Olivier Holland, Joscho Stephan - Gypsy Meets Groove

Bitrate: MP3@320K/s
Time: 52:07
Size: 119.3 MB
Styles: Gypsy jazz/Funk/Soul
Year: 2014
Art: Front

[4:13] 1. Out Of Nowhere
[6:33] 2. Song For Eore
[6:40] 3. All Blues
[3:54] 4. Smile
[4:35] 5. Don't Look Any Further
[4:53] 6. La Vie En Rose
[6:04] 7. Somewhere Over The Rainbow
[5:20] 8. Chameleon
[5:12] 9. Yardbird Suite
[4:38] 10. Bye Bye Blackbird

Bassist, composer and arranger Olivier Holland has again joined forces with Joscho Stephan to produce an album that pushes stylistic boundaries. Gypsy meets Groove skilfully combines Gypsy Jazz with elements from groove-based music such as Funk, Soul or Reggae. Here is more than just playing jazz tunes with a different feel. On GMG, modern arranging techniques have been skilfully employed to blend different musical elements into an innovative work-of art. Gypsy meets Groove marks a mile-stone with regard to stylistic development. A ‘must’ for both Gypsy Jazz- and more groove-hungry listeners.

Gypsy Meets Groove mc
Gypsy Meets Groove zippy

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Junior Mance Trio - Happy Time

Bitrate: MP3@320K/s
Time: 42:58
Size: 98.4 MB
Styles: Bop, Piano jazz
Year: 1999/2015
Art: Front

[6:15] 1. Happy Time
[5:18] 2. Jitterbug Waltz
[5:25] 3. Out South
[5:47] 4. For Dancers Only
[4:40] 5. Tin Tin Deo
[4:36] 6. Taggie's Tune
[5:33] 7. Azure-Te
[5:20] 8. The Simple Waltz

Bass – Ron Carter; Drums – Mickey Roker; Piano – Junior Mance. Recorded at Plaza Sound Studios, New York City; June 20, 1962.

Pianist Junior Mance was in excellent company on this inspired 1962 session with bassist Ron Carter and drummer Mickey Roker. Its unfortunate this trio only recorded together on this one date as their unity propels the blues, gospel, and bebop ideas Mance consistently feeds them. The program is highlighted by three Mance originals "Out South," "Taggie's Tune," and the torrid joy of the opening theme "Happy Time," along with versions of "Jitterbug Waltz," "Tin Tin Deo," and Mance at his soulful bluesy best on Clark Terry's "The Simple Waltz." ~Al Campbell

Happy Time mc
Happy Time zippy

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Isabelle Georges & Rene Urtreger - Something To Live For

Styles: Vocal And Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 51:40
Size: 118,5 MB
Art: Front

(4:51)  1. In A Sentimental Mood
(2:39)  2. They Can't Take That Away From Me
(3:04)  3. I Won't Dance
(5:55)  4. My Funny Valentine
(3:55)  5. Do Nothing Till You Hear From Me
(4:32)  6. Love For Sale
(5:51)  7. Over The Rainbow
(2:57)  8. The Best Thing For You Is Me
(3:44)  9. Bewitched, Bothered And Bewildered
(3:00) 10. Just One Of Those Things
(4:00) 11. I Got It Bad
(5:48) 12. Someone To Watch Over Me
(1:16) 13. How About You

"It's little saying that their musical harmony was more than perfect." Unquestionably, Isabelle knows the song and thus dares to venture into a sometimes complex repertoire (the 3 three compositions of Duke Ellington) or in known territory (the Broadway operettas signed by the greatest composers of the genre). Alternately malicious or serious, always of a good accuracy in all the registers for a soprano voice, she shows there qualities of jazz singer (her versions of Love For Sale , Over the Rainbow and I Got It Bad ). René, who accompanied in his time a few singers of varieties and not least, found in his partner the opportunity to present a new many facets of his talent. ~ Jacques Chesnel  http://www.isabellegeorges.com/fr/something-to-live-for-isabelle-georges

Personnel:  Isabelle Georges (Vocal);  Rene Urtreger (Piano).

Something To Live For

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Wynton Kelly Trio & Wes Montgomery - Smokin’ In Seattle: Live At The Penthouse

Styles: Piano And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 54:06
Size: 125,7 MB
Art: Front

(8:19)  1. There Is No Greater Love
(6:32)  2. Not A Tear
(4:32)  3. Jingles
(4:51)  4. What's New?
(2:47)  5. Blues In F
(8:39)  6. Sir John
(5:56)  7. If You Could See Me Now
(4:02)  8. West Coast Blues
(6:15)  9. O Morro Nao Tem Vez
(2:09) 10. Oleo

In his superb contribution to Bloomsbury Press' 33 & 1/3 series, Bitches Brew (2015), George Grella notes (emphasis mine):

"No style of art can remain static: irrelevance is just as much a risk as the inevitable decadence that comes from a style developing to its last measure. But fans, including critics, of particular movements of artists, tend to want what they love to stay the same, the regression is not to the mean but to an Edenic past that never actually existed."  Written with the present in mind, Grella's point is easily transmuted to any particular era one likes from any vantage point in the future. I favor acoustic, small group jazz made between 1945 and 1965, a predilection that continues 50 years later. The beauty of appreciation is that it can occur vertically and horizontally. Vertically, we can experience and appreciate the evolution of an art form from its genesis until the now. Anywhere along the way up we can stop and view the horizontal: everything occurring, on all sides, at a single point in time. This appreciation does not interfere with the vertical experience but does add to its breadth.

It is in this horizontal appreciation of jazz that previously unheard, archival performances are so important. They add depth to the perspective.  Such is the case with Wes Montgomery's Smokin' in Seattle: Live at the Penthouse (1966), with the Wynton Kelly Trio. In the mid-1960s, before rock music completely took over, Montgomery was considered something special. From our present vantage point looking back, Montgomery's Smokin' at the Half Note (Verve, 1965), also with Kelly's trio, is considered one of the finest live jazz recordings of any period. It would be only natural to want to experience more of this type of music from the period. This particular trio was also the rhythm section for Miles Davis' band between 1959 and 1963, with pianist Kelly, bassist Paul Chambers and drummer Jimmy Cobb. The significance of this rhythm section is that they were on-hand during the fertile, transformative period between Davis' two great quintets, anchoring the recording of Davis' greatest achievement, Kind of Blue (Columbia, 1959).

I always thought that the primary simpatico in this band existed between Kelly and Montgomery, but that is hardly fair considering the stature of all involved. But there was an emphatic connection between Kelly and Montgomery that tangibly adds to the music made here. Kelly was an old- school pianist, not unlike Red Garland; they both had great facility with block chords. Also, like Garland, Kelly possessed a great command of the blues and this permeated all of his playing. Montgomery shared these same abilities. Both had an economic ability reflected in their carefully considered solos. It is nice to have more examples of this musical cooperation in Smokin' in Seattle. This Resonance release features ten selections: four from the trio alone; and the remaining six with Montgomery. Kelly was a crack balladeer. He leads the trio through period-perfect performances of "There is No Greater Love" and "If You Could See Me Now." On the latter, his playing approaches the orchestral, full of warmth and triumph in the introduction and grace and majesty in the interior. Effortlessly, Kelly could harmonize without becoming abstract in his technical playing. That said, when it came to the blues roots the pianist shared with Montgomery, the two provide a masterclass of "thinking outside the box" on the guitarist's "Blues in F" and "West Coast Blues."

His Resonance release features ten selections: four from the trio alone; and the remaining six with Montgomery. Kelly was a crack balladeer. He leads the trio through period-perfect performances of "There is No Greater Love" and "If You Could See Me Now." On the latter, his playing approaches the orchestral, full of warmth and triumph in the introduction and grace and majesty in the interior. Effortlessly, Kelly could harmonize without becoming abstract in his technical playing. That said, when it came to the blues roots the pianist shared with Montgomery, the two provide a masterclass of "thinking outside the box" on the guitarist's "Blues in F" and "West Coast Blues." "Blues in F" is a bouncing jump blues dominated by Montgomery's single-string soloing; Montgomery's famous octave style is also displayed generously. At a brief 2:44, the song is faded out, ostensibly due to radio time constraints. "West Coast Blues" is a loping chorded blues that illustrates Kelly's interplay with Montgomery, readily following the guitarist's muscular lines in the head and then providing a propulsive push behind the guitarist's solo. ~ C.Michael Bailey https://www.allaboutjazz.com/smokin-in-seattle-live-at-the-penthouse-1966-by-c-michael-bailey.php

Personnel: Wes Montgomery: guitar; Wynton Kelly: piano; Ron McClure: bass; Jimmy Cobb: drums.

Smokin’ In Seattle: Live At The Penthouse

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Jim Snidero & Jeremy Pelt - Jubilation! Celebrating Cannonball Adderley

Styles: Saxophone And Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 53:21
Size: 130,0 MB
Art: Front

(5:38)  1. Party Time
(7:02)  2. Del Sasser
(6:40)  3. Wabash
(7:12)  4. Saudade
(7:11)  5. Stars Fell On Alabama
(7:50)  6. Sack O' Woe
(5:41)  7. Ball's 90th
(6:05)  8. Work Song

Cannonball Adderley is considered to be one of the all-time greatest jazz musicians; one whose playing projected depth and command. But, he also possessed the rare ability to connect and uplift the listener, shouting out "joy" in every phrase. For his 90th birthday, "Jubilation!" celebrates the genius of Cannonball Adderley. Beloved veterans Jim Snidero (Downbeat critics' poll) and Jeremy Pelt create a formidable front line while David Hazeltine, Nat Reeves and Billy Drummond form an incomparable rhythm section. It's an all-star lineup celebrating a true jazz giant.http://www.smokejazz.com/index.php/event-detail?eID=956

Personnel:  Jim Snidero [alto saxophone]   Jeremy Pelt [trumpet]   David Hazeltine [piano]   Nat Reeves [bass]   Al Foster [special guest, drums]

Jubilation! Celebrating Cannonball Adderley

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Frank Ifield - I Remember You: The Early Years (1956-1962)

Size: 181,3 MB
Time: 76:08
File: MP3 @ 320K/s
Released: 2017
Styles: Pop
Art: Front

01. Gypsy Heart (2:57)
02. Maybe I'll Cry Over You (2:52)
03. Gold Digger Blues (3:25)
04. You Better Not Do That (2:18)
05. Yerranderie (2:12)
06. Kaw-Liga (2:53)
07. Put Me In Your Pocket (2:33)
08. I've Got A Feeling (1:53)
09. Guardian Angel (1:58)
10. These Hands (2:24)
11. True (2:04)
12. Chip Off The Old Block (2:09)
13. Will I Ever (1:57)
14. Since You Went Away (1:50)
15. Lucky Devil (1:55)
16. Nobody Else But You (2:00)
17. Happy Go Lucky Me (1:53)
18. Unchained Melody (2:32)
19. Gotta Get A Date (1:44)
20. No Love Tonight (1:49)
21. That's The Way It Goes (1:59)
22. Hoebe Snow (2:30)
23. Life's A Holiday (2:23)
24. Tobacco Road (2:23)
25. Your Time Will Come (2:22)
26. That's The Way It Is (2:06)
27. Alone Too Long (2:03)
28. Bigger Than You Or Me (2:07)
29. I Remember You (2:01)
30. I Listen To My Heart (1:58)
31. Lovesick Blues (2:15)
32. She Taught Me How To Yodel (2:10)
33. I Remember You (German Version) (2:09)
34. So Leicht Lernt Man Das Jodeln (2:07)

Frank Ifield began his recording career in Australia in 1953, where he enjoyed success on EMI's Regal Zonophone and Columbia labels with "Yerranderie", "Kaw-Liga", "True", "Chip Off The Old Block" and "Will I Ever". After coming to the UK in 1959, he registered minor chart action with "Lucky Devil" and "Gotta Get A Date", while "That's The Way It Goes", "Your Time Will Come" and "Alone Too Long" were 'turntable hits', generating plenty of radio airplay. He finally topped the UK charts in the summer of 1962 with "I Remember You", which was followed by "Lovesick Blues / She Taught Me How To Yodel" a double sided No 1 and second consecutive multi-million selling worldwide hit. This unique compilation also includes Frank's ultra-rare German language versions of "I Remember You" and "She Taught Me How To Yodel". This is a companion release to Jasmine's other collection of early Ifield rarities 'The Yodelling Cowboy Years'.

I Remember You

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David Feldman - Horizonte: Ao Vivo No Blue Note Rio

Size: 163,5 MB
Time: 70:35
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Bossa Nova
Art: Front

01. So Tinha De Ser Com Voce (Ao Vivo) (11:13)
02. Chora Tua Tristeza (Ao Vivo) ( 6:34)
03. Melancolia (Ao Vivo) ( 6:18)
04. Navegar (Ao Vivo) ( 5:23)
05. Adeus (Ao Vivo) ( 7:18)
06. Sliding Ways (Ao Vivo) ( 7:58)
07. Tete (Ao Vivo) ( 7:19)
08. Penumbra (Ao Vivo) ( 4:59)
09. O Som Do Beco Das Garrafas (Ao Vivo) ( 5:10)
10. Ceu E Mar (Ao Vivo) ( 8:20)

David Feldman was born in a family of classical and early-music musicians dedicated to baroque and classical music. He started very early his musical studies, playing classical piano at the age of four. At that time, he would drive his piano teacher crazy, because he would never stick to what was written on the music sheet, always preferring to show his personal interpretation of the piece. When at the age of ten he heard “Misterioso” by Thelonious Monk, it became obvious that whatever he was doing had a name: improvisation. Later on David studied with the great Luiz Eça.

In 2000, David enrolled at the New School Jazz and Contemporary Music Program in New York, graduating in 2002. In such a short period of time, he already worked with legends of jazz like Slide Hampton and Claudio Roditi, was invited to sit in at the Mingus Big Band and worked with Duduka da Fonseca and with brilliant young musicians, like Matt Garrison and Eli DeGibri.

In 2009 he released his first CD for EMI entitled "O Som do Beco das Garrafas", incensed by the specialized critics. Since then he has performed in many jazz festivals in Brazil and abroad, having already presented more than four times at the International Festival of Punta del Este, where the 2014 edition he had the virtuouso clarintetist / saxophonist Paquito D'Rivera as special guest .

In 2014, the pianist released his second album entitled "piano", which was considered by critics Carlos Calado and Antonio Carlos Miguel as one of the top ten releases of 2014.

In 2016, Feldman releases a new trio album entitled "Horizonte" with André Vasconcellos on bass and Marcio Bahia on drums, this time emphasizing his own compositions. On this album, David also has as special guests the guitarist and composer Toninho Horta and trombonist Raul de Souza.

David has worked with the "crème dela crème" of MPB: Paulo Moura, Leo Gandelman, Leny Andrade, Leila Pinheiro, Carlinhos Brown, Jaques Morelembaum, Maria Rita, Bossa Cuca Nova, Ricardo Silveira, Wilson Simoninha, Totonho Villeroy, to name a few .. .

Horizonte

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The Dirty River Dixie Band - Swing That Music!

Size: 128,6 MB
Time: 54:37
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Blues, Dixieland, Vocals
Art: Front

01. Swing That Music (3:24)
02. Singin' The Blues (3:55)
03. Milenberg Joys (6:06)
04. T'ain't Nobody's Business If I Do (4:39)
05. Some Of These Days (4:15)
06. That's A Plenty (5:27)
07. West End Blues (3:50)
08. Goody Goody (3:31)
09. Weary Blues (4:25)
10. When It's Sleepy Time Down South (4:49)
11. Live At Jazz, Tx Intro (Live Bonus Track) (0:56)
12. After You've Gone (Live Bonus Track) (4:02)
13. I'm Confessing That I Love Your (Live Bonus Track) (5:11)

The Dirty River Dixie Band is a traditional style jazz band hailing from San Antonio, Texas. The first band members originally met at Texas Lutheran University in Seguin, Texas; where most of them studied music. After a concert put on by San Antonio’s own Jim Cullum Chris Alvarado and Kris Vargas decided to put a similar group together. Their first public performance was under a gazebo on the square of downtown Seguin where they instantly started turning heads. They have gone on to perform at weddings, corporate events, private parties, and a number of central Texas venues such as: Jazz TX, Sam’s Burger Joint, The Esquire Tavern, Luna Jazz Club, The Austin Traditional Jazz Society, Bar 1919, Boardwalk Bistro, The Cove, The Texas Theatre, and many others. They have also been featured at Music Festivals such as: Jazz’SAlive 2017, The 2016 & 2017 Texas Jazz Festival in Corpus Christi, The 2016 NOLA Texas Food & Music Festival, 2016 & 2017 San Antonio Oyster Bake, 2015, 2016 & 2017 San Antonio Deco District Art and Music Fest, and Numerous events at San Antonio’s Historic Market Square. They are the winners of the 2015 Network for Young Artists’ Battle of the Bands, as well as first runner up in the same competition in 2014.

The band is managed by Drummer, Vocalist, and Arranger Chris Alvarado, who also handles all bookings. The band is led on stage by Cornetist Kris Vargas and backed by Ian Anderson (Trombone), Anthony Guzman (Clarinet), and Trevin Roming (Piano) who have all been with the band for the past 2-3 years. Recently Tyler Jackson (Banjo/Guitar), Edwin Brown (Tuba), and Sarah Ulloa (Vocals) have been added to the bandstand bringing their musical stylings and added energy with them! This group can be heard on their newest album entitled “Swing That Music!” which was recorded in January 2018. The Dirty River Dixie Band’s sound closely emulates The Jim Cullum Jazz Band who has helped mentor the members of the band. Other similar artists include: Louis Armstrong, Jelly Roll Morton, King Oliver, Kid Ory, Turk Murphy, Lu Watters and many others. With everyone in the band being a music educator, the goal of the band is to bring high energy and expertise to a style of music that some have forgotten. The roaring 20’ are coming back around and The Dirty River Dixie Band is the future of traditional jazz in Texas.

Swing That Music!

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Joe Lovano - From The Soul

Bitrate: MP3@320K/s
Time: 63:57
Size: 146.4 MB
Styles: Bop, Saxophone jazz
Year: 1992
Art: Front

[9:03] 1. Evolution
[8:04] 2. A Portrait Of Jennie
[6:27] 3. Lines & Spaces
[7:30] 4. Body And Soul
[5:26] 5. Modern Man
[6:30] 6. Fort Worth
[6:02] 7. Central Park West
[5:50] 8. Work
[3:15] 9. Left Behind
[5:45] 10. His Dreams

Drums – Ed Blackwell; Piano – Michel Petrucciani; Saxophone [Tenor, Alto, Soprano] – Joe Lovano. Recorded on December 29, 1991 at Skyline Studio, New York City, NY.

With a style that blends the liquid sonorities of cool-school saxophonists like Stan Getz and highly inventive, post-Coltrane lines, Joe Lovano has emerged as one of the most consistently creative musicians in jazz. While it's possible to discern passing resemblances to Sonny Rollins, Wayne Shorter, and Ornette Coleman, Lovano has an authentic voice of his own. Even his high harmonics are a mixture of gauze and grit. This 1992 session stands out for the superb band that Lovano has assembled, an unlikely ensemble that consistently fuels his multidirectional approach. Pianist Michel Petrucciani is a master of subtle harmonic improvisation, while drummer Ed Blackwell fuses counterrhythms and joyous parade drumming in a manner first developed within free jazz. The superb bassist Dave Holland seems to be knitting all the parts together from below as Lovano does the same above. The results are consistently exciting, whether the theme at hand is a standard ballad, a tune by Monk or Coltrane, or one of Lovano's brisk originals. ~Stuart Broomer

From The Soul mc
From The Soul zippy

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Maria Estela Monti - Solo Piazzolla

Bitrate: MP3@320K/s
Time: 54:20
Size: 124.4 MB
Styles: Latin jazz, Tango
Year: 2008
Art: Front

[4:03] 1. Balada Para Mi Muerte
[4:04] 2. Mi Loco Bandoneón
[4:45] 3. Los Paraguas De Buenos Aires
[3:59] 4. Vals Del 18
[4:43] 5. La Ultima Grela
[3:44] 6. Campo, Camino Y Amor
[2:21] 7. El Títere
[4:48] 8. Oblivion
[3:53] 9. Poema En Si Mayor
[2:58] 10. Siempre Se Vuelve A Buenos Aires
[5:05] 11. Violetas Populares
[4:38] 12. Alienación
[3:07] 13. Milonga De La Anunciación Yo Soy María
[2:05] 14. Palabras Para Astor

She began her professional career in 1985, forming part of different groups and is also a singing teacher. Her style moves away from the tango stereotypes, highlighting the richness of melodic and poetic lines that the genre possesses. In her repertoire she tackles classic tangos and also works of recent promotion.

From 1998 to 2000, she joined the tango trio Alma Bohemia, with which she performed at the San Martín Cultural Center, and at the Recoleta Cultural Center. In November of that year, the group's recording material was recorded live. From the year 2000 she began her work as a soloist, accompanied by the guitars of Gustavo Fernández and Pepe Listorti. Since then she has developed an extensive activity, highlighting his presentations at the Café Clásica y Moderna and at the Buenos Aires Tango 2001 Festival, organized by the city government.

In 2003 she recorded Ciudadana, his first solo album, edited by Gobi Music. In 2005 she edits Ciudad secreto, his second solo album, accompanied by the most renowned musicians of our musical environment. At the beginning of 2009 she released her fourth album Solo Piazzolla (EPSA Music), in which she presents a wide repertoire of the great Argentinean composer and bandoneonist, including two unreleased tracks and "Campo camino y amor", the only one that she composed with the famous Atahualpa Yupanqui. (Translated from Spanish.)

Solo Piazzolla mc
Solo Piazzolla zippy

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Carlo Milanese - Blues By Chance

Bitrate: MP3@320K/s
Time: 55:18
Size: 126.6 MB
Styles: Piano jazz
Year: 2010
Art: Front

[5:03] 1. Dabi
[4:49] 2. Birds In Spring
[4:37] 3. Blues By Chance
[6:13] 4. Sturla
[4:02] 5. Princess' Whisper
[3:36] 6. Men At Work
[4:54] 7. For Lovers
[4:32] 8. Intermission
[3:35] 9. Inner Side
[3:52] 10. Gagà
[4:15] 11. Ninna Nanna Per Clara
[5:44] 12. Terre Calde

"Blues By Chance" is the latest record of Carlo Milanese. The Genoese artist, at the piano, is accompanied by a group formed by Claudio Capurro, alto sax, Fabrizio Cattaneo, trumpet, Alberto Malnati, double bass and Rodolfo Cervetto, drums. Self-taught, grown musically under the guidance of his father Luciano, Carlo Milanese began his professional activity as a drummer in 1991. In 2005 he made his first CD, "Intermission" with Luciano Milanese, Andrea Pozza and Carlo Atti. "Blues By Chance" proposes him as an unprecedented pianist: a fresh modern mainstream, consisting of original compositions solved with verve by a complex that combines undoubted individual qualities with a set of reliable reliability. (Translated from Italian.)

Blues By Chance mc
Blues By Chance zippy

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Blondie - Greatest Hits

Bitrate: MP3@320K/s
Time: 67:34
Size: 154.7 MB
Styles: Pop/Rock/New Wave
Year: 2002
Art: Front

[3:04] 1. Dreaming
[3:30] 2. Call Me
[3:33] 3. One Way Or Another
[4:31] 4. Heart Of Glass
[4:44] 5. The Tide Is High
[3:11] 6. X Offender
[2:21] 7. Hanging On The Telephone
[3:19] 8. Rip Her To Shreds
[5:36] 9. Rapture
[4:39] 10. Atomic
[2:53] 11. Picture This
[2:29] 12. In The Flesh
[2:14] 13. Denis
[2:40] 14. (I'm Always Touched By Your) Presence Dear
[3:18] 15. Union City Blue
[3:39] 16. The Hardest Part
[4:40] 17. Island Of Lost Souls
[3:01] 18. Sunday Girl
[4:04] 19. Maria

Following the re-issue of the six original studio albums in 2001, this was the first Blondie "Best of" compilation to be digitally remastered, the first Blondie "Best of" to be officially sanctioned by the band for over 20 years, and also the first to include their comeback hit "Maria", a UK #1 in February 1999.

Compiled by Capitol's Kevin Flaherty and London-based music journalist Steve Pafford, who also wrote the album sleeve notes, Greatest Hits features all of the tracks from the band's very first hits compilation, 1981's The Best of Blondie, including all four long-deleted 'special mixes' by producer Mike Chapman. Author Pafford was in the early stages of working with Debbie Harry on a lavish illustrated coffee table book entitled BlondieStyle (the sequel to his acclaimed BowieStyle, published by Omnibus Press), though as of 2010 the project is still on hold.

Greatest Hits mc
Greatest Hits zippy

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Flip Phillips - At The Helm

Bitrate: MP3@320K/s
Time: 76:51
Size: 175.9 MB
Styles: Saxophone jazz
Year: 1994
Art: Front

[11:03] 1. Introduction Nuages
[ 5:27] 2. A Sound Investment
[10:52] 3. Poor Butterfly
[ 5:22] 4. Jumping At The Woodside
[ 6:23] 5. Singing The Blues
[10:27] 6. It's The Talk Of The Town
[ 8:32] 7. Sweet And Lovely
[ 7:26] 8. Just Friends
[ 4:00] 9. How High The Moon
[ 0:56] 10. Prez And Lady Flip
[ 6:19] 11. At The Helm

Flip Phillips was 79 at the time of this live performance but proves to still be very much in his musical prime. Joined by a rhythm section comprised of fellow veterans (pianist Derek Smith, guitarist Bucky Pizzarelli, bassist Milt Hinton and drummer Ray Mosca), Phillips gives standards and riff tunes warm and often hard-swinging treatment. Other than a few tasteless (if humorous) jokes, this is a flawless release that serves as a definitive portrait of Flip Phillips in his later years. ~Scott Yanow

At The Helm mc
At The Helm zippy

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Red Norvo - Just a Mood

Styles: Vibraphone Jazz
Year: 1954
File: MP3@320K/s
Time: 57:16
Size: 154,2 MB
Art: Front

(6:52)  1. Just a Mood
(7:23)  2. Easy on the Eye
(7:03)  3. The Night is Blue
(8:43)  4. Sunrise Blues
(3:11)  5. Blue Room
(3:28)  6. Blue Moon
(3:27)  7. Serenade in Blue
(2:55)  8. Blue Lou
(3:38)  9. Roses of Picardy
(3:48) 10. Rose Room
(3:43) 11. Blue Rose
(3:00) 12. Rose of the Rio Grande

Vibraphonist Red Norvo was among the most flexible of improvisers from his generation. On this Bluebird CD, Norvo is heard with three very different groups. He interacts with trumpeter Harry "Sweets" Edison, tenor saxophonist Ben Webster and pianist Jimmy Rowles in a swing-oriented sextet; their performances are highlighted by the memorable "Just a Mood." In addition, Norvo plays four songs that have the word "Blue" in their titles with a quintet that is an outgrowth of his trio of a few years earlier (this group consists of flutist Buddy Collette, guitarist Tal Farlow, Monty Budwig or Red Callender on bass and drummer Chico Hamilton) and four "Rose" songs with the who's who of West Coast Jazz: trumpeter Shorty Rogers, clarinetist Jimmy Giuffre, pianist Pete Jolly, Farlow, Callender and drummer Larry Bunker. No matter what the setting, Norvo fits in quite comfortably and the consistent high-quality of the formerly rare music makes this a highly recommended set to bop collectors.
~ Scott Yanow https://www.allmusic.com/album/just-a-mood-mw0000188491      

Personnel: Red Norvo (xylophone, vibraphone); Ben Webster (tenor saxophone); Harry Edison, Shorty Rogers (trumpets); Buddy Collette (flute).

Just a Mood

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Mary Kaye Trio - A Night In Las Vegas

Styles: Vocal, Guitar
Year: 1956
File: MP3@320K/s
Time: 35:43
Size: 85,2 MB
Art: Front

(2:34)  1. Get Happy
(3:21)  2. They Didn't Believe Me
(2:54)  3. The Lonesome Road
(3:19)  4. Little Girl Blue
(3:06)  5. Mad About The Boy
(2:21)  6. Get Out Of Town
(3:17)  7. Bewitched
(2:57)  8. I'll Remember April
(2:25)  9. Wagon Wheels
(3:20) 10. My Funny Valentine
(2:43) 11. April In Paris
(3:21) 12. Good-Bye

Mary Kaye (January 9, 1924 Detroit, Michigan – February 17, 2007 Las Vegas, Nevada) , sometimes called the "First Lady of Rock and Roll," was a guitarist and performer who was active from the 1940s through 1960s.  In a 2003 interview for Vintage Guitar magazine, Mary Kaye (born Malia Ka'aihue) claimed to be descended from Hawaiian Queen Liliuokalani, through her father Johnny Ka’aihue (Johnny Guitar) whom she claimed was "pure Hawaiian" and stated, "he was the son of Prince Koheo, Queen Liliokalani’s younger brother." However, according to the genealogy Liliuokalani put in her biography, her brothers were King David Kalākaua and Prince William Pitt Leleiohoku II. Neither Liliuokalani nor her brothers had any biological children. The Mary Kaye Trio is credited with founding the Las Vegas "lounge" phenomenon at the Last Frontier in 1953 : an allnight party atmosphere where stars and common folk rubbed elbows in a freewheeling environment.

Mary Kaye died in a Las Vegas hospital of pulmonary disease on February 17, 2007. Her son Jay Kaye was also a musician. At the age of 15, he put out his first LP, Suddenly One Summer in 1968. Now a cult psychedelic album, it received little notice or airplay upon its release. He later moved to Europe to play in casinos.Mary was photographed with her equal partners Frank Ross and Norman Kaye of the Mary Kaye Trio, in a 1956 Fender promotional advertisement featuring a new Stratocaster electric guitar. This ash blonde guitar with maple neck and gold hardware later became popularly known as "The Mary Kaye Strat." Only a few were produced in 1956, but the color has been re-introduced to the Fender line after the strong international demand for the Mary Kaye color scheme. A limited Custom Shop series Mary Kaye Tribute Strat was issued in 2005. In 2007 a 57 Reissue Mary Kaye Strat was released for the 50th anniversary of the Stratocaster. The Custom Shop release can be seen in the 2005 Fender Frontline Catalog along with her personal history as interviewed by Fender. In 2003, Mary Kaye received the first officially recognized "Mary Kaye" American Stratocaster, gifted by the Fender Custom Shop. This instrument marks Fenders first official recognition of a "Mary Kaye" model. This instrument, serial MK 001, can be additionally noted by the instruments back plate reading "To Mary Kaye From Your Friends at Fender". The instrument is currently listed with online luxury retailer Luxify.com and their broker INTMIX The International Musical Instrument Exchange who produced an in-depth look at the instrument, narrated by Mary Kaye's nephew John Kaye. https://en.wikipedia.org/wiki/Mary_Kaye

A Night In Las Vegas

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Mike Longo & The New York State of the Art Jazz Ensemble - Live from New York

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 47:27
Size: 109,0 MB
Art: Front

(4:39)  1. Whisper Not
(6:36)  2. Afro Desia
(7:40)  3. Yoko Mama
(5:23)  4. Over the Rainbow
(3:47)  5. I'm Old Fashioned
(5:17)  6. Muddy Waters
(8:34)  7. Inner City Hues
(5:28)  8. Wee

When trumpet titan Dizzy Gillespie left this earth he left no shortage of disciples behind. His now-legendary peers (i.e. saxophonists Jimmy Heath and Benny Golson), a cadre of killer Cubans (Arturo Sandoval, multi-reedist Paquito D'Rivera, pianist Gonzalo Rubalcaba, etc.) and a pride of young lions all worked with him, learned from him, and sang his praises, both before and after he departed; so did/does pianist Mike Longo, though too few people seem to recognize him. Part of the problem, as illustrated above, is that Longo never fit neatly into a category. He was too young to be considered one of Gillespie's peers and too old to be considered on-the-cusp-of-the-new when he left Gillespie's employ. Perhaps that's why he doesn't get the credit he deserves for his work, Gillespie-related or otherwise. The truth is that he's been keeping the flame alive, teaching the next generation and furthering his own craft during his regular Tuesday night gigs at the John Birks Gillespie Auditorium in the New York City Baha'i Center. This recording is a snapshot of one such performance. On a Tuesday in July of 2013, Longo and his big band The New York State Of The Art Ensemble held court at the aforementioned auditorium. In prepping for the recording, producer/saxophonist Bob Magnuson had enough time to set up two tube microphones, say a few words to the soloists about them, hit "record" and take his seat in the reed section; in other words, he didn't over think it and try to suck the life out of the recording. Magnuson simply wanted to capture the sound of Longo's band in action and he succeeded.

The album contains three Longo originals, three vocal features that showcase singer Ira Hawkins and a pair of classics that can be connected to Gillespie Golson's "Whisper Not" and Denzil Best's "Wee." Those classics bookend the album and turn out to be the standout tracks. A barnstorming and bluesy "Muddy Water" is the strongest of the three vocal tracks, as Hawkins channels Joe Williams, but he also does an admirable job on his own arrangement of "I'm Old Fashioned" and Longo's unique take on "Over The Rainbow." Voice and material just seem to be a bit mismatched on those occasions, as Hawkins' deep and resounding voice seems destined for glory through the blues rather than ballads or easygoing swingers. Longo's originals speak to some different ideas altogether. The laidback, lightly funky "Afro Desia" possesses a simple charm, "Yoko Mama" sounds like it could've been in the Buddy Rich book in the '70s, and "Inner City Hues" is an understated gem. Longo's band like Longo himself may be under-recognized because it occupies a place in an artistic middle ground. It's not pushing progressive art or living out its days as a museum piece, but it fills an important niche somewhere in between those two poles and it sounds great doing it. ~ Dan Bilawsky https://www.allaboutjazz.com/live-from-new-york-mike-longo-consolidated-artist-productions-review-by-dan-bilawsky.php

Personnel: Mike Longo: leader, composer, arranger, piano; Chris Rogers: trumpet; John Replogle: trumpet; Brian Davis: trumpet; Waldron Ricks: trumpet; Bob Magnuson: alto sax; Lee Greene: alto sax; Frank Perowsky: tenor sax: Mike Migliore: tenor sax; Matt Snyder: baritone sax; Sam Burtis: trombone; Nick Finzer: trombone; Nick Grinder: trombone; Earl McIntyre: bass trombone; Tom Hubbard: bass; Mike Campenni: drums; Ira Hawkins: vocals (4-6).

Live from New York

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Barry McGuire - Anthology

Styles: Vocal And Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 58:40
Size: 136,0 MB
Art: Front

(2:34)  1. Masters of War
(3:20)  2. Grasshopper Song
(3:43)  3. Inner-Manipulations
(2:56)  4. Cloudy Summer Afternoon
(3:01)  5. Sins of a Family
(2:34)  6. What's Exactly the Matter with Me
(2:18)  7. Why Not Stop & Dig It While You Can
(3:43)  8. I'd Have to Be Outa My Mind
(6:08)  9. Mr. Man on the Street-Act One
(2:50) 10. This Precious Time
(3:17) 11. Baby Blue
(2:48) 12. She Belongs to Me
(4:01) 13. Just Like Tom Thumb's Blues
(2:32) 14. You Were on My Mind
(2:49) 15. You've Got to Hide Your Love Away
(3:24) 16. Child of Our Times
(2:57) 17. Upon a Painted Ocean
(3:36) 18. Eve of Destruction

Althogh the packaging leaves something to be desired, all of Barry McGuire's hits, including "Eve of Destruction" and many similar-sounding protest folk-rockers, are featured on Anthology. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/anthology-mw00001

Personnel: Barry McGuire (vocals, guitar).

Anthology

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Jimmy Smith - The Cat

Styles: Jazz, Post Bop
Year: 1964
File: MP3@320K/s
Time: 33:20
Size: 77,1 MB
Art: Front

(4:44)  1. Theme from Joy House
(3:29)  2. The Cat
(4:05)  3. Basin Street Blues
(3:59)  4. Main Title from The Carpetbaggers
(4:01)  5. Chicago Serenade
(3:22)  6. St. Louis Blues
(4:52)  7. Delon's Blues
(4:45)  8. Blues in the Night

Compared to his earlier Blue Note recordings, organist Jimmy Smith's outings for Verve are not as strong from a jazz standpoint. Certainly his renditions of the "Theme from Joy House," "The Cat," and the "Main Title from The Carpetbaggers" are not all that significant. However, this set has some tasteful arrangements for the big band by Lalo Schifrin, and some good playing by the great organist on a variety of other blues-oriented material. Also, the combination of organ with a big band is sometimes quite appealing, making this album worth picking up despite its commercial focus. ~ Scott Yanow https://www.allmusic.com/album/the-cat-mw0000188691

Personnel: Jimmy Smith (organ); Lalo Schifrin (conductor); Bernie Glow, Jimmy Maxwell, Marky Markowitz, Thad Jones, Ernie Royal, Snooky Young (trumpet); Jimmy Cleveland, Urbie Green (trombone); Tony Studd (bass trombone); Ray Alonge, Earl Chapin, Bill Correa, Jimmy Buffington (French horn); Don Butterfield (tuba); Kenny Burrell (guitar); George Duvivier (bass); Grady Tate (drums); Phil Kraus (percussion)

The Cat

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¡Cubanismo! - Mardi Gras Mambo

Bitrate: MP3@320K/s
Time: 56:06
Size: 128.4 MB
Styles: Latin jazz
Year: 2000
Art: Front

[4:45] 1. Marie Laveaux
[5:14] 2. Mother In Law
[3:23] 3. Paso En Tampa
[6:17] 4. Shallow Water Suite
[4:12] 5. Mardi Gras Mambo
[0:25] 6. Monteorlines
[5:17] 7. It Do Me Good
[6:14] 8. Alemañy's Boogaloo
[4:31] 9. Rampart Street Rhumba
[4:02] 10. Nothing Up My Sleeve
[5:00] 11. Gumbo Son
[6:40] 12. Cuborleans

This album is the product of Cubanismo's self-professed love of New Orleans, also the city in which the band held its first concert. Jesus Alemany arranges the works here for his band in conjunction with a number of New Orleans resident players and singers. The result is often good, though it can be seemingly plagued by competition between the two major rhythmic thoughts, with the Cubans occasionally overpowering the residents or vice versa. In general, the best works are the ones written specifically for this project, with some of the more standard numbers falling by the wayside. The rap number also fails to some degree, with perhaps too many styles represented in a single work. Overall though, almost anything coming from Alemany's musical genius is worth listening to, and this is worthwhile as such, though perhaps mildly inferior to the purely Cuban albums (Cubanismo, Reencarnacion). ~Adam Greenberg

Mardi Gras Mambo mc
Mardi Gras Mambo zippy

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Duane Eubanks - Things Of That Particular Nature

Bitrate: MP3@320K/s
Time: 53:35
Size: 122.7 MB
Styles: Trumpet jazz
Year: 2015
Art: Front

[7:06] 1. Purple, Blue, And Red
[4:07] 2. As Is
[3:39] 3. Rosey
[7:46] 4. Holding Hands
[4:57] 5. Beer And Water
[3:32] 6. Anywhere's Paradise
[3:33] 7. Dance With Aleta
[6:22] 8. Aborted Dreams
[7:41] 9. Slew Footed
[4:47] 10. P

Duane Eubanks - trumpet, flugelhorn; Abraham Burton - tenor saxophone; Marc Cary - piano, Fender Rhodes; Dezron Douglas - bass; Eric McPherson - drums; Steve Nelson - vibraphone.

Sometimes all one needs to move along is a little prompting. With a bit of discipline, motivation and, maybe, a little help from the Universe, opportunities will arise and lead the willing to his goal. Philadelphia trumpeter, Duane Eubanks is thankful for the motivation the Universe has provided him with and dedicates his new recording – Things of that Particular Nature – to his main influences and motivators: his father, his mentor, Mulgrew Miller, and his wife. These three individuals were the driving forces behind the creation of his new recording, Eubanks’s first in nearly a decade.

Eubanks was also fortunate to have strong role models while growing up. His father, William Eubanks, was stern and strong, a veteran and police officer, who moved through the ranks to detective, a rare feat for an African American man at that time. He passed his own moral compass and level headedness on to his four sons, three of whom became tremendous musicians with their father’s full support. The late, great pianist Mulgrew Miller provided another brotherly role model for Eubanks as he began his career as a professional musician. Miller’s personality was much like Eubanks’ father’s, allowing their professional relationship to become more akin to that of mentor and friend. It was Miller’s advice and support that helped nurture Eubanks in becoming the musician he is.

Things Of That Particular Nature mc
Things Of That Particular Nature zippy

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