Sherry Williams - A Taste Of Sherry

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 73:07
Size: 167,9 MB
Art: Front

(4:08)  1. A Foggy Day
(7:18)  2. Summertime
(6:27)  3. Round Midnight
(5:57)  4. All of You
(3:20)  5. Do Nothin' Til You Hear From Me
(5:13)  6. When He Makes Music
(5:19)  7. 'Tis Better to Have Loved and Lost
(6:39)  8. You'd Be So Nice to Come Home To
(7:19)  9. Weren't You the One
(4:52) 10. Without You
(6:01) 11. Lush Life
(7:38) 12. Let's Fall in Love
(2:50) 13. There Will Never Be Another You

You're about to hear a lady in the tradition of the best we've ever had...Lady Day, Sarah and Ella. Sherry Williams is the incomparable present-day combination of those ladies. But Sherry offers so much of herself! In a perfect mix of standard items like "Let's Fall In Love", "Foggy Day" and "Summertime", Sherry introduces "'Tis Better to Have Loved and Lost", and Weren't You the One?" 

And yet, the important things are her sensitive interpretations and her soulful delivery of all the music and all the words! And...She's backed by the superb, tasteful arranger-pianist, John Rodby, bassist Harvey Newmark, and drummers Harold Mason and Mark Stevens. They are one with Ms. Williams and what a treat that is! Sherry makes familiar pieces her own. "Round Midnight" and "Lush Life" stripped of the extraneous, performed with only Al Viola's guitar, and the above mentioned standards...They all belong to Sherry Williams. And that's what makes this very touching collection so memorable. Give her your listening space, and the lady will fill it with her magic. ~ Jack Segal https://store.cdbaby.com/cd/sherryw

A Taste Of Sherry

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Gianni Basso - Gianni Basso and His Sax & Rhythm Sextet

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 51:27
Size: 118,2 MB
Art: Front

(7:44)  1. Chet's Chum
(7:21)  2. Crazy Rhythm
(5:10)  3. Warm Melody
(6:08)  4. Holiday in Davos
(5:55)  5. The Next Day
(5:16)  6. Winnie's Component
(8:46)  7. Bells Blues
(5:03)  8. Bob's Buddy

Gianni Basso was one of the lights who began shining on the European jazz scene following the end of World War II. He began as a clarinetist and first played professionally in Germany and Belgium in the late '40s with the Raoul Falsan Big Band. By the beginning of the next decade, he was established as a commercial "GB" or "general business" player in Milan, but one with a steady presence at jazz events, including some of the early Italian attempts at post-fascist festivals. From about 1954, a collaboration with trumpeter and composer Oscar Valdambrini began that resembled the relationship between Duke Ellington and Billy Strayhorn, minus the former man's household-name status. Basso studied music in the busy northern city of Turin, where Valdambrini was a homeboy. It was more than just two Italian lads growing up with a fascination for American jazz this was a case of a tenor saxophone and trumpet finding each other. This led to all manner of musical possibilities, most notably the easy-to-maneuver-and-feed small combo (not that feeding anyone in Italy is a problem, ever).The partners' group was without a doubt the most popular jazz band in Italy in the '50s, accompanying many touring stars such as Billie Holiday, Lionel Hampton, Gerry Mulligan, Slide Hampton, and Chet Baker. The engaging style of tenor saxophonist Stan Getz was the primary goal Basso set for himself in terms of having a main man on the saxophone. His many subsequent recordings provide documentation of how he discovered Sonny Rollins and developed his own style from these sources to the point where the Verve label signed him and a top-notch singer such as Sarah Vaughan wanted a Basso baste as sauce on her 1984 serving entitled Mystery of Man. In the late '70s he founded the band Saxes Machine and subsequently fronted the Gianni Basso Big Band. In his senior years he settled into the comfort of the Rome studio scene, still playing in clubs and enjoying his growing historical stature on the European jazz scene. Even free jazz fans like him now. ~ Eugene Chadbourne https://www.allmusic.com/artist/gianni-basso-mn0000948077  

Gianni Basso and His Sax & Rhythm Sextet

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Ivo Perelman - Soul

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 56:16
Size: 129,1 MB
Art: Front

(5:47)  1. Metaphysical
(8:03)  2. Crossing
(7:03)  3. Eyound
(4:59)  4. Fragments
(4:34)  5. Belvedere
(5:03)  6. Landscape
(8:06)  7. Soul
(5:51)  8. Joy
(6:46)  9. The Unknown

One might approach this album as though it were an extension of the Perelman/Shipp duo recording, Corpo, made one week earlier.  It would not be appropriate to think that there is an historical jazz relationship at play here between Body (Corpo) and Soul there is no audible reference in the music to this possibility and it would hardly be appropriate to musicians who do not use ‘written’ notes.  What is true is that the addition to the duo of Bisio and Dickey rounds out their music with the addition of shades and tints and grain. There are distinctly different moods and swings through the music, but these are not intentionally drawn.  They are discovered or brought into being as the music develops, rather than being ‘borrowed’ from a composer’s sheet music and this produces a tranquil air in which these four musicians are heard to be entirely contented with each other and within themselves, even when in perpetual commotion. ‘Joy’ (Track 8) is particularly redolent of this, the saxophone being steered by the bass through the drummer’s ricochets and towards the doggedness of the piano, relentlessly pursuing the horn’s accompaniment.  In full improvisational mode, the quartet settles into poised extemporisation in which bass and drum effortlessly balance the comings and goings of the piano and saxophone. The improv is luxurious and it seems as though any individual in the band can take the place of another, such are their articulations.  They ‘read’ each other non-stop. http://www.jazzviews.net/ivo-perelman---soul.html

Personnel:  Ivo Perelman, tenor saxophone; Matthew Shipp, piano; Michael Bisio, bass; Whit Dickey, drums.

Soul

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Nicholas Payton - Gumbo Nouveau

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 57:00
Size: 134,9 MB
Art: Front

(5:58)  1. Whoopin' Blues
(6:24)  2. When The Saints Go Marching In
(4:10)  3. Wild Man Blues
(6:31)  4. After You've Gone
(6:53)  5. Way Down Yonder In New Orleans
(4:01)  6. Down In Honky Tonk Town
(5:32)  7. I Gotta Right To Sing The Blues
(6:02)  8. Li'l Liza Jane
(3:34)  9. Weather Bird
(7:51) 10. St. James Infirmary

Only 22 at the time of this CD, Nicholas Payton had already quickly developed into a major trumpeter. Possessing a fat tone that is sometimes reminiscent of Freddie Hubbard, by the mid-'90s Payton had become New Orleans' latest significant contribution to jazz. On his second Verve release, Payton interprets and modernizes ten songs associated with his hometown and/or Louis Armstrong. Fortunately, Payton generally retains the flavor and joy of the original versions, even while he transforms much of the music into hard bop. To cite a few examples, "Whoopin' Blues" has parade rhythms, send-offs worthy of Lionel Hampton, and boppish solos, "Way Down Yonder in New Orleans" is taken as a slow and lightly swinging ballad, and "I Gotta Right to Sing the Blues" is turned into a jazz waltz. "Li'l Liza Jane" becomes a largely unrecognizable hard bop romp and this version of "When the Saints Go Marching In" is a bit melancholy, but "Wild Man Blues" is a real tour de force for the trumpeter and the duet between Payton and pianist Anthony Wonsey on "Weather Bird" has the leader liberally quoting from Louis Armstrong's classic version. Throughout the date, Payton is the lead voice, pianist Wonsey is the main supporting player, and there are occasional solos from altoist Jesse Davis and tenor saxophonist Tim Warfield. New Orleans jazz purists may not care for all of the updating, but the overall results are fresh and quite likable. Recommended. ~ Scott Yanow https://www.allmusic.com/album/gumbo-nouveau-mw0000183253

Personnel: Nicholas Payton (trumpet); Jesse Davis (alto saxophone); Tim Warfield (tenor saxophone); Anthony Wonsey (piano); Reuben Rogers (bass); Adonis Rose (drums).                 

Gumbo Nouveau

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McCoy Tyner - Jazz Roots

Bitrate: MP3@320K/s
Time: 58:16
Size: 133.4 MB
Styles: Piano jazz
Year: 2000
Art: Front

[2:51] 1. A Night In Tunisia
[3:34] 2. Pannonica
[4:18] 3. My Foolish Heart
[4:23] 4. Don't Get Around Much Anymore
[3:59] 5. Blues For Fatha
[4:04] 6. Sweet And Lovely
[3:33] 7. Lullaby Of Birdland
[5:36] 8. You Taught My Heart To Sing
[5:49] 9. Happy Days
[4:55] 10. Rio
[4:48] 11. Summertime
[3:36] 12. St. Louis Blues
[3:38] 13. Ain't Misbehavin'
[3:05] 14. Misty

The powerful pianist McCoy Tyner forged his sound as a member of John Coltrane's classic 1960s quartet, then expanded his musical horizons for the next four decades with his own ensembles, from trios to string orchestras. He's only recorded solo-piano projects sparingly, making this session all the more valuable. Tyner pays tribute to several keyboard legends and contemporaries, from Earl Hines to Bud Powell. Tyner stays true to Duke Ellington and Thelonious Monk on "Don't Get Around Much Anymore" and "Pannonica," and evokes the down-home magic of George Gershwin's "Summertime." Tyner's own compositions, the Latinesque "Rio" and the gospel-born "Happy Days," are dedicated to Chick Corea and Keith Jarrett, respectively. Tyner's unique keyboard concept makes this recording a tribute to his own talents as well. ~Eugene Holley Jr.

Jazz Roots mc
Jazz Roots zippy

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Adam Nussbaum - The Lead Belly Project

Bitrate: MP3@320K/s
Time: 43:50
Size: 100.4 MB
Styles: Jazz/Blues
Year: 2018
Art: Front

[5:46] 1. Old Riley
[2:13] 2. Green Corn
[3:37] 3. Black Girl (Where Did You Sleep Last Night)
[5:07] 4. Bottle Up And Go
[5:26] 5. Black Betty
[1:51] 6. Grey Goose
[4:22] 7. Bring Me A Little Water, Sylvie
[2:33] 8. You Can't Loose Me Cholly
[2:54] 9. Insight, Enlight
[5:10] 10. Sure Would Baby
[4:47] 11. Goodnight Irene

Adam Nussbaum - drums; Ohad Talmor - saxophone; Steve Cardenas - guitar; Nate Radley - guitar. Released February 23, 2018.

From jazz and soul to rock and country, the blues are the bedrock and a uniting feature for much of the popular music originating in the United Sates. The simple and repetitive structures are easy to grasp and perform, making the blues extremely approachable. Under the command of brilliant writers like the legendary Lead Belly, the blues maintains a unique place between high art and common expression.

The discovery of the music of Lead Belly was transformative for young Adam Nussbaum. The only child of artistic parents in Norwalk, Connecticut, Nussbaum was exposed to many recordings, from classical to folk to jazz and blues. It was the image of Huddie Ledbetter on the original Folkways 10-inch record covers that fascinated the five year old. The celebrated blues and folk musician’s music seared itself into his ears, as it does in young listeners, informing the future drummer’s musical approach for years to come, most explicitly on his new recording, The Lead Belly Project.

Nussbaum studied classical piano for five years, but it wasn’t until he was twelve that he focused on drums. He played in local bands before moving to New York to study at the Davis Center at City College. Most of Nussbaum’s education was earned by sitting in with other musicians and it wasn’t long before he caught the attention of the City’s most notable players, including Dave Liebman and John Scofield. His professional career began as he left school to go on tour with Scofield. He has remained a first call drummer over the past 30 years, playing alongside legends like John Abercrombie, Gil Evans, James Moody, Stan Getz, and many others.

The Lead Belly Project mc
The Lead Belly Project zippy

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Various - Cafe Amsterdam: Latin Jazz Night

Bitrate: MP3@320K/s
Time: 69:46
Size: 159.7 MB
Styles: Latin jazz
Year: 2015
Art: Front

[3:15] 1. Cris Monen Jazz & Blues Band - One Note Samba
[3:02] 2. Ricardo Insunza - Favela
[2:46] 3. Ronald Douglas - I Concentrate On You
[5:39] 4. Perfume De Salsa - Dame Un Traguito
[4:36] 5. Ingram Washington - Witchcraft
[3:50] 6. Joop Thonhäuser - Manha De Carnaval
[4:08] 7. Hot Club De Frank - Melodie Au Crepusule
[3:09] 8. Toots Thielemans - Flow
[2:56] 9. Sue Moreno - I Remember You
[2:38] 10. Sebastian Lightfoot - Soul Bossa Nova
[5:24] 11. Jazz Connection - Pau The Arara
[2:34] 12. Dirk Jan Vennik - Funky Wine
[3:48] 13. Deborah J. Carter - Sabado
[5:48] 14. Ratko Zjaca - Soul House
[3:47] 15. Alice In Dixieland - Bed & Breakfast In B
[5:25] 16. Benjamin Herman - All The Things
[2:44] 17. Ricardo Insunza - Saudade Fez Um Samba
[4:07] 18. Marjorie Barnes - No More Blues

The legendary Jelly Roll Morton was noted for saying that Jazz had to contain “The Spanish Tinge,” indicated that Afro-Latin elements have been in Jazz from the music’s inception.

As the century progressed, however, we started to see a more overt fusion of Jazz with Afro-Cuban musical traditions, especially with BeBop innovators like Dizzy Gillespie. By today, we have a distinct style of music, called Latin Jazz, that we consider a crucial and influential vein in this musical tradition.

Cafe Amsterdam: Latin Jazz Night mc
Cafe Amsterdam: Latin Jazz Night zippy

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Russell Malone - S/T

Bitrate: MP3@320K/s
Time: 59:32
Size: 136.3 MB
Styles: Guitar jazz
Year: 1992/2004
Art: Front

[7:11] 1. Wives And Lovers
[6:14] 2. Invisible Colors
[3:13] 3. When I Take My Sugar To Tea
[3:14] 4. It's The Talk Of The Town
[4:48] 5. St. Louis Blues
[3:45] 6. I Don't Know Enough About You
[3:23] 7. Close Your Eyes
[7:09] 8. London By Night
[6:18] 9. I Can't Believe That You're In Love With Me
[8:37] 10. Moonlight Serenade
[2:53] 11. Flowers For Emmett Till
[2:40] 12. Precious Lord

Russell Malone's debut as a leader is a charming effort that ranges from swing to numbers in which Malone shows off his Wes Montgomery influence. Malone is not only heard with a fairly modern quartet comprised of pianist Donald Brown, bassist Robert Hurst III and drummer Yoron Israel, but also in a trio with the great veteran bassist Milt Hinton and drummer Shannon Powell (Malone and Hinton take "St. Louis Blues" as a duet). There are also two duets with pianist Harry Connick, Jr., including a surprising (and effective) vocal by Malone on "I Don't Know Enough About You." A very enjoyable effort with several other surprises along the way. ~Scott Yanow

Russell Malone mc
Russell Malone zippy

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Helen Carr - Why Do I Love You (Remastered)

Bitrate: MP3@320K/s
Time: 31:23
Size: 71.9 MB
Styles: Vocal, Easy Listening
Year: 1955/2014
Art: Front

[1:53] 1. Be Careful, It's My Heart
[3:52] 2. My Kind Of Trouble Is You
[2:21] 3. Lonely Street
[2:20] 4. Symphony
[3:31] 5. You're Getting To Be A Habit With Me
[2:27] 6. Bye Bye Baby
[2:18] 7. Then You've Never Been Blue
[1:57] 8. Summer Night
[3:39] 9. Got A Date With An Angel
[2:33] 10. Can't Help Lovin' Dat Man/Why Do I Love You
[2:24] 11. Do I Worry
[2:02] 12. I've Got A Feelin' You're Foolin'

Acoustic Bass – Red Mitchell; Guitar – Howard Roberts; Lead Vocals – Helen Carr; Trumpet – Cappy Lewis.

Standards and pre-rock singer who recorded in mid-'50s for Bethlehem. What might have been some interesting late '50s material for Atlantic with King Curtis, Al Casey and the Cumming Sisters never was released. ~ Ron Wynn

Why Do I Love You

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Barney Kessel - Midnight Sun

Bitrate: MP3@320K/s
Time: 114:02
Size: 261.0 MB
Styles: Guitar jazz
Year: 2018
Art: Front

[3:58] 1. If You Dig Me
[4:06] 2. Contemporary Blues
[3:10] 3. Indiana
[6:32] 4. My Man's Gone Now
[4:55] 5. Free As A Bird
[4:22] 6. Wall Street
[2:47] 7. You Came A Long Way From St. Louis
[2:10] 8. Summertime
[4:25] 9. Begin The Blues
[3:07] 10. Midnight Sun
[2:29] 11. It Ain't Necessarily So
[6:40] 12. Joy Spring
[5:03] 13. Opus 711
[2:46] 14. String Of Pearls
[3:55] 15. The Gypsy's Hip
[2:54] 16. Don't Blame Me
[2:55] 17. 12th Street Rag
[3:07] 18. Tumbling Tumbleweeds
[3:14] 19. Stairway To The Stars
[2:21] 20. Muskrat Ramble
[3:10] 21. By The Beautiful Sea
[3:20] 22. Embraceable You
[2:11] 23. Heartaches
[3:42] 24. How Deep Is The Ocean, How High Is The Sky
[3:43] 25. Sweet Georgia Brown
[4:44] 26. My Funny Valentine
[2:21] 27. Bye Bye Blues
[3:38] 28. I Wanna Be Loved By You
[4:37] 29. Lover Man
[2:39] 30. They Can't Take That Away From Me
[4:44] 31. The Blessing

One of the finest guitarists to emerge after the death of Charlie Christian, Barney Kessel was a reliable bop soloist throughout his career. He played with a big band fronted by Chico Marx (1943), was fortunate enough to appear in the classic jazz short Jammin' the Blues (1944), and then worked with the big bands of Charlie Barnet (1944-1945) and Artie Shaw (1945); he also recorded with Shaw's Gramercy Five. Kessel became a busy studio musician in Los Angeles, but was always in demand for jazz records. He toured with the Oscar Peterson Trio for one year (1952-1953) and then, starting in 1953, led an impressive series of records for Contemporary that lasted until 1961 (including several with Ray Brown and Shelly Manne in a trio accurately called the Poll Winners). After touring Europe with George Wein's Newport All-Stars (1968), Kessel lived in London for a time (1969-1970). In 1973, he began touring and recording with the Great Guitars, a group also including Herb Ellis and Charlie Byrd. A serious stroke in 1992 put Barney Kessel permanently out of action, but many of his records (which include dates for Onyx, Black Lion, Sonet, and Concord, in addition to many of the Contemporaries) are available, along with several video collections put out by Vestapol. Kessel was diagnosed with inoperable cancer in 2001, which eventually took his life in May of 2004. He was 80 years old. ~ Scott Yanow

Midnight Sun mc
Midnight Sun zippy

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Gordon Webster and Hetty Kate - Gordon Webster Meets Hetty Kate

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 49:09
Size: 113,1 MB
Art: Front

(3:15)  1. Button Up Your Overcoat
(2:57)  2. Blitzkrieg Baby
(3:50)  3. Peek-a-boo
(3:22)  4. Shoo Fly Pie & Apple Pan Dowdy
(2:40)  5. How D'ya Like to Love Me?
(4:16)  6. Eight, Nine & Ten
(3:06)  7. There's Frost On The Moon
(2:55)  8. Busy Line
(3:30)  9. Sweet Lover No More
(4:45) 10. I Wanna Be Around
(3:30) 11. Hard Hearted Hannah
(5:43) 12. Besame Mucho
(5:15) 13. I Lost My Sugar In Salt Lake City

Celebrated ‘King of Swing’, New York pianist Gordon Webster, met Melbourne’s Hetty Kate on the bandstand at the swing dance event Jumptown Jam 2013.. amidst a crowded dance hall full of fast footwork, twirling skirts and dapper gentlemen. After this fateful meeting, and thanks to Swing Patrol Australia, Jumptown Swing and Australia's exuberant supportive dancers, Gordon and Hetty successfully fundraised and recorded an album in New York (Sept 2013). Well Gordon barely needs any introduction as he’s lauded as the number one pianist and bandleader for dancers, Gordon Webster regularly tours around the world, often invited to Europe and Asia as well as touring regularly across the USA. Drawing on influences as diverse as Fats Waller, Count Basie, Oscar Peterson and Gene Harris, Gordon passionately serves up a smorgasbord of styles unified by one characteristic.. irresistible danceability! Gordon has many albums on CDBaby, so make sure to search his name and check out all his music. Pure of tone, sweet sounding and dangerously infectious, Melbourne jazz vocalist Hetty Kate has built quite a career for herself and can often be seen singing for packed dance floors at lindy-hop and blues events around Australia. Born in England, raised in Australia and now based out of Paris Hetty performs as a jazz vocalist at clubs and festivals, and has released 9 albums of her own. "Like Peggy Lee on a Vespa" Marc Myers Jazzwax USA. Hetty also has a few other albums on CDBaby, so please check them out and visit her on facebook whilst you're here! Both Gordon and Hetty would like to thank all the generous supporters, and the welcoming swing community, it's a pleasure to play for you, and keep on dancing. We hope you like the album! https://store.cdbaby.com/cd/gordonmeetshetty

Personnel:  Gordon Webster (piano) and Hetty Kate (voice)

Gordon Webster Meets Hetty Kate

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Red Garland - Halleloo-Y'-All

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 35:50
Size: 82,1 MB
Art: Front

( 6:59)  1. Back Slidin'
( 6:13)  2. Revelation Blues
( 4:50)  3. Everytime I Feel the Spirit
( 6:38)  4. Halleloo-Y'-All
(11:08)  5. I'll Never Be Free

Except for Count Basie, few pianists in the post-war years could swing the blues like Red Garland. Certainly, Garland could give standards a handsome spin with dramatic lyricism, plenty of space and clusters of block chords. But the blues were in Garland's blood system, and his trio album Halleloo-Y'-All from 1960 remains for me one of the finest examples of his blues trio playing. Garland grew up in Dallas, began his music education on reed instruments, joined the Army in 1941and began playing piano while stationed in Arizona. After being discharged from the service in '44, Garland gigged around Texas and soon joined Oran “Hot Lips" Page's orchestra. When the band hit New York, Garland quit to remain in the city, which turned out to be a shrewd career move.

In New York, Garland played and recorded with many of the greats of the late 1940s. When Miles Davis was unable to persuade Ahmad Jamal and his trio to back him in the early 1950s, Davis turned to Garland, looking to the pianist for an emulation of Jamal's elegant and bright melodic style. Garland delivered (in comes cases on the exact same songs) but with a more pronounced and bluesy style than Jamal. By 1956, Prestige was recording Garland as the leader of a trio when he wasn't playing as a member of Davis's and John Coltrane's rhythm sections. [Photo above of Red Garland and Miles Davis]

Virtually all of Garland's leadership dates had a blues pull. Like a posh musical bartender, Garland was masterful at perfectly blending church and club to produce music that was neither and both. Like B.B. King and Ray Charles, every song Garland touched was saturated in the blues. "Garland recorded several blues-centric albums, including Alone With the Blues and P.C. Blues. But perhaps his best was Halleloo-Y'-All. Recorded in April 1960, the album featured my favorite Garland trio Sam Jones on bass and Art Taylor on drums. Both musicians have been vastly overlooked as industrial and inventive trio players. And this Red Garland Trio ranks up there with the best of the decade. Halleloo-Y'-All features a full menu of five blues. As Dan Morganstern wrote in his original album liner notes, “the program consists of three Garland originals, a rhythm-and-blues hit of fairly recent vintage [I'll Never Be Free] and an old traditional gospel hymn. The emphasis is on relaxed tempos and a bluesy groove, but there is none of the pseudo funk which is marketed in such quantity these days under titles similar to some of the 'churcy' ones found here. Red Garland is a stylist not a gimmick-merchant and everything he plays is musical and unforced. He isn't trying to prove anything and what comes out is uncontrived and happy jazz." The album also features Garland's playing organ on the title track, a play on hallelujah. Garland could swing and extract the Hammond's full gospel flavor using a tender touch. With the sharp fierceness of Taylor and fleshy bass lines of Jones, this is a perfect Red Garland Trio album. ~ Marc Myers  https://news.allaboutjazz.com/red-garland-halleloo-y-and-39-all.php

Personnel:  Red Garland – piano, organ;  Sam Jones – bass;  Art Taylor – drums

Halleloo-Y'-All

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Al Casey - Jivin' Around

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 57:19
Size: 132,6 MB
Art: Front

(2:11)  1. Surfin' Hootenanny
(2:02)  2. El Aguila (The Eagle)
(2:42)  3. Thunder Beach
(2:18)  4. Baja
(2:42)  5. Surfin' the Blues, Pt. 1
(2:12)  6. The Lonely Surfer
(2:05)  7. Guitars, Guitars, Guitars
(2:03)  8. The Hearse
(2:01)  9. Ramrod
(1:51) 10. Caravan
(2:55) 11. Surfin' Blues, Pt. 2
(1:50) 12. Surfs You Right
(2:18) 13. Cookin'
(2:08) 14. Indian Love Call
(2:17) 15. Hot Foot
(2:28) 16. Jivin' Around
(1:36) 17. Doin' the Shotfish
(2:12) 18. Doin' It
(2:21) 19. The Hucklebuck
(2:28) 20. Full House
(2:24) 21. Laughin'
(2:00) 22. Monte Carlo
(1:51) 23. Theme from 'Huckleberry Hound'
(2:11) 24. Chicken Feathers
(2:01) 25. Easy Pickin'
(2:00) 26. What Are We Gonn Do in '64?

Casey made these 26 tracks most of which are instrumentals (the K-C-Ettes, actually the Blossoms, add vocals on three of the selections) for the Stacy label in the early '60s, a stint which represented his greatest success as a singles artist. Casey is a very good rock and surf guitarist, but the material is often average or boring period instrumental rock, and not so elevated by Casey's guitar licks and arrangements that they demand repeated listening. The most exciting cuts are the surf ones produced (and often written) by Lee Hazlewood, including "Surfin' Hootenanny," Casey's biggest hit. The more obscure "El Aguila (The Eagle)" and "The Hearse" show Casey's skill at dipping his axe in reverb to ride the surf wave, while "Thunder Beach" and "Baja" borrow, as a lot of surf did, from Latin melodies and rhythms. Casey also does his own version of "Ramrod," a Casey composition that colleague Duane Eddy had taken into the Top 30 a few years previously. Surf-heads should know, though, that much of this disc is not surf music, but bluesy early-'60s R&B-rock, on which the organ is sometimes as or more prominent than Casey's guitar. In fact, "Cookin'" and "Jivin' Around," which both lurched into the bottom of the Top 100, are a lot closer to Jimmy Smith than Dick Dale; those songs and "Doin' It" are actually pretty respectable as far as that genre goes. Two of the songs on the CD were previously unreleased. ~ Richie Unterberger https://www.allmusic.com/album/jivin-around-mw0000604331

Jivin' Around

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Martha Wainwright - Goodnight City

Styles: Vocal, Folk
Year: 2016
File: MP3@320K/s
Time: 50:04
Size: 116,1 MB
Art: Front

(3:50)  1. Around The Bend
(3:40)  2. Franci
(3:43)  3. Traveller
(4:22)  4. Look Into My Eyes
(3:23)  5. Before The Children Came Along
(4:09)  6. Window
(2:12)  7. Piano Music
(4:14)  8. Alexandria
(4:35)  9. So Down
(3:46) 10. One of Us
(4:00) 11. Take The Reins
(4:06) 12. Francis
(3:57) 13. Somehow

You could never accuse the Wainwrights of being shy about their family difficulties. Rufus Wainwright‘s Dinner At Eight, Loudon Wainwright III‘s Hitting You, and of course Martha Wainwright‘s own delightfully titled paean to her father, Bloody Mother Fucking Asshole have all been so intensely personal that it’s sometimes felt like the listener is sitting in on a huge therapy session. Martha Wainwright’s last album, Come Home To Mama, continued the tradition by writing songs so bleak about her marriage that husband Brad Albetta wore a full monks outfit and black face mask throughout the tour to promote the album. Thankfully, four years on from that last album, Wainwright and Albetta are still together and Goodnight City seems to signal something of a fresh start for the Canadian. It’s her most collaborative album, for a start. While Wainwright is no stranger to the odd cover version  indeed, she recorded a whole album of Edith Piaf standards a few years ago  Goodnight City sees songs written for her by the likes of her brother Rufus, Beth Orton, and tUnE-yArDs‘ Merrill Garbus. That’s not to say that the old Wainwright style is completely out of the window of course: opening track Round The Bend is reminiscent of her debut album, a dark tale of a woman who “used to do a lot of blow” who has “seen and done things I wouldn’t wish on anyone”. In a typical Wainwright twist though, none of this may be what it seems: “watch out for my white lies” runs the killer kiss-off. There are also two songs dedicated to Wainwright’s youngest son Francis  one of her own entitled Franci which turns an open letter to her son (“I wanted to name you Valentine, but Dad convinced me to change my mind”) into a gloriously surging anthemic pop song, while Uncle Rufus’ contribution Francis is as sublime as you’d expect: a swooning piano ballad redolent of his Want One and Want Two albums.

Look Into My Eyes is another collaborative family effort, co-written with aunt Kate McGarrigle and cousin Lily Lanken, and is one of the most startling things that Wainwright has recorded a dramatic, atmospheric ballad featuring flutes, synths, a saxophone and lyrics that flit between English and French. Garbus’ contribution, Take The Reins, is also surprising, not being as remotely frantic as you may expect. In fact, it’s a slinky, slightly jazzy ballad that manages to combine the very best elements of Garbus and Wainwright. Throughout, Wainwright is vocally on top form  whether she be beautifully restrained on the gorgeously poignant One Of Us, or swooping and hollering on Traveller, a song which sounds like it could be a tribute to her late mother. but is in fact about an old friend of Wainwrights who died of cancer aged 40. Admittedly, some tracks don’t work so well, with Piano Music (with lyrics by The English Patient author Michael Ondaatje) is a meandering, formless mess and Before The Children Came Along is a forgettable diversion compared to the rest of the album. Yet the experimental edge that Wainwright has introduced with this album bodes well for the future while she may not be writing operas like her brother, she remains one of the most intriguing, honest songwriters around today. ~ John Murphy https://www.musicomh.com/reviews/albums/martha-wainwright-goodnight-city

Goodnight City

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Aldo Romano, Remi Vignolo, Baptiste Trotignon - Flower Power

Bitrate: MP3@320K/s
Time: 56:04
Size: 128.4 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[4:06] 1. Love Me, Please Love Me
[4:28] 2. Say It Ain't So
[6:03] 3. Valse De Melody/Je T'aime Moi Non Plus
[6:55] 4. Sea Song/Crying Song
[3:57] 5. Black Dog
[3:39] 6. Don't Let Me Be Lonely
[4:44] 7. Mr Tambourine Man
[5:46] 8. Bridge Over Troubled Water
[4:15] 9. C'est Extra
[4:45] 10. Your Song
[7:20] 11. The End

Bass – Rémi Vignolo; Drums – Aldo Romano; Piano – Baptiste Trotignon. Recorded at Studio Meudon, France, April 26, 2006.

Although born in Italy, Aldo Romano moved to France with his family at a young age. He was already playing guitar and drums professionally in Paris in the '50s when he heard Donald Byrd's group with drummer Arthur Taylor. Since then, he has dedicated himself to the drums and contemporary jazz. In Paris jazz clubs like le Chat Qui Pêche and the Caméléon, Romano has accompanied visiting Americans like Jackie McLean, Bud Powell, Lucky Thompson, J.J. Johnson, and Woody Shaw while also exploring free music with Don Cherry and Gato Barbieri, Frank Wright and Bobby Few, Michel Portal, François Tusques, Jean-Louis Chautemps, and Steve Lacy.

Rémi Vignolo is he drummer, or bassist? Composer?! We did not know ... How could we have known elsewhere? Nougaro, Lagrene, Terrasson, Galliano, Romano, Werner, Bergonzi, Aznavour, Luke, Di Battista, Legrand, Trotignon, Grossman, El Malek, Pierranunzi, Z (Bojan's) ... It's as if the guy had melted into the landscape, as if he had taken advantage of the light of all these great "Names" to better hide his own. A more exhaustive list of his collaborations or the details of the eighty albums already recorded for others behind his double bass or his drums would not illuminate further the motivations, the choices, the doubts ... The course can be confusing, remains the certainty of being faced with an unusual personality, a rare bird on which decency and fashions have, obviously, little grip. (Translated from French.)

Baptiste Trotignon (born in 1974) began playing the piano at the age of six. He discovered and taught himself jazz and improvisation as a teenager. In 1994 he played both the piano and a role in Alain Corneau's film "Le Nouveau Monde", and one year later he decided to move to Paris. Over the years that followed he developed a number of eclectic encounters, while also continuing to play music that was resolutely open-minded and imaginative. This included performing alongside top-quality improvisers like Tom Harrell and Brad Mehldau and classical pianists such as Nicholas Angelich and Alexandre Tharaud, and he was also artistic director for tribute evenings to Edith Piaf and Claude Nougaro at Montreux, composed film music for Claude Goretta's "Sartre", and did some Hammond B3 organ tours with Stefano Di Battista's "Trouble Shootin'". Baptiste's first "American" album, "Share", was recorded in New York and came out in early 2009. He made it with Eric Harland and invited Tom Harrell (a living and inimitable jazz legend) and Mark Turner along. The album was a hit and was followed by a highly charged live album recorded in London ("Suite…" 2010). In the next few months he wrote a version featuring a string and wind orchestra that was performed for the first time at the Jazz in Marciac Festival.

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Miwa Watanabe - Natural Voice (2 albums: I & II)

Miwa Watanabe is a vocalist, composer/arranger, and flute player from Japan. Miwa began formal voice training at the age of twelve, and performed her first act on musical theater when she was fourteen years old. She continued to act on musical theaters and worked as an actress in NHK (Japanese Broadcasting Corporation), which is Japan’s national public broadcasting organization.

Since 2004, she studied music in the United States, Gramercy Park School of Music in New York City and Berklee College of Music in Boston. She performed a solo with St. John’s United Methodist Church’s Choir (New York), December in 2005. She studied under Joe Coleman(The Platters), Jayon Anthony, Beverly Crosby, Amina Claudine Myers, and Ella Garrett in New York, and Sharon Brown, Lisa Thorson, Mili Bermejo, Ernest Diaz, and Kris Adams at the Berklee College of Music in Boston. Currently, She is studying with Tony Nominee, Vivian Reed. She graduated from Berklee College of Music and received her BM degree in Vocal Performance major. All year accomplishments earned her a place on Berklee’s Dean’s List. She sing at Boston Park Plaza Hotel, Asian Cafe in Boston, Blue Owl, Moco, Jules, Cleopatra's needle and many Jazz Clubs, bars and Restaurants in New York.

She released three CD albums which are called new acoustic project "Duo","DUOII" and "DUO III". 1st album from Japan “Natural Voice” was released in 2013. Also “Natural Voice II” (2014) got the best recording award from Stereo Disc Collection and Best Album Top 5 on music magazine”Stereo.” In 2014, As a lyricist, She prized Best Single Hit Award from Crown Records.

Album: Natural Voice
Bitrate: MP3@320K/s
Time: 42:43
Size: 97.8 MB
Styles: Jazz vocals
Year: 2013
Art: Front

[3:12] 1. The Girl From Ipanema
[3:54] 2. Outra Vez
[4:31] 3. Don't Let Me Be Lonely Tonight
[5:15] 4. Corcovado
[3:50] 5. Morning
[2:47] 6. Doralice
[4:40] 7. Speak Low
[4:41] 8. Dindi
[5:02] 9. Spring 2010
[4:47] 10. Saiko No Yakusoku

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Album: Natural Voice II
Bitrate: MP3@320K/s
Time: 43:39
Size: 99.9 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[3:24] 1. It's All Right With Me
[3:27] 2. A Child Is Born
[3:22] 3. East Of The Sun
[4:55] 4. My One And Only Love
[4:32] 5. Is You Is Or Is You Ain't My Baby
[4:28] 6. Dream A Little Dream Of Me
[5:18] 7. Bewitched, Bothered & Bewildered
[3:56] 8. Softly As In A Morning Sunrise
[4:56] 9. Stormy Weather
[5:16] 10. Embraceable You

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Will Bernard 4-Tet - Medicine Hat

Bitrate: MP3@320K/s
Time: 53:37
Size: 122.8 MB
Styles: Jazz/Funk
Year: 1998
Art: Front

[5:35] 1. Close Shave (Part 1)
[4:08] 2. Boomtown
[5:24] 3. Medicine Hat
[5:47] 4. Prankster
[4:49] 5. 3-Ply
[3:42] 6. Koko A Poko
[4:08] 7. Trap Door Spider
[4:13] 8. Nobody's Looking
[6:08] 9. Tank Top
[5:56] 10. Pollyanna
[3:42] 11. Do Not Bend

On Medicine Hat, their first release, the Will Bernard 4-tet came to groove. The disc kicks off with "Close Shave (Pt. 1)," a James Brown inspired romp that introduces these fine San Francisco-based players. Will Bernard is a hot guitarist who was heard with T. J. Kirk, which included the now well-known Charlie Hunter and drummer Scott Amendola, also heard here laying down his rock solid rhythms with typical finesse. The 4-tet is rounded out with newcomers Rob Burger on Hammond B-3 organ and John Shifflett on bass.

The second track, "Boomtown", sounds like a spicy recipe for chasing away the mid-winter blues. The guitar / organ-fueled jams are inspired and fun. But this isn’t just about partying. The compositions, all by Bernard, are interesting as well as danceable. The twisted tango groove of "Trap Door Spider" is enticing and the 4-tet ventures into Bill Frisell-ish territory on "Nobody’s Looking". Bernard and Burger switch to acoustic guitar and accordion for this beautifully moody track. "Tank Top" turns the tables again with a funky New Orleans groove, one of Scott Amendola’s specialties. Bernard lays down some smokin’ slide guitar on this cooker. "Pollyanna" features some wonderfully slippery guitar improvisations and they take us home with "Do Not Bend", a final funk excursion. Recommended to fans of guitar, organ, and fat, funky grooves. ~Rick Bruner

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Gary Smith - Timeless

Bitrate: MP3@320K/s
Time: 42:20
Size: 96.9 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[3:28] 1. Chinatown My Chinatown
[4:05] 2. Ain't She Sweet
[3:44] 3. Dahil Sa You
[3:39] 4. The Days Of Idyllwild
[4:24] 5. I Remember Bert
[3:23] 6. Frankie And Johnny
[3:19] 7. Melancholy Baby
[4:33] 8. Paul's Bossa
[4:39] 9. You Made Me Love You
[4:06] 10. Jazz Baby
[2:55] 11. Bossa De Wierdo

Gary Smith is an avant-garde guitarist, improviser and composer from the United Kingdom. He is known for developing dense extended techniques on electric guitar. Gary Smith has released close to twenty albums in solo, group and live settings with Shoji Hano, Rhys Chatham, John Stevens, Hugh Hopper, Masayoshi Urabe, Chie Mukai, Aufgehoben No Process, and Bill Fay.

Timeless

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Cedar Walton, David Williams - Duo

Bitrate: MP3@320K/s
Time: 77:30
Size: 177.4 MB
Styles: Piano jazz
Year: 1991/2010
Art: Front

[ 5:33] 1. I Mean You
[ 5:51] 2. Pannonica
[ 6:25] 3. Stablemates
[ 9:54] 4. Lament
[ 6:19] 5. N. P. S
[ 6:59] 6. My Old Flame
[ 5:47] 7. St. Thomas
[10:47] 8. Hagy
[ 6:43] 9. Blues For Alberto
[ 5:16] 10. I've Grown Accustumed To Your Face
[ 7:52] 11. Ruby My Dear

One of Cedar Walton's best recordings, this album pairs him with his long-time colleague, bassist David Williams. The communication between Walton and Williams is superb. "Pannonica" is a beautiful Thelonious Monk ballad, on which both players sound confident. Walton is a modest player, playing only what makes sense. On trombonist J. J. Johnson's "Lament," a lovely orchestral sweep on the piano is followed by some sumptuous chords leading into some upper-register tinkling, before a brilliantly quick run brings us back to lushly textured playing. David Williams' bass solo features spare use of vibrato, perfect intonation, and deep feeling. "Hagy" is an interesting, sad original with a deep rock groove. Walton's playing is modal and atmospheric over Williams's pedal points, and the pianist plays the strings inside the piano to excellent effect. Also unusual is Williams bass solo (which sounds like a bagpipe!), played over a ruminative pedaled piano passage.

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Jesper Thilo - Strike Ap The Band

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 66:22
Size: 152,4 MB
Art: Front

(5:13)  1. Spotlite
(6:16)  2. Old Folks
(8:13)  3. Oh, Lady Be Good
(7:20)  4. There's No You
(7:42)  5. Get Happy
(7:18)  6. Someday You'll Be Sorry
(5:06)  7. Willow Weep For Me
(4:45)  8. After You've Gone
(7:35)  9. Topsy
(6:49) 10. Strike Up The Band

The title of this album is a bit off the mark, implying that the session will be pretty much devoted to up-tempo traditional jazz. Not so. While there are barnburners, they are balanced with very good melodic ballad renderings. Even the up-tempo material has character and substance, not at all like the mindless blowing that one finds too often in CD bins these days. Jesper Thilo is Denmark's most famous sax man, and one of its most prominent jazz players irrespective of instrument. Living in Denmark, he's had the opportunity to perform with many top-flight jazz musicians. With its traditional support of jazz, that country has always been a favorite spot for top American musicians to visit and, for several, to settle in. Basically, Thilo is from the same Lester Young school for tenors as Brew Moore, who was a resident of Copenhagen during the last years of his life. But Thilo's playing also acknowledges the influences of Eddie "Lockjaw" Davis, Ben Webster, and Johnny Hodges. His Hodges-like rendition of "Old Folks" is one of Strike Up the Band's highlights. Thilo's work on this album is masterful and inventive throughout. His "Willow Weep for Me" is tender and expressive as he blows new life into Ann Ronell's classic.

Thilo is fortunate to have the services of equally outstanding and experienced players who possess more than their share of improvisational talent. The group has a lot of fun with the melody line of "Strike Up the Band." The blues tune "Topsy" is played at medium tempo, recalling the version by Ike Quebec's Swing Seven in 1945. Australian Bob Barnard shows that he is as skillful on cornet as on trumpet, as amply demonstrated on "After You've Gone" and "Someday You'll Be Sorry." The inestimable Swiss piano player Henri Chaix provides some special solo moments and also sets the pace for the ensemble.

His intro to "There's No You" shows how much can be said in a scant few bars. This session must have been one of Chaix' last prior to his death in 1999. The other two members of the rhythm section, Stephen Kurmann on bass and Romano Cavicchiolo on drums, perform their duties with distinction. Encouraged by an enthusiastic and delighted audience in Baden, Switzerland, the players extend themselves with a program of solid straight-ahead jazz done with feeling and humor. The tradition of those great tenor sax players who understood the importance of swing and melody is alive and well with Jesper Thilo. Recommended. ~ Dave Nathan https://www.allmusic.com/album/strike-up-the-band-mw0000065095               

Personnel: Jesper Thilo (tenor saxophone); Bob Barnard (cornet); Henri Chaix (piano); Stephan Kurmann (bass); Romano Cavicchiolo (drums).

Strike Ap The Band

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