Erskine Hawkins & His Orchestra - Holiday For Swing

Bitrate: MP3@320K/s
Time: 49:56
Size: 114.3 MB
Styles: Swing, Jazz/Blues
Year: 2005
Art: Front

[3:26] 1. Holiday For Swing
[3:18] 2. Tippin’ In
[3:31] 3. Bicycle Bounce
[3:23] 4. Shipyard Ramble
[3:42] 5. Soft Winds
[2:51] 6. Caldonia
[3:17] 7. Blue Sea
[3:35] 8. Drifting Along
[3:25] 9. No Use Squawkin'
[3:00] 10. Good Dip
[2:56] 11. Lucky Seven
[3:27] 12. S’posin'
[3:36] 13. Uncle Bud
[3:01] 14. Riff Time
[3:22] 15. Country Boys

b. 26 July 1914, Birmingham, Alabama, USA, d. 11 November 1993, New Jersey, USA. By the time he began playing trumpet at the age of 13, Hawkins had already mastered drums and trombone. It was on trumpet, however, that he established his name as a flamboyant player with an astonishing range. Initially an imitator of Louis Armstrong, Hawkins became leader of the ’Bama State Collegians, an orchestra that he built up into an excellent big band. In the 30s, Hawkins rivalled much bigger names in engagements all across the USA, and in particular at prestigious New York venues such as Roseland and the Savoy. He hired good section men and front-rank soloists, not least trumpeters with whom he happily shared the spotlight. Billed as The Twentieth Century Gabriel, Hawkins made a number of very successful records, including ‘After Hours’ and ‘Tuxedo Junction’, the latter a composition by Hawkins and several members of the band which became their theme tune.

Hawkins continued to lead his big band throughout the 40s, surviving the winter of 1946/7 which saw the end of many name bands. In the 50s he compromised under financial pressure and reduced the band in size, but regularly reassembled the larger unit for special events. In the 60s and 70s he led small groups at New York hotels and clubs and also made occasional appearances at festivals, including a visit to Europe in 1979. In 1986 he was on board the SS Norway for the Fifth Annual Floating Jazz Festival. In much the same manner as his white contemporary Harry James, Hawkins succeeded in combining a spectacular technique and an acute awareness of commercial demands with an innate feeling for good jazz. ~AllMusic

Holiday For Swing mc
Holiday For Swing zippy

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Billy Eckstine & Quincy Jones - At Basin Street East

Bitrate: MP3@320K/s
Time: 31:55
Size: 73.1 MB
Styles: Big band, Jazz vocals
Year: 1961/2005
Art: Front

[ 2:46] 1. All Right Okay You Win
[ 8:00] 2. I'm Falling For You (Medley)
[ 3:49] 3. In The Still Of The Night
[10:35] 4. Don't Get Around Much Anymore (Medley)
[ 3:58] 5. Work Song
[ 2:45] 6. Ma (She's Making Eyes At Me)

At Basin Street East is a 1961 live album by Billy Eckstine, accompanied by a big band arranged and conducted by Quincy Jones. It was originally released on October 1, 1961 on the EmArcy label, but reissued in 1990 by Polygram. The album was recorded at the Basin Street East nightclub in New York City.

At Basin Street East mc
At Basin Street East zippy

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Murray, Allen & Carrington Power Trio - Perfection

Styles: Clarinet, Piano, Post Bop
Year: 2015
File: MP3@320K/s
Time: 57:46
Size: 134,8 MB
Art: Front

(5:52)  1. Mirror Of Youth
(5:59)  2. Barbara Allen
(6:11)  3. Geri-Rigged
(8:16)  4. The David, Geri & Terri Show
(4:43)  5. The Nurturer
(6:06)  6. Perfection
(2:55)  7. D Special (Interlude)
(5:44)  8. Samsara (For Wayne)
(5:35)  9. For Fr. Peter O'Brien
(6:21) 10. Cycles And Seasons

As great as saxophonist David Murray, pianist Geri Allen and drummer Terri Lyne Carrington are separately, it’s truly difficult to remember the last time any of them sounded as good as they all do together on Perfection. The members of the jazz “power trio” share a chemistry that gives their music remarkable strength.That chemistry comes without any musician compromising or overtly accommodating the others. Murray’s coarseness of tone and lyricism-to-paroxysm developments remain intact, but nonetheless fuse with Allen’s warm surrealist fancies and Carrington’s restless reimagining of the beat. (Carrington often stands in for the bass, via subtle kick-drum; thus on “The Nurturer,” she singlehandedly brings the funk.) They use those signature techniques to brilliantly follow and respond to each other on “Barbara Allen” and “The David, Geri & Terri Show,” and to oppose each other with equal brilliance on “Samsara (For Wayne).” Only on Ornette Coleman’s “Perfection” do their styles reconfigure-so as to improvise in Coleman’s freeform image, with trombonist Craig Harris, bassist Charnett Moffett and trumpeter Wallace Roney along for the ride.

Their chemistry also produces a sense of humor that’s rarely seen in their solo projects, ranging from mere playfulness to dark comedy. How else but the latter to describe the off-kilter lurch of “Cycles and Seasons”? Carrington’s 7/4 rhythm makes it lopsided to begin with; Allen and Murray add their own angular parts (subsumed, momentarily, by 4/4 bridges that vanish as quickly as they arrive) that then dissolve into gleefully improvised dementia. The playfulness, whether by accident or design, comes primarily through in the two tunes on which Murray wields bass clarinet-“D Special (Interlude),” with its lively bounce, and “For Fr. Peter O’Brien,” a soft-shoe for Mary Lou Williams’ onetime spiritual/musical counsel. It’s a welcome byproduct of an already impressive chemical reaction. ~ Michael J.West https://jazztimes.com/reviews/albums/murray-allen-carrington-power-trio-perfection/

Personnel: David Murray (bass clarinet, tenor saxophone); Geri Allen (piano); Terri Lyne Carrington (drums).

Perfection

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Kari Bremnes - Norwegian Mood

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 52:18
Size: 121,0 MB
Art: Front

(5:11)  1. A Lover In Berlin
(4:24)  2. Coastal Ship
(5:45)  3. Montreal
(3:23)  4. My Heart Is Pounding Like A Hammer
(5:00)  5. Birds
(5:34)  6. Day
(4:03)  7. Wave On Rock
(4:28)  8. The Copenhagen Cavern
(5:01)  9. Song To A Town
(5:40) 10. Riddle Beside Another Riddle
(3:44) 11. To Give You A Song

Norwegian born singer and songwriter Kari Bremnes was born in 1956 in Lofoten. Her career as a performer was delayed by her desire to finish university (she earned a Master's Degree) and a short stint as a journalist. Eventually, the call of the stage won out, and in 1987 she released her first album, Mitt Ville Hjerte. From there, Bremnes went on to release more than ten full-lengths over the next 20 years, as well as a number of successful  in Norway and in other European nations singles. In 2007, Bremnes released the album Reise or, "Journey," in English. ~ Chris True  https://itunes.apple.com/be/album/norwegian-mood/296133850

Norwegian Mood

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Al Casey - A Tribute To 'Fats'

Styles: Guitar Jazz
Year: 1994
File: MP3@320K/s
Time: 49:11
Size: 113,9 MB
Art: Front

(3:26)  1. It Don't Mean A Thing
(3:43)  2. Squeeze Me
(4:13)  3. Holey Moley
(3:57)  4. Jit It
(6:00)  5. Like It Ji's
(3:53)  6. Cute
(2:34)  7. After You've Gone
(4:24)  8. Just The Blues
(4:38)  9. Honeysuckle Rose
(5:07) 10. How Long Is This Been Going On
(7:07) 11. Cheek To Cheek

Guitarist Al Casey is still best-known for playing with pianist/composer Fats Waller on and off during 1934-42. Over a half-century later he recorded this CD which mixes together standards and original riff tunes with a couple of Waller compositions ("Squeeze Me" and "Honeysuckle Rose"). The 79-year old guitarist is assisted by pianist Red Richards (himself 82), bassist Jan Jankeje and drummer Imre Koszegi for this 1994 CD put out by the German Jazzpoint label. In addition to the Waller songs, highlights include "It Don't Mean a Thing," "After You've Gone" and "Cheek to Cheek." ~ Scott Yanow https://www.allmusic.com/album/a-tribute-to-fats-mw0000527213

A Tribute To 'Fats'

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Seal - 7

Styles: Vocal, Soul
Year: 2015
File: MP3@320K/s
Time: 49:22
Size: 113,5 MB
Art: Front

(4:50)  1. Daylight Saving
(4:31)  2. Every Time I'm With You
(5:14)  3. Life On The Dancefloor
(4:08)  4. Padded Cell
(4:36)  5. Do You Ever
(4:30)  6. The Big Love Has Died
(4:24)  7. Redzone Killer
(4:10)  8. Monascow
(3:54)  9. Half A Heart
(4:26) 10. Let Yourself
(4:35) 11. Love

Seal 7 followed the all-covers 2012 set Soul 2 and was the singer's first set of original material since the 2010 release Seal 6: Commitment. More significantly, it was his first originals-oriented collaboration with longtime creative partner and friend Trevor Horn since 2003's Seal 4, and it was made in the wake of the singer's divorce from Heidi Klum. The first single, "Every Time I'm with You," a grand and swirling ballad with an orchestral arrangement from Anne Dudley, showed that Seal had no desire to make his return all about romantic conflict, as it placed him in the setting of a new relationship, willfully abandoning caution: "I can lose it all, it won't be daunting." Another song that reached the public prior to the album, the Jamie Odell co-composition "Life on the Dancefloor," also dealt with being swept up, though in the club through a low-key groove. As with Seal's previous albums, however, Seal 7 does cover a range of emotions. The heavier songs, including the opening "Daylight Saving," the almost overblown "Padded Cell," and "The Big Love Has Died," with a title and scope worthy of Seal 4 are among the most resonant moments. While one could speculate how those songs and the remainder of Seal 7 relate directly to Seal's life, it's clear that the singer and Horn aimed, as they always have, for broad appeal; just about anyone can connect with the pain and elation they relate. They've stuck to the approach that has made them a successful duo since "Crazy," all the way down to the dark synthesized undercurrents. The spirit of Seal 7 proves that they had no reason to change course. ~ Andy Kellman https://www.allmusic.com/album/7-mw0002875382 

7

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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

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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

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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

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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

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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

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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

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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

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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

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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.

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In Paris: The Definitive ORTF Recording

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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

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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

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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

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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

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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

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