Ron Levy's Wild Kingdom - Funky Fiesta!

Bitrate: MP3@320K/s
Time: 65:04
Size: 149.0 MB
Styles: B-3 Organ Funk/Jazz/Blues
Year: 2012
Art: Front

[6:46] 1. Bunga Bunga Akimbo
[5:25] 2. Rebbe Of Rhythm
[6:19] 3. Back In The Back
[5:30] 4. Badd Mannish Boyz
[5:34] 5. Street Beats
[5:42] 6. Saxy Girl
[6:13] 7. Hittin' It Hard & Sweet
[6:10] 8. Phunky Memories
[5:53] 9. Sunny Sunday
[6:19] 10. Funky Fiesta
[5:09] 11. Someday

Ron Levy's Wild Kingdom grooveliciously combines, works, plays in, stretches out, distorts, harmonizes and reflects the familiar and exotic, the smooth and toxic, the dynamic ups and the downs, the known and unknown boundaries of Blues and Jazz, Latin and Gospel, Hip-Hop and free style feelings into a unique musical gumbo, exciting young hip club and college audiences as well as the older veteran Blues and Jazz aficionados everywhere across the globe.

Levy, a steady 40+ year veteran of every cool scene to be seen, whether it be with Albert King, B.B. King, Roomful of Blues, Luther 'Guitar Jr' Johnson or Karl Denson and as organist, pianist, composer, arranger, sideman or soloist, producer and A&R man of over 200 recording projects of traditional and contemporary Blues, R&B, Jazz, Gospel, and real deal, hardcore music from New Orleans, Memphis, NYC, West Coast, Texas and beyond, has garnered many awards and nine Grammy nominations. His original compositions and recordings have been used on every television network and over a dozen films.

He has culminated and organized his musical/magical know-how and formed an elite group of top musicians, Ron Levy's Wild Kingdom. He's currently performing on side projects with the up-and-coming Blues guitarist and singer Barrett Anderson [along with Per Hanson], 2013 winners for 'Best Blues Band' at the Boston Music Awards, SPANK! [with Fuzz and Eric Kalb of Deep Banana Blackout] and Philip Pemberton, the current lead singer with Roomful of Blues. Levy and Pemberton were just inducted into the Rhode Island Music Hall of Fame. [Ron is in New Hampshire's HOF too!] Levy is currently teaching Hammond organ and music theory in the Boston area and around the world via Skype as well.

Funky Fiesta!

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Cassandra Wilson - Sings Standards

Bitrate: MP3@320K/s
Time: 58:53
Size: 134.8 MB
Styles: Jazz vocals
Year: 2002
Art: Front

[ 5:42] 1. Polka Dots And Moonbeams
[ 3:31] 2. I Wished On The Moon
[ 5:54] 3. 'round Midnight
[ 4:35] 4. Angel
[ 5:13] 5. I've Grown Accustomed To His Face
[ 6:28] 6. Chelsea Bridge
[ 3:02] 7. I'm Old Fashioned
[ 6:34] 8. Baubles, Bangles And Beads
[ 3:04] 9. Blue Skies
[ 4:06] 10. Blue In Green
[10:39] 11. Body And Soul

Cassandra Wilson is ostensibly a jazz singer, but more often than not crosses the creative line between folk, pop, and jazz. This collection of previously released tracks features Wilson on various jazz standards giving one a nice view of Wilson as simply a jazz vocalist. While this is in no way a "must have" for fans of the much lauded singer, it is a nice place for jazz aficionados to begin listening to this singular artist. ~Matt Collar

Sings Standards

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Johnny Griffin - Johnny Griffin & The Great Danes

Bitrate: MP3@320K/s
Time: 69:10
Size: 158.3 MB
Styles: Saxophone jazz
Year: 2003
Art: Front

[12:02] 1. Just Friends
[13:30] 2. All The Things You Are
[15:59] 3. When We Were One
[12:44] 4. Blues Up And Down
[ 5:27] 5. Body And Soul
[ 9:26] 6. Rhythm-A-Ning

Johnny Griffin- tenor saxophone; Jesper Thilo- tenor saxophone; Thomas Clausen- piano; Mads Vinding- bass; Alex Reil- drums. Recorded: July 17, 1996.

For the better part of four decades, Northern Europe has been something of a second home to Johnny Griffin. Following the lead of his peers, the saxophonist immigrated to Paris in the early '60s and later moved to the Netherlands in the early '70s. The life of the expatriate jazz musician has been his preferred lot ever since. For these reasons and for the simple love of the music, this pairing with a Danish quartet makes perfect sense. Griff is one of the elder veterans of that one time jazz staple, the cutting contest, and has the scars to prove it. His quoted comments in the disc’s notes surprisingly reveal his distaste for the once-popular custom. Sharing the frontline with Thilo, these combative memories are relegated to the past and the pair seeks instead to achieve a relationship akin to the one Griff shared with his longtime friend and band mate Eddie “Lockjaw” Davis. Any sparring is done with good humor and in support the momentum of the pieces, all of which are longstanding tried and true blowing vehicles. Griff may rank as the resident living legend, but Thilo largely holds his own.

“Just Friends” kicks things off in fine roughshod fettle with both tenors galloping at full speed before Thilo takes the lead and devours a long string of choruses. Around him Clausen comps brightly while Vinding speed walks on fat amplified strings and Riel’s sticks work his skins into a frothy lather. Griffin sidles up on heels the heels of his partner, annexing his share of improvised stanzas at a slightly less boisterous stride and quoting freely from other melodies along the way. Clausen’s ivories take the third solo spot and stretch out with rhapsodic flourishes. Soon after Riel’s drums engage in a series of agile breaks with the phrase-trading horns and the inevitable end arrives. “All the Things You Are,” a long-time favorite of Griff’s, bounces along on Vinding’s corpulent bass line. Thilo is again first out of the gate and a lithesome statement from Caulsen separates his loquacious sortie from Griff’s more measured and smoothly melodic jaunt through the changes. Rounding the tune out with another row of volleys with Riel the horns again engage in spirited chases.

The band checks their rambunctious urges at the stage side for the slow romance of Griff’s own “When We Were Young.” Mid-piece, a breathtaking unaccompanied section unfolds from the composer’s horn in warmly radiating waves, creating a lingering mood that is easily the high mark of the entire disc. Together the shift in tempo and mood show a welcome versatility and set a beguiling stage for the fireworks of the follow-up. As one of the signature vessels for tandem tenor tirades, the old Ammons/Stitt warhorse “Blues Up and Down” seems a must for this multi-national duo. Both men rise to the occasion and do the original duo proud, locking horns in a playful test of wits, lured on to ever increasing improvisatory heights by their ever-attentive rhythm mates. The last few years have marked a gradual ebb in Griff’s recording frequency, making this mid-Nineties slice of his oeuvre all the sweeter. During this summer date proof of the venerable saxophonist’s artistry was alive in the air for all hear. ~Derek Taylor

Johnny Griffin & The Great Danes

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Donna Greene & The Roadhouse Daddies - A Girl's Gotta Have A Little Pleasure

Bitrate: MP3@320K/s
Time: 47:51
Size: 109.6 MB
Styles: Blues-Jazz vocals
Year: 2008
Art: Front

[3:47] 1. Baby Get Lost
[4:51] 2. Blues On A Holiday
[3:22] 3. Comes Love
[4:05] 4. Same Old Blues
[3:18] 5. A Girl's Gotta Have A Little Pleasure
[3:05] 6. Double Crossing Blues
[4:42] 7. Love Make A Fool Of Me
[4:11] 8. Shoe Boy
[5:10] 9. Lover Man
[3:45] 10. You Can Have My Husband
[2:43] 11. Mess Around
[4:47] 12. Autumn Leaves

“Donna Greene’s blues are dry martini blues. She sings with a lotta swagger, a dash of sauce and a cool retro vibe. She’d have been right at home on stage at the Sands of the Rat Pack days or Ciro’s on Sunset Boulevard circa 1948. But, it's 60 years later and Donna’s attitude and energy is totally 21st century. She gives ya masterful singing that’s sensual, emotive, and fun. Donna Greene brings just the right feeling to a tune, whether it’s straight ahead blues like “You Can Have My Husband” or a Billie Holiday-era standard like “Comes Love.” “A Girl’s Gotta Have A Little Pleasure” is a winner! It’s a superbly-produced treasure highlighting Donna’s pristine singing with the style and punch of The Roadhouse Daddies!” ~Nick Gerard

A Girl's Gotta Have A Little Pleasure

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Frankie Avalon - The EP Collection

Bitrate: MP3@320K/s
Time: 66:49
Size: 153.0 MB
Styles: Pop/Rock, Teen Idols
Year: 2000
Art: Front

[2:19] 1. Pretty Eyed Baby
[2:09] 2. Too Young To Love
[2:02] 3. Shy Guy
[2:45] 4. Fever
[1:52] 5. Swinging On A Rainbow
[2:25] 6. Sandy
[2:10] 7. Secret Love
[2:28] 8. Step In The Right Direction
[2:14] 9. What's The Reason (I'm Not Pleasing You)
[2:10] 10. Dede Dinah
[2:58] 11. Did You Ever See A Dream Walking
[1:38] 12. Talk, Talk, Talk
[2:01] 13. Ginger Bread
[2:51] 14. I'll Wait For You
[2:19] 15. Venus
[2:39] 16. Bobby Sox To Stockings
[2:25] 17. Just Ask Your Heart
[2:17] 18. Two Fools
[2:35] 19. Why
[2:27] 20. Don't Throw Away Those Teardrops
[2:27] 21. Togetherness
[2:44] 22. Don't Let Love Pass Me By
[2:18] 23. A Perfect Love
[2:29] 24. All Of Everything
[3:02] 25. You Are Mine
[2:15] 26. Young And In Love
[1:52] 27. Tornerai
[2:44] 28. Capuccina

Another excellent entry in See for Miles' EP series, here's 28 of Avalon's sides for the Chancellor label pulled from various extended-play 45 albums issued in England, Sweden, and France. It's an interesting compendium of hits, B-sides, and album filler ranging from early rockers like "Dede Dinah" and "Gingerbread" to schmaltzy teen fare like "Why" and "Bobby Sox to Stockings." Although not a greatest hits package, it's pretty much all the Frankie Avalon you'll ever need for your collection. ~Cub Koda

The EP Collection

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Toni Harper - Night Mood

Styles: Vocal Jazz
Year: 1960
File: MP3@320K/s
Time: 35:47
Size: 82,1 MB
Art: Front

(2:41)  1. In The Still Of The Night
(2:53)  2. Paradise
(3:38)  3. 'Round Midnight
(3:10)  4. The Meaning Of The Blues
(3:00)  5. Saturday Night (Is The Loneliest Night In The Week)
(3:06)  6. Night After Night
(2:49)  7. Just Go
(2:43)  8. A Sleepin' Bee
(3:21)  9. My Ship
(2:11) 10. You And The Night And The Music
(2:57) 11. Petals on the Pond
(3:14) 12. Where Flamingos Fly

Toni Harper's final Rca session pairs the singer with arranger Marty Paich to create the richly atmospheric after-hours album that she was born to make. By alternating between pop standards and jazz originals, Night Mood underscores the complete breadth of Harper's talents. Even better than her sophisticated and poignant interpretations of chestnuts like "Round Midnight" and "My Ship" is a swinging rendition of "Saturday Night Is the Loneliest Night of the Week" that deserves serious consideration as the song's definitive treatment. Paich's soulful arrangements further enhance the dusky beauty of Harper's vocals, even making room for some lovely alto saxophone solos courtesy of the great Art Pepper. ~ Jason Ankeny http://www.allmusic.com/album/night-mood-mw0000477334

Personnel:  Toni Harper (vcl), Marty Paich (dir, arr), Jack Sheldon, Conte Candoli, Stu Williamson (tp), Vince De Rosa (frh), Frank Rosolino (tb), Bob Enevoldsen (v-tb), Art Pepper, Bud Shank, Bill Perkins, Jack Montrose, Jack Nimitz (saxes), Eddie Beal, Jimmy Rowles (p), Joe mondragon (b), Mel Lewis (d)

Night Mood

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Jim McNeely Quintet - Rain's Dance

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 54:00
Size: 123,7 MB
Art: Front

( 6:12)  1. Wishful Thinking
(10:38)  2. Little Green Men
( 4:28)  3. Tipe Tizwe
(10:46)  4. Rain's Dance
( 9:29)  5. For The Crazy One
(12:25)  6. Rain's Dance

Pianist Jim McNeely, who includes stints with Ted Curson, Stan Getz, Thad Jones and Mel Lewis, and Phil Woods on his lengthy resume, has been gradually recognized by the jazz public as a terrific composer, but these 1976 sessions, which mark one of his earliest dates as a leader, show him to be a very advanced writer at an early stage of his career. The hypnotic opener, "Wishful Thinking," features Larry Schneider on soprano sax in a modal setting. McNeely switches to electric piano for his playful "Little Green Men." On the catchy "Tipe Tizwe," based on a traditional African folk song, the leader plays both piano and African thumb piano (which is rarely heard in jazz), and is joined only by percussionist Sam Jacobs. "Rain's Dance" is a driving post-bop composition that marks the typical ebb and flow in the intensity of a summer storm; it's heard in two separate takes, featuring fine solos by McNeely, bassist Mike Richmond, and Larry Schenider on tenor sax. This adventurous date by Jim McNeely is well worth acquiring. ~ Ken Dryden http://www.allmusic.com/album/rains-dance-mw0000580108

Personnel:  Bass – Mike Richmond;  Drums – Bob Merigliano;  Piano, Electric Piano, Composed By – Jim McNeely;  Tenor Saxophone, Soprano Saxophone – Larry Schneider

Rain's Dance

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Teodross Avery - My Generation

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 69:12
Size: 160,8 MB
Art: Front

(7:43)  1. Addis Ababa
(8:28)  2. Mode For My Father
(6:24)  3. Theme For Malcolm
(7:19)  4. Lover Man
(4:55)  5. To The East
(4:50)  6. Mr. Wonsey
(6:26)  7. Salome
(4:50)  8. Sphere
(5:19)  9. My Generation
(7:40) 10. Anytime, Anyplace
(5:14) 11. It's About That Time

Young saxophonist Teodross Avery's recording covers a lot of ground, from explorative improvisations that sound as if they really belong on Impulse to selections that use a funky (and even a light hip-hop) rhythm and a straightforward ("Mr. Wonsey") boppish blues. Avery has strong technique and his sound, particularly on tenor (where he hints at Stanley Turrentine, and to a lesser extent, Sonny Stitt), is gradually becoming personal. He is joined by bassist Rodney Whitaker and drummer Greg Hutchinson on every selection along with either John Scofield, Mark Whitfield, or Peter Bernstein on guitar or pianist Charles Craig. Of the supporting crew, only Scofield (who creates some very unusual and distorted sounds on his guitar during "Theme for Malcolm") makes much of an impression and Avery seems to be most comfortable with the pianist (who is on four of the 11 selections). "Lover Man" sounds surprisingly passionless (showing that Avery is not yet mature enough to uplift veteran ballads) and there is an annoying (and meaningless) 35-second rap on the title cut that lowers the quality of the record. The overall results are generally enjoyable, if not all that memorable or unique. ~ Scott Yanow http://www.allmusic.com/album/my-generation-mw0000180566

Personnel: Teodross Avery (tenor saxophone); Black Thoughts Of The Roots (vocals); Charles Craig (piano); Peter Bernstein, Mark Whitfield, John Scofield (guitar); Rodney Whitaker, Greg Hutchinson (bass); Andrew Daniels (percussion).

My Generation

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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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