Duke Jordan Trio - Two Loves

Bitrate: MP3@320K/s
Time: 72:06
Size: 165.1 MB
Styles: Bop, Piano jazz
Year: 1991
Art: Front

[8:07] 1. Subway Inn
[8:41] 2. My Old Flame
[5:11] 3. Blue Monk
[3:06] 4. Two Loves
[7:10] 5. No Problem
[5:00] 6. Glad I Met Pat
[1:51] 7. Here's That Rainy Day
[8:02] 8. On Green Dophin Street
[7:12] 9. Embraceable You
[2:44] 10. Wait And See
[5:31] 11. I'll Remember April
[4:05] 12. Lady Dingbat
[5:20] 13. Jordu

The companion piece to Flight to Denmark, Duke Jordan's Two Loves was compiled from the same two recording dates in late 1973. Although he had built a solid resume working with Charlie Parker, Coleman Hawkins, Roy Eldridge, Stan Getz, Gene Ammons, Art Farmer, and Oscar Pettiford, he fell into obscurity during the early '60s, leaving the jazz scene to spend over five years driving a cab in New York. In 1973, the pianist was invited to tour Denmark and, not having recorded since 1962, Jordan began doing sessions for SteepleChase records. These dates were the first products of what was to become a prolific relationship with the Danish label. Joined by drummer Ed Thigpen (Oscar Peterson, Bud Powell, Ella Fitzgerald) and Danish bassist Mads Vinding, Jordan performs five original compositions, three standards, and Thelonious Monk's "Blue Monk." Jordan's style is perhaps the most subdued of the first generation bebop pianists; his touch is gentle, his chords are simply constructed, and his preference for medium tempos is evident. Though not the most flashy of beboppers, Jordan is quite an excellent composer. (His "Jordu" remains a favorite of many contemporary players.) The bluesy original "Subway Inn" is reminiscent of Bobby Timmons' popular "Moanin'" with its call and response motif. Best on this date, though, is the bittersweet title track, "Two Loves," which Jordan performs on solo piano. The harmonic inspiration of Tadd Dameron and John Coltrane can be felt in this composition. Overall, an enjoyable session despite a piano with less than perfect intonation and an unfortunately dry drum sound. ~Lee Bloom

Two Loves

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Joe Venuti - Live In Italy

Styles: Violin Jazz 
Year: 1971
File: MP3@320K/s
Time: 47:34
Size: 109,7 MB
Art: Front

(3:59)  1. Sweet Georgia Brown
(5:51)  2. Body and Soul
(8:20)  3. I Want to Be Happy
(8:10)  4. Tea for Two
(4:24)  5. Humoresque
(8:36)  6. Almost Like Being in Love
(5:43)  7. Undecided
(2:27)  8. The Hot Canary

Giuseppe “Joe” Venuti is widely regarded as the first great jazz violinist. Born to Italian parents who immigrated to the States; he learned classical violin as a child, the fruits of which can be clearly seen in his exciting melodic and rhythmic technique. At school in Philadelphia in 1913 he met guitarist Eddie Lang; and they started playing together, at first playing polkas, inventing and trading variations, quickly moving into jazz. It was a fortuitous and rewarding partnership. From 1926 to 33 they made many recordings, in a variety of small band line-ups, becoming internationally famous, not least because the novelty of the guitar/violin combination. Venuti's technique was groundbreaking; he had a sharp, bright tone, excellent intonation, and an ability to play in any key, anywhere on the violin. He developed what has become known as the “violin capo” technique, using his first finger as the root and fifth of whatever key he was playing in. This made playing in any key easy, as well as allowing double stops and rocking bow patterns anywhere up and down the neck. He was probably the first violinist to popularize the “double shuffle” ( a 123,123, 123,123,12,12 pattern rocking across two or three strings, and extending across two or more bars) which was quickly adopted by western swing and later bluegrass fiddlers. He made frequent use of clean, accurate harmonics; both true harmonics and the more difficult artificial harmonics (created by “stopping” the string with the first finger, and lightly touching the same string with the fourth finger, a fourth interval higher) He used frequent choppy double stops, and could do extended swinging pizzicato solos. His playing was always punchy, aggressive, inventive and playful. Perhaps his most famous technique, rarely copied because it's at the same time very difficult and completely wacky, was to unfasten the hairs of his bow, then wrap them round the top of his fiddle, with the bow underneath. This enabled him to play all four strings simultaneously, allowing lush four part harmonies.Many of Venuti and Lang's compositions bear wacky titles such as “Black and Blue Bottom” “Kickin' the Cat” “Beatin' the dog” “Add a little Wiggle” “Have to change keys to play these blues” and “Bullfrog Moan.” Among the backing instruments which appear on their recordings are bass saxophone, comb, hot fountain pen, kazoo and a remarkable instrument called the goofus. A majority of the numbers they recorded and performed were self-penned, frequently integrating flashy “set piece” fiddle tricks into the main melody.

At the time of the Great Depression this brilliant, irreverent, light hearted approach is just the kind of thing the American public wanted. Venuti and Lang achieved great success, fulfiling many recording sessions for a variety of labels, most frequently under the title “Joe Venuti's Blue Four”. In addition they worked with many important artists of the day such as Louis Armstrong, Benny Goodman,Paul Whiteman, the Dorsey Brothers and Jack Teagarden. This productive period was brought to a tragic close by the sudden death of Eddie Lang in 1933; he died in hospital during an operation for tonsillitis. Venuti then formed his own big band, but this did not prove a big success, whether because he missed Lang's steadying influence and more astute business sense, because of Venuti's increasing drinking problem, or simply because musical tastes were changing. His career went into a rapid decline, and after the war he folded his band and moved to the West Coast to concentrate on anonymous Hollywood studio work. The only notable feature of this largely bleak part of his career was his numerous appearances during the '50's on Bing Crosby's radio show, where he was able to show off his quick wit, outrageous stories and gruff repartee to best advantage His fortunes changed once more in 1967; building on an electrifying appearance at the annual Dick Gibson Colorado Jazz Party, he resumed his recording career, working with artists such as Earl Hines, Bucky Pizzarelli and most notably the swinging tenor saxophonist Zoot SimsIn 1969 he recorded a fine album “Venupelli Blues” with Stephane Grappelli, who acknowledged that it was seeing Venuti perform in Paris in 1935 that was one of his major inspirations. He continued working, appearing at major jazz festivals round the world up until his death from cancer in 1978. His dazzling technique, humour and inventiveness helped to put jazz violin on the musical map, and he has been a major inspiration to all who have followed in his footsteps. https://musicians.allaboutjazz.com/joevenuti
 

Personnel:  Joe Venuti- violin;  Lou Stein – piano;  Marco Ratti – bass;  Gil Cuppini - drums

Live In Italy

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Melody Gardot - My One And Only Thrill

Styles: Vocal, Piano And  Guitar Jazz 
Year: 2009
File: MP3@320K/s
Time: 48:07
Size: 111,1 MB
Art: Front

(3:31)  1. Baby I'm A Fool
(2:50)  2. If The Stars Were Mine
(4:57)  3. Who Will Comfort Me
(2:43)  4. Your Heart Is As Black As Night
(4:26)  5. Lover Undercover
(5:29)  6. Our Love Is Easy
(3:20)  7. Les Etoiles
(3:23)  8. The Rain
(6:12)  9. My One And Only Thrill
(3:22) 10. Deep Within The Corners Of My Mind
(4:34) 11. Over The Rainbow
(3:13) 12. If The Stars Were Mine (Orchestral Version)

Melody Gardot's 2006 debut, Worrisome Heart, was greeted with warmly enthusiastic reviews that never failed to mention Gardot's musical similarities to Norah Jones and Madeleine Peyroux, or her sadly compelling story of surviving a severe hit-and-run accident at the age of 19. The tragedy gave critics an irresistible hook, and the musical similarities which also include her vocal resemblance to Fiona Apple's smoky tones gave new listeners a familiar touchstone, but both merely provided an entry into a fine, accomplished debut. Released three years later, Gardot's second album, My One and Only Thrill, proves that the first was no fluke; it doesn't build upon the debut so much as it sustains its quality. Like before, My One and Only Thrill is built primarily on Gardot originals (a fine version of "Over the Rainbow" that closes the album being the only exception) that seamlessly blend sultry, late-night jazz blues, singer/songwriter introspection, and sophisticated pop melodies. If anything, My One and Only Thrill emphasizes Gardot's chanteuse qualities, feeling like more of a jazz album than its predecessor, thanks both to its languid atmosphere and also Gardot's phrasing, which elegantly elongates her melodies and slips into scat. These are slight, subtle progressions but what impresses is how thoroughly My One and Only Thrill lives up to the promise of her debut, offering another album that is as enchanting in its sound as it is in its substance. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/my-one-and-only-thrill-mw0000811208

Personnel:  Melody Gardot – guitar, piano, vocals;  Gary Foster – alto sax;  Bryan Rogers – tenor sax, backing vocals;  Larry Goldings – Hammond B3 organ;  Patrick Hughes – trumpet, backing vocals;  Andy Martin – trombone;  Behn Gillece – vibraphone;  Nico Abondolo – double bass;  Drew Dembowski – double bass;  Larry Klein – bass guitar, backing vocals;  Ken Pendergast – bass guitar, backing vocals;  Vinnie Colaiuta – drums;  Charlie Patierno – drums, backing vocals;  Paulinho da Costa – percussion

My One And Only Thrill

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Stephane Grappelli & Stuff Smith - Stuff And Steff

Styles: Violin Jazz
Year: 1965
File: MP3@320K/s
Time: 38:45
Size: 90,3 MB
Art: Front

(5:01)  1. How High The Moon
(8:37)  2. Blues In The Dungeon
(5:48)  3. Skip It
(5:53)  4. S'posin'
(4:35)  5. Willow Weep For Me
(8:49)  6. This Can't Be Love

Violinists Stéphane Grappelli and Stuff Smith performed together on a few occasions, but this 1965 studio session, first issued by Barclay, was one of the more difficult dates to acquire until Universal Music reissued it on CD in 2002, as a part of their extensive Jazz in Paris series. With a solid rhythm section (pianist René Urtreger, bassist Michel Gaudry, and drummer Michel Delaporte) that pretty much sticks to a supporting role, it is clear that Smith's gritty tone rubs off on Grappelli as the session progresses. Highlights include Smith's "Blues in the Dungeon" (during which Grappelli playfully alternates between playing pizzicato and arco to back Smith's hoarse but swinging vocal) and an equally playful, swinging take of "This Can't Be Love." Jazz violin fans may give Smith the nod over Grappelli on this date, but both men obviously enjoyed themselves during the making of this disc. The glorious 24-bit remastering produces sound that is greatly improved over the tinny Everest LP reissued under Smith's name during the 1970s. ~ Ken Dryden http://www.allmusic.com/album/stuff-and-steff-mw0000229429

Personnel:  Violin – Stuff Smith, Stéphane Grappelli;  Vocals – Stuff Smith (tracks: 2, 4);  Double Bass – Michel Gaudry;  Drums – Michel Delaporte;  Piano – René Urtreger

Stuff And Steff

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Phoebe Snow - Natural Wonder

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 51:31
Size: 118,3 MB
Art: Front

(4:14)  1. Sahara
(5:30)  2. How Beautiful
(4:21)  3. The Other Girlfriend
(4:53)  4. Ever Surprised
(5:34)  5. Lightning Crashes
(3:39)  6. Above the Band
(5:18)  7. Changed
(3:52)  8. Natural Wonder
(4:25)  9. Key to the Street
(5:33) 10. Baby, I Need Your Loving
(4:08) 11. Going Home

Phoebe Snow released her last major-label album in 1989, but returned to record-making in 1998 with I Can't Complain, an all-covers album for the House of Blues label. Five years on from that, she is back on Eagle Records with Natural Wonder, which makes a case for artistic reinvention not only because it is the first disc to feature any of her original compositions in 14 years, but also because those songs are largely devoted to issues of self-actualization and spirituality. And one more thing: Snow, who spent much of her major-label career flirting with sophisticated jazz-pop, here returns to very much of a pop/rock style, guided by her co-producer, Jim Chapdelaine, who fills the arrangements with guitar work played by Roger Butterley, Jim Mastro, and himself. That funky sound which Phil Ramone got on Snow's Columbia Records albums of the '70s is gone. So, to a large extent, is the confusion about whether Snow is a singer/songwriter or an interpretive singer. There are only two covers on the album, and while one of them is the sort of thing old fans might expect, a take on the Four Tops' "Baby, I Need Your Loving"; the other is one they probably wouldn't: a moody, intense reading of rock band Live's '90s hit "Lightning Crashes." 

But that's only two songs out of 11; the rest are Snow originals, albeit eight of them co-writes with a variety of others. On them, Snow makes clear at the outset that she is an emotional veteran who has made it through with philosophical and spiritual help. Opening track "Sahara" is not about the desert, it's about a person named Sahara Sunday Spain, whom Snow thanks in the acknowledgements for "divine inspiration," something one would have thought only God could provide. But Sahara does do something: "She says don't be frightened," Snow explains in the chorus, "Says we're all enlightened." The person or being giving guidance in the next song, "How Beautiful," is not named, but seems equally helpful. "You are my mantra," Snow begins. Those of a less religious turn of mind may be more comfortable with the more down-to-earth self-help messages conveyed in the bouncy "Above the Band," which is full of advice "Tell a joke, don't smoke, be a little careless," etc.and with the emphatic "Changed," in which the heightened language is leavened with more practical matters. "I've been changed/Purified by the flame," Snow proclaims, adding, "I remember how my last $20 was spent." Happily, all this concern with uplift has not prevented the songwriter from falling in love now and then, although, as usual, the experience is not a smooth one, as revealed in "The Other Girlfriend" (that's what the singer complains she is) and "Key to the Street," in which Snow, in her only sole composition, heeds the advice of a psychic to turn out a succession of unsuitable suitors. Ultimately, the Snow fan is likely to be less concerned with whatever spiritual guidance she has followed to keep her going to this point than relieved that, once again, it is possible to hear her sing on a disc and not just in a TV or radio commercial. Her voice itself remains a natural wonder, and if the jazz elements of her music have been purged this time around, she is just as good a rock singer as she ever was, making her return to action a cause for celebration. ~ William Ruhlmann http://www.allmusic.com/album/natural-wonder-mw0000034018

Personnel: Phoebe Snow (vocals); Jim Chapdelaine (various instruments); Roger Butterley (acoustic & electric guitars, synthesizer, percussion, background vocals); Steve Burgh, David Z, James Mastro (electric guitar); Michael Mancini (piano, Wurlitzer piano, organ, synthesizer); Brian Dozoretz, Tim Tindall (bass); Shannon Ford (drums, percussion, loops); Jon Peckman (drums, percussion).

Natural Wonder

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Fred Hersch - Open Book

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 56:45
Size: 130,3 MB
Art: Front

( 6:26)  1. The Orb
( 6:27)  2. Whisper Not
( 7:58)  3. Zingaro
(19:35)  4. Through the Forest
( 4:41)  5. Plainsong
( 5:39)  6. Eronel
( 5:57)  7. And So It Goes

In the aftermath of his coma and very possible demise back in 2008, pianist Fred Hersch blossomed from a status as a first rate jazz pianist into the rarified air of one of the handful of top practitioners of that art form. A series of post-illness albums, from Whirl (2010), to Alone At The Vanguard (2011) to Floating (2014), Solo (2015) and Sunday Night At the Vanguard (2016), all on Palmetto Records, are all solo and trio outings that reveal a heightened artistic clarity and unabashed vulnerability, alongside a deeper emotive approach, this in comparison to his uniformly excellent, but perhaps more cerebral output before his struggle with serious health problems. Now we have Open Book, Hersch's eleventh solo piano outing. Intimacy is a hallmark of Hersch's music, and "The Orb," the set's opener, taken from Hersch's autobiographical music/theater piece, My Coma Dreams, is the tenderest, loveliest of love songs, a look at a paramour through, with justification it seems, rose-colored glasses. "Whisper Not," Benny Golson's classic tune, takes things into a turn of the playful, via crisp, prancing piano notes singing over a serious and  assertive left hand. Hersch  visits an old friend, Antonio Carlo Jobim, with "Zingaro," a sublime reverie.

The centerpiece, "Through The Forest," is something unheard of on record by Hersch. It's a nineteen minutes-plus, stream-of-consciousness, improvised in-the-moment masterpiece. An ebb and flow dreamscape of sorts the most fragile of delicacies and the most sacred and quiet moments slipped in beside emphatic percussive energy music as enchanting as anything the pianist has ever created. Then in walks Monk. Hersch includes a Thelonious Monk tune in most every set, most every recording. "Eronel" is a spritely interpretation by Hersch, who immerses himself the challenging music deeper than most anybody, peppering the stride-side  with sparkling, water-splashing-off-the-rocks sounds, rolling into jagged eddies, leading into the closer, Billy Joel's "And So It Goes," solemn, simple, honest, beautiful.  Honesty another hallmark of Hersch's art. This is a recording that makes it seem as though Fred Hersch is the finest jazz pianist in the world. That's an impossible assertion, of course. There are a dozen, maybe more pianists who have achieved this  level artistry. But for now, with Open Book, he can wear that title. ~ Dan McClenaghan https://www.allaboutjazz.com/open-book-fred-hersch-palmetto-records-review-by-dan-mcclenaghan.php   

Personnel: Fred Hersch: piano

Open Book

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Harry Allen - How Long Has This Been Going On?

Bitrate: MP3@320K/s

Time: 54:14

Size: 124.2 MB

Styles: Saxophone jazz

Year: 1989/1994

Art: Front

[3:56] 1. I Hear A Rhapsody

[4:34] 2. Walkin' The Frog

[5:48] 3. How Long Has This Been Going On

[3:36] 4. All By Myself

[4:46] 5. (I Wonder) Where Our Love Has Gone

[3:36] 6. Moments Like This

[3:55] 7. (I Would Do) Anything For You

[6:37] 8. Beautiful Moons Ago

[5:35] 9. Blues For Genelle

[4:07] 10. Warm Valley

[3:23] 11. Blues My Naughty Sweetie Gives To Me

[4:14] 12. Moon Country (Is Home To Me)

Harry Allen's debut as a leader found the 21-year-old tenor saxophonist already sounding fairly original in the mainstream swing idiom. This CD matches Allen with pianist Keith Ingham (with whom he had never worked previously, but would soon become a frequent collaborator), bassist Major Holley, and drummer Oliver Jackson. Although influenced a bit by his early idol Scott Hamilton, Allen already had a rapidly emerging musical personality of his own. In addition to some swing standards (most notably "I Would Do Anything for You" and "Blues My Naught Sweetie Gives to Me"), Allen also performs such obscurities as Johnny Hodges' "Walkin' the Frog," "Moments Like This" and Nat Cole's "Beautiful Moons Ago." ~Scott Yanow

How Long Has This Been Going On 

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Elizabeth Conant - A Collection Of Lesser Known Popular Songs

Bitrate: MP3@320K/s
Time: 28:15
Size: 64.7 MB
Styles: Jazz vocals
Year: 2000
Art: Front

[3:13] 1. Why Shouldn't I
[2:15] 2. Little White Lies
[4:06] 3. 'tis Autumn
[2:41] 4. Sky Fell Down
[2:41] 5. There's A Small Hotel
[3:11] 6. Slowpoke
[4:12] 7. I Didn't Know About You
[2:27] 8. The Day You Leave Me
[3:23] 9. It's Slumbertime Along The Swanee

Obviously, kudos to the song selection. The standards are varied to the point that it almost feels like a good mixed CD and the range of tunes is great. Her voice is really rich. Dark and smooth and there's a perfect restrain on overt vocal acrobatics. The band is good. Fareed is in touch with the stories of the songs as is evident in tunes like Slowpoke and Slumbertime. So, to hear how great chemistry is displayed in an amazing and intimate way, pick up this CD and enjoy one of Chicago's finest singers, IMHO. ~J. Shute

A Collection Of Lesser Known Popular Songs

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Pat Boone - Howdy!

Bitrate: MP3@320K/s
Time: 30:55
Size: 70.8 MB
Styles: Pop/Rock
Year: 1956/2008
Art: Front

[3:19] 1. Begin The Beguine
[2:13] 2. Hummin' The Blues
[2:41] 3. Would You Like To Take A Walk
[2:07] 4. All I Do Is Dream Of You
[2:52] 5. That Lucky Old Sun
[2:05] 6. Beg Your Pardon
[2:27] 7. Chattanooga Shoeshine Boy
[3:02] 8. With You
[2:34] 9. Ev'ry Little Thing
[2:23] 10. Forgive Me
[2:13] 11. Sunday
[2:55] 12. Harbor Lights

Although this is actually Pat Boone's second album, it is, in essence, his debut album, since the first one contained only two new recordings, the others being all his early hits. And what a debut album it is. After more than a year of doing mostly R&B covers, along comes Howdy! to introduce us to and surprise us with a uniquely sensitive, gentle but full-bodied handling of some great standards. There is a youthful maturity here -- but without the sophistication. Boone's musical instincts are keenly evident to the senses: never too much when exercising his strong young voice on "Lucky Old Sun," never too little with the sweet subtlety of "Would You Like to Take a Walk?" "Begin the Beguine," the album's lead-off song, is a thrilling, captivating rendition, while along the way we are treated to a snappy and entertaining "Chattanooga Shoe Shine Boy" and two beautiful ballads, "With You" and "Forgive Me." The latter two introduce Boone's growing legion of fans to the type of song in which he would leave his strongest mark -- sweetly sentimental, but never syrupy, and always accompanied with orchestral arrangements that never need to accommodate any vocal limitations. Howdy! makes clear to us early on Pat Boone's unique versatility. ~Arthur Rowe

Howdy!

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Stephen Bennett - Beatles Acoustic Guitar Solos

Bitrate: MP3@320K/s
Time: 40:45
Size: 93.3 MB
Styles: New Age, Folk
Year: 2005
Art: Front

[2:14] 1. Eight Days A Week
[2:28] 2. A Hard Day's Night
[3:04] 3. Hello Goodbye
[3:02] 4. In My Life
[2:58] 5. Maxwell's Silver Hammer
[2:05] 6. Blackbird
[2:13] 7. Yesterday
[2:51] 8. Here, There And Everywhere
[2:31] 9. Strawberry Fields Forever
[2:36] 10. Penny Lane
[3:10] 11. Something
[2:18] 12. If I Fell
[2:24] 13. All My Loving
[3:27] 14. Hey Jude
[3:18] 15. All You Need Is Love

I have loved the Beatles since I started playing guitar in the late '60s. Over the years I have put together solo arrangements of many of their tunes, those presented here and many others. For this recording however, I have gone back and reworked these 15 tunes so that they are as complete as I can make them. With some, I have tossed out my previous arrangments and started over from scratch. They are all in their original key, which sometimes presented a challenge, but I thought it was important that these tunes, which so many people around the globe know, be in the register the boys from Liverpool recorded them... sb

Beatles Acoustic Guitar Solos

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Jackie Paris - Songs By Jackie Paris

Bitrate: MP3@320K/s
Time: 35:51
Size: 82.1 MB
Styles: Vocal
Year: 1956/2005
Art: Front

[2:36] 1. There Will Never Be Another You
[2:52] 2. Heaven Can Wait
[1:55] 3. Strange
[3:02] 4. That Ole Devil Called Love
[3:01] 5. Whispering Grass, Dont Tell The Trees
[2:02] 6. Heart Of Gold
[3:57] 7. I Can't Get Started
[2:10] 8. Indiana
[3:05] 9. Cloudy Morning
[2:30] 10. Wrap Your Trouble In Dreams
[3:26] 11. Goodnight, My Love
[2:36] 12. Don't Hurt The Girl
[2:34] 13. Tell Me Something Sweet

Despite his talents as a singer, Jackie Paris never made it big nor even had a regular recording career. Paris, who played guitar with Nick Jerret's band in the early '40s, was in the Army during 1944-1946 and then became known a bit in New York where he was part of the bop scene, including touring with Charlie Parker. Paris recorded four songs in 1947 as a leader (including "Skylark") and five others in 1949 (highlighted by the first vocal version of "'Round Midnight"). He was with Lionel Hampton's orchestra during 1949-1950 but no recordings or lasting fame occurred. Paris worked fairly regularly in the 1950s (sometimes with his wife, singer Anne Marie Moss), but remained more of a cult figure (despite being a fine jazz singer) than a legend. In addition to his early recordings (for MGM and EmArcy), Paris made records for Brunswick, Wing, East-West (1957-1958), Time (1960), Impulse! (1962), and Audiophile (1981); he also guested on sessions by Donald Byrd-Gigi Gryce and Charles Mingus (1974's "Duke Ellington's Sound of Love") and was active into the 2000s with his last album, Intimate Jackie Paris, being released in 2001. Jackie Paris passed away on June 17, 2004. He was 79. ~ Scott Yanow

Songs By Jackie Paris

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Terell Stafford Quintet - Taking Chances: Live at the Dakota

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 77:15
Size: 177,3 MB
Art: Front

( 7:35)  1. A Nick Off the Mark
( 8:51)  2. Pegasus
(11:20)  3. Taking a Chance on Love
(10:37)  4. Jesus Loves Me
(11:12)  5. Blues for J.T.
( 8:17)  6. Old Folks
( 8:05)  7. Paper Trial
(11:16)  8. Shake It for Me

With his rich trumpet tone and delicate manner, Terell Stafford brought his quintet into Minneapolis' Dakota Bar and Grill in June, 2005 for this well-received concert performance. They got the sound just right, and the musicians provided their audience with an unforgettable experience. Stafford plays it cool. He's got no axe to grind, no pretense of machismo to blast forth, and no reason to imitate the newest tricks on the block. He's a conservative. The trumpeter has the chops to do whatever he wants to, but he prefers to keep it simple with this recommended album. Genuine melody and a pious desire for all things lyrical keep Stafford and his quintet on track for a timeless look at the beauty of jazz from the inside. Tradition, a love of the familiar, and a bit of the original give the trumpeter's program plenty of variety. He caresses a mellow ballad with the same sensuous manner that he employs on up-tempo romps. Surprisingly, he takes "Jesus Loves Me to heart with an outside approach that lights creative fires along the way. Stafford's bright trumpet picks this one up a few notches as he explores the potential of passion. It's a veritable suite of changing moods that puts everyone to work on a challenge. As is usually the case, audience reaction seems to push the quintet even harder. Blues for J.T. finds the band scoring high marks for its powerful groove and magnetic pull. Here, Stafford shows his best side as he loosens up and pours it out naturally. If ever there was a genuine guy, this is the one. He reaches deep down inside and comes up with a blues to move you soundly. The trumpeter's warm, golden sound resonates like magic. It's the kind of balm that brings warmth to the soul. The album certainly has its hot spots, and working a place like the Dakota Bar and Grill can do that for you. Glad to see such success for such a deserving artist and his quintet. Jim Santella https://www.allaboutjazz.com/taking-chances-live-at-the-dakota-terell-stafford-maxjazz-review-by-jim-santella.php

Personnel: Terell Stafford: trumpet; Tim Warfield: tenor and soprano saxophones; Bruce Barth: piano; Derrick Hodge: bass; Dana Hall: drums.

Taking Chances: Live at the Dakota

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Christine Tassan & Les Imposteures - Pas Manouche, C'Est Louche

Styles: Vocal And Guitar Jazz

Year: 2009

File: MP3@320K/s

Time: 48:42

Size: 115,4 MB

Art: Front

(4:06) 1. Les Nuits De Montreal - Qu'est-Ce Qu'on Attend

(2:46)  2. Puttin On The Ritz

(3:41)  3. Les Chemins De Traverse

(3:09)  4. L'Ile Aux Lilas (Feat. Alain Quirion)

(2:36)  5. Dingo De Django

(3:29)  6. La Chic Rumba

(5:12)  7. Bord De Seine

(2:44)  8. Un Lit Moelleux A Limoilou (Feat. Alain Quirion, Eric Khayat)

(3:45)  9. Les Blondes (Feat. Francois Bourassa)

(3:28) 10. Blues For Fun (Feat. Alain Quirion)

(2:27) 11. La Charmante

(3:33) 12. Tango - Le Temps Des Gitans

(4:24) 13. Rimes

(3:15) 14. Minor Swing - Matawa

Christine Tassan et les Imposteures once again bundle their energy, humor, and creativity in this second album. Rich vocal harmonies, slick arrangements, their manouche jazz flows gleefully between surprising covers and new creations. Not unlike Gypsies, they will bring you on various shortcuts from Montreal to Limoilou, Paris to Eastern Europe. This album traces an exciting journey, a clear invitation to travel. All aboard ! ~ Editorial Reviews https://www.amazon.com/manouche-cest-louche-Christine-Tassan/dp/B002M81UC0

Personnel:  Christine Tassan: solo guitar, rhythm and voice;  Martine Gaumond: violin and voice;  Lise-Anne Ross: rhythm guitar and voice;  Blanche Baillargeon: double bass and voice. Guests: François Bourassa (piano), Alain Quirion (drums, vibraphone), Eric Khayat (Saxophone)

Thank You Mai Neime!!

Pas Manouche, C'Est Louche  

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Bill Potts - The Jazz Soul of Porgy and Bess

Styles: Jazz, Post-Bop 

Year: 1959

File: MP3@256K/s

Time: 47:36

Size: 87,6 MB

Art: Front

(3:08)  1. Summertime

(2:23)  2. A Woman Is A Sometimes Thing

(4:10)  3. My Man's Gone Now

(2:45)  4. It Takes A Long Pull To Get There

(3:27)  5. I Got Plenty O' Nuttin'

(5:18)  6. Bess, You Is My Woman

(3:16)  7. It Ain't Necessarily So

(5:15)  8. Medley

(3:04)  9. I Loves You Porgy

(3:15) 10. Clara, Clara

(3:25) 11. There's A Boat Dat's Leavin' Soon For New York

(4:41) 12. Oh Bess, Oh Where's My Bess

(3:22) 13. Oh Lawd, I'm On My Way

Music that will endure, played with all the skill, passion and imagination that great jazz musicians can bring to bear on it. These are but two of the basic factors which make The Jazz Soul of Porgy and Bess one of the finest jazz albums ever made. Just as crucial was a third the superb work of arranger Bill Potts, which established him as a major figure in the field of arranging for jazz orchestra. Add to all that a score that includes the top songs written by George and Ira Gershwin for this classic musical. The result was itself a multifaceted classic, a faithful translation to the language of big band jazz of the emotional rollercoaster of love and tragedy set to music by the Gershwins, brought to dramatic life by one of the finest groups of jazz ever assembled under one roof for a recording session. ~ Editorial Reviews https://www.amazon.com/Porgy-Bess-Arranged-Conducted-Potts/dp/B005Y0QXD4

Personnel: BIll Potts (arr, cond), Charlie Shavers, Harry Edison, Art Farmer, Bernie Glow (tp), Bob Brookmeyer (v-tb), Jimmy Cleveland, Frank Rehak (tb), Phil Woods, Gene Quill, Zoot Sims, Al Cohn, Sol Schlinger (saxes), Bill Evans (p), Herbie Powell (g), George Duvivier (b), Charles Persip (d)

The Jazz Soul of Porgy and Bess

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Jimmy Greene - Mission Statement

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 64:28
Size: 148,0 MB
Art: Front

(7:37)  1. Mission Statement
(6:49)  2. Fathers and Sons
(6:29)  3. Trials
(6:56)  4. Love In Action
(6:27)  5. Revelation
(4:46)  6. In Nelba's Eyes
(5:57)  7. YeahYouRight!
(5:55)  8. Mr. Octopus
(7:56)  9. Ana Grace
(5:31) 10. Give Thanks

Possessing a concise pithy tone on his tenor sax that at times can be reverential, Jimmy Greene also surprises with an ability to translate that same depth to soprano, when making the switch for the odd tune. Greene's quartet consists of pianist Xavier Davis, bassist Reuben Rogers and drummer Eric Harland, and, while this ensemble fits squarely in the world of precise modern jazz, the tunes due in equal measure to Greene's respect for melody and compositional skill stand on their own as interesting listens. This is not a shy rhythm section, and proves itself capable of laying in a very richly textured and supportive bottom and middle. It's joined on a majority of the album by guitarist Lage Lund, who possesses a tone as delicately beautiful as Greene's is juicy. This makes for some very fine moments, as Lund's web-like runs contrast with Greene's depth in a variety of stylistic settings, which occasionally benefit from Davis' funky fare on Rhodes.

The opening title cut begins with Greene strongly stating an intricate theme, followed by Lund's soothing restatement that enchants and surprises with its cool mature feel. Although the songs obviously differ in content the funkiness of "Yeah You Right"; the spirituality and Trane-signifiers of "Love in Action"; the rhythmic complexity of "Mr. Octopus" and tenderness of "In Nelba's Eyes" and "Ana Grace" it is the interplay that makes this a must-listen. Vibraphonist Stefon Harris also joins for a particularly strong performance of "Revelation" that artfully showcases his speed and improvising ability, alongside Greene's similar attributes on soprano. Mission Statement is a clear declaration that there is a whole lot of music in the horn and mind of Jimmy Greene.
~ Elliott Simon https://www.allaboutjazz.com/mission-statement-jimmy-greene-razdaz-recordz-review-by-elliott-simon.php

Personnel: Jimmy Greene: tenor and soprano saxophones; Lage Lund: guitar; Stefon Harris: vibraphone (Revelation); Xavier Davis: piano, Rhodes; Reuben Rogers: bass; Eric Harland: drums.

Mission Statement

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Bill Charlap Trio - Uptown, Downtown

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 54:27
Size: 125,9 MB
Art: Front

(7:00)  1. Curtains
(7:54)  2. Spring Can Really Hang You Up The Most
(6:00)  3. Uptown, Downtown
(5:01)  4. The One I Love Belongs To Somebody Else
(7:28)  5. I'm All Smiles
(6:41)  6. There's A Small Hotel
(4:18)  7. Satellite
(6:46)  8. Bon ami
(3:16)  9. Sophisticated Lady

Bill Charlap is one of the strongest mainstream jazz pianists on the scene and one of the most gifted interpreters of standards. He grew up in a musical household, as the son of Broadway songwriter Moose Charlap and singer Sandy Stewart. Taking to the piano at a young age, he went on to study at New York's High School of Performing Arts. He then entered college, but rather than finishing, opted to practice and gig on his own. Pianist Bill Mays soon took up Charlap's cause, recommending the young man as his replacement in the Gerry Mulligan Quartet. During this time, Charlap also worked with Benny Carter, Clark Terry, and Frank Wess, and was sought after as an accompanist for singers such as Tony Bennett, Carol Sloane, and Sheila Jordan. In 1995, he secured one of the most coveted piano chairs in jazz, with the Phil Woods Quintet. All the while, Charlap showed steady development as a leader. His debut came in 1994 with Along with Me, followed by Souvenir in 1995 and Distant Star in 1996. His 1997 release, All Through the Night, was the first to feature his current trio, with the redoubtable (and unrelated) Washingtons, Peter and Kenny, on bass and drums respectively. In 2000, this lineup had its major-label breakthrough with the highly acclaimed Blue Note disc Written in the Stars. Two albums appeared in 2001: 2Gether with Warren Vaché and Contrasts with Jon Gordon. 'S Wonderful hit the shelves in 2002, as did Stardust, which began a series of albums that focused on a single composer. Stardust featured the music of Hoagy Carmichael, 2004's Somewhere was an all-Leonard Bernstein affair, while 2005's Plays George Gershwin featured ten songs by the man Charlap considers "the American soul." Also in 2005, he released an album with vocalist Sandy Stewart, Love Is Here to Stay. The concert album Live at the Village Vanguard appeared in 2007. In 2010, Charlap joined pianist Rene Rosnes for the duo effort, Double Portrait. Two years later, he reunited with Stewart for Something to Remember. In 2015 he collaborated with legendary vocalist Tony Bennett for Silver Lining: The Songs of Jerome Kern. ~ David R. Adler, Rovi  https://itunes.apple.com/us/album/uptown-downtown/id1265237243

Uptown, Downtown

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Cleo Brown - Living In The Afterglow

Bitrate: MP3@320K/s
Time: 61:15
Size: 140.2 MB
Styles: Jazz-blues piano
Year: 1996/2015
Art: Front

[3:02] 1. I'm A Little Old Woman
[4:05] 2. Without A Song
[2:58] 3. Afterglow
[3:35] 4. Down By The Riverside
[2:26] 5. High Up On The Mountain
[3:20] 6. Silent Night
[2:21] 7. I'm Gonna Rise Up Singing
[4:20] 8. Amazing Grace
[4:06] 9. Medley The Old Rugged Cross Near The Cross
[3:21] 10. A Great Big Wonderful God
[4:40] 11. Marian's Mood
[2:37] 12. Walk All Over God's Heaven
[2:46] 13. Medley Fly Away Army Air Corps Song
[3:28] 14. Show Me A Rainbow
[4:10] 15. Just A Closer Walk With Thee
[2:35] 16. We're Running, Running, Running
[4:05] 17. I've Been 'buked And Scorned
[3:13] 18. I'm Gonna Tell God How You Treat Me

Cleo Brown was a singing boogie-woogie pianist active from the 1930s into the 1950s who was one of Dave Brubeck's early influences. She retired from music and she stuck to playing exclusively for her church in Denver as the jazz world lost track of her -- until Marian McPartland sought Brown for an appearance on her Piano Jazz series in the 1980s. This studio session followed the taping of the program, with McPartland as a guest on several tracks. Many of the numbers are original gospel compositions by Brown, some sung in a very friendly manner, such as her "I'm a Little Old Woman," the charming "Afterglow," and the very bluesy "I've Been 'Buked and Scorned." Brown's chops show no signs of slipping as she plays wonderful two-fisted piano on standards such as "Without a Song," and her stimulating duets with McPartland include the spiritual "Down by the Riverside," the surprising choice of "Silent Night," "Marian's Mood" (possibly worked out on the spot in the studio by the pianists), and the old hymn "Just a Closer Walk With Thee." Sadly, this was Cleo Brown's final recording prior to her death in 1995. ~Ken Dryden

Living In The Afterglow

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Jesper Thilo - Jesper Thilo & The American Stars (2-Disc Set)

Album: Jesper Thilo & The American Stars (Disc 1)
Bitrate: MP3@320K/s
Time: 147:05
Size: 336.7 MB
Styles: Saxophone jazz
Year: 2011

[5:05] 1. Did You Call Her Today
[5:02] 2. My Romance
[6:24] 3. Just One Of Those Things
[6:07] 4. Save Your Love For Me
[6:22] 5. Cherokee
[6:23] 6. On The Trail
[9:08] 7. Like Someone In Love
[6:38] 8. Old Folks
[8:42] 9. Stelle By Starlight
[6:11] 10. God Bless The Child
[6:52] 11. On The Sunny Side Of The Street
[2:45] 12. Cotton Tail
[4:05] 13. Star Dust
[6:04] 14. Body And Soul
[5:32] 15. Rose Room
[6:33] 16. Wave
[3:54] 17. You Stepped Out Of A Dream
[3:40] 18. Blue And Sentimental
[3:21] 19. Sweets To My Sweet
[6:48] 20. Now And Then Blues
[5:00] 21. Cherokee
[7:10] 22. Seque In C
[7:15] 23. A Night In Tunisia
[5:06] 24. I'm Hungry Sabina
[6:48] 25. The Girl From Ipanema

This excellent sampler features the Zoot Sims-influenced Danish saxophonist Jesper Thilo on previously released performances taken from five LPs recorded during 1980-1987. Thilo is heard in a quintet with flügelhornist Clark Terry and pianist Kenny Drew (their version of Ben Webster's "Did You Call Her Today" is a delight), leading a quartet with Drew and drummer Billy Hart, jamming in a sextet with trumpeter Harry "Sweets" Edison, interacting with pianist Roland Hanna in a quartet, and co-leading a quintet with trombonist Al Grey. In each setting, Thilo holds his own with the better-known Americans, jamming music that falls between swing and bebop. Terry, Edison, and Grey are all fun to hear as usual, since they not only swing hard but are witty improvisers. It would be preferable to have the complete sessions and hopefully they will be reissued on CD eventually, but this sampler will suffice in the meantime, serving as an introduction to the playing of Jesper Thilo. ~Scott Yanow

Jesper Thilo & The American Stars (Disc 1)

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Album: Jesper Thilo & The American Stars (Disc 2)
Bitrate: MP3@320K/s
Time: 75:41
Size: 173.3 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[4:11] 1. Sunday
[8:05] 2. Frog Eyes
[2:53] 3. Mumbles
[6:13] 4. This Time It's Real
[6:50] 5. Star Eyes
[5:16] 6. Body And Soul
[5:28] 7. Just Jazz
[7:10] 8. The Vanguard Groove
[5:09] 9. There Will Never Be Another You
[4:57] 10. Medley: Lover Man/Embraceable You
[5:34] 11. Satin Doll
[6:36] 12. Sophisticated Lady
[7:12] 13. Ballad For Jesper

Jesper Thilo, a swinging tenor saxophonist from Denmark, has Zoot Sims as his musical role model, although he also sounds a bit like Johnny Griffin on "Cherokee" and otherwise displays a bit of his own personality in his solos. Thilo recorded a series of albums for Storyville in the 1980s that teamed him with some notable American all-stars. This sampler has three songs apiece from four of the dates and two from a fifth project. The first three selections match Thilo with flügelhornist Clark Terry (who always sounds so jubilant) and a trio with pianist Kenny Drew. Thilo is quite warm on "Body and Soul" and Terry is wonderful on "Cotton Tail." The next three numbers have Thilo mostly in the spotlight, since it is a quartet session with Drew. There are also three numbers with trumpeter Harry "Sweets" Edison and the superior pianist Ole Kock Hansen, a trio of selections with the Sir Roland Hanna Trio, and finally a matchup with trombonist Al Grey. There are no throwaway tracks and the music is highly recommended to fans of the styles of Zoot Sims and Al Cohn. Hopefully, Storyville will reissue the complete contents of these five rewarding sessions at some point in the future. ~Scott Yanow

Jesper Thilo & The American Stars (Disc 2)

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The Anita Kerr Singers - All You Need Is Love

Bitrate: MP3@320K/s
Time: 37:55
Size: 86.8 MB
Styles: Vocal pop, Easy Listening
Year: 1967/2015
Art: Front

[3:06] 1. All You Need Is Love
[3:33] 2. Holiday
[3:03] 3. [you Make Me Feel Like] A Natural Woman
[2:36] 4. Never My Love
[3:24] 5. Stay
[2:59] 6. How Can I Be Sure
[3:28] 7. Autumn Afternoon
[2:33] 8. No Salt On Her Tail
[3:33] 9. Look Of Love
[2:52] 10. In The Morning
[3:25] 11. I Make A Fool Of Myself
[3:18] 12. The Last Waltz

The multi-talented, Nashville-based Anita Kerr had been a studio arranger and behind-the-scenes mover and shaker in Music City USA for nearly two decades when she signed with Warner Brothers in the mid-'60s. Her fourth LP bore the optimistic title All You Need Is Love (1967). In addition to remaking the Beatles' Summer of Love anthem, Kerr (soprano/soloist) leads her ensemble -- which also consists of B.J. Baker (alto), Gene Merlino (tenor), and Bob Tebow (bass) -- through an assortment of contemporaneous light rock and pop. Some of the re-arrangements work better than others in a choral setting. For instance, the Bee Gees' languid "Holiday" is exquisite and moody with Kerr's voice hovering over the ensemble for an ethereal listening experience that is particularly recommended for those who like the original. The Addrisi Brothers-penned "Never My Love" bears the same harmonic earmarks and complexities as the Association's hit version with the buoyancy of Kerr's gliding vocals. From the Bacharach/David songbook comes arguably the most endearing inclusion of them all, Kerr's interpretation of "The Look of Love." It retains all of the mystique and subtle charm of Dusty Springfield or Dame Shirley Bassey without becoming too instrumentally watered down or vocally tarted up. While not quite on par with the previously mentioned tunes, for the remake of "How Can I Be Sure?," Kerr and company match the minor-chord noir, yet can't seem to believably pull off the blue-eyed soul ingrained within the Rascals' formidable grooves. And to the same point, Kerr perhaps would have been better served having shelved the utilitarian choral reading of "(You Make Me Feel) Like a Natural Woman." Clearly, Aretha she ain't! And for her next album Sounds (1968), the Anita Kerr Singers returned to delivering selections that are uniformly better suited to the combo's strengths. ~Lindsay Planer

All You Need Is Love

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Kenny Davern, Bob Wilber - You Ain't Heard Nothin' Yet: Summit Reunion Plays Some Al Jolson Songs

Bitrate: MP3@320K/s
Time: 61:13
Size: 140.2 MB
Styles: Clarinet jazz, Swing
Year: 2000
Art: Front

[4:09] 1. Baby Face
[4:47] 2. Carolina In The Morning
[4:19] 3. Chinatown, My Chinatown
[4:12] 4. Rock-A-Bye Your Baby With A Dixie Melody
[3:40] 5. Swanee
[3:50] 6. After You've Gone
[6:02] 7. The Anniversary Song
[3:34] 8. When The Red, Red Robbin Comes Bob, Bob, Bobbin Along
[4:28] 9. You Made Me Love You
[3:56] 10. April Showers
[3:48] 11. Rose Of Washington Square
[6:49] 12. Avalon
[4:25] 13. Indiana
[3:07] 14. California, Here I Come

Described in The New York Times as "the finest clarinetist playing today" in the 1990s, that high praise wasn't far off the mark, as it applied to Kenny Davern in the autumn of his life, at the peak of his powers. Call him a jazz purist, even a snob, but Davern believed in playing standards, and that he did. Tunes by George Gershwin, Eubie Blake, Fats Waller, Irving Berlin; what are sometimes referred to as Great American Songbook tunes. He was often praised for the clarity and pureness of his tone, and often played outdoor festival gigs without amplification.

Throughout his long career, Bob Wilber has done a lot to keep classic jazz alive. A bit misplaced (most jazz players of his generation were much more interested in bop and hard bop), Wilber (along with Kenny Davern, Ralph Sutton, and Dick Wellstood) was one of the few in his age group to stick to pre-bop music. In high school he formed a band that included Wellstood, and as a teenager he sat in at Jimmy Ryan's club in New York. Early on he became Sidney Bechet's protégé and led his own young group, the Wildcats (with whom he made his recording debut). The close association with the dominant Bechet led to a bit of a personality crisis in the 1950s as Wilber sought to find his own voice. He studied with Lennie Tristano and formed the Six, a group that tried to modernize early jazz. When that ended, he played Dixieland with Eddie Condon, and in 1957 joined Bobby Hackett's band for a year. Wilber freelanced throughout the 1960s, in 1968 became a founding member of the World's Greatest Jazz Band, and in 1973 he formed Soprano Summit with Kenny Davern, one of the top swing-oriented groups of the decade.

Summit Reunion Plays Some Al Jolson Songs

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