Dr. John - Mercernary

Bitrate: MP3@320K/s

Time: 49:31

Size: 113.4 MB

Styles: Pop/R&B/Jazz

Year: 2006

Art: Front

[4:37] 1. Blues In The Night

[3:39] 2. You Must Have Been A Beautiful Baby

[3:34] 3. Personality

[4:08] 4. Hit The Road To Dreamland

[4:16] 5. I'm An Old Cow Hand

[2:34] 6. Dream

[3:45] 7. Lazy Bones

[3:22] 8. That Old Black Magic

[5:26] 9. Come Rain Or Come Shine

[2:37] 10. Moon River

[4:35] 11. Tangerine

[3:13] 12. I Ain't No Johnny Mercer

[3:39] 13. Save The Bones For Henry Jones

Dr. John's been on a roll since he signed with Blue Note. Each title he's released on the label has been solid, full of New Orleans funk, hot R&B, and swinging, finger-poppin' jazz. Since the Hurricane Katrina disaster, dozens of Crescent City players have been active, and trying to bring the message of the music to the masses like never before. Mercernary is a program almost entirely made up of tunes by the legendary Johnny Mercer. There is no explanation for this, other than Mac Rebennack has always admired his lyricism and the striking rhythmic originality of the rhythmic possibilities in his music. Other than a few guests to fill out the proceedings here and there, the band on all tracks is Dr. John with his fine Lower 911. The music here is joyful, gritty, and slippery check out the opener "Blues in the Night" that just roars with backline funk, or the spit and polish on "You Must Have Been a Beautiful Baby," both written with Harold Arlen. The switch-up is from the Mercer period, in the blues stroll of Johnny Burke and Jimmy Van Heusen's "Personality." "Hit the Road to Dreamland" is another blues, with gorgeous piano work by Rebennack. Herbert Hardesty's saxophone adds so much smoke and steam to the leisurely walk that the tune threatens at any moment to erupt into a full-on New Orleans jam, but never does. The reading of "I'm an Old Cow Hand" is a complete reworking of the tune, with killer second-line funky drumming courtesy of Herman V. Ernest III, and the middle-register piano magic by Dr. John struts the tune into the street effortlessly. Some may raise eyebrows at the big horns of Charlie Miller, and John Fohl's electric guitar on "Old Black Magic," but to hell with 'em. This old nugget is given new life, breadth, and an entirely new feel here. Likewise "Moon River," given a soul-jazz strut, will make some cry heresy, but they'll be drowned out by the joyous resonance of the performance itself because it has never been heard this way. Dr. John's interpretive singing is as fine as can be on Mercernary, and on this performance in particular. As if to address his critics, the good doctor lays down his own "I Ain't No Johnny Mercer," a nocturnal, B-3 driven groover that is full of hoodoo sass and greasy funk. Mercernary gives Johnny Mercer's age-old pop songs a new soul twist. And if the man is turning in his grave, he's probably shaking his skeleton, baby! One is struck at just how easy the Lower 911 and Dr. John make this material seem. They virtually write a manual on how standards should be interpreted in the 21st century: with reverence for the creativity and sophistication of the originals, but bringing some of the blessed nightclub vulgarity back into the music, taking it out of the sky and the hallowed hall and putting into back into the barroom where the ears and asses of the people can take it in and shake it. ~Thom Jurek

Mercernary

---

Joan Stiles - Hurly-Burly

Bitrate: MP3@320K/s
Time: 53:05
Size: 121.5 MB
Styles: Piano jazz
Year: 2007
Art: Front

[4:52] 1. The Brilliant Corners Of Thelonious' Jumpin' Jeep
[5:22] 2. Jitterbug Waltz
[5:16] 3. Hurly-Burly (J2 Mary Lou)
[3:05] 4. Pannonica
[4:48] 5. Past Imperfect
[3:47] 6. All Too Soon
[3:53] 7. What Would I Do Without You
[3:20] 8. 'round Midnight
[3:42] 9. Knowledge
[5:26] 10. The Peacocks
[4:28] 11. Bluesicity
[5:01] 12. In The Land Of Oo-Bla-Dee

Joan Stiles: vocals, piano; Lewis Nash: drums; Peter Washington: bass; Steve Wilson: alto saxophone; Jeremy Pelt: trumpet, flugelhorn; Joel Frahm: tenor saxophone.

Back with her own unique take on the piano's place in jazz, the aptly named Joan "mistress of many Stiles presents a session with myriad influences in a variety of formats with her sophomore effort, Hurly-Burly. Her first release, Love Call (ZoHo, 2004), was a breath of fresh air that more than hinted at clever arranging skills combined with an ability to interpret and present the "classics" on her own terms. Hurly-Burly makes good on that promise and is evidence that Stiles has a unique musical voice that doesn't sacrifice accessibility for originality.

With a band full of leaders in their own right, boasting a rhythm section composed of bassist Peter Washington and drummer Lewis Nash, and a three-horn frontline featuring trumpeter/flugelhornist Jeremy Pelt, Steve Wilson on alto and Joel Frahm on tenor, Stiles is able to get fairly complex this time around. She cooks up some very intriguing creations such as "The Brilliant Corners of Thelonious' Jumpin' Jeep," which has the full sextet weaving together three disparate tunes from Monk, Ellington and Johnny Hodges into a wonderfully up-tempo swinger. Other compositions by pianists as diverse as Fats Waller, Mary Lou Williams ("Knowledge and "In the Land of Oo-Bla-Dee ), Ray Charles and Jimmy Rowles ("The Peacocks ) all come out sounding crisp, clean and, well, new. Waller's "Jitterbug Waltz is given a Monkish treatment; the title track, an original, is a bluesy homage to Williams; and Charles' "What Would I do Without You? has Stiles vocally navigating this gospel-infused blues in a superb duet with Pelt's expressive horn. Ellington's "All Too Soon is swung hard by piano trio and Monk's "'Round Midnight is delivered as an achingly beautiful ballad in this classically-inspired solo piano presentation. An emotive yet precise player, Stiles also possesses a deliciously wry sense of musical humor. This is a fun take on jazz piano that effectively carves out a new place for a new talent. ~Elliott Simon

Hurly-Burly

---

Oscar Peterson, Stéphane Grappelli - Jazz In Paris: Quartet Vol. 1

Bitrate: MP3@320K/s
Time: 39:03
Size: 89.4 MB
Styles: Bop, Piano jazz, Standards
Year: 2001
Art: Front

[4:47] 1. Them There Eyes
[5:35] 2. Flamingo
[4:34] 3. Makin' Whoopee
[4:45] 4. Looking At You
[4:59] 5. Walkin' My Baby Back Home
[9:45] 6. My One And Only Love
[4:36] 7. Thou Swell

One of the nice things about jazz is the cross-pollination of different players in multiple settings. No one would've thought of pairing swing violinist Stéphane Grappelli and bop pianist Oscar Peterson, for instance, but the match works very well. The pair have expanded into a quartet on this reissue with the aid of double bassist Niels-Henning Ørsted Pedersen and drummer Kenny Clarke. The set, recorded in 1973 in Paris, includes a handful of standards, from Pinkard/Tracey/Tauber's "Them There Eyes" to Rodgers & Hart's "Thou Swell." As one might guess, Grappelli is in his own element on upbeat, swinging pieces like "Makin' Whoopee" and "Walkin' My Baby Back Home." Peterson likewise joins in the spirit of these pieces, making them the most interesting interpretations on the album. Other material, like the lingering "Flamingo" and "My One and Only Love," are also enjoyable, but seem rather tepid in comparison. The latter composition is also handicapped by its nearly ten-minute length. Peterson and Grappelli end with a nice, bouncy version of "Thou Swell" that brings the whole affair to a satisfying close. Quartet, Vol. 1 isn't a perfect recording, but it is an enjoyable one, showing how much fun it is to pair unlikely musicians in the studio and see what happens. ~Ronnie D. Lankford Jr.

Jazz In Paris: Quartet Vol. 1

---

John Di Martino's Romantic Jazz Trio - Moliendo Cafe

Styles: Piano Jazz 
Year: 2008
File: MP3@320K/s
Time: 70:16
Size: 161,3 MB
Art: Front

(4:38)  1. Maria Cervantes
(4:22)  2. Angelitos Negros
(5:55)  3. Amapola
(5:11)  4. Obsesion
(5:03)  5. Te Quiero Dijiste
(3:42)  6. Babalu
(4:57)  7. Noche De Ronda
(4:43)  8. Quien Sera
(5:24)  9. Green Eyes
(5:52) 10. Granada
(5:20) 11. Moliendo Cafe
(4:58) 12. Yesterday I Heard The Rain
(5:09) 13. Miami Beach Rumba
(4:55) 14. Jungle Drums

Mr. di Martino enjoyed a long association with percussionist/ musicologist Bobby Sanabria. Their joint efforts include the grammy nominated CD “Live And In Clave”. John was born in Philadelphia in 1959. Since his student days with Lennie Tristano and Don Sebesky, John has performed everywhere from Carnegie Hall to the Peoples Republic of China. John di Martino has been described by Paul Pines as a musical “shape shifter”, inhabiting three different worlds. As a straight ahead jazz pianist, he has performed and recorded with such notables as Kenny Burrell, Pat Martino, James Moody and Eddie Gomez. Mr. di Martino is a sought after musical director and has accompanied Jon Hendricks, Diane Schuur and the late Billy Eckstine. He is active as on the world beat scene working with Paquito D'Rivera, South African bassist Bakithi Kumalo and Giovanni Hidalgo. John's talent as an arranger and keyboardist can be heard on the new release from Grady Tate “All Love” on the Sony label. Mr. di Martino continues to enjoy a long association with percussionist/musicologist Bobby Sanabria. Their joint efforts include the Grammy nominated CD, “Live And In Clave” on the Arabesque label, three instructional videos on Warner Bros. and numerous educational clinics and seminars. John is a long time member of Ray Barretto's “New World Spirit”, he is featured pianist/arranger on several recordings including the Grammy nominated CD “Contact”. Mr. di Martino has also recorded with Freddie Cole and legendary percussionist Patato Valdez. John is featured in the March/April 2001 issue of Piano Keyboard Magazine. As a teenager in his native Philadelphia, he was found most nights in Philly's local jazz clubs where he still returns to work with veteran musician Mickey Roker. Since his student days with Lennie Tristano and Don Sebesky, John has performed everywhere from Carnegie Hall to The Peoples Republic of China. https://musicians.allaboutjazz.com/johndimartino

Personnel:  John Dimartino (piano), Hanz Glawischnigs (bass) & Willie Martinez (drums)

Moliendo Cafe

---

Sonny Rollins - Now's the Time

Styles: Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 34:56
Size: 80,1 MB
Art:

(4:05)  1. Now's the Time
(5:35)  2. Blue 'N' Boogie
(2:37)  3. I Remember Clifford
(4:34)  4. 52nd Street Theme
(3:59)  5. St. Thomas
(4:03)  6. 'Round Midnight
(2:45)  7. Afternoon in Paris
(7:13)  8. Four

Sonny Rollins will go down in history as not only the single most enduring tenor saxophonist of the bebop and hard bop era, but also as one of the greatest contemporary jazz saxophonists of them all. His fluid and harmonically innovative ideas, effortless manner, and easily identifiable and accessible sound have influenced generations of performers, but have also fueled the notion that mainstream jazz music can be widely enjoyed, recognized, and proliferated. Born Theodore Walter Rollins in New York City on September 7, 1930, he had an older brother who played violin. At age nine he took up piano lessons but discontinued them, took up the alto saxophone in high school, and switched to tenor after high school, doing local engagements. In 1948 he recorded with vocalist Babs Gonzales, then Bud Powell and Fats Navarro, and his first composition, "Audubon," was recorded by J.J. Johnson. Soon thereafter, Rollins made the rounds quickly with groups led by Tadd Dameron, Chicago drummer Ike Day, and Miles Davis in 1951, followed by his own recordings with Kenny Drew, Kenny Dorham, and Thelonious Monk. In 1956 Rollins made his biggest move, joining the famous ensemble of Max Roach and Clifford Brown, then formed his own legendary pianoless trio with bassist Wilbur Ware or Donald Bailey and drummer Elvin Jones or Pete La Roca in 1957, doing recorded sessions at the Village Vanguard. Awards came from DownBeat and Playboy magazines, and recordings were done mainly for the Prestige and Riverside labels, but also for Verve, Blue Note, Columbia, and Contemporary Records, all coinciding with the steadily rising star of Rollins. Pivotal albums such as Tenor Madness (with John Coltrane), Saxophone Colossus (with longstanding partner Tommy Flanagan), and Way Out West (with Ray Brown and Shelly Manne), and collaborations with the Modern Jazz Quartet, Clark Terry, and Sonny Clark firmly established Rollins as a bona fide superstar. He also acquired the nickname "Newk" for his facial resemblance to Brooklyn/Los Angeles Dodgers pitcher Don Newcombe. But between 1959 and 1961 he sought a less superficial, more spiritual path to the rat race society of the times, visiting Japan and India, studying yoga and Zen. 

He left the music business until 1962, when he returned with the groundbreaking and in many ways revolutionary recording The Bridge with guitarist Jim Hall for the RCA Victor/Bluebird label. Rollins struck up a working relationship with trumpeter Don Cherry; did a handful of innovative LPs for the RCA Victor, MGM/Metro Jazz, and Impulse! labels; did one record with his hero Coleman Hawkins; and left the scene again in 1968. By 1971 he came back with a renewed sense of vigor and pride, and put out a string of successful records for the Milestone label that bridged the gap between the contemporary and fusion jazz of the time, the most memorable being his live date from the 1974 Montreux Jazz Festival, The Cutting Edge. Merging jazz with calypso, light funk, and post-bop, the career of Rollins not only was revived, but thrived from then onward. He was a member of the touring Milestone Jazz Stars in 1978 with McCoy Tyner and Ron Carter, and gained momentum as a touring headliner and festival showstopper. His finest Milestone recordings of the second half of his career include Easy Living, Don't Stop the Carnival, G-Man, Old Flames, Plus Three, Global Warming, This Is What I Do, and Without a Song: The 9/11 Concert. He has worked extensively with road and recording bands that have included such artists as electric bass guitarist Bob Cranshaw; trombonist Clifton Anderson; pianists Tommy Flanagan and Stephen Scott; keyboardist Mark Soskin; guitarists Bobby Broom and Jerome Harris; percussionist Kimati Dinizulu; and drummers Jack DeJohnette, Perry Wilson, Steve Jordan, and Al Foster. Rollins formed his own record label, Doxy, through which he issued the CD Sonny, Please in 2006. Well into his eighth decade, Rollins continued to perform worldwide, and was documented on the three-volume Road Show series, also released on Doxy. ~ Michael G. Nastos  https://itunes.apple.com/us/artist/sonny-rollins/id37020#fullText

Personnel: Saxophone [Tenor] – Sonny Rollins; Bass – Bob Cranshaw (tracks: 2 to 4, 8), Ron Carter (tracks: 1, 5 to 7);  Cornet – Thad Jones (tracks: 4);  Drums – Roy McCurdy;  Piano – Herbie Hancock (tracks: 1, 6, 7)

Now's the Time

---

Archie Shepp - Stream

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 63:48
Size: 149,1 MB
Art: Front

( 8:43)  1. Stream
(13:03)  2. Along Came Betty
( 7:24)  3. Blues For Donald Duck
(10:33)  4. U-Jamaa
(11:57)  5. Crucificado
(12:07)  6. Miss Tomi

Archie Shepp was born in 1937 in Fort Lauderdale in Florida. He grew up in Philadelphia, studied piano and saxophone and attended high school in Germantown; he went to college, became involved with theatre, met writers and poets, among them, Leroy Jones and wrote: «The Communist», an allegorical play about the situation of black Americans. In the late fifties, Archie Shepp also met the most radical musicians of the time: Lee Morgan, Bobby Timmons, Jimmy Garrison, Ted Curson, Beaver Harris ... his political consciousness found an expression in plays and theatrical productions which barely allowed him to make a living. In the beginning sixties he met Cecil Taylor and did two recordings with him which were determining.  In 1962 he signed his first record with Bill Dixon as co-leader. During the following year, he created the New York Contemporary Five with John Tchichai, made four records for Fontana, Storyville and Savoy and travelled to Europe with this group. Starting in August 1964, he worked with Impulse and made 17 records among which, Four For Trane, Fire Music, and Mama Too Tight, some of the classics of Free Music. His collaboration with John Coltrane materialized further with Ascension in 1965, a real turning point in Avant- Garde music. His militancy was evidenced by his participation in the creation of the Composers Guild with Paul and Carla Bley, Sun RA, Roswell Rudd and Cecil Taylor. In July 1969 he went for the first time to Africa for the Pan African Festival in Algiers where many black American militants were living. On this occasion he recorded Live for Byg the first of six albums in the Actual series. In 1969 he began teaching Ethnomusicology at the University of Amherst, Massachusetts; at the same time he continued to travel around the world while continuing to express his identity as an African American musician.

The dictionary of Jazz (Robert Laffont, Bouquins) defines him in the following way: «A first rate artist and intellectual, Archie Shepp has been at the head of the Avant-Garde Free Jazz movement and has been able to join the mainstream of Jazz, while remaining true to his esthetic. He has developed a true poli-instrumentality: an alto player, he also plays soprano since 1969, piano since 1975 and more recently occasionally sings blues and standards.»  He populates his musical world with themes and stylistic elements provided by the greatest voices of jazz: from Ellington to Monk and Mingus, from Parker to Siver and Taylor. His technical and emotional capacity enables him to integrate the varied elements inherited by the Masters of Tenor from Webster to Coltrane into his own playing but according to his very own combination: the wild raspiness of his attacks, his massive sound sculpted by a vibrato mastered in all ranges, his phrases carried to breathlessness, his abrupt level changes, the intensity of his tempos but also the velvety tenderness woven into a ballad. His play consistently deepens the spirit of the two faces of the original black American music: blues and spirituals. His work with classics and with his own compositions (Bessie Smith’s Black Water Blues or Mama Rose) contributes to maintaining alive the power of strangeness of these two musics in relationship to European music and expresses itself in a unique mix of wounded violence and age-old nostalgia. The scope of his work which registered in the eighties a certain urgency (at the cost of a few discrepancies) is a witness to the fact that in 1988 Archie Shepp was with Sonny Rollins one of the best interpreters in the babelian history of jazz. With his freedom loving sensitivity Archie Shepp has made an inestimable contribution to the gathering, the publicizing and the inventing of jazz. https://musicians.allaboutjazz.com/archieshepp

Personnel:  Archie Shepp – Saxophone;  Charles Greenlee – Trombone;  Dave Burrell – Piano;  Beaver Harris – Drums.

Stream

---

Diana Krall - Turn Up the Quiet

Styles: Vocal And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 48:16
Size: 111,0 MB
Art: Front

(3:16)  1. Like Someone in Love
(4:28)  2. Isn't It Romantic
(4:21)  3. L-O-V-E
(4:38)  4. Night and Day
(3:23)  5. I'm Confessin' (That I Love You)
(5:15)  6. Moonglow
(4:37)  7. Blue Skies
(6:12)  8. Sway
(4:06)  9. No Moon at All
(4:03) 10. Dream
(3:53) 11. I'll See You in My Dreams

Diana Krall's latest album, Turn Up the Quiet, celebrates Jazz and the Great American Songbook, reuniting Diana with Grammy Award-winning producer, Tommy LiPuma. Diana Krall is the only jazz singer to have eight albums debut at the top of the Billboard Jazz Albums chart. To date, her albums have garnered five Grammy® Awards, eight Juno® Awards and have also earned nine gold, three platinum and seven multi-platinum albums. Krall's unique artistry transcends any single musical style and has made her one of the most acclaimed artists of our time. ~ Editorial Reviews https://www.amazon.com/Turn-Up-Quiet-Diana-Krall/dp/B01N80T6C6

Turn Up the Quiet

---

VA Virginia Schenck - Aminata Moseka: An Abbey Lincoln Tribute

Size: 165,8 MB
Time: 71:03
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Talking To The Sun (4:15)
02. Another World (6:57)
03. Bird Alone (3:42)
04. The River (8:42)
05. Learning How To Listen (6:06)
06. Blue Monk (3:43)
07. Caged Bird (Poem Version) (3:00)
08. Caged Bird (5:44)
09. Being Me (6:29)
10. Throw It Away (7:34)
11. The Music Is The Magic (4:57)
12. When I'm Called Home (4:03)
13. Wholly Earth (5:44)

Singer Virginia Schenck’s latest is a wonderful homage to the great Abbey Lincoln. Aminata Moseka: An Abbey Lincoln Tribute avoids the attempt at evoking the spirit of Abbey’s approach, but instead presents her compositions from a different perspective with a new voice. Clever arrangements and Schenck’s own way into a song lend themselves in a very engaging way. The singer and band work well together here. The band on the recording is comprised of Kevin Bales on piano, Rodney Jordan on bass and Marlon Patton on drums, with a guest performance by Kebbi Williams on alto sax. A really solid production from Schenck.

Aminata Moseka

---

John Stein & Dave Zinno - Wood & Strings

Size: 165,6 MB
Time: 70:53
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. I Remember You (4:15)
02. Modinha (4:38)
03. Up And At 'em (3:18)
04. Out Of Nowhere (5:33)
05. Switch-A-Roo (5:41)
06. Sarlat (4:41)
07. Labor Of Love (4:46)
08. Estate (4:41)
09. Song For Now (5:57)
10. But Beautiful (5:46)
11. Beatrice (4:50)
12. Birk's Works (5:37)
13. Till There Was You (6:16)
14. When Lights Are Low (4:47)

Personnel:
John Stein: Guitar
Dave Zinno: Acoustic bass

You wouldn’t think so, but jazz guitar and bass duets are surprisingly rare in recorded jazz, especially considering how common they are on stage. Maybe it’s the sheer nature of the musical context, how it discourages musicians from attempting such stark documentation of their art. There certainly is no place to hide, and it becomes a real challenge to create a compelling musical experience. But that’s if you’re talking about the project in the wrong hands. In the right hands, a guitar and bass can reward the listener with often exhilarating, beautifully nuanced interplay: a musical gift combining individual visions with mutual respect. Wood and Strings shines an intimate light on the simple joys of collaboration. John Stein and Dave Zinno bring with them lifetimes of musical experience and the canny ability to cultivate personal and musical ground together.

Wood & Strings

---

Reverend Chris - @etude

Size: 123,7 MB
Time: 52:58
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Blues, Vocals
Art: Front

01. @etude (6:43)
02. Huddle House Honey (4:39)
03. Gene Pullen (5:45)
04. Allen Toussaint (2:19)
05. Carpet Bagger's Blues (6:13)
06. The Storm (6:07)
07. The Sun Is Gold (When The Night Gets Old) (3:04)
08. Pretty Kitty Two-Step (2:42)
09. Nowhere Bound Affair (3:09)
10. Isla's Waltz (4:20)
11. Look Where We Have Been (4:15)
12. So Long Andromeda (3:37)

Christopher Marsceill may be based in northwest Philadelphia, but a casual listener could just as easily believe it was Nashville or New Orleans—not just because he goes by Reverend Chris in polite company and otherwise, but because he and his amiable High Rollers band share a love for earthy horns and Dixie swing. This lineup's first recording @etude offers a fun melting pot of largely Southern gumbo with high camaraderie and high spirits.

The leader's mostly-electric piano makes a soft and sprightly bed for the horn duo to caper over while the shuffling rhythm players stomp their hearts out. New addition Thomas Razler on sax adds a dose of Philly soul in spots like the brightly bouncing "Gene Pullen," while Bart Miltenberger's trumpet brings us to the heart of N'awlins with dashes of creole and cabaret. Marsceill's time living in that town obviously left some permanent effects, judging by "Huddle House Honey"'s zoot-suit swagger or the ragtimey blues of "The Sun Is Gold" (not to mention the brief straightforward homage to Allen Toussaint). Touches of the French Quarter and Professor Longhair are never terribly far away.

Mostly there's little need to step up to the mike, though the Rev's light drawl occasionally adds to the old-time vibe in a charmingly low-key manner. For the most part he's happy to stick to the keys and let the band do what they do best. The High Rollers' friendly chemistry is palpable throughout. It's a recording that was made with everyone live in the same room, and there was no inclination to overthink or over-polish while letting the good times roll. The attitude of @etude is one of bright celebration; it all makes an invitingly upbeat listen from a sharp crew ready to carouse till the sun comes up. ~by Geno Thackara

Personnel: "Reverend" Chris Marsceill: piano, vocals; Bart Miltenberger: trumpet, flugelhorn; Thomas Razler: saxophone; Tony Garlo: upright bass; Rich Curtis: electric bass; Tony Green: drums; Chuck Lindsey: drums (1, 2, 5, 9); Julian Miltenberger: drums (4, 6).

@etude

---

Cecile Messyasz - Theo's Lullaby

Size: 103,7 MB
Time: 44:38
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Dansez-Sur Moi (Girl Talk) (3:31)
02. Little Watz (4:46)
03. Theo's Lullaby (4:52)
04. On Berklee Beach (6:13)
05. Autumn In New York (5:30)
06. Waltz For Debby (6:09)
07. You Got To My Head (6:21)
08. Do You Know What It Means To Miss New Orleans (3:59)
09. When I Fall In Love (3:13)

Personnel:
Cécile Messyasz: Vocals
Christophe Dal Sasso: Flute
Guillaume Naud: Piano
Matthias Allamane: Double Bass
Philippe Soirat: Drums

Special guests:
Boris Pokora: Clarinet, Saxophone
Bastien Stil: Trombone
Samy Thiebault: Saxophone

For the release of her first album, "Théo's Lullaby", the singer Cecile Messyasz will be on stage for an exceptionnal concert, surrounded by remarkable musicians. Christophe Dal Sasso signed the arrangements and took over the artistic direction of the project, mixing standards of jazz and compositions. Elegance, simplicity and swing are the key words of the singer who devotes a sincere love to jazz and its history and who sings it with rare honesty.

Theo's Lullaby

---

Alison Moyet - Voice (Deluxe Edition) [2-Disc Set]

On 2nd October Cooking Vinyl release Deluxe Editions of Alison Moyet's critically-acclaimed, best-selling albums Hometime, Voice and The Turn, all of which feature rare and previously unreleased material. With Voice, Alison made a radical diversion and recorded an album of songs by other composers that she loved, with the intention of concentrating on her instrument alone - minus the songwriting she was synonymous for. Voice marked a first for Alison, as it featured a classical orchestra and was produced and arranged by Academy Award winner Anne Dudley. It entered the UK album charts at No.7 and reached gold status, selling a quarter of a million copies. It showcased Moyet's eclectic tastes, and above all - her voice at its best. The Guardian described 'extraordinary tones' and 'flawless' renditions of La Chanson Des Vieux Amants and Bye Bye Blackbird.

Album: Voice (Deluxe Edition) Disc 1
Bitrate: MP3@320K/s
Time: 48:05
Size: 110.1 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[3:49] 1. Windmills Of Your Mind
[3:49] 2. The Man I Love
[3:54] 3. Almost Blue
[3:29] 4. Je Crois Entendre Encore
[3:15] 5. What Are You Doing The Rest Of Your Life
[5:36] 6. God Give Me Strength
[3:30] 7. The Wraggle Taggle Gypsies
[3:20] 8. Dido's Lament When I Am Laid In Earth
[5:09] 9. La Chanson Des Vieux Amants
[5:38] 10. Cry Me A River
[2:59] 11. Bye Bye Blackbird
[3:31] 12. Alfie

Voice (Deluxe Edition) Disc 1

---

Album: Voice (Deluxe Edition) Disc 2
Bitrate: MP3@320K/s
Time: 79:28
Size: 181.9 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[4:39] 1. Satellite
[3:42] 2. Mary, Don't Keep Me Waiting
[4:02] 3. Windmills Of Your Mind
[3:25] 4. What Are You Doing The Rest Of Your Life
[5:29] 5. La Chanson Des Vieux Amants
[3:46] 6. Almost Blue
[5:00] 7. If You Don't Come Back To Me
[4:44] 8. Cry Me A River
[3:49] 9. The Wraggle Taggle Gypsies
[5:24] 10. God Give Me Strength
[3:51] 11. Dido's Lament When I Am Laid In Earth
[4:45] 12. Momma Momma
[4:40] 13. Ski
[3:58] 14. This House
[4:52] 15. You Don't Have To Go
[3:18] 16. Alfie
[3:03] 17. Only You
[2:59] 18. That Ole Devil Called Love
[3:53] 19. Should I Feel That It's Over

Voice (Deluxe Edition) Disc 2

---

Barcelona Jazz Orquestra - September In The Rain

Bitrate: MP3@320K/s
Time: 60:18
Size: 138.1 MB
Styles: Big band
Year: 2009
Art: Front

[ 4:30] 1. September In The Rain
[ 4:11] 2. Pipo
[ 3:38] 3. M'agrada Jugar A L'amor (I'd Love To Make Love To You)
[ 3:58] 4. Love For Sale
[ 5:27] 5. Bloi
[ 4:12] 6. Close Your Eyes
[ 4:04] 7. Natacha's Blues
[10:05] 8. Cherokee
[ 6:14] 9. The Very Thought Of You
[ 6:16] 10. In A Mellow Tone
[ 3:48] 11. Avalon
[ 3:48] 12. Osvaldo Tapioca

The Barcelona Jazz Orquestra –Barcelona’s international big band- directed by Dani Alonso, is made up by some of the best jazz specialists in Catalonia. Considered as one of the best big bands in Europe, they regularly perform in prestigious festivals accompanying big names such as Benny Golson, FrankWess, Ann Hampton Callaway and Tony Hadley. They have recorded with Phil Woods, Nicholas Payton and Jesse Davis as special guests and they are about to release their fourth album -a tribute to Dizzy Gillespie, with the collaboration of Jon Faddis. Bjo regularly performs at the legendary Apolo concert hall with a repertoire of jazz and swing that transforms the room known as Parallel Savoy in Barcelona.

September In The Rain

---

Johnny 'Guitar' Watson - Gettin' Down With Johnny 'Guitar' Watson

Bitrate: MP3@320K/s
Time: 33:22
Size: 76.4 MB
Styles: Jazz/Funk/Soul/Blues
Year: 1978/2012
Art: Front

[3:09] 1. Witchcraft
[3:03] 2. I Cried For You
[4:38] 3. I'll Remember April
[6:03] 4. Polka Dots And Moonbeams
[2:16] 5. Exactly Like You
[6:12] 6. When Did You Leave Heaven
[2:19] 7. Reconsider Baby
[5:38] 8. Misty

70's issue of this insanely wonderful early session by Johnny Guitar Watson – originally recorded for Chess in the early 60s, and featuring Johnny on piano, not guitar! Despite the sexy 70's cover (an attempt to cash in on Johnny's hit records at the time), this one's a beautiful set of jazzy cuts played by Johnny in vocal and instrumental versions. The record's incredibly tough to describe – but the sound is amazing, and Johnny's vocal interpretations of the material are fantastic. Includes a slamming Latin take on "I'll Remember April", plus the cuts "Exactly Like You", "Misty", and "Witchcraft". Great stuff – and one of our favorite sessions ever!

Gettin' Down With Johnny 'Guitar' Watson

---

Andy & The Bey Sisters - 'Round Midnight

Bitrate: MP3@320K/s
Time: 32:57
Size: 75.5 MB
Styles: Soul jazz
Year: 1965/2007
Art: Front

[6:17] 1. Love Medley: Love Is Just Around The Corner/I Love You/Love You Madly
[3:37] 2. God Bless The Child
[3:38] 3. Squeeze Me
[2:12] 4. Tammy
[2:24] 5. Hallelujah, I Love Her So
[2:39] 6. Everybody Loves My Baby
[3:25] 7. 'Round Midnight
[2:46] 8. Solitude
[2:54] 9. Feeling Good
[3:00] 10. Ev'ry Time We Say Goodbye

Criminally unsung pianist and singer Andy Bey had the most visible career after he and his sisters Salome and Geraldine Bey broke up their performing trio after an 11-year run in 1967, but this family singing ensemble was far more than just the act that launched Andy, and he wasn't really the focus of the group. All three siblings were highlighted equally in the trio, and their harmonies together were the ethereal kind that can only happen in a family where all involved have grown up hearing each other's voices and phrasing every single day. The Bey trio recorded very little together, unfortunately, just a single album for RCA in 1961 and two albums for Prestige, Now! Hear!, released in 1964, and this one, 'Round Midnight, from 1965. Part gospel, part muted R&B, part stylized blues, the Bey trio was also very much a jazz outfit, due in no small part to Andy's underappreciated piano playing and the presence of bop veterans like Milt Hinton on bass, Osie Johnson on drums, and Kenny Burrell (who appears on about half of the tracks here) on guitar. In essence, the Bey trio sounded like a thinned-out and more jazzy, gauzy version of the Staple Singers. Highlights from this set are a wonderfully balanced version of Ray Charles' "Hallelujah, I Love Her So," a stirring take on Billie Holiday's "God Bless the Child," the ever expanding and ascending "Feeling Good," and a fine rendition of the title track, Thelonious Monk's "'Round Midnight," which has never been the easiest song in the world to sing effectively, but the trio nails it here in what might have been deemed a definitive version if it had actually been heard by more than a handful of people. ~Steve Leggett

'Round Midnight

---

Tony Scott Quartet - Complete Brunswick Sessions 1953

Bitrate: MP3@320K/s
Time: 70:34
Size: 161.6 MB
Styles: Bop
Year: 2015
Art: Front

[4:27] 1. Katz' Meow (A Cannon For Cats)
[5:25] 2. After After Hours
[4:29] 3. I Never Knew
[6:28] 4. Away We Go
[6:17] 5. Cupcake
[3:56] 6. Bob's Blob
[6:54] 7. Milt To The Hilt
[7:49] 8. Homecoming
[3:28] 9. I Cover The Waterfront
[2:51] 10. It's You Or No One
[5:56] 11. Blues For Ava
[2:58] 12. Yesterdays
[2:50] 13. Goodbye
[3:25] 14. Swootie Patootie
[3:14] 15. Sweet Lorraine

Tony Scott (cl), Dick Katz (p), Milt Hinton, Earl May, Percy Heath (b), Philly Joe Jones, Jackie Moffett, Sid Bulkin, Osie Johnson (d).

Tony Scott was arguably the best clarinetist in modern jazz in the 1950s, and these 1953 Quartet recordings for the Brunswick label are among his best. They showcase his warmth, imagination, and complete command of the instrument. Despite this, he won more acclaim from critics and fellow musicians than among jazz audiences, largely because interest in clarinet declined with the advent of bop and faded in popular esteem since the Goodman-Shaw days.

However the music here amply endorses his 1953 recognition as winner of New Star, Clarinet Division, in Down Beats Annual Jazz Critics Poll. It reveals a jazzman with a rare combination of sensitivity, seriousness and an exceptionally sharp sense of humor. Accompanied by a rhythm section with Dick Katzhis sophisticated pianist and arrangerthe veteran and persuasive Milt Hinton on bass, and the forceful Philly Joe Jones on drums on the first session, the group swings superbly. Other talented jazzmen who contributed to Scotts memorable quartet recordings of that year were bassists Earl May and Percy Heath, and drummers Sid Bulkin, Jackie Moffet and Osie Johnson.

Throughout, Scott remained unsurpassed among clarinetists in his astounding ability to improvise linear patterns that build implacably to climaxes that somehow succeed in reconciling surprise with inevitability and always swing brilliantly.

Complete Brunswick Sessions 1953

---

Lani Hall - Collectibles

Styles: Vocal
Year: 1984
File: MP3@320K/s
Time: 35:53
Size: 83,2 MB
Art: Front

(3:29)  1. Midnight Lovers
(3:10)  2. Never Say Never Again
(4:06)  3. Come What May
(6:12)  4. Send In The Clowns--We Could Be Flying
(3:41)  5. Nobody Gets This Close To Me
(4:01)  6. Rio
(3:43)  7. Come Down In Time
(4:29)  8. I Don't Want You To Go
(2:59)  9. How Can I Tell You

The original voice of Sergio Mendes' Brasil '66, singer Lani Hall was also the wife of trumpeter and A&M Records co-founder Herb Alpert. Upon exiting Brasil '66, she made her solo debut in 1974 with the LP Sundown Lady; a series of releases including 1975's Hello It's Me, 1977's Sweetbird and 1979's Double or Nothing followed, but after appearing on the soundtrack to the 1983 James Bond film Never Say Never Again, Hall largely disappeared from the recording scene, resurfacing only to make the occasional cameo appearance on her husband's recordings. However, the rise of Latin pop during the 1990s inspired Hall to return to the studio, and in 1998 she issued Brasil Nativo. ~ Jason Ankeny http://www.allmusic.com/artist/lani-hall-mn0000103460/biography
 

Personnel: Lani Hall (vocals); Jay Graydon (guitar).

Collectibles

---

Benny Green - Live in Santa Cruz!

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 42:14
Size: 97,0 MB
Art: Front

(5:09)  1. Certainly
(4:29)  2. Phoebe's Samba
(3:41)  3. Cactus Flower
(3:47)  4. Sonny Clark
(5:26)  5. Golden Flamingo
(4:28)  6. Tales of Malone
(5:01)  7. Forgiveness
(4:37)  8. Bish Bash
(5:32)  9. Anna's Blues

We hope you've made the journey these past thirty plus years with pianist Benny Green. From hotshot young lion to keeper of the jazz flame he has consistently electrified audiences with his live performances. Live In Santa Cruz recorded at the Kuumbwa Jazz Center follows up on a recording he made as bassist Ray Brown's sideman twenty years ago. Green built a career, first as an apprentice to Betty Carter, then Art Blakey, Freddie Hubbard, then Brown. His career as a leader found early success with first Blue Note, then Telarc, and more recently, his revival with Sunnyside. As the market, or perhaps marketing departments, ebbed and flowed into then out of a taste for traditional jazz, Green's exposure has waxed and waned. What hasn't diminished are his skills at the keyboard, and more importantly, his knack for entertaining audiences. Playing Santa Cruz, side-by-side with Testifying: Live At The Village Vanguard (Blue Note, 1992) confirms his status as a true jazz maestro. The pianist recorded these tracks on his annual performance at Kuumbwa Jazz Center, and the audience ready, willing and primed for his appearance. The nine tracks are all originals, they range form the firecracker opener "Certainly" to the slow drag blues "Golden Flamingo," and an intricately simple ballad "Forgiveness."  Green's music works best in a trio format. Here he calls upon his musical twin, drummer Kenny Washington and bassist David Wong to favor the music. The crowd's energy is felt throughout. Green reintroduces "Phoebe's Samba," a composition written for his sister and recorded years ago on Lineage (Blue Note, 1990). The energy rises here and on his mayhem cyclone tribute to the hard bop pianist "Sonny Clark." Green's facility and hardwire swing carry the day. "Bish Bash" summons the spirit of Bud Powell at his bebop height, and the final track "Anna's Blues" has the crown on their feet. Green's music dares you to not clap, dance, or smile. Can't be done. ~ Mark Corroto https://www.allaboutjazz.com/live-in-santa-cruz-benny-green-sunnyside-records-review-by-mark-corroto.php
 

Personnel: Benny Green: piano; David Wong: bass; Kenny Washington: drums.

Live in Santa Cruz!

---

Horace Parlan - My Little Brown Book

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 64:10
Size: 147,3 MB
Art: Front

( 6:56)  1. Little Esther
( 9:36)  2. My Little Brown Book
( 7:48)  3. Party Time
( 8:33)  4. Things We Did Last Summer
( 6:36)  5. Quietude
( 6:42)  6. Everything Happens To Me
( 7:53)  7. Fran Dance
(10:03)  8. Lotus Blossom

Pianist Horace Parlan is literally at home during the three sessions which make up My Little Brown Book. Joined by bassist Jesper Lundgaard (a frequent collaborator) and alto saxophonist Christina von Bülow, he is in great form throughout these intimate performances, consisting of originals, standards and jazz compositions by other greats. His jubilant "Little Esther" and saucy blues "Party Time" feature Lundgaard's walking bass with von Bülow taking center stage with her mellow solos while Parlan playfully detours into a Monk-like dissonance on the latter piece. The leader sounds very relaxed playing old favorites like the bittersweet standard "Everything Happens to Me" and Billy Strayhorn's lush "Lotus Blossom." His loping treatment of "Fran Dance" revives a gem from the '50s that has only been sporadically played since it was recorded by Miles Davis. Highly recommended! ~ Ken Dryden http://www.allmusic.com/album/my-little-brown-book-mw0000488757

Personnel: Horace Parlan (piano); Christina Von Bülow (alto saxophone); Jesper Lundgaard (bass instrument, double bass).

My Little Brown Book

---

Artie Shaw - What Is This Thing Called Love

Styles: Clarinet Jazz 
Year: 1997
File: MP3@320K/s
Time: 74:06
Size: 174,6 MB
Art: Front

(3:00)  1. Let's Walk
(3:07)  2. Love Of My Life
(2:54)  3. How Deep Is The Ocean?
(2:48)  4. The Glider
(3:03)  5. The Hornet
(3:09)  6. They Can't Convince Me
(2:59)  7. I Got The Sun In The Morning
(3:07)  8. Along With Me
(2:50)  9. You Do Something To Me
(2:48) 10. In The Still Of The Night
(3:14) 11. Begin The Beguine
(3:05) 12. My Heart Belongs To Daddy
(2:48) 13. Night And Day
(3:01) 14. What Is This Thing Called Love?
(2:39) 15. I've Got You Under My Skin
(3:15) 16. Get Out Of Town
(3:04) 17. For You, For Me, For Evermore
(2:40) 18. Changing My Tune
(3:06) 19. Love For Sale
(3:08) 20. They Can't Convince Me
(3:07) 21. Guilty
(2:35) 22. And So To Bed
(2:36) 23. Don't You Believe It Dear
(3:02) 24. It's The Same Old Dream
(2:47) 25. I Believe

This collection of Artie Shaw big band recordings comes from his brief association with the Musicraft label. Having assembled and broken up several earlier units, this edition, heard in recordings made between 1945 and 1946, is more of an arranger's band than one that features many soloists, other than the leader. During this period of Shaw's career, he was constantly changing the instrumentation of his band and making personnel substitutions. Fellow Musicraft artist Mel Tormé and his group the Mel-Tones are added on some tracks, though this was a studio relationship exclusively and they were not a part of Shaw's organization. The innovative blend of strings, voices and brass in the swinging arrangement of "What Is This Thing Called Love" is the highlight of the vocal selections, along with an updated instrumental version of the clarinetist's earlier hit, "Begin the Beguine." The only reservation about this compilation is that several tracks are abruptly faded or even truncated. ~ Ken Dryden http://www.allmusic.com/album/what-is-this-thing-called-love-mw0000239933

Personnel: Artie Shaw (clarinet); Halsey Stevens, Teddy Walters, Kitty Kallen, Mel Tormé, The Mel-Tones (vocals); Dave Barbour, Barney Kessel (guitar); Nick Fatool (clarinet, drums); Rudy Tanza, Lou Prisby, Arthur "Skeets" Herfurt (alto saxophone); Herbie Steward, Ralph Rosenlund (tenor saxophone); Chuck Gentry (baritone saxophone); Manny Klein, Clyde Hurley, George Schwartz, Ray Linn, Bernie Glow, Stan Fishelson (trumpet); Garth Dickson, Bob Swift, Si Zentner, Harry Rodgers, Ollie Wilson (trombone); Dodo Marmarosa, Johnny Guarnieri, Milt Raskin (piano); Lou Fromm (drums).

What Is This Thing Called Love

---