Elvis Presley - For LP Fans Only

Bitrate: MP3@320K/s
Time: 28:03
Size: 64.2 MB
Styles: Rock N Roll, Rock-pop
Year: 1959/2017
Art: Front

[1:54] 1. That's All Right
[2:07] 2. Lawdy, Miss Clawdy
[2:24] 3. Mystery Train
[2:50] 4. Playing For Keeps
[2:12] 5. Poor Boy
[2:12] 6. My Baby Left Me
[2:32] 7. I Was The One
[2:26] 8. Shake, Rattle And Roll
[2:34] 9. I'm Left, You're Right, She's Gone
[2:10] 10. You're A Heartbreaker
[2:26] 11. I Don't Care If The Sun Don't Shine
[2:09] 12. Let Me

For LP Fans Only marks the first time RCA dipped into the Sun vaults to fill out an Elvis Presley LP. To a certain extent, their hand was forced. By January 1959, when For LP Fans Only hit the stores, Elvis was eight months into his Army stint with no end in sight, so RCA was stuck for new product and the easiest solution was to dig up Sun sessions and pair them with early RCA cuts initially released on singles or EPs. Just under half of this is devoted to Sun sides, and not only are "That's All Right," "Mystery Train," "I'm Left, You're Right, She's Gone" and "You're a Heartbreaker" some of the best music Presley ever made but they're paired with early RCA sessions that complement them perfectly: in fact, the hopping "My Baby Left Me" feels as if it could've been recorded by Sam Phillips. Apart from the cute, charming enough "Poor Boy" -- a rare Presley co-write taken from the Love Me Tender EP that could qualify as the record's only stumble -- this LP rocks hard with a serious bluesy bent: there's a carnality to his growl on "Lawdy, Miss Clawdy" rivaled by his smoldering "I Was the One," then he tears it up on "Shake, Rattle and Roll." Whether RCA truly intended For LP Fans Only to be a tight, exciting record is questionable -- it was product, pure and simple; there was no way for the label to realize the blessing they were giving to Presley fans by getting the Sun sessions into circulation (this would be the only place they could be found on LP until 1976) -- but they stumbled upon one of the finest full-length rock & roll records of the '50s. ~Stephen Thomas Erlewine

For LP Fans Only mc
For LP Fans Only zippy

---

Joshua Breakstone - A Jamais

Bitrate: MP3@320K/s
Time: 57:21
Size: 131.3 MB
Styles: Guitar jazz
Year: 2004
Art: Front

[4:49] 1. A Jamais
[5:50] 2. B's Way
[5:03] 3. Taken For Granted
[6:37] 4. Tomorrow's Hours
[7:06] 5. Raids On The Unspeakable
[6:01] 6. 1802
[4:01] 7. Chanson Des Cevennes
[5:04] 8. Arrivederci Moma
[6:47] 9. Sittin' On The Thing With Ming
[3:16] 10. On The Wall
[2:43] 11. Hallucinations

Joshua Breakstone (guitar), Louis Petrucciani (bass), Joel Allouche (drums).

Joshua Breakstone may well be the torch bearer for traditional jazz guitar that few have heard. While he has released some fourteen recordings in the past twenty years for a number of labels, his work on other people's recordings is sparse indeed. And that’s unfortunate because one of the ways that an artist gains exposure is through collaboration. Why Breakstone is so underutilized is a mystery, because he is a lyrical and understated player who comes from the same places, as Jim Hall, Wes Montgomery and, in particular, Grant Green. His new release, A Jamais , is as good a sampling of what he is about as one is apt to find. Deeply melodic and economical to the extreme, Breakstone rarely plays two notes when one will do, usually allowing his carefully chosen notes breathe luxuriously. His tone is so warm that it is akin to being wrapped in a comfortable blanket. And he has an innate sense of swing that, while occasionally firing up, is more apt to be expressed in a relaxed manner. On this record, which features largely his own compositions, Breakstone aims for cool jazz territory, with a penchant for melodious phrases that retain the essence of the material while, at the same time, expanding on them and carefully exploring where they might go. The term "considered" can often be detrimental when applied to music and, in particular, improvisation, but in the case of Breakstone it isn’t. Every phrase, every chord seems carefully deliberate; Breakstone is clearly not going for a stream-of-consciousness approach; but there remains a deep emotional impact. While he clearly chooses his notes meticulously, he never over-intellectualizes.

Supported by bassist Louis Petrucciani and drummer Joel Allouche, the session manages to be light without being lightweight. The trio swings hard on the title track yet remain always at ease. “B’s Way,” with its relaxed bop theme, demonstrates just how good the trio’s sense of time is, utilizing space liberally. “Taken for Granted,” an up-tempo blues with a theme built around repeated patterns, has Breakstone alternating between rapid-fire lines and phrases where notes seem to hang interminably, until he breaks the tension and picks up the pace again. The two solo pieces—“Chanson des Cevennes” and Bud Powell’s “Hallucinations”—may, however, be the most revealing pieces of the set. Lush and sensuous, with an expansive tone, Breakstone manages to say so much with so little.

A Jamais may not break new ground, but in its honesty, lack of ego, and purity of approach it is an album with much to recommend. Breakstone is a guitarist who deserves to reach a broader audience; but unless he gets out and mixes it up a bit he will, unfortunately, remain one of New York’s well-kept secrets. ~John Kelman

A Jamais mc
A Jamais zippy

---

Les Baxter - Skins

Bitrate: MP3@320K/s
Time: 38:54
Size: 89.1 MB
Styles: Latin jazz, Exotica
Year: 1957/2010
Art: Front

[2:00] 1. Afro-Deesia
[2:35] 2. Brazilian Bash
[5:13] 3. Bustin' The Bongos
[2:36] 4. Conversation
[2:30] 5. Poppin' Panderos
[3:51] 6. Talkin' Drums
[2:11] 7. Reverberasia
[5:53] 8. Shoutin' Drums
[2:08] 9. Gringo
[2:16] 10. Mood Tattooed
[2:23] 11. The Poor People Of Paris (Jean's Song)
[2:31] 12. Unchained Melody
[2:42] 13. April In Portugal

Skins! by composer and arranger Les Baxter (1922–1996) is not only his most mercilessly stringent album ever, but a second foreshadowing artifact of an exciting shtick yet to unfold, namely the bongo craze with its gazillions of Afro-Bop LP’s and related works sporting the bold term Percussion in their titles. Released in 1957 on Capitol Records, Les Baxter sets yet another trend after single-handedly moulding the Exotica genre as an important adviser on both Yma Sumac’s debut Voice Of The Xtabay (1950) and his own exotic opus released a few months later, called Ritual Of The Savage (1951). Despite these two colorful efforts, with many more to follow from both artists, the continuation of the story is well-known: it was not until Martin Denny’s genre-constituting Exotica, recorded in December 1956, that Exotica was truly born by means of its genre name and escapism convention.

Skins! then proves to be another apex. The front artwork, while perfectly exquisite and rooted in Space-Age aesthetics, may be its only flaw, as crazy this may seem, for the majority of the ten unique arrangements are devoid of any melody. Instead, tribalism, ritualism, Paganism and other related -isms reign. The bongos are in the limelight – the subtitle is, after all, Bongo Party With Les Baxter – but there are also congas, boo-bams, djembes, timbales, classic drum kits, gongs, various shakers and other percussion instruments which embody 95% of the work, with the remaining sliver consisting of a piano, some alto flutes and a few chimes. Baxter does not try to deliver an insightful, truthful glimpse into tribal societies. He never did. Instead, Skins! is about transfigurations fueled by Baxter’s imagination. The album is not about facts, but factoids, would-be vignettes and alternative scenarios.

Skins mc
Skins zippy

---

Marie Bergman - Fruit

Bitrate: MP3@320K/s
Time: 54:23
Size: 124.5 MB
Styles: Jazz vocals
Year: 2007
Art: Front

[1:34] 1. Down With Love
[4:24] 2. Wish Someone Would Care
[5:41] 3. Let Me Be The First To Know
[5:29] 4. Crazy He Calls Me
[2:07] 5. Comes Love
[2:41] 6. Trademark
[5:22] 7. Naima
[2:11] 8. Them Their Eyes
[4:06] 9. I Believe In You
[4:21] 10. It Amazes Me
[4:12] 11. End Of A Love Affair
[4:41] 12. Cry Me A River
[3:05] 13. Just One Of Those Things
[1:17] 14. On Your Toes
[3:04] 15. All The Way

Singer Marie Bergman may appear to be middle-aged in her photos, but she has a surprisingly youthful voice. Her versatility is quite impressive, and nearly all of the 15 songs she performs on this release from the Danish Stunt label are memorable. After starting off with a rapid and brief rendition of Harold Arlen's "Down With Love," she does a complete left turn, soulfully digging into Irma Thomas' R&B-ish "Wish Someone Would Care." She covers a great deal of territory throughout the continually intriguing set, including "Crazy He Calls Me," "Comes Love," John Coltrane's "Naima" (which has Jon Hendricks lyrics), "Them There Eyes," "Cry Me a River" and "Just One of Those Things." The arrangements are colorful; the European musicians (which include keyboardist Peter Nordahl and, on a few cuts apiece, trumpeter Ann Sofi Soderqvist and baritonist Gunnar Bergsten) are excellent; plus, organist Jimmy McGriff makes a guest appearance on "Let Me Be the First to Know." This release is well worth searching for. ~Scott Yanow

Fruit mc
Fruit zippy

---

The Slammers Maximum Jive Band - Jive Time!

Bitrate: MP3@320K/s
Time: 43:35
Size: 99.8 MB
Styles: Swing, Jump blues
Year: 2007
Art: Front

[3:42] 1. She Walks Right In
[3:30] 2. All Of Me
[4:29] 3. Just A Gigolo
[2:38] 4. Good Morning
[2:12] 5. Swanee River Boogie
[2:49] 6. 5 Months 2 Weeks 2 Days
[3:01] 7. Straighten Up And Fly Right
[3:12] 8. What'd I Say
[2:20] 9. Hook Line And Sinker
[3:24] 10. Stagger Lee
[2:34] 11. Short'nin Bread
[3:01] 12. The Chicken And The Hawk
[2:52] 13. Boogie Woogie Country Girl
[3:45] 14. Buona Sera

A Slammer Cocktail of Big Beat Jumpin' Swingin' Rhythm 'n' Boogie-Blues. First album from a popular British Jump Jivin' Swing & Jump Blues band formed from ex-members of the Alabama Slammers and the Jive Cats. Maximum Jive with a kicking horn section, driving boogie piano, powerhouse bass and sizzling drums.

Jive Time! mc
Jive Time! zippy

---

Ralph Reichert, Jerry Tilitz Quintet - Back To Back

Styles: Saxophone And Trombone Jazz
Year: 2006
File: MP3@320K/s
Time: 55:49
Size: 128,1 MB
Art: Front

(5:37)  1. Nik's Got The Knack
(5:36)  2. Crazy Rhythm
(6:17)  3. Lush Life
(7:11)  4. Bajan Bacchanel
(5:25)  5. Blues In The Closet
(6:53)  6. Yesterdays
(5:37)  7. Alfie
(6:49)  8. Red, White And The Blues
(6:19)  9. Nik's Got The Knack (alternate take)

The Jazz trombone of the currently Hamburg based New Yorker Jerry Tilitz and local high profile saxophonist Ralph Reichert lead a swinging Nagel Heyer date that highlights the warmth and excitement of straight ahead jazz.

"Tilitz is an imaginative player whose improvisations are filled with warmth and good humor." ~ Joseph Taylor, SoundStage Magazine

Jerry Tilitz is an american trombonist,vocalist and composer from New York City. In the course of his career Mr. Tilitz has performed and recorded with many exceptional artists including Gerry Mulligan, Horace Parlan, Hank Jones, Roy Eldridge, Benny Golson, Herb Geller, Tommy Flanagan, Al Foster, Tete Montoliu, Danny Moss, Randy Sandke, Tom Harrell, Benny Bailey, Bill Mays, Randy Brecker and others. After studying with Jazz luminaries Lennie Tristano and the influencial trombonist Curtis Fuller, Jerry began his professional career with Billy Taylor's Jazzmobile Big Band program. 

In addition to becoming involved in New York City's vibrant club and studio scene he taught jazz theory and analysis at Queensboro College and received a grant for composition and performance from the prestigious U.S. National Endowment for the Arts. More recently, Mr.Tilitz has hosted his own radio program in Germany called An American In Hamburg, played in musical productions including Cats, Chorus Line, 42nd Street and Ain’t Misbehavin’ and written for publications such as the well regarded Jazz Journal International. He has produced several recordings for his own label Both Feet Records including The Dance Of The Living Room Sofas (BF 1002-2) featuring Don Braden, Lonnie Plaxico, Cecil Brooks III and Michael Cochrane and Jerry Tilitz/The New York Tapes (BF 1001-2), a CD sampler of his New York City period which includes his bands featuring Tom Harrell, Arnie Lawrence, Jim McNeely, Bob Moses, Harold Danko, Jerome Harris, Gary Smulyan and Billy Hart. Also available is a recording released on the german label Bellaphon, Tales Of Two Cities (CDLR 45035) with Horace Parlan, Adam Nussbaum, Ray Drummond, and Bill Mays and the new CD Back To Back, the latest addition to his discography on the Nagel Heyer label. These days Jerry appears as a guest soloist or with his trio and quartet and tries to find time to write for his 4 trombone latin group Raging Bones and The Hamburg Composers’ Orchestra. Jerry Tilitz ist ein amerikanischer Posaunist und Sänger aus New York City. Er spielte mit Gerry Mulligan, Horace Parlan, Randy Brecker, Roy Eldridge mit Curtis Fuller und Lennie Tristano. Er lehrte Jazz in den U.S.A. und erhielt dafür die Auszeichnung „U.S. National Endownment For The Arts“. https://store.cdbaby.com/cd/tilitzreichert

Personnel:  Jerry Tilitz - trombone, vocals;  Ralph Reichert - tenor saxophone; Enno Dugnus - piano;  Joachim Gerth - bass;  Björn Lücker - drums

Back To Back

---

Mary Ann Hurst - Born Under A Wand'rin' Star

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 50:00
Size: 115,1 MB
Art: Front

(6:07)  1. It Might As Well Be Spring
(5:17)  2. Let There Be Love
(4:22)  3. Wade In The Water
(4:39)  4. I've Never Been In Love
(4:54)  5. They Can't Take That Away From Me
(3:13)  6. Carolina In The Morning
(3:37)  7. The Things We Did Last Summer
(3:08)  8. Cow Cow Boogie
(3:09)  9. Wanderin' Star
(3:20) 10. I Talk To The Trees
(3:53) 11. A Beautiful Friendship
(4:16) 12. My Romance

Born Under A Wand'rin' Star is jazz vocalist Mary Ann Hurst's third go-around and she remains a star waiting to be discovered. The constants that are evident in all her efforts are a quality presentation of the Great American Songbook and her always being surrounded by fine musicians. Hurst opens Born Under A Wand'rin' Star with a polite samba version of Rodgers & Hammerstein's "It Might As Well Be Spring," assisted by the nimble and simpatico Rick Stone on guitar. Frank Loesser's "I've Never Been In Love Before" is taken at a nice, relaxed mid-tempo pace, as is the shopworn Gershwin classic "They Can't Take That Away From Me," with pianist Dick Goodwin providing the winning solos. The material gets even better on the second half of the album. A charming medley of Kahn/Donaldson classic, "Carolina in the Morning," segues into the Disney musical hit "Zip-A-Dee-Doo-Dah" from the 1946 film The Song of the South, making it a thematic fit, though the old Carolina Rice jingle (..."I come from Carolina, so pardon my drawl...") wouldn't have been turned down. The Sammy Cahn/Jule Styne oldie, "The Things We Did Last Summer," has been pretty well dissected by femme vocalists, but Hurst's version is right up there with early Nancy Wilson's on pianist George Shearing's The Swingin's Mutual (Capitol, 1961).The revival of the Ella Mae Morse-associated "Cow Cow Boogie" also dusts off another forgotten tune, with Hurst joined by Goodwin, who scats and picks up a trumpet for this number. 

Hurst borrows two songs from the Lerner & Loewe score to the 1969 film Paint Your Wagon, including the relatively untouched title tune (sung by Clint Eastwood in the film) and "I Talk to the Trees."Born Under A Wand'rin' Star is yet another fine package by this unappreciated vocalist and her well matched combo. ~ Michael P.Gladstone https://www.allaboutjazz.com/born-under-a-wandrin-star-mary-ann-hurst-self-produced-review-by-michael-p-gladstone.ph
 

Personnel: Mary Ann Hurst: vocals; Rick Stone: guitar; Dick Goodwin: piano, trumpet, scat; Reggie Sullivan: bass; Jim Hall: drums.

Born Under A Wand'rin' Star

---

Quadro Nuevo & NDR Pops Orchestra - End of the Rainbow

Styles: Latin Jazz 
Year: 2013
File: MP3@320K/s
Time: 77:11
Size: 180,2 MB
Art: Front

(4:14)  1. Que reste-t-il de nos amours
(6:44)  2. Prinzessin Josefina
(7:36)  3. Canzone della Strada
(5:26)  4. Du gehst durch all meine Träume
(4:08)  5. La Cumparsita
(5:12)  6. Die Reise nach Batumi
(7:22)  7. Aventure
(5:01)  8. Miserlou
(6:16)  9. Ack Värmeland du sköna
(5:22) 10. Locanda Del Sole
(9:12) 11. Mohn
(4:19) 12. Tango del Mare
(6:12) 13. Oblivion

Though based in Germany, acoustic jazz quartet Quadro Nuevo devoted its creative energies to resurrecting the fading musical traditions of Europe as a whole, in particular embracing the tango. Guitarist Robert Wolf, reedist Mulo Francel, accordionist Andreas Hinterseher, and bassist D.D. Lowka co-founded Quadro Nuevo in Salzburg in 1996. Originally commissioned to write and produce film music for the Austrian broadcaster ORF, the four musicians immediately bonded over their eclectic musical backgrounds and shared affection for nostalgia, and in the decade to follow they played more than 1,500 live dates across the continent, forging an alchemical acoustic sound from elements of flamenco, Balkan swing, traditional folk, and avant-garde improvisation. Issuing their debut album, Luna Rossa, in 1998, Quadro Nuevo enjoyed their commercial breakthrough six years later with their fifth LP, Mocca Flor, which topped the German world music charts while rising to number three on the national jazz countdown. Tango Bitter Sweet followed in 2007. In 2008, the group released three albums: Cine Passion, a collection of movie themes, the holiday album Weihnacht and Antakya, a collection of folk and dance songs. 

They hit the road hard in the aftermath. That November a car hit their tour bus at high speed. Guitarist Robert Wolf was seriously injured and paralyzed from the neck down. He never played again and passed away in 2015 due to complications from his injuries. Harpist Evelyn Huber and pianist Chris Gall filled his spot. In 2009, Quadro Nuevo contributed to the album Italienische Reise, with lyrics by Johann Wolfgang von Goethe and Ulrich Tukur, Ulrike Kriener, and Frank T. Zumbach. In 2010 and 2011, they won The Echo, the German Phono Academy's highest distinction in the category Jazz/World Music, Best Live Act. Over the next several years, they played everywhere from Sidney, Australia to Montreal, Ottawa, from Kuala Lumpur to Istanbul, from New York to Mexico City, from Peking, Seoul, and Singapore, to Tunis, Tel Aviv, and the Baltics. They issued In Concert in 2012, and followed it with End of the Rainbow with the NDR Pops Orchestra and another holiday-themed collection, Bethlehem. In 2014, they issued the conceptual "audiobook" Lieben Sie Tango? with assistance from actors/narrators Dominic Raacke and Caroline Ebner. In 2014, they recorded Tango in Buenos Aries, and issued it the following year. In 2016, they collaborated with Münchner Symphoniker for Music for Christmas Nights, and in 2017, with the German-Egyptian collective Cairo Steps on Flying Carpet. ~ Jason Ankeny https://itunes.apple.com/gb/album/end-of-the-rainbow/949466547

End of the Rainbow

---

Wes Montgomery - In Paris: The Definitive ORTF Recording

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 102:50
Size: 235,9 MB
Art: Front

( 6:35)  1. Four On Six
(10:03)  2. Impressions
( 6:44)  3. The Girl Next Door
( 8:31)  4. Here's That Rainy Day
(12:33)  5. Jingles
(11:09)  6. To Wane
(10:48)  7. Full House
( 9:26)  8. 'Round Midnight
(13:14)  9. Blue 'N Boogie / West Coast Blues
(13:42) 10. Twisted Blues

Zev Feldman has called Resonance Records, "The house Bill Evans and Wes Montgomery built." That may be hyperbolic, but the label has liberated from obscurity many previously unreleased or rarely heard performances by the two artists. Regarding Montgomery, Resonance has released four Montgomery recordings to date: Echoes of Indiana Avenue (Resonance, 2012); In The Beginning (Resonance, 2015); One Night in Indy (Resonance, 2016); and Smokin' in Seattle: Live At the Penthouse 1966 (Resonance, 2017). The label now adds a diamond pin to this crown in the form of the present In Paris The Definitive ORTF Recording. Afraid of flying, Montgomery made only a single trip to Europe, only after he was assured that the rest of the tour he would travel by train. On this tour, Montgomery appeared in Paris on March 27, 1965 at the Theatre Des Champs-Elysee. The concert was recorded, and the tapes retained by the National Audiovisual Institute of France (INA), a public institution overseeing the historic office of French Radio and Television (ORTF). This is Resonance Records second collaboration with the organization, the first being Larry Young's In Paris: The ORTF Recordings (Resonance Records, 2016). It is a hopeful sign that there is more of this great, previously unrelease music to come.

Disc one contains solid performances of Montgomery's "Four on Six" and "Jingles," as well as John Coltrane's "So What" contrafact "Impressions." This is the introspective part of the performance, Montgomery's articulation precise and emotive. All pieces receive a lengthy airing with compact support from his traveling trio of pianist Harold Mabern, bassist Arthur Harper, and drummer Jimmy Lovelace. If disc one is introspective, disc two is radioactively extroverted. Opening with Mabern's nod to tenor saxophonist Wayne Shorter, "To Wane," Montgomery consumes his part at a relentless tempo. Then the show becomes all Montgomery, adding tenor saxophonist Johnny Griffin to reprise his performances of a sturdily -built "Full House" and "Blue 'N Boogie" from the previously recorded concert Full House (Riverside, 1962/2007). "'round Midnight was always a good vehicle for Montgomery, here sharing duties with Griffin and turning in a near iconic performance. 

The aforementioned "Blue 'N Boogie is coupled with Montgomery's "Kansas City Blues" creating an effective 12-bar bop juggernaut that leads to an equal length reading of Montgomery's "Twisted Blues." This particular concert has been bootlegged since the mid-1970s, typically with inferior sound quality. That almost justifies its existence as such because of Montgomery's brief corporeal and recording life. Resurrected with a brand-new shine on it, In Paris The Definitive ORTF Recording is not merely for Montgomery completists, but is as necessary as the live recordings Full House or Wynton Kelly Trio With Wes Montgomery  Smokin' At The Half Note (Verve, 1965) are to the Montgomery discography. ~ C.Michael Bailey https://www.allaboutjazz.com/in-paris-the-definitive-ortf-recording-wes-montgomery-resonance-records-review-by-c-michael-bailey.php

Personnel: Wes Montgomery: guitar; Harold Mabern: piano; Arthur Harper: bass; Jimmy Lovelace: drums; Johnny Griffin: tenor saxophone.

div>
In Paris: The Definitive ORTF Recording

---

Ron McClure - New Moon

Styles: Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 66:32
Size: 158,1 MB
Art: Front

(5:54)  1. Half A Nice Day
(8:34)  2. Kalman's Dance
(7:37)  3. Hostile Terrain
(8:05)  4. Better Late Than Never
(7:39)  5. It's Always Now
(8:46)  6. New Moon
(7:24)  7. Lotus
(7:02)  8. Let's Went
(5:26)  9. Ulala

Ron McClure has been a valuable sideman since shortly after his arrival in New York City in 1964, while he has found regular opportunities to record as a leader since he started working with Steeplechase in the late '80s. This 2007 session expands his earlier trio with veteran tenor saxophonist Rich Perry and up-and-coming pianist George Colligan (both of whom also record as leaders for the label) by adding the in-demand drummer Billy Drummond. Although McClure chose nine originals for the recording date, it is not about his ego, as they are stimulating charts that allow everyone sufficient space to play, though each of them prefers to pass the baton rather than attempt the all-too-common marathon solos that run out of steam too early. The happy, easygoing swinger "Half a Nice Day" contrasts with the tense post-bop "Kalman's Dance." 

The breezy midtempo "Better Late Than Never" conveys the essence of the constant rush in a metropolis, while McClure's lush ballad "New Moon" features his understated bass accompanied by Colligan's sparse piano and Drummond's whispering brushes. This is another excellent date by Ron McClure. ~ Ken Dryden https://www.allmusic.com/album/new-moon-mw0000832902 

Personnel: Ron McClure (bass);  Rich Perry (tenor saxophone); George Colligan (piano); Billy Drummond (drums).

New Moon

---

Sonny Clark - Standards

Bitrate: MP3@320K/s
Time: 62:02
Size: 142.0 MB
Styles: Bop, Piano jazz
Year: 1959/1998
Art: Front

[5:57] 1. Blues In The Night (Short Version)
[4:15] 2. Can't We Be Friends
[4:13] 3. Somebody Loves Me
[3:56] 4. All Of You
[3:32] 5. Dancing In The Dark
[4:41] 6. I Cover The Waterfront
[7:11] 7. Blues In The Night (Alternate Take)
[4:01] 8. Gee Baby, Ain't I Good To You
[4:44] 9. Ain't No Use
[3:48] 10. I Can't Give You Anything But Love
[3:23] 11. Black Velvet
[4:28] 12. I'm Just A Lucky So And So
[3:55] 13. The Breeze And I
[3:48] 14. Gee Baby, Ain't I Good To You (Alternate Take)

The sessions that comprise the 14-track Standards were recorded by Sonny Clark at the end of 1958, with the intention that his interpretations would be issued as 45-rpm singles. His takes on these 12 standards (two of the tracks are alternate takes) are exceptional. Supported by drummer Wes Landers and, on varying dates, either Paul Chambers or Jymie Merritt on bass, Clark turns in lyrical, sensitive renditions of "Dancing In the Dark," "All of You," "I Cover the Waterfront," "I Can't Give You Anything But Love," "Black Velvet" and "I'm Just a Lucky So And So," among others. Although some of the performances are a little brief, limiting his opportunity to solo, Standards is a lovely collection of beautiful music that's a welcome addition to Clark's catalog. ~Stephen Thomas Erlewine

Standards mc
Standards zippy

---

Scott Warner - Mindfield

Bitrate: MP3@320K/s
Time: 51:13
Size: 117.2 MB
Styles: Bebop, Jazz piano
Year: 2012
Art: Front

[3:52] 1. Mindfield
[5:21] 2. Won't Someone Listen
[3:12] 3. After The Deluge
[6:49] 4. Sojourn
[6:40] 5. Love For Sale
[5:51] 6. In Memoriam
[5:54] 7. Lydia's Song
[5:20] 8. How 'bout Now
[3:21] 9. Evan's Essence
[4:48] 10. A Peaceful Life

This album was recorded in Detroit a few years back and features my friends: Jimmy Greene, tenor sax (Horace Silver, Harry Connick, Jr. Big Band), Rodney Whittaker, bass (Wynton Marsalis and the Lincoln Center Big Band), Gerald Cleaver, drums (Bob James, Roscoe Mitchell). Rodney and Gerald lived within blocks of each other in Detroit, and grew up playing jazz together. Its a dream rhythm section. I first played with Rodney when he was 16. We had to pick him up and drove him to the gig. As the long-time bassist for Wynton and the Lincoln Center Band he has become known for his fat swing groove. But he is an unsung lyrical player....listen to the bass solo on "Sojourn" to hear him sing. Hope you enoy!

Mindfield mc
Mindfield zippy

---

Betty Blake - Betty Blake Sings In A Tender Mood

Bitrate: MP3@320K/s
Time: 31:26
Size: 72.0 MB
Styles: Vocal jazz
Year: 1961/2014
Art: Front

[1:57] 1. Let There Be Love
[2:14] 2. I'll Be Around
[1:58] 3. Moon And Sand
[2:27] 4. Trouble Is A Man
[2:17] 5. Love Is Just Around The Corner
[5:12] 6. Lilac Wine
[2:32] 7. It's So Peaceful In The Country
[2:32] 8. While We're Young
[2:23] 9. Blue Fool
[2:43] 10. All Of You
[2:32] 11. Don't Say Love Has Ended
[2:34] 12. Out Of This World

Vocalist Betty Blake made one fine recording for Bethlehem in 1960, Betty Blake Sings in a Tender Mood. On the strength of it, she deserved more opportunities and exposure. ~Ron Wynn

If you haven’t figured it out by now, here it is spelled out for you: any release of an obscure vocalist on the Fresh Sound label from Spain is going to impress you, and make you wonder why you’ve never heard of him or her before. Here’s another case in point-Betty Blake. She sang in the 50s for Buddy Morrow’s orchestra, and then after a ’57 session with vibist Teddy Charles, was invited to do an album for Bethlehem Records. After that, she simply disappeared as if abducted by aliens. Maybe they liked jazz on Mars or something, as this album of her 1961 session, as well as her handful of tunes with Charles, are delightful.

Her voice is a kind of husky mix of Chris Connor and June Christy: cool and swinging but with a dash of molasses. She is in the company of some of the classiest guys around, with Mal Waldron/p, Kenny Burrell/g, Ed Shaughnessy/dr, Zoot Sims/ts, Charles/vib, Marcus Belgrave/tp and Charlie Persip/dr just a sample of the rotating team. Even better, she wisely keeps the standards under wraps, and does some wonderful things with obscurities like “Moon and Sand,” “Lilac Wine” and “Blue Fool.” Her reading of “All of You” is rich and inviting, while “I’ll Be Around” has her in warmth and assurance. In a larger setting of an orchestra lead by Jack Zimmerman, she gets a bit Chet Bakery on “But Not For Me.” Who talked her out of more sessions? This one’s a keeper! ~GWJazz

Betty Blake Sings In A Tender Mood mc
Betty Blake Sings In A Tender Mood zippy

---

Mike Longo - 900 Shares Of The Blues

Bitrate: MP3@320K/s
Time: 37:54
Size: 86.8 MB
Styles: Jazz/Funk/Soul
Year: 1974/2006
Art: Front

[5:00] 1. 900 Shares Of The Blues
[5:35] 2. Like A Thief In The Night
[6:04] 3. Ocean Of His Might
[5:30] 4. Magic Number
[7:28] 5. Summers Gone
[8:14] 6. El Moodo Grande

Drums – Mickey Roker; Electric Bass, Acoustic Bass – Ron Carter; Flute [Soprano, Tenor] – Joe Farrell; Guitar – George Davis (2); Percussion – Ralph MacDonald; Piano, Electric Piano – Michael Longo; Trumpet, Flugelhorn – Randy Brecker.

Mike Longo is best-known as a reliable and versatile player who was the pianist with Dizzy Gillespie during 1966-1973. He started taking piano lessons when he was three, played professionally when he was 15, and while in high school in Ft. Lauderdale, he had the opportunity to play with Cannonball Adderley. In 1960, Longo worked at the Metropole in New York with Red Allen and Coleman Hawkins, spent 1961 living in Toronto (where he studied with Oscar Peterson), and then returned to New York, where he accompanied some singers. Mike Longo recorded with Gillespie during his period with the great trumpeter and led a few of his own sessions for Mainstream, Pablo (1976), and Consolidated Artists (1981). His career slowed down after that, with his next major release being Explosion in 2000. ~bio by Scott Yanow

900 Shares Of The Blues mc
900 Shares Of The Blues zippy

---

Don Byas - Round About Midnight

Bitrate: MP3@320K/s
Time: 45:07
Size: 103.3 MB
Styles: Saxophone jazz
Year: 1962/2011
Art: Front

[4:30] 1. Laura
[2:20] 2. Portrait Of Jennie
[3:45] 3. The Way You Look Tonight
[3:03] 4. Misty
[4:15] 5. I Remember Clifford
[4:10] 6. Autumn In New York
[4:22] 7. Round About Midnight
[2:59] 8. Smoke Gets In Your Eyes
[4:46] 9. My Funny Valentine
[3:40] 10. April In Paris
[3:39] 11. Moonlight In Vermount
[3:32] 12. Don't Blame Me

Don Byas (tenor saxophonist) was born October 21, 1912 in Muskogee, Oklahoma and passed away on August 24, 1972 in Amsterdam, The Netherlands. Both of Byas’ parents were musicians. His mother played the piano, and his father, the clarinet. Byas started his training in classical music, learning to play violin, clarinet and alto saxophone, which he played until the end of the 1920s. Benny Carter, who played many instruments, was his idol at this time. He started playing in local orchestras at the age of 17, with Bennie Moten,Terrence Holder and Walter Page. He founded and led his own college band, “Don Carlos and His Collegiate Ramblers”, during 1931-32, at Langston College, Oklahoma.

Byas switched to the tenor saxophone after he moved to the West Coast and played with several Los Angeles bands. In 1933, he took part in a West coast tour of Bert Johnson’s Sharps and Flats. He worked in Lionel Hampton’s band at the Paradise Club in 1935 along with the reed player and arranger Eddie Barefield and trombonist Tyree Glenn. He also played with Eddie Barefield, Buck Clayton, Lorenzo Flennoy and Charlie Echols.

In 1937, Byas moved to New York to work with the Eddie Mallory band, accompanying Mallory’s wife, the singer Ethel Waters, on tour, and at theCotton Club. He had a brief stint with arranger Don Redman’s band in 1938 and later in 1939-1940. He recorded his first solo record in May 1939: “Is This to Be My Souvenir” with Timme Rosenkrantz and his Barrelhouse Barons for Victor. He played with the bands of such leaders as Lucky Millinder, Andy Kirk, Edgar Hayes and Benny Carter. He spent about a year in Andy Kirk’s band, recording with him between March 1939 and January 1940, including a short solo on “You Set Me on Fire”. In September 1940, he had an eight bar solo on “Practice Makes Perfect”, recorded by Billie Holiday. He participated in sessions with the pianist Pete Johnson, trumpeter Hot Lips Page, and singer Big Joe Turner. In 1941 at Minton’s Playhouse he played with Charlie Christian, Thelonious Monk and Kenny Clarke in after hours sessions.

Round About Midnight mc
Round About Midnight zippy

---

Various - The J.J. Johnson Memorial Album

Bitrate: MP3@320K/s
Time: 77:02
Size: 176.3 MB
Styles: Bop, Trombone jazz
Year: 2003
Art: Front

[3:02] 1. Coleman Hawkins - I Mean You
[3:06] 2. J.J. Johnson - Elysee
[3:43] 3. J.J. Johnson's Boppers - Blue Mode (Take 1)
[4:57] 4. J.J. Johnson - Chazzanova
[8:14] 5. Miles Davis Sextet - Blue 'n' Boogie
[3:10] 6. J.J. Johnson - Bags' Groove
[4:32] 7. Coleman Hawkins - Laura
[4:10] 8. Benny Golson Sextet - Hymn To The Orient
[7:05] 9. J.J. Johnson - Horace
[6:39] 10. J.J. Johnson - Pinnacles
[7:13] 11. Count Basie - Jaylock
[7:56] 12. J.J. Johnson - Concepts In Blue
[3:13] 13. J.J. Johnson - Misty
[3:01] 14. J.J. Johnson - What's New
[2:29] 15. J.J. Johnson - Nature Boy
[4:23] 16. J.J. Johnson - Soft Winds

When J.J. Johnson passed away in 2001, he left a legacy as simply the greatest technically gifted and most admired jazz trombonist in history without much valid argument to the contrary. This compilation features some very good tracks with Johnson as a sideman in or leader from the late '40s up to 1957, as a full-blown frontman in the '70s and '80s, and in small duos or trios up to 1983. Discographical sleuths will note this is not an all-time greatest-"hits" package, due to the absence of his great Savoy, Blue Note, Bethlehem, RCA Bluebird, Columbia, Impulse or 1990s Verve label efforts. These tracks are collected from the family of Prestige, Riverside, Milestone, and Pablo recordings, and while all selections here are quite good, they are not his definitive works. Still, everything here is well rendered, and a few pieces are indeed definitive. The pre-1957 tracks include the Coleman Hawkins deeply rich, horn-saturated septet from 1946 tackling Thelonious Monk's "I Mean You" with Johnson, Fats Navarro, Hank Jones, Max Roach, and the completely obscure alto saxophonist Porter Kilbert. Johnson is teamed with Sonny Rollins and Kenny Dorham in the swirling lines of "Elysee," and Sonny Stitt in the slow "Blue Note" both featuring John Lewis. The Charles Mingus film noir style obscurity "Chazzanova," with four trombonists, the true bop classic "Blue 'n' Boogie" with Miles Davis, Lucky Thompson, and Horace Silver, Johnson, and Kai Winding's take of "Bags Groove," and Benny Golson's unusual harmonics during "Hymn to the Orient" with Dorham and Roach -- all have to be considered standouts. The compilation leaps to 1977 as "Horace" is a soul-jazz bopper with Nat Adderley on trumpet and Billy Childs playing Fender Rhodes electric piano. The memorable post-bop "Pinnacles" has what must be an all-time great configuration with Joe Henderson, Tommy Flanagan on piano and clavinet, bassist Ron Carter, and drummer Billy Higgins in tow. The CD ends with "Concepts in Blue," marred by a synthesizer add-on, three intimate sessions, two of them duets with Joe Pass and a trio featuring Pass and Oscar Peterson, plus the finale "Soft Winds" in a sextet featuring tinkling percussion, a great contribution from Kenny Barron, and Johnson alongside fellow 'bonist Al Grey. Though the first half of this collection is pretty solid, the second is hit or miss. Though all cuts remain credible, the uneven nature of this collection, and its lack of a comprehensive focus, makes this an incomplete but still tasteful look at the mighty career of the great J.J. Johnson. ~Michael G.Nastos

The J.J. Johnson Memorial Album mc
The J.J. Johnson Memorial Album zippy

---

Geoff Keezer - Other Spheres

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 67:48
Size: 156,7 MB
Art: Front

( 7:54)  1. Little Minu
( 5:20)  2. Cloudscape
( 7:23)  3. Auntie Matter
( 9:31)  4. Moblike
( 3:30)  5. Event Horizon
( 6:53)  6. We Are Dancing
( 8:14)  7. Night Fire
(10:47)  8. Serengeti Stampede
( 8:11)  9. Flight Simulator

Geoff Keezer first drew notice as a teenager when the pianist served in the final edition of Art Blakey's Jazz Messengers. At the time of this recording, made in 1992 for DIW when Keezer was still in his early twenties, he was writing and arranging for his own small groups, while his performing skills were already well hewn. While none of these compositions gained widespread attention (probably due to this CD only being issued in Japan), he shows a surprising maturity as an arranger and composer. The haunting blend of Bill Mobley's flügelhorn with Bill Easley's alto flute adds to the beauty of his exotic "Cloudscape." His driving "Auntie Matter" and the explosive "Serengeti Stampede" are excellent post-bop vehicles. Vocalist Jeanie Bryson is added for the bossa nova ballad "We Are Dancing." This CD will be somewhat difficult to acquire due to its limited distribution, but it is worth the effort. ~ Ken Dryden https://www.allmusic.com/album/other-spheres-mw0000172973

Other Spheres

---

Martha Wainwright - Sans Fusils, Ni Souliers, A Paris: Martha Wainwright's Piaf Record

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 54:58
Size: 126,7 MB
Art: Front

(3:54)  1. La Foule
(3:41)  2. Adieu Mon Coeur
(3:37)  3. Une Enfant
(4:10)  4. L'Accordeoniste
(3:53)  5. Le Brun Et Le Blond
(3:53)  6. Les Grognards
(4:47)  7. C'est Toujours La Meme Histoire
(2:36)  8. Hudsonia
(4:03)  9. C'est A Hambourg
(2:54) 10. Non La Vie N'est Pas Triste
(4:23) 11. Soudain Une Vallee
(3:19) 12. Marie Trottoir
(1:48) 13. Le Metro De Paris
(4:04) 14. Le Chant D'Amour
(3:49) 15. Les Blouses Blanches

Deluxe two disc (CD + PAL/Region 0 DVD) pressing including a bonus DVD that features footage from the performance. . Subtitled: Martha Wainwright's Piaf Record. 2009 album from the talented singer/songwriter (and sister of Rufus), a tribute to the great French vocalist Edith Piaf. Recorded live over the course three nights in New York, Sans Fusils, Ni Souliers, A Paris features 15 Piaf songs chosen from more than 300 that Wainwright researched via friend Hal Wilner. Wainwright called upon some of the best "downtown" NY musicians and worked to keep the quirky twists of Piaf's original productions while adding some bold new strokes. The result is a daring, powerful and personal work that while not for every palate challenges and then rewards.~ Editorial Reviews https://www.amazon.com/Sans-Fusils-Souliers-Paris-Wainwrights/dp/B002R5MPRC

Sans Fusils, Ni Souliers, A Paris: Martha Wainwright's Piaf Record

---

The Real Group - The Real Album

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 45:53
Size: 105,7 MB
Art: Front

(3:30)  1. Bumble Bee
(3:30)  2. Pass Me The Jazz
(3:24)  3. A Lifetime Takes A Lifetime To Fulfill
(3:54)  4. Nostalgia World
(4:30)  5. Lay It In My Hand
(4:02)  6. A Minute On Your Lips
(4:29)  7. The Modern Man
(4:12)  8. The Window That Leads To Your World
(3:12)  9. A Little Kindness
(4:20) 10. Anna's Song
(3:06) 11. Flying High
(3:38) 12. Gee! Mine Or Mozart's?

The Real Group is an a cappella quintet from Stockholm, Sweden, consisting of three men and two women. Inspired by Bobby McFerrin, the unit brilliantly performed bop, vocalese, and a few originals on their Town Crier debut, leading Jon Hendricks himself to say, "I wish I was in this group." ~ Scott Yanow https://itunes.apple.com/us/artist/the-real-group/41741489

Personnel:  Alto Vocals – Anders Edenroth, Katarina Wilczewski;  Bass Vocals – Anders Jalkéus;  Soprano Vocals – Margareta Bengtson;  Tenor Vocals – Peder Karlsson

The Real Album

---

Barry McGuire - This Precious Time And The World's Last Private Citizen

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 65:41
Size: 154,8 MB
Art: Front

(2:49)  1. This Precious Time
(2:39)  2. California Dreamin
(2:35)  3. Let Me Be
(2:16)  4. Do You Believe In Magic
(2:52)  5. Yesterday
(4:04)  6. Hang On Sloopy
(4:00)  7. Just Like Tom Thumb's Blues
(2:57)  8. Upon A Painted Ocean
(2:47)  9. Hide Your Love Away
(3:44) 10. I'd Have To Be Outta My Mind
(3:23) 11. Child Of Our Times
(2:53) 12. Don't You Wonder Where It's At
(2:23) 13. Top O'the Hill
(2:56) 14. Cloudy Summer Afternoon
(2:45) 15. Secret Saucer Man
(2:53) 16. There's Nothin' Else On My Mind
(2:08) 17. Walkin' My Cat Named Dog
(2:34) 18. Masters Of War
(3:41) 19. Inner Manipulations
(3:19) 20. The Grasshopper Song
(2:17) 21. Why Not Stop And Dig It While You Can
(3:35) 22. Eve Of Destruction

Although former New Christy Minstrels singer Barry McGuire scored a fluke novelty hit with the Bob Dylan-styled folk-rock protest anthem "Eve of Destruction" in the summer of 1965, neither he nor producer Lou Adler's startup label Dunhill Records seems to have had a long-term plan for his solo career beyond trying to score another hit single. Naturally, Dunhill quickly issued an Eve of Destruction LP, filling the tracks with McGuire covers of recent folk hits and more originals by P.F. Sloan, who'd penned the hit. Sloan also wrote the follow-up singles "Child of Our Times" and "This Precious Time," neither of which made the Top 40. By the end of the year, Dunhill had another McGuire LP, This Precious Time, again mixing Sloan songs with other people's hits like "Do You Believe in Magic" and "Yesterday." That is the first of two McGuire albums combined on this two-fer CD reissue. The other is McGuire's third and final Dunhill album, 1968's The World's Last Private Citizen, which really was just a contractual obligation release cobbled together from more failed singles and even tracks borrowed from This Precious Time and Eve of Destruction. Thus, most of McGuire's Dunhill output is included on this CD, albeit in jumbled-up sequence. The gruff-voiced singer handles the personal and political angst of Sloan's songs well, and he even turns to a croon for some of the ballads. Oddly enough, he introduced his friends, the members of the Mamas & the Papas, to Dunhill, and they went on to be much more successful than he did. Their first hit, "California Dreamin'," was even recorded as a McGuire track initially, and that's how it's presented here, just with his craggy vocal in place of Denny Doherty's soulful one, and a harmonica solo instead of the flute. The paring of McGuire and the group is odd because his voice, frequently flat, with idiosyncratic phrasing and timing, makes for a strange combination with their ethereal harmonies and precision. On the second half of the disc, things get even stranger, as McGuire keeps looking for another hit by turning psychedelic ("Inner-Manipulations") or trying to repeat the "Eve of Destruction" formula (a cover of Dylan's "Masters of War"). Not surprisingly, Dunhill opted to end his tenure where it had begun, placing "Eve of Destruction" as the last track on his last album for the label. So, at least the one hit by this one-hit wonder is included here. ~ William Ruhlmann https://www.allmusic.com/album/this-precious-time-the-worlds-last-private-citizen-mw0000825293

This Precious Time And The World's Last Private Citizen

---