Dick Sudhalter & His Friends - With Pleasure

Bitrate: MP3@320K/s
Time: 63:46
Size: 146.0 MB
Styles: Jazz/Blues
Year: 2015
Art: Front

[2:38] 1. From Monday On
[3:48] 2. Blue River
[2:57] 3. Jamboree Jones
[3:34] 4. Home
[3:36] 5. Lost
[4:42] 6. If I Were A Rich Man
[4:16] 7. Waiting At The End Of The Road
[3:01] 8. I'm Shooting High
[2:53] 9. I'll Be A Friend With Pleasure
[3:06] 10. Lyin' To Myself
[2:37] 11. Boneyard Shuffle
[2:54] 12. Come Easy, Go Easy, Love
[3:39] 13. By The Fireside
[3:03] 14. Mountain Greenery
[5:02] 15. Let Me Daydream
[4:40] 16. Farewell Blues
[4:21] 17. (When It's) Sleepy Time Down South
[2:49] 18. Madame Dynamite

Dick Sudhalter, c, t, fluegelhorn & dir; Dan Barrett, tb; Bob Reitmeier, cl, as & ts (Or) Joe Muranyi, cl; Dan Levinson, cl & ts; Dave Frishberg, p, v; Howard Alden, g & bj (or) James Chirillo, g; Putter Smith, sb & tuba (or) Bill Crow, sb; Dick Berk, d; Daryl Sherman, v.

Dick Sudhalter has had an unusual dual career as a superior trad-oriented cornetist and as a jazz journalist. The crowning achievement of his latter career was the co-authorship (with Philip Evans and William Dean-Myatt) of the superb Bix Beiderbecke biography Bix: Man and Legend. Less known is that Sudhalter has long been a fine improviser himself. He grew up in Boston and played in England in the 1960s (organizing the New Paul Whiteman Orchestra). Since returning to the U.S., Sudhalter has freelanced on the classic jazz scene, played with the New York Jazz Repertory Company and the Classic Jazz Quartet, and recorded for several labels including Audiophile and Challenge. ~Scott Yanow

With Pleasure mc
With Pleasure zippy

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Linda Eder - By Myself: The Songs of Judy Garland

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 44:36
Size: 102,7 MB
Art: Front

(4:06)  1. By Myself
(3:33)  2. Almost Like Being In Love
(4:06)  3. Me And My Shadow
(2:58)  4. I'D Like To Hate Myself In The Morning
(4:35)  5. It Never Was You
(3:00)  6. Zing! Went The Strings Of My Heart
(5:22)  7. The Boy Next Door
(4:52)  8. The Rainbow's End
(4:33)  9. Do It Again
(2:53) 10. Rock-A-Bye Your Baby With A Dixie Melody
(4:33) 11. I'm Always Chasing Rainbows

If imitation is the best form of flattery then the legendary Judy Garland has a lot to smile about from wherever she is watching. Broadway's Linda Eder has been wowing crowds since her big break in 1990 with The Broadway production of Jekyll & Hyde which showcased what is now being called "The Voice". Having broken all the records in 1988's Star Search, this Brainerd, Minn. born gal is not intimated by a musical challenge. While Ms. Eder did have the luxury of having a Broadway composer, Frank Wildhorn, write beautiful tunes for his now ex-wife, Eder has proven through the years that she is a vocal force to be recognized as one of the great solo voices regardless of whose music she sings. Eder's aim in this new venture was not to "mimic the Garland style, which she adores, but rather to capture the strengths, the frailties, the heartfelt meaning of Judy's voice". She does so respectfully, graciously and wonderfully! With amazing power and the sweetest clarity Eder delivers 11 of Judy Garland's glorious songs via her new CD, some well known and others obviously beloved to both Eder and perhaps Garland. "It was all through osmosis," notes Linda. "I closely studied many of Judy's films and recordings. Judy's highs and lows were extreme and by following her so closely one felt as if you knew her. She was my first big musical influence and I consider it an honor to pay tribute to her".

The CD kicks off dramatically with the title song "By Myself". "I have been though a lot in the last few years, which has added layers to my life," admits Linda. This no doubt fuels the great emotion one can see and hear in her voice as she pierces her audiences heart with certain songs. Bringing the best of the best onboard to record with the London Symphony Orchestra on most tracks Eder painstakingly chose every song, every note over several months to create what she has called " classic Judy and also classic Linda in a swingin' dialog between singer and orchestra". It's an established fact that Linda Eder is one heck of a belter. Still, I feel this doesn't need to be proven as often as she does on this CD. I found myself turning the volume down more than a few times.  I also notice a pronounced vibrato that often underscores her voice that was not entirely to my liking. However, from Lerner & Lowe's "Almost Like Being In Love" to a most impressive version of "Rock-A-Bye Your Baby with a Dixie Melody," Eder has found the depth of Garland's persona and made it her own. Not every song and CD track fully accomplished this formidable task. "Me and My Shadow" seems to have an unusual mix of song and orchestra that creates an uneven tempo to an otherwise beautifully executed song. Also in the medley of "Stormy Weather" and "Man That Got Away" again the orchestration seems to drag more than I care for. One additional song not sung by Judy or written for her was included by songwriter Jack Murphy who has a long collaboration with Linda's musical career. "The Rainbows End" attempts to become the torch song of the 40's capturing the meaning of Garland's life as a singer and a singer's world in general. It simply doesn't fulfill its mission.

 Linda offers an incredibly seductive "Do It Again" which is wonderfully arranged. "It's All for You" is a song not chosen to be included in this CD collection and absolutely should be as it is lyrically simple and charming. "The Trolley Song" is a fun song and playfully well done. During the 'By Myself Concert' Linda includes two of her most popular songs "Vienna" written by Frank Wildhorn and the always rousing "Don't Rain On My Parade", which usually brings down the first act with a roar. Few people sing this as well as Barbra and Linda. My personal favorite medley was a combination of a brief intro of "Chasing Rainbows and a prayer-like "Over The Rainbow" with a gentle piano arrangement that stills the crowds and warms the heart. One can see, hear and feel the joy, the fun and the passion that has gone into this Garland project as it's obviously a labor of love for Linda Eder who has done an admirable job in re-creating a legend's legacy while making it her own very beautifully. https://www.broadwayworld.com/article/Linda-Eder-By-Myself-The-Songs-of-Judy-Garland-20051012

Personnel: Linda Eder (vocals); Carmine Lauri (violin); Aaron Heick, Dave Mann , David Andrew Mann, Aaron Heicke (alto saxophone); David Richenberg (baritone saxophone); Tony Kadleck, Bob Millikan (trumpet); George Flynn (bass trombone); David Finck (bass instrument); Mark McLean (drums); Lawrence Feldman (tenor saxophone); Jeremy Pelt, Randy Brecker, Barry Danielian, Glenn Drewes, Donald Downs (trumpet); Dan Levine , John Fedchock (trombone); Lee Musiker, Jeremy Roberts (piano); Clint DeGanon (drums)

By Myself: The Songs of Judy Garland

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McCoy Tyner - Tender Moments

Styles: Piano Jazz
Year: 1967
File: MP3@320K/s
Time: 38:11
Size: 89,0 MB
Art: Front

(5:42)  1. Mode To John
(6:54)  2. Man From Tanganyika
(6:07)  3. The High Priest
(7:39)  4. Utopia
(6:05)  5. All My Yesterdays
(5:40)  6. Lee Plus Three

Now 66 years old, McCoy Tyner has made countless albums and become an elder statesman of jazz. He is certainly best known as the pianist in the transformational John Coltrane Quartet of the '60s, but it was with Blue Note recordings like this one from 1967, recently reissued in remastered form, that he revealed his personality as a composer, arranger, and soloist. Tender Moments was one of Tyner's first major explorations of the world of colors and textures available through arrrangements for large ensemble. He gathered together some of his musical friends (some of whom had recorded for Blue Note already) and created settings for them which showcased their ensemble and solo prowess, as well as his own burgeoning skills as a colorist and architect. Tenor saxophonist Bennie Maupin and flautist James Spaulding offer some of their finest solo work, adding rich dimensions to Tyner's themes, particularly on "Man from Tanganyika and "The High Priest. And Lee Morgan a fellow Philadelphian is his ever-soulful and assured self, particularly on his blues feature "Lee Plus Three, where it's just Morgan with piano, bass, and drums.

From the beginning, we are in the presence of someone concerned with texture. The low brass beautifully complements the lighter statement of "Mode to John, Tyner's tribute to his old boss. On the jaunty and rhythmic "Man from Tanganyika, the flute and piano tandem on the theme and then the brass players' coloration gives the tune its clear shape. Tyner's tribute to Monk is quite original he has created a Monkish theme and some intriguing horn lines and fills, without for a second sacrificing the sound that we know as his own. As in all his solo passages, Tyner manages to be subtle, engaging, and yet the same player who so drove the Coltrane band. The album's high point is the album's tenderest moment: the gorgeous "All My Yesterdays. It's a true ballad with an exquisitely slow tempo all the way through and low brass that is all about color. Tyner's solo is uncharacteristically gentle. Tender Moments is all about architecture and scene painting, and as such it stands as a key marker in the recorded career path of one of the music's most individual artists. ~ Donald Elfman https://www.allaboutjazz.com/tender-moments-mccoy-tyner-blue-note-records-review-by-donald-elfman.php

Personnel: Lee Morgan, trumpet; Julian Priester, trombone; James Spaulding, alto saxophone, flute; Bennie Maupin, tenor saxophone; Bob Northern, French horn; Howard Johnson, tuba; McCoy Tyner, piano; Herbie Lewis, bass; Joe Chambers, drums.

Tender Moments

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Terry Gibbs & His Dream Band - Swing Is Here

Bitrate: MP3@320K/s
Time: 34:30
Size: 79.0 MB
Styles: Bop, Vibraphone jazz
Year: 1960/2009
Art: Front

[2:33] 1. The Song Is You
[3:10] 2. It Might As Well Be Swing
[3:05] 3. Dancing In The Dark
[2:44] 4. Moonglow
[5:03] 5. Bright Eyes
[3:04] 6. The Fat Man
[2:57] 7. My Reverie
[3:42] 8. Softly As In A Morning Sunrise
[5:22] 9. Evil Eyes
[2:44] 10. Back Bay Shuffle

Alto Saxophone – Charlie Kennedy; Alto Saxophone [Lead] – Joe Maini; Baritone Saxophone – Jack Schwartz; Bass – Buddy Clark; Drums – Mel Lewis; Piano – Lou Levy; Tenor Saxophone – Bill Perkins, Med Flory; Trombone – Bob Edmondson, Frank Rosolino, Bobby Pring, Tommy Sheppard; Trumpet – Conte Candoli, John Audino, Ray Triscari, Stu Williamson; Trumpet [Lead] – Al Porcino; Vibraphone – Terry Gibbs. Recorded in Los Angeles, CA, February 23-24, 1960.

The title Swing Is Here would have been more appropriate for the 1930s instead of 1960 when this album was originally issued, and the big-band era had long since waned. Yet vibraphonist Terry Gibbs kept the home fires burning out in California with this exceptional orchestra of cool jazz giants playing a stack of standards and modern compositions by Bill Holman or Gibbs, and one look back with an Artie Shaw number. What is most interesting about these arrangements is that they are always different in emphasizing the fleet, dampened sound of Gibbs in contrast, apart from, or in tandem with the woodwinds and brass instruments. They also never get in each other's way, making for some delightful tonic music-making that reflects both the dance tradition and more modernized precepts of big-band music. Reflecting the style of the Count Basie band with a big helping of Woody Herman or Stan Kenton, the band leaps into "The Song Is You" as Gibbs plays the first melody line, then the band takes over, while the opposite ploy is utilized during "Dancing in the Dark." Holman's originals "Bright Eyes" and "Evil Eyes" are different from the rest and each other, the former a lively bop chart with jumping counterpoint saxes and brass, the latter led out by pianist Lou Levy and the horns, with Gibbs holding up the rear guard of the band. A 12-bar blues, "The Fat Man" has, over time, become a favorite Gibbs composition covered repeatedly by his bands, and here is the original recording. "It Might as Well Be Swing" is a cleverly modified title from the standard "It Might as Well Be Spring" but is closer to Duke Ellington's "Satin Doll" in its elegant, sophisticated imagery. Claude Debussy's "My Reverie," on the other hand, dismisses its composers early morning visage for a classic jazz sound that is truly the epitome signature style Gibbs portrays. The Artie Shaw tribute to Boston "Back Bay Shuffle" has drummer Mel Lewis codifying and extending Gene Krupa's bompity bomp rhythmic dance remarks in a danceable yet enlivened manner. There are some extraordinary musicians in the band, such as trumpeter and ostensible leader Al Porcino, "second" trumpeters Conte Candoli and Stu Williamson, trombonist Frank Rosolino (listed third on the depth chart), lead alto saxophonist Joe Maini, and Bill Perkins, and Med Flory on tenor saxes. Gibbs plays a lot on this album, a testament to his tenacity as a unique voice on his instrument, and a good example of how this well-defined music refused to die even though it fell out of favor due to sheer economics. Clocking in at under 35 minutes with no alternate takes or extra tracks, and out of print for decades prior to this CD reissue, it's a short, sweet item recommended at a bargain price. ~Michael G. Nastos

Swing Is Here mc
Swing Is Here zippy

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Various - Stringin' The Blues: A Tribute To Eddie Lang

Bitrate: MP3@320K/s
Time: 78:29
Size: 179.7 MB
Styles: Guitar jazz
Year: 2003/2018
Art: Front

[ 9:07] 1. Bucky Pizzarelli - Sweet Georgia Brown
[ 6:16] 2. Howard Alden - These Foolish Things
[ 4:28] 3. Frank Vignola - The Sheik Of Araby
[ 5:13] 4. Frank Vignola - Fascinating Rhythm
[ 2:31] 5. Howard Alden - Medley: I'm Forever Blowing Bubbles/E Is For Emmet
[ 1:41] 6. Howard Alden - I'll Never Be The Same
[ 2:31] 7. Marty Grosz - Peg Leg Shuffle
[ 3:02] 8. Marty Grosz - From Monday On
[11:24] 9. Bucky Pizzarelli - Medley:Tangerine/It Must Be True/Please/A Blues Serenade/April Kisses
[ 6:55] 10. Bucky Pizzarelli - Broadway
[ 3:17] 11. Al Viola - Polka Dots And Moonbeams
[ 3:03] 12. Lino Patruno - Some Of These Days
[ 3:25] 13. Lino Patruno - Sweet Sue
[ 2:51] 14. Andy Stein - Wild Cat
[ 3:32] 15. Lino Patruno - Danzon
[ 9:05] 16. Howard Alden - Limehouse Blues

Bass – Frank Tate (2), Guido Giacomini; Drums – Joe Ascione; Guitar – Al Viola, Bucky Pizzarelli, Frank Vignola, Howard Alden, Lino Patruno, Marty Grosz, Michele Ariodante; Piano – Mark Shane (2); Violin – Andy Stein; Vocals, Whistling – Clive Riche. Recorded Live At New Orleans Jazz Ascona (Switzerland), July 4th, 2002.

This 16 track CD is a "guitar summit" featuring some of the top guitarists on the contemporary scene including Bucky Pizzarelli, Frank Vignola, Howard Alden, Al Viola, Marty Grosz and others. It was recorded live in 2002 at the Ascona Jazz Festival in Switzerland on beautiful Lake Maggiore. The guitarists are backed by Andy Stein, Mark Shane, Frank Tate, Joe Ascione, Clive Riche and others.

Stringin' The Blues: A Tribute To Eddie Lang mc
Stringin' The Blues: A Tribute To Eddie Lang zippy

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Oscar Pettiford Sextet - S/T

Bitrate: MP3@320K/s
Time: 39:58
Size: 91.5 MB
Styles: Bop
Year: 1954/2016
Art: Front

[9:43] 1. Burt's Pad
[5:58] 2. Marcel The Furrier
[3:07] 3. Ondine
[5:08] 4. Stardust
[2:32] 5. E-Lag
[4:26] 6. Rhumblues
[6:25] 7. Burt's Pad (Alternate Take)
[2:36] 8. E-Lag (Alternate Take)

Bass – Oscar Pettiford; Cello [In Re-recording] – Oscar Pettiford (tracks: 6); Drum – Max Roach; Guitar – Tal Farlow; Piano – Henri Renaud; Tenor Saxophone – Al Cohn; Trombone – Kai Winding. Recorded in New York City by Vogue Records, March 13th, 1954. Digitally remastered from original master tapes in 24-bit (Le Source Mastering, Paris, France).

The six main selections on this CD were last released as part of a Prestige LP titled The Oscar Pettiford Memorial Album, also including four tunes from a Serge Chaloff set. The CD reissue adds two alternate takes to the excellent session which features Pettiford on occasional bass solos and (on "Rhumblues") overdubbed on cello. The superior set also features tenor saxophonist Al Cohn, trombonist Kai Winding, guitarist Tal Farlow, French pianist Henri Renaud and drummer Max Roach -- quite an all-star group. Renaud contributed two of the songs which also include numbers by Hoagy Carmichael ("Stardust"), Gerry Mulligan and both Leonard and Jane Feather. The music is straight-ahead, with "Burt's Pad" (heard in two versions) going on for over 9½ minutes. A fine CD that is easily recommended to bop collectors. ~Scott Yanow

Oscar Pettiford Sextet mc
Oscar Pettiford Sextet zippy

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Dexter Gordon, Wardell Gray - Citizens Bop

Bitrate: MP3@320K/s
Time: 39:40
Size: 90.8 MB
Styles: Bop, Swing
Year: 1994
Art: Front

[2:58] 1. The Rubaiyat
[4:14] 2. My Kinda Love
[2:51] 3. Citizens Bop
[3:08] 4. One For Prez
[2:27] 5. Jingle Jangle Jump
[2:55] 6. Dell's Bells
[2:33] 7. I Hear You Knockin
[3:17] 8. The Man I Love
[3:01] 9. Easy Swing
[3:31] 10. Man With A Horn
[5:42] 11. Blue Lou
[2:55] 12. The Rubaiyat

Baritone Saxophone – Maurice Simon (tracks: 10); Bass – Red Callender; Drums – Chuck Thompson (tracks: 1 to 10, 12), Jackie Mills (tracks: 11); Piano – Dodo Marmarosa (tracks: 4, 6, 8, 9), Erroll Garner (tracks: 11); Piano, Organ – Gerry Wiggins (tracks: 1 to 3, 5, 7, 10, 12); Tenor Saxophone – Dexter Gordon (tracks: 1 to 3, 5, 7, 10, 12), Wardell Gray; Vocals – Gladys Bentley (tracks: 5).

Rare LA bop sides from Dexter Gordon and Wardell Gray – two of the heaviest tenors to ever grace the west coast, recorded here in the prime of their late 40s careers. Tracks were recorded during the years 1946, 1947, and 1952 – and 6 tracks (including "The Rubiyat", "My Kinda Love", "Citizen's Bop", and "Man With A Horn") feature Gordon and Gray together in a group with Gerry Wiggins on piano and organ. The remaining 6 tracks feature Gray heading up bop quartets with either Dodo Marmaroso or Errol Garner on piano – and titles include "Dell's Bells", "One For Prez", "Blue Lou", and "Easy Swing".

Citizens Bop mc
Citizens Bop zippy

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Hubert Laws - Moondance

Bitrate: MP3@320K/s
Time: 43:53
Size: 100.5 MB
Styles: Crossover jazz
Year: 2004/2010
Art: Front

[3:54] 1. Moondance
[4:40] 2. Bloodshot
[5:15] 3. Stay With Me
[4:42] 4. Summer '75
[3:25] 5. Stinky
[3:55] 6. Nighttime Daydream
[4:08] 7. Malibu
[3:46] 8. Love You Tonight
[4:30] 9. Clarita
[5:33] 10. Kiss

Hubert Laws (flute, keyboards, synth bass, piccolo flute, alto flute), Chris Botti (trumpet), Guy Eckstine (bass guitar, ambient keyboards, drum programming, percussion, clavinet, keyboards, synth bass, Wurlitzer electric piano), Evan Marks (guitar, bass guitar, Wurlitzer electric piano, keyboards, strings), Duncan Moore (drums), Amber Whitlock (vocals), Hilary Van Lier (vocals), Rob Mullins (keyboards/synth strings, special additions), David Budway (piano), John Leftwich (bass), Ralph Penland (drums), Munyungo Jackson (percussion), Alex Al (bass guitar).

The legendary flutist returns to the contemporary jazz fold in an era when the type of sexy cool soul-jazz he recorded on CTI in the '70s (earning three Grammy nominations in the process) is now considered retro and hip. Even with some incredibly fresh new material, magnificently wistful playing, and his grand legacy in tow, he might have trouble getting the flute onto the smooth jazz format. But his new label gives him a great shot at it, helping him along first on the title cut with Chris Botti's subtle trumpet and Fattburger guitarist Evan Marks' best wah-wah clicks. Even with those luminaries and lush backing vocals, Laws' sultry flute gymnastics stand out. "Bloodshot" sounds like the kind of dreamy funk-jazz he did in the '70s, helped along here by the keyboard punch of Jeff Lorber, who also traverses both eras. And speaking of hip, on "Summer '75" Laws picks up the piccolo for a higher-tone melody over the bouncy moods of smooth jazz star Brian Culbertson's Wurlitzer and Rhodes. Another guest sure to help in the marketing of the legend's new era is Herbie Hancock, an old CTI labelmate who charms on acoustic piano on the midtempo "Nighttime Daydream." Ironically, as strong as those tracks are, Laws does just fine with a core trio of David Budway (piano), John Leftwich (bass), and Ralph Penland (drums) throughout the rest of the disc. "Stinky" is all speedy chops, while "Malibu" offers more of Laws' laid-back side. A marvelous night, indeed. ~Jonathan Widran

Moondance mc
Moondance zippy

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The Andrews Sisters - Collectors Series

Bitrate: MP3@320K/s
Time: 67:51
Size: 155.4 MB
Styles: Harmony vocal group
Year: 1991
Art: Front

[2:28] 1. Crazy Arms
[2:51] 2. I Want To Linger
[2:48] 3. Ti-Pi-Tin
[3:02] 4. Bei Mir Bist Du Schon (Means That You're Grand)
[2:51] 5. Aurora
[2:55] 6. Ferry Boat Serenade
[2:48] 7. Rancho Piollo
[2:50] 8. Beer Barrel Polka (Roll Out The Barrel)
[2:35] 9. Boogie Woogie Bugle Boy
[3:05] 10. Rum And Coca Cola
[2:42] 11. Shoo-Shoo Baby
[3:17] 12. Well All Right! (Tonight's The Night)
[2:46] 13. Begin The Beguine
[3:08] 14. Tulip Time
[3:15] 15. Hold Tight, Hold Tight (Want Some Sea Food Mama)
[3:01] 16. Don't Sit Under The Apple Tree (With Anyone Else But Me)
[2:54] 17. (I'll Be With You In) Apple Blossom Time
[2:42] 18. Beat Me Daddy, Eight To The Bar
[2:10] 19. By His Word
[2:17] 20. Alone Again
[2:13] 21. One Mistake
[2:05] 22. Melancholy Moon
[3:06] 23. I've Got An Invitation To A Dance
[1:55] 24. E Ma-Ma
[1:54] 25. Proper Cup Of Coffee

Twenty-five Andrews Sisters tracks dating mostly from October 1956, after the trio reformed following Patty Andrews' attempt at a solo career. On signing them, Capitol Records got the trio to do new versions of their classic Decca hits for the LP The Andrews Sisters in Hi-Fi. The effort was a worthy one, as the trio still sang splendidly, and with all of the verve they'd displayed 20 years earlier, and Vic Schoen, who'd done all of their band arrangements back when, was present for these sessions as well. In view of the easy availability of their hits for Decca Records, the material on this CD may seem superfluous, but the performances have much of the same easy, swinging charm that their late-'30s and 1940s classics displayed, with better recording to go with it, and the trio's maturity -- the sisters were in their forties rather than their twenties -- works in their favor, allowing them to add a few fresh nuances and articulate the lyrics anew, giving listeners a pleasing look back at the old with just a smidgen of new thrown in. Additionally, at the time of its release, the sound on this disc was superior to that of any of MCA's CDs of the original hits, although they have since improved those masters. ~Bruce Eder

Collectors Series mc
Collectors Series zippy

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Don Byas - Tenor Giant

Bitrate: MP3@320K/s
Time: 34:41
Size: 79.4 MB
Styles: Bop, Saxophone jazz
Year: 1996
Art: Front

[2:55] 1. Three O'clock In The Morning
[2:44] 2. One O'clock Jump
[3:05] 3. Harvard Blues
[2:41] 4. Slammin' Around
[2:47] 5. Laura
[3:01] 6. Stardust
[3:00] 7. Slam, Don't Shake Like That
[3:00] 8. Dark Eyes
[2:44] 9. Humoresque
[2:57] 10. Wrap Your Troubles In Dreams
[2:47] 11. Smoke Gets In Your Eyes
[2:53] 12. Slamboree

Bass – Slam Stewart; Drums – Harold "Doc" West, J.C. Heard; Piano – Erroll Garner, Johnny Guarnieri; Tenor Saxophone – Don Byas. Recorded August 30, September 6 and November 1, 1945.

One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. He played with many top swing bands, including those of Lionel Hampton (1935), Buck Clayton (1936), Don Redman, Lucky Millinder, Andy Kirk (1939-1940), and most importantly Count Basie (1941-1943). An advanced swing stylist, Byas' playing looked toward bop. He jammed at Minton's Playhouse in the early '40s, appeared on 52nd Street with Dizzy Gillespie, and performed a pair of stunning duets with bassist Slam Stewart at a 1944 Town Hall concert. After recording extensively during 1945-1946 (often as a leader), Byas went to Europe with Don Redman's band, and (with the exception of a 1970 appearance at the Newport Jazz Festival) never came back to the U.S. He lived in France, the Netherlands, and Denmark; often appeared at festivals; and worked steadily. Whenever American players were touring, they would ask for Byas, who had opportunities to perform with Duke Ellington, Bud Powell, Kenny Clarke, Dizzy Gillespie, Jazz at the Philharmonic (including a recorded tenor battle with Hawkins and Stan Getz), Art Blakey, and (on a 1968 recording) Ben Webster. Byas also recorded often in the 1950s, but was largely forgotten in the U.S. by the time of his death. ~ Scott Yanow

Tenor Giant mc
Tenor Giant zippy

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Brian Lynch And Cuban Jazz Orchestra - Bolero Nights

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 54:17
Size: 131,3 MB
Art: Front

(7:50)  1. Afinque
(6:31)  2. La Sitiera
(9:24)  3. Celia
(6:38)  4. Fire Waltz
(9:42)  5. Delilah
(6:53)  6. I'm A Fool To What You
(7:15)  7. You've Changed

As one of the more exuberant trumpeters in Latin jazz via his stint with Eddie Palmieri, Brian Lynch might surprise his fans with this seductive and sensual album directing his Afro-Cuban-oriented orchestra. With five horns and on occasional the legendary alto saxophonist Phil Woods, Lynch and his band weave some magical and lower-key threads, not so much dedicated to Billie Holiday's music as inspired by her romantic spirit. Split between some well-chosen standards and original compositions, the band struts and sways along on the famous "Delilah," Lynch's easy cha-cha "Afinique," and the beautiful "La Sitiera." Only during the midtempo montuno version of the Charles Mingus evergreen "Celia" or the 6/8 arrangement of Mal Waldron's "Fire Dance" does the band really simmer or even moderately cook. Pianist Zaccai Curtis (of the Curtis Brothers Quartet) and Woods via counterpoint are outstanding in spots, while Lynch himself takes it down a notch throughout, setting the tone, and generously adding a sensitive but regretful feeling to the great take of "I'm a Fool to Want You." From luminous mambos or in serene, pensive underpinnings, this group really hits the mark for subtle yet clearly delineated music that Lady Day surely would have shed a tear or two over, as might we all. ~ Michael G.Nastos https://www.allmusic.com/album/bolero-nights-for-billie-holiday-mw0001969838

Personnel: Brian Lynch: trumpet and flugelhorn; Phil Woods: alto saxophone (3, 6, 7); Ivan Renta: alto saxophone; Alan Hoffman: tenor saxophone; Marshall Gilkes: trombone; Ron Blake: baritone saxophone; Zaccai Curtis: piano; Boris Kozlov: bass; Little Johnny Rivero: congas, bongos and percussion; Marvin Diz: timbales and drums.

Bolero Nights

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William Bell - This Is Where I Live

Styles: Vocal, Soul
Year: 2016
File: MP3@320K/s
Time: 38:55
Size: 90,4 MB
Art: Front

(3:24)  1. The Three Of Me
(2:56)  2. The House Always Wins
(3:15)  3. Poison In The Well
(2:52)  4. I Will Take Care Of You
(3:17)  5. Born Under A Bad Sign
(2:56)  6. All Your Stories
(2:52)  7. Walking On A Tightrope
(3:14)  8. This Is Where I Live
(4:19)  9. More Rooms
(3:00) 10. All The Things You Can't Remember
(3:48) 11. Mississippi-Arkansas Bridge
(2:58) 12. People Want To Go Home

Stax Records was recently revived under the umbrella of the Concord Music Group, in a commendable gesture to acknowledge the southern soul artists on the legendary label. When Stax (formerly Satellite Records) originated in 1961, one of the first artists signed was a young singer/songwriter named William Bell, who hit the charts that same year with "You Don't Miss Your Water." But it would be for his monumental song "Born Under A Bad Sign" co-written by Booker T. Jones, and recorded in 1967 by Albert King that he is remembered. Bell, now age 76, returns to Stax after forty years with This Is Where I Live, a testament of truthful soul singing at its best. Teaming up with producer John Leventhal, Bell revisits that classic Stax sound where he began so long ago, like returning home, picking up where he left off. Memphis is the home of Stax, so there is a mild undercurrent of country, but this is pure soul. From the mid-tempo groove of "The Three Of Me," Bell wastes no time in setting the stage, and showing he is a singer of the highest caliber. His mastery of lyrics and ability tell a story everyone can relate to is evident on "The House Always Wins," a tale of life told in terms of gambling and losing. The tempo picks up with "Poison In The Well," and it drops way down on "I Will Take Care Of You," a poignant promise to an ailing love.

He revisits "Born Under A Bad Sign," this time a bit softer, but he still has no luck at all. Digging into the Jesse Winchester songbook, "All Your Stories," is an acoustical look in the mirror, a perfect vehicle for a man with a long and interesting past. Bell sings of this life in "This Is Where I Live," and how music has been his sanctuary and refuge, whereas "More Rooms," depicts an empty house, after the love is gone. The impact of harsh words shaped "All The Things You Can't Remember," as forgiveness is erased from possible options. The Staple Singers groove springs into "Mississippi-Arkansas Bridge," a colorful painting of a musician's life in the south, and he goes back to his roots with "People Want To Go Home." There was a lot of pressure in the making of this record. The sheer magnitude of the Stax legacy is a hard act to follow, so it had to be someone who came from the primordial source. William Bell is that person. An introspective soul singer who not only has the credentials, but most significant, has the voice. ~ James Nadal https://www.allaboutjazz.com/this-is-where-i-live-william-bell-stax-records-review-by-james-nadal.php

Personnel: William Bell: vocals; John Leventhal: guitars, electric bass, acoustic bass, keyboards, percussion, drums; Shawn Pelton: drums (3, 8); Dan Rieser: drums (2); Victor Jones: drums (4, 5); Rick DePofi: tenor sax, baritone sax; Tony Kadlek: trumpet, flugelhorn; Dave Eggar: cello; Entcho Todorov: violin, viola; Laura Seaton: violin; Amy Helm: backing vocals (11); Catherine Russell: vocals; Curtis King: vocals; Marc Cohn: vocals; D Train: vocals; Kenny Williams: vocals; Keith Fluitt: vocals; John Leventhal: vocals; Rick De Pofi: vocals.

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Buddy Johnson - Night Shift

Bitrate: MP3@320K/s
Time: 50:31
Size: 115.7 MB
Styles: Piano jazz
Year: 2013
Art: Front

[2:52] 1. Night Shift
[2:15] 2. Exactly Like You
[2:39] 3. Gee, It's Good To Hold You
[2:11] 4. If You Never Return
[3:27] 5. In There
[4:39] 6. Jodi
[4:50] 7. One For A Nickel
[4:36] 8. One O'clock Boogie
[3:58] 9. Since I Fell For You
[3:31] 10. St. Louis Blues
[2:51] 11. The Otherside Of The Rainbow
[4:32] 12. Traffic Jam
[2:26] 13. Waitin' For The Train To Come In
[5:37] 14. Walk 'em

Buddy began taking piano lessons at age four. Although he specialized professionally in tasty R&B, classical music remained one of his passions. In 1939, Buddy Johnson waxed his first 78 for Decca, "Stop Pretending (So Hep You See)." Shortly thereafter, Ella joined her older brother; her delicious vocal on "Please Mr. Johnson" translated into long-term employment. Buddy had assembled a nine-piece orchestra by 1941 and visited the R&B charts often for Decca during wartime with "Let's Beat Out Some Love," "Baby Don't You Cry," the chart-topping "When My Man Comes Home," and "That's the Stuff You Gotta Watch." Ella cut her beloved rendering of "Since I Fell for You" in 1945, a year after Buddy waxed his jiving gem "Fine Brown Frame." In addition to their frequent jaunts on the R&B hit parade, the Johnson organization barnstormed the country to sellout crowds throughout the '40s. Buddy moved over to Mercury Records in 1953 and scored more smashes with Ella's "Hittin' on Me" and "I'm Just Your Fool," the latter a 1954 standout that was later purloined by Chicago harpist Little Walter.

Rock & roll eventually halted Buddy Johnson's momentum, but his band (tenor saxophonist Purvis Henson was a constant presence in the reed section) kept recording for Mercury through 1958, switched to Roulette the next year, and bowed out with a solitary session for Hy Weiss' Old Town label in 1964. Singer Lenny Welch ensured the immortality of "Since I Fell for You" when his velvety rendition of the Johnson-penned ballad reached the uppermost reaches of the pop charts in 1963. It was a perfect match of song and singer; Welch's smooth, assured delivery would have fit in snugly with the Johnson band during its heyday a couple of decades earlier. ~ Bill Dahl

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Sarah Lancman - À Contretemps

Bitrate: MP3@320K/s
Time: 43:52
Size: 100.4 MB
Styles: Jazz vocals
Year: 2018
Art: Front

[3:28] 1. Don't Lose Me
[4:35] 2. Ça N'a Plus D'importance
[4:41] 3. I Want Your Love
[3:48] 4. On S'est Aimé
[3:49] 5. Wrong Or Right -Sarah's Blues
[6:20] 6. Love Me Just Your Way
[4:34] 7. Tout Bas
[3:51] 8. À Contretemps
[2:12] 9. Choro Pour Les Amants éternels
[2:45] 10. Conjugaison Amoureuse
[3:45] 11. On S'est Aimé-Aishiatta Koto O

In music, the mishap (Contretemps) is a rhythmic process that breaks a regular emphasis when a sound, started on a low time, is interrupted on the next high note. It’s her knowledge of music – Sarah Lancman singer-songwriter has made some serious studies, piano and composition, before opting for singing, which may have inspired this title, for talking to us again about love. Because the point is really about love and the love that inspires her.

So here we are with a new album as fresh as the last one, even more succeeded and that confirms several things: that Sarah Lancman is a great jazz singer, promised a bright future, that the association with her mentor, excellent musician , entrepreneur, virtuoso pianist, Giovanni Mirabassi, produces beauty, highlighting their respective talents and finally that she is on the way to a great career. A matter of time… And as if that were not enough, the creation of this album recorded in Bangkok, inaugurates a magnificent project, the birth of a new independent label, emerged as the hold up of the century: Jazz Eleven.

As in the famous film, are gathered for this project, around Giovanni and Sarah, talents and specialists from all over the world: the double bass Gianluca Renzi (Ari Hoenig, Andrew Ceccarelli, Kevin Hays …), on drums Gene Jackson (Herbie Hancock Trio, Diane Reeves, Christian McBride, Joe Lovano …), and as special guest, the amazing Japanese singer and trumpeter Toku (13 albums, Sony Jazz Japan artist) … Not to mention Lukmil Perez on percussion, in the title “Tout Bas”

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Gerald Clayton - Tributary Tales

Bitrate: MP3@320K/s
Time: 63:34
Size: 145.5 MB
Styles: Piano jazz
Year: 2017
Art: Front

[5:53] 1. Unforeseen
[6:08] 2. Patience Patients
[1:07] 3. Search For
[4:13] 4. A Light
[0:34] 5. Reach For
[6:39] 6. Envisionings
[1:05] 7. Reflect On
[3:06] 8. Lovers Reverie
[5:48] 9. Wakeful
[7:42] 10. Soul Stomp
[6:55] 11. Are We
[1:26] 12. Engage In
[7:04] 13. Squinted
[5:46] 14. Dimensions Interwoven

Tributary Tales is an apt title for the most accomplished and adventurous album yet from pianist Gerald Clayton, a scion of SoCal jazz royalty. The music is forever moving, riding streams of intriguing, pleasing sounds — ambling grooves, burrowing piano solos and colorful and often unpredictable multi-saxophone lines. All are tributaries of a highly personal music that’s clearly drawn from jazz tradition but headed in new, unexpected directions. It’s brainy, yes, but heavy on emotional content, too.

“Soul Stomp” exemplifies this collection of original compositions, all written and arranged by Clayton. The track opens with a playful piano figure and oozing organ. Then a modified R&B groove kicks in under a swaying melody provided by saxophonists Logan Richardson on alto and Ben Wendel on tenor. Clayton’s searching piano improvisation follows, as do sections featuring alternating sax solos, Joe Sanders’ bowed-bass figures, large-ensemble swells and a return to the theme. Tumbling, hyperactive percussion underscores the elongated, twisting sax lines of “Unforeseen,” the album’s opener, while “A Light” thrives on dizzying bebop sax figures fueled by Justin Brown’s groove-digging urban trap-kit propulsion. The silky, large-ensemble textures of “Lovers Reverie” provide a bed for the expressive spoken-word incantations of Aja Monet and Carl Hancock Rux; the two reprise their roles on the pensive closer, “Dimensions: Interwoven.”

Dayna Stephens’ baritone sax adds a chunky bottom to the slippery themes and solos of “Wakeful,” and Sachal Vasandani’s wordless vocals lend an exotic aura to the multi-hued “Squinted.” For extra measure, Clayton offers several short, improvised pieces. All are integral to an album-length journey that feels like a natural segue from 2013’s Life Forum, if worlds away from 2009’s Two-Shade, Clayton’s debut (a trio recording with Brown and Sanders). Tributary Tales presents a fresh chapter in a brilliant career.

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Flip Phillips - Your Place Or Mine

Bitrate: MP3@320K/s
Time: 44:16
Size: 101.3 MB
Styles: Saxophone jazz
Year: 1963/2017
Art: Front

[4:28] 1. Come Rain Or Come Shine
[3:37] 2. Ja Da
[3:26] 3. Just Say I Lover Her
[3:57] 4. It's The Talk Of The Town
[2:36] 5. Summertime
[3:09] 6. Nuages
[1:42] 7. Scatterbrain
[4:54] 8. Chloe
[4:30] 9. Moonlight In Vermont
[2:48] 10. Jazz Me Blues
[3:20] 11. Stars Fell On Alabama
[2:55] 12. With Someone New
[2:49] 13. Gone With The Wind

In 1954, tenor saxophonist Flip Phillips moved to Florida, where aside from occasional tours, he has been content to play locally in semi-retirement ever since. During the 1955-74 period, Phillips only recorded one record as a leader (for Sue in 1963, later reissued by Onyx), so the discovery of a duet tape (also from 1963) with guitarist Dell Staton helped to partly fill a gap. This mid-1970s LP finds Phillips in excellent form playing a variety of his favorite standards. A virtual unknown due to his decision to stick close to Florida, Staton sounds fine in support. Although the recording quality is not quite state-of-the-art, the superior playing by Flip on such songs as "Ja Da," "Nuages," "Jazz Me Blues" and "Gone With the Wind" (plus his "With Someone New") makes this an LP to look for. ~Scott Yanow

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Paquito D'Rivera - Sons Do Brasil

Bitrate: MP3@320K/s
Time: 53:44
Size: 123.0 MB
Styles: Latin jazz
Year: 2008
Art: Front

[ 8:41] 1. To Brenda With Love
[ 9:06] 2. Blues For Astor
[ 6:14] 3. Sons Do Brasil
[ 9:08] 4. Yelele Candombe
[ 9:59] 5. I Remember Dizzy
[10:34] 6. Who's Smoking

Paquito D'Rivera (alto sax, clarinet), Diego Sassetti (piano), Perico Sambeat (sax, flute), Bob Sands (tenor sax, flute), Mario Rossy (bass), Jordy Rossy (drums), José Salguiro (percussion).

Cuba-born and New York-based saxophonist and clarinet player Paquito D'Rivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, "Whether playing Bach or post-bop, D'Rivera's mastery of the instruments and [his] expressive capability is unquestionable."

D'Rivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, he began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, D'Rivera switched to the alto after teaching himself to play via the book Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, D'Rivera began studying at the Havana Conservatory of Music in 1960. In 1965, he became a featured soloist with the Cuban National Symphony Orchestra. After playing with the Cuban Army Band, he joined pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna, and served as the band's conductor for two years.

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Guy Mitchell - The Very Best Of Guy Mitchell

Bitrate: MP3@320K/s
Time: 68:42
Size: 157.3 MB
Styles: Oldies, Pop, Country
Year: 2016
Art: Front

[2:26] 1. Singing The Blues
[2:37] 2. Heartaches By The Number
[2:45] 3. My Heart Cries For You
[2:48] 4. My Truly, Truly Fair
[2:55] 5. Pittsburgh, Pennsylvania
[2:48] 6. You're Just In Love
[3:06] 7. She Wears Red Feathers
[2:48] 8. Look At That Girl
[2:27] 9. Cloud Lucky Seven
[2:09] 10. Knee Deep In The Blues
[2:12] 11. Rock-A-Billy
[2:46] 12. The Roving Kind
[3:04] 13. The House Of Singing Bamboo
[3:14] 14. Sparrow In The Treetop
[2:45] 15. Unless
[2:24] 16. Belle, Belle, My Liberty Belle
[3:30] 17. A Beggar In Love
[2:42] 18. There's Always Room At Our House
[2:41] 19. Chicka Boom
[2:55] 20. Sweetheart Of Yesterday
[2:56] 21. The Place Where I Worship
[2:27] 22. Sippin' Soda
[2:39] 23. The Cuff Of My Shirt
[2:33] 24. Pretty Little Black Eyed Susie
[2:52] 25. Cause I Love You, That's A Why

Albert Cernick, 22 February 1927, Detroit, Michigan, USA, d. 1 July 1999, Las Vegas, Nevada, USA. Mitchell was an enormously popular singer in the USA and especially the UK, particularly during the 50s, with a straightforward style, rich voice and affable personality. Although his birthplace is often given as Yugoslavia, his parents’ homeland, Mitchell confirmed in a 1988 UK interview that he was born in Detroit, and was brought up there until the family moved to Colorado, and then to Los Angeles, California, when he was 11 years old. In Los Angeles, he successfully auditioned for Warner Brothers Records and, for the next few years, was groomed for a possible movie career as a child star, in addition to singing on the Hollywood radio station KFWB. The possibility of the world having another Mickey Rooney was averted when the family moved again, this time to San Francisco. Mitchell became an apprentice saddle-maker, and worked on ranches and in rodeos in the San Joaquin Valley, and also sang on cowboy singer Dude Martin’s radio show. His affection for country music stayed with him for the remainder of his career. After a spell in the US Navy, Mitchell joined pianist Carmen Cavallaro, and made his first records with the band, including ‘I Go In When The Moon Comes Out’ and ‘Ah, But It Happens’. He then spent some time in New York, making demonstration records, and also won first place on the Arthur Godfrey Talent Show. In 1949, he recorded a few tracks for King Records, which were subsequently reissued on Sincerely Yours when Mitchell became successful.

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Donny McCaslin - Seen From Above

Bitrate: MP3@320K/s
Time: 58:30
Size: 133.9 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[6:34] 1. Manresa
[6:52] 2. Seen From Above
[5:09] 3. Second Line Sally
[5:38] 4. These Were Palaces
[6:48] 5. Mick Gee
[5:54] 6. Strange Pilgrim
[7:43] 7. Going To The Territory
[6:44] 8. Frontiers
[7:03] 9. September Song

When tenor saxophonist Donny McCaslin hits his stride, he can hold his own with the best of them. On his first recording for the “Arabesque Recordings” label, titled Seen From Above, and second as a leader, the saxophonist incorporates some of the hard nosed voicings and complex time signatures also exhibited in the fine band, “Lan Xang”. - An outfit, that features the blazing dual sax attack of McCaslin and saxophonist David Binney.

Along with drummer Jim Black, bassist Scott Colley and guitarist Ben Monder, McCaslin struts his broad, weighty tone amid scathing lines and cunning improvisation atop solid funk-rock beats on the album’s opener, “Manresa” and throughout most of these upbeat tracks. Here, the band deviates from a traditional ho-hum style of interplay, marked by shifty time signatures, ominous yet altogether innocent themes and searing ensemble work, enhanced by the potent and ever so creative rhythmic developments of Black and Colley.

Monder and McCaslin implement rapid fire, odd-metered unison choruses on the turbo charged composition, “Mick Gee” as the band creates loads of impact via tense themes and beefy lines. With “Going To The Territory”, the saxophonist is ablaze as he reworks the melody while displaying a husky tone to coincide with his shrewd utilization of various registers and altogether expressionistic approach, while Monder counters with electrified aplomb. Overall, McCaslin delivers the knockout blow in prominent fashion! Recommended. ~Glenn Astarita

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McCoy Tyner - Sahara

Styles: Piano Jazz
Year: 1972
File: MP3@320K/s
Time: 47:57
Size: 110,8 MB
Art: Front

( 9:00)  1. Ebony Queen
( 4:48)  2. A Prayer for My Family
( 5:19)  3. Valley of Life
( 5:21)  4. Rebirth
(23:27)  5. Sahara

After the death of John Coltrane, his longtime pianist McCoy Tyner was in something of a musical quandary. Keeping up with his mentor through the incredible explorations of the early '60s, he seemed to have some difficulty navigating the even further out territories explored in the two or three years before Coltrane's death in 1967. His subsequent albums as a leader were solid, enjoyable efforts but seemed oddly retrograde, as though he needed time to settle back and re-digest the information handed down to him. With Sahara, Tyner found the precise perfect "middle ground" on which to stand, more structured than late Coltrane, but exploding with a ferocity and freedom of sound that made it simply one of the greatest jazz recordings of the decade. None of the other members of his quartet ever sounded so inspired, so liberated as they do here. Sonny Fortune threatens to tear the roof off the joint on more than one occasion, Calvin Hill is more than rock-solid on bass, his roots arcing deeply into the earth, and as for Alphonse Mouzon, well, no one familiar with his later vapid meanderings in fusion would begin to recognize him here, so incendiary is his playing. And Tyner develops so much pure energy, channeled with such pinpoint precision, that one worries about the physical stability of any piano under such an assault. From the extraordinarily intense "Ebony Queen" through the ruminative solo "A Prayer for My Family, the equally intense "Rebirth," and the concluding, side-long title track, there's not a misstep to be heard. "Sahara," over the course of its 23 minutes, covers vast ground, echoing the majesty and misery of the geographical area with percussion and flute interludes to some of Tyner's very best playing on record. Even something that could have resulted in a mere exercise in exotica, his koto performance on "Valley of Life," exudes both charm and commitment to the form. Tyner would go on to create several fine albums in the mid-'70s, but never again would he scale quite these heights. Sahara is an astonishingly good record and belongs in every jazz fan's collection. ~ Brian Olewnick https://www.allmusic.com/album/sahara-mw0000566101

Personnel: McCoy Tyner (piano, koto, flute, percussion); Sonny Fortune (soprano & alto saxophones, flute); Alphonse Mouzon (trumpet, reeds, drums, percussion); Calvin Hill (reeds, bass, percussion).

Sahara

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