Nana Mouskouri - The Best Of Nana Mouskouri

Bitrate: MP3@320K/s
Time: 52:02
Size: 119.1 MB
Styles: Easy Listening, Vocal
Year: 1991/2006
Art: Front

[3:21] 1. Plaisir D'amour
[2:40] 2. Fields Of Love
[2:37] 3. The White Rose Of Athens
[2:45] 4. The Queen Of Hearts
[2:49] 5. Turn On The Sun
[4:09] 6. Come And Sing
[3:38] 7. I Have A Dream
[4:14] 8. Bridge Over Troubled Water
[3:22] 9. Love Me Tender
[3:58] 10. And I Love You So
[3:08] 11. Try To Remember
[3:37] 12. Day Is Done
[4:25] 13. Amazing Grace
[4:01] 14. Song For Liberty
[3:09] 15. Ta Pedia Tou Pirea

Globally speaking, Nana Mouskouri is the biggest-selling female artist of all time. Her fluency in multiple languages -- Greek, French, English, Spanish, Italian, Portuguese -- enabled her to reach audiences all over Europe, the Americas, and even Asia. Possessed of a distinctive, angelic soprano -- the product of having been born with only one vocal cord -- Mouskouri was sometimes described as Europe's answer to Barbra Streisand. Her repertoire was varied enough to support the universal appeal she aimed for: jazz standards, well-known pop tunes from before and after the rock era, French cabaret chansons, movie songs, classical and operatic repertory, religious music, folk songs from her native Greece and elsewhere, and more. Television ads for Mouskouri collections (a major North American marketing tool) leave the impression that her chief strength was interpreting familiar songs in that lovely voice; however, her early fame in Europe was built largely on songs written for and associated with her, most notably her first hit, "The White Rose of Athens." She was particularly successful in her eventual adopted home of France, where her trademark large black glasses were viewed as highly unorthodox visual style. Mouskouri recorded steadily from the 1960s into the new millennium, tailoring specific releases to specific international markets with tremendous success. ~Steve Huey

The Best Of Nana Mouskouri

---

Wolfgang Haffner - Kind Of Spain

Bitrate: MP3@320K/s
Time: 48:31
Size: 111.1 MB
Styles: Contemporary jazz
Year: 2017
Art: Front

[1:14] 1. For Vince & Arif
[4:20] 2. Pasodoble
[4:23] 3. El Faro
[4:00] 4. Children Of Sanchez
[4:27] 5. Tres Notas Para Decir Te Quiero
[4:18] 6. El Vito
[4:44] 7. El Chaos
[3:59] 8. Concierto De Aranjuez
[1:10] 9. Tapies
[3:50] 10. Salinas
[5:12] 11. Recuerdos De La Alhambra
[2:41] 12. Spain
[4:07] 13. Capricho Arabe

Wolfgang Haffner / drums; Jan Lundgren / piano; Sebastian Studnitzky / trumpet; Daniel Stelter / guitar; Christopher Dell / vibraphone; Lars Danielsson / bass. Recorded by Arne Schumann at Hansa Studios Berlin, January 21 & 22, 2017.

Following on from the successful 1950’s cool jazz and bop excursions in “Kind of Cool”, “Kind of Spain” is again with an 100% acoustic band. Traditional Spanish music meets jazz. The vibe created by this sextet is introvert, warm and atmospheric, and the listener’s mind might easily drift off… to a roof terrace somewhere in Granada by night, perhaps.

Kind Of Spain

---

Nat King Cole - A Mis Amigos

Bitrate: MP3@320K/s
Time: 27:58
Size: 64.0 MB
Styles: Vocal, Easy Listening
Year: 1959/2009
Art: Front

[2:14] 1. Ay, Cosita Linda
[2:09] 2. Aquellos Ojos Verdes
[2:19] 3. Suas Maos
[2:25] 4. Capullito De Aleli
[1:51] 5. Caboclo Do Rio
[1:56] 6. Fantastico
[2:31] 7. Nadie Me Ama (No One Loves Me)
[2:20] 8. Yo Vendo Unos Ojos Negros
[2:17] 9. Perfidia
[2:09] 10. El Choclo
[3:25] 11. Ansiedad
[2:15] 12. Nao Tenho Lagrimas

Nat King Cole's first foray into singing in Spanish, Cole Español, was successful enough to lead to this follow-up, on which a slightly different approach was taken. For Cole Español, Capitol Records imported instrumental tracks recorded in Cuba and had Cole sing over them, having learned the lyrics phonetically. A Mis Amigos, however, was recorded in Rio de Janeiro during Cole's South American tour of 1959, with Brazilian musicians in the studio alongside the singer. That, the benefit of experience, and the reception his concerts were receiving may have helped improve his performances. He still didn't have much feeling for Spanish (or, in three instances, Portuguese), but some of the material was more familiar to him, notably "Aquellos Ojos Verdes," better known in the U.S. as the Jimmy Dorsey hit "Green Eyes," and "Fantastico," a specially written number brought in by American songwriters Jack Keller and Noel Sherman. ~William Ruhlmann

A Mis Amigos

---

Ingrid James - Essence

Bitrate: MP3@320K/s
Time: 77:38
Size: 177.7 MB
Styles: Jazz vocals
Year: 2005
Art: Front

[ 7:54] 1. You Don't Know What Love Is
[ 5:09] 2. I'm Old Fashioned
[ 7:05] 3. All Night Long
[ 7:41] 4. Love For Sale
[ 9:56] 5. I Thought About You
[ 7:37] 6. My Funny Valentine
[ 4:18] 7. But Not For Me
[11:24] 8. Chega De Saudade (No More Blues)
[ 6:21] 9. East Of The Sun
[10:08] 10. What A Difference A Day Makes

Award-winning jazz vocalist and educator in Queensland, Australia with an extensive history of performance throughout Australia and internationally. Highlights of her career include national television appearances & performances with the Queensland Symphony and Philharmonic Orchestras at the Queensland & Gold Coast Performing Arts Centres to intimate duos, trios, quartets or quintets at Festivals, Jazz Clubs and corporate events around Australia, together with appearances in London at Ronnie Scotts, 606 Club, Pizza Express Jazz Club, Spice of Life along with performances in Paris, Monte Carlo, Nice, Marseilles, Toulon and Prague and other venues throughout Europe. Ingrid also is currently performing in the Brisbane Contemporary Jazz Orchestra (19 piece) big band (MD: David Humphreys) and has a joint project with long time musical collaborator Louise Denson titled “Wild Silk Strings Project”.

Music critic Alan Bargebuhr in New York's Cadence Magazine described Ingrid's CD “Essence” as a probable candidate for his Best 10 list in 2005. Other reviewers acknowledge the heartfelt warmth and intimate style that characterize her performances. Tony Backhouse from New Zealand says "Ingrid James floats and swings effortlessly through the changes with a tone of honey. As well as great technique, there's an engaging warmth to her delivery like a close friend smiling at you". David Bentley, music journalist says "You've probably heard these songs before - but never like this. Thoughtful, inventive and, above all, swinging, Ingrid squeezes every line for nuance and meaning. The impeccable phrasing and accurate intonation come almost as a bonus." Scott Yanow (Author of The Jazz Singers, The Great Jazz Guitarists, Jazz on Film and Jazz on Record 1917-1976) says “Ingrid is one of the top jazz singers from Australia…has a beautiful voice, a wide range, and the ability to sing difficult intervals with ease, hitting every note perfectly in-tune. She is an original improviser, always swings, and is skilled at embracing lyrics that she believes in”. Steve Robertson from Australia’s Portland Observer 2012 and Radio Presenter says “Ingrid is a singer whose note-perfect delivery and depth of lyrical expression has elevated her into the elite of Australia’s musical talents”. And after touring and recording with Downbeat’s 7 time Trombonist of the Year winner, Bill Watrous noted “If this were the 50’s Jazz era, Ingrid James would be performing alongside other greats such as Ella Fitzgerald and Billie Holiday. She is by far one of the best jazz vocalists I have ever worked with”.

Essence

---

Louis Smith - Louisville

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 60:16
Size: 139,8 MB
Art: Front

(7:08)  1. Buzzy
(6:52)  2. Isfahan
(6:38)  3. Algo Bueno
(8:19)  4. I'll Close My Eyes
(7:46)  5. Ande
(6:35)  6. For All We Know
(8:06)  7. Days Of Wine And Roses
(8:49)  8. Scrapple From The Apple

Louis Smith’s Louisville (Steeplechase) is a no-frills, straightahead exercise in postbop. Smith and altoist Jon Gordon provide an excellent front line, with tight playing on heads, backed effectively by pianist Michael Cochrane, bassist Calvin Hill and drummer Jeff Hirshfield. The tune selections show imagination, from the neglected (Charlie Parker’s “Buzzy”) to the familiar (“Scrapple From the Apple”) to the in-between (Dizzy Gillespie’s “Algo Bueno,” better known as “Woody ‘n’ You”). Smith has a penchant for ballads with interesting changes (“For All We Know” and “I’ll Close My Eyes”), including a reverent reading of Billy Strayhorn’s lovely “Isfahan.” The lone original is Smith’s “Ande,” an uptempo reworking of the changes to “Indiana” that allows him to show that at 73 he’s lost none of his fluidity, none of his improvisational skill and none of his ability to swing at any tempo. ~ Harve Siders https://jazztimes.com/reviews/briefs/louis-smith-quintet-louisville/ 

Personnal: Louis Smith (trumpet); Jon Gordon (alto saxophone); Michael Cochrane (piano); Calvin Hill (bass); Jeff Hirshfield (drums).

Louisville

---

Karin Krog & Bergen Big Band - Seagull

Styles: Vocal, Swing
Year: 2005
File: MP3@320K/s
Time: 56:38
Size: 130,3 MB
Art: Front

(3:08)  1. Sweet Talker
(4:12)  2. La Calada
(3:35)  3. Lament
(4:10)  4. My Shining Hour
(7:29)  5. The Seagull
(4:51)  6. Northern Sun
(3:52)  7. Don't Get Around Much Anymore
(4:45)  8. Jubilee
(4:21)  9. Canto Mai
(6:24) 10. Don't Just Sing
(5:36) 11. Angel Eyes
(4:09) 12. You'd Better Love Me

Norwegian singer Karin Krog is best known in more avant-garde settings, so this big band session of standards came as a surprise. The experience grew more and more pleasant as the music progressed Krog's conversational delivery is engaging and her obvious joy in the music is infectious. Approaching 70, Krog is as energetic and as thoughtful as ever; while her experimental work may be better, this new disc sports many fine arrangements, some convicted playing and a lot of fun. The Bergen Big Band is full of life, contributing too many fine solos to mention here. Little prepared me, though, for "Angel Eyes, which rumbles into frantic action, only to subdue immediately into angst-ridden reflection. "Try to think that love's not around still, it's uncomfortably near, Krog intones, even scarier than Patty Waters, to whom she owes a blatantly obvious debt. The arrangement is different than anything else on the disc, starkly individual and unnerving. Of course, it could be by none other than Don Ellis, and the ease with which he juxtaposes traditional harmonies and weird dissonances speaks to his mastery, British reedsman John Surman's excellent direction, and the fine musicianship of all involved. While "Angel Eyes makes the disc for me, repeated listening reveals many great moments. There's something here for every jazz listener, and the fine playing and singing transcend any stylistic disunity caused by the diverse material. ~ Marc Medwin https://www.allaboutjazz.com/seagull-bergen-big-band-grappa-review-by-marc-medwin.php

Personnel: Karin Krog: vocals; Bergen Big Band.

Seagull

---

Ira Sullivan - Blue Stroll

Styles: Saxophone And Trumpet Jazz 
Year: 1959
File: MP3@320K/s
Time: 54:20
Size: 125,6 MB
Art: Front

( 6:07)  1. Wilbur's Tune
( 6:44)  2. My Old Flame
( 5:56)  3. Blue Stroll
( 7:28)  4. 63rd Street Theme
(19:50)  5. Bluzinbee
( 8:13)  6. Wilbur's Tune (alternate)

Many years have passed since Ira Sullivan, who turned 80 on May 1, 2011, left Chicago. The multi-hornman moved to Florida in the early '60s, and he never moved back to the Windy City. But Sullivan was so revered on the Chicago jazz scene of the '50s that local musicians still associate him with Chi-Town after all these years. Sullivan was still living in Chicago when, in 1959, he recorded Blue Stroll, an excellent hard bop date that united him with tenor saxophonist Johnny Griffin, pianist Jodie Christian, bassist Victor Sproles, and drummer Wilbur Campbell. The musicians' rapport is as strong on "Wilbur's Tune" (Delmark's CD version offers both the six-minute master take and an eight-minute alternate take), "63rd Street Theme," and the title track as it is on the Sam Coslow/Arthur Johnston standard "My Old Flame," which is the album's lone ballad. Sullivan plays no less than four different instruments on this CD: trumpet, alto sax, baritone sax, and the peck horn. In fact, he solos on all four instruments on "Bluzinbee," an exuberant 19-minute jam that finds Griffin making rare appearances on the alto and baritone saxes. Griffin, of course, is best remembered for his big-toned tenor playing, and hearing him solo on alto and baritone is a pleasant surprise (much like Charlie "Bird" Parker's appearances on tenor in 1947 and 1953 or Jackie McLean's tenor playing on his 1957 session A Long Drink of the Blues). Many of Chicago's bop musicians have lamented Sullivan's decision to move to Florida and wish he had never left Chi-Town; listening to the rewarding Blue Stroll, it isn't hard to understand why they feel that way. ~ Alex Henderson https://www.allmusic.com/album/blue-stroll-mw0000269751

Personnel: Ira Sullivan (alto saxophone, tenor saxophone, baritone saxophone, trumpet); Johnny Griffin (saxophone, alto saxophone, tenor saxophone, baritone saxophone); Jodie Christian (piano); Wilbur Campbell (drums).    

Blue Stroll

---

Courtney Pine - House of Legends

Styles: Flute And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 55:44
Size: 127,9 MB
Art: Front

(2:22)  1. The Tale of Stephen Lawrence
(4:48)  2. Kingstonian Swing
(5:07)  3. Liamuiga (Cook Up)
(6:23)  4. Samuel Sharpe
(5:15)  5. Ca C'est Bon Ca
(4:34)  6. Claudia Jones
(5:49)  7. Song of the Maroons
(6:46)  8. House of Hutch
(5:30)  9. From the Father to the Son
(4:52) 10. Ma-Di-Ba
(4:13) 11. Tico Tico

Though multi-reedist Courtney Pine has been playing soprano for almost 30 years, this is the first occasion he's recorded an entire album with the instrument. Following his bass clarinet adventures on the European roots album Europa (Destin-E, 2011) it's clear that the modern British jazz legend doesn't tire of setting himself new challenges. Taking as his inspiration the roots of the British Afro-Caribbean community, Pine visits calypso, soca, zouk, reggae and South African rhythms in a joyous dance party that's liberally infused with his electrifying be-bop lines. Pine's music has mostly always had a contemporary urban accent, yet albums such as the aforementioned Europa, Transition in Tradition (Destin-E Records, 2009) which traced jazz's roots and now House of Legends suggest that of late he's found greater inspiration in the past than in the hip-hop, jungle and drum 'n' bass that's colored much of his discography. Pine previously explored his Jamaican roots on the reggae-inspired jazz of Closer to Home (Mango, 1992), but there's a greater stylistic breadth and an infectious exuberance on display here. House of Legend can also be seen as an extension of the Jazz Warriors' Out Of Many, One People (Island, 1987), which celebrated the UK's Afro-Caribbean jazz talent. It's also a posthumous and heartfelt dedication to some of the UK's most important jazz musicians and composers trumpeter Harry Beckett, saxophonists Sir John Dankworth, Andy Hamilton and Lol Coxhill, and London-based American trumpeter/vocalist Abram Wilson who succumbed to cancer at the tragically early age of 38 in 2012. Pine has never made any bones about his musical debts, though "Ca C'est Bon Ca" bears such close resemblance to saxophonist Sidney Bechet's "Petite Fleur" that the New Orleans jazz pioneer surely deserves a co-writing credit.

And, as a celebration of the 50th anniversary of Jamaica's independence, House of Legend is another socially and politically conscious recording in the vein of Afropeans (Destin-E Records, 2008), a rousing live recording that marked the 200th anniversary of the Abolition of the Slave Trade Act. Several of the compositions here are similarly inspired by black historical figures, activists and victims alike, but with the exception of "The Tale of Stephen Lawrence" a duet between Pine and pianist Mervyn Africa that serves as a poignant eulogy to British teenager Lawrence, horrifically murdered in a racist attack the music is upbeat and celebratory in tone. Trombonist Trevor Edwards and trumpeter Mark Crown sound the reveille to the party on "Kingstonian Swing." Pianist Mario Canonge, guitarist Cameron Pierre and bassist Miles Danso provide the ska rhythms and accents, as Pine unfurls a fast yet melodic solo. A short slice of dub reggae serves as a breather before Crown solos with equal panache. "Liamuiga (Cook Up)" is a melodically appealing calypso reminiscent of Sonny Rollins; Annise Hadeed's steel pan brings the sunny flavor of the Caribbean to the mix and there's joy too in Pierre's fluid lines. It's Pine's wildly exuberant solo, however, that really steals the show. It doesn't all work so well. "Samuel Sharpe" sounds like a disco version of the Star Trek theme and Pine's use of EWI has the unwelcome effect of converting this homage to the former Jamaican slave-turned-protester into cheesy, hotel-synthesizer kitsch. Drummer Rod Youngs' metronomic beat has a programmed feel that does little to dispel the notion of a one-man synthesizer show. Surprisingly, given the range of styles Pine visits on House of Legends the music is often rhythmically unchallenging and the predictable beat on a number of tracks can become a little monotonous.

The calypso jaunt "Claudia Jones" skips along at a breezy pace with standout solos from Pierre and Pine. The native Indian intro to "Song of the Maroons" conjured by Michael Bammi Rose's flute, bass drum and hand-held cymbals/shakers gives way to an uplifting melody driven by strummed guitar. Rose and Pine's solos are joyful expressions of play. "House of Hutch" and "From Father to Son" continue the party vein. The former features a swinging, Latin-tinged piano solo from Canonge and another breathless torrent of notes from Pine that raises the temperature. The latter tune another calypso-influenced number pits Pine and veteran trumpeter Eddie Tan Tan Thornton together in a passionate give-and-take. "Ma-Di-Ba" fuses infectious melody and groove in a celebration of Nelson Mandela and South Africa's stirring music of the townships. Pine saves the most frenetic to last a double time meringue take on "Tico Tico." Pierre, Canonge and the leader each contribute solos on a full-throttle rendition that provides a rousing group exclamation, and one that can only be followed by someone pulling the plug. Pine doesn't set out to reinvent the wheel on his latest roots adventure, though he does give some of his finest solos yet committed to record, surely stretching the reach of the soprano saxophone to its limits. House of Legends may not be the most innovative or progressive recording Pine has ever done, but it's certainly the most enjoyable. ~ Ian Patterson https://www.allaboutjazz.com/courtney-pine-house-of-legends-by-ian-patterson.php

Personnel: Courtney Pine; soprano sax (1-11), EWI (4), alto flute (7); Mervyn Africa: acoustic piano (1); Mark Crown: trumpet (2); Trevor Edwards: trombone (2-3, 8); Rico Rodriquez: trombone (2); Mario Canonge: acoustic piano (2-6, 8-9); Cameron Pierre: electric guitar: (2-4, 6, 8-9), acoustic guitar (5, 7), banjo (7); Miles Danso: double bass (2-11); Rod Youngs: drums (2-11); Annise Hadeed: steel pan (3-4, 6-7, 9); Ellen Blair: violin (5); Natalie Taylor: viola (5); Amanda Drummond: viola (5); Jenny Adejayan: cello (5); Michael Bammi Rose: flute (7); Dominic Grant: acoustic guitar (7); Eddie Tan Tan Thornton: trumpet (9); Claude Deppa: flugelhorn (10); Lucky Ranku: electric guitar (10).

House of Legends

---

McCoy Tyner - Paris Bossa

Styles: Piano Jazz
Year: 1970
File: MP3@320K/s
Time: 40:06
Size: 91,9 MB
Art: Front

(21:37)  1. Atlantis
(18:29)  2. Sahara Love Bossa

This concert in Paris features the pianist with saxophonist Azar Lawrence, bassist Joony Booth, drummer Wilby Fletcher, and percussionist Guilhermo Franco, probably recorded around the same time as Atlantis instead of the 1970 date given on the CD jacket. It consists of two long numbers: the rather mystical "Atlantis," which sounds like something Sun Ra could have composed, and a rapid-fire take of Tyner's "Love Samba," which is mislabeled "Sahara Love Bossa," implying this release is a bootleg. Although the sound is good in places, the poor mix (which is far too percussive and often relegates Tyner's thunderous piano to the background) makes this release one for completists, with the CD Atlantis recommended in its place. ~ Ken Dryden https://www.allmusic.com/album/paris-bossa-mw0000618225 

Personnel: Piano – McCoy Tyner; Bass – Judy Booth; Drums – Wilby Blaine Fletcher; Percussion – Antonio Guilhermo De Sousa Franco;  Tenor Saxophone, Soprano Saxophone – Azar Lawrence

Paris Bossa

---

Marlene VerPlanck - I Like To Sing!

Styles: Vocal Jazz 
Year: 1984
File: MP3@320K/s
Time: 60:44
Size: 141,3 MB
Art: Front

(2:33)  1. I Like To Sing!
(2:47)  2. Highly Emotional State
(3:57) 3. Medley  It Could Happen To You Love Walked In
(2:42)  4. Here I Go Again
(2:58)  5. Let Yourself Go
(4:32)  6. All The Things You Are
(2:52)  7. Here's That Sunny Day
(4:05)  8. (I Think Of You) With Every Breath I Take
(1:45)  9. All Or Nothing At All
(3:19) 10. Incurably Romantic
(2:47) 11. The One I Love Belongs To Somebody Else
(2:37) 12. Instead Of Saying Goodbye
(4:02) 13. The Man That Got Away
(2:35) 14. Song On The Sand
(2:29) 15. Where Am I Going
(4:23) 16. Don't Worry 'bout Me
(3:57) 17. That's How I Love The Blues
(3:48) 18. Guess I'll Hang My Tears Out To Dry
(2:27) 19. Just One Of Those Things

Marlene Ver Planck paid tribute to the great American songbook. Ver Planck, who grew up in Newark, NJ, listening to Frank Sinatra and Ella Fitzgerald on WNEW radio, collaborated throughout her long career with her husband, arranger, composer, and conductor Billy Ver Planck. Her 2000 CD, My Impetuous Heart (DRG), her 17th album, reunited her with some old friends, including jazz pianist Hank Jones and special guests jazz pianists George Shearing and Marian McPartland and guitarist Bucky Pizzarelli. Ver Planck's career was a long string of success stories, which showcased her as a versatile singer with a gorgeous, pliable voice that knew how to tell a story.

She started singing at age 19. Her career stretched back to the '50s when she worked with Tex Beneke and Charlie Spivak. Her first big break came in 1955 when she teamed up with pianist Hank Jones, flutist Herbie Mann, trumpeter Joe Wilder, bassist Wendell Marshall, and drummer Kenny Clarke on I Think of You with Every Breath I Take on Savoy Records. She met her husband while performing with Charlie Spivak's band, then both moved over to the Dorsey Brothers Orchestra. Tommy Dorsey died in 1956, so the Ver Plancks decided to stay in New York City to pursue studio work with the likes of Frank Sinatra, Perry Como, Tony Bennett, Antonio Carlos Jobim, Blood Sweat and Tears, and Kiss. Millions of people outside the jazz world first heard Ver Planck's voice, though, doing jingles in the '60s : "Weekends were made for Michelob/Yeah!" and "Winston tastes good like a cigarette should!" and "Mmm good/mm-mm good/that's what Campbell's Soups are/mm mm good." After thousands of commercial jingles and hours and hours of studio session work in New York, the Ver Plancks decided to settle down in their house in Clifton, NJ, and began performing and recording together.

Their first recording together was A Breath of Fresh Air, arranged, produced, and conducted by Billy Ver Planck in 1968. In 1976, Marlene Ver Planck hooked up with North Carolina-based composer/pianist Loonis McGlohon, who hired her to do two installments of a radio show he co-hosted called Alec Wilder's American Popular Song. Afterwards, she recorded Marlene Ver Planck Sings Alec Wilder, and later, after Wilder's death, she appeared on the radio show The American Popular Singers, co-hosted by McGlohon and opera singer Eileen Farrell. Ver Planck performed at Carnegie Hall, Michael's Pub, and the Rainbow Room in New York City. She appeared on Entertainment Tonight, The Today Show, and CBS's Sunday Morning. In The Digital Mood, featuring Ver Planck, Mel Torme, and Julius La Rosa with the Glenn Miller Orchestra, became the first big band CD to go gold in the '90s. Ver Planck planned to record again in late 2001 in tribute to her love for the music of Irving Berlin, George Gershwin, Jerome Kern, and Cole Porter. ~ Robert HicksMarlene Ver Planck paid tribute to the great American songbook. Ver Planck, who grew up in Newark, NJ, listening to Frank Sinatra and Ella Fitzgerald on WNEW radio, collaborated throughout her long career with her husband, arranger, composer, and conductor Billy Ver Planck. Her 2000 CD, My Impetuous Heart (DRG), her 17th album, reunited her with some old friends, including jazz pianist Hank Jones and special guests jazz pianists George Shearing and Marian McPartland and guitarist Bucky Pizzarelli. Ver Planck's career was a long string of success stories, which showcased her as a versatile singer with a gorgeous, pliable voice that knew how to tell a story.

She started singing at age 19. Her career stretched back to the '50s when she worked with Tex Beneke and Charlie Spivak. Her first big break came in 1955 when she teamed up with pianist Hank Jones, flutist Herbie Mann, trumpeter Joe Wilder, bassist Wendell Marshall, and drummer Kenny Clarke on I Think of You with Every Breath I Take on Savoy Records. She met her husband while performing with Charlie Spivak's band, then both moved over to the Dorsey Brothers Orchestra. Tommy Dorsey died in 1956, so the Ver Plancks decided to stay in New York City to pursue studio work with the likes of Frank Sinatra, Perry Como, Tony Bennett, Antonio Carlos Jobim, Blood Sweat and Tears, and Kiss. Millions of people outside the jazz world first heard Ver Planck's voice, though, doing jingles in the '60s : "Weekends were made for Michelob/Yeah!" and "Winston tastes good like a cigarette should!" and "Mmm good/mm-mm good/that's what Campbell's Soups are/mm mm good." After thousands of commercial jingles and hours and hours of studio session work in New York, the Ver Plancks decided to settle down in their house in Clifton, NJ, and began performing and recording together.

Their first recording together was A Breath of Fresh Air, arranged, produced, and conducted by Billy Ver Planck in 1968. In 1976, Marlene Ver Planck hooked up with North Carolina-based composer/pianist Loonis McGlohon, who hired her to do two installments of a radio show he co-hosted called Alec Wilder's American Popular Song. Afterwards, she recorded Marlene Ver Planck Sings Alec Wilder, and later, after Wilder's death, she appeared on the radio show The American Popular Singers, co-hosted by McGlohon and opera singer Eileen Farrell. Ver Planck performed at Carnegie Hall, Michael's Pub, and the Rainbow Room in New York City. She appeared on Entertainment Tonight, The Today Show, and CBS's Sunday Morning. In The Digital Mood, featuring Ver Planck, Mel Torme, and Julius La Rosa with the Glenn Miller Orchestra, became the first big band CD to go gold in the '90s. Ver Planck planned to record again in late 2001 in tribute to her love for the music of Irving Berlin, George Gershwin, Jerome Kern, and Cole Porter. ~ Robert Hicks  https://itunes.apple.com/tt/album/i-like-to-sing!/id826388231

Personnel:  Vocal - Marlene Ver Planck;  Bass – Jay Leonhart;  Drums – Luther Rix;  Piano – Ben Aronov

I Like To Sing!

---

Dexter Gordon - Our Man in Amsterdam

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 79:09
Size: 181,5 MB
Art: Front

(12:49)  1. Fried bananas
( 9:45)  2. What's new
(14:25)  3. Good Bait
( 8:57)  4. Rhythm-a-ning
(11:00)  5. Willow weep for me
(12:19)  6. Junior
( 9:50)  7. Scrapple from the apple

Our Man in Amsterdam

---

Joel Weiskopf - The Message

Styles: Piano Jazz

Year: 2017

File: MP3@320K/s

Time: 68:46

Size: 157,8 MB

Art: Front

(6:31)  1. Victory March

(6:01)  2. Song for Karla

(8:45)  3. The Original Search

(8:15)  4. Temporary Estrangement

(5:21)  5. Happy Time

(9:35)  6. It Might as Well Be Spring

(7:40)  7. Another Chance Today

(9:28)  8. Lml

(7:06)  9. The Message

Pianist Joel Weiskopf has been making records for a number of years but with each recent release, he seems to be honing his craft even more able to balance darkness and light with effortless ease, but often in a way that never calls too much attention to itself, or to its maker! There's a subtle sort of brilliance going on here a way of working things under the surface, which is offset by some of the bolder lines from tenorist Rob Scheps, who also plays a bit of soprano sax on the record and illuminates the sound nicely, often in contrasting ways with Weiskopf! Joel's not afraid to hit a few more sensitive, lyrical moments, but can shift gears easily too which he seems to do especially well when urged on by the bass of Joe Fitzgerald and bass of Marcello Pellitteri. Titles include "LML", "The Message", "Song For Karla", "The Original Search", "Temporary Estrangement", "Another Chance Today", and "Victory March".  © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/861589/Joel-Weiskopf:Message

Personnel:  Joel Weiskoff piano;  Rob Scheps tenor & soprano saxophone;  Joe Fitzgeraldd bass;  Marcello PellitteriI drums

The Message

---

Dick Oatts - Use Your Imagination

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 61:01
Size: 140,4 MB
Art: Front

(8:24)  1. Yesteryear
(8:39)  2. Do Da Day
(7:18)  3. Speaking Relative
(7:28)  4. Como Uno
(7:04)  5. Lossofyou
(7:07)  6. Use Your Imagination
(9:34)  7. Mideast Midwest
(5:23)  8. Game Show

Dick Oatts has a wonderful group here  a well-chosen quintet of musicians who really seem to open up the possibilities in each others' sound, especially when it comes to tone, texture, and color! Oatts is always great his raspy alto is deft, but always very personal too and it's offset here by the sparkling trumpet of Joe Magnarelli, who seems to be exploring a lot of fresh territory on the mostly-original tunes provided for the album by Dick. 

Pianist Anthony Wonsey blocks things out strongly with his work on the keys bringing in a soulful, stepping vibe that's mighty nice  before soaring out on his own solos too. And bassist Ugonna Okegwo rounds out the snapping rhythms provided by drummer Chris Smith making for a pair who's sense of timing really inspires the others. Titles include "Como Uno", "Speaking Relative", "Do Da Day", "Yesteryear", "Lossofyou", and "Midwest Mideast".  © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/861588

Personnel:  Dick Oatts - alto saxophone;  Joe Magnarelli - trumpet;  Anthony Wonsey - piano;  Ugonna Okegwo - bass;  Chris Smith - drums.

Use Your Imagination

---

Lanny Morgan - The Lanny Morgan Quartet

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 62:27
Size: 145,5 MB
Art: Front

(4:49)  1. Flash
(7:01)  2. Subconscious Lee
(8:34)  3. Strollin'
(5:08)  4. Cherokee
(8:49)  5. Joy Spring
(7:55)  6. You've Changed
(6:15)  7. Minority
(7:45)  8. Bloomdido
(6:07)  9. After You've Gone

Altoist Lanny Morgan, despite being a very talented bop-based improviser and a greatly in-demand sideman, has had relatively few opportunities to record as a leader through the years -- only two. This quartet set with pianist Tom Ranier, bassist Bob Maize, and drummer Frankie Capp is his definitive recording. Morgan is in particularly creative and fiery form on such songs as "Subconscious Lee," "Bloomdido," "After You've Gone," and a song he practically owns, "Cherokee." None of the nine tunes (eight jazz standards plus Tom Garvin's "Flash") are throwaways and this is a CD highly recommended to bop fans.  ~ Scott Yanow https://www.allmusic.com/album/the-lanny-morgan-quartet-mw0000177852  

Personnel:  Alto Saxophone – Lanny Morgan;  Bass – Bob Maize;  Drums – Frank Capp;  Piano – Tom Ranier       

The Lanny Morgan Quartet

---

Mark Growden - Saint Judas

Styles: Accordion And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 66:59
Size: 155,2 MB
Art: Front

(6:19)  1. Undertaker
(6:13)  2. Delilah
(3:25)  3. Saint Judas
(3:48)  4. If the Stars Could Sing
(7:04)  5. Been in the Storm So Long
(4:24)  6. I'm Your Man
(3:57)  7. Faith in my Pocket
(2:29)  8. Everybody Holds a Piece of the
(7:19)  9. Coyote
(3:00) 10. Handlebar Improvisation
(5:35) 11. Inside Every Bird
(9:21) 12. Take me to the Water
(3:57) 13. All The Pretty Little Horses

By now, Mark Growden is probably getting tired of the comparisons to Nick Cave and Tom Waits. While he certainly bears some resemblance to those artists  he shares Cave's penchant for drama and Waits' tendency to use unlikely combinations of instruments and junkyard percussion Growden is his own man. He's a stronger, more expressive singer than either Waits or Cave, and while his music is certainly rooted in blues and folk idioms, he also brings European jazz, gypsy music, and the sounds of German cabaret to the mix. The songs on Saint Judas have a cinematic feel and evolve slowly, drawing you into their dissolute world. The title track is an ominous tango that swings like mad, with Growden's accordion and Chris Grady's trumpet adding manic accents to the disjointed rhythms. "Been in the Storm to Long" is an old spiritual and Rev. Gary Davis borrowed the melody for "Death Don't Have No Mercy." Growden's take is a bluesy squall of trumpet and sax, with a wrenching, anguished vocal. "Faith in My Pocket" sounds like a traditional Appalachian lament as played by a drunken chamber group. Growden's banjo is played in and out of time, Alex Kelly's cello adds moaning accents, and Seth Ford Young's acoustic bass thumps like a broken heart. Growden and his band are expert at laying down dense, murky soundscapes with a dissonant edge that will make most listeners feel a bit unsettled. Growden's background is in jazz, new music, and theater, and in the spring of 2010, he was revamping the songs on Saint Judas for his first opera. Needless to say, this isn't a lighthearted album, but its themes of loss and limitation, dissolution and redemption, will strike a chord with those who like to walk on the dark side. ~ J. Poet https://www.allmusic.com/album/saint-judas-mw0001961573

Personnel: Mark Growden (banjo, accordion, baritone saxophone); Myles Boisen (electric guitar, lap steel guitar); Alex Kelly (cello); Chris Grady (trumpet, cornet, flugelhorn); Seth Ford Young (organ, upright bass); Jenya Chernoff (percussion).

Saint Judas

---

Kaori Kobayashi - Saxo Sentimental

Styles: Saxophone And Flute Jazz
Year: 2017
File: MP3@320K/s
Time: 66:21
Size: 152,6 MB
Art: Front

( 4:25)  1. Europa
( 4:35)  2. Energy
( 0:31)  3. Phantom Of The Opera
( 7:02)  4. Sunset Ocean
( 4:26)  5. Endless Love
( 7:44)  6. Sunshine
(10:11)  7. If You Want Me To Stay
( 4:46)  8. My Way
( 4:00)  9. The Bodyguard
( 6:31) 10. My Love For You
( 9:02) 11. Chicken
( 3:02) 12. Smooth Jazz

Saxophonist and flutist Musical composition and arrangement / producing.Kaori Kobayashi was born in October of 1981 in Kanagawa Prefecture. She grew up in Tokyo and is a graduate of Senzokugakuen Music University’s Jazz Course. She has released eight albums, one Greatest Hits album, one DVD of her live performance, as well as a collection of her own sheet music. She performs at music venues and at jazz festivals all over Japan, and makes appearances on many TV and radio programs. She has also released her CDs and has performed in Taiwan, South Korea, China and Thailand. She became a household name after her YouTube video “Nothing’s Gonna Change My Love for You” gained more than 5 million views and was widely picked up by newspapers and TV. 2005 February: Released her debut album “Solar” from JVC;  2011 August: Fan clubs were created in both Thailand and Taiwan. A meet-and-greet she held at a music venue in Taiwan was so crowded many fans could not get inside.  2011 February: Released her self-produced album “SEVENth”, which included works she had composed and arranged herself in Japan, Taiwan, South Korea, Singapore, and Hong Kong. The album topped the Jazz Charts for two weeks in a row in Taiwan. She also toured around North East Japan, visiting Ishinomaki and other affected sites of the Great East Japan Earthquake of 2011. 2012 January: Received “Most Beautiful Saxophonist in Asia” from the Thailand Sax Society. 2012 November: Held a successful solo concert in Hong Kong’s STAR HALL.  

2013 February: Released the R&B themed “Urban Stream”, her eighth studio album in Japan, Taiwan, Hong Kong, and Singapore. Placed #1 in the Taiwanese Jazz Charts for the third year in a row. 2013 March: Performed at the Java Jazz Festival, the biggest jazz festival in Asia, held in Jakarta, Indonesia. There, her performance was met with high praise and she made the front page of the local newspaper, alongside musicians such as Basia. 2013 October: Performed at the Taichung Jazz Festival, held in Taichung, Taiwan, and received a stating ovation from a crowd of 60,000. 2014 March: Invited by the Japanese Embassy to the National Cherry Blossom Festival in Washington DC. The next day, she performed at Blues Alley in front a full audience, her first show in the USA. 

2014 May: Released the 9th Self-produced J-pop themed album “SPIRIT” in Japan, Taiwan, Hong Kong, and Singapore. 2015 June: Released the 10th Anniversary album “STORY” in Japan and Asia. which includes 3 music numbers produced by Jamie Odell of the SHAKTAK Family. July perform in SAPPORO CITY JAZZ. September perform in TOKYO JAZZ. 2016 August : Released the11th  album “Melody”, covering the well known popular songs .Kaori is also participating as a sax player  in the band of such singers as Shigeru Izumiya and YukihideTakekawa, the artists representingJapan. http://kaorikobayashi.com/biographyeng

Saxo Sentimental

---

Frank Morgan - Bop!

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 62:41
Size: 143,8 MB
Art: Front

( 6:09)  1. Milano
( 6:21)  2. Well, You Needn't
( 9:14)  3. KC Blues
( 8:00)  4. Night In Tunisia
( 5:11)  5. Blue Monk
(11:25)  6. Half Nelson
( 6:32)  7. Lover Man
( 9:49)  8. 52nd Street Theme

Although all eight selections on this CD have been played many times before (the only song not a boppish warhorse is John Lewis' "Milano"), altoist Frank Morgan makes each of the pieces sound fresh. As producer John Snyder is quoted in the liner notes, this is bop without cliches. Morgan, who is assisted by pianist Rodney Kendrick, drummer Leroy Williams and either Curtis Lundy or Ray Drummond on bass, digs into such songs as "Well You Needn't," "A Night In Tunisia" and an 11 ½ minute version of "Half Nelson," coming up with some surprising twists and plenty of viable ideas. A fine effort. ~ Scott Yanow https://www.allmusic.com/album/bop-mw0000593991

?Personnel: Frank Morgan (alto saxophone); Rodney Kendrick (piano); Curtis Lundy, Ray Drummond (bass); Leroy Williams (drums).

Bop!

---

Louis Smith - Bopsmith

Styles: Trumpet Jazz
Year: 2001
File: MP3@256K/s
Time: 59:03
Size: 108,4 MB
Art: Front

( 4:41)  1. Val's Blues
( 8:37)  2. For Heaven's Sake
( 9:11)  3. The Way You Look Tonight
(10:26)  4. I Love You
( 8:10)  5. Ed's Love
(10:00)  6. A Ghost of a Chance
( 7:55)  7. Sweet Clifford

He’s one of the guys you probably never knew was still around. Trumpeter Louis Smith has become the stuff of legend, especially among Blue Note collectors who proudly cherish the two sets for the label that bear his name. In Michigan, where he currently resides, Smith is somewhat of a household name among jazz fans and he’s usually on hand for Detroit’s Ford International Jazz Festival. For many years now, the trumpeter has also been a favorite of SteepleChase producer Nil Winther and a sizable catalog of Smith led sessions have been the result, with The Bopsmith being the most recent.  Although past Smith SteepleChase sides have found him working with such names as Vincent Herring, Kenny Washington, George Cables, and Junior Cook, this may be one of the most finely integrated units to back Smith to date. Alto saxophonist Jon Gordon’s tart sound fits in ever so nicely with Smith’s decidedly bebop outlook, while pianist Michael Weiss provides the kind of tasty support that has made him a favorite accompanist to such performers as the incomparable Johnny Griffin. Finally, bassist Jay Anderson and drummer Joe Farnsworth form a tightly knit rhythm team that keeps things moving along properly.  No surprises here as to the material, with bop and standards the order of the day. Even Smith’s two originals, “Val’s Blues” and “Ed’s Love” (the title is a play on words involving the name of Detroit deejay Ed Love, although the liners don’t allude to this fact) are squarely in the mainstream. This is where one could pick a bone of contention if feeling inclined to do so. There’s a manner of similitude to much of the material that prevents this from becoming a five star affair, yet bop fans will still find much to enjoy and the individual contributions of the band members are definitely worth a listen. ~ C.Andrew Hovan https://www.allaboutjazz.com/the-bopsmith-louis-smith-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Louis Smith (trumpet); Jon Gordon (alto saxophone); Michael Weiss (piano); Joe Farnsworth (drums).

Bopsmith

---

Pat Metheny - Day Trip

Styles: Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 68:08
Size: 156,7 MB
Art: Front

(5:49)  1. Son Of Thirteen
(8:00)  2. At Last You're Here
(5:21)  3. Let's Move
(6:01)  4. Snova
(7:31)  5. Calvin's Keys
(4:36)  6. Is This America?
(9:08)  7. When We Were Free
(7:47)  8. Dreaming Trees
(4:50)  9. The Red One
(9:03) 10. Day Trip

While the trio format isn't new to guitarist Pat Metheny, Day Trip does represent a number of firsts. And with only one minor quibble, if it's not the best trio record he's released since Bright Size Life (ECM, 1976), it's pretty darn close. It's his first trio record to consist of all-original material. And, with the exception of the simmering waltz "When We Were Free," from Pat Metheny Group's Quartet (Nonesuch, 1996) and the rock/reggae-tinged "The Red One," from I Can See Your House from Here (Blue Note, 1994), Metheny's collaboration with John Scofield, the remaining eight tunes appear on a Metheny album for the first time. True, the bossa nova-inflected "Snova" and fierier "Son of Thirteen" first surfaced on Alex Sipiagin's Returning (Criss Cross, 2005); but these stripped down but no less harmonically rich versions contrast with the trumpeter's twin-horn quintet takes, opening up in completely different ways, especially on "Snova," where Metheny's warm, hollow-body electric creates a more expansive feel than Adam Rogers' nylon-string acoustic on Sipiagin's version. Day Trip and Returning are also linked by the common element of Antonio Sanchez who, appearing here and with Metheny on last year's reunion tour with Gary Burton, is the first Metheny Group drummer recruited by the guitarist for a variety of other projects. It's no surprise that the ever-flexible and vibrant Sanchez is Metheny's drummer of choice these days. 

He may bristle with energy on the knotty and high-speed "Let's Move," but he's equally capable of gentle brushwork on the Americana-informed "Is This America? (Katrina 2005)," further evidence of Metheny's innate ability to write lyrical and instantly memorable song forms.  Bassist Christian McBride fleshes out the group and, while one hesitates to draw comparisons to illustrious bassists in previous Metheny trios, he's undeniably the perfect closing side to this equilateral triangle. His robust tone anchors "When We Were Free" and the ambling swing of the blues-based "Calvin's Keys," and he's the first acoustic bassist to go arco with Metheny, delivering an economically melodic solo on "Is This America?" As ever, Metheny manages to sound unmistakably, well, Metheny, while continuing to break new ground gradually; his increasing ability to self-accompany sounds occasionally overdubbed despite this being a live in the studio recording made in just one day. His hollow-body tone dominates, but he brings out nylon-string and steel-string acoustics respectively for "Is This America?" and the more harmonically complex ballad, "Dreaming Trees." Only "The Red One" and the latter half of "When We Were Free" both using his horn-like guitar synth seem out of place amidst the lush textures heard throughout the rest of the album. This is, however, a minor criticism on an album recorded unlike previous trio studio discs after significant road-testing of the material. Day Trip's distinguishing characteristics aside, it's the guitarist's most well-honed trio to date, and if a minor misstep prevents it from being his definitive trio disc, it's still a fine addition to the half dozen trio records he's released since 1976. ~ John Kelman https://www.allaboutjazz.com/day-trip-pat-metheny-nonesuch-records-review-by-john-kelman.php

Personnel: Pat Metheny: guitars, guitar synth; Christian McBride: acoustic bass; Antonio Sanchez: drums.

Day Trip

---

Junior Mance - The World of Junior Mance

Styles: Piano Jazz 
Year: 2010
File: MP3@320K/s
Time: 73:21
Size: 168,3 MB
Art: Front

(6:49)  1. How Long Has This Been Going On
(5:34)  2. Yancey Special
(7:02)  3. Down the Line
(4:34)  4. Basin Street Blues
(7:26)  5. You Don't Know What Love Is
(4:58)  6. Atlanta Blues
(5:17)  7. Detour Ahead
(6:20)  8. Work Song
(6:12)  9. Jubilation
(7:04) 10. Georgia on My Mind
(4:27) 11. I Wish I Knew How It Would Feel to Be Free
(7:29) 12. Out South

This is veteran pianist Junior Mance's first solo piano album. At age 80, he recorded this special album in Japan where his piano style is revered by many fans. In this intimate and intensely personal format, Mance shows all of his pianistic artistry: elegance, relaxed swing feel, soulfulness, a deep sense of blues and more than a touch of gospel feel. As if it is a reflection of his life, the music we hear is warm and beautiful. Having nothing to prove, the piano master is simply being himself, relaxed and enjoying the spontaneous creation of music, and the performance reaches us somewhere deep and moves us. This is a wonderful piano solo album. Recommended!
 

Personnel:  Junior Mance - Piano.

The World of Junior Mance

---