born To Be Blue
[4:00] 8. Autumn Leaves
[3:58] 9. More Than You Know
[3:16] 10. Night Life
[4:09] 11. Prelude To A Kiss
[2:23] 12. Let's Fall In Love
[5:18] 13. What Are You Doing The Rest Of Your Life

Accompanied by the incomparable Jay D'Amico on the piano, Jan Findlay emerges as a superior and versatile talent in the world of jazz vocalists. Recorded at the famed Sony Music Studios in Manhattan, Jan is backed up by bassist Greg D'Amico and drummer Vinnie Favata. Sitting in on selected songs are the acclaimed Frank Vicari on sax and Danny Hayes on trumpet.

Old Devil Moon

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Woody Mann, Charley Krachy - Conversations

Bitrate: MP3@320K/s
Time: 45:02
Size: 103.1 MB
Styles: Blues-jazz
Year: 2017
Art: Front

[3:09] 1. It's You Or No One
[3:44] 2. Night Shadows
[3:05] 3. Pound Cake
[6:38] 4. Subconscious-Lee
[4:01] 5. Kary's Trance
[5:47] 6. She's Funny
[4:23] 7. Blues Bounce
[4:38] 8. 317 E. 32nd St
[5:03] 9. You'd Be So Nice To Come To
[4:30] 10. A Night In Tbilisi

Charley: I can't remember where or when I met Woody. Seems like I've always known him. Sometime around the late 90’s Woody had a gig at the Cupping Room, way downtown. He asked me to play one night; it was an ideal kind of gig. We just sat in a corner midway between the bar and the dining room and let the duo happen. Playing with Woody is an adventure! We never know where the music is going to go until the moment it happens. The same tune can be a fiery expression of high energy or a tender expression of deep feeling, but always in the moment and each instrument supporting and challenging the other. I’m honored to be playing with Woody, a truly “World Class” Musician. I dedicate this music to Connie Crothers, my friend, my teacher.

Woody: It's really a thrill to be in a musical conversation with Charley. It's a rare privilege to be play with such a great artist who just let's to music go where it does. Trust guides the conversation and we discover what we have to say in the moment. Wow. Maybe our jazz mentors Lennie Tristano and Connie Crothers gave us a shared sensibility and some common musical roots to jump off from. Lennie used to say "Jazz is not a style, it's a feeling". And in the end it's about communication - with each other - and hopefully with you.

Conversations

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Lee Morgan - The Best Of Lee Morgan

Bitrate: MP3@320K/s
Time: 72:46
Size: 166.6 MB
Styles: Bop, Trumpet jazz
Year: 1988
Art: Front

[ 6:25] 1. Ceora
[10:24] 2. The Sidewinder
[ 5:32] 3. Speedball
[ 9:26] 4. A Night In Tunisia
[ 5:36] 5. Since I Fell For You
[10:28] 6. The Rumproller
[ 7:06] 7. I Remember Clifford
[ 8:46] 8. Mr. Kenyatta
[ 8:59] 9. Cornbread

Alto Saxophone – Gigi Gryce (tracks: 7), Jackie McLean (tracks: 9); Baritone Saxophone – Pepper Adams (tracks: 4); Bass – Bob Cranshaw (tracks: 2, 3), Butch Warren (tracks: 8), Doug Watkins (tracks: 5), Larry Ridley (tracks: 1, 9), Paul Chambers (3) (tracks: 4, 7), Victor Sproles (tracks: 6); Drums – "Philly" Joe Jones (tracks: 4), Art Taylor (tracks: 5), Billy Higgins (tracks: 1 to 3, 6, 8, 9), Charlie Persip (tracks: 7); Guitar – Grant Green (tracks: 8); Piano – Barry Harris (2) (tracks: 2), Bobby Timmons (tracks: 4), Harold Mabern Jr. (tracks: 3), Herbie Hancock (tracks: 1, 8, 9), Ronnie Mathews (tracks: 6), Sonny Clark (tracks: 5), Wynton Kelly (tracks: 7); Tenor Saxophone – Benny Golson (tracks: 7), Hank Mobley (tracks: 1, 9), Joe Henderson (tracks: 2, 6), Wayne Shorter (tracks: 3, 8); Trumpet – Lee Morgan.

Curious listeners who encounter Lee Morgan for the first time through this single-disc anthology will come away mightily impressed, even inspired, but they will be hearing only the first part of the story. The album picks up on his teenage whiz kid days circa 1957, then jumps ahead to his renaissance in 1963-1965 as the high priest of hard bop boogaloo. Besides showcasing Morgan's brash, crackling, infinitely expressive trumpet playing, the album does a good job of emphasizing his abundant, still-underrated gifts as a composer -- with "The Sidewinder," of course, but also the strikingly lovely bossa nova "Ceora" and the near standard "Speedball." With its three bonus tracks, "I Remember Clifford," "Cornbread," and especially "Mr. Kenyatta," the CD version adds compelling corroborating evidence of Morgan's originality. The major hang-up, alas, is that the album cuts off the time line at 1965, thus leaving out Morgan's gradual move away from boilerplate hard bop toward modal, progressive explorations that reached an exciting peak on 1970's Live at the Lighthouse. The selections included here will no doubt satisfy those who would want to keep this tremendous talent locked into a single airtight box -- and frankly, it would be difficult to dispute any of the choices on their own terms. But the rest of Morgan's tragically aborted evolution deserves representation on a set like this. ~Richard S. Ginnell

The Best Of Lee Morgan

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Carmen Lundy - Something to Believe In

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 46:58
Size: 108,0 MB
Art: Front

(4:16)  1. In Love Again
(5:52)  2. Something to Believe In
(5:23)  3. Windmills of Your Mind
(2:53)  4. Happiness Is
(4:07)  5. Wild Child
(7:31)  6. I Loves You Porgy
(5:35)  7. Vu Ja De
(2:32)  8. A Gift of Love
(5:17)  9. It Might as Well Be Spring
(3:28) 10. Moody's Mood for Love

Something to Believe In could and should be the breakout album for veteran opera-trained vocalist Carmen Lundy. This is not to imply that Ms. Lundy doesn’t already possess a large group of devoted admirers, but this disc will go a long way to solidify her position as one of the finest jazz singers performing today; whether singing her own compositions, or bringing new interpretation and meaning to a standard tune, Lundy is hard not to believe in. Coincidentally all the songs here are about love. The title track, written by Lundy and Rich Meitin, is a sensual duet between her and Anthony Wonsey on piano. It’s a relaxed, slow-paced song whose melody sticks to you for a long time after the song ends. Wonsey knows when to take center stage and when to accentuate Lundy’s impeccable phrasing. On Lundy’s interpretation of the Michael Legrand classic "Windmills of Your Mind," a personal favorite, the vocalist is joined by Wonsey, drummer Victor Lewis, bassist Curtis Lundy, percussionist Mayra Casales, and violinist Regina Carter but unfortunately on just two others. Contributing gypsy-like floating phrases that sound like an elusive wind rushing round and round and round, Carter kicks a fast-paced rendition of "Windmills of Your Mind" up several levels.  Saxophonist Mark Shim blows tenor and soprano on four songs: the classic Gershwin tune "I Loves You Porgy"; an up-tempo Lundy original, "Vu Ja De"; "Wild Child"; and the opener, "In Love Again," another Ms. Lundy composition. Something to Believe In is immediately likeable, a quality that only expands through repeated listenings. ~ Rich Friedman https://www.allaboutjazz.com/something-to-believe-in-carmen-lundy-review-by-rich-friedman.php
 

Personnel: Carmen Lundy: Vocals, Percussion; Curtis Lundy: Bass Myra Casales: Percussion, Background Vocals; Anthony Wonsey: Piano, Fender Rhodes; Regina Carter: Violin; Victor Lewis: Drums; Mark Shim: Soprano and Tenor Saxophones.

Something to Believe In

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Kenny Drew - The Falling Leaves

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 66:47
Size: 153,3 MB
Art: Front

(11:18)  1. The Falling Leaves
( 8:47)  2. Stella By Starlight
(13:20)  3. All Blues
(12:17)  4. Django
(11:38)  5. In Your Own Sweet Way
( 9:23)  6. Blues

Kenny Drew's trio was clearly cooking on all burners during this concert in Zagreb. With bassist George Mraz and drummer Lewis Nash, the fine post-bop pianist stretches out in his exploration of five standards, including the misidentified title track, which is actually "Autumn Leaves." His workout of "All Blues" may be on of the longest in history by a trio, but there's never a dull moment. He kicks into high gear adding contrasting lines to Dave Brubeck's "In Your Own Sweet Way." Highly recommended. ~ Ken Dryden http://www.allmusic.com/album/falling-leaves-mw0000914763

Personnel:  Kenny Drew – piano;  Lewis Nash – drums;  George Mraz - bass

The Falling Leaves

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Steve Bailey - So Low...Solo

Styles: Jazz Contemporary
Year: 2007
File: MP3@320K/s
Time: 51:17
Size: 120,9 MB
Art: Front

(4:53)  1. Waltz For Leeann
(3:19)  2. Rhum Bar
(4:24)  3. Last Train Home
(3:57)  4. Scrapple From The Apple
(3:37)  5. Calm Before The Storm
(3:51)  6. Sea Major
(4:43)  7. Blink
(4:03)  8. Sir Paul
(5:38)  9. Bombz Over Baghdad
(3:34) 10. Ella's Boogie
(4:14) 11. Majestic March
(4:58) 12. Mom's Melody

According to Bass Player Magazine, "Steve Bailey is to the 6 string fretless bass what Christopher Columbus was to America". You may have heard Steve with Dizzy Gillespie... or the Rippingtons.... or Larry Carlton.....or Kitaro... or Willie Nelson... or Jethro Tull...or.......... well, the list goes on.  Through the 80's and 90's Steve could be heard on a variety of recordings, from movie soundtracks to TV commercials. He toured and recorded with a variety of Artists, playing Jazz, Rock, Country, New Age,... whatever!  All of these divergent elements can be heard in his unique solo style. Teaming up with Victor Wooten (probably the most influential bassist of the decade) in 1993, they formed Bass Extremes, a cutting edge Bass-Duo that has released critically acclaimed cd's and dvd's for the last 14 years. So Low.... Solo, will offer the listener a new perspective on bass playing. Completely without "stacked tracks" or overdubs, Steve teams with legendary hand drummer Robert Thomas Jr. (of Weather Report fame) and creates a duo that can sound like an orchestra. Steve's innovative artificial harmonic techniques, chordal voicings, and multi-timbre polyphonic pyrotechnics combine to make a very listenable, soothing, musical experience. 

Victor Wooten says it best on the cd cover...  "So Low...........Solo, the new CD from Steve Bailey, is finally here. The sound he produces from his six string fretless bass is so beautiful and unique that I have been asking him (pressuring him to be exact) to record this music for years. Your ear will tell you that there is no way he could have produced all of this music with one bass and no overdubs (I know that he did,) but the smile of your soul will tell you that it doesn't matter." https://www.cdbaby.com/cd/baileysteve

Personnel:  Steve Bailey- bass;  Robert Thomas Jr., Arlin Strader – drums.

So Low...Solo

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Alain Caron - Conversations

Styles: Jazz Funk, Soul 
Year: 2007
File: MP3@320K/s
Time: 75:05
Size: 172,3 MB
Art: Front

(5:35)  1. No Pick
(6:15)  2. Ivoire
(7:05)  3. Questions
(4:26)  4. Blue Screen
(6:02)  5. Val C
(7:01)  6. X Tensions
(8:55)  7. Solitude
(7:30)  8. Strings of Spring
(3:47)  9. Confirmation
(6:56) 10. Scrapper
(4:24) 11. Baby Step
(7:02) 12. Setembro (Brazilian Wedding Song)

Canadian bassist Alain Caron is best-known as the former member of collaborative 1980s fusion group UZEB and his own projects as a leader since that time, including the house beats-meets-ambient electronica-meets-contemporary fusion of 5 (BHM, 2005) and the concert DVD Alain Caron Live: Cabaret de Montréal (Norac, 2006). Still, digging into his past it becomes clear that Caron's reach has always been broader. As capable with acoustic bass as he is the fretless electric variety, Caron spent considerable time in his early years working in mainstream contexts, making Conversations a completely logical addition to his discography.  The intimacy and conversational nature of the acoustic duet is the foundation for Caron's disc, which teams him with other Canadian artists with whom he's intersected over the years including pianists Lorraine Desmarais, François Bourassa and Oliver Jones, as well as vibraphonist and one-time UZEB member Jean St-Jacques. Caron also welcomes Venezuelan-born pianist Otmaro Ruiz, with whom he collaborated on another fusioner's all-acoustic tangent, guitarist Frank Gambale's Natural High (Wombat, 2006). The dozen tracks all but two composed by Caron range from the elegant swing of Charlie Parker's "Confirmation, with St-Jacques proving he's as widely versed and bebop-capable as Caron, to "Scrapper, a more fiery original from Caron that, paired with Canadian icon Oliver Jones, is the perfect follow-up to Parker's often-covered classic. 

Elsewhere, Caron's predilection for the lyrical is heard on the melancholic "Ivoire, where his acoustic bass guitar fronts the theme before handing it off to Ruiz. There's no lack of virtuosity from everyone involved but here, as on the Latin-esque "Questions, featuring Bourassa, it's about the music and the essence of melody. Still, there's complexity to be found on songs like the 5/4 theme of "Blue Screen, another feature for Bourassa that's ultimately an up-tempo blues, and the idiosyncratic intro to "X Tensions that ultimately turns into a gentler dialogue between Caron and Desmarais. Despite the undeniably strong playing throughout, just as important here are Caron's writing, which manages to feel both familiar and fresh at the same time, and the deep level of interaction and simpatico he shares with every one of his guests. There are no highlights to be found because to identify any would be to diminish everything else. Conversations is a consistently captivating listen from start to finish, and an album that deserves to place all the artists involved on the radar of listeners outside of Canada, but especially Caron who, while enjoying some international acclaim (especially in Europe), clearly deserves to be a better-known name south of the border—and not just to fans of high energy fusion. ~ John Kelman https://www.allaboutjazz.com/conversations-alain-caron-norac-records-review-by-john-kelman.php

Personnel: Alain Caron: bass;  Lorraine Desmarais, François Bourassa, Oliver Jones, Otmaro Ruiz: piano;  Jean St-Jacques: Vibraphone

Conversations

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Count Basie - Kansas City Shout

Bitrate: MP3@320K/s

Time: 42:02

Size: 96.2 MB

Styles: Swing, Piano blues

Year: 1980/1995

Art: Front

[3:40] 1. Just A Dream On My Mind

[5:57] 2. Blues For Joe Turner

[4:05] 3. Blues For Joel

[4:02] 4. Everyday I Have The Blues

[2:56] 5. Blues Au Four

[3:27] 6. My Jug And I

[4:08] 7. Cherry Red

[3:49] 8. Apollo Daze

[3:19] 9. Standing On The Corner

[3:34] 10. Stormy Monday

[3:00] 11. Signifying

Bass – Duffy Jackson; Guitar – Freddie Green; Piano – Count Basie; Saxophone – Bobby Plater, Danny Turner, Eric Dixon, Johnny Williams, Kenny Hing; Trombone – Bill Hughes, Mitchell 'Bootie' Wood, Dennis Rowland, Dennis Wilson, Grover Mitchell; Trumpet – Dale Carley, David Stahl, Pete Minger, Sonny Cohn; Vocals – Joe Turner (tracks: 2, 4, 10); Vocals, Alto Saxophone – Eddie "Cleanhead" Vinson (tracks: 1, 6, 7). Recorded in Hollywood, CA, April 7, 1980.

This session from 1980 helps to recreate the atmosphere of '30s Kansas City. Featured are the great blues singer Joe Turner and the strong singer and altoist Eddie "Cleanhead" Vinson, along with the Count Basie Orchestra. "Just a Dream," "Everyday I Have the Blues," "Cherry Red" and "Stormy Monday" receive very spirited renditions, as do some newer blues. Since all of the principals are no longer with us, Norman Granz deserves special thanks for organizing this special session. ~Scott Yanow

Kansas City Shout

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Toni Harper - Toni Harper With The Oscar Peterson Quartet

Bitrate: MP3@320K/s

Time: 64:52

Size: 148.5 MB

Styles: Jazz vocals

Year: 2012

Art: Front

[3:30] 1. Can't We Be Friends

[2:39] 2. I Could Write A Book

[2:24] 3. Gone With The Wind

[2:54] 4. Singin' In The Rain

[5:37] 5. Love For Sale

[3:26] 6. Just A-Sittin' And A-Rockin'

[3:05] 7. A Foggy Day

[2:38] 8. You Don't Know What Love Is

[4:23] 9. Bewitched, Bothered And Bewildered

[3:28] 10. Little Girl Blue

[2:42] 11. You Took Advantage Of Me

[4:26] 12. Like Someone In Love

[2:13] 13. Taking A Chance On Love

[2:56] 14. Play Me The Blues

[2:47] 15. Love Is A Wonderful Thing

[2:46] 16. I Telephoned, I Telegraphed

[2:46] 17. We've Got To Live, Got To Grow

[3:01] 18. My Memory Book

[1:44] 19. Them There Eyes

[2:19] 20. Bewitched (Bothered And Bewildered)

[2:57] 21. Petals On The Pond

Toni harper (vcl), Oscar Peterson (p), Herb Ellis (g), Ray Brown (b), Alvin Stoller (d) / Dizzy Gillespie, Harry Edison (tp), Melba Liston (tb), Willie Smith (as),Curtis Amy (ts), Clyde Dunn (bar), Eddie Beal (p), George Bledsoe (b), Albert Bartee (d).

In 1956, when Toni Harper was just eighteen years old, she made her first album for Norman Granzs Verve, the label he had started earlier that year. For her debut Harper, who had already made an impact as an almostbaby singer, was backed by none other than Oscar Peterson, Herb Ellis, Ray Brown, and Alvin Stoller. On display were all the traits that had made her a success: a good voice, a knack for swing, and brilliant intonation. She had traces of Sarah Vaughan in her singing, without ever becoming derivative or getting stuck in any one style. All I want now, she said, is to become a good, versatile singer. To underline that, this fine release also includes two recordings she did with Dizzy Gillespie, four tunes issued on two singles with an orchestra under the direction of Buddy Bregman; two tracks from her appearance on the TV show Stars of Jazz, and one last song arranged and conducted by Marty Paich - a handful of great performances by an outstanding singer.

Toni Harper With The Oscar Peterson Quartet

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Laurindo Almeida & Bud Shank - Brazilliance Complete Sessions

Bitrate: MP3@320K/s
Time: 76:54
Size: 176.1 MB
Styles: Latin jazz
Year: 2001
Art: Front

[2:47] 1. Atãbaque
[3:41] 2. Rio Rhapsody
[2:57] 3. Simpatico
[4:06] 4. Mood Antigua
[3:17] 5. Blue Baião
[3:32] 6. Nocturno
[3:00] 7. Stairway To The Stars
[3:10] 8. Terra Sêca
[2:19] 9. Speak Low
[3:01] 10. Acertate Mas
[3:01] 11. Nonô
[3:09] 12. Carioca Hills
[4:44] 13. Tocata
[2:55] 14. Amor Flamengo
[2:41] 15. Little Girl Blue
[3:33] 16. Carinhoso
[2:51] 17. I Didn't Know What Time It Was
[4:37] 18. Noctambulism
[3:00] 19. Baa-Too-Kee
[2:33] 20. Choro In A
[2:47] 21. Hazardous
[2:02] 22. The Color Of Her Hair
[3:55] 23. Lonely
[3:02] 24. Inquietaçao

Alto Saxophone – Bud Shank; Bass – Harry Babasin; Drums – Roy Harte; Guitar – Laurindo Almeida.

Laurindo Almeida (born September 2, 1917, São Paulo, Brazil–died July 26, 1995, Van Nuys, California) was a Brazilian classical guitarist. Prior to being invited to the United States in 1947 by Stan Kenton, Laurindo Almeida played guitar in Rio De Janeiro where he was known for his classical Spanish guitar playing. He joined Kenton's band during the height of its success in the 1940s, then was employed as a studio musician. In 1953 he recorded, with Bud Shank, two albums called Brazilliance for the World Pacific label. He also recorded with Stan Getz and Herbie Mann, among others, and recorded for film and television.

Clifford Everett "Bud" Shank, Jr. (May 27, 1926 – April 2, 2009) was an American alto saxophonist and flautist. He rose to prominence in the early 1950s playing lead alto and flute in Stan Kenton's Innovations in Modern Music Orchestra and throughout the decade worked in various small jazz combos. He spent the 1960s as a first-call studio musician in Hollywood. In the 1970s and 1980s he performed regularly with the L. A. Four. Shank ultimately abandoned the flute to focus exclusively on playing jazz on the alto saxophone. He also recorded on tenor and baritone sax. He is also well known for the alto flute solo on the song "California Dreamin'" recorded by The Mamas & the Papas in 1965.

Brazilliance Complete Sessions

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Wayne Wilkinson - Full Circle

Bitrate: MP3@320K/s
Time: 52:07
Size: 119.3 MB
Styles: Guitar jazz
Year: 2007
Art: Front

[3:34] 1. Swingin'
[4:36] 2. Martino's Waltz
[5:34] 3. Lament
[4:56] 4. Change The World
[6:49] 5. The Heritage
[4:26] 6. Full Circle
[4:18] 7. Speak Low
[6:22] 8. Here We Go Again
[5:23] 9. So Many Stars
[6:03] 10. Sleepwalk

Wayne Wilkinson, a Benedetto guitar artist, has performed and toured across the country and internationally for over four decades. Throughout his career, Wayne has been fortunate to share the stage with iconic jazz musicians and world class performers. As the guitarist for the premieier Air Force Jazz Ensembles "The Airmen of Note" in Washington, jD.C. and the "Falconaires" in Colorado Springs, Colorado, Wayne performed for Presidents and other dignitaires at venues including the White House and Carnegie Hall as well as major jazz and music festivals.

Wayne is a headliner guitarist playing high octane stratight ahead jazz, traditional classics from the great American songbook, innovative bebop jazz and original compositions. His Texas roots are recognizable with a hint of western swing infused in his performances.

Full Circle

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Herb Alpert & The Tijuana Brass - The Brass Are Comin'

Bitrate: MP3@320K/s
Time: 32:58
Size: 75.5 MB
Styles: Easy Listening, Jazz-pop
Year: 1969/2016
Art: Front

[2:06] 1. The Brass Are Comin' (The Little Train Of Caipira)
[2:37] 2. Good Morning, Mr. Sunshine
[2:57] 3. Country Lake
[3:16] 4. I'll Be Back
[2:54] 5. Moon River
[2:15] 6. The Maltese Melody
[3:09] 7. Sunny
[2:38] 8. I'm An Old Cowhand (From The Rio Grande)
[2:38] 9. Anna
[2:15] 10. Robbers And Cops
[2:44] 11. Moments
[3:24] 12. You Are My Life

The Western motif on the double-fold album jacket -- with Herb Alpert and the Tijuana Brass in costume -- signals this as another companion album to a TV special. But there is a deeper significance to this LP, for shortly after its release, a burned-out, personally troubled Alpert disbanded the Brass and retired from music for awhile. Indeed, stretches of this record reveal a tired group and a leader whose trumpet has lost much of its old zip. Even so, as on all TJB albums, there are several gems -- the stunning shifts in texture and tempo that enliven the worn-out "Moon River," the chugging bluegrass-tinged arrangement of Villa-Lobos' "The Little Train of the Caipira" that masquerades under the name of the title track, a haunting rendition of the Beatles' "I'll Be Back," the fast samba treatment of "Anna." Dave Grusin and Shorty Rogers contribute an occasional orchestration, and Alpert does a modest vocal turn on the lush "You Are My Life." But this time, the old sales magic was gone; the Tijuana Brass had suddenly become unhip in polarized 1969. ~Richard S. Ginnell

The Brass Are Comin'

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The Wynton Kelly Trio - Full View

Bitrate: MP3@320K/s
Time: 36:30
Size: 83.6 MB
Styles: Bop, Piano jazz
Year: 1967/1996
Art: Front

[4:43] 1. I Want A Little Girl
[4:53] 2. I Thought
[4:49] 3. What A Diff'rence A Day Made
[3:53] 4. Autumn Leaves
[4:27] 5. Dontcha Hear Me Callin To Ya
[3:14] 6. On A Clear Day (You Can See Forever)
[3:03] 7. Scufflin'
[4:08] 8. Born To Be Blue
[3:16] 9. Walk On By

Bass – Ron McClure; Drums – Jimmy Cobb; Piano – Wynton Kelly. Recorded at Plaza Sound Studios (New York City), Sept., 1966.

Pianist Wynton Kelly's next-to-last set as a leader (he would record a slightly later date for Delmark) featured him at a time when his influence was waning and he was overshadowed by more advanced players. However, Kelly's impact would begin to grow again after his death, when the Young Lions movement began in the early '80s; certainly pianist Benny Green was greatly touched by Kelly's conception. This Milestone trio set, reissued on CD, matches Kelly with bassist Ron McClure and drummer Jimmy Cobb on a fine program mostly filled with standards but also including the then-recent Burt Bacharach hit "Walk on By" and Kelly's original "Scufflin'." ~Scott Yanow

Full View

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Cynthia Crane - Blue Rendezvous

Styles: Vocal  
Year: 1995
File: MP3@320K/s
Time: 66:17
Size: 152,8 MB
Art: Front

(5:08)  1. Blue Rendezvous
(4:45)  2. The Night We Called It a Day
(4:24)  3. If You Could See Me Now
(4:53)  4. Music Maestro Please
(6:07)  5. You Don't Know What Love Is
(3:21)  6. Azure-té
(5:05)  7. I'm Gonna Laugh You Right Out of My Life
(5:21)  8. Born to Be Blue
(4:30)  9. You Would Rather Have the Blues
(5:37) 10. Ill Wind
(4:19) 11. New Shade of Blues
(4:22) 12. I Don't Want to Cry Anymore
(5:27) 13. Serenade in Blue
(2:52) 14. Hey Look, No Cryin'

Originally on Lookout and then reissued in 2000 on the Original Cast label, this session discloses Cynthia Crane's affinity for songs associated with smoky bistros; those blues dripping songs which are the stock in trade of a tried and true chantuese. Crane is a female counterpart of Frank Sinatra's image of a saloon singer, bursting with those qualities essential for singers who enter this musical arena. First and foremost, she (or he) has to be well tuned in to the story and events described by the lyrics to transport them to the listener. The voice also has to have the drama these songs demand. Dashes of nostalgia and regret always help. Crane has these qualities and touches all these bases on this CD. With her deep voice, on the mark diction, an excellent feel for timing, and the ability to pause for effect, she displays these qualities with perfection. Helping to pull off this emotional adventure are some of the best session musicians New York City has to offer. First and foremost is her regular piano player, Mike Renzi. Others helping out include the Leonharts on such cuts as "If You Could See Me Now," Jay on bass and Michael on trumpet. Bill Easley adds his soulful sax on four cuts, and is especially telling on "Blue Champagne." This CD is more than an hour of music that one would expect to hear in a darkly lit bar at 2:00 in the morning, or maybe in one of those all-night dance emporiums of yore by musicians with cigarettes dangling from their lips and half-filled glasses at the ready. No matter, Crane is a fine performer and her album of melancholy music is recommended. ~ Dave Nathan http://www.allmusic.com/album/blue-rendezvous-mw0000174646

Personnel: Cynthia Crane (vocals); Jay Berliner (guitar); Bill Easley (woodwinds); Michael Leonhart (trumpet); Wayne Andre (trombone); Mike Renzi (piano); Warren Chiasson (vibraphone); Ronald Zito (drums).

Blue Rendezvous

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Horace Parlan - The Maestro

Styles: Piano Jazz
Year: 1979
File: MP3@256K/s
Time: 50:03
Size: 91,8 MB
Art: Front

(5:40)  1. Ruby, My Dear
(6:31)  2. Spring Is Here
(6:02)  3. A Flower Is a Lovesome Thing
(5:15)  4. Peace
(8:17)  5. The Maestro
(5:13)  6. Nardis
(6:20)  7. Alone Together
(6:42)  8. Ill Wind

This is the second volume of Parlan’s solo recording (earlier release Sccd 31141 “Musically Yours ”). Horace Parlan (b. January 19, 1931 in Pittsburgh) after suffering from polio as child learned to play piano as a therapeutic means and developed a strong left hand technique which became his trade-mark as professional musician.  “… Horace Parlan performs here 8 titles each one of which is a grand moment of jazz history …” (Midi-Libre)

Personnel:  Horace Parlan – Piano Solo.

The Maestro

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Kidd Jordan - On Fire

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 50:10
Size: 115,9 MB
Art: Front

(13:55)  1. Officer, that Big Knife Cuts My Sax Reeds
(17:03)  2. The Evil Eye
(13:52)  3. We Are All Indebted to Each Other
( 5:18)  4. Harrison Carries the Coffin Out

Incendiary similes have always proven popular as descriptors of free jazz. Indeed, "Fire Music," has been used as a label for the whole genre. New Orleans-based saxophonist Kidd Jordan's 2006 outing, the superb Palm of Soul (AUM Fidelity), essayed a meditative calm, music which couldn't be more different from the accurately named 50-minute studio session On Fire. While bassist Harrison Bankhead and drummer Rocker Warren Smith would be eminently suited to a contemplative, even melodically inclined date, here they too pursue more rough-hewn ends. As customary for Jordan, each cut is spontaneously created, relying on the participants' quick wits and instincts honed over 55 plus years of activity in not only avant jazz, but also, as in the case of Jordan, stints backing R&B royalty like Ray Charles, Aretha Franklin and Stevie Wonder. Jordan's signature falsetto wail an uncompromising but deeply felt sound permeates each track although the resultant blowing is more than one- dimensional. He spikes his unbridled expression with insistent riffs or reflective codas, around which his colleagues rally and create emphatic conclusions. On "We Are All Indebted To Each Other," the combination of both approaches, with a beautiful luminous tone, makes for a strikingly affecting conclusion. Smith's artistry is orchestral in scope, demonstrating mastery of timbre and rhythm. He effects an inspiring change of pace when he switches to shimmering vibes. Bankhead deploys a deep buzzing thrum, like a hive of bees, best heard in an extended flickering feature towards the end of "The Evil Eye," when he evokes flamenco stylings. He gets a name check all his own on the soulful "Harrison Carries Out the Coffin" where he accompanies another fleet-fingered solo with a melodic hum, leading to a richly bluesy Second Line finale. Jordan and his band burn brightly, their blend of joyous abandon and searing intensity prove hard to beat. ~ John Sharpe https://www.allaboutjazz.com/on-fire-kidd-jordan-engine-review-by-john-sharpe.php

Personnel: Kidd Jordan: tenor saxophone; Harrison Bankhead: bass; Warren Smith: drums, vibraphone.

On Fire

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