Jack Teagarden & His Orchestra - Stars Fell On Alabama 1931-1940

Styles: Trombone Jazz, Swing
Year: 1940
File: MP3@320K/s
Time: 66:05
Size: 154,4 MB
Art: Front

(2:45)  1. I Gotta Right To Sing The Blues
(2:58)  2. My Melancholy Baby
(2:44)  3. Wolverine Blues
(3:14)  4. Beale Street Blues
(3:14)  5. Somewhere A Voice Is Calling
(3:10)  6. If I Could Be With You (One Hour Tonight)
(3:03)  7. Muddy River Blues
(2:48)  8. Aunt Hagar's Blues
(2:48)  9. Swingin' On The Teagarden Gate
(2:31) 10. It's A Hundred To One (I'm In Love)
(3:24) 11. Peg O' My Heart
(2:56) 12. United We Swing
(3:17) 13. The Blues
(3:03) 14. Stars Fell On Alabama
(3:08) 15. Junk Man
(2:40) 16. The Sheik Of Araby
(3:12) 17. You Rascal, You
(3:06) 18. China Boy
(3:14) 19. Chances Are
(3:06) 20. Tiger Rag
(3:01) 21. Rockin' Chair
(2:33) 22. I Swung The Election

Giants of Jazz, the Italian reissue label which uses both legal and semi-legal tapes sometimes releases recordings that are on the dodgy side, and other times offers listeners a solid view into the development of a particular artist. These 22 sides by Jack Teagarden, collected between the years 1931 and 1947, offer a very intimate view of the great trombonist and vocalist at the height of his power as both a bandleader and as a sideman. From the early New Orleans material such as "I Gotta Right to Sing the Blues," and "Melancholy Baby" right on through the title cut and the stellar blues shouting of "Tiger Rag" and Hoagy Carmichael's "Rocking Chair." This may not be a definitive Teagarden statement there are a number of them but it's more than an idea or a taste. It's a solid collection (sound varies given the period) that offers a very solid view of the particular genius of Teagarden. ~ Thom Jurek http://www.allmusic.com/album/stars-fell-on-alabama-1931-1940-mw0000434939

Stars Fell On Alabama 1931-1940

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Brother Jack McDuff - To Seek A New Home

Styles: Piano Jazz
Year: 1970
File: MP3@320K/s
Time: 33:15
Size: 76,7 MB
Art: Front

( 6:42)  1. Yellow Wednesday
( 4:50)  2. Come And Carry Me Home
( 5:31)  3. Mystic John
( 6:01)  4. Hunk O' Funk
(10:09)  5. Seven Keys For Seven Doors

A great little album that has McDuff soloing on Hammond, over larger funkier arrangements very much in the manner of his sublime Moon Rapping set, also recorded for Blue Note. Arrangements are by JJ Jackson and Jerry Long and McDuff will blow your mind as he navigates the mix of time changes, theme changes, and rhythm changes over the course of the long tracks on the set. Includes the sublime sample cut "Hunk O Funk", plus "Mystic John", "Seven Keys For Seven Doors", and "Yellow Wednesday". (Liberty/UA pressing. Cover has some wear & aging. Label has some marker.) © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/3114/Jack-McDuff:To-Seek-A-New-Home

Personnel:  Brother Jack McDuff - organ, piano;  Martin Drover, Terry Noonan, Bud Parks – trumpet;  John Bennett, Adrian Drover – trombone;  David Statham, Willie Watson - french horn;  Norman Leppard, Dick Morrissey, Jack Whitford, Dave Willis – reeds;  Typhena Partridge – harp;  J.J. Jackson - piano, percussion;  Chris Parren - electric piano;  Terry Smith – guitar;  Peter Chapman, Larry Steele - electric bass;  Trevor Armstrong, Phil Leaford – drums;  Debrah Long, Jerry Long - vocals

To Seek A New Home

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Taylor Eigsti Trio - Taylor's Dream

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 58:18
Size: 133,7 MB
Art: Front

(5:25)  1. Ever So Easy
(5:25)  2. Tokyo Blues
(4:57)  3. Bolivia
(5:05)  4. Not Knowing
(3:57)  5. Goodbye Pork Pie Head
(6:48)  6. Meditation
(3:11)  7. Cheryl
(5:57)  8. A Bientot
(5:09)  9. Rolyat's Jam
(6:21) 10. In Your Own Sweet Way
(5:59) 11. Quiet Now

Menlo Park's Taylor Eigsti is the latest in a line of young hotshot pianists who know the jazz book well. They can quote line and verse from Horace Silver, Charles Mingus, Charlie Parker, Billy Taylor, and Dave Brubeck and play the music by rote, adding small touches of personality along the way. Eigsti is one of these kids, with one important distinction: His treatment of material from the fake book is not littered with small individual flourishes he reads these works through his individuality and his truly amazing melodic sensibilities. Eigsti, along with his band featuring John Shifflet on bass and Jason Lewis on drums, takes material from all these sources, adds a Jobim tune, Cedar Walton's challenging "Bolivia," and a couple of originals, and burns the joint down lyrically of course. There is no false academic flash in Eigsti's playing listen to him tear up the changes in Silver's "Tokyo Blues" it's all heart and an unbelievably adept sense of timing. It's true that he plays a hell of a lot of notes, almost as many as Oscar Peterson, but not on every tune and not in every solo. This is youth feeling its oats. On "Bolivia," he plays the mode against the blues mood and makes the drummer double time him, turning the Latin rhythm into a sweat fest. Other standouts include his read of "Goodbye Pork Pie Hat," in which he actually adds something emotionally to the piece; his intervals come off like lightning, and his solo against Shifflet's bass is a complex harmonic journey of skeletal chords and triplets played in slow motion. Elsewhere, Jobim's "Meditation" is a study in shade and subtle colors. Timbral shifts occur seamlessly and often; the melody is played off against itself as if Eigsti was searching for Jobim's thoughts and feelings when he wrote the tune. But it's Eigsti's strength as a composer that really sets him apart from the crowd. Like Brad Mehldau, his sense of harmony is rich, warm, and chock-full of shapes and tones, and he exercises it without restraint on "Not Knowing," a blues-based ballad that is reminiscent of Bill Evans both in composition and playing style. The large chords are graced by a whispering right hand that slides down the keyboard to the next set of changes. One can only hope that a stateside label decides to sign this kid and put out his records over here. This is an auspicious a debut album as you are likely to find anywhere. ~ Thom Jurek http://www.allmusic.com/album/taylors-dream-mw0000002680

Personnel:  Piano – Taylor Eigsti;  Bass – John Shifflett;  Drums – Jason Lewis

Taylor's Dream

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Sam Paglia - Killer Chachacha

Size: 129,7 MB
Time: 54:55
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz Funk, Hammond Organ
Art: Front

01. Black Loop (2:47)
02. Organsm (3:27)
03. Introduction (0:20)
04. Return Of Lo Bianco (5:39)
05. Room 26 (2:55)
06. Suspence (0:53)
07. Bullitt (3:11)
08. Barely Bossa (0:44)
09. Killer Cha Cha Cha (4:20)
10. Beloved (3:54)
11. Stripper Girl (4:01)
12. Theme From The Liquidator (4:01)
13. Good News From Mars (3:12)
14. Gran Lusso (1:20)
15. Bbq (4:22)
16. Hip Club (2:40)
17. Chitlins Circuit (3:43)
18. Sanford & Son (3:17)

Composer, lyricist, organist Hammond, singer, pianist and keyboardist (specializing almost exclusively in vintage keyboards such as Fender Rhodes, Wurlitzer, Clavinet and Moog piano), designer and writer. In 1996 he founded the Sam Paglia Trio, and as a tool he chooses the Hammond organ. In 1998 he released the Irma Records B-movie heroes bolognese label, his first record of original pieces as a fictional soundtrack of an imaginary film. It is the first case of an Italian disco dedicated to the film of genres of the police in which coexist with the influences of Italian masters of composition for film such as Umiliani, Piccioni, Trovajoli and Jimmy Smith and Quincy Jones jazz from afroamerican. Along with Irma Records in 2000 comes Nightclubtropez, a disco with influences of bossanova and soul jazz dedicated to dance music of Italian nights between the sixties and seventies with songs sung Continental 70 and Naitropè Clebtrope '. The album gets great reviews and boasts great distribution and sales mostly overseas: Japan, Australia, USA, Russia, England, Germany and Austria. In 2003, Cinedelic recorded the third album Killer cha cha cha, more on the soul jazz and funk side. Here are four covers for Bullitt and Room 26 (Lalo Schifrin, taken from the Bullitt 1968 film), Theme from The Liquidator (always from Schifrin from The Liquidator 1966) and Sanford & son theme by Quincy Jones The 1972 homonymous TV series. The first three discs have the covers designed by Sam himself. The pieces of these appear on dozens of dozens of compilations and its name is linked to the so-called lounge movement in Italy, which is part of the duo of the Montefiori Brothers (Montefiori Cocktail). In April 2000 Sam's trio meets in a unique and unrepeatable evening Piero Umiliani to play together the master's successes brought to the fore by the lounge movement, classics such as Gassman Blues (from the usual unknowns) and "Mah na mah na" (Song made popular by the Muppet show and originally written for Sweden's Hell and Paradise movie). For recording, it intensifies that of live and composing music for jingle advertising, television documentaries and film and shorts of author. In addition to playing all over Italy, the Trio plays in festivals and venues in Austria, Spain, Croatia, Bosnia, England, Switzerland. The following albums are The rare Sam Paglia (Flipper / Hip Cub records) of 2005, Electric Happiness (Deja vu ') of 2009, The Last Organ Party (Flipper / Hip Club records) in 2012. Since 2003 he has started collaborating with the director Milanese Max Croci for which he will perform several short films and documentary music. Since 2005 he has been working as a composer for the Flipper Music publishing company specializing in television and cinema sound. ~Google translation

Killer Chachacha

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Carol Welsman - For You

Size: 106,0 MB
Time: 45:00
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Skylark (3:04)
02. The Shadow Of Your Smile (1:58)
03. Smile (2:17)
04. Les Feuilles Mortes (2:33)
05. Besame Mucho (3:19)
06. Bewitched (3:50)
07. It Had To Be You (1:21)
08. My Foolish Heart (3:09)
09. Les Parapluies De Cherbourg (2:23)
10. Corcovado (3:41)
11. My Funny Valentine (2:37)
12. Close To You (2:07)
13. Garota De Ipanema (3:03)
14. Ti Guardero Nel Cuor (2:03)
15. Les Moulins De Mon Coeur (4:34)
16. Someone To Watch Over Me (2:50)

Although Carol Welsman has moved to the Los Angeles area, she is best known in her native Canada. While frequently identified with smooth jazz, she has also recorded vintage standards and can swing in straight-ahead jazz settings, too. Her father was a big jazz fan with a large record collection, introducing his daughter to jazz. Not only did she hear his records, but from the age of 12 she often accompanied him to concerts, developing a love for the singing of Peggy Lee, Frank Sinatra, and Mel Tormé. Welsman played guitar from the age of ten, accompanying her singing of bossa novas and folk music. She began to perform jazz more in her late teens. Welsman attended the Berklee College of Music during 1980-1981 and studied voice in France with Christiane Legrand. She started the Welcar Music label in Toronto, recording her debut CD, Lucky to Be Me, in 1995. She performed throughout Canada and also worked as a jazz vocal professor at the University of Toronto. During 2004-2005 she toured in Japan, Italy, and Brazil in addition to Canada and worked a bit in Los Angeles as a singer/pianist, but Carol Welsman has yet to become well known in the U.S. despite being a household name in Canada. ~ Scott Yanow

For You

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George Freeman - 90 Going On Amazing

Size: 148,1 MB
Time: 63:48
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Summer Wind (5:57)
02. That's It (5:57)
03. Hit It (3:37)
04. Trees (5:02)
05. Steppin' With George (6:07)
06. Bruz, George, Chico & Von (4:42)
07. That's All (6:38)
08. Contaminated (6:09)
09. You Are Mine All Mine (5:04)
10. Mike's Tempo (7:20)
11. The Bottom (7:10)

George Freeman has long been a homebody. Early on he made his mark on stage and/or in the studio with the best of the best saxophone lodestars Lester Young and Charlie Parker, to mention just two as they came through his hometown, Chicago. Touring did eventually figure into his career he hit the road with soulful heavies Gene Ammons and Shirley Scott in the '50s but he essentially gave up the travelling life about six decades ago. Since that time he's become a fixture in the Windy City, a Midwestern musical treasure acknowledged throughout the region yet seldom saluted as he should be elsewhere. Now, that recognition will hopefully come his way. Freeman made a decent blip on the national radar with All In The Family (Southport Records, 2015), co-leading that session with his better-known nephew Chico Freeman; he attained nonagenarian status back in April of 2017; and this long-shelved date, recorded in 2005, is now hitting the marketplace.

The thing that's most striking about this record, and perhaps most important when it comes to discussing George Freeman's sonic identity, is tone. He presents every idea with a bright and rounded sound, direct as can possibly be. His power of sustain is pure perfection, as single notes hang over the harmonies below with just the slightest taper, and his repetitive, one-note flutters come off like a beautiful gathering of lightning bugs, not a buzzing swarm of bees. His ideas almost seem to run second to his sound, and that's just fine. With a sound like that, who would want to draw focus away?

Originals dominate here, with only three covers showing up on the playlist, and most of the material is fairly easygoing in nature. Numbers like "That's It," "Steppin' With George," and "Contaminated" speak to the blues-soaked world in which Freeman has always thrived; "Trees" and "That's All" offer opportunities to bask in the glow of the guitarist's ballad playing; "Bruz, George, Chico & Von" speaks to blood, giving pianist Vince Willis a chance to step to the microphone and add laudatory vocals honoring Freeman's musical family; and "Mike's Tempo" brings sunny and slinky qualities to the fore. In every case, Freeman sits in the driver's seat and Willis is right there to give him what he needs. There's a no-frills quality behind what bassist Jack Zara and drummer Kevin Patrick bring to the table—their contributions are fairly bland, to be honest but they're not the ones who need to carry the date. Those two sidemen get through without fanfare, leaving the spotlight right on the leader.

Freeman won't wow you with virtuosity, there's absolutely nothing forward-looking to be found here, and the final mix could've been a bit better. But none of that really matters in the grand scheme of this recording and this musician's history. 90 Going On Amazing a bit of a misnomer in a way, since Freeman was 78 when it was recorded is about a man's ability to tell a story with his guitar, plain and simple. It's hard not to appreciate what George Freeman has to offer in that respect. ~Dan Bilawsky

Personnel: George Freeman: guitar; Vince Willis: piano, vocals (6); Jack Zara: bass; Kevin Patrick: drums

90 Going On Amazing                 

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Aina Friden - Up High

Size: 102,9 MB
Time: 44:06
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. High Wire (6:05)
02. Whisper Not (5:42)
03. Autumn In Rome (5:52)
04. That's All (5:04)
05. Autumn Serenade (4:14)
06. Moody's Mood (4:15)
07. Pennies From Heaven (4:26)
08. Moon S (4:52)
09. Too Romantic (3:32)

Personnel:
Aina Fridén: vocal
Ulf Johansson Werre: piano
Frode Kjekstad: guitar
Roger Williamsen: bass
Hermund Nygård: drums

After many years of fans asking for a CD, the moment has finally arrived: Aina Fridén ´s debut CD release – as a leader!

I have been playing with Aina for about 20 years now and we have played countless gigs together, from duo to big band. I have been lucky enough to follow her development through the years, into what she is today: a true jazz artist.

This recording came about as a result of a collaboration with the Swedish jazz pianist and jazz personality Ulf Johansson Werre. When I introduced my longtime friend Uffe (Ulf) to Aina for a quintet project, there was a musical explosion, right from the first bars of the rehersal!

So we booked a studio in connection with a small tour, went into the studio, and did it!

The project turned out to be a smash hit, both in concert and on CD, showing great interplay, blistering scats, and some serious jazz singing!

Aina Fridén grew up in a family of musicians; with all the great American singers on the record player every day; Sinatra, Ella, Anita, Bing, and Connie Francis, as well as all kinds of jazz, and classical composers. The American songbook came to be second nature to her. After some years as a freelance singer, she studied jazz at the University in Oslo, impressing everybody by singing difficult parts of horn arrangements, and other instrumental parts, with great accuracy and detail. Since then, she has developed her own style as a jazz singer, reflecting her background in American jazz, with artistic dives into the lyrical elements of European music. Her impressive musical ear is a keystone in the variations and scats you hear on this hard swinging recording.

With a natural feeling for the rhythm, groove, melody and swing of jazz, she stands out as a true individual, contemporary jazz artist.

Up High

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Sylvie Boisel - Amour

Size: 100,3 MB
Time: 37:24
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. A Man And A Woman Un Homme Et Une Femme (3:42)
02. C'est Si Bon (1:57)
03. Comment Te Dire Adieu (2:37)
04. L.O.V.E (2:13)
05. Cry Me A River (4:52)
06. What Now My Love (2:34)
07. Don't Worry Be Happy (4:46)
08. Autumn Leaves (4:31)
09. As Time Goes By (3:13)
10. La Vie En Rose (3:19)
11. I Still Call Australia Home (French Version) (3:34)

After a successful international career on stage, fulfilling the desires of audiences around the world, Sylvie Boisel has launched her first album which is naturally named 'Amour' - Love.

Sylvie's Amour could only be experienced live on stage - with the release of her album, you can now immerse yourself in her 'Love' whenever your heart desires!

Sylvie has made this album of Jazz standards and classic French ballads with Australian Jazz musicians who share her passion:
Steve Iuliano - Backing Vocals
Monique Lysiak - Piano
Alex Compton - Double Bass
Toby Hall - Drums
Alan Davey - Trumpet and Trombone
Ian Cooper - Violin and Viola
Liz Neville - Cello
Retaw Boyce - Violin

"Sylvie Boisel's colorfully velvet songbird vocals envelope your senses and make you feel as if you're truly in Paris with the sun on your face, relishing in the scent of gardenias and espresso in the air. The classic songs that we all know and love are brought back to life through this beautiful woman and her extraordinary voice!" - Colleen Paige, Furocious Music, USA

"Sylvie's eloquent vocal prowess coupled with her delightful personality impress" - Bill Lawler, Band Co-ordinator, Moe Jazz Festival, Australia

"What an inspiration. Fabulous. Welcome to Australia." - Joan Rodda, Moe Jazz Festival, Australia

"A beautiful change to hear your enchanting voice blending with jazz music." - Mike Perkins, Jazz in the Pines, Australia

Amour

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Bob Mintzer & The Horn Man Big Band - Papa Lips

Styles: Saxophone, Flute and Clarinet Jazz
Year: 1983
File: MP3@320K/s
Time: 42:17
Size: 97,9 MB
Art: Front

(6:33)  1. Papa Lips
(9:30)  2. Lazy Day
(4:14)  3. I Hear A Rhapsody
(7:59)  4. Latin Dance
(7:18)  5. Truth
(6:42)  6. Mr. Fonebone

Recorded in 1983 and previously only released in Japan on Cheetah, Papa Lips is Bob Mintzer's third album as a leader. A step ahead of the rather sterile production of his previous album for the label Source (both are now available in the U.S. on CD courtesy of the Elore Records imprint), Papa Lips features a stellar band playing a program comprised almost entirely of Mintzer tunes, the lone exception is the standard "I Hear a Rhapsody." The band here is stellar and includes in various places Michael and Randy Brecker, Lew Soloff, Don Grolnick, David Sanborn, Will Lee, Peter Erskine and Marvin Stamm, among others. The material is more Latin in flavor, and the arrangements are less funk-oriented than its predecessor's. The sound is still quite slick, but the material is stronger and there are no vocal performances this time out. The remarkable thing here is that the Michael and Randy Brecker and David Sanborn were not particularly well known as big band players at this time, but their execution of these often complex charts is remarkable check the title cut that opens the set with a fine Randy Brecker solo; it's knotty and multi-textured with colors coming from all over the tonal spectrum. "Lazy Day," a gospel flavored soul tune for big band is reminiscent of Thad Jones' and Mel Lewis' orchestra, with fine solo s from Mintzer on tenor and Grolnick on piano. Other standouts include "Latin Dance," with a great Sanborn flight on alto, and the remake of "Mr. Fonebone." It appeared on Source as well, but is much faster and more aggressive here, and Lee is less busy than Jaco Pastorius was. "I Hear a Rhapsody" contains an excellent, deeply emotional solo by Michael Brecker, though the tune itself is a bit flowery for this recording. In sum, however, Papa Lips is a fine record; it is still slick but that's how they made jazz records in the '80s but it's sheer musicality, muscle, and sophistication make it an excellent listen. ~ Thom Jurek http://www.allmusic.com/album/papa-lips-mw0000778998

Personnel: Marvin Stamm, Lew Soloff, Randy Brecker, Laurie Frink (Trumpet); David Sanborn (Soprano saxophone, alto saxophone); Michael Brecker (Tenor saxophone, flute); Pete Yellin (Alto saxophone, flute); Lawrence Feldman (Tenor saxophone, flute, piccolo); Roger Rosenberg (Baritone saxophone, flute); Bob Mintzer (Tenor saxophone, flute, piccolo, clarinet); Dave Bargeron, Bob Smith, Keith O'Quinn (Trombone); Dave Taylor (Bass trombone on 1,2,4,5,6); George Moran (Bass trombone on 3); Don Grolnick (Piano); Will Lee, Tom Barney (Bass); Peter Erskine (Drums); Frankie Malabe (Congas); Carla Poole (Fluteon 6).

Papa Lips

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Cal Tjader Quartet - Jazz At The Blackhawk

Styles: Vibraphone Jazz 
Year: 1957
File: MP3@320K/s
Time: 44:04
Size: 103,0 MB
Art: Front

(6:56)  1. Bill B.
(4:06)  2. Land's End
(6:15)  3. I'll Remember April
(4:42)  4. Blues In The Night
(3:43)  5. Thinking Of You, MJQ
(3:39)  6. I've Never Been In Love Before
(5:15)  7. Two For Blues Suite
(4:55)  8. When The Sun Comes Out
(4:29)  9. Lover, Come Back To Me

Latin jazz collectors note: the title emphatically is Jazz at the Blackhawk, and even the most determined listener will not find an iota of Cal Tjader's explorations of Latin rhythms here. In its place, we get a sturdy set of bop-flavored workouts by Tjader's expert quartet, recorded live in San Francisco's famous long-defunct nightspot. Tjader himself often sounds like Milt Jackson as he handles the mallets fluidly through a set of standards, a pair of originals by himself and his wife, and appropriately enough a witty Baroque-like tune by his pianist Vince Guaraldi called "Thinking of You, MJQ." Eugene "The Senator" Wright (bass) and Al Torre (piano) make up the bop rhythm section, and as long as you know what you're getting, a good time can be had. ~ Richard S.Ginell http://www.allmusic.com/album/jazz-at-the-blackhawk-mw0000203638

Personnel: Cal Tjader (vibraphone); Vince Guaraldi (piano); Gene Wright (bass); Al Torre (drums).

Jazz At The Blackhawk

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Steely Dan - Doing It In California: The 1974 Broadcast Collection

Styles: Vocal And Guitar Jazz
Year: 2015
File: MP3@320K/s
Time: 80:39
Size: 185,7 MB
Art: Front

(8:10)  1. Do It Again (Live)
(4:43)  2. Rikki Don't Lose That Number (Live)
(5:08)  3. King Of The World (Live)
(3:23)  4. Any Major Dude (Live)
(4:41)  5. Barrytown (Live)
(5:30)  6. My Old School (Live)
(5:41)  7. Pretzel Logic (Live)
(4:45)  8. Reelin' In The Years (Live)
(3:55)  9. This Is All Too Mobile Home (Live)
(5:19) 10. Bodhisattva (Live)
(7:02) 11. The Boston Rag (Live)
(4:14) 12. Brooklyn (Owes The Charmer Under Me) (Live)
(0:58) 13. Funky Scare Tactic Orchestra Blues (Live)
(3:58) 14. Dirty Work (Live)
(1:29) 15. Your Gold Teeth Ii (Live)
(7:04) 16. Show Biz Kids (Live)
(4:30) 17. Do It Again (The Midnight Special, April 13th 1973) (Live)

Partly because of Donald Fagen's reluctance to sing onstage, partly due to he and Walter Becker's perfectionism, and partly because the pairs' compositions and arrangements were so complex - requiring all manner of studio hardware to reproduce Steely Dan played very few live concerts during their early career, indeed by the middle of 1974 they had given up touring entirely. The one album they did promote on the road however was their third masterpiece, the enigmatically titles 'Pretzel Logic', released in the USA on February 20th 1974. The tour started on March 9th, and this CD features the complete second show played by the group, at the University Of California the following night. The gigs would continue until July 1974 - after which Steely Dan would not play live again until they reunited in 1992. This excellent live broadcast recording is, therefore, quite a rarity; not only does it showcase the very best of the songs from Steely Dan's first three albums, it also features This All Too Mobile Home, a number that was never recorded in the studio. Furthermore, the remarkable version of Your Gold Teeth II included here is wholly different to the song of that name later released on the album 'Katy Lied' Bonus cuts here are taken from Dan's gig at the Ellis Auditorium in Memphis on the April 30th '74, plus a version of Do It Again recorded for the long running TV series 'Midnight Special' on which Steely Dan had been special guests a year earlier, in April 1973. ~ Editorial Reviews https://www.amazon.com/Doing-California-Steely-Dan/dp/B014MGPI2W

Doing It In California: The 1974 Broadcast Collection

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Jack DeJohnette - Hudson

Styles: Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 72:01
Size: 168,9 MB
Art: Front

(10:57)  1. Hudson
( 5:30)  2. El Swing
( 8:16)  3. Lay Lady Lay
( 6:01)  4. Woodstock
( 9:14)  5. A Hard Rain's A-Gonna Fall
( 5:29)  6. Wait Until Tomorrow
( 8:36)  7. Song for World Forgiveness
( 3:58)  8. Dirty Ground
( 5:04)  9. Tony Then Jack
( 5:36) 10. Up on Cripple Creek
( 3:15) 11. Great Spirit Peace Chant

Rightly vaunted as a 'supergroup,' specifically in the Tony Williams Lifetime mold, this eponymously titled band really does qualify as a super quartet, so much so that any background information on these four protagonists would seem superfluous. However it should be noted that John Scofield and John Medeski have teamed-up on occasion with Medeski, Martin & Wood and Scofield and Jack DeJohnette first played together forty years ago and more recently in their Trio Beyond with organist Larry Goldings.  What is perhaps different with this album is around half the tracks are popular numbers from the greats days of the Woodstock and beyond. The remaining half comprises originals. Fittingly, the group first played a gig together at the 2014 Woodstock Jazz Festival and the vibe that they experienced then encouraged them to pursue the project, culminating in this record. The quartet's name is inspired by the beauty of the Hudson River from which Woodstock is but a few miles away, indeed virtuoso bassist Larry Grenadier is himself a resident of the Hudson Valley. The opening, groove-laden title track certainly displays influences of Lifetime and early Seventies electric-period Miles Davis too. The longest track at nearly eleven minutes, it offers kaleidoscopically mesmeric performances with Scofield even inserting a cheeky quote from "The Peanut Vendor." Things settle down a little with Scofield's "El Swing," the Iberian-influenced head leading into the guitarist evincing some biting, fluid soloing. The covers of Bob Dylan's "Lay Lady Lay" and Joni Mitchell's "Woodstock" are given respectful treatments, the former with Scofield carving out the melody with bright-toned guitar, the latter, emotionally-charged and instantly reminiscent of the Crosby, Stills, Nash & Young version.

At nearly ten minutes, Dylan's "A Hard Rain's A-Gonna Fall" undergoes a transformation. The melody is dispensed with early on although briefly repeated at the end. In between is a melee of spacey sound, dominated by Medeski's Hammond B-3 channelling the late Larry Young. On "Wait Until Tomorrow" from Axis: Bold As Love, Scofield absolutely cracks Hendrix's tone and attack. DeJohnette's elegiac "Song For World Forgiveness" conjures-up the spirit of Woodstock, abounding with Scofield's glissando-rich guitar. DeJohnette provides the vocals to "Dirty Ground," the song he co-wrote with Bruce Hornsby and which appeared on his 2012 album Sound Travels. Scofield's straight ahead "Tony Then Jack" is a paean to the late Tony Williams, its title carrying the implicit message that DeJohnette is the natural successor to Williams. Robbie Robertson's "Up On Cripple Creek" is given a laid-back, homespun feel, Scofield's guitar nonchalantly tearing-up the melody. The final number, replete with wooden flutes, tom-tom and chanting vocals, is DeJohnette's "Great Spirit Peace Chant" recalling the saxophonist Jim Pepper's Native American-influenced music. Indeed, DeJohnette can be seen performing Pepper's famous "Witchitai-To" on YouTube. This immediately accessible album is undoubtedly going to make waves and make jazz a lot of friends even outside of the jazz fraternity. The quartet combines unique skills and powers of invention to create over seventy minutes of fascinating interpretations and solid originals. As a group, they sound like they've been playing together forever and the music just seems to flow effortlessly, just like the Hudson. ~ Roger Farbey https://www.allaboutjazz.com/hudson-review-by-roger-farbey.php

Personnel: John Scofield: guitar, wooden flute; John Medeski: piano, rhodes, Hammond B-3 organ, wooden flute, vocals; Larry Grenadier: acoustic bass, vocals; Jack DeJohnette: drums, tom-tom, wooden flute, vocals.

Hudson

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Bob Dorough - Sunday at Iridium

Styles: Vocal And Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 69:59
Size: 160,6 MB
Art: Front

(0:51)  1. Welcome from Bob Dorough
(7:03)  2. You're the Dangerous Type
(4:15)  3. But for Now
(0:40)  4. Introducing the Band
(5:21)  5. You're Looking at Me
(0:26)  6. Introducing Joe Wilder
(4:34)  7. Sunday
(0:13)  8. Introducing The Bobettes
(3:51)  9. Comin' Home Baby
(0:34) 10. Introducing Schoolhouse Rock
(7:00) 11. Three Is a Magic Number
(4:30) 12. Baby Used to Be
(3:43) 13. How Could a Man Take Such a Fa
(0:21) 14. Introducing Daryl Sherman
(6:04) 15. Without Rhyme or Reason
(5:13) 16. Down St. Thomas Way
(6:09) 17. Ain't No Spoofin'
(0:23) 18. Introducing Electricity, Elect
(3:52) 19. Electricity, Electricity
(0:15) 20. Farewell from Bob
(4:34) 21. We'll Be Together Again

Welcome to the world of Bob Dorough, the oldest living hipster in jazz at age 81 (December 14, 2004). The singer/composer/pianist has been recording since 1956 and except for a brief flurry of attention with his compositions written for ABC-TV's Schoolhouse Rock from 1973-1985, he has remained largely unappreciated. When I first heard Dorough's vocal of Charlie Parker's "Yardbird Suite" on his debut Bethlehem album Devil May Care , it was a burst of energy and long-needed thank you to Bird for his musical contribution. When I first saw Dorough perform in late 1963, he opened for Miles Davis at the Village Vanguard in duet with bassist Bill Takas and seemed an anachronism more typical of the bohemian jazzman of the late 50s. However, over the decades Dorough has endured and thrived artistically. He has also become something of a cult figure in the Cabaret genre per his peformances and his own compositions or those co-written with such esteemed musicians as Fran Landesman, Blossom Dearie and Dave Frishberg. I enjoyed his live album with Dave Frishberg, Who's On First (Blue Note, 2000), although Dorough's tunes and piano were not quite as witty and prolific as Frishberg's. All that being said, it is a pleasure to hear this live performance at Manhattan's midtown jazz club, Iridium, where Bob Dorough and his friends entertain on most Sunday afternoons. Over the years, Dorough's voice has deepened and a bit of the Arkansas twang has lessened. Also, Dorough serves as a most affable host and provides well chosen and witty words to describe the music. Approximately 6 of the 21 tracks are brief spoken word opportunities. Dorough's group is a lively and swinging combo with Steve Gilmore on bass (normally with Phil Woods) the only known player. Veteran NYC trumpetman and recording artist Joe Wilder sits in on "Sunday" and "Ain't No Spoofin'" adding some good musical punch to the tunes. The latter is a Leroy Vinnegar melody and the title reflects one of the bassist's favorite expressions. Singer Daryl Sherman also shows up to duet and joins Dorough in a four-handed piano setting on "Without Rhyme or Reason." There is a reciprocal duet between the two on Sherman's latest album A Hundred Million Miracles (Arbors Records, 2004). There is also vocal assistance for the Bobettes (not to be confused with the late 1950s doo-wop femme group) who provide vocal backup on Dorough's pop hit "Comin' Home Baby" later popularized by Herbie Mann and Mel Torme. They also sing on "Electricity, Electricity." The songs on this album are largely Dorough originals with a few exceptions. In addition to the aforementioned "Sunday," Dorough closes with a poignant version of the Laine/Fischer standard "We'll Be Together Again" and features new lyrics to the Sonny Rollins-associated "St.Thomas" which is here retitled "Down St.Thomas Way." Bob Dorough's forte is his ability to compose incisive lounge songs in the style of the tunes popularized by the Nat King Cole Trio. In fact, when he performs Bobby Troup's "You're Looking At Me" on this album, the blend is perfect. Songs like "You're the Dangerous Type," "But For Now" and "Baby Used to Be" share, along with the work of Dave Frishberg, a treasure trove for singers and musicians for decades to come. The resulting album is greatly enchanced by the musicians. Steve Berger on guitar adds some lovely and swinging solo work in the manner of Russell Malone, and demonstrates a lyrical sense. Drummer Ed Ornowski provides just the right shading for percussion. All in all, this is a relaxed and fun session! ~ Michael P.Gladstone https://www.allaboutjazz.com/bob-dorough-sunday-at-iridium-by-michael-p-gladstone.php

Personnel: Bob Dorough, piano,vocals; Steve Berger, guitar; Steve Gilmore,bass; Ed Ornowski,drums with Special Guests: ;Joe Wilder,trumpet(7,17) Daryl Sherman, vocal and four-handed piano with Bob (15); The Bobettes:Laura Amico and Roslyn Hart,vocals(9,19)

Sunday at Iridium

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Anne Shelton - Showcase

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 45:42
Size: 105,2 MB
Art: Front

(2:20)  1. Let's Face The Music And Dance
(2:57)  2. Too Young To Go Steady
(2:21)  3. Ha Ha Ha
(3:19)  4. To Love And Be Loved
(2:55)  5. Do You Love Me Like You Kiss Me
(4:01)  6. I Got It Bad And That Ain't Good
(3:31)  7. The Village Of St Bernadette
(4:04)  8. The Man That Got Away
(2:59)  9. Lay Down Your Arms
(3:01) 10. Souvenir D'Italie
(2:11) 11. Seven Stages Of Man
(3:42) 12. Smoke Gets In Your Eyes
(3:50) 13. Perfidia
(4:24) 14. My Yiddishe Momme

Although singer Anne Shelton issued several recordings throughout her career, she is best-known for generously touring Army, Navy, and Air Force bases. Born in Dulwich, London, England, on November 10, 1923, Shelton began singing at the age of 13, and by 15 had her own recording contract as a solo artist. In 1942, Shelton began playing military bases across England and as her popularity grew, was offered her own radio program, Calling Malta, which remained on the air for five years. In 1944, Shelton was invited to sing with the Glenn Miller Orchestra, and although some of these shows were recorded, none have ever surfaced in their entirety. Miller invited Shelton to stay on with the band and travel to Versailles for a series of shows; she had to turn him down due to prior commitments in Britain, which turned out to be a blessing in disguise as Miller's plane crashed shortly after the shows. But Shelton soon performed with another American who had come over to England: Bing Crosby. Crosby and Shelton appeared on the Variety Bandbox radio show together and afterwards played a show together, duetting on the songs "Easter Parade" and "I'll Get By." In 1949, Shelton began to make headway stateside, scoring a pair of hits with "Be Mine" and "Galway Bay," which resulted in her inaugural U.S. tour two years later (all the while continuing to entertain the troops). But it was in her native land where Shelton's popularity was the greatest, as she scored a number one hit with "Lay Down Your Arms" in September of 1956, remaining atop the U.K. singles charts for a solid four weeks. Shelton was never able to follow up her big hit, but remained a popular concert attraction nonetheless, performing shows straight up to her death on July 31, 1994. Following her death, numerous compilations saw the light of day, including such titles as Early Years: Lili Marlene and At Last: The Very Best. ~ Greg Prato http://www.allmusic.com/artist/anne-shelton-mn0000495398

Showcase

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Jason Marsalis Vibes Quartet - The 21st Century Trad Band

Styles: Vibraphone Jazz
Year: 2014
File: MP3@320K/s
Time: 77:21
Size: 178,3 MB
Art: Front

(1:09)  1. Discipline Meets The Offbeat One
(7:21)  2. Offbeat Personality
(6:10)  3. The Man With Two Left Feet
(6:11)  4. Nights in Brooklyn
(6:04)  5. 18th Letter of Silence
(4:19)  6. Blues for Now
(9:19)  7. Interzone
(5:54)  8. BP Shakedown
(6:45)  9. Blessed Unrest
(5:48) 10. The 21st Century Trad Band
(8:43) 11. Calm Before the Storm
(9:32) 12. Ratio Man

Following 2013's In A World of Mallets (#1 on Jazz Radio), the youngest of New Orleans' Marsalis Jazz dynasty Jason Marsalis is back with his 2nd Vibes Quartet release, The 21st Century Trad Band. Backed once again by Will Goble on bass, Austin Johnson on piano, and David Potter on drums, The 21st Century Trad Band puts a spotlight on the growing synergy among these young and talented musicians. Songs like 'BP Shakedown' and 'Offbeat Personality' showcase the unit's propensity for combining lush melodies with pulsating rhythms. Together, they deliver music with a high level of complexity without isolating the listener, a testament to the band's rapport. Jason Marsalis is a musician with a lot to say, but like any worthwhile artist he lets his work do the talking. With The 21 Century Trad Band, The Jason Marsalis Vibes Quartet continue to help keep contemporary Jazz relevant for and through the younger generation of its musicians. ~ Editorial Reviews https://www.amazon.com/21st-Century-Trad-Band/dp/B00MZ3X78W

Personnel:  Jason Marsalis: Vibes;  Austin Johnson: Piano;  Will Goble: Bass;  Dave Potter: Drums

The 21st Century Trad Band

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Harry Belafonte - Belafonte Sings The Blues

Styles: Vocal
Year: 1958
File: MP3@320K/s
Time: 45:26
Size: 104,8 MB
Art: Front

(3:42)  1. A Fool For You
(4:20)  2. Losing Hand
(4:36)  3. One For My Baby
(3:31)  4. In The Evenin' Mama
(2:56)  5. Hallelujah I Love Her So
(4:35)  6. The Way That I Feel
(5:20)  7. Cotton Fields
(5:07)  8. God Bless The Child
(2:46)  9. Mary Ann
(3:43) 10. Sinner's Prayer
(4:45) 11. Fare Thee Well

After flirting with traditional African-American material in his previous albums, Belafonte, for the first time, devotes an entire album to the blues. However, of the eleven songs, only two could be classified as traditional blues: "In the Evenin' Mama" and "Cotton Fields," the latter given a five minute treatment. Belafonte would take this song on the road as part of his live act for the next decade. Of the other songs, three were covers of Ray Charles standards ("A Fool For You," "Hallelujah I Love Her So," "Mary Ann"). Another highlight is Belafonte's rendition of Billie Holiday's "God Bless the Child." With few exceptions, the entire album is understated and not as exciting or riveting as other Belafonte records. Still, it's solid listening, and taken track by track, thoughtful performances. Footnote: this was the first Belafonte album recorded in stereo. Some releases feature a thick, dark blue spine. ~ Cary Ginell http://www.allmusic.com/album/belafonte-sings-the-blues-mw0000863291

Personnel:  Harry Belafonte – vocals

Belafonte Sings The Blues

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Steely Dan - The St. Louis Toodle-Oo

Styles: Vocal And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 143:35
Size: 334,2 MB
Art: Front

( 7:56)  1. The Royal Scam/Bad Sneakers/Aja
( 5:24)  2. Green Earrings
( 5:29)  3. Bodhisattva
( 6:12)  4. I.G.Y. (What a Beautiful World)
( 7:14)  5. Josie
( 6:28)  6. Hey Nineteen
( 4:32)  7. Book of Liars
( 6:33)  8. Chain Lightning
( 3:45)  9. Introductions
( 3:56) 10. Green Flower Street
( 6:51) 11. Home at Last
( 4:14) 12. Black Friday
( 8:11) 13. Deacon Blues
( 6:40) 14. Tomorrow's Girl
( 6:48) 15. Babylon Sisters
( 7:27) 16. Reelin' in the Years
( 6:12) 17. Fall Of '92
( 4:39) 18. Peg
( 6:28) 19. Third World Man
(13:36) 20. Countermoon
( 8:17) 21. My Old School
( 6:33) 22. FM (No Static at All)

Following the tumultuous albeit fruitful recording of their 1980 album Gaucho, and their subsequent breakup soon thereafter, the next decade was somewhat quiet for Donald Fagen and Walter Becker, the gifted musical duo behind Steely Dan. Despite a number of producer credits to their respective names, the only releases that appeared with either as featured artist were two Donald Fagen solo records. The first, The Nightfly, came out to rapturous critical and commercial success, going Platinum on both sides of the Atlantic. Meanwhile, Becker was listed as an as an official member of China Crisis on their 1985 album Flaunt the Imperfection. However the pair had reconciled their differences by the end of the 1980s with Becker playing on and producing Fagen s 1993 album Kamakiriad, which received praise from critics but failed the match its predecessor sales-wise. Following this semi-joint venture, Steely Dan reformed for a tour the same year. Becker and Fagen had retired from live performance in 1974 to concentrate on writing and recording, so their 93 jaunt was something of a treat and a rare opportunity for long term fans. One of the 30 dates performed in the US this time round took place at the 20,000-capacity Riverport Amphitheatre in Maryland Heights, Missouri on 1st September 1993. Featuring a rich mixture of Dan classics with a few solo cuts included too, this set, recorded for live FM broadcast, finds the group in superb form and is now featured in its fully remastered entirety on this double CD set. https://www.spincds.com/time-out-of-mind-dvd-53250

The St. Louis Toodle-Oo1

The St. Louis Toodle-Oo2

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Gene Harris - Ballad Essentials

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 67:26
Size: 155,1 MB
Art: Front

(5:59)  1. Sweet And Lovely
(4:37)  2. Nobody Knows You When You're Down And Out
(6:29)  3. Until The Real Thing Comes Along
(6:26)  4. This Masquerade
(5:13)  5. At Last
(6:46)  6. Everything Happens To Me
(6:35)  7. Black And Blue
(5:26)  8. When You Wish Upon A Star
(5:02)  9. You Don't Know What Love Is
(8:05) 10. That's All
(6:43) 11. Angel Eyes

Gene Harris had no peer as a blues pianist. Just as Fred Hersch is the king of ballads, Harris was the king of the blues. But let’s consider his ballad prowess: he recorded many, and some of his best are collected on Concord Jazz’s newest addition to the Ballad Essentials series.  Harris manages to infuse all of his ballad performances with enough blue notes to endow the pieces with his unmistakable personality. That is not such a challenge with pieces like "Nobody Knows When You're Down and Out" while "When You Wish Upon a Star" might be a bit tricky in less talented hands. But his are not less talented hands. Mr. Harris has recorded copiously for Concord Jazz, providing a large library of songs from which to choose. His performance with Scott Hamilton on "At Last" is telepathic and with Brother Jack McDuff on "You Don’t Know What Love Is" Harris meets a blues soulmate. But, in the end, it is all Gene Harris. Mr. Harris remains one of the most accessible jazz pianists ever; and we, the listeners, are fortunate that he has left such a broad recorded legacy for us to enjoy. Ballad Essentials is a sensitively assembled collection revealing an under-appreciated site of Gene Harris. 

~ C.Michael Bailey https://www.allaboutjazz.com/gene-harris-ballad-essentials-gene-harris-review-by-c-michael-bailey.php

Personnel: Gene Harris (piano); Scott Hamilton (tenor saxophone); Jack McDuff (Hammond B-3 organ); Ron Eschete (guitar); Lester Hughes, Paul Humphrey (bass); Harold Jones (drums).

Ballad Essentials

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Jack McDuff - Sophisticated Funk

Styles: Piano, Jazz Funk
Year: 1976
File: MP3@320K/s
Time: 39:57
Size: 92,5 MB
Art: Front

(5:57)  1. Dit Da Dit
(6:42)  2. Ju Ju
(4:44)  3. To Be Named Later
(4:46)  4. Summer Dream
(3:25)  5. Jack's Boogie
(5:46)  6. Mini Pads
(5:13)  7. Electric Surf Board
(3:21)  8. Mannix Theme

Sophisticated...maybe. Funky...not so much. This forgettable effort from Jack McDuff veers far too close to smooth jazz territory for comfort swapping his signature Hammond B-3 for keyboards, McDuff settles for a fusion sound suggesting a particularly tepid CTI session, with none of the swagger and groove of his most memorable records. Saxophonist/flutist Joe Harrell is similarly tentative, although one must blame Billy Jones' overly slick arrangements there's really not much chance of salvaging cuts like "Mini Pads" and "'Mannix' Theme." Definitely don't judge this one by its lurid cover it's as tame as a de-clawed house cat. ~ Jason Ankeny http://www.allmusic.com/album/sophisticated-funk-mw0001002142

Personnel:  Jack McDuff - organ, piano, electric piano;  Joe Farrell - saxophones, flute;  Brian Cuomo – piano;  Robert Banks, Walter Morris – guitar;  Billy Jones - guitar, percussion;  Frank Prescod - electric bass;  Joe Corsello, Ted McKinsey, Clarence Oliver, Arnold Ramsey, Scott Schoer – drums;  Craig Derry, Scott Saunders - congas, percussion

Sophisticated Funk

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Phil Woods - Mile High Jazz: Live in Denve

Styles: Saxophone Jazz 
Year: 1996
File: MP3@256K/s
Time: 63:53
Size: 117,2 MB
Art: Front

(10:40)  1. Blues for K.B.
(12:30)  2. Song for Sass
(10:27)  3. Harlem Nocturne
( 7:12)  4. Godchild
(11:47)  5. Walkin' Thing
(11:16)  6. Clairevoyance

Altoist Phil Woods and his 1996 quintet (which includes trumpeter Brian Lynch, pianist Bill Charlap, bassist Steve Gilmore and drummer Bill Goodwin) jam on six lengthy numbers on this live performance from Denver. Highlights include the exciting up-tempo "Blues For K.B.," George Wallington's classic "Godchild" and Benny Carter's relaxed "Walkin' Thing." With Lynch (who successfully keeps up with Woods) and Charlap contributing some fine solos, Phil Woods has come up with another highly recommended and creative combo date that keeps the spirit of bop alive while avoiding the cliches. ~ Scott Yanow http://www.allmusic.com/album/mile-high-jazz-mw0000086949

Personnel: Phil Woods (alto saxophone); Brian Lynch (trumpet); Bill Charlap (piano); Steve Gilmore (bass); Bill Goodwin (drums).

Mile High Jazz: Live in Denve

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