Arthur Prysock, Count Basie - S/T

Bitrate: MP3@320K/s
Time: 43:05
Size: 98.7 MB
Styles: Vocal jazz
Year: 1966/1989
Art: Front

[3:47] 1. I Could Have Told You
[2:45] 2. Ain't No Use
[3:40] 3. I Could Write A Book
[3:08] 4. Gone Again
[3:40] 5. Come Home
[2:16] 6. I Worry 'bout You
[2:45] 7. What Will I Tell My Heart
[2:46] 8. Don't Go To Strangers
[3:21] 9. I'm Lost
[2:52] 10. I'm Gonna Sit Right Down And Write Myself A Letter
[2:24] 11. Come Rain Or Shine
[3:43] 12. Where Are You
[3:13] 13. Do Nothin' Till You Hear From Me
[2:39] 14. Sunday

Bass – Norman Keenan; Drums – Grady Tate, B5), Rufus Jones; Guitar – Fred Green; Piano – Count Basie; Saxophone, Clarinet – Charles Fowlkes, Eddie Davis, Eric Dixon; Trombone – Al Grey, William Hughes, Robert Plater, Grover Mitchell, Henderson Chambers, Henry Coker, Marshal Royal; Trumpet – Albert Aarons, Phil Guilbeau, George Cohn, Wallace Davenport; Vocals – Arthur Prysock. Recorded December 12-21, 1965 at Van Gelder Studios, Englewood Cliffs, New Jersey.

Arthur Prysock/Count Basie documents a set of wonderful mid-'60s cuts in which Arthur Prysock came the closest of any replacements to duplicating the Joe Williams sound in the Basie orchestra. Seven saxes are led by Lockjaw Davis in a big band that drives Prysock. Of the 11 songs, the best are "I Could Write a Book" and "Don't Go to Strangers." [The 2015 Verve reissue added three bonus tracks to the original program.] ~Michael G. Nastos

Arthur Prysock, Count Basie

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Art Farmer - Azure

Styles: Jazz, Bop
Year: 1987
File: MP3@320K/s
Time: 40:32
Size: 94,9 MB
Art: Front

(4:41)  1. If You Could See Me Now
(4:00)  2. Nighttime
(5:00)  3. Yesterday's Thoughts
(3:22)  4. Blue Windows
(4:19)  5. Azure
(6:17)  6. Sound Within An Empty Room
(4:24)  7. Soul Eyes
(4:24)  8. Danielle
(4:03)  9. Song Of Praise

Although the personnel listing mistakenly lists pianist Fritz Pauer as playing bass, this mellow release features his duets with flugelhornist Art Farmer. Pauer has been Farmer's regular pianist overseas since the flugelhornist moved to Europe in 1968. Together they perform three of Pauer's moody originals, an Austrian folk song and tunes by Al Cohn, Mal Waldron ("Soul Eyes"), Duke Ellington, Benny Golson and Tadd Dameron ("If You Could See Me Now") with the emphasis on ballads. 

A peaceful and mostly introspective release.~ Scott Yanow http://www.allmusic.com/album/azure-mw0000193980

Personnel:  Art Farmer – flugelhorn;  Fritz Pauer - bass

Azure

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April Stevens/Nino Tempo - All Strung Out

Styles: Vocal
Year: 1968
File: MP3@320K/s
Time: 41:38
Size: 96,2 MB
Art: Front

(2:05)  1. You'll Be Needing Me Baby
(2:27)  2. Help You to See
(3:01)  3. All Strung Out
(2:33)  4. Follow Me
(2:41)  5. Little Child
(2:00)  6. Alone Alone
(2:44)  7. Sunny
(2:16)  8. Out of Nowhere
(2:30)  9. Wings of Love
(2:40) 10. I Can't Go on Livin' (Without You Baby)
(2:32) 11. Bye Bye Blues
(2:51) 12. The Habit of Lovin' You Baby
(2:36) 13. My Old Flame
(2:57) 14. Let It Be Me
(2:48) 15. Ooh Poo Pa Doo
(2:50) 16. Please Help Me I'm Falling

Upon gazing at the original cover art for All Strung Out, one could assume that it was a sure sign that the early- to mid-'60s Brill Building music era was crumbling fast; here's Nino Tempo and April Stevens' "psychedelic" album. Actually, it's one of the few post-Spector era albums that holds that same production ethos. The songs may be a bit more "with it" (the title track, "You'll Be Needing Me, Baby," and "The Habit of Loving You"), but all drip with that Spector Wall of Sound production ripple and tinsel. And small wonder because the record was cut at Gold Star Studios, utilizing the famous Spector gang of session whizzes known as "the Wrecking Crew" and the same engineer, Larry Levine. Although originally released on a non-Spector involved label (White Whale), this is one album that true Spector fans would love to add to the collection. [Originally released in 1968, Rev-Ola reissued the LP on CD in 2003 and added bonus tracks.] 

~ Cub Koda http://www.allmusic.com/album/all-strung-out-mw0000666962

Personnel : April Stevens (vocals); Nino Tempo

All Strung Out

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Niels-Henning Ørsted Pedersen - Those Who Were

Styles: Jazz, Post Bop
Year: 1997
File: MP3@320K/s
Time: 54:54
Size: 128,8 MB
Art: Front

(7:08)  1. Our Love Is Here To Stay
(5:38)  2. Derfor Kan Vort Oje Glaedes
(4:56)  3. With Respect
(5:31)  4. Those Who Were
(6:53)  5. Friend Forever
(6:41)  6. The Puzzle
(5:42)  7. Wishing And Hoping
(6:41)  8. You And The Night And The Music
(5:40)  9. Guilty, Your Honour

Not only is Niels Pedersen a great bassist, but he puts a lot of care into his solo projects as well. Pedersen is joined by guitarist Ulf Wakenius for a slow, percolating version of "Our Love Is Here to Stay." Johnny Griffin's tenor sax joins in on the bassist's challenging blues "The Puzzle" and jousts with the string players for top solo honors on a vigorous workout of "You and the Night and the Music." Victor Lewis and Alex Riel share the drumming duties. A surprise guest is European pop vocalist Lisa Nilsson, who does a beautiful interpretation of Pedersen's "Those Who Were"; the leader discovered her by hearing one of her recordings on his daughter's radio. By far this is Niels Pedersen's most impressive release to date. ~ Ken Dryden http://www.allmusic.com/album/those-who-were-mw0000029967

Personnel: Niels-Henning Orsted Pedersen (acoustic bass); Lisa Nilsson (vocals); Johnny Griffin (tenor saxophone); Ulf Wakenius (acoustic & electric guitars); Alex Riel, Victor Lewis (drums).

Those Who Were

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Adonis Rose Quintet - Song for Donise

Styles: Jazz, Post Bop
Year: 1997
File: MP3@224K/s
Time: 56:42
Size: 91,0 MB
Art: Front

(7:21)  1. Dia's Blues
(6:46)  2. Estrella del Mar
(6:28)  3. Seventy Ninth Street
(7:29)  4. Song for Donise
(6:27)  5. Reflections
(8:31)  6. My Foolish Heart
(6:47)  7. E.S.P.
(6:48)  8. Love Walked In

A veteran of groups led by trumpeters Terence Blanchard and Nicholas Payton, this is drummer Adonis Rose's debut as a leader. For Song for Donise, he gathered his colleagues from Payton's quintet Payton, tenor saxophonist Tim Warfield, pianist Anthony Wonsey, and bassist Reuben Rogers to perform five post-bop originals, two standards, and one jazz classic, Miles Davis and Wayne Shorter's "ESP," played at an incredibly fast tempo. As this is a working band that has toured regularly and has recorded under Payton's name on Verve, the group's sound becomes the recording's focus, although the feel seems looser and more energetic than on Payton's recordings, best exemplified by the interplay between Payton and Warfield on "Dia's Blues," an up-tempo number on which Payton and Warfield play different melodies and solo collectively. Other highlights include Wonsey's "Seventy Ninth Street," an up-tempo swinger built on some well-placed drum hits on which Wonsey quotes Leon Parker's "B.B.B.B" during his solo, and the Shorter-ish "Reflections," also written by Wonsey. This is a very good debut from a fine young musician. ~ Greg Turner http://www.allmusic.com/album/song-for-donise-mw0000038289

Personnel: Adonis Rose (drums); Tim Warfield (tenor saxophone); Nicholas Payton (trumpet); Anthony Wonsey (piano); Reuben Rogers (bass).

Song for Donise

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Kevin Eubanks - East West Time Line

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 63:03
Size: 145,2 MB
Art:Front

(6:31)  1. Time Line
(8:59)  2. Watercolors
(7:09)  3. Poet
(4:19)  4. Carnival
(8:46)  5. Something About Nothing
(6:24)  6. Take the Coltrane
(4:55)  7. Captain Señor Mouse
(5:00)  8. Cubano Chant
(3:18)  9. What's Going On
(7:38) 10. My One and Only Love

Philadelphia-born guitarist, composer Kevin Eubanks has been building a creative catalog and playing style since his 18-year tenure as the guitarist and music director of TV's, The Tonight Show Band ended in 2010. Eubanks took New York by storm, starting out in straight ahead jazz clubs, followed by progressive albums for contemporary jazz giant GRP Records and legendary Blue Note Records, frequent collaborations with cutting edge bassist Dave Holland, on "The Tonight Show" he played with seemingly every meaningful musician across all genres. Eubanks brings his vast experience, unique right hand technique (choosing not to play with a pick) and his ability to meld styles under the jazz umbrella to his 2017 album, East West Time Line. On this newest offering, Eubanks explores the chemistry he preserves with musicians based on the two opposite coasts and historically, the two styles of jazz. And once again, his distinctive fingerstyle approach to the instrument is in the service of the tunes that run the stylist gamut from burning swingers, to thoughtful ballads, to Latin-tinged tracks and some enjoyable Philly funk. Joining Eubanks on this outing is longtime collaborator and former Berklee College of Music schoolmate, drummer Marvin "Smitty" Smith, who fuels the West Coast outfit alongside seasoned session bassist Rene Camacho, percussionist Mino Cinelu and saxophonist Bill Pierce. Smith's East Coast counterpart on this bi-coastal session is the swinging Jeff “Tain” Watts, a force of nature on the kit who combines with bassist Dave Holland, Philadelphia-based pianist Orrin Evans and New York trumpeter Nicholas Payton. Together these great musicians bring out the best in Eubanks' six-string prowess and ignite his searching instincts throughout the sessions in Los Angeles and New York. Eubanks expands on the project, "Of course, we all came up through New York," says the guitarist who broke in with Art Blakey & The Jazz Messengers during the early '80s. "But we also got the benefits of seeing the East Coast down and dirty and Hollywood down and dirty too. We combined both vibes on this recording the kind of Latin vibe of Los Angeles and the straight up swinging vibe of New York."

The album kicks off with the East Coast crew performing "Time Line," an urgent swinger paced by Holland's signature walking pulse and Watts' polyrhythmic kit work. Eubanks right hand technique allows him to get a sonically different percussive attack rather than if he just used a pick, it also affords him the ability to play more independent parts or counterpoint within his musical ideas. For example, his alternating doubling the baselines and dealing in Wes-style octaves on his solo in "Time Line," reveals the uniqueness of his technique. Payton's strong brass trumpet sound turns in a solo that bristles with energy and "Tain" brings his usual rhythmic power through musicality on the kit during the tag. Eubanks gives his thoughts on the track, "There's something a little Philly about that groove. I mean, it's a long way from when I was playing in the neighborhood bands but basically that's a little Philly vibe in there." The introspective "Poet" introduces Evans on the Fender Rhodes engaging in a sparse and tender duet with Eubanks on the opening four minutes of the tune before the full band enters. All though, Eubanks predominantly takes the solo role during the intro. He keeps a central theme throughout, with Evans playing the supportive role, but when Evans does take the lead, he matches Eubanks musical language and style perfectly. The guitarist shifts from warm-toned electric to nylon-stung acoustic after that distinct break, while Evans moves from Rhodes to acoustic piano in the second half of the tune. The melody is beautiful and Evans chordal colors are perfect. The group returns to the original theme for the ending and really makes an enjoyable musical journey that is jazz and much more.

The West Coast crew opens with a mambo-flavored arrangement of Duke Ellington's "Take the Coltrane." Eubanks articulations are percussive in his attack, slightly on top of pulse of the clave-fueled groove, leading to an exceptional musical statement. Eubanks next extrapolates on a motif from Chick Corea's "Captain Señor Mouse," which has him doubling on steel string guitar and bass, accompanied only by Cinelu on percussion and Smith on drums. The West Coast crews take on Eubanks' uncle, Ray Bryant's "CubanoChant" has the guitarist alternating between acoustic and electric guitar, while Pierce supplies a climbing soprano sax solo.The guitarist explains his directive to the musicians on this popular Afro-Cuban flavored track. "I just said, 'Let's just get compassionate on this...let's breathe on this and let it float so it's not all stick it and quit it. The influence of Latin jazz is undeniable when you're on the West Coast long enough, and I wanted to reflect that in this session." Overall, Eubanks first bi-coastal recording is a great set of music with many styles, amazing playing and most importantly, it really is a creative project that is accessible to all music lovers. Eubanks speak about the overall project, "I think because I'm so familiar with all the musicians and we played together over the years in different settings, on different tours, that it helped the music quite a bit. There's something that goes with friendship, knowing everybody's journey to a large extent, that really enhances the communication between the players on a session. It's that thing where everybody's pulling for each other to do well and trying to make each other sound better, and you keep your sorry-ass ego out of it. We all have egos, we're human beings and everything, but through the love of the music and wanting the best, good things happen. 

It's really such a wonderful kind of democracy that you don't see in other things. I think jazz music is the most perfect example of democracy in action." Well for me, that pretty much sums it up -Enuff said! ~ Geannine Reid https://www.allaboutjazz.com/east-west-time-line-by-geannine-reid.php

Personnel: Kevin Eubanks: guitar; Marvin “Smitty” Smith: drums; Jeff "Tain" Watts: drums; Rene Camacho: bass; Dave Holland: bass; Mino Cinelu: percussion; Bill Pierce: saxophone; Orrin Evans: piano; Nicholas Payton: trumpet.

East West Time Line

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Boogaloo Joe Jones - Right On Brother

Bitrate: MP3@320K/s

Time: 41:24

Size: 94.8 MB

Styles: Jazz/Funk/Soul

Year: 1970/2008

Art: Front

[5:39] 1. Right On

[7:04] 2. Things Ain't What They Used To Be

[6:05] 3. Poppin'

[6:45] 4. Someday We'll Be Together

[5:04] 5. Brown Bag

[5:23] 6. Let It Be Me

[3:00] 7. Right On

[2:20] 8. Someday We'll Be Together

Bass – Jimmy Lewis; Drums – Bernard Purdie; Guitar – Boogaloo Joe Jones; Organ – Charlie Earland; Saxophone – Rusty Bryant.

A fantastic album of funky jazz guitar – by one of the best players in the genre! This is Ivan's first truly sublime album – a set that showed the world that he was easily one of the greatest jazz guitarists of his generation – able to spin out single-note jams with a speed and dexterity that few others could match! The groove here is totally great and very righteous – heavy drums from Bernard Purdie, wailing organ from Charles Earland, and saxophone from Rusty Bryant – all cooking together in the best early 70s Prestige jazz funk mode! Titles include "Right On", "Brown Bag", "Things Ain't What They Used To Be", and "Poppin".

Right On Brother       

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Aaron Neville - New Orleans Soul

Bitrate: MP3@320K/s
Time: 73:41
Size: 168.7 MB
Styles: Soul
Year: 2015
Art: Front

[3:15] 1. It's All Right
[3:53] 2. Congo Square
[2:57] 3. Tick Tock Tick
[3:11] 4. Baby What You Want Me To Do
[5:02] 5. Summertime
[2:33] 6. Everybody Plays The Fool
[4:51] 7. Feels Like Rain
[3:57] 8. What's Goin' On
[4:42] 9. Ain't No Sunshine
[8:02] 10. A Change Is Gonna Come
[1:31] 11. Three Little Birds
[2:18] 12. Stir It Up
[3:47] 13. Drift Away
[3:43] 14. Hercules
[3:50] 15. Sara Smile
[3:46] 16. Down By The River
[3:21] 17. Louisiana 9127
[3:58] 18. Tell It Like It Is
[2:06] 19. Amazing Grace
[2:48] 20. One World

Until now, it’s been easy to separate Aaron Neville’s career into two separate but equal strains: the funky stuff he’s favored when working with his esteemed band of brothers, and the angelic balladry you associate with him when he’s punching his own time card as a solo artist. Casual fans might admit they don’t know much — to borrow a phrase — about Neville’s musical center, but they’ve perceived a certain split in his career. An education is about to be provided that makes the case for Aaron Neville as the most holistic of soul men. Its hard R&B side matches anything the Neville Brothers ever recorded for true grit, while still allowing plenty of space for a singer who’s arguably the most distinctive vocal stylist on the planet to tell it like it is.

New Orleans Soul

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The Los Angeles Jazz Ensemble - Jazz Standards: 25 All Time Greats

Bitrate: MP3@320K/s

Time: 68:55

Size: 157.8 MB

Styles: Smooth jazz

Year: 2015

Art: Front

[2:19] 1. Body And Soul

[4:00] 2. Stardust

[2:45] 3. Willow Weep For Me

[2:37] 4. What's New

[1:31] 5. Oh, Lady Be Good

[2:19] 6. On Green Dolphin Street

[2:48] 7. Tenderly

[2:41] 8. These Foolish Things (Remind Me Of You)

[2:51] 9. I'll Remember April

[1:59] 10. Sophisticated Lady

[2:57] 11. After You've Gone

[2:14] 12. (Back Home Again In) Indiana

[2:39] 13. Misty

[3:54] 14. If I Had You

[2:07] 15. (I Don't Stand) A Ghost Of A Chance With You

[4:19] 16. More Than You Know

[3:44] 17. Memories Of You

[2:30] 18. They Can't Take That Away From Me

[2:00] 19. A Foggy Day

[2:23] 20. Just You, Just Me

[2:22] 21. This Can't Be Love

[3:33] 22. Moonglow

[2:35] 23. Lullaby Of Birdland

[3:13] 24. Poor Butterfly

[2:24] 25. Flying Home

Darek Oleszkiewicz (bass), Janis Siegel (vocals), Bob Sheppard (tenor saxophone, soprano saxophone), Larry Koonse (guitar), Alan Pasqua (organ), Peter Erskine (drums).

Jazz Standards 25 All Time Greats

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Barbara Mendes - So Many Stars

Bitrate: MP3@320K/s
Time: 23:46
Size: 54.4 MB
Styles: Bossa Nova
Year: 2017
Art: Front

[3:32] 1. Alone Again
[4:27] 2. So Many Stars
[3:13] 3. Dancing In The Moonlight
[3:48] 4. The Gentle Rain
[3:17] 5. Mais Que Nada
[2:45] 6. O Barquinho
[2:40] 7. Pra Dizer Adeus

Barbara Mendes grew up in Rio de Janeiro, home of the Bossanova. On her first songs she accompanied her mother Marisa Rossi who was the winner of the musical "Big Chance" in the 60s. In 1996 Barbara Mendes moved to New York where he was educated at various singing schools and made forays into gospel music. She published two solo albums and has done multiple collaborations on soundtracks and with renowned DJ's.

So Many Stars

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Wild Bill Davison - With Strings: Sweet And Lovely

Bitrate: MP3@320K/s
Time: 47:31
Size: 108.8 MB
Styles: Contemporary jazz
Year: 2012
Art: Front

[3:54] 1. Sugar
[3:10] 2. Sweet And Lovely
[3:49] 3. Serenade In Blue
[3:18] 4. A Ghost Of A Change
[3:23] 5. Our Love Is Here To Stay 2
[3:30] 6. Prelude To A Kiss
[3:02] 7. She's Funny That Way
[3:54] 8. Black Butterfly
[2:41] 9. If I Had You
[4:23] 10. Rockin' Chair
[3:36] 11. Mandy Make Up Your Mind
[3:40] 12. When Your Love Has Gone
[5:04] 13. Sentimental Journey

Will Bill Davison (cornet); Jorn "Jonne" Jensen (piano); Finn Ziegler, Ivan Leth (violin); Niels Erik Clausen (cello); Lars Blach, Torben Munk (guitar); Jens Solund (bass); Hans Nymand (drums). Recorded Rosenberg Soundtechnic, Copenhagen, Denmark in August 1976.

The arrangements for the 12-piece string section on this Storyville set may not be all that inspiring (functioning primarily as background music) but cornetist Wild Bill Davison's solos are thoughtful, very expressive and consistently inspired Sweet And Lovely buy CD music. Wild Bill performs a dozen of his favorite ballads and, although violinist Finn Ziegler has a few solos and there are guest spots for clarinetist Jesper Thilo and trombonist Ole "Fessor" Lindgreen, Davison is largely the entire show Sweet And Lovely songs. His warm playing on such numbers as "Sugar," "Serenade in Blue," "She's Funny That Way" and "If I Had You" is sometimes both haunting and memorable. ~ Scott Yanow

With Strings: Sweet And Lovely

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Louis Armstrong - Satch Plays Fats

Styles: Vocal And Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 79:22
Size: 185,7 MB
Art: Front

(3:00)  1. Honeysuckle Rose
(4:43)  2. Blue turning grey over you
(4:29)  3. I'm Crazy 'Bout My Baby
(5:05)  4. Squeeze Me
(3:21)  5. Keepin' Out Of Mischief Now
(5:16)  6. All That Meat And No Potatoes
(3:13)  7. I've Got A Feeling I'm Falling
(4:39)  8. Black and Blue
(4:36)  9. Ain't Misbehavin
(4:53) 10. Black And Blue
(4:41) 11. I'm Crazy 'Bout My Baby (Edited Alternate Version)
(4:57) 12. Blue Turning Grey Over You (Edited Alternate Version)
(3:18) 13. I've Got A Feeling I'm Falling (Edited Alternate Version)
(3:20) 14. Squeeze Me (Bonus)
(3:03) 15. (What Did I Do To Be So) Black And Blue (Bonus)
(3:15) 16. Ain't Misbehavin' (Bonus)
(3:29) 17. Blue Turning Grey Over You (Bonus)
(3:31) 18. Keepin' Out Of Mischief Now (Bonus)
(3:14) 19. Sweet Savannah Sue (Bonus)
(3:08) 20. That Rythm Man (Bonus)

Louis Armstrong and Fats Waller only worked together twice, briefly in 1925 in Erskine Tate's band and four years later in the New York revue Connie's Hot Chocolates. But Waller made an indelible enough impression for Satchmo to record the tribute album Satch Plays Fats: The Music of Fats Waller in 1955, when such ideas were new. The nine tracks feature Armstrong ably supported by his All-Stars on such classics as "Honeysuckle Rose," "Squeeze Me," and "Ain't Misbehavin'." The mid-'50s was a fertile time for Armstrong, and this makes for a stellar package. ~ Cub Koda http://www.allmusic.com/album/satch-plays-fats-the-music-of-fats-waller-mw0000876950

Personnel:  Vocals – Louis Armstrong, Velma Middleton;  Clarinet – Barney Bigard;  Double Bass – Arvell Shaw;  Drums – Barrett Deems;  Piano – Billy Kyle;  Trombone – Trummy Young;  Trumpet – Louis Armstrong; 

Satch Plays Fats

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Dianne Reeves - The Calling: Celebrating Sarah Vaughan

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 65:28
Size: 153,2 MB
Art: Front

(4:44)  1. Lullaby Of Birdland
(6:03)  2. Send In The Clowns
(6:26)  3. Speak Low
(7:37)  4. Obsession
(6:44)  5. If You Could See Me Now
(4:20)  6. I Remember Sarah
(4:11)  7. Key Largo
(5:41)  8. I Hadn't Anyone 'Til You
(5:24)  9. Fascinating Rhythm
(7:56) 10. Embraceable You
(6:17) 11. A Chamada (The Call)

The Calling: Celebrating Sarah Vaughan is Dianne Reeves’ grandest project yet. It also is one closest to heart as she pays tribute to one of her primary vocal influences. Having listened to Sarah Vaughan for most of her life, and having met Vaughan without recognizing her in 1975 during Cannonball Adderley’s memorial service, Reeves, after eleven albums, finally has the confidence to tackle some of Vaughan’s best-known tunes as she ignores the inevitable comparisons.  As demanded by the scale of the album, Reeves for the first time is backed by a studio orchestra. Not just any orchestra, though. But one consisting of 42 musicians led by Billy Childs and Patrick Gandy. Surrounded by said orchestra is Reeves’ rhythm section of Mulgrew Miller, Reginald Veal and Gregory Hutchinson.  Intending to cover the scope of Vaughan’s career, Reeves and orchestra include her famous “If You Could See Me Now” by Tadd Dameron and run through the decades to Dori Caymmi’s “Obsession” from 1987, one of Vaughan’s final recordings. Of course, the album includes Vaughan’s equally famous version of “Send In The Clowns,” which is especially appropriate for the orchestra’s lushness, dynamics and musical drama.

While it wasn’t obvious until it was pointed out by the theme of The Calling, Reeves’ range and colors do recall Vaughan’s, even as Reeves has developed a distinctive voice that’s instantly recognizable. On Reeves’ and Child’s tune honoring Vaughan’s influence upon a generation of singers, “I Remember Sarah,” Reeves adopts the Vaughan persona, combining Vaughan’s implicit wordless swing and her identifying intervals with Reeves’ favored approach of singing recollections. On the other hand, Reeves sounds like none other than Reeves on Childs’ arrangement of “Fascinating Rhythm,” her intro more like “Afro Blue’s” from her last album, In The Moment: Live In Concert, than Vaughan’s. The album’s producers went to great lengths to include Clark Terry’s, Reeves’ discoverer’s, responses to Reeves’ calls, not to mention his trumpet solo, on “I Hadn’t Anyone ‘Til You.” Reeves recorded the tune with the orchestra in Burbank and sent the tape to Terry in New York, where he recorded the balance of the tune. Reeves has grown, and actually blossomed, throughout her career to this point, where she, along with other outstanding singers of her generation, are continuing the tradition of jazz singing for the current generation. The Calling: Celebrating Sarah Vaughan symbolizes that passing of the torch. ~ AAJ Staff  https://www.allaboutjazz.com/the-calling-celebrating-sarah-vaughan-dianne-reeves-blue-note-records-review-by-aaj-staff.php

Personnel: Dianne Reeves, vocals; Billy Childs, Mulgrew Miller, piano; Reginald Veal, bass; Greg Hutchinson, drums; Clark Terry, trumpet; Steve Wilson, alto & soprano sax; Romero Lubambo, Russell Malone, guitar; Munyungo Jackson, percussion; orchestra conducted by Billy Childs and Patrick Gandy

The Calling: Celebrating Sarah Vaughan

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Tommy Flanagan & Kenny Barron - Together

Styles: Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 37:41
Size: 90,5 MB
Art: Front

(4:34)  1. Dig
(8:05)  2. If I Should Lose You
(5:54)  3. Stella By Starlight
(6:21)  4. I Can't Get Started
(5:31)  5. Darn That Dream
(7:12)  6. The Way You Look Tonight

Originally released by Denon Japan and made available domestically by Jazz Heritage, this outing features piano duets by Tommy Flanagan and Kenny Barron. The two masterful pianists perform six vintage jazz standards (including "Dig," "Stella By Starlight" and "The Way You Look Tonight") with plenty of swing and spontaneous moments yet without making the ensembles too cluttered or crowded. In addition to their talents, both Flanagan and Barron prove to have very alert ears. Recommended. 

~ Scott Yanow http://www.allmusic.com/album/together-mw0000191826

Personnel:  Tommy Flanagan, Kenny Barron – piano

Together 1978

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Jason Marsalis - Music In Motion

Styles: Jazz, Bop
Year: 1999
File: MP3@320K/s
Time: 74:00
Size: 244,2 MB
Art: Front

( 8:01)  1. There's a Thing Called Rhythm
( 7:26)  2. Marakatu de Modernizar
( 4:50)  3. The Sweeper
( 6:12)  4. On the First Occasion
( 7:59)  5. The Steepistician
( 5:40)  6. Discipline Strikes Again
( 4:48)  7. Treasure
(13:08)  8. It Came From the Planet of Nebtoon
( 3:33)  9. Short Story #1
( 7:40) 10. Seven-Ay Pocky Way
( 4:39) 11. [Untitled Hidden Track]

All aboard! All Aboard! The cover on Jason Marsalis' sophomore recording shows the young musician standing in the center of a train track in some unknown location. This would seem a little odd at first , but upon listening to the music, the idea behind the visual makes perfect sense. The musical trek will take the listener on a journey that will leave a memorable impression at the point of disembarkation. The name Marsalis is a common household word in today's current music environment. Ellis, Delfeayo, Branford, and the minister of jazz himself, Wynton; have carried forth the great tradition of jazz for the past few decades. But who is Jason Marsalis? The youngest among his famous sibling brothers, you may not have easily recognized that he is an utterly talented jazz drummer and percussionist. The 24 year old has the skill and musicianship of a veteran. His first recording, The Year of the Drummer, received critical acclaim. He has played and recorded with notables such as Marcus Roberts, Marcus Printup, and with his brothers, Branford, Wynton, and father Ellis. He is an equal contributor to the hot Afro-Cuban Jazz group Los Hombres Calientes, which stars trumpter Irwin Mayfield and long time percussionist Bill Summers. 

Encompassing rhythmic beats that directly affect the flow of music; jazz drummers make profound statements concerning timing and motion. Marsalis' latest recording displays his control of that art in a compelling way. Each selection will take the listener on a percussive excursion . On the first track, "There's a Thing Called Rhythm," the journey snakes from swing to blues, intricate time changes, and then to a unique drum solo by Marsalis. On the second piece, "Marakatu de Modernizer," the musical jaunt travels down the upbeat path like a Brazilian parade that swings. 

The musicians on this outing are all capable jazz attendants who exhibit consumate precision and talent on this entertaining journey. Tenor saxophonist John Ellis conveys a quiet skill and poise on the serene cut "On the First Occasion." Altoist Derek Douget, bassist Peter Harris and pianist Jonathan Lefcoski all display exquisite musicianship and creativity throughout the recording. This is all held together by the master rhythm Conductor; Jason Marsalis. Jason displays a kaleidoscope of skills on the drums. Every conceivable area of his drum kit is utilized adeptly. Each tune exhibits an expressive motion montage that carries the willing listener to a toe tapping destination. ~ Mark F.Turner https://www.allaboutjazz.com/music-in-motion-jason-marsalis-basin-street-records-review-by-mark-f-turner.php

Personnel: Jason Marsalis - Percussion, Drums, Producer Peter Harris - Bass Derek Douget - Sax (Alto), Sax (Soprano) John Ellis - Sax (Tenor) Jeff Lefcoski - piano

Music In Motion

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George Garzone Quartet - Demetrio’s Dream

Styles: Saxophone Jazz
Year: 2003
File: MP3@224K/s
Time: 67:56
Size: 109,5 MB
Art: Front

(6:30)  1. Foggy Night
(6:03)  2. Funkey
(8:33)  3. Eleanor
(6:28)  4. Angela
(7:29)  5. Friends In Paris
(6:09)  6. Laputa
(5:59)  7. Danza di notte
(4:23)  8. Lovely
(7:17)  9. Another Kind Of Blues
(9:00) 10. Blues For Ted

A powerful tenor saxophonist whose adventurous flights with his longtime band the Fringe have made him a legend in the Boston area, George Garzone has spent most of his life as a jazz educator. He began on the tenor when he was six, played in a family band, and attended music school in Boston. Garzone first formed his trio the Fringe (a group that in the mid-'90s also included founding member Bob Gullotti on drums and bassist John Lockwood) back in 1972. In addition, Garzone has guested in many situations, touring Europe with Jamaaladeen Tacuma and gigging with Danilo Perez, Joe Lovano, Jack DeJohnette, Rachel Z, and John Patitucci, among others. In 1995, he recorded a fine tribute to Stan Getz on NYC called Alone; Four's and Two's followed a year later and in 1999, Garzone returned with Moodiology. Fringe in New York was released in summer 2000. ~ Scott Yanow http://www.allmusic.com/artist/george-garzone-mn0000647361/biography

Personnel:  Tenor Saxophone – George Garzone;  Contrabass – John Lockwood;  Drums – Bob Gullotti;  Guitar – Rick Peckham

Demetrio’s Dream

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Kenny Drew - Nature Beauty

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 54:08
Size: 124,2 MB
Art: Front

(5:19)  1. Dear Old Stockholm
(3:24)  2. Nature Beauty
(6:47)  3. Django
(3:43)  4. Autumn Leaves
(7:25)  5. Water Stream
(4:12)  6. Dream
(4:55)  7. When You Wish Upon a Star
(3:35)  8. Dream Land
(4:43)  9. Willow Weep for Me
(3:55) 10. Hash-A-Bye
(6:05) 11. Finale

To commemmorate the 20th anniversary of Drew's passing, a very special series was launched in Japan in 2013, with a release of previously unpublished materials recorded for the two labels between 1972 and 1992. Most of them are alternate takes and takes that did not make onto the original albums released in this period. Danish super-bassist Niels-Henning Orsted Pedersen held the bass chair throughout, and the drummer is either Ed Thigpen, a fellow American expat who had settled in Copenhagen, or Alvin Queen.

Personnel:  Kenny Drew – piano;  Niels-Henning Orsted Pedersen – bass;  Ed Thigpen - drums

Nature Beauty

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Alexis Cole - Very Early

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 45:46
Size: 106,1 MB
Art: Front

(5:01)  1. Gentle Rain
(3:44)  2. Very Early
(3:40)  3. Joy Spring
(4:43)  4. Angel Eyes
(6:33)  5. Blackberry Winter
(5:29)  6. The Thrill Is Gone
(4:36)  7. Alice In Wonderland
(4:30)  8. Easy Living
(7:26)  9. Nature Boy

Cole was born in Queens, New York. Her father and grandmother were both jazz singers and pianists. Her family moved to Florida, where she became a member of an award-winning high school choir. In 1994, she graduated from the New World School of the Arts in Miami. While in her teens, she began her professional career performing at a hotel in South Beach. In 1996, she graduated from William Paterson University.  Her debut album, Very Early (1999), was recorded with Harry Pickens and independently released, and her second album, Nearer the Sun (2005) was recorded with Ben Stivers. In 2006, she received a graduate degree from Queens College. She taught at several schools: University of San Francisco, University of North Carolina, Queens College, and at a program in Quito, Ecuador, run by the Berklee College of Music. In 2016, she released a tribute to Paul Simon entitled Dazzling Blue, which debuted at No. 24 on the Billboard jazz chart. https://en.wikipedia.org/wiki/Alexis_Cole

Very Early

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Wes Montgomery - Full House

Styles: Guitar Jazz
Year: 1962
File: MP3@320K/s
Time: 79:50
Size: 184,0 MB
Art: Front

(9:16)  1. Full House
(3:29)  2. I've Grown Accustomed To Her Face
(9:38)  3. Blue 'N' Boogie
(9:41)  4. Cariba (take2)
(6:57)  5. Come Rain Or Come Shine (take 2)
(5:04)  6. S.O.S. (take 3)
(8:28)  7. Cariba (take 1) (bonus track)
(7:22)  8. Come Rain Or Come Shine (take 1) (bonus track)
(4:49)  9. S.O.S. (take 2) (bonus track)
(7:27) 10. Born To Be Blue (take 1) (bonus track)
(7:35) 11. Born To Be Blue (take 2) (bonus track)

This live set is notable for teaming guitarist Wes Montgomery and the Wynton Kelly Trio (comprised of pianist Kelly, bassist Paul Chambers, and drummer Jimmy Cobb) with the fiery tenor of Johnny Griffin. 

As with the OJC release, six selections (highlighted by "Blue 'n' Boogie" and Montgomery's "S.O.S.") are augmented by "Born to Be Blue" and a pair of alternate takes. ~ Scott Yanow http://www.allmusic.com/album/full-house-mw0000056997

Personnel:  Guitar – Wes Montgomery;  Bass – Paul Chambers;  Drums – Jimmy Cobb;  Piano – Wynton Kelly;  Tenor Saxophone – Johnny Griffin

Full House

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McCoy Tyner Trio - Infinity

Styles: Piano Jazz
Year: 1995
File: MP3@256K/s
Time: 72:15
Size: 133,0 MB
Art: Front

(10:15)  1. Flying High
( 7:19)  2. I Mean You
( 5:32)  3. Where Is Love
( 9:46)  4. Changes
( 3:38)  5. Blues Stride
( 9:43)  6. Happy Days
(11:14)  7. Impressions
( 9:21)  8. Mellow Minor
( 5:26)  9. Good Morning, Heartache

It seems only fitting that the initial new release on the latest revival of the Impulse label features McCoy Tyner and Michael Brecker. When Impulse started out in 1960, John Coltrane and Tyner were the first artists to be signed, and when Impulse was briefly brought back by MCA in the 1980s, two of its most important albums were recordings by Brecker. There are not a lot of surprises on this quartet matchup (with bassist Avery Sharpe and drummer Aaron Scott) except perhaps for how well Tyner and Brecker mesh together. The music is somewhat similar to a set by the pianist's regular trio with a solo piece ("Blues Stride"), a generous amount of Tyner originals and colorful versions of Thelonious Monk's "I Mean You" and "Good Morning Heartache," but Brecker's presence and consistently powerful playing does inspire Tyner and his sidemen. For a strong example as to why today's saxophonists have such a high opinion of Michael Brecker, his roaring statement on the extended "Impressions" will suffice. Highly recommended. ~ Scott Yanow http://www.allmusic.com/album/infinity-mw0000175675

Personnel: McCoy Tyner (piano); Michael Brecker (tenor saxophone); Avery Sharpe (bass); Aaron Scott (drums); Valtinho Anastacio (congas, percussion).

Infinity

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