Sunday, April 16, 2017

Wild Bill Davison - Rosetta

Bitrate: MP3@320K/s
Time: 43:06
Size: 98.7 MB
Styles: New Orleans jazz
Year: 2016
Art: Front

[4:41] 1. When You're Smiling
[6:28] 2. Big Butter And Egg Man
[5:14] 3. I Want A Little Girl
[7:53] 4. Love Is Just Around The Corner
[3:36] 5. Memories Of You
[7:12] 6. Rosetta
[7:58] 7. C Jam Blues

During his 69th year, Wild Bill Davison led seven albums. The definitive Dixieland cornetist, Wild Bill was still in prime form in the mid-'70s, as he shows on this spirited pickup date in New Orleans. Best-known among his sidemen in the sextet are trombonist George Masso and the ancient bassist Ed Garland, while soprano saxophonist Noel Kalet and pianist David Paquette have remained unknowns. Seven veteran standards (mostly from the 1930s) are interpreted in typically spirited fashion by Davison. Recommended.

Rosetta

Peter Kavanaugh - Whisper Not

Bitrate: MP3@320K/s
Time: 39:01
Size: 89.3 MB
Styles: Jazz guitar
Year: 2015
Art: Front

[4:11] 1. Whisper Not
[4:09] 2. Emily
[6:09] 3. Poinciana
[2:50] 4. Swing 48
[4:24] 5. Easy Living
[1:59] 6. Ask Me Now
[4:45] 7. On The Way To Your House
[4:25] 8. (I'm) Confessin’ (That I Love You)
[6:05] 9. Jitterbug Waltz

Peter Kavanaugh – Guitar; D.J. Bonebrake – Vibraphone (tracks 1-6, 8 & 9); Shawn Oshmiansky – Clarinet (tracks 8 & 9); Paul Eckman – Upright bass (tracks 1-6, 8 & 9); Jack Le Compte – Drums (tracks 1-6, 8 & 9); Michael Bolger – B3 Organ (track 7); Geoff Rakness – Upright bass (track 7); Mark San Filippo – Drums (track 7).

With “Whisper Not,” Kavanaugh creates a melodic, harmonically rich picture that showcases a guitar player with rare soul and finesse, as well as a bandleader with a unique yet accessible vision. The repertoire is an appealing collection of lesser-known nuggets from the jazz songbook, and unexpected elements appear right out of the gate with the title track’s pairing of sun-dappled vibraphone and toothy blues guitar tones.

The breezy bossa nova “Poinciana” surprises with nods to Esquivel and the twanging baritone guitar of a spaghetti western, while under Kavanaugh’s direction, Fats Waller’s “Jitterbug Waltz” descends to earth from a dreamy stratosphere where a clarinet trades lines with an interstellar Les Paul. Kavanaugh pulls out the syncopated bop with a take on Django Reinhardt’s “Swing 48” that sounds like the lost soundtrack to a cartoon short involving spies, gangsters and unsafe driving. The original composition “On the Way to Your House” has an infectious, playful melody and soulful call-and-response Hammond B-3 that shows Kavanaugh to be an artist who can both honor and build upon the great traditional jazz and blues genres.

Whisper Not

Gerry Mulligan - Gerry Mulligan Meets Johnny Hodges

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 33:25
Size: 76,8 MB
Art: Front

(5:47)  1. Bunny
(3:45)  2. What's The Rush
(7:28)  3. Back Beat
(4:02)  4. What's It All About
(5:16)  5. 18 Carrots For Rabbit
(7:04)  6. Shady Side

Gerry Mulligan's 1959 studio date with Johnny Hodges is one of the most satisfying sessions of his various meetings with different saxophonists for Verve, yet it was inexplicably the last to be made available on CD. With a hand-picked rhythm section consisting of pianist Claude Williamson, bassist Buddy Clark, and drummer Mel Lewis, and three originals contributed by each of the two leaders, everything gels nicely, though several tracks took more than three takes (in spite of liner note writer Nat Hentoff's assertions) to reach their final form. Mulligan contributed the gorgeous ballad "What's the Rush" (where he sat back to enjoy Hodges' solo and never plays his own horn), the easygoing swinger "Bunny," and the brisk cooker "18 Carrots (For Rabbit)," the latter which its composer would revisit with his Concert Jazz Band. The veteran alto saxophonist contributed the low-key ballad "Shady Side," the sassy blues "Back Beat" (later re-recorded by Hodges during a still unreleased 1960 studio meeting with Ben Webster), and "What It's All About," another potent blues. Throughout the date, the two saxophonists blend beautifully and complement one another's efforts, even though this was their only opportunity to record together in the studio. Sadly, no alternate takes or unissued numbers (at least two of which exist) have been added to this long anticipated reissue. ~ Ken Dryden http://www.allmusic.com/album/gerry-mulligan-meets-johnny-hodges-mw0000029368

Personnel: Gerry Mulligan (baritone saxophone); Johnny Hodges (alto saxophone); Claude Williamson (piano); Buddy Clark (bass); Mel Lewis (drums).

Gerry Mulligan Meets Johnny Hodges

Louise Rogers - Black Coffee

Styles: Jazz, Vocal
Year: 2010
File: MP3@320K/s
Time: 58:21
Size: 134,1 MB
Art: Front

(4:26)  1. Comes Love
(2:57)  2. Alice in Wonderland
(4:53)  3. Easy to Love
(3:43)  4. Sentimental Journey
(2:42)  5. Lazy Afternoon
(4:45)  6. Pennies from Heaven
(3:47)  7. Alright Okay You Win
(5:55)  8. Black Coffee
(3:43)  9. Ain't Misbehavin'
(3:45) 10. Happiness Is a Thing Called Joe
(4:40) 11. Skylark
(5:16) 12. When the Sun Comes Out
(4:13) 13. Be My Baby
(3:32) 14. Gentle Rain

Jazz vocalist Louise Rogers has been gradually winning over converts with her beautiful burnished tone, clear diction, flawless intonation, and impeccable musicianship. Her natural, unforced delivery harkens back to such pure singers as Peggy Lee, Ella Fitzgerald, Chris Connor, and Doris Day. And while she may possess considerable technique and a capacity to improvise and scat up a storm like her most significant role model, Ella, Rogers takes a more relaxed and restrained approach on Black Coffee, her fifth recording overall and first for Chesky Records. https://www.amazon.com/Black-Coffee-Louise-Rogers/dp/B003TT72LO

...a pure incandescent voice, free of affectation or obvious influence... ~ Christopher Loudon, Jazz Times

Personnel: Louise Rogers (vocals); Paul Meyers (guitar); Billy Drummond (drums).

Black Coffee

Joe Locke - Present Tense

Styles: Vibraphone Jazz
Year: 2000
File: MP3@320K/s
Time: 61:43
Size: 141,6 MB
Art: Front

(10:04)  1. Massada/Summer Night
( 8:31)  2. The Good Life
( 7:35)  3. Present Tense
( 8:42)  4. All Of You
( 2:38)  5. Heart Of Nowhere
( 6:53)  6. You Say You Care
( 6:24)  7. Beatrice Rose
(10:52)  8. Smoke And Mirrors

On his third CD, vibraphonist Joe Locke leads a solid quartet which includes pianist Kenny Werner, bassist Ron McClure, and drummer Ronnie Burrage. Locke's virtuosity on his instrument is demonstrated throughout the date. The opening medley begins with a solo by the leader of "Masada" (an introspective piece written by a friend of his, saxophonist Danny Wilensky) and the rhythm section joins him as he segues into a brisk take of the waltz "Summernight." Tenor saxophonist Larry Schneider is added on several tracks, including a dark but swinging take of "All of You" and a turbocharged run through "You Say You Care." Locke also wrote several originals, including the unpredictable "Smoke and Mirrors," which was originally written as an introduction to Miles Davis' "Nardis," and a brief duet with Werner, "Heart of Nowhere." This 1990 release was an early indicator of Joe Locke's arrival on the jazz scene, which was followed by many additional strong studio sessions as the 20th century drew to a close. Post-bop fans should consider this CD an essential acquisition. ~ Ken Dryden http://www.allmusic.com/album/present-tense-mw0000436629

Personnel: Joe Locke (vibraphone); Larry Schneider (alto & tenor saxophones); Kenny Werner (piano); Ron McClure (bass); Ronnie Burrage (drums).

Present Tense

Lucky Thompson - Lucky Strikes

Styles: Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 39:51
Size: 91,9 MB
Art: Front

(5:52)  1. In a Sentimental Mood
(4:04)  2. Fly With the Wind
(5:11)  3. Mid-Nite Oil
(4:07)  4. Reminiscent
(4:51)  5. Mumble Neua
(6:40)  6. I Forgot to Remember
(4:08)  7. Prey-Loot
(4:55)  8. Invitation

This CD reissue serves as a perfect introduction to the talents of the underrated saxophonist Lucky Thompson. Heard on four songs apiece on tenor and soprano (he was one of the first bop-oriented soprano players), Thompson plays two standards and six originals in a quartet with pianist Hank Jones, bassist Richard Davis, and drummer Connie Kay. The playing time on this straight reissue of an earlier LP is a bit brief (just over 38 minutes), but the quality is quite high. Thompson's soprano solos in particular are quite memorable. ~ Scott Yanow http://www.allmusic.com/album/lucky-strikes-mw0000649753

Personnel: Lucky Thompson (soprano & tenor saxophones); Hank Jones (piano); Richard Davis (bass); Connie Kay (drums).

Lucky Strikes

Irvin Mayfield - Irvin Mayfield

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 60:35
Size: 139,9 MB
Art: Front

(9:04)  1. The Great M.D.
(6:01)  2. Right Here, Right Now
(6:33)  3. Body And Soul
(6:55)  4. Immaculate Conception
(9:06)  5. Midnight Theme
(5:42)  6. You're My Everything
(8:50)  7. Lascivious Intervention
(3:25)  8. Giant Steps
(4:54)  9. Ninth Ward Blues

Trumpeter Irvin Mayfield released half a dozen albums before he was 25 years old. His youth, as well as his willingness to contribute his time and knowledge in the spheres of both classical and jazz studies, make him a popular figure in educational music clinics in his home state of Louisiana. He frequently participates in free clinics that serve hundreds of school children. In addition, he has presided over master classes and a variety of workshops in classical and jazz studies at the Chandler Jazz Festival, Loyola University, the University of North Carolina, and the University of New Orleans. A Crescent City native, Mayfield attended the New Orleans Center for Creative Arts. He leads his own group, the Irvin Mayfield Sextet, as well as a modern jazz band called Los Hombres Calientes with Bill Summers. His performances have seen him sharing the stage with artists from a variety of genres, including Quincy Jones, Wynton Marsalis, Doc Cheatham, Chucho Valdes, Nicholas Payton, Ellis Marsalis, Moses Hogan, Ani DiFranco, and Terence Blanchard. Mayfield and Los Hombres Calientes earned an award from Billboard in 2000 for the group's eponymous debut. The New Orleans Museum of Art commissioned him to compose a jazz suite to accompany its exhibition of works by Gordon Parks. The result, "Half Past Autumn," was first played publicly in the summer of 2000 at the museum. ~ Linda Seida http://www.allmusic.com/artist/irvin-mayfield-mn0000084934/biography

Personnel:  Irvin Mayfield - trumpet, bandleader;  Peter Martin, Victor Atkins III – piano;  Ellis Marsalis (track 3) – piano;  David Pulphus - double bass;  Delfeayo Marsalis – trombone;  Donald Harrison - alto saxophone;  Jaz Sawyer, Reuben Rogers, Adonis Rose, Troy Davis - drums

Irvin Mayfield

Saturday, April 15, 2017

Hank Jones, Frank Wess - Hank And Frank II

Bitrate: MP3@320K/s
Time: 67:28
Size: 154.5 MB
Styles: Piano & Saxophone jazz
Year: 2009
Art: Front

[4:41] 1. Sunday
[4:54] 2. Lord Prepare Me
[6:30] 3. More Than You Know
[4:58] 4. If I Were A Bell
[4:39] 5. I Had The Craziest Dream
[6:31] 6. When Your Lover Has Gone
[3:05] 7. Chasing The Bird
[5:29] 8. Ill Wind
[5:52] 9. Jordu
[4:52] 10. The First Time I Saw Ella
[2:40] 11. Quintessence
[2:44] 12. You Don't Know What Love Is
[2:27] 13. Stay As Sweet As You Are
[3:43] 14. For All We Know
[4:16] 15. I'll Be Seeing You

Marion Cowings/Vocals; Ilya Lushtak/Guitar; Ilya Lushtak/Guitar; Frank Wess/Flute, Primary Artist, Sax (Tenor), Saxophone; John Webber/Bass, Bass (Upright), Guitar (Bass).

Hank Jones and Frank Wess retain the same rhythm section as their 2003 session for Lineage, except vocalist Marion Cowings is added on several tracks. Jones retains his masterful touch on piano even into his nineties, swinging effortlessly whether playing a breezy setting of "Sunday," a laid-back gospel-infused "Lord Prepare Me," or bop favorites like "Chasin' the Bird" and "Jordu." Wess' richly textured tenor dominates favorite ballads like "'More Than You Know" and "Ill Wind," while guitarist Ilya Lushtak, who works regularly with Wess and also took part in the earlier CD Hank and Frank, is generously featured, getting a bluesy edge with his spacious interpretation of "When Your Lover Is Gone." Cowings has been on the Manhattan scene for some time and served as vocal coach for Harry Connick, Jr., though he evidently has not been recorded very often. His easygoing vocal style never oversells the lyrics, though he is at his best in ballads like the old chestnut "Stay as Sweet as You Are." ~Ken Dryden

Hank And Frank II

JC Hopkins Biggish Band, Queen Esther - Underneath A Brooklyn Moon

Bitrate: MP3@320K/s
Time: 39:08
Size: 89.6 MB
Styles: Retro Swing, Vocal Jazz
Year: 2005
Art: Front

[3:06] 1. Here Comes Love
[4:14] 2. One Never Knows
[3:36] 3. I've Got My Finger On A Star
[0:21] 4. Ice Cream Song
[3:51] 5. Underneath A Brooklyn Moon
[7:19] 6. Small Town
[3:22] 7. I Still Believe In Some Kind Of Love
[5:13] 8. Someday
[4:34] 9. Show Biz'ness
[3:29] 10. Settle Down

It isn't hard to understand why the neo-swing trend of the '90s (which favored a very ironic blend of jump blues and early rock & roll) ran out of gas and was pretty much dried up by the end of the decade. Although some quality bands came out of that trend (including the Cherry Poppin' Daddies and Big Bad Voodoo Daddy), there were plenty of amateurs who couldn't play their instruments and seemed to think that irony and cuteness was enough to carry them. Besides, the trend generally neglected the Benny Goodman/Duke Ellington/Artie Shaw side of things -- there's something wrong with bands that run around talking about a swing revival but can't play anything by Lionel Hampton or Glenn Miller. But despite all those things, there is no reason why younger artists shouldn't explore swing if they're good at it -- and Underneath a Brooklyn Moon is far superior to most of the neo-swing that was recorded in the '90s. Perhaps it is mixing apples and oranges to compare pianist/producer J.C. Hopkins and his Biggish Band to those '90s acts and insist that Hopkins is better than most of them; stylistically, Hopkins is going for something different -- instead of mixing jump blues with early rock & roll, this 2005 release recalls the '40s in a way that is much closer to Count Basie and Duke Ellington (minus the heavy focus on instrumentals and with some early bebop influence as well). But Hopkins definitely has the irony thing down -- not only in terms of his '40s-like attire, but also in terms of his often clever lyrics (which are skillfully handled by Queen Esther -- a big-voiced singer with a very bluesy, gritty take on jazz). Hopkins, however, isn't dorky about it; he and Esther show a genuine affection for different sides of '40s culture (the film noir darkness as well as the quaint romanticism). Underneath a Brooklyn Moon doesn't contain any standards; Hopkins wrote everything himself, and he shows considerable promise on this fun yet professional-sounding effort. ~Alex Henderson

Underneath A Brooklyn Moon

João Gilberto - Brasil

Bitrate: MP3@320K/s
Time: 28:12
Size: 64.6 MB
Styles: Brazilian jazz
Year: 1981/2006
Art: Front

[6:34] 1. Aquarela Do Brasil
[5:18] 2. Disse Alguem (All Of Me)
[5:12] 3. Bahia Com H
[4:49] 4. No Tabuliero Baiana
[4:56] 5. Milagre
[1:20] 6. Cordiero De Nana

Bass – Jim Hughart; Cello – Anne Goodman, Rober Lebon; Drums – Joe Correro; Flute – Bud Shank, Eddie Cainf, Glen Garrett, Harry Klu; Harp – Stella Castellucci; Keyboards – Clare Fischer; Percussion – Paulinho Da Costa; Performer – Caetano Veloso, Maria Bethânia; Synthesizer – Michael Boddicker, Milcho Leviev; Viola – David Schwartz, Helaine Wittenberg, Marilyn Baker; Violin – Bonnie Douglas, Harry Bluestone, Isabelle Daskoff, Israel Baker, Jerry Reisler, John Wittenberg, Joe Goodman, Nathan Ross, Paul Shure, Bob Dubow, Bob Lipsett; Violin, Concertmaster – Gerald Vinci; Vocals, Guitar – João Gilberto.

I'll just make this a brief review. I've been a professional musician for 35 years. In the 1970's when I discovered this album, I was traveling all over the country with a show. I would play this LP constantly; I never got tired of it. Until I heard this, I had always thought of "Brasil" as a raucous, lounge or marching-band sort of tune. Then I heard these artists perform it, and I finally realized what a marvelous song it really was. There must be 100's of recorded version of it, but you'll never find a more beautiful, sophisticated version than this. Of course, the rest of the album is equally good. Great tunes, great singing, and as an added treat, the brilliant orchestrations of the great Claus Oegerman.

I have listened to this record for years on trips to the mountains, the sea; everywhere. It always gives me a placid, serene feeling. Decades later, the music still gives me chills. I cannot recommend this record enough, and I truly hope that someone else will enjoy it half as much as I have over the years. ~BJNick

Brasil

Judy Niemack - 2 albums: Blue Nights / Jazz Singer's Practice Session

Album: Blue Nights
Bitrate: MP3@320K/s
Time: 73:38
Size: 168.6 MB
Styles: Vocal jazz
Year: 2007
Art: Front

[4:09] 1. I Ain't Got Nothin' But The Blues
[5:15] 2. Bluesette
[5:28] 3. Blue
[5:11] 4. Interplay
[6:44] 5. Moanin'
[7:24] 6. Blue In Green
[5:27] 7. A Crazy Song To Sing
[6:23] 8. Lullaby Of The Leaves
[7:02] 9. In A Sentimental Mood
[5:47] 10. Night In Tunisia
[5:17] 11. Afro Blue
[9:26] 12. All Blues

Judy Niemack has released so many outstanding CDs that it seems unfathomable that this 2007 release for Blujazz is her first U.S. recording since Heart's Desire and only her third U.S. album overall. But she makes up for lost time with a typically adventurous outing, backed by guitarist Jeanfrançois Prins (her husband), pianist Jim McNeely, bassist Dennis Irwin, and drummer Victor Lewis, with guest appearances by saxophonist Gary Bartz and trumpeter/flügelhornist Don Sickler on selected tracks. Niemack's sassy take of Duke Ellington's "I Ain't Got Nothin' But the Blues" and her scatting in unison with Prins' guitar in a romp through "Bluesette" open the disc with a bang, but she cools things down with her intricate interpretation of Bill Evans' "Interplay," for which she supplied delightful lyrics. "A Crazy Song to Sing" has more of a vocalese quality, describing the appeal of performing Thelonious Monk's "Mysterioso," punctuated by Bartz's smoldering alto sax solo. "In a Sentimental Mood" is set up by an intriguing blend of guitar, flügelhorn, and alto sax, with Niemack delivering a captivating performance. Judy Niemack has been one of the most underrated jazz vocalists of her generation, and this brilliant effort should awaken critics who have unjustly overlooked her consistently excellent work. ~Ken Dryden

Blue Nights

Album: Jazz Singer's Practice Session
Bitrate: MP3@320K/s
Time: 49:39
Size: 113.7 MB
Styles: Vocal jazz
Year: 2004
Art: Front

[4:09] 1. Misty
[4:47] 2. Lullaby Of Birdland
[4:07] 3. How High The Moon
[3:07] 4. Wave
[5:07] 5. You'd Be So Nice To Come Home To
[3:14] 6. All Of Me
[5:08] 7. My Funny Valentine
[3:35] 8. Teach Me Tonight
[3:12] 9. One Note Samba
[2:59] 10. Summertime
[3:25] 11. Lover Man
[3:41] 12. I Got Rhythm
[3:03] 13. Bye Bye Blackbird

Judy Neimack has a strong magical voice that takes you to the martini bar where you can kick back and relax, oh wait -- you're supposed to be learning! She has chosen well-loved jazz standards, and shows you how it's done. Highly recommended! ~Mellani Day

Jazz Singer's Practice Session

Nicholas Payton - From This Moment...

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 66:50
Size: 155,3 MB
Art: Front

(4:32)  1. In The Beginning
(6:13)  2. You Stepped Out Of A Dream
(6:49)  3. Fair Weather
(7:11)  4. Maria's Melody
(7:48)  5. It Could Happen To You
(4:51)  6. Little Re-Re
(4:47)  7. From This Moment On
(6:01)  8. Rhonda's Smile
(7:35)  9. The Sleepwalker
(4:09) 10. Blues For My Brother
(4:29) 11. Taking A Chance On Love
(2:22) 12. To The Essential One

The young trumpeter Nicholas Payton is featured on this CD as the only horn in a sextet also including guitarist Mark Whitfield, pianist Mulgrew Miller and vibraphonist Monte Croft. Best are Payton's melodic and very mature statements on the veteran standards "You Stepped Out of a Dream," "It Could Happen to You," "From This Moment On" and "Taking a Chance on Love." His six originals are less memorable, but overall, this is a pleasing date that finds the trumpeter showing a great deal of potential. Payton's tone, mixing aspects of Freddie Hubbard, Wynton Marsalis and New Orleans jazz in a post-bop setting, is quite appealing. ~ Scott Yanow http://www.allmusic.com/album/from-this-moment-mw0000122038

Personnel: Nicholas Payton (trumpet); Monte Croft (vibraphone); Mulgrew Miller (piano); Mark Whitfield (guitar); Reginald Veal (bass); Lewis Nash (drums).

From This Moment...

Dexter Gordon Quartet - Stable Mable

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 49:04
Size: 112,8 MB
Art: Front

(7:55)  1. Just Friends
(8:15)  2. Misty
(7:48)  3. Red Cross
(8:20)  4. So What
(6:51)  5. In A Sentimental Mood
(9:52)  6. Stablemates

Dexter Gordon is in frequently exuberant form on this quartet session with pianist Horace Parlan, bassist Niels Pedersen and drummer Tony Inzalaco. The material, which includes "Just Friends," "Misty," "Stablemates" and "Red Cross," is familiar, but the veteran tenor sounds quite inspired throughout the joyous outing. ~ Scott Yanow http://www.allmusic.com/album/stable-mable-mw0000181410

Personnel:  Dexter Gordon (soprano & tenor saxophones); Horace Parlan (piano); Niels-Henning Orsted Pedersen (bass); Tony Inzalaco (drums).

Stable Mable

Henry 'Red' Allen - World on a String

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 61:22
Size: 142,9 MB
Art: Front

(5:52)  1. Love is Just Around the Corner
(5:32)  2. Let Me Miss You, Baby
(4:42)  3. Ride, Red, Ride
(8:27)  4. I Cover the Waterfront
(5:30)  5. 'SWonderful
(3:45)  6. St. James Infirmary
(6:52)  7. Algiers Bounce
(5:14)  8. Love Me or Leave Me
(5:38)  9. I've Got the World on a String
(4:10) 10. Ain't She Sweet
(5:35) 11. Sweet Lorraine

A true classic, this release finds trumpeter Red Allen at the peak of his creative powers with a remarkable octet also featuring trombonist J.C. Higginbotham, clarinetist Buster Bailey, and the great tenor Coleman Hawkins. "I Cover the Waterfront" has a wonderfully abstract statement from Allen, "Love Is Just Around the Corner" is joyous Dixieland, "Let Me Miss You, Baby" is a particularly strong blues (featuring Allen's vocal), and the simple blues line that serves as a melody on "Algiers Bounce" is quite catchy. The other seven selections from the classic veterans are also quite enjoyable. Although the music has its basis in Dixieland and swing, the solos of Allen and Hawkins in particular look ahead toward the future. There is nothing dated about these essential performances; highly recommended. ~ Scott Yanow http://www.allmusic.com/album/world-on-a-string-mw0000262743

Personnel: Henry "Red" Allen (trumpet); Coleman Hawkins (tenor saxophone); J.J. Higginbotham (trombone); Buster Bailey (clarinet); Marty Napoleon (piano); Everett Barksdale (guitar); Lloyd Trotman (bass); Cozy Cole (drums).

World on a String

Benny Waters - Night Session In Swing And Dixieland

Styles: Saxophone Jazz
Year: 1968
File: MP3@320K/s
Time: 30:37
Size: 70,3 MB
Art: Front

(7:04)  1. Indiana
(4:47)  2. These Foolish Things
(3:20)  3. After You've Gone
(3:00)  4. Everybody Loves My Baby
(3:34)  5. Exactly Like You
(3:55)  6. If I Could Be With You
(4:53)  7. Sweet Sue, Just You

Until his death at the age of 96, Benny Waters was not only the second oldest active jazz musician (to Eubie Blake who made it to 100) but a powerful altoist who would be considered impressive if he were only 50. Waters' personal history covered virtually the entire history of recorded jazz, although he never really became a major name. He worked with Charlie Miller from 1918-1921, studied at the New England Conservatory, and became a teacher; one of his students was Harry Carney, remarkably. Waters played, arranged for, and recorded with Charlie Johnson's Paradise Ten (1925-1932), an underrated group that also for a time included Benny Carter and Jabbo Smith. Waters, who was primarily a tenor saxophonist and an occasional clarinetist during this period, was influenced to an extent by Coleman Hawkins, and he recorded with both Clarence Williams and King Oliver in the 1920s. During the next two decades, Waters played in many groups including those led by Fletcher Henderson (for a few months), Hot Lips Page, Claude Hopkins, and Jimmie Lunceford. He led his own unit during part of the 1940s, played with Roy Milton's R&B band, and in 1949 went to France with the Jimmy Archey Dixieland group. Waters settled in Paris, working steadily, although he was largely forgotten at home. By the 1980s, he was visiting the U.S. more frequently, and Waters is heard in brilliant form on a 1987 quartet set for Muse on which he plays tenor, alto, and clarinet, in addition to taking some effective vocals. A short time later he went blind and stuck exclusively to playing alto (on which he played in a jump style reminiscent of Tab Smith, that shows the occasional influence of John Coltrane). The seemingly ageless Benny Waters continued recording and performing with a remarkable amount of energy, touring with the Statesmen of Jazz in 1995 and creating some miraculous music prior to his death on August 11, 1998. ~ Scott Yanow http://www.allmusic.com/artist/benny-waters-mn0000053948/biography

Personnel:  Band – The Latin Jazz Band;  Bass – G. Maier;  Clarinet – S. Seyffer;  Clarinet, Soprano Saxophone, Tenor Saxophone, Vocals, Arranged By – Benny Waters;  Drums – M. Buhl;  Guitar – J. Geiger;  Piano – R. Schiefer;  Soprano Saxophone – D. Antritter;  Trombone – M. Gaugel;  Trumpet – E. Krieg

Night Session In Swing And Dixieland

Friday, April 14, 2017

Allan Vache, Mark Shane, Terry Blaine - Classic Jazz Duets

Size: 155,8 MB
Time: 66:32
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Funk, Smooth Jazz
Art: Front

01. How It's Done (4:41)
02. Together (7:26)
03. Show Ur Id (4:42)
04. Age (5:52)
05. Sincerity (5:54)
06. After Tonight (4:10)
07. Out Of Time (For P) (5:15)
08. What U Do (When The Music Hits) (4:30)
09. Promises (3:20)
10. L.O.V.E. Intro (2:49)
11. Hold Up (3:40)
12. So Close (4:24)
13. D.I.S.C.O (4:08)
14. L.O.V.E. Outro (1:27)
15. I Cannot Believe (4:10)

Sweet Jazz Recordings is proud to have world class clarinetist Allan Vache on the roster. Joining Allan is pianist extraordinaire Mark Shane and top jazz vocalist Terry Blaine.

Allan Vaché, born December 16, 1953, grew up in Rahway, New Jersey where he attended school and graduated Rahway High School in 1971. He grew up in a musical family, with a father (Warren Vaché Sr.), a renowned bass player and with a brother (Warren Vaché, Jr.) who is well known for his expertise on cornet and flugelhorn. Allan not surprisingly took to music early and while at Jersey City State College from 1971-1975, studied with David Dworkin of the Metropolitan Opera Orchestra as well as independently studying with the famous jazz artist, Kenny Davern.
During that same period Allan also performed many professional engagements with such jazz greats as: Bobby Hackett, Wild Bill Davison, Pee Wee Erwin, Gene Krupa, Dick Hyman, Max Kaminsky, Clark Terry, Dick Wellstood, Ed Hubble, Cliff Leeman, Bob Haggart, Jack Lesberg, Lionel Hampton, Bob Wilber and many others. He also made numerous appearances with his brother Warren Vaché, Jr.
In 1974-1975 Allan appeared in an on stage band in the Broadway musical "Doctor Jazz" at the Winter Garden theater, starring Bobby Van and Lola Falana for which Luther Henderson and Dick Hyman wrote instrumental arrangements.

In late 1975 Allan joined "The Jim Cullum Jazz Band" of San Antonio Texas, formerly "The Happy Jazz Band." With this organization, Allan has appeared numerous times on the Public Radio Series "Riverwalk, Live from the Landing" The band traveled extensively to Europe, Australia and Mexico, as well as making many festival appearances throughout the United States. Allan recorded nine albums and compact discs with this band, including the only jazz CD of the entire score of "Porgy and Bess", released on CBS Masterworks records. Vaché and the band also made many concert appearances of "Porgy and Bess" , many featuring opera great William Warfield as narrator, throughout the Western Hemisphere and including The Kennedy Center in Washington, D.C., and "The Cervantino Arts Festival" in Mexico City, for the U.S. State Department.

Allan has appeared in several "World Series of Jazz" concerts in San Antonio. These concerts featured the "Cullum" band alongside such jazz luminaries as Benny Goodman, Pete Fountain, Joe Venuti, Teddy Wilson, Scott Hamilton, Bob Wilber, and many others. Allan appeared with Jim Cullum at Carnegie Hall at the "Tribute to Turk Murphy" concert in January 1987. He has also performed with Cullum on the CBS Morning News, and PBS television show "Austin City Limits." He also performed on NPR’s "A Prairie Home Companion" with Garrison Keillor, and was a regular performer on PRI’s "Riverwalk – Live from the Landing," from 1987-1992. This program aired on over 200 public radio stations in the U.S. and abroad. Many of these shows are still rebroadcast today. In the summer of 1992 Allan left San Antonio to pursue a free lance career. Since that time he has appeared as a solo performer at several jazz festivals and parties around the country and abroad. He has appeared with pop performers Bonnie Rait and Leon Redbone and can be heard on the soundtrack of the 1998 film “The Newton Boys”.

In 1993 he moved to Orlando, Florida to perform at various Orlando attractions including Walt Disney World and Church Street Station. Vache has numerous recordings to his credit, several under his own name, for various labels. These include Audiophile, Jazzology, Arbors, and Nagel-Heyer, of Hamburg, Germany. Vache has presently recorded twelve CDs for this label, six of these as the leader. His latest CD “Ballads, Burners & Blues”, released in March of 2004 for the Arbors label, includes his wife, Vanessa Vache’, on clarinet, as a special guest. In March 2006 he recorded a tribute to Benny Goodman for Arbors entitled “With Benny in Mind” to be released early in 2007.
Having toured in Germany, Austria, England, Scotland, Ireland, Italy, Poland and Switzerland, Allan continues to work as a freelance artist in the Orlando area as well as appearing at many concerts and festivals in the U.S. and around the world.

Mark Shane’s jazz piano is firmly rooted in the swinging tradition of jazz piano masters James P. Johnson, Fats Waller, Teddy Wilson, Duke Ellington, Fletcher Henderson, Count Basie, Earl Hines and Art Tatum. Shane was house pianist in New York’s “Eddie Condon’s” jazz club and has played with Benny Goodman and many all star alumni from the great bands of Louis Armstrong, Count Basie, Duke Ellington, Tommy Dorsey and Glenn Miller.

Mark Shane has been featured on radio and television jazz special broadcasts and has appeared as a featured soloist at major jazz festivals worldwide. Shane has toured for Columbia Artists and with the Smithsonian Jazz Repertory Ensemble. Featured in the 50th anniversary Benny Goodman memorial concert in Carnegie Hall, Shane has also played jazz piano for the Twyla Tharp Dance Company as well as for the Grammy Award-winning soundtrack, “The Cotton Club” as well as other films.

For Carnegie Hall’s 100th Anniversary celebration, Shane accompanied hosts Beverly Sills and Barbara Walters. Mark Shane has played a royal command performance of Duke Ellington’s “The Queen’s Suite” for HRH Princess Anne in London’s Festival Hall.

Shane is particularly noted for his Fats Waller program, “Fats Lives!!!”, a swinging piano and vocal tour de force which has been featured with many of New York’s popular dance orchestras and at jazz festivals world wide. Mark Shane has played for society and debutante cotillions throughout the United States, for Presidential Inaugural Balls in Washington, DC, and for the Mayor of New York City at Gracie Mansion. Shane has also played private parties for Mikhail Gorbachev, Henry Kissinger, Estee Lauder, Arnold Schwarzenegger, and for openings and fund raising events at major libraries, museums and cultural centers throughout the United States. Shane is regularly featured at Lincoln Center’s “Midsummer Nights’ Swing” concerts.

Named to the Steinway international roster of piano artists, Mark Shane has been called
“...one of the great accompanists of his time…” (Mississippi Rag). Shane’s piano, featured on many recordings, reflects a true sense of living jazz history and continues the tradition of deep swing and lyrical melodic improvisation. Mark Shane plays Classic Jazz Piano, America’s unique musical contribution to world culture.

Jazz vocalist Terry Blaine was born in NYC, and has been singing virtually all of her life. Embracing both pop and classical styles, it was not until after she graduated Summa Cum Laude from the University of Buffalo with a BA in Music that she chose to trade in her flute for a microphone. As a singer and musician, she has enjoyed a multi-faceted career that includes live performances, recordings, studio work, television and radio shows, musical composition, songwriting and production. Her unique interpretations of classic jazz standards have brought her international attention and recognition as one of the few contemporary female jazz singers performing the hot small-band swing material from the 1930s.

Forging a fresh link in the regal chain that recalls the tradition of Billie Holiday, Bessie Smith, Ethel Waters, and others, Terry's style of singing is a gentle, swinging reminder of who we were and where we came from, instilled with a spirit that only genuine affection can inspire. Her collaboration with classic jazz pianist Mark Shane, which began with a three-and-a-half year duo engagement at Café Society in Greenwich Village, led to the CD "Whose Honey Are You," a Jazz Journal International Record of the Year. With support from enthusiastic fans and radio stations all around the country, a pair of sold-out, breakthrough concerts launched the duo into the larger world of concert appearances and touring. A second CD, "Terry Blaine in Concert," was released. Terry & Mark have since performed at prestigious venues such as Michael's Pub, Fat Tuesday's, the Plaza Hotel, the Lakeland Jazz Festival, JVC New Jersey Jazz Festival, Artown Celebration in Reno, NV, Colorado Jazz Party, Pabst Theater in Milwaukee, WI, Sarasota Opera House in Florida, the Norris Center for the Performing Arts in Los Angeles, and the Sacramento Jazz Jubilee.

Classic Jazz Duets

Vintage Orchestra - Smack Dab In The Middle: The Vocal Side Of Thad Jones

Size: 115,3 MB
Time: 49:25
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals, Big Band
Art: Front

01. Just As In Spring (3:50)
02. To Make The Most Of Today (4:49)
03. On A Sunday Morning (3:42)
04. Thrones And Believers (4:30)
05. Later On They'll Know (3:49)
06. When Things Like These Go Wrong (2:25)
07. Freedom Run (5:42)
08. Like Every Other Day (3:37)
09. Outside It Rains For Them (4:07)
10. In The Nick Of Time (5:38)
11. Hold On (3:30)
12. To Up And Go (3:41)

The Band:
Saxophones: Dominique Mandin / Olivier Zanot / Thomas Savy / David Sauzay / Jean-François Devèze
Trumpets: Erick Poirier / Lorenz Rainer / Fabien Mary / Julien Ecrepont
Trombones: Michael Ballue, Bastien Ballaz, Jerry Edwards, Martin Berlugue
Piano: Florent Gac
Bass: Yoni Zelnik
Drums: Andrea Michelutti

Guest vocalists: Denise King & Walter Ricci

The new recording by the Vintage Orchestra takes on quite a rare repertoire : the vocal music composed by the great trumpet player and composer Thad Jones. The instrumental music composed and arranged for his own big band is known all over the world and has been recorded and played by so many different bands, but Jones’ arrangements for a lead singer from 1965 to 1968 have never been recorded since, nor have the music charts been edited. In order to play this music we asked Dominique Mandin, Stéphane Guillaume, François Biensan, Jon Boutellier and Erick Poirier to make transcriptions, not to copy the originals but mostly to create new interpretations of this repertoire for a band which has been working on Thad Jones’ music for the last 15 years. Denise King, internationally acclaimed American singer, and Walter Ricci, a very talented young singer, are the ideal voices for this laid aside repertoire, supported by the Vintage Orchestra.This new international project by The Vintage Orchestra is both daring and unexpected

Smack Dab In The Middle

Rebecca Martin & Guillermo Klein - The Upstate Project

Size: 115,3 MB
Time: 49:25
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Just As In Spring (3:50)
02. To Make The Most Of Today (4:49)
03. On A Sunday Morning (3:42)
04. Thrones And Believers (4:30)
05. Later On They'll Know (3:49)
06. When Things Like These Go Wrong (2:25)
07. Freedom Run (5:42)
08. Like Every Other Day (3:37)
09. Outside It Rains For Them (4:07)
10. In The Nick Of Time (5:38)
11. Hold On (3:30)
12. To Up And Go (3:41)

The Upstate Project is a landmark collaboration that unites a group of world-class musicians who’ve already distinguished themselves in their individual creative pursuits.

Rebecca Martin is widely recognized as one of her generation’s most talented and versatile vocalists and songwriters, effortlessly bridging the world’s of jazz and songwriting while working alongside some of the music’s most esteemed players. Argentine-born pianist-vocalist-composer-arranger Guillermo Klein is renowned throughout the jazz world for his inventive, eclectic compositional approach and his distinctive harmonic sensibility. Their rhythm section is composed of bassist Larry Grenadier and drummer Jeff Ballard, two of jazz’s most in-demand players.

The four participants’ distinctive talents interact in unexpected and inspiring ways on The Upstate Project, which offers exquisite, gently intoxicating melodies, vivid, haunting lyrics, and effortless instrumental interactions.

The Upstate Project

Candy Dulfer - Together

Size: 155,8 MB
Time: 66:32
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Funk, Smooth Jazz
Art: Front

01. How It's Done (4:41)
02. Together (7:26)
03. Show Ur Id (4:42)
04. Age (5:52)
05. Sincerity (5:54)
06. After Tonight (4:10)
07. Out Of Time (For P) (5:15)
08. What U Do (When The Music Hits) (4:30)
09. Promises (3:20)
10. L.O.V.E. Intro (2:49)
11. Hold Up (3:40)
12. So Close (4:24)
13. D.I.S.C.O (4:08)
14. L.O.V.E. Outro (1:27)
15. I Cannot Believe (4:10)

Dutch saxophonist/vocalist Candy Dulfer is a charismatic and gifted performer known for her funky, genre-bending take on smooth jazz, dance-pop, and instrumental R&B. Initially brought to the public's attention via appearances with Prince, Dulfer (whose influences range from Sonny Rollins and Miles Davis to Maceo Parker and David Sanborn) went on to become a hugely successful crossover jazz star.

Born in Amsterdam in 1969, Dulfer was raised in a musical family, the daughter of Hans Dulfer, a respected jazz tenor saxophonist. Starting out on drums at age five, she switched first to soprano saxophone and eventually settled on alto saxophone at age seven. While jazz was an early love, Dulfer also listened to a variety of genres while growing up, from AM pop and metal to hard rock and soul. Nonetheless, influenced by her tenor saxophone-playing father, she began studying the styles of artists like Sonny Rollins, Coleman Hawkins, and Dexter Gordon. The rough, swaggering tenor style impacted how she approached playing the alto and helped her stand out early on. Later, she would incorporate the influence of similarly inclined alto luminaries like Earl Bostic, Cannonball Adderley, Maceo Parker, and David Sanborn.

After spending her earlier years playing in local concert bands, by age ten Dulfer was good enough to be a featured soloist in her father's group. Her first professional work came at age 12 when she joined American expatriate saxophonist/vocalist Rosa King's band. While with King, she played the North Sea Jazz Festival where she first heard David Sanborn perform live. Inspired by the experience and taking King's advice, Dulfer formed her own group, the R&B-influenced Funky Stuff. Though still in her teens, Dulfer and the Funky Stuff were to open for Madonna on several stops of the pop star's Who's That Girl Tour. During this time, she also caught the ear of Prince, who showcased her in a live concert and later, featured her in the video for his song "Partyman." This led to other high-profile gigs for Dulfer, including session work with Eurythmics guitarist/producer Dave Stewart as well as live dates with Van Morrison, Aretha Franklin, and Pink Floyd.

In 1990, Dulfer made her solo recording debut with the Ulco Bed-produced Saxuality on RCA Records. A break-out success, the album charted well in Europe and the U.S. and eventually reached gold certification status with sales in excess of a half-million units worldwide. Critically, the album was also well-received, garnering Dulfer plaudits for her playful but organic take on smooth jazz, as well as earning her a Grammy nomination for Best Contemporary Jazz Album.

Her follow-up, 1991's Sax-a-Go-Go, was also a hit, spending a month on the Billboard Contemporary Jazz Albums chart. Also produced by Bed, the album found Dulfer collaborating with a handful of her musical heroes, including the JB's and the Tower of Power horns. Her third album, 1993's Big Girl, was a similarly successful, stylistically varied effort that revealed her love of hip-hop and rap. Produced by Bed and multi-instrumentalist/songwriter/arranger Thomas Bank (both of whom would remain regular collaborators with Dulfer), the album also featured a guest appearance by longtime Dulfer idol David Sanborn.

Along with touring and appearing with other artists, Dulfer released several more equally successful, genre-crossing outings including 1997's For the Love of You and 1999's What Does It Take? which found her adding her own vocals to the mix. In 2002, she paired with her father for Dulfer and Dulfer, followed a year later by the electronic-tinged Right in My Soul. Electronic dance music, as well as funky R&B and Latin-flavored romantic balladry would all be on the table for her next two albums, 2007's Candy Store and 2009's Funked Up!

For 2011's Crazy, Dulfer moved even further into dance music, exploring dubstep textures with producer Printz Board (the Black Eyed Peas, Fergie, Macy Gray). Over the next several years she toured and continued to expand her profile, appearing as a celebrity judge & talent coach on the Dutch edition of The X Factor in 2013. She also formed the all-female R&B supergroup Ladies of Soul with longtime friends Trijntje Oosterhuis, Glennis Grace, Berget Lewis, and Edsilia Rombley. Together they headlined a handful of well-attended concerts at Amsterdam's Ziggo Dome, later released as live albums. In 2016, Dulfer delivered her 12th studio album, Together. ~by Matt Collar

Together

Colette Cassidy & Nigel Clark - Confetti Falling In The Rain

Size: 99,4 MB
Time: 42:10
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. After Hours (3:01)
02. Confetti Falling In The Rain (3:14)
03. Black And White Story (2:42)
04. Another Sleepless Night (3:18)
05. Maybe Next Time You'll Fall (2:56)
06. A Mother's Love (3:05)
07. Tales When We Were Young (2:47)
08. Dreamers, Weavers And Believers (4:11)
09. Maybe (4:22)
10. Pumpkin Moon (3:50)
11. Blue Gas Flame (3:37)
12. When You're In Love (5:02)

Colette Cassidy and Nigel Clark are a Dublin based songwriting team combining a sublime Jazz voice and virtuoso guitar playing. They have come together on this debut album with 12 wonderful original compositions. They were exploring pop tunes and re-arranging them. Out of the blue one day Nigel asked Colette had she ever written songs. Colette hadn't but she went home and a couple of days later came back with a set of songs. Nigel who was experienced in editing was impressed with the musicality of the lyrics that read like a poetry. There was very little work to be done with the lyrics and they set about composing the melody for their first song, "When you're in Love". Colette describes it like the "elves and the shoemaker". She would go home and labour endlessly at night to compile lyrics and return to Nigel with the completed work. Colette had a lot to say! Her life experiences included the ups and downs of love and romance but also included her love and devotion to her son James in a "A Mother's Love".

Confetti Falling In The Rain