Scott Whitfield - New Jazz Standards (Volume 2)

Styles: Trombone Jazz
Year: 2016
File: MP3@320K/s
Time: 75:15
Size: 173,7 MB
Art: Front

(6:07)  1. Prudence
(6:30)  2. More Wine
(5:46)  3. Big Darlin
(6:14)  4. Melodocity
(6:24)  5. I Remember Thad
(5:49)  6. B Squad Blues
(6:13)  7. Gamma Count
(6:21)  8. Lolly's Folly
(6:50)  9. Juarez
(6:07) 10. Another Tune for Bernie
(5:53) 11. Last Night's Samba
(6:54) 12. Symphonky Blues

On New Jazz Standards, Volume 2 (yes, the title may seem a tad optimistic at first glance; more about that later), trombonist Scott Whitfield leads a well-honed quartet playing the music of Carl Saunders. If the name Carl Saunders is new to you, he is quite simply one of the finest jazz trumpeters you've never heard and he may well be one of the best composers too. As for Whitfield, Saunders' personal choice to preside over this album, he is one of the Los Angeles area's foremost jazz trombonists, one who has led big bands on both coasts, played with a number of others, recorded ten albums as a leader and more than fifty as a sideman while "doubling" as a vocalist with wife Ginger Berglund and teaching at San Jose State University. If that sounds like a heavy schedule, it is and as you will hear, for good reason. When Saunders isn't playing trumpet in some group or other which, it must be said, isn't often and when he has free time during gigs, he writes. And writes prolifically. In fact, Saunders recently assembled more than three hundred of his compositions in book form and published it as New Jazz Standards, hence the name of this album, Volume 1 of which featured the late flutist Sam Most (Summit Records 630). 

Most was a master craftsman, as is Whitfield. Few contemporary trombonists can match Whitfield's clarity of tone or technical dexterity, traits that bring to mind such past masters as Carl Fontana, Urbie Green, Bill Harris and Jimmy Cleveland. And as for improvisation and flat-out swinging, he sets the bar high there as well. Saunders not only chose his helmsman well, he gave him a backup crew that is second to none, anchored by timekeeper par excellence Peter Erskine and featuring the always-resourceful pianist Christian Jacob and metronomic bassist Kevin Axt.  As to Saunders' themes, they are consistently bright and charming. While the presence of any new jazz standards is for listeners to determine, there's no doubt that Saunders has a keen ear for captivating melodies and the ability to arrange them in a tasteful and harmonious musical context. Most of them aren't based on popular standards, a staple of many jazz composers, but created out of whole cloth using only Saunders' fertile imagination as groundwork. The results are never less than admirable and often brilliant, ranging from ballads to blues, Latin to funk and straight-ahead swing. To add variety, Whitfield is overdubbed on four tracks to form a trombone choir. He and the quartet are superb, as are Saunders' prospective New Jazz Standards, which await only the auspicious verdict of an impartial jury. ~ Jack Bowers https://www.allaboutjazz.com/new-jazz-standards-volume-2-scott-whitfield-summit-records-review-by-jack-bowers.php

Personnel: Scott Whitfield: trombone;  Christian Jacob: piano;  Kevin Axt: bass;  Peter Erskine: drums;  Carl Saunders: composer, arranger.

New Jazz Standards (Volume 2)

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Vonda Shepard - Heart and Soul

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 49:36
Size: 114,0 MB
Art: Front

(4:10)  1. Read Your Mind
(4:07)  2. 100 Tears Away
(3:28)  3. Someday We'll Be Together
(4:42)  4. To Sir, With Love (Duet with Al Green)
(3:13)  5. Sweet Inspiration
(3:31)  6. Crying
(2:36)  7. Vincent (Starry Starry Night)
(3:02)  8. What Becomes Of The Brokenhearted
(2:55)  9. World Without Love
(3:25) 10. Confetti
(4:41) 11. Baby, Don't You Break My Heart Slow (Duet with Emily Saliers of the Indigo Girls)
(3:35) 12. This Is Crazy Now
(2:46) 13. This Old Heart Of Mine (Is Weak For You)
(3:18) 14. I Know Him By Heart

Vonda Shepard's curious ascension into pop prominence on the heels of the Ally McBeal television series offers evidence that, if you just hang around Los Angeles long enough, you may finally get recognized. After years of laboring as a lower echelon L.A. rock singer/songwriter and backup singer (a second-rate Bonnie Raitt, one might say), Shepard hit paydirt of a sort playing a club singer on TV, and the quasi-soundtrack album Songs from Ally McBeal, which includes oldies covers from the '60s and '70s, was a million-selling Top Ten hit in 1998. The inevitable follow-up is more of the same, though this time around Shepard gets to pen five of the 14 tracks. Like its predecessor, however, Heart and Soul: New Songs from Ally McBeal shows that what may work on TV (or in the movies or on-stage, for that matter) a singer-actress-whatever covering old, familiar songs within the context of a plot, doesn't necessarily translate to a recording that, by its nature, has to compete with the original recordings whose emotional resonance lent the show its gravity to begin with. Put simply, who needs to hear Vonda Shepard singing "Crying" when we still have Roy Orbison's version? Even more egregious, at the behest of the TV producer, lyrics to some songs have been changed or deleted now it's "To You, with Love" rather than "To Sir, with Love"! You can understand the songwriters and music publishers acquiescing to this (a payday is a payday), but it's even more reason to disdain these threadbare covers. The irony is that, on her own, Shepard is not untalented: "Read Your Mind," the lead-off track, is a tentative acceptance of love that might as easily be directed to Shepard's unexpected (and no doubt temporary) new audience as to a new boyfriend; "Confetti" is a '60s-style rocker that seems to be attacking the kind of kids who look to Ally McBeal for fashion and dating tips; and "Baby, Don't You Break My Heart Slow" is a good romantic ballad in the currently popular Diane Warren/adult contemporary style. Such material demonstrates that Shepard is worthy of a major-label release of her own songs, and it can only be hoped that she gets one, given that the disappointing early response to this collection suggests that the Ally McBeal connection has probably run its course. ~ William Ruhlmann https://www.allmusic.com/album/heart-and-soul-new-songs-from-ally-mcbeal-featuring-vonda-shepard-mw0000254099

Personnel: Vonda Shepard (vocals, guitar, piano); Al Green, Emily Saliers (vocals); Val McCallum (acoustic & electric guitars, background vocals); Bruce Watson, Michael Landau (guitar); Greg Leisz (pedal steel guitar); Charles Bisharat (violin); Matthew Funes (viola); Suzie Katayama, Martin Tillman (cello); Mitchell Froom (accordion, piano, Wurlitzer piano, Hammond B-3 organ, harmonium, Chamberlain, Claviola, celeste, electric harpsichord, bells); Jeff Young (piano, Wurlitzer piano, Hammond B-3 organ, background vocals); Davey Faragher, Jimmy Haslip, Jim Hanson, Leland Sklar (bass); Pete Thomas, Andy Kamman (drums, percussion); Lynn Davis (background vocals).

Heart and Soul

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Mongo Santamaria - Hey! Let's Party

Styles: Latin Jazz
Year: 1966
File: MP3@320K/s
Time: 31:11
Size: 75,0 MB
Art: Front

(3:01)  1. Walk On By
(2:52)  2. I Got You (I Feel Good)
(3:27)  3. In the Mood
(4:02)  4. Baila Dance
(2:19)  5. Louie, Louie
(3:47)  6. (I Can't Get No) Satisfaction
(2:53)  7. Hey!
(2:48)  8. Call Me
(2:32)  9. El Bikini
(3:26) 10. Shotgun

Hey! Let's Party represents one of percussionist Mongo Santamaria's first and most engaging plunges into the world of contemporary pop, galvanizing well-known chart smashes with the energy and abandon of Latin soul. It's a simple formula that proved remarkably successful and flexible across a series of likeminded LPs Santamaria approaches texts like "Walk on By" and "I Got You (I Feel Good)" with deep respect and understanding, creating soulful, righteous rhythms that snake in and out of the original melodies with brilliant precision. Even battered warhorses like Glenn Miller's "In the Mood" breathe new life, proving Santamaria's uncanny capacity for making the familiar funky. ~ Jason Ankeny https://www.allmusic.com/album/hey!-lets-party-mw0000866762

Personnel:  Alto Saxophone, Baritone Saxophone, Flute – Bobby Capers;  Bass – Victor Venegas;  Drums – Mongo Santamaria;  Piano – Rodger Grant;  Saxophone – Hubert Laws;  Timbales, Drums – Carmello Garcia;  Trumpet – Marty Sheller

Hey! Let's Party

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Monty Alexander - Jamboree Ivory & Steel

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 49:09
Size: 118,5 MB
Art: Front

(3:57)  1. Sly Mongoose
(6:35)  2. Think Twice
(3:56)  3. No Woman No Cry
(5:07)  4. Look Up
(5:00)  5. Accompong
(5:21)  6. You Can See
(4:24)  7. Big Yellow Taxi
(4:07)  8. Reggae-Later
(6:15)  9. Criying
(4:23) 10. Linstead Market

Pianist Monty Alexander's "Ivory And Steel" group combines together bop-based jazz with Jamaican calypsoes and West Indian rhythms. On this quite enjoyable set, Alexander utilizes both Othello and Len "Boogsie" Sharpe on steel drums, either Marshall Wood or Bernard Montgomery on bass, drummer Marvin "Smitty" Smith and the hand drums of Robert Thomas Jr. Alexander contributed four of the rhythmic originals which are joined by some Jamaican folk songs (including "Sly Mangoose"), Joni Mitchell's "Big Yellow Taxi" and a couple of obscurities. The accessible results are often memorable. ~ Scott Yanow https://www.allmusic.com/album/jamboree-monty-alexanders-ivory-and-steel-mw0000197745

Personnel:  Monty Alexander (piano); Bernard Montgomery (electric bass); Marshall Wood (bass); Marvin "Smitty" Smith (drums); Othello Molineaux, Len "Boogsie" Sharpe (steel drums).

Jamboree Ivory & Steel

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Joe Henderson - An Evening with Joe Henderson

Styles: Saxophone Jazz

Year: 1987

File: MP3@320K/s

Time: 47:18

Size: 108,9 MB

Art: Front

(14:25)  1. Ask Me Now

( 8:47)  2. Serenity

(10:46)  3. Beatrice

(13:20)  4. Invitation

Although Joe Henderson's pianoless trio recordings for Blue Note in 1985 received a fair amount of publicity, this similar date for the Italian Red label has been almost completely overlooked. Joined by bassist Charlie Haden and drummer Al Foster, Henderson is in excellent form, giving "Beatrice," "Invitation," Thelonious Monk's "Ask Me Now" and his own "Serenity" lengthy and rewarding explorations. ~ Scott Yanow https://www.allmusic.com/album/evening-with-joe-henderson-mw0000195895

Personnel:  Joe Henderson – tenor saxophone;  Charlie Haden – bass;  Al Foster – drums

An Evening with Joe Henderson

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Lee Konitz & Bert Van Den Brink - Dialogues

Styles: Saxophone And Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 69:13
Size: 158,9 MB
Art: Front

(6:19)  1. East of the Sun
(5:47)  2. Yesterdays
(5:54)  3. Kojo no Tsuki
(7:18)  4. Spring Fever
(6:27)  5. Thingin'
(6:25)  6. If You Could See Me Now
(5:59)  7. Dialogue
(4:37)  8. I Love You
(6:16)  9. Moonlight in Vermont
(7:40) 10. Lover Man
(6:26) 11. Cherokee

Dialogues may be one of saxophonist Lee Konitz's best albums in a discography both prolific and still expanding. The sounds of Bert van den Brink (piano), Hein Van de Geyn (bass) and Hans van Oosterhout (drums) blend perfectly with the leader's alto sax. So attractive is the sound that one hopes this session is not a one-off affair. Starting with a joyous, swinging version of "East of the Sun, Konitz'a improvisation blurs the line between melodic statement and soloing. "Yesterdays, a favorite of jazz improvisers, is also deeply touching it's clear that Konitz's hero is Lester Young. His statement is an alternate, swinging, singing melody and certainly not a collection of licks designed to impress. Monk recorded "Kojo No Tsuki as "Japanese Folk Song, to be eventually released on Straight, No Chaser (Columbia, 1966). The Konitz/van den Brink version is no less beautiful but, of course, receives a very different reading. One is reminded of Keith Jarrett's beautiful Belonging (ECM. 1974): music that's intelligent but not afraid to be simple and direct. Furthermore on "Thingin', Van de Geyn's short bass solo invokes Charlie Haden's playing alongside Jarrett with a certain similarity of directness and lyricism in his playing. Far from being a monochromatic approach to a jazz quartet presentation, each piece is unique and fresh, moving from solo to duo to full quartet conversations that renew faith in the art of jazz communication. Dialogues, the CD title, says it all. ~ Francis Lo Kee https://www.allaboutjazz.com/dialogues-lee-konitz-challenge-records-review-by-francis-lo-kee.php

Personnel:  Lee Konitz: alto saxophone;  Bert van der Brink: piano;  Hein Van de Geyn: bass;  Hans van Oosterhout: drums.

Dialogues

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Patricia Kaas - Dans Ma Chair

Styles: Vocal Jazz
Year: 1997
File: MP3@320K/s
Time: 58:26
Size: 137,8 MB
Art: Front

(4:20)  1. Quand j'ai peur de tout
(4:34)  2. Dans ma chair
(3:23)  3. Chanson simple
(3:50)  4. J'ai tout quitte pour toi
(4:06)  5. Je me souviens de rien
(4:15)  6. Les lignes de nos mains
(3:11)  7. Je sais
(4:18)  8. Je voudrais la connaitre
(4:31)  9. Fais-moi l'amitie
(3:38) 10. L'amour devant la mer
(5:05) 11. Je compte jusqu'a toi
(4:05) 12. Sans toi
(4:59) 13. Don't let me be lonely tonight
(4:03) 14. When the night rolls in

After the success of the previous studio album, Je te dis vous, Kaas decided to released a new album in 1997, which was entitled Dans ma chair. The album marked the second collaboration with the French songwriter and singer Jean-Jacques Goldman who had already written her 1993 hit single "Il me dit que je suis belle". To date, Kaas continues to be associated with Goldman for the composing of her songs, and this collaboration remains one of the most important of the singer's career. The album was recorded in New York, but also in Paris, and produced by the singer and Phil Ramone, who had previously worked with artists such as Ray Charles, Billy Joel and Paul Simon.  The album was also composed by several famous contributors : for example, the American songwriter and singer Lyle Lovett, with the song "Chanson simple" (Eng: "Simple song"), and James Taylor with "Don't Let Me Be Lonely Tonight" (the song, the last track, is performed as a duet). French artists participated in the writing of the album, such as Didier Barbelivien, who had also worked with Kaas for her previous studio album, and Zazie. Philippe Bergman, who co-wrote three songs of this album, was Kaas' boyfriend at the time.  In France, two singles were released from this album : "Quand j'ai peur de tout" (Eng: "When I'm afraid of everything") in February 1997, which reached #11 and achieved Silver status, and "Je voudrais la connaître" (Eng: "I Want to Know Her") in July 1997, which peaked at #20. The first single, "Quand j'ai peur de tout", was written by Diane Warren and was successfully covered in English-language in 2003 by the pop band Sugababes, but the song was re-entitled "Too Lost in You".

In France, the album remained on the chart for 57 weeks. It started at #2 on March 22, 1997, and reached again this position two weeks later, but its sales were less than Andrea Bocelli's extremely successful album Romanza, which topped the chart then. Kaas' album remained for only nine weeks in the top ten, but dropped slowly on the chart. It was certified Platinum by the SNEP and the tenth best-selling album of 1997 in the country. The album was a smash success in Belgium (Wallonia) : it went to #2 on April 5, 1997, then climbed to #1 and stayed there for four not consecutive weeks. It totaled 27 weeks in the top ten and remained on the chart for 61 weeks. It fell off it after the chart edition of July 11, 1998.  In Switzerland, the album reached number 5 in its first and second weeks, and remained on the chart for 20 weeks, from March 30 to August 31, 1997, including five weeks in the top ten. It hit Gold certification in 1997.  In Finland, Dans ma chair was charted from the early 1997 and peaked at #8 in its third week, after a debut at #12. It featured for 17 weeks in the top 40.  In other countries, the album was less successful even if it met slightly good sales, peaking at #16 in Germany, #27 in Belgium (Flanders) (it remained on the chart for eight weeks, from April 12 to June 14, 1997), #45 in Austria where it was charted for three weeks and #77 in the Netherlands where it appeared for five weeks. https://en.wikipedia.org/wiki/Dans_ma_chair

Dans Ma Chair

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Scott Whitfield - Speaking Of Love

Styles: Vocal And Trombone Jazz
Year: 2007
File: MP3@320K/s
Time: 68:09
Size: 157,5 MB
Art: Front

(3:08)  1. A Beautiful Friendship
(4:20)  2. Sugar
(4:25)  3. Come To Me
(5:49)  4. I'm Getting Sentimental Over You
(6:32)  5. I'm A Romantic Sap
(5:44)  6. Adagio In Pearl
(4:18)  7. Two People
(5:09)  8. It's You!
(8:07)  9. Only At Lonely Times
(4:17) 10. I Love You
(4:48) 11. What Went Wrong
(5:16) 12. I Can't Give You Anything But Love
(1:56) 13. When I Fell In Love
(4:14) 14. All Of You

Coated with sugar and filled with swing, Speaking of Love offers a blast from the past as Scott Whitfield scat sings with the enthusiasm of Mel Tormé, introduces a vocal quartet that recalls the Four Freshmen, teams with guest artists Cheryl Bentyne, Bucky Pizzarelli, Marvin Stamm, Memo Acevedo and Scott Robinson, and adds lovely trombone melodies to enhance the romance. Through original songs and memorable standards, Whitfield brings an upbeat message of good cheer to the forum. His trombone dashes and darts gracefully through casual melodies and invites camaraderie from his sidemen. On "Adagio in Pearl, for example, he introduces the reflective piece with a mellifluous trombone soliloquy and follows later with a velvet interlude that supports the vocal duet between himself and Bentyne quite well. Trumpeter Stamm and saxophonist Robinson add considerably to the session's swinging spirit, while Whitfield's rhythm section provides a strong foundation. The big surprise of the album is the Manhattan Project, which provides stellar examples of lyrical delight. The group is right on target, and each member plays an instrument too. Whitfield is at his best on trombone. While he scat sings quite well, his vocal lyric interpretations are not warm, convincing or thrilling. There's a great contrast between his vocals and those of his guests. He seems to enjoy singing, but he never gets deep enough into his subject matter to make a difference. Whitfield's singing takes a significant turn on "I Can't Give You Anything But Love, where his manner comes close to an impersonation of Dean Martin. It's better than the rest of the program, but his "main squeeze rests with the love that he gets from his trombone. The instrument never fails to give Whitfield a clear picture of what he wants to express. ~ Jim Santella https://www.allaboutjazz.com/speaking-of-love-scott-whitfield-summit-records-review-by-jim-santella.php

Personnel: Scott Whitfield: vocals, trombone, arranger; Ted Kooshian: piano; Mary Ann McSweeney: bass; Willard Dyson, Terry Clarke: drums; The Manhattan Vocal Project: Pete McGuinness, Scott Whitfield, Kevin Osborne: vocals, trombone; Joe Elefante: vocal, alto saxophone; Special Guests: Bucky Pizzarelli: guitar; Cheryl Bentyne: vocals; Marvin Stamm: trumpet, flugelhorn; Memo Acevedo: percussion; Scott Robinson: tenor saxophone, bass saxophone, bass flute.

Speaking Of Love

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Ray Brown - Jazz Cello

Styles: Jazz, Post Bop
Year: 1960
File: MP3@320K/s
Time: 37:29
Size: 110,1 MB
Art: Front

(3:17)  1. Tangerine
(4:14)  2. Almost Like Being In Love
(4:38)  3. That Old Feeling
(5:12)  4. Ain't Misbehavin'
(2:40)  5. Alice Blue Gown
(3:06)  6. Rosalie
(4:00)  7. But Beautiful
(3:17)  8. Poor Butterfly
(4:53)  9. Memories Of You
(2:07) 10. Rock A Bye Your Baby

On the last day of August and the first day of September 1960, bassist Ray Brown recorded his third album for the Verve label, focusing most of his attention upon the cello while Joe Mondragon handled the bass. The 11-piece band on this date was conducted by arranger Russ Garcia and included reed players Paul Horn and Bob Cooper as well as pianist Jimmy Rowles. The results were typical of late-'50s West Coast mainstream jazz: familiar ballads and friendly, uplifting standards, tidily performed. Some of the tunes reach back to the 1920s, with "Rock-A-Bye Your Baby with a Dixie Melody" serving as a surprisingly hip link with vaudeville as Brown's pizzicato maneuverings are punctuated with punchy blasts from reeds and brass. If one takes the time to place this recording within an historical context, an impressive evolution reveals itself. The first bassist to cross over to cello on records in modern times is believed to have been Oscar Pettiford, while Fred Katz popularized the warm-toned instrument through his work with drummer Chico Hamilton. 

The progression of jazz cellists since then is impressive, from Ray Brown, Sam Jones, Percy Heath and Ron Carter to Abdul Wadud, David Holland, David Darling, David Eyges and Diedre Murray. By the first decade of the 21st century, an unprecedented number of improvising cellists had appeared, making Ray Brown's 1960 Jazz Cello album seem like a sunny little episode in the foundation of a fascinating modern tradition spanning several generations. ~ arwulf arwulf https://www.allmusic.com/album/jazz-cello-mw0000022965https://www.allmusic.com/album/jazz-cello-mw0000022965

Personnel: Ray Brown (cello, bass); Russ Garcia (arranger, conductor); Don Fagerquist (trumpet); Jack Cave (French horn); Harry Betts (trombone); Bob Cooper, Med Flory, Bill Hood, Paul Horn (reeds); Jimmy Rowles (piano); Joe Mondragon (bass); Dick Shanahan (drums).

Jazz Cello

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Franco Ambrosetti - A Jazz Portrait of Franco Ambrosetti

Styles: Trumpet Jazz
Year: 1965
File: MP3@320K/s
Time: 74:01
Size: 170,1 MB
Art: Front

(7:15)  1. Enriquete
(3:06)  2. Blue in Green
(5:01)  3. My Shining Hour
(5:34)  4. My Old Flame
(8:36)  5. Bye Bye Blackbird
(6:48)  6. Like Someone in Love
(5:08)  7. Minority
(2:03)  8. Blue in Green (take 2)
(2:28)  9. Blue in Green (take 3)
(3:50) 10. My Shining Hour (take 2)
(3:46) 11. My Shining Hour (take 3)
(0:50) 12. My Old Flame (take 2)
(7:38) 13. Bye Bye Blackbird (take 2)
(0:19) 14. Like Someone in Love (take 2)
(7:01) 15. Like Someone in Love (take 3)
(4:31) 16. Minority (take 2)

Franco Ambrosetti has had dual careers as a very successful businessman, and as a fine trumpeter and flügelhornist inspired by Freddie Hubbard and Miles Davis. His father Flavio Ambrosetti was an excellent saxophonist. Franco had piano lessons for eight years but is self-taught on trumpet, which he did not take up until he was 17. In 1972, he was one of the founders of the George Gruntz Concert Jazz Band, and through the years he has recorded quite a few worthy hard bop-ish albums for Enja in addition to leading his own groups. ~ Scott Yanow https://www.allmusic.com/artist/franco-ambrosetti-mn0000195215/biography

Personnel:  Franco Ambrosetti (trumpet), Giorgio Azzolini (bass); Franco D’Andrea (piano); Franco Mondini (Batteria)

A Jazz Portrait of Franco Ambrosetti

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Lou Donaldson - Birdseed

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 49:19
Size: 114,0 MB
Art: Front

(4:36)  1. Cherry
(6:56)  2. Walkin' Again
(6:31)  3. Pennies From Heaven
(8:15)  4. Red Top
(5:48)  5. Blue Bossa
(5:02)  6. Black Door Blues
(5:23)  7. Dorothy
(6:44)  8. Birdseed

Like fellow alto saxophonists Phil Woods, Jackie McLean, Frank Morgan, Ernie Henry, and Sonny Criss, Lou Donaldson started out with a very Charlie Parker-like tone but went on to develop a recognizable sound of his own. Bird's influence never disappeared from Donaldson's playing, although he successfully combined that influence with many ideas of his own. The title Birdseed might lead some to wonder if this 1992 date is a tribute to Parker -- it isn't, and the CD doesn't contain any Parker songs at all. However, that title is Donaldson's way of acknowledging Parker's tremendous contributions. (Producer Orrin Keepnews put it best when he said that there are basically two types of jazz: before and after Charlie Parker). Though the uptempo title song has a very Bird-like melody, it is Donaldson's own ideas that make this album as appealing as it is. From the Johnny Hodges-minded ballad "Dorothy" (written by singer Rudy Nichols) to earthy blues statements on Gene Ammons' "Red Top" and Eddie "Cleanhead" Vinson's "Back Door Blues," Birdseed finds Donaldson in fine form at 65. 

The CD's most surprising track is "Pennies From Heaven," which has usually been heard at a fast or medium speed in recent decades but is returned to a ballad tempo by Donaldson (who is joined by organist David Braham, drummer Fukushi Tainaka, percussionist Ralph Dorsey, and the Grant Green-influenced guitarist Peter Bernstein). Produced by Bob Porter, Birdseed falls short of essential but is inspired and swinging. 

~ Alex Henderson https://www.allmusic.com/album/birdseed-mw0000093840

Personnel: Lou Donaldson (alto saxophone); David Braham (organ); Peter Bernstein (guitar); Fukushi Tainaka (drums); Ralph Dorsey (congas).

Birdseed

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Claire Martin - The Waiting Game

Styles: Vocal Jazz 
Year: 1992
File: MP3@320K/s
Time: 50:28
Size: 117,3 MB
Art: Front

(3:30)  1. You Hit the Spot
(4:45)  2. Be Cool
(5:11)  3. This Funny World
(3:04)  4. Better Than Anything
(3:42)  5. If You Could See Me Now
(4:33)  6. Some Cats Know
(3:09)  7. The Waiting Game
(4:44)  8. It's Always Four a.m.
(4:12)  9. The People That You Never Get To Love
(3:14) 10. Tight
(6:51) 11. Everything Happens To Me
(3:27) 12. The Key To Your Ferrari

One thing Claire Martin won't be accused of is having a conventional or unadventurous repertoire. On the superb The Waiting Game, she delivers an engaging version of Betty Carter's "Tight" and insightfully turns everything from Thomas Dolby's "The Key to Your Ferrari" to Joni Mitchell's "Be Cool" into acoustic jazz. "You Hit the Spot" and "Better than Anything" aren't standards, but the soulfulness Martin brings to these neglected classics indicates that they deserve to be. The unique and distinctive improvisor doesn't avoid standards altogether her heartfelt interpretation of "Everything Happens to Me" being a fine example  but thankfully, she's not one to overemphasize them. Consistently, Martin's singing is as strikingly personal as it is expressive. ~ Alex Henderson https://www.allmusic.com/album/the-waiting-game-mw0000184952

Personnel:  Vocal – Claire Martin;  Bass – Arnie Somogyi;  Drums – Clark Tracey;  Guitar – Jim Mullen;  Piano – Jonathan Gee

The Waiting Game

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James Spaulding - Escapade

Styles: Saxophone And Flute Jazz
Year: 1999
File: MP3@320K/s
Time: 58:15
Size: 133,8 MB
Art: Front

(5:55)  1. Escapade
(6:42)  2. Cheesecake
(5:16)  3. Warm Valley
(5:10)  4. Madeline
(4:50)  5. Just One of Those Things
(6:36)  6. Grant's Tune
(6:47)  7. High Modes
(5:08)  8. The Break Through
(5:27)  9. It Could Happen to You
(6:21) 10. La Mesha

Well-swung standards and compositions of Kenny Dorham, Dexter Gordon, Grant Green and Hank Mobley are tapped for revision. Don Sickler (trumpet/flugelhorn) joins Spaulding for eight of the ten tracks, with the immaculate trio of pianist John Hicks, bassist Ray Drummond and drummer Kenny Washington as support. Spaulding's tart-sweet alto sax has never sounded better, while his pristine flute playing is easily in the top ten of late-'90s jazz performers. The CD is bookended by Dorham's music, the opening title track a flute/flugelhorn traipse through classic Blue Notesville in a light Afro-Cuban beat, the closer "La Mesha" a flute/flugel ballad. Mobley's music comes back to back, as jungle toms and light bluesy swing signify the easy mood of "High Modes," with flute and muted trumpet in unison, while the classic post-bop vehicle "The Breakthrough" has alto and trumpet strutting their stuff and puffing their chests. Gordon's similarly classic bopper "Cheesecake" has Sickler's flugelhorn playing a countermelody vis a vis Spaulding's standard alto line, and they do the same for the hip, churning melody of Grant Green's "Grant's Tune," except that Spaulding changes up on the tenor-led original by using his flute. The three numbers without Sickler are the scorching bop of "Just One of Those Things," the easy bossa beat of Duke Ellington's "Warm Valley," and the ballad treatment, on flute, of the final Mobley piece "Madeline." Spaulding shows a consistency within mainstream parameters, a real sense of teamwork with these worthy session mates, and a willingness to take chances. 

~ Michael G.Nastos https://www.allmusic.com/album/escapade-mw0000603776

Personnel:  James Spaulding (alto saxophone, flute, bass flute);  Don Sickler (trumpet, flugelhorn);  John Hicks (piano);  Ray Drummond (bass);  Kenny Washington (drums)

Escapade

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Jacky Terrasson - Smile

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 47:14
Size: 108,4 MB
Art: Front

(5:08)  1. Parisian Thoroughfare
(2:39)  2. Mo Better Blues
(6:54)  3. Smile
(4:05)  4. Sous le ciel de Paris
(3:04)  5. Isn't She Lovely?
(6:05)  6. The Dolphin
(5:45)  7. Nardis
(3:32)  8. Autumn Leaves
(3:15)  9. My Funny Valentine
(6:43) 10. 59

The stream of imaginative energy flows strong and true on Jacky Terrasson’s new recording, simply entitled Smile. The dazzling jazz pianist performs with panache and exuberance, adding his unique touch to a diverse mixture of contemporary and classic standards. The music remains true to Terrasson’s form, as it is somewhat of a return to the trio format of his early acclaimed recordings. His previous release A Paris paid homage to his childhood experiences in France and with more than a half dozen recordings on Blue Note; he continues to develop and grow into a unique pianist. Smile could easily be a case in point for music that expands on the conventional piano trio format. The trio features bassist Sean Smith and drummer Eric Harland on the bulk of the recording, with electric bassist Remi Vignolo on three tracks. The overall mood and tone is playful, unconventional, and free spirited. The recording begins with a trio work-out of “Parisian Thoroughfare,” with Terrasson weaving in and out of the melody with rapid and complex soloing. The next selection is a short but sweet rendition of Bill Lee’s “Mo Better Blues” from filmmaker Spike Lee’s movie of the same name, which is poignant and soulful. Terrasson includes subtle techniques on the title track, “Smile,” such as electric keyboards to enhance the music, but it’s his sheer inventiveness and musicianship that stamps his own signature throughout the recording. The success of this recording also lies in the choice of exceptional sidemen. Eric Harland, who is quickly making a name for himself as a dynamic drummer, once again proves his merit by delivering superb skills that match the complexity and range of the selections. His playing on Stevie Wonder‘s “Isn’t She Lovely”, transforms the ballad into a groove infused performance. Sean Smith‘s acoustic bass is full bodied and robust; as his soloing skill takes the spotlight on the “The Dolphin.” Remi Vignolo’s electric bass work sounds appropriate when used, and contributes potency and depth to the moving composition “Sous Le Ciel De Paris.” Many of these selections represent extensions from Terrasson’s recent live performances. Fortunately this spirit has spilled into the feel of the recording, with its strong sense of fun, spontaneity, and freshness. Willing listeners may find much to smile about here. Recommended. ~ Mark F.Turner https://www.allaboutjazz.com/smile-jacky-terrasson-blue-note-records-review-by-mark-f-turner.php

Personnel: Jacky Terrasson - piano;  Sean Smith - acoustic bass;  Eric Harland - drums;  Remi Vignolo - electric bass

Smile

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Gerald Wilson - Big Band Modern

Styles: Jazz, Big Band
Year: 1954
File: MP3@320K/s
Time: 67:06
Size: 153,8 MB
Art: Front

( 6:03)  1. Algerian Fantasy
( 2:49)  2. Bull Fighter
( 5:49)  3. Lotus Land
( 2:41)  4. Theme
( 4:19)  5. Mambo Mexicano
( 3:23)  6. Black Rose
( 3:12)  7. Romance
( 2:54)  8. Since We Said Goodbye
( 5:46)  9. Hollywood Freeway
( 4:08) 10. Sea Breeze
( 2:58) 11. Nice Work If You Can Get It
( 4:03) 12. Indiana
( 1:53) 13. It Had to Be You
( 4:29) 14. Out of Nowhere
(12:33) 15. Hollywood Freeway

First time on CD for this ultra-rare album by the Gerald Wilson Orchestra, the only studio session recorded by Wilson under his own name between 1947 and 1961 and features seven bonus tracks. Includes never before heard solos by tenor stars Wardell Gray, Zoot Sims and Stan Getz and one of a kind arrangements by Wilson! 

The bonus tracks are from a 1950 concert recorded in San Francisco which is, without a doubt, an essential addition to Wilson's recorded legacy, and an extremely important discographic discovery. In fact, this concert has never been previously released on any format. It was originally recorded in Stereo, which was a completely new technology in 1950. ~ Editorial Reviews https://www.amazon.com/Big-Band-Modern-Gerald-Wilson/dp/B000FTW2M0

Personnel:  Arranged By, Conductor – Gerald Wilson;  Alto Saxophone – Jerry Dodgion, Sonny Criss, Willie Smith; Baritone Saxophone – Bill Green; Bass – Addison Farmer , Red Callender;  Drums – Gus Gustafson, Lee Young;  Piano – Cedric Haywood, Gerald Wiggins; Tenor Saxophone – Frank Haynes , Paul Gonsalves , Teddy Edwards;  Tenor Saxophone [Guest] – Stan Getz , Wardell Gray, Zoot Sims;  Trombone – Atlee Chapman, Britt Woodman, Henry Coker, Isaac Bell , John Ewing , Melba Liston , Robert Wagner, Trummy Young;  Trumpet – Allen Smith, Clark Terry, Ernie Royal, Gerald Wilson, John Anderson , Louis Grey , Walter Williams

Big Band Modern

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James Spaulding - Smile of the Snake

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 58:46
Size: 135,5 MB
Art: Front

(4:52)  1. Third Avenue
(5:51)  2. Serenity
(6:07)  3. The Smile of the Snake
(4:58)  4. Lenora
(7:20)  5. Tonight Only
(7:00)  6. Premonition
(5:46)  7. Yes It Is
(5:08)  8. Panchito
(5:51)  9. Love Is Not a Dream
(5:48) 10. Havana Days (Cuba 1954)

One of the most underrated saxophonists of the post-1960 era, James Spaulding has long been a passionate postbop altoist and a warm flutist. On this superior outing he is heard in top form on both of his axes (plus two appearances on bass flute) in a quartet with pianist Richard Wyands, bassist Ron McClure and drummer Tony Reedus. Producer Donald Sickler helped advise Spaulding on the material and the result is a high-quality set of obscurities by Wyands, McClure, Clifford Jordan, Donald Brown, Geoff Keezer and Idrees Sulieman. Spaulding digs into the songs, displays a great deal of versatility and certainly has his fiery moments. One of James Spaulding's finest allround recordings. ~ Scott Yanow https://www.allmusic.com/album/smile-of-the-snake-mw0000038736

Personnel:  Alto Saxophone – James Spaulding;  Bass – Ron McClure;  Drums – Tony Reedus;  Flute – James Spaulding;  Flute [Bass Flute] – James Spaulding;  Piano – Richard Wyands

Smile of the Snake

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Cleo Laine & John Dankworth - The Collection

Styles: Vocal And Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 54:46
Size: 126,9 MB
Art: Front

(2:59)  1. The Look Of Love
(3:08)  2. O' Mistress Mine (Twelfth Night)
(1:25)  3. The Complete Works
(2:52)  4. Perdido
(3:13)  5. Fear No More (Cymbeline)
(3:12)  6. Riding High
(3:31)  7. The Lady Sings The Blues
(2:39)  8. If Music Be The Food Of Love (Twelfth Night)
(3:43)  9. Tea For Two
(2:26) 10. My Love Is As A Fever (Sonnet No 147)
(3:16) 11. Stormy Weather
(1:46) 12. It Was A Lover And His Lass (As You Like It)
(2:58) 13. Witches Fair And Foul (Macbeth And A Midsummers Night's Dream)
(2:48) 14. Never Let Me Go
(2:20) 15. Shall I Compare Thee To A Summer's Day (Sonnet No 18)
(1:23) 16. Take All My Loves (Sonnet 40)
(2:31) 17. Winter (Love's Labours Lost)
(3:58) 18. Duet Of Sonnets
(4:31) 19. I Got It Bad And That Ain't Good

With a multi-octave voice similar to Betty Carter's, incredible scatting ability, and ease of transition from a throaty whisper to high-pitched trills, Cleo Laine was born in 1927 in the Southall section of London, the daughter of a Jamaican father and English mother. Her parents sent her to vocal and dance lessons as a teenager, but she was 25 when she first sang professionally, after a successful audition with the big band led by Johnny Dankworth. Both Laine and the band recorded for Esquire, MGM and Pye during the late '50s, and by 1958, she was married to Dankworth.With Dankworth by her side, Laine began her solo career in earnest with a 1964 album of Shakespeare lyrics set to Dankworth's arrangements, Shakespeare: And All That Jazz. Laine also gained renown for the first of three concert albums recorded at New York's Carnegie Hall, 1973's Cleo Laine Live! At Carnegie Hall. She also recorded two follow-ups (Return to Carnegie and The 10th Anniversary Concert) the latter of which in 1983 won her the first Grammy award by a Briton. She has proved a rugged stage actress as well, winning a Theater World award for her role in the Broadway musical The Mystery of Edwin Drood, (in addition to Tony and Drama Desk nominations as well). In 1976 she recorded a jazz version of Porgy and Bess with Ray Charles, and also recorded duets with James Galway and guitarist John Williams. Laine and Dankworth continued to tour into the 1990s, and she received perhaps her greatest honor when she became the first jazz artist to receive the highest title available in the performing arts: Dame Commander. 

~ John Bush https://itunes.apple.com/gb/album/cleo-laine-john-dankworth-collection/id13129170

The Collection

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Sonny Rollins - Way Out West

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 71:00
Size: 163,9 MB
Art: Front

( 5:43)  1. I'm An Old Cowhand
( 7:54)  2. Solitude
( 7:54)  3. Come, Gone
(10:14)  4. Wagon Wheels
( 5:18)  5. There Is No Greater Love
( 6:33)  6. Way Out West
(10:12)  7. I'm An Old Cowhand (alternate take)
(10:32)  8. Come, Gone (alternate take)
( 6:39)  9. Way Out West (alternate take)

The timeless Way out West established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as "I'm an Old Cowhand (From the Rio Grande)," his own "Way out West," "There Is No Greater Love," and "Come, Gone" (a fast stomp based on "After You've Gone"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic. [The Contemporary re-release appends three bonus tracks, all of them alternate takes.] ~ Scott Yanow https://www.allmusic.com/album/way-out-west-mw0000649710

Personnel: Sonny Rollins (tenor saxophone); Ray Brown (bass); Shelly Manne (drums).

Way Out West

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Bobby Hackett - Plays The Music Of Bert Kaempfert

Styles: Trumpet Jazz
Year: 1963
File: MP3@320K/s
Time: 35:06
Size: 85,2 MB
Art: Front

(3:12)  1. Danke Schoen
(3:09)  2. Wonderland By Night
(2:31)  3. A Swingin' Safari
(3:31)  4. The Bass Walks
(2:40)  5. Mexican Market Day
(2:42)  6. Now And Forever
(2:58)  7. Bert's Tune
(2:38)  8. Afrikaan Beat
(3:18)  9. Sunday In Madrid
(2:46) 10. Only Those In Love
(2:59) 11. Take Me
(2:38) 12. The Happy Trumpeter

Bobby Hackett's mellow tone and melodic style offered a contrast to the brasher Dixieland-oriented trumpeters. Emphasizing his middle-register and lyricism, Hackett was a flexible soloist who actually sounded little like his main inspiration, Louis Armstrong. When Hackett first came up he was briefly known as "the new Bix" because of the similarity in his approach to that of Bix Beiderbecke, but very soon he developed his own distinctive sound. Originally a guitarist (which he doubled on until the mid-'40s), Hackett performed in local bands, and by 1936 was leading his own group. He moved to New York in 1937, played with Joe Marsala, appeared at Benny Goodman's 1938 Carnegie Hall concert (recreating Beiderbecke's solo on "I'm Coming Virginia"), recorded with Eddie Condon, and by 1939 had a short-lived big band. Hackett played briefly with Horace Heidt, and during 1941-1942 was with Glenn Miller's Orchestra, taking a famous solo on "String of Pearls." Next up was a stint with the Casa Loma Orchestra, and then he became a studio musician while still appearing with jazz groups. Hackett was a major asset at Louis Armstrong's 1947 Town Hall Concert, in the 1950s he was a star on Jackie Gleason's commercial but jazz-flavored mood music albums, and he recorded several times with Eddie Condon and Jack Teagarden. During 1956-1957, Hackett led an unusual group that sought to modernize Dixieland (using Dick Cary's arrangements and an unusual instrumentation), but that band did not catch on. Hackett recorded some commercial dates during 1959-1960 (including one set of Hawaiian songs and another in which he was backed by pipe organ), he worked with Benny Goodman (1962-1963); backed Tony Bennett in the mid-'60s; co-led a well-recorded quintet with Vic Dickenson (1968-1970); and made sessions with Jim Cullum, the World's Greatest Jazz Band, and even Dizzy Gillespie and Mary Lou Williams, remaining active up until his death. Among the many labels Bobby Hackett recorded for as a leader were Okeh (reissued by Epic), Commodore, Columbia, Epic, Capitol, Sesac, Verve, Project 3, Chiaroscuro, Flying Dutchman, and Honey Dew. ~ Scott Yanow https://www.allmusic.com/artist/bobby-hackett-mn0000077698/biography

Plays The Music Of Bert Kaempfert

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Ralph Bowen - Ralph Bowen

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 64:21
Size: 148,0 MB
Art: Front

(5:33)  1. Cache Cache
(6:16)  2. A Rookery Of Ravens
(6:28)  3. A Leap Of Leopards
(6:56)  4. A Pandemonium Of Parrots
(8:13)  5. A Flamboyance Of Flamingos
(8:47)  6. A Venue Of Vultures
(4:53)  7. A Cast Of Crabs
(5:24)  8. Aye
(6:16)  9. Picadilly Lily
(5:29) 10. Search For Peace

Saxophonist extraordinaire Ralph Bowen takes everyone back to school and puts on a master class displaying his exceptional knowledge of everything jazz. With a tour de force collection of hard hitting performances, Bowen s sixth release for Posi-Tone features the happening rhythm section of pianist Jim Ridl, bassist Kenny Davis, and drummer Cliff Almond. All of the musicians in the band do some heavy lifting behind the sensational melodicism and harmonic inventions of Bowen s impressive program of compositions and arrangements. From the opening downbeat, through the six part suite, to the final salvo, Bowen keeps the music moving steadily straight forward as he confidently displays his effortless mastery as an expressive and  unparalleled instrumentalist. We are confident that Ralph Bowen's new musical message will surely delight the ears of serious listeners and bring a joyous shout to jazz fans everywhere. ~ Editorial Reviews  https://www.amazon.com/Ralph-Bowen/dp/B072ZP4GG5

Personnel:  Ralph Bowen, tenor sax;  Jim Ridl, piano;  Kenny Davis, bass;  Cliff Almond, drums

Ralph Bowen

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