Tim Bowman - Smile

Styles: Guitar Jazz, Smooth Jazz
Year: 2000
File: MP3@320K/s
Time: 53:41
Size: 123,0 MB
Art: Front

(4:34)  1. Heart and Soul
(4:12)  2. Smile
(5:07)  3. Happiness Is
(3:51)  4. Wanda Patrice
(5:09)  5. Glory to Glory
(5:00)  6. Columbus, Ga
(3:53)  7. Yes, No and Yes
(4:31)  8. Friends
(4:03)  9. Watchout
(4:39) 10. Flyin' Away
(3:59) 11. Just Another Day
(4:38) 12. My Prayer

Tim Bowman calls his disc Smile, and thus it follows naturally that the guitarist would create songs and moods that would provoke that response from the listener. Titles like "Happiness Is...," a bright, retro-soul charmer featuring Bowman's chipper electric lines and occasional wah-wah accents, tell the basic story; it's pleasant, uplifting music that only occasionally extends beyond simple cheery emotions with some well crafted improvisations. He toys with various acoustic tones on "Heart and Soul," sometimes bringing Peter White's lightheartedness to mind as synth strings waft through. The title track is in some ways the ultimate smooth jazz radio track a snappy guitar melody offset by some rich harmonic undertones and a lush solo by saxman Dave McMurray. His liner notes reveal his Christian faith, and it's no surprise that the best tracks here have more of a gospel influence. He gives gospel singer Fred Hammond's "Glory To Glory" a likeable reading, which allows some stretching on electric, even if it's over a very synthesized groove. The church roots truly come alive on the buoyant and funky "Columbus GA," on which Bowman blends his own low electric tones with the muted trumpet musings of Jesse McGuire all bouncing happily over the shimmering organ foundations of Bryan Bowman. The moody closer "My Prayer" isn't quite as inspired, but it's still a nice display of Bowman's rich and soulful sense of balladry. ~ Jonathan Widran http://www.allmusic.com/album/smile-mw0000621496

Personnel:  Tim Bowman (Guitars, Keyboards); Terrance Palmer, D'Andre Thomas, Al Turner (Bass); Philmore Bouldes (Keyboards); Bryan Bowman (Keyboards, Organ, Piano); Al Duncan (Piano Electric); Elijah "Double Portion" Lewis (Keyboards, Piano); David McMurray (Saxophone); Jesse McGuire (Trumpet); Ron Otis (Drums); Jeff Webb (Percussion); Dana Davis (Keyboards, Moog Synthesizer, Piano Electric); Howard Smith (Vocals, Vocals Background).

Smile

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Ella Fitzgerald - Sunshine Of Your Love

Bitrate: MP3@320K/s
Time: 45:36
Size: 104.4 MB
Styles: Vocal jazz
Year: 1969/2014
Art: Front

[3:50] 1. Hey Jude
[3:17] 2. Sunshine Of Your Love
[4:26] 3. This Girl's In Love With You
[3:57] 4. Watch What Happens
[3:47] 5. Alright Okay You Win
[1:58] 6. Give Me The Simple Life
[5:08] 7. Useless Landscape
[4:16] 8. Old Devil Moon
[3:34] 9. Don'cha Go Way Mad
[4:06] 10. A House Is Not A Home
[4:09] 11. Trouble Is A Man
[3:04] 12. Love You Madly

During her long career, every once in awhile Ella Fitzgerald would attempt to "get with it" and record contemporary pop tunes. In 1968 for a live concert with a big band and the Tommy Flanagan Trio, the First Lady of the American Song did what she could with such unsuitable material as "Hey Jude," "Sunshine of Your Love," "Watch What Happens" and "A House Is Not a Home." The results (despite her sincerity) sometime borders on the embarassing; there is no way anyone can swing "Hey Jude." A few of the other numbers (particularly "Give Me the Simple Life," "Old Devil Moon" and "Love You Madly") are of a higher quality but when Ella tries to turn "Alright, Okay, You Win" into funk, it is time to switch records. ~Scott Yanow

Sunshine Of Your Love

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Eddie Erickson - I'm Old Fashioned

Bitrate: MP3@320K/s
Time: 78:53
Size: 180.6 MB
Styles: Contemporary jazz
Year: 2009
Art: Front

[5:07] 1. Pick Yourself Up
[3:41] 2. That's My Home
[4:59] 3. S'posin'
[7:45] 4. Medley: It's The Talk Of The Town/Chinatown, My Chinatown
[5:05] 5. Did I Remember'
[7:09] 6. Sweet And Slow
[4:44] 7. Little White Lies
[3:48] 8. You're A Sweetheart
[7:39] 9. My Honey's Lovin' Arms
[3:33] 10. I'm Old Fashioned
[7:59] 11. That's A Plenty
[5:02] 12. Just A Kid Named Joe
[4:47] 13. A Shine On Your Shoes
[3:39] 14. Dream A Little Dream Of Me
[3:49] 15. The World Is Waiting For The Sunrise

Eddie Erickson has been one of the most unsung heroes in traditional jazz for decades. A singer whose sound is much younger than his age, he's also an adept guitarist, mostly in the rhythmic sense, and occasionally picks up the banjo. This concert performance in Germany mines the deep well of American popular songs and early period jazz, is a fairly comprehensive look back to songs of the '30s and '40s, and showcases mostly sweet swinging sounds, a little blues, some dry humor, and some heat when needed to spice up the program. Though most of his bandmembers are relatively obscure, there is the veteran Finnish clarinetist/tenor saxophonist Antti Sarpila, the excellent rising star pianist Rossano Sportiello, and Euro-trad newcomers in drummer Moritz Gastreich, bassist Henning Gailing, and trumpeter Menno Daams. The star of every band he joins is trombonist Bill Allred, always a delight to hear, a true jazz master, and one who infuses kinetic energy with every note, solo, or ensemble contribution he plays. The instrumental numbers "Little White Lies" and "That's a Plenty" reflect the upbeat, good-time Dixieland style hot jazz where the instruments -- particularly Allred and Sarpila -- play battling counterpoint lines against each other. Erickson's singing, which lies somewhere between Jack Sheldon, Tom Saunders, and Harry Connick, Jr., is delightful, understated,. and endearing. The bouncy "Pick Yourself Up," the slower, bluesy "That's My Home," and the lighter "You're a Sweetheart" offer good contrast and consistency. Sportiello is featured during the solo medley "It's the Talk of the Town/Chinatown My Chinatown" with slight, laid-back stride inflections, Gailing gets the spotlight walking away during the old-time, midtempo "I'm Old Fashioned," and Sarpila's clarinet swings à la Benny Goodman for "Did I Remember?." While Erickson's instrumental guitar passages are mainly supportive, his banjo is upfront on his plucked and strummed solo effort "The World Is Waiting for the Sunrise," and pulls it off easily, and proves both lyrical and funny on the doting "A Shine on Your Shoes." Arbors Records consistently produces very good trad jazz records from musicians dedicated to keeping this area alive, and Erickson's band does nothing to diminish those returns. ~Michael G. Nastos

I'm Old Fashioned

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Mel Tormé - Swingin' On The Moon

Bitrate: MP3@320K/s
Time: 37:48
Size: 86.5 MB
Styles: Vocal
Year: 1960/1998
Art: Front

[3:28] 1. Swingin On The Moon
[3:05] 2. Moonlight Cocktail
[3:52] 3. I Wished On The Moon
[3:12] 4. Moon Song
[3:14] 5. How High The Moon
[2:39] 6. Don't Let That Moon Get Away
[3:41] 7. Blue Moon
[2:56] 8. Velvet Moon
[2:32] 9. No Moon At All
[3:01] 10. Moonlight In Vermont
[3:16] 11. Oh You Crazy Moon
[2:45] 12. The Moon Was Yellow

Tormé displays a grasp of a certain agreeable absurdity in this 1962 release's concept--songs with the word moon in their titles or settings--when, at the end of the album's self-penned namesake cut, he begins babbling references to the rest of the tunes in a prophecy of Bill Murray's lounge-singer character. Fortunately, this reissue has more to recommend it than an amusing datedness--not least Tormé's own aplomb and a small big band that includes players like altoist Bud Shank and drummer Mel Lewis. ~Rickey Wright

Swingin' On The Moon

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Jimmy Raney, Doug Raney - Stolen Moments

Bitrate: MP3@320K/s
Time: 39:29
Size: 90.4 MB
Styles: Guitar jazz
Year: 1979/1994
Art: Front

[3:51] 1. Jonathan's Waltz
[5:09] 2. Chelsea Bridge
[5:54] 3. Stolen Moments
[4:49] 4. How My Heart Sings
[6:37] 5. I Should Care
[6:07] 6. Samba Teekens
[6:59] 7. Alone Together

Other than one number on a Jimmy Raney album from 1975, this set was the first joint recording by Jimmy and his son Doug Raney. The two similar-sounding guitarists team up with bassist Michael Moore and drummer Billy Hart on five standards (including "Chelsea Bridge," "Stolen Moments" and "Alone Together") and a couple of Jimmy's originals. The guitarists blend together quite well, and often one does not know who is soloing; the results should delight fans of cool-toned modern mainstream guitar. ~Scott Yanow

Stolen Moments

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Leon Redbone - Any Time

Bitrate: MP3@320K/s
Time: 43:43
Size: 100.1 MB
Styles: Pop/Rock/Jazz, Ragtime
Year: 2001
Art: Front

[3:56] 1. Any Time
[4:06] 2. If You Knew
[2:32] 3. Ain't Gonna Give You None Of My Jelly Rol
[3:52] 4. All I Do Is Dream Of You
[2:58] 5. Louisiana Fairytale
[2:58] 6. So Tired Of Livin' All Alone
[3:36] 7. Sittin' On Top Of The World
[2:42] 8. Sweet Substitute
[3:16] 9. Blossoms On Broadway
[4:05] 10. In The Shade Of The Old Apple Tree
[2:20] 11. Sweet Lorraine
[3:42] 12. Moonlight Bay
[3:34] 13. Your Feets Too Big

Seven years passed between 1994's Whistling in the Wind and Leon Redbone's next studio album, Any Time -- which, like his previous recordings, demonstrates that the singer was born in the wrong time. Redbone should have been born in 1900 or 1905, but lucky for listeners, he wasn't -- and his nostalgia has made for a lot of enjoyable moments. On this 2001 release, Redbone continues his love affair with the jazz, pop, and folk of the '20s and '30s. The crooner takes listeners back to a time when Herbert Hoover or Franklin Delano Roosevelt was in the White House, and he maintains a relaxed, congenial, laid-back ambience on vintage tunes that include "In the Shade of the Old Apple Tree," "All I Do Is Dream of You," and Jelly Roll Morton's "Sweet Substitute." Drawing on influences that range from Hoagy Carmichael to Bing Crosby -- although he has more of a rural, folksy, down-home outlook than the latter -- Redbone pays tribute to what is often thought of as a more innocent and naïve period of American music. Of course, not all of the music from the '20s and '30s was innocent. Classic blues singer Lucille Bogan's "Shave 'Em Dry" (just to give one example) is as raunchy and X-rated as anything by 2 Live Crew, Prince, or Lil' Kim. But a lot of '20s and '30s songs did have an innocent sort of charm -- at least by today's standards -- and that is the type of mood that Redbone goes for on this CD. Anyone who has enjoyed Redbone's previous releases will find Any Time to be a rewarding addition to his catalog. ~Alex Henderson

Any Time

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Wild Bill Davison - Pretty Wild/With Strings Attached

Bitrate: MP3@320K/s
Time: 75:37
Size: 173.1 MB
Styles: Cornet Jazz
Year: 2007
Art: Front

[2:31] 1. Mandy, Make Up Your Mind
[2:54] 2. Black Butterfly
[2:20] 3. If I Had You
[3:52] 4. Just A Gigolo
[2:12] 5. Blue Again
[2:34] 6. When Your Lover Has Gone
[2:35] 7. Sugar
[3:13] 8. Sweet & Lovely
[2:28] 9. Rockin' Chair
[2:50] 10. She's Funny That Way
[2:59] 11. I Don't Stand A Ghost Of A Chance With You
[3:33] 12. Wild Man Blues
[3:24] 13. Love Is Here To Stay
[3:34] 14. Blue
[3:24] 15. It's The Talk Of The Town
[3:11] 16. Mournin' Blues
[3:00] 17. Prelude To A Kiss
[3:54] 18. Sentimental Journey
[3:52] 19. You Turned The Tables On Me
[3:46] 20. My Inspiration
[3:26] 21. Now That You're Gone
[3:04] 22. Limehouse Blues
[3:12] 23. Moanin' Low
[3:36] 24. Serenade In Blue

On the first session - Percy Faith and His Strings; Gene Schroeder, piano; Art Ryerson, guitar; Frank Carroll, bass; Bobby Rosengarden, drums. On the second session - With Strings Attached Orchestra; Cutty Cutshall, trombone; Bob Wilber, clarinet; Gene Schroeder, piano; Barry Gailbraith, guitar; Jack Lesberg, bass; and Don Lamond, drums. Wild Bill Davison plays cornet on all tracks.

Wild Bill Davison did not always front a go-for-broke Dixieland band playing his cornet above a high-octane rhythm section. Arbors Records has reissued two albums featuring Davison with strings. Pretty Wild and With Strings Attached, originally recorded in 1956 and 1957, reveal a lyrical, reflective Davison playing ballads and slow to medium tempo standards. This other side of Wild Bill Davison, a very attractive one, adds dimension to his reputation.

On Pretty Wild Davison plays with a jazz quartet and the Percy Faith Strings. The second album, With Strings Attached, features Davison with a session orchestra and a jazz sextet with a notable line-up that includes Bob Wilber on clarinet and Barry Gailbraith on guitar. Davison is in good form throughout the two sessions, obviously inspired by the settings. Those who are familiar with Davison mainly through his famous Commodore recordings may be a bit surprised by the lush, clear ballad tone that Davison casually sustains. At times, he dips into a growly blues that diverges from the sweet tone of the strings, but for the most part he plays with a graceful assurance in synch with the arrangers’ ambitions. The jazz groups are notable for some outstanding performances, especially on the With Strings Attached session. Bob Wilber’s solo work on “Now That You’re Gone,” and “Limehouse Blues” compliments Davison’s equally fine contributions. Trombonist Cutty Cutshall is also noteworthy for his concise, spirited playing. In general, the string arrangements are fairly unobtrusive and at times succeed. Two of the more successful arrangements are “My Inspiration” and “Mountain Low.” In the latter, the exchanges between the jazz soloists and the strings are engaged and inspired. The typical faults of jazz string arrangements, too sweet playing or a superfluous string presence, emerge at times in both sessions, but Davison’s cornet thrives throughout – so who’s complaining?

This is a long CD with 24 tracks. The focus is on Wild Bill Davison’s solos and he consistently delivers. If you’re fortunate enough to own a copy of the Commodore recordings this reissue is a wonderful compliment to those rough and tumble performances. ~Mike Neely

Pretty Wild/With Strings Attached

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Pee Wee Ellis - Gentle Men Blue

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 57:16
Size: 133,2 MB
Art: Front

(0:36)  1. Mercedes Benz - Take 1
(6:43)  2. I Love You For Sentmental Reasons
(7:49)  3. Someone To Watch Over Me
(5:59)  4. Party Time
(6:09)  5. Crazy
(8:26)  6. Old Folks
(4:30)  7. Parlaying
(9:00)  8. Cottage For Sale
(3:38)  9. Hamburg´n
(3:40) 10. Rock Of Ages
(0:40) 11. Mercedes Benz - Take II

Saxophonist Pee Wee Ellis was the architect of James Brown's era-defining soul classics of the late '60s, introducing the dynamic arrangements and punishing rhythms that would define the emerging language of funk. Born Alfred Ellis in Bradenton, FL, on April 21, 1941, he was raised in Lubbock, TX, and was playing professionally by the time he reached middle school. In 1955, his family relocated to Rochester, NY, where he collaborated with classmates (and fledgling jazzmen) Chuck Mangione and Ron Carter. Ellis spent the summer of 1957 under the tutelage of sax giant Sonny Rollins, and after graduating high school he returned to Florida to form his own R&B combo, Dynamics Incorporated. The experience honed his skills as a writer, arranger, and multi-instrumentalist, and after a brief stint with the Sonny Payne Trio he joined the James Brown Revue in 1965.  Assigned alto sax and organ duties, Ellis quickly proved himself an invaluable contributor to arrangements and horn charts as well, and when Nat Jones quit the lineup in early 1967, Brown named Ellis his new musical director, resulting in significant refinements to the Godfather of Soul's sound. Ellis channeled the lessons of his jazz background to strip Brown's music to its bare essentials, showcasing bold, precise horns and repetitive rhythms with a minimum of melodic embellishment hits like "Cold Sweat," "Licking Stick-Licking Stick," and "Funky Drummer" redefined the sound and scope of soul, pointing the way for its transformation to funk.

Ellis went on to co-write and arrange a series of James Brown smashes, including "Say It Loud, I'm Black and I'm Proud" and "Mother Popcorn," as well as issuing a handful of solo singles on Brown's label King, among them "Little Green Apples" and "In the Middle." He resigned from Brown's band in the autumn of 1969, and after settling in New York City he signed to the Nashville-based Sound Stage 7 label and issued the rare groove classic "Moonwalk." Ellis also emerged as a sought-after session player, contributing to dates headlined by everyone from soul-jazz great Brother Jack McDuff to a latter-day blues-rock incarnation of the Blues Magoos. He then served as musical director and arranger for the CTI label's influential fusion imprint Kudu, overseeing sessions for Esther Phillips, George Benson, and Hank Crawford.  Ellis next teamed with the studio group Gotham to record the LP Pass the Butter for Motown's Natural Resources subsidiary before resuming his solo career with his first-ever full-length effort, the 1976 Savoy release Home in the Country. After relocating to San Francisco, Ellis formed a short-lived fusion quintet with soprano saxophonist Dave Liebman, also playing on and producing Liebman's 1977 A&M release Light'n Up Please! With 1979's Into the Music, he was named arranger for blue-eyed soul mystic Van Morrison, a collaboration that spanned until 1986 and included a series of well-regarded albums including Common One and Inarticulate Speech of the Heart.

Ellis spent much of the late '80s touring behind longtime Brown backing vocalist Bobby Byrd in tandem with fellow J.B.'s alums Fred Wesley and Maceo Parker as the JB Horns, debuting on disc with the 1990 release Pee Wee, Fred and Maceo. Subsequent efforts include I Like It Like That and Funky Good Time/Live. After the JB Horns went on hiatus in 1992, Ellis reunited with another Brown alum, drummer Clyde Stubblefield, for the album Blues Mission. He then returned to his jazz roots with 1993's acclaimed Twelve and More Blues, a live set cut in Köln, Germany, with bassist Dwayne Dolphin and drummer Bruce Cox. That summer, Ellis also headlined a week of sold-out dates at Ronnie Scott's in London, an experience that shaped both his movement into acid jazz with 1994's Sepia Tonality and subsequent relocation to western England.  With the move overseas, Ellis also resumed his partnership with Van Morrison on the latter's 1995 effort, Days Like This, serving as musical director of Morrison's studio and stage crew for years to follow; Ellis also formed his own band, the Pee Wee Ellis Assembly, for 1996's A New Shift. The group remained active in concert and on record for years to follow, confining most of its activities to Europe and pursuing a direction Ellis dubbed "smunk”  i.e., smooth funk. ~ Jason Ankeny http://www.allmusic.com/artist/pee-wee-ellis-mn0000305424/biography

Personnel:  Pee Wee Ellis (saxophone), Horace Parlan (piano)

Gentle Men Blue

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Patricia O'Callaghan - Real Emotional Girl

Styles: Vocal, Swing
Year: 2007
File: MP3@320K/s
Time: 60:01
Size: 137,6 MB
Art: Front

(4:00)  1. Hallelujah
(2:49)  2. Betterman
(3:10)  3. Real Emotional Girl
(1:48)  4. Captain Valentine's Tango
(4:22)  5. Je Rêve de Toi
(3:11)  6. I'm Your Man
(5:53)  7. Joan of Arc
(4:40)  8. Nanna's Song
(4:02)  9. Lucky to Be Me
(4:33) 10. Like a Rolling Stone
(2:57) 11. Attendez Que Ma Joie Revienne
(3:37) 12. Stay Well
(3:59) 13. Take This Waltz
(2:27) 14. Mon Manège à Moi
(3:30) 15. A Singer Must Die
(4:54) 16. Creepin'

Patricia O'Callaghan's Real Emotional Girl was her first album distributed in the U.S. and is also her major-label debut. This O'Callaghan album reduces the number of Kurt Weill tunes to just three, increases the Leonard Cohen quotient to five, and includes other songs from slightly more mainstream writers, such as Pearl Jam and Bob Dylan. Those who were introduced to O'Callaghan with Slow Fox may be critical of the inclusion of such songs as Eddie Vedder's "Better Man" or even Dylan's "Like a Rolling Stone." But her interpretations are often inspired. (In fact, can listeners be so hopeful as to expect that O'Callaghan's next record will be exclusively Cohen material?) Some expecting jazzy vocals may be disappointed; those familiar with her operatic soprano voice should be impressed again. For the pop music fan, covering lesser-known (but highly engaging) material may play better on the ears. One could argue that Real Emotional Girl is too pop and mainstream. Others would say that her take on those pop hits is not of interest to the early 20th century pop expert. The risk this collection takes may be considered a weakness by some. But it is hard to criticize a singer who covers Randy Newman as well as Cohen. (Real Emotional Girl repeats five songs from Slow Fox.) Standout tracks include "Je Rêve de Toi," "I'm Your Man," and "Real Emotional Girl." Real Emotional Girl, because of its diverse song selection, should be where a pop listener starts. But fans of Kurt Weill would be wise to check out this album too. ~ JT Griffith http://www.allmusic.com/album/real-emotional-girl-mw0000000686

Personnel: Patricia O'Callaghan (vocals); Howard Hughes (acoustic, piano); Rob Piltch (guitar); Mark Fewer, Barry Shiffman (violin); Claudio Vena (viola, accordion); Kathleen Kajioka, Max Mandel (viola); David Heatherington (cello); Camille Watts (flute); Mike Sweeney, Chris Sharpe (bassoon); Tom Szczesniak (accordion); Phil Dwyer (soprano saxophone); Robert Kortgaard (piano); Andy Morris (vibraphone, percussion).

Real Emotional Girl

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Bill Potts, Brasilia Nueve - How Insensitive

Styles: Piano, Latin Jazz
Year: 1967
File: MP3@320K/s
Time: 30:36
Size: 70,6 MB
Art: Front

(2:37)  1. How Insensitive
(2:49)  2. Brasilville
(3:05)  3. Day By Day
(3:14)  4. Now I Know The Feeling
(2:51)  5. My Heart Loves The Samba
(2:34)  6. Teach Me Tonight
(4:11)  7. Meditation
(3:08)  8. Como Va
(2:47)  9. Que Se Vaya
(3:13) 10. Forgetting You

Caetano Rodrigues said wonders about this album since it has arrived here. Actually, this LP was supposed to be released yesterday when that technical difficulties appeared. It is the kind of album that you make discovers each time you take for a hearing. Thanks Caetano for making it available, some type of music is very hard to identify, your knowledge has been of a great help to zecalouro and Loronixers. This is Brasilia Nueve, How Insensitive (1969), for Decca. I forgot to check with Caetano and I think the band known here as Brasilia Nueve was assembled only to release this album, recorded in New York. The main performer is the jazz pianist Bill Potts, followed by the sax tenor of Zoot Zimns and a special artist playing vibes that could not be listed, probably due contracts obligations. They made together a nice approach to Bossa Nova, melting at the same song the Bossa Nova rhythm, suddenly changing to jazz on very complex and transitions. Thanks Caetano for this LP, which is a very hard to find information about.

Personnel:  Piano – Bill Potts;  Bass – Richard Davis (2);  Cabasa – Charlie Palmieri;  Conductor, Arranged By – Bill Potts;  Congas – Chino Pozo;  Drums – Mel Lewis;  Guitar – Barry Galbraith, Tony Gottuso;  Percussion – Louie Ramirez;  Producer – Richard Marin;  Saxophone – Zoot Sims;  Trumpet – Markie Markowitz;   Vibraphone [Special Guest Artist] – Unknown Artist

How Insensitive

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Red Garland - The Nearness of You

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 40:30
Size: 92,9 MB
Art: Front

(4:58)  1. Why Was I Born?
(5:42)  2. The Nearness of You
(6:14)  3. Where or When
(3:57)  4. Long Ago (and Far Away)
(5:24)  5. I Got It Bad (and That Ain't Good)
(4:45)  6. Don't Worry About Me
(4:23)  7. Lush Life
(5:03)  8. All Alone

Unlike his slightly earlier recordings for Moodsville (which feature Red Garland on unaccompanied piano solos), this strictly ballad date has Garland joined (on all but the solo "Lush Life") by bassist Larry Ridley and drummer Frank Gant. Since all eight of the standards are taken at the same medium/slow tempo, there is not much variety here, keeping the CD from being essential. But Garland's attractive and distinctive chord voicings, plus his ability to uplift melodies while swinging at a slow speed, make this project a success. Highlights include "The Nearness of You," "Where or When," and Irving Berlin's "All Alone." Particularly effective when used as background music. ~ Scott Yanow http://www.allmusic.com/album/the-nearness-of-you-mw0000602493

Personnel: Red Garland (piano); Larry Ridley (bass); Frank Gant (drums).

The Nearness of You

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Bill Evans - At the Montreux Jazz Festival

Styles: Piano Jazz
Year: 1968
File: MP3@256K/s
Time: 58:59
Size: 111,9 MB
Art: Front

(5:22)  1. One for Helen
(6:05)  2. A sleeping bee
(5:14)  3. Mother of earl
(8:24)  4. Nardis
(6:00)  5. I love you porgy
(4:45)  6. The touche of your lips
(6:45)  7. Embraceable you
(6:09)  8. Someday my prince will come
(3:45)  9. Walkin' up
(6:26) 10. Quiet now

Bill Evans' 1968 release, At the Montreux Jazz Festival, marks the beginning of stylistic changes for the legendary pianist. Only one year earlier, his At Town Hall release found his approach generally more introspective and brooding. In contrast, this set is more lively, playful, and experimental. Much of this is down to the active and intense drumming of Jack DeJohnette, who had joined the trio only a short time before this concert was recorded; longtime bandmate Eddie Gomez is also featured on this album. His energetic soloing adds veracity to tunes such as "Embraceable You" and "A Sleeping Bee." DeJohnette, too, is given several opportunities to display his drumming skills. His lengthy solo on "Nardis" displays his technical prowess and four-way coordination; such acumen would later cause jazz fans and critics alike to hail DeJohnette as one of the world's premier jazz drummers. Evans, famous for a soft-spoken pianistic touch, seems driven to new vistas on this album. He experiments more with harmonic dissonance and striking rhythmical contrasts, making this his most extroverted playing since his freshman release, New Jazz Conceptions. ~ Rovi Staff  http://www.allmusic.com/album/at-the-montreux-jazz-festival-mw0000652751

Personnel: Bill Evans (piano); Eddie Gomez (bass); Jack DeJohnette (drums)

At the Montreux Jazz Festival

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Arnett Cobb - Big League Blues

Bitrate: MP3@320K/s
Time: 35:34
Size: 81.4 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[2:53] 1. I'm In The Mood For Love
[3:04] 2. Flower Garden Blues
[2:58] 3. Running With Ray
[3:01] 4. The Shy One
[2:06] 5. Walkin' Home
[2:50] 6. Whispering
[2:52] 7. Open House
[2:39] 8. Big League Blues
[2:44] 9. Smooth Sailing
[3:07] 10. Someone To Watch Over Me
[2:59] 11. Li'l Sonny
[4:17] 12. Jumpin' The Blues

A stomping Texas tenor player in the tradition of Illinois Jacquet, Arnett Cobb's accessible playing was between swing and early rhythm & blues. After playing in Texas with Chester Boone (1934-1936) and Milt Larkin (1936-1942), Cobb emerged in the big leagues by succeeding Illinois Jacquet with Lionel Hampton's Orchestra (1942-1947). His version of "Flying Home No. 2" became a hit, and he was a very popular soloist with Hampton. After leaving the band, Cobb formed his own group, but his initial success was interrupted in 1948, when he had to undergo an operation on his spine. After recovering, he resumed touring. But a major car accident in 1956 crushed Cobb's legs and he was reduced to using crutches for the rest of his life. However, by 1959, he returned to active playing and recording. Cobb spent most of the 1960s leading bands back in Texas, but starting in 1973, he toured and recorded more extensively, including a tenor summit with Jimmy Heath and Joe Henderson in Europe as late as 1988. Arnett Cobb made many fine records through the years for such labels as Apollo, Columbia/Okeh, Prestige (many of the latter are available on the OJC series), Black & Blue, Progressive, Muse, and Bee Hive. ~bio by Scott Yanow

Big League Blues

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Chris Dawson - Put A Swing In Your Step

Bitrate: MP3@320K/s
Time: 52:36
Size: 120.4 MB
Styles: Mainstream jazz
Year: 2010
Art: Front

[3:05] 1. All I Do Is Dream Of You
[4:16] 2. A Sailboat In The Moonlight
[2:55] 3. If I Had You
[3:50] 4. Blues My Naughty Sweetie Gives Me
[4:14] 5. Close Your Eyes
[3:15] 6. My Ideal Too Late Now
[4:20] 7. Girl Of My Dreams
[3:24] 8. Oh, You Crazy Moon
[2:48] 9. Handful Of Keys
[3:13] 10. It Had To Be You
[3:50] 11. This Time The Dreams On Me
[1:55] 12. Puttin' On The Ritz
[4:26] 13. I'm In The Market For You
[3:23] 14. Button Up Your Overcoat
[3:35] 15. We'll Meet Again

"Put A Swing In Your Step is a memorable and hard-swinging album, that offers thoughtful and spirited treatments by musicians who really understand classic jazz." ~Scott Yanow

For Chris Dawson and his friends inspired jazz improvisation is second nature. Nothing’s artificial, nothing’s forced or by the book. This quintet has a musical maturity where all swinging jazz is equal and equally worth cherishing. You’ll hear a flexible pulse we associate with the great small-group recordings. But this isn’t a repertory date; no one’s stuck in 1936. In the manner of players such as Ruby Braff and Dave McKenna, this jazz knows its past and creates a future all at once. And although music has the power to make us reflect on the sorrows we all face, this session is resoundingly happy – it echoes the reassuring pace of the steady heartbeat. Even when the lovely ballads depict shattered dreams, we admire the beautiful sounds. Listen to Hal’s Catlett-inspired brushes and rimshots, Denny’s impassioned strum, Christoph’s woody, speaking bass. And Dan Barrett is a jazz Midas, casually making everything golden. Chris says, “I felt really fortunate and lucky to have this band. This was my dream team.” At the keyboard, Chris never demands the spotlight, but his quiet subtlety, his unerring time, and emotional richness are compelling. Better yet, his left hand knows what his right hand is doing, and vice versa. Hear him support, cheer, and encourage everyone – his fellow musicians as well as listeners! And take note of all the nifty arranged intros, endings and key modulations which make this date more than a casual blowing session. For once, the title of this CD is accurate, truth in advertising: the music Chris and his gang create will uplift you on your daily rounds as no costly orthotics could. The glowing, generous sounds and textures here will resound in your ears long after the disc has ended. ~Michael Steinman

Put A Swing In Your Step

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Amanda Carr - Tender Trap

Bitrate: MP3@320K/s
Time: 51:58
Size: 119.0 MB
Styles: Jazz vocals
Year: 2004
Art: Front

[4:05] 1. Never Will I Marry
[3:35] 2. (Love Is) The Tender Trap
[5:39] 3. I'll Close My Eyes
[3:05] 4. Do It The Hard Way
[3:02] 5. What We Were Asking For
[3:16] 6. Tulip Or Turnip
[4:08] 7. I'll Never Be The Same
[4:15] 8. That Old Devil Moon
[6:45] 9. Throw It Away
[3:23] 10. I Couldn't Live Without You
[4:56] 11. Foolin' Myself
[2:51] 12. What Am I Here For
[2:54] 13. No More Blues (Chega De Saudade)

With so many female vocalists releasing new jazz CDs in a given year, it is extremely difficult to grab one's attention; Amanda Carr's third CD, though released by a small label, has the ingredients necessary to do so. Carr is gifted with a pleasant voice, terrific diction and the ability to pick a wide-ranging program that neither skews to overly familiar standards or a heavy dose of originals. Accompanied by a fine trio led by veteran guitarist John Wilkins (with bassist Bronek Suchanek and drummer Kenny Hadley), her intensity comes across immediately in the stunning opener, "Never Will I Marry." Wilkins' superb guitar and guest Dick Johnson's perky alto sax underscore her lighthearted interpretation of Rodgers & Hart's "Do It the Hard Way." Carr delivers a swinging take of Duke Ellington's infrequently performed "Tulip or Turnip," with a smoking tenor sax solo added by Arnie Krakowsky. Suchanek's burning arco bass (together with Wilkins) introduce her exotic rendition of Abbey Lincoln's powerful "Throw It Away." She also makes her mark as a composer, offering the lively bop vehicle "I Couldn't Live Without You" (jointly written with Suchanek). Amanda Carr deserves greater attention in the jazz world. ~Ken Dryden

Tender Trap

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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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