Wynton Kelly - Autumn Leaves

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 37:06
Size: 85,3 MB
Art: Front

(4:29)  1. Autumn Leaves (Take 3)
(8:19)  2. Autumn Leaves (Take 1)
(5:51)  3. Chair's Blues
(3:03)  4. Someday My Price Will Come
(3:34)  5. Come Rain Or Come Shine
(5:09)  6. Dear Ann
(6:37)  7. Joe's Avenue

A superb accompanist loved by Miles Davis and Cannonball Adderley, Wynton Kelly was also a distinctive soloist who decades later would be a strong influence on Benny Green. He grew up in Brooklyn and early on played in R&B bands led by Eddie "Cleanhead" Vinson, Hal Singer, and Eddie "Lockjaw" Davis. Kelly, who recorded 14 titles for Blue Note in a trio (1951), worked with Dinah Washington, Dizzy Gillespie, and Lester Young during 1951-1952. After serving in the military, he made a strong impression with Washington (1955-1957), Charles Mingus (1956-1957), and the Dizzy Gillespie big band (1957), but he would be most famous for his stint with Miles Davis (1959-1963), recording such albums with Miles as Kind of Blue, At the Blackhawk, and Someday My Prince Will Come. When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy Cobb) with him to form his trio. The group actually sounded at its best backing Wes Montgomery. Before his early death, Kelly recorded as a leader for Blue Note, Riverside, Vee-Jay, Verve, and Milestone. ~ Scott Yanow http://www.allmusic.com/artist/wynton-kelly-mn0000684253/biography

Personnel:  Piano – Wynton Kelly;   Bass – Paul Chambers (3), Sam Jones;  Drums – Jimmy Cobb

Autumn Leaves

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Miranda Sage - Moon Tiger

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 67:57
Size: 158,1 MB
Art: Front

(4:47)  1. Island Man
(5:19)  2. Close Your Eyes
(3:28)  3. Fly Me to the Moon
(5:18)  4. A Flower Is a Lovesome Thing
(4:21)  5. Full Moon
(4:23)  6. Moon Tiger
(5:20)  7. Moon And Sand
(3:19)  8. I Thought About You
(4:43)  9. You And The Night And The Music
(3:59) 10. Orchids In The Moonlight
(4:33) 11. That's Fall
(5:09) 12. Some Other Time
(3:07) 13. Lullaby
(5:01) 14. A Grove Of Trees
(5:02) 15. Slow Hot Wind

From the cool, free floating beauty of Hugh Fraser and Miranda Sage's collaboration "Island Man" through to the torrid passion of Henry Mancini's "Slow Hot Wind", Moon Tiger provides a perfect vehicle for Miranda's expressive three-octave voice to deliver every emotion from yearning to lust, and every quality from sweet high purity to sultry come-hither worldliness. It is a voice made for capturing hearts. Miranda Sage is English by birth, though she has lived most of her adult life in western Canada. A music lover since early childhood, her musical training includes a backgroung in piano, clarinet, saxophone, lute and guitar. Her vocal training was acquired through the University of Victoria, the Victoria Conservatory of muisic, and various jazz workshops in Canada, the U.S., and Europe. On this solid base, Miranda has built her concept of the voice as an instrument. Following several tours in North America and Europe, she released her first CD, "Standards and Originals in a Jazz Key", in 1997, to wide critical acclaim. Miranda sings regularly in Victoria with the eighteen piece Swiftsure Big Band, and well as with small combos. She has also performed with the Hugh Fraser International big band, the Port Townsend Jazz Festival big band and has appeared several times at the Victoria International Jazz festival. She performed in 2002 at the Isle of Wight Jazz Divas festival and in 2004 at the Mid Argyll Annual Gala in Scotland. Moon Tiger, produced by award winning Rick Kilburn, features Hugh Fraser on piano and trombone, Don Thompson on piano and bass, Campbell Ryga on saxophone, Ken Lister on bass, Dave Robbins on drums, and Jack Duncan on percussion. https://store.cdbaby.com/cd/mirandasage

Jim Wilke of KPLU's Jazz Northwest chose "Moon Tiger" as his 8th favourite pick from the northwest for 2003.

"A savvy mix of tunes, tempos, and ensembles sung with clear and effortless delivery by Miranda Sage" Neil Ritchie, CBC Radio

"Sage's horn-like phrasing is a delight on upbeat Jobim-penned sambas and her own tricky originals." Joseph Blake, Times Colonist

"Sage unleashed a voice of thrilling flexibilty and range making jazz singing sound like the easiest thing in the world" Drew Snyder, Monday Magazine

Personnel: Miranda Sage (vocals); Campbell Ryga (saxophone); Hugh Fraser (trombone, piano); Don Thompson Quartet (piano); Dave Robbins (drums); Jack Duncan (percussion).

Moon Tiger

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Pamela Williams - The Perfect Love

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 47:21
Size: 110,7 MB
Art: Front

(3:59)  1. Afterglow
(4:09)  2. Just As We Are
(4:48)  3. Unconditional
(3:31)  4. Got Me Wrapped Around Your Finger
(6:03)  5. The Perfect Love
(5:13)  6. Destined To Be
(3:57)  7. Twin Souls
(4:51)  8. Sexy Mf
(5:31)  9. A Bee Charmer
(5:13) 10. Whipped

2003 was a great year for female sax players, with Candy Dulfer returning after a four-year hiatus, Mindi Abair revitalizing smooth jazz with It Just Happens That Way, and The Perfect Love, a sensual funk label debut by one of the more underrated performers on the smooth groove scene, Pamela Williams. Shanachie Entertainment is known for its picture-perfect radio hits, and Williams kindly obliges her label with some instantly kick-back and likeable tracks right off the bat. Yet as nice, catchy, and easy grooving as "After Glow" and "Just As We Are" are, there's a sense that Williams is holding back just a bit. Ditto the kindly, sweet-talking "Unconditional," which is one of three songs written by labelmate saxman Kim Waters and very much in tune with his sweet, smoky style. Williams eventually lets loose, however, and the heavier grooves of "Got Me Wrapped Around Your Finger" stimulate some more aggressive playing, backed by some snazzy horns and a dreamy retro vibe. Even more fun but probably too intense for radio is her slamming, slightly bluesy crunch-funk take on Prince's "Sexy M.F." Waters gives her a quick-rolling challenge on the closer, "Whipped," which she more than accepts with constantly powerful bursts of energy. The label also cleverly pairs her with another label great, keyboardist Kevin Toney, whose optimistic keys play off Williams' cool perfectly. Overall, it's a perfectly balanced disc, but listeners who are seduced by the cool might find a more perfect love by the fire. ~ Jonathan Widran http://www.allmusic.com/album/the-perfect-love-mw0000599775

Personnel: Pamela Williams (saxophone, soprano saxophone, alto saxophone, keyboards, drum programming); Wayne Bruce, Bernd Schoenhart (guitar); David Mann (saxophone, keyboards, drum programming); Kim Waters (soprano saxophone, alto saxophone, keyboards, synthesizer, drum programming).

The Perfect Love

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John Fedchock - New York Big Band

Styles: Trombone Jazz
Year: 1995
File: MP3@320K/s
Time: 74:51
Size: 174,3 MB
Art: Front

( 7:53)  1. Limehouse Blues
( 7:23)  2. The Grove City Groover
( 5:55)  3. La Parguera
( 4:29)  4. Ruby, My Dear
( 8:58)  5. Blues Du Jour
(11:46)  6. Caravan
( 4:34)  7. Nefertiti
( 5:55)  8. Louie's Cheese Party
( 7:57)  9. Nightshades
( 4:32) 10. My Foolish Heart
( 5:24) 11. Flintstoned

John Fedchock is best-known as a former trombonist and occasional arranger with Woody Herman's orchestra, but the release of this "Reservoir" set should also give him a reputation as an important big-band leader in his own right. Fedchock, who provided arrangements for all 11 selections (six jazz standards and five of his originals), gathered together quite an interesting variety of jazzmen for this date. Included among the personnel are many players who have led sessions of their own, including altoist Jon Gordon, Rick Margitza and Rich Perry on tenors, baritonist Scott Robinson, trumpeter Tim Hagans, and (on three numbers) percussionist Jerry Gonzalez. Fedchock's arrangements give his big band a unified group sound and leave plenty of room for the soloists. Among the highlights are a race through "Limehouse Blues" (which has a torrid tenor-baritone tradeoff by Perry and Robinson), a thoughtful feature for Tim Hagans on "Nefertiti," the heated tenor of Rick Margitza on "Caravan," altoist Mark Vinci's showcase on "My Foolish Heart," and the leader's many colorful trombone solos. This straight-ahead set (which also includes Fedchock's "Blues Du Jour," the calypso feel of "Louie's Cheese Party," and a slightly demented romp on the "Flintstones Theme" that is retitled "Flintstoned") is consistently swinging, enjoyable, and easily recommended. ~ Scott Yanow http://www.allmusic.com/album/new-york-big-band-mw0000183131

Personnel: John Fedchock (trombone); Jon Gordon (soprano saxophone, alto saxophone); Mark Vinci (alto saxophone); Rich Perry, Rick Margitza (tenor saxophone); Scott Robinson (baritone saxophone); Greg Gisbert, Tim Hagans, Barry Ries, Tony Kadleck (trumpet, flugelhorn); George Flynn , Keith O'Quinn, Clark Gayton (trombone); Joel Weiskopf (piano); Dave Ratajczak (drums); Jerry Gonzalez (percussion).

New York Big Band

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Martin Taylor's Spirit of Django - Gypsy

Styles: Guitar Jazz, Gypsy Jazz
Year: 1998
File: MP3@320K/s
Time: 74:28
Size: 171,1 MB
Art: Front

(8:08)  1. Gypsy Medley
(7:20)  2. My Vardo
(4:58)  3. Chicago
(6:07)  4. Chez Fernand
(2:31)  5. Tears
(6:38)  6. Kushti
(5:06)  7. Nuages
(4:57)  8. I Can't Give You Anything But Love
(5:02)  9. Dreaming of You
(7:06) 10. Sweet Sue Just You
(6:34) 11. Musette for a Magpie
(4:19) 12. Chillin' with Oscar
(5:37) 13. Squid Kid

Martin Taylor's first CD of live dates as a leader proves to be very rewarding listening. With his delightful Spirit of Django band, he sticks exclusively to the acoustic guitar throughout the release, giving a new look to pieces either written by Django Reinhardt ("Tears" and "Nuages") or performed by the late Gypsy guitarist ("Chicago" and "Sweet Sue Just You"). But that's not all the opening medley centers around David Grisman's engaging "The Tipsy Gypsy," and there are several strong originals by Taylor as well, including the mellow but upbeat "Chez Fernand." Accordion player Jack Emblow and saxophonist Dave O'Higgins (who is especially compelling on soprano) are also strong soloists who complement Taylor's work; hopefully Taylor will keep this group going in addition to his fine work as a solo performer. ~ Ken Dryden http://www.allmusic.com/album/gypsy-mw0000054375

Personnel:  Accordion – Jack Emblow;  Acoustic Guitar – John Goldie, Martin Taylor;  Bass [Acoustic] – Terry Gregory;  Saxophone – Dave O'Higgins

Gypsy

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Stanley Turrentine - Hustlin'

Styles: Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 48:57
Size: 113,3 MB
Art: Front

(7:51)  1. Trouble (No. 2)
(7:39)  2. Love Letters
(6:03)  3. The Hustler
(6:26)  4. Ladyfingers
(6:16)  5. Something Happens To Me
(7:07)  6. Goin' Home
(7:32)  7. Trouble (No. 2) (alt. take) (bonus track)

This is a typically excellent recording from the husband-wife team of tenor saxophonist Stanley Turrentine and organist Shirley Scott. With assistance from guitarist Kenny Burrell, bassist Bob Cranshaw, and drummer Otis Finch, Turrentine (who always had the skill of playing melodies fairly straight but with his own brand of soul) and Scott dig into "Love Letters," Lloyd Price's "Trouble," "Something Happens to Me," a couple of basic originals, and "Goin' Home." The Turrentine-Scott team never made an unworthy disc; all are easily recommended, including this one. ~ Scott Yanow http://www.allmusic.com/album/hustlin-mw0000228132

Personnel: Stanley Turrentine (tenor saxophone); Shirley Scott (organ); Kenny Burrell (guitar); Bob Cranshaw (bass); Otis Finch (drums)

Hustlin'

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Archie Shepp - Down Home New York

Styles: Saxophone Jazz

Year: 1984

File: MP3@320K/s

Time: 42:15

Size: 97,2 MB

Art: Front

(10:59)  1. Down Home New York

( 9:16)  2. 'Round About Midnight

( 9:12)  3. May 16th

( 6:08)  4. The 4th World

( 6:39)  5. Straight Street

Archie Shepp was the picture of rebellion and anger in the 1960s, but he became the voice of swing, blues and classicism in the 1980s. Shepp displayed his penchant for honking R&B and soulful blues on this 1984 date. The title piece was a jaunty stroll, as was the celebratory "Straight Street." Shepp turned to impressionistic fare with his version of Thelonious Monk's "Round Midnight." The group included a great drummer in Marvin Smith and also other competent players, although Saheb Sarbib sometimes did not offer as full and aggressive a backbeat as needed. But Shepp's swaggering, confident tone and style maintained the pace. ~ Ron Wynn http://www.allmusic.com/album/down-home-new-york-mw0000188764

Personnel: Archie Shepp (vocals, soprano saxophone, tenor saxophone); Charles McGhee (vocals, trumpet); Kenny Werner (vocals, piano); Saheb Sarbib (vocals, electric bass, bass guitar); Marvin Smith (vocals, drums); Bazzi Bartholomew Gray (vocals).

Down Home New York

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Kathryn Williams - Crown Electric

Styles: Vocal, Folk
Year: 2013
File: MP3@320K/s
Time: 49:57
Size: 114,7 MB
Art: Front

(3:38)  1. Underground
(3:19)  2. Gave It Away
(3:35)  3. Heart Shaped Stone
(3:29)  4. Count
(3:31)  5. Out Of Time
(3:35)  6. Monday Morning
(3:38)  7. Darkness Light
(4:49)  8. Picture Book
(4:50)  9. Morning Twilight
(3:16) 10. Arwen
(3:35) 11. Tequila
(4:56) 12. Sequins
(3:40) 13. The Known

Before Elvis Presley was crowned the King of Rock N Roll and basically changed the music world forever, he worked as a truck driver and delivery man for a company called Crown Electric. It’s that company which gives Kathryn Williams‘ 10th album its title, and although it’s unlikely to eventually power her to Presley-style success, her most accessible album yet should win her a fair proportion of new fans. So often dismissed as a ‘folkie’, with all the niche interest that implies, Williams in fact sounds nothing less than a contemporary singer/songwriter, and it’s a sound that’s been refined and perfected on Crown Electric. There isn’t a track that wouldn’t sound out of place on the radio without turning overtly poppy or dumbing down, it typifies the kind of quiet, pretty songs she’s specialised in since 1999. As ever, beneath the beauty of Williams’ melodies lies a darkness. Opening track Underground skips along irresistibly, but concerns the mundane existence of commuters “I see the same people on the train, I don’t say hello, I don’t even wave” muses Williams, before deciding “I don’t want to live like this till I’m underground”. As with her best work, it’s like having your hair stroked before being punched in the gut.

There’s certainly an existential theme running through Crown Electric, with several songs concerning the passing of time as Count explicitly states “I’ve got to make these hours count, these seconds count”. It’s a subject revisited in the gentle jazz swing of Out Of Time, with the heart-rendering line “when you’re supposed to know you’re in your prime, until it’s behind you”, while the gently lilting Monday Morning is a plea to stop wishing the days away. Williams’ long-term producer Neill MacColl sprinkles his usual magic on the album, with the lovely, string-accompanied Heart Shaped Stone already sounding like a hit in waiting, and the second half of the record sees a couple of collaborations with Ed Harcourt which give Williams’ music an added depth. The swirling torch ballad Darkness Rises is probably the best of these, but Sequins (apparently written by Williams in Harcourt’s bath) is a definite highlight, if only for the line “If I walked the afterlife with no make-up on, I’d  be frightening the angels for good”. It’s little lyrical gems like that which make Crown Electric such a joy to listen to. The title track cleverly compares the life of tragic icons like Presley, Michael Jackson and Whitney Houston to the travails of the ordinary singer/songwriter (“well, stones can feel just as heavy as gold”) while Tequila contains probably the album’s key line, “Be brave enough to be yourself”. It’s been Williams’ ability to be herself that’s let her quietly grow into being an immensely talented songwriter. Crown Electric is not so much a case of ‘if it ain’t broke don’t fix it’ but rather ‘it ain’t broke, but let’s make it even better’. ~ John Murphy https://www.musicomh.com/reviews/albums/kathryn-williams-crown-electric

Crown Electric

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Makoto Ozone - My Witch's Blue

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 55:21
Size: 126,7 MB
Art: Front

(4:55)  1. Bouncing in My New Shoes
(4:53)  2. My Witch's Blue
(4:31)  3. Gotta Get It!!
(5:59)  4. Longing for the Past
(6:28)  5. So Good!!
(6:18)  6. Take the Tain Train
(5:21)  7. Time We Spent Together
(5:12)  8. Nova Alvorada
(4:48)  9. Solo Improvisation 'Continuum'
(6:51) 10. Satin Doll

Japans most famous Jazz pianist, Makoto Ozone, releases My Witch's Blue with the Makoto Ozone Trio. Makoto Ozone Trio features Christian McBride & Jeff Tain Watts. The trio recorded My Witch's Blue in New York in May. ~ Editorial Reviews https://www.amazon.com/My-Witchs-Blue-Ozone/dp/B008UTV5KC

A premier jazz musician in Japan, Makoto Ozone has made a successful transition to America, where he became equally prominent in this nation's improvisational community. He began on organ at four, then took up piano as a teenager. He went to Berklee in 1980 and studied composing and arranging. He was noticed by Gary Burton and later recorded with him and was part of his band. Ozone's striking ability (especially on mid-tempo pieces) and impressive technique made him a big hit at the Kool Jazz Festival. His 1984 debut recording featured Burton and bassist Eddie Gomez. It was a stunning example of complete knowledge and mastery of the full jazz piano spectrum. Ozone later worked with European pianist Michel Petrucciani and spent extensive time studying classical music. ~ Ron Wynn https://itunes.apple.com/us/album/my-witchs-blue/id561504267

Personnel:  Makoto Ozone – Piano;  Bass – Christian McBride;  Drums – Jeff "Tain" Watts

My Witch's Blue

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Konstantin Klashtorni - Smooth Jazz IV

Styles: Saxophone Jazz, Smooth Jazz
Year: 2017
File: MP3@320K/s
Time: 43:50
Size: 101,9 MB
Art: Front

(4:01)  1. If I Told You
(4:02)  2. Hills and Valleys
(4:39)  3. I Feel It Coming
(4:07)  4. Everywhere I Go
(4:28)  5. Give Me Your Eyes
(4:19)  6. I Need You
(3:57)  7. You Look Good
(4:28)  8. Moondance
(5:32)  9. Find Your Wings
(4:12) 10. Made a Way

Multi-instrumentalist Konstantin Klashtorni is known by his projects Kool & Klean, Chillaxing Jazz Kollektion, Love Suggestions and Smooth Jazz. His newest album of the latter is Smooth Jazz IV (2017). The front photo indicates Konstantin's musical main weight, the saxophone. In order to avoid a false impression, Konstantin plays all his instruments himself, composes all the pieces and produces them. Releasing more than 30 tracks each year makes him to the most productive artist of the smooth jazz scene. Listening to the first track If I Told You immediately comes Grover Washington's The Two Of Us into mind. The soul searing beauty of the melody can compete with the great inspiration. With Hills and Valleys Konstantin not only presents a catchy melody but also invests time and efforts in a sophisticated rhythmic background. On I Feel It Coming arrangement and composition have reached a high degree of artistry. Horns and piano are interwoven to form a highly complex musical whole of extreme smartness. Everywhere I Go is comparable with music by Gerald Albright or Richard Elliot: the sax in the center of interest with great overdub effects. Give Me Your Eyes fuels the groove with a saxy intensity reinventing the smooth jazz idea on a higher level. I Need You relies on the shuffle principle with flute as dialogue partner and piano as instrumental main speaker in interchange with guitar all in a conceptual natural flow. Slowing down the pace to a romantic mood You Look Good is not only an acoustic compliment for the listener. Moondance smiles with guitar, sax and a wonderful synth tapestry of ambient finesse. Find Your Wings is a clap along song in the best sense. For which the rhythm offers the occasion, the melody provides the argumentative underpinnings. Made a Way is the follow up in the same style and fire to touch your heart.There are musicians in the search for the ultimate harmony and there are artists like Konstantin Klashtorni who realize melodious perfection again and again with effortless ease. Smooth Jazz IV is a sonic power package of juvenile freshness. http://smooth-jazz.de/firstview/Klashtorni/SmoothJazz4.htm

Smooth Jazz IV

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Janet Seidel - Winter Moon

Size: 146,1 MB
Time: 63:00
File: MP3 @ 320K/s
Released: 1994
Styles: Jazz Vocals
Art: Front

01. Seems Like Old Times (4:19)
02. Just You, Just Me (2:50)
03. Nuages (4:35)
04. For Heaven's Sake (4:43)
05. Please Don't Talk About Me When I'm Gone (3:12)
06. Golden Earrings (4:22)
07. Cocktails For Two (4:34)
08. Change Partners (4:20)
09. Baby Won't You Please Come Home (3:01)
10. Prelude To A Kiss (4:53)
11. Down With Love (2:58)
12. Big Bad Bill (2:58)
13. There I Go Again (4:44)
14. Harlem Nocturne (3:32)
15. Winter Moon (4:11)
16. Fascinatin' Rhythm (3:39)

Born in Australia's bush country, Janet Seidel has emerged as one of that country's leading cabaret and jazz vocalists. She has been appearing frequently at Australia's top jazz and hotel venues since the early '80s often working with bassist brother, David Seidel. Janet Seidel has also been featured at jazz festivals in the U.S. working with such jazz notables as Harry Allen, Dan Barrett, Dave McKenna, and Michael Moore. Her first venture into cabaret came in 2000 when she put together and starred in Doris and Me, a tribute to Doris Day's singing career. Often working with saxophone player Tom Baker and always with her brother, she has made eight albums for the La Brava label. Her double album The Way You Wear Your Hat was named vocal album of the year by Australia's national newspaper and was a finalist for the prestigious ARIA award. Her The Art of Lounge, Vol. 2 was similarly as finalist for that award for the AIRA Jazz Album of the Year.

Seidel does not have great range, but she uses the tools she possesses with great skill and effectiveness. With her intimate style, great feel for the lyrics of songs she sings, Seidel is one of those vocalists who is as much a story teller as she is a singer. The way she goes about handling the music comes off as a fortuitous blend of Blossom Dearie and Doris Day with an occasional nod to Julie London, although she is somewhat jazzier than the latter two. Like Jeri Southern, Shirley Horn, and Diana Krall, she often doubles at the piano. Seidel has an exquisite, gentle, and agile voice and honors each tune she sings, irrespective of whether it's a classic standard, pop, or novelty song.

Winter Moon

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Larry Newcomb Quartet - Living Tribute (Feat. Bucky Pizzarelli)

Size: 109,7 MB
Time: 46:56
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. I Remember You (3:59)
02. You'd Be So Nice To Come Home To (3:45)
03. Morningside Heights (3:45)
04. Alone Together (5:30)
05. Round Pond Reunion (5:07)
06. Gold Top (3:17)
07. Band Of Brothers (3:20)
08. One Heart Ain't As Great As Two (4:42)
09. Love Is Here (5:28)
10. Crossing Over (3:59)
11. Peace (3:59)

New York-based guitarist Larry Newcomb's latest album, Living Tribute, isn't directed toward a single honoree but several, some of whom are living and some of whom are not. One of them, fellow guitarist Bucky Pizzarelli, even bolsters Newcomb's regular quartet, playing with the sort of bounteous energy that makes it hard to believe he would be celebrating his ninety-first birthday a month after the studio date was held in December 2016.

Newcomb opens with the standard "I Remember You," a warm and appropriately named salute to his earliest influence on guitar, friend and college roommate Dick Hall, who passed away in June 2016. The country-leaning "Gold Top" and gospel-tinged "Crossing Over" (with a bow to J.J. Johnson's "Lament") are also dedicated to Dick Hall, the well- grooved "Round Pound Reunion" to Hall's family and friends. Another guitarist, and another Hall—the late Jim—is eulogized twice, with the standards "You'd Be So Nice to Come Home To" and "Alone Together," while Newcomb's no-nonsense "Morningside Heights" defers to Pizzarelli who plays a mean rhythm guitar on that track and elsewhere.

Newcomb doesn't overlook family ties either. "Band of Brothers" salutes his sons Jonah, Jake and Ian, while "Love Is Here" and "One Heart Ain't as Great as Two" (both sung by Leigh Jonaitis) are dedicated to his wife, Mary. The session closes with a final homage, "Peace," to Newcomb's spiritual guru, Prem Rawat. Having mentioned Newcomb and Pizzarelli (who may or may not be the main soloist on "You'd Be So Nice," "Morningside Heights" and Crossing Over"), it should be noted that the ensemble as a whole is splendid. Pianist Eric Olsen frames a number of polished solos while bassist Dmitri Kolesnik, solid throughout, is featured prominently on "Alone Together." Meanwhile, drummer Jimmy Madison simply goes about his business, leaving no rhythmic issue to chance.

An admirable quartet date that is further enriched by the masterful presence of the great Bucky Pizzarelli, still swinging in his ninetieth decade. ~Jack Bowers

Personnel: Larry Newcomb: electric guitar; Bucky Pizzarelli: acoustic guitar (1-5, 11); Eric Olsen: piano; Dmitri Kolesnik: bass; Jimmy Madison: drums; Leigh Jonaitis: vocals (8, 9).

Living Tribute

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Doris Day - Day Time On The Radio: Lost Radio Duets From The Doris Day Show

Size: 136,6 MB
Time: 56:55
File: MP3 @ 320K/s
Released: 2017
Styles: Pop
Art: Front

01. It's Magic (Radio Announcer Version) (0:43)
02. A Wooin' We Will Go (With Howard Keel) (2:28)
03. The Love Nest (With Gordon MacRae) (1:27)
04. You're Just In Love (With Van Johnson) (1:31)
05. Ma Says, Pa Says (With Broderick Crawford & Don Wilson) (2:24)
06. Dearie (With Dan Dailley) (1:44)
07. If Life Were All Peaches & Cream (With Tony Martin) (2:41)
08. Red Hot Henry Brown (With Kirk Douglas) (1:16)
09. I Will Marry You (With John Agar) (1:50)
10. By The Light Of The Silvery Moon (With Gordon MacRae) (1:45)
11. A Kiss Like This (With Alan Young) (1:20)
12. Merrily Song (With Donald O'Connor) (1:38)
13. Take Me Out To The Ball Game (With Ronald Reagan & Bob Crosby) (0:27)
14. I'm Forever Blowing Bubbles (With Jack Smith) (1:17)
15. Tea For Two (With Gordon MacRae) (1:49)
16. We're In Love (With Broderick Crawford) (1:54)
17. My Darling, My Darling (With Frank Loesser) (1:22)
18. Around The Corner (With Marais & Miranda) (2:45)
19. Wait Till The Sun Shines Nellie (With George Jessel) (0:52)
20. Little By Little (With Walter O'Keefe) (1:12)
21. Something Sort Of Grandish (With David Wayne) (2:10)
22. You're My Peaches & Cream (With David Butler) (1:00)
23. Together (With Don Wilson) (1:14)
24. I'll Be Seeing You (With George Murphey) (2:22)
25. Ma Says, Pa Says (With Marais & Miranda, Gordon MacRae) (4:10)
26. I'm Gonna Mend My Fences (With Howard Keel) (2:16)
27. Cuddle Up A Little Closer Till We Meet Again (With Gordon MacRae) (2:08)
28. Jingle Bells Hark! The Herald Angels Sing (With Jimmy Boyd, Jack Kirkwood & Don Wilson) (1:51)
29. Love To Be With You (Radio Announcer Version) (1:14)
30. Till I Waltz Again With You (2:56)
31. It's Magic (0:44)
32. Love To Be With You (2:07)

One couldn’t imagine a better opening number for the radio program The Doris Day Show than “It’s Magic,” for each week between March 1952 and May 1953, the versatile song stylist and beloved motion picture star cast a spell over listeners worldwide with an intimate gathering of famous friends filled with music and laughter. Over the course of five dozen broadcasts of The Doris Day Show—recorded in Hollywood in front of a live audience and happily preserved on 16-inch transcription discs—Doris joined her special guests at the piano for performances of songs she often had never commercially recorded. This is a largely unknown and scarcely documented facet of Doris’ career, and Day Time on the Radio brings to light no less than 32 rarities including 27 duets and five solo performances. Among her notable foils are frequent leading man Gordon MacRae, who starred in five pictures with Doris; here the two of them sing a total of four duets, highlighted by their medley of “Cuddle Up a Little Closer”/”Till We Meet Again.” Movie stars Kirk Douglas, George Murphy, Ronald Reagan (!), and Broderick Crawford all prove willing and able duet partners, while the more musically-inclined Tony Martin, Howard Keel, Smilin’ Jack Smith, and Frank Loesser lend their formidable talents to a mix of traditional and Broadway-inspired fare. Doris’ sparkling solo performance of “Till I Waltz Again with You” finishes Day Time on the Radio with a flourish before a couple of hidden bonus tracks: her renditions of the opening “It’s Magic” and closing “Love to Be with You” radio themes sans announcer. Joe Marchese’s detailed notes and rare photos round out what is a fantastic addition to the Doris Day discography, the first authorized release ever of her long-lost radio performances.

Day Time On The Radio

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James Morrison - The Great American Songbook

Size: 161,1 MB
Time: 69:18
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. They Can't Take That Away From Me (6:22)
02. The Way You Look Tonight (4:41)
03. A Time For Love (7:29)
04. Our Love Is Here To Stay (5:30)
05. Love Is A Many-Splendoured Thing (3:55)
06. I've Got The World On A String (5:43)
07. Tenderly (7:23)
08. It Don't Mean A Thing (If It Ain't Got That Swing) (2:35)
09. Ev’ry Time We Say Goodbye (5:17)
10. My Funny Valentine (5:46)
11. The Shadow Of Your Smile (6:00)
12. Summertime (5:04)
13. A Foggy Day (In London Town) (3:27)

Jazz great James Morrison returns with an essential new album: timeless hits from The Great American Songbook, recorded at the legendary Abbey Road Studios in London with the BBC Concert Orchestra and conductor Keith Lockhart.

Performing on a range of instruments (including trumpet, flugelhorn, trombone, tenor sax and piano), Morrison brings his trademark virtuosity and flair to classics by Cole Porter, George Gershwin, Duke Ellington, Jerome Kern and more. These tunes were originally made famous by many of the great singers of all time; for this album, Morrison especially commissioned arrangements that bring alive the melodies, styles and meanings that have made these songs so immortal and beloved.

These jazz ‘standards’ are close to Morrison’s heart: “I proposed to my wife by walking into the bathroom playing My Funny Valentine, Every Time We Say Goodbye was played at the funeral of a dear friend, Summertime was the first time I worked with a singer, A Foggy Day was the first song I performed in public on the piano (aged 10), and of course Duke Ellington answered the unanswerable question ‘what is jazz’? (It Don’t Mean a Thing if it Ain’t Got That Swing).”

James Morrison is regarded as one of the finest musicians of his generation, with a distinguished career featuring collaborations with the likes of Wynton Marsalis, Dizzy Gillespie and Ray Charles, invitations to perform at the world’s great venues and for multiple US presidents and Queen Elizabeth II, and pioneering education work.

The Great American Songbook

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Liv Stoveland - Solitary Moon

Size: 124,8 MB
Time: 53:46
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Freezing Fears (5:43)
02. Solitary Moon (5:12)
03. Calling You (5:31)
04. The Gentle Rain (3:52)
05. Freezing Hearts (4:39)
06. No Moon At All (4:13)
07. Skylark (4:09)
08. Freezing Star (4:06)
09. Little Waltz (3:10)
10. Bon't Let It Bring You Down (4:07)
11. Moon And Sand (9:00)

Personnel:
Rasmus Solem – piano
Espen Larsen – guitar
Ole Kelly Kvamme – bass
Arild Nyborg – drums/percussion
Per Willy Aaserud – trumpet

It’s been a while since Stoveland made her debut with the album ”Close your eyes” released to wonderful reviews.

Now the album ”Solitary Moon” is here and she has handpicked the musician, and the guitarist Espen Larsen has composed all the tunes written specifically for this recording with lyrics by Arne Birketveit.

Solitary Moon

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Tardo Hammer - Tardo's Tempo

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 55:34
Size: 127,6 MB
Art: Front

(6:08)  1. Last Time I Saw Paris
(8:42)  2. I Waited For You
(4:49)  3. Russian Lullaby
(5:51)  4. Philly Twist
(6:58)  5. Journey To Lichtenstein
(6:21)  6. Minor Mishap
(4:48)  7. Very Early
(5:21)  8. Littme Man (You've Had A Busy Day)
(6:33)  9. Thelonious

In tandem with bassist Dennis Irwin and drummer Jimmy Wormworth, Tardo Hammer carves out his own space in the bebop tradition once again, proving that accomplished musicians still have a lot to say while mining established styles. The pianist doesn’t mess with the bebop blueprint; rather, he excels at executing its fundamental elements. The material on “Tardo’s Tempo” is a carefully selected mixture of selections from the American Popular Songbook, a few jazz standards, a Monk tune, plus one original. Neither franticly busy nor gratuitously virtuosic, most of the tracks move along at a pace that invites the listener to pick-up on telling details and appreciate the trio’s interaction. The opening track, Hammerstein and Kern’s “Last Time I Saw Paris,” typifies their approach to the music and sets a very high standard for the rest of the record. Juggling a number of ideas while maintaining a coherent narrative thread, Hammer begins with an out-of-tempo solo that states the melody in an oblique fashion, rapidly changing from a stately to a lighthearted disposition, adding a nice stride feel during some of the bridge, and integrating the occasional, Monk-like dissonance. The labyrinth-like opening sequence immediately evaporates as the bass and drums lay down a steady medium tempo bounce. This time Hammer’s take on the melody is sunny and optimistic, as he rides Wormworth’s strokes to the hi-hat and top cymbal. Encouraged by Irwin’s sturdy walking, the two-chorus solo that follows has a lot going on, yet its logical development is never marred by too much activity. For instance, while it comes as a surprise when a quote from “Thelonious” (which is the also the last track on the record) is followed by a smattering of fast, single note lines, Hammer soon returns to something more grounded that stays closer to the pulse.

Hammer’s interpretation of “Little Man (You’ve Had A Busy Day),” one of two ballads on the recording, is a fine example of a jazz musician turning a maudlin pop song into something memorable. He plays it three times, at first solo, and then twice with the bass and drums. Smartly juxtaposing improvised passages and snatches of the tune, each time Hammer takes more liberties without completely bending the melody out of shape or removing the sentiment, all the while evincing a decisive rhythmic drive. Both cleaving to and providing counterpoint to the leader’s piano, the snap of Wormworth’s snare and melodic ring of his tom-toms animates the head of Tommy Flanagan’s “Minor Mishap.” As always, Hammer’s reliance on Irwin and Wormworth’s firm, expressive support rather than just heedlessly playing over them is an important element of his three-chorus solo. He swings purposefully and doesn’t feel the need to fill up all available space, taking the time to develop ideas, and frequently pausing in order to let a phrase sink in. There’s no dramatic arc to the course of the solo instead, Hammer and company offer something more important; namely, a resolute momentum, simultaneously disciplined and flexible, which feels so good that you wouldn’t mind if they continued without end. ~ David O. Orthmann https://www.allaboutjazz.com/tardo-hammer-tardos-tempo-by-david-a-orthmann.php

Personnel: Tardo Hammer—piano; Dennis Irwin—bass; Jimmy Wormworth—drums.

Tardo's Tempo

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Patricia Barber - Nightclub

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 51:26
Size: 118,1 MB
Art: Front

(4:03)  1. Bye Bye Blackbird
(4:58)  2. Invitation
(6:40)  3. Yesterdays
(3:20)  4. Just For A Thrill
(3:46)  5. You Don't Know Me
(4:50)  6. Alfie
(5:05)  7. Autumn Leaves
(3:44)  8. Summer Samba
(3:25)  9. All Or Nothing At All
(3:42) 10. So In Love
(4:18) 11. A Man & A Woman
(3:28) 12. I Fall In Love Too Easily

The harping of rigid purists or self-proclaimed visionaries aside, the enduring strength of jazz has always been its ability to accommodate both tradition and innovation. Patricia Barber has done plenty of experimenting on albums like Café Blue, Modern Cool and Companion. Her smartly crafted originals and reinventions of rock tunes like “Light My Fire” and “The Beat Goes On” have earned Ms. Barber a much deserved reputation as one of the most unique and interesting singer/songwriter/pianists in jazz. Having found her own distinctive voice and having demonstrated a willingness to push boundaries, Ms. Barber turns her attention to the music’s tradition with this collection of twelve standards. Nightclub provides Ms. Barber with an ideal showcase for her formidable keyboard skills. She is an astonishingly creative improviser who manages to burrow deep inside a song without losing her sense of proportion. Her piano solos on “Bye Bye Blackbird,” “Invitation” and “All or Nothing at All” are concise, brilliantly constructed explorations of those tunes. She undertakes a more extended improvisation on “Yesterdays” where she creates a fascinating dynamic between relaxation and tension. Ms. Barber has surrounded herself with musicians who can match her own high standards. “Autumn Leaves” features a remarkable solo from bassist Marc Johnson, and “Alfie” is highlighted by Charlie Hunter’s 8-string guitar. 

Ms. Barber is a quiet, intense, enormously intelligent singer who can make the hairs on the back of your neck stand up with a single word or phrase. She has chosen these standards with care and her singing is blessedly free of irony or tongue-in-cheek sarcasm. Rather than trying to subvert the lyrics, Ms. Barber underscores the timelessness of their themes by infusing them with her own thoroughly modern perspective. She turns “Just for a Thrill” and a perfectly phrased “You Don’t Know Me” into meditations on dependency and desire that feel completely contemporary. She makes a spare, evocative “I Fall in Love Too Easily” into an exercise in painful self-examination and an exceptional reading of Cole Porter’s “So in Love” into the last word on romantic obsession (no singer has ever gotten as much from the lines “so taunt me / and hurt me”). The CD is not, however, all brooding introspection. There are some lighter moments like the deliciously romantic “Summer Samba.” Some critics will no doubt express consternation over the fact that Nightclub is not a repeat of the Modern Cool formula. However, Ms. Barber deserves credit for refusing to adhere to pre-set expectations. So long as she continues to make CDs with the kind of musicianship and insight she demonstrates here, then the past, present and future of jazz are all in good hands. ~ Mathew Bahl https://www.allaboutjazz.com/nightclub-patricia-barber-review-by-mathew-bahl.php

Personnel: Patricia Barber (vocals, piano); Charlie Hunter (8-string guitar); Michael Arnopol, Marc Johnson (bass); Adam Cruz, Adam Nuzzbaum (drums).

Nightclub

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Buddy Rich - In Miami

Styles: Jazz, Post Bop
Year: 2005
File: MP3@320K/s
Time: 42:28
Size: 97,7 MB
Art: Front

( 6:22)  1. Lover Come Back To Me
( 8:12)  2. Topsy
( 9:27)  3. Undecided
( 8:12)  4. Broadway
(10:13)  5. Jumpin' At The Woodside

When it came to technique, speed, power, and the ability to put together incredible drum solos, Buddy Rich lived up to the billing of "the world's greatest drummer." Although some other drummers were more innovative, in reality none were in his league even during the early days. A genius, Buddy Rich started playing drums in vaudeville as "Traps, the Drum Wonder" when he was only 18 months old; he was completely self-taught. Rich performed in vaudeville throughout his childhood and developed into a decent singer and a fine tap dancer. But drumming was his purpose in life, and by 1938 he had discovered jazz and was playing with Joe Marsala's combo. Rich was soon propelling Bunny Berigan's orchestra, he spent most of 1939 with Artie Shaw (at a time when the clarinetist had the most popular band in swing), and then from 1939-1945 (except for a stint in the military) he was making history with Tommy Dorsey. 

During this era it became obvious that Buddy Rich was the king of drummers, easily dethroning his friend Gene Krupa. Rich had a bop-ish band during 1945-1947 that did not catch on, toured with Jazz at the Philharmonic, recorded with a countless number of all-stars in the 1950s for Verve (including Charlie Parker, Lester Young, Art Tatum, and Lionel Hampton), and worked with Les Brown, Charlie Ventura, Tommy Dorsey (1954-1955), and Harry James (off and on during 1953-1966). 

A heart attack in 1959 only slowed him down briefly and, although he contemplated becoming a full-time vocalist, Rich never gave up the drums. In 1966, Buddy Rich beat the odds and put together a successful big band that would be his main outlet for his final 20 years. His heart began giving him trouble starting in 1983, but Rich never gave his music less than 100 percent and was still pushing himself at the end. A perfectionist who expected the same from his sidemen (some of whom he treated cruelly), Buddy Rich is definitively documented in Mel Tormé's book Traps the Drum Wonder. His incredible playing can be viewed on several readily available videotapes, although surprisingly few of his later big band albums have been made available yet on CD. ~ Scott Yanow https://itunes.apple.com/us/album/buddy-rich-in-miami/id41230739

Personnel:  Drums – Buddy Rich;  Bass – Peter Ind;  Piano – Ronnie Ball;  Tenor Saxophone – Flip Phillips

In Miami

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Hey guys...

Starting Monday 5 June 2017 the SD team will be on vacation for about a week.

Charles Earland - Front Burner

Styles: Jazz, Straight-ahead/Mainstream  
Year: 1988
File: MP3@320K/s
Time: 44:15
Size: 101,6 MB
Art: Front

(4:33)  1. Moonlighting (Theme)
(7:27)  2. My Two Sons
(5:18)  3. I Will Always Love Her
(5:22)  4. Gospel Time
(9:51)  5. Mom and Dad
(6:25)  6. Can You Wait
(5:15)  7. Kickin' the '3

Charles Earland is among the most consistent of organists, with nearly every one of his recordings on that instrument (as opposed to his interlude on synthesizers) being easily recommended to soul-jazz and hard bop collectors. For this CD, Earland heads a sextet also including trumpeter Virgil Jones (long an underrated player), Bill Easley on tenor, guitarist Bobby Broom, drummer Buddy Williams and occasionally Frank Colon on conga. Other than a throw-away version of the theme from Moonlighting, the mostly basic music on this set is rewarding, with Earland infusing the tunes with plenty of grease and funk. ~ Scott Yanow

Personnel: Charles Earland (organ); Bobby Broom (guitar); Bill Easley (tenor saxophone); Virgil Jones (trumpet); Buddy Williams (drums); Frank Colon (congas)

Front Burner

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