The Paul Horn Quintet - Here's That Rainy Day

Bitrate: MP3@320K/s
Time: 31:19
Size: 71.7 MB
Styles: Easy Listening
Year: 1966/1990
Art: Front

[2:35] 1. Who Can I Turn To (When Nobody Needs Me)
[2:20] 2. Here's That Rainy Day
[2:46] 3. How Insensitive
[3:16] 4. The Shadow Of Your Smile
[3:54] 5. In The Wee Small Hours Of The Morning
[3:13] 6. Girl Talk
[1:53] 7. Moment To Moment
[4:39] 8. Ecstasy
[3:17] 9. Laura
[3:22] 10. On A Clear Day (You Can See Forever)

Bass – Bill Plummer; Chorus [With The] – Ralph Carmichael Singers; Clarinet – Paul Horn; Drums – Bill Goodwin; Flute [Alto], Flute [Bass] – Paul Horn; Piano – Mike Lang; Vibraphone – Lynn Blessing.

This a fabulous Paul Horn album, but you must accept that it is something of a "period piece" which was designed to have broad, mass, commercial appeal at that time (1966)…and, for whatever reason, simply did NOT (...and I like to think that that was because it was simply too good!... :-) Paul's tone on the flute, alto flute and bass flute (often without any vibrato) is gorgeous and his musical concept is unique. The tunes are very short, so Paul doesn't get a chance to stretch out much, but it does't really matter, because the stark simplicity in his lines (both on the heads and the improvising) is every bit as bold as it is striking. And (...you may be surprised to hear me say this...but I mean it!...) his musical style has the same stark clarity, simplicity and honesty that I have only heard from John Coltrane on the classic "Ballads" album (Impulse). That is an all too rare thing for ANY musician to achieve, on ANY instrument! So, please, ignore the meagre AMG rating and, if you can listen closely to this and get beyond the quite lush production - all of the "ooo's" and "ahh's" of the voices and the plucks of the harp (though, actually, Ralph Carmichael did an OUTSTANDING job with the arrangements, as well as in leading the choir, as did Paul Horn's quintet consisting of Mike Lang on piano, Lynn Blessing on vibes, Bill Plummer on bass and Bill Goodwin on drums) - then you will see what a truly remarkable work this is. It is actually my favourite Paul Horn album, and the one I return to most often. Finally, one of my favourite cuts on the album is missing here ("In The Wee Small Hours Of The Morning") and, even with all of the 10 original tracks (rather like Trane's classic "Ballads" album), this one clocks in at not much more than 30 minutes...but it is heavy!...And I have no hesitation or compunction in mentioning BOTH of these Horn/Coltrane albums in the same breath!... ~Bill McBirnie

Here's That Rainy Day mc
Here's That Rainy Day zippy

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Jerry Vivino - Coast To Coast

Bitrate: MP3@320K/s
Time: 53:01
Size: 121.4 MB
Styles: Saxophone jazz, Cool jazz
Year: 2018
Art: Front

[6:08] 1. Coast To Coast
[5:12] 2. Spud Time
[4:03] 3. Body And Soul
[4:36] 4. Sam I Am
[5:34] 5. Paterson
[7:11] 6. Category 5
[4:38] 7. Here's That Rainy Day
[4:57] 8. Lew's Blues
[5:06] 9. Honeysuckle Rose
[5:34] 10. Miracles

If you don't know Jerry personally, you certainly have heard him play. Featured on countless recordings, TV commercials and movie soundtracks, his resume reads like a Who's Who In Entertainment. Jerry has played with Bruce Springsteen, James Taylor, Son Seals, Paul Shaffer, Frankie Valli, Al Kooper, Dion, James Brown, Phoebe Snow, Donald Fagen, Dr. John, Branford Marsalis, Wynton Marsalis and the legendary Keely Smith, to name just a few.

Jerry's true passion in music is Jazz and R&B. In addition to being a member of the Max Weinberg 7, he can be heard playing with his brother Jimmy in the Vivino Brothers Band. He also is the leader of a really fun group with bass player Mike Merritt, drummer James Wormworth, keyboard player Brian Charretteand frequent guests, trumpet player Lew Soloff and guitarist Melvin Sparks.

Jerry's saxophone influences include Ben Webster, John Coltrane, King Curtis, Johnny Hodges, Cannonball Adderly, Michael Brecker, Sonny Rollins and Dexter Gordon. Clarinet influences include Benny Goodman, Buddy deFranco, Aker Bilk, Pete Fountain, Sidney Bechet and Eddie Daniels. Flute influences include Jean Pierre Rampal, Hubert Laws, James Galway and Ian Anderson. However, Jerry's favorite musician is his wife, flutist Laura (Renino) Vivino.

Coast To Coast mc
Coast To Coast zippy

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Van Morrison - Moondance

Bitrate: MP3@320K/s
Time: 38:45
Size: 88.7 MB
Styles: Album rock, Blue eyed soul
Year: 1970/2018
Art: Front

[4:29] 1. And It Stoned Me
[4:31] 2. Moondance
[2:34] 3. Crazy Love
[5:01] 4. Caravan
[3:26] 5. Into The Mystic
[2:29] 6. Come Running
[3:52] 7. These Dreams Of You
[5:09] 8. Brand New Day
[3:30] 9. Everyone
[3:40] 10. Glad Tidings

The yang to Astral Weeks' yin, the brilliant Moondance is every bit as much a classic as its predecessor; Van Morrison's first commercially successful solo effort, it retains the previous album's deeply spiritual thrust but transcends its bleak, cathartic intensity to instead explore themes of renewal and redemption. Light, soulful, and jazzy, Moondance opens with the sweetly nostalgic "And It Stoned Me," the song's pastoral imagery establishing the dominant lyrical motif recurring throughout the album -- virtually every track exults in natural wonder, whether it's the nocturnal magic celebrated by the title cut or the unlimited promise offered in "Brand New Day." At the heart of the record is "Caravan," an incantatory ode to the power of radio; equally stirring is the majestic "Into the Mystic," a song of such elemental beauty and grace as to stand as arguably the quintessential Morrison moment. ~Jason Ankeny

Moondance mc
Moondance zippy

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Catherine Howe - Because...

Bitrate: MP3@320K/s
Time: 53:43
Size: 123.0 MB
Styles: Folk
Year: 2015
Art: Front

[ 3:19] 1. Because It Would Be Beautiful
[ 3:20] 2. Shine Like A Star
[ 4:31] 3. Hot Night
[ 2:36] 4. Who Would Know
[ 4:08] 5. What A Beautiful Place
[ 3:22] 6. This Old Peg
[ 4:34] 7. Charlie Bender
[ 2:58] 8. Mayfair Cot
[ 1:45] 9. Mr G.T
[ 3:28] 10. It's Good
[ 4:37] 11. I'd Make Him Happy
[ 1:24] 12. Mr M.G
[ 2:50] 13. Welcome To My Garden
[10:46] 14. Don't Look Away

A great new album of songs recorded as a collaboration with Ric Sanders (the violin of Fairport Convention). Vo Fletcher and Michael Gregory. This album is a wonderful mixture of Howe's distinctively pure voice and Fletcher's fine guitar playing, along with Ric Sander's violin and Michael Gregory's drums and percussion.

Catherine is an Ivor Novello Award winner who has earned critical acclaim in dozens of music magazines both in the UK and the US, including Folk Album of the Year from The Sunday Times. Catherine began an acting career in the late 1960s, and has since gained a following in folk music: Record Collector in 2007 called her "one of the great unrecognised voices". Observer Music in 2007 said "Catherine Howe was a Kate Bush before her time".

Because... mc
Because... zippy

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Andrew Hill - Black Fire

Bitrate: MP3@320K/s
Time: 51:36
Size: 118.1 MB
Styles: Bop, Piano jazz
Year: 2004
Art: Front

[5:21] 1. Pumpkin
[8:01] 2. Subterfuge
[6:56] 3. Black Fire
[5:39] 4. Cantarnostion
[5:48] 5. Tired Trade
[2:58] 6. Mcneil Island
[5:48] 7. Land Of Nod
[5:18] 8. Pumpkin
[5:43] 9. Black Fire

Black Fire, Andrew Hill's debut record for Blue Note, was an impressive statement of purpose that retains much of its power decades after its initial release. Hill's music is quite original, building from a hard bop foundation and moving into uncharted harmonic and rhythmic territory. His compositions and technique take chances; he often sounds restless, searching relentlessly for provocative voicings, rhythms, and phrases. Black Fire borrows from the avant-garde, but it's not part of it -- the structures remain quite similar to bop, and there are distinct melodies. Nevertheless, Hill and his band -- comprised of tenor saxophonist Joe Henderson, bassist Richard Davis, and drummer Roy Haynes -- are not content with the limitations of hard bop. Much of the music is informed by implied Afro-Cuban rhythms and modal harmonics, resulting in continually challenging and very rewarding music. Hill's complex chording is thoroughly impressive, and Henderson's bold solos are more adventurous than his previous bop outings would have suggested. Their expertise, along with the nimble, unpredictable rhythm section, help make Black Fire a modern jazz classic. ~Stephen Thomas Erlewine

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Charles Lloyd & The Marvels, Lucinda Williams - Vanished Gardens

Bitrate: MP3@320K/s
Time: 73:21
Size: 167.9 MB
Styles: Contemporary jazz, Roots
Year: 2018
Art: Front

[ 8:41] 1. Defiant
[ 7:58] 2. Dust
[ 9:03] 3. Vanished Gardens
[ 6:22] 4. Ventura
[ 6:17] 5. Ballad Of The Sad Young Men
[ 6:30] 6. We've Come Too Far To Turn Around
[ 5:38] 7. Blues For Langston And Larue
[11:40] 8. Unsuffer Me
[ 5:15] 9. Monk's Mood
[ 5:53] 10. Angel

Renowned saxophonist Charles Lloyd and singer-songwriter Lucinda Williams bring the best of their musical worlds to "Vanished Gardens," a dazzling blend of jazz tunes glowing like embers and Williams' intricately poetic songs. Lloyd establishes a reflective mood right from the start on opening ballad "Defiant," with Bill Frisell's guitar and Greg Leisz's pedal steel laying foundations for his tenor saxophone, along with the other two Marvels, drummer Eric Harland and bassist Reuben Rogers. Frisell and Leisz each take solo turns, but their playing, each from one channel of the stereo spectrum, often feels more like a duet. Near its conclusion, Lloyd returns front and center to add some more delicate melodies. The track's nearly nine minutes coast by so brilliantly, in just another five, ideas to solve half your problems surely would have sprung from it.

Williams makes her entrance on track two, "Dust," and while the reflections remain inspired, Lloyd's sax is anguished and darkness is hovering: "You couldn't cry if you wanted to/Even your thoughts are dust." Williams appears on five tracks, including three reinterpretations of tunes from her solo albums, one new song, and a cover of Jimi Hendrix's "Angel."

"We've Come Too Far to Turn Around," the new tune, has a gospel mood of people demonstrating resilience while facing a long series of mini apocalypses. On "Unsuffer Me," Williams' aching call of "My joy is dead/I long for bliss" is answered by the band in a hypnotic, bluesy jam.

Among the instrumentals, Lloyd plays the alto flute on the groovy "Blues for Langston and LaRue," while Thelonious Monk's meditative "Monk's Mood" is a captivating duet by Lloyd and Frisell. In its entirety, "Vanished Gardens" is a dynamic ensemble's testament to creativity, musicianship and independence. ~Pablo Gorondi

Vanished Gardens mc
Vanished Gardens zippy

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Donald Byrd - Donald Byrd With Strings + Byrd Blows On Beacon Hill

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 70:14
Size: 162,9 MB
Art: Front

(3:28)  1. Stardust
(2:46)  2. Indian Summer
(3:30)  3. I'm A Fool To Want You
(2:50)  4. Someday My Prince Will Come
(3:03)  5. Moon Mist
(3:47)  6. I Get Along Without You Very Well
(2:54)  7. The Touch Of Your Lips
(4:00)  8. Lazy Afternoon
(2:44)  9. Dear Old Stockholm
(2:51) 10. Love Is The Sweetest Thing
(2:59) 11. September Afternoon
(3:49) 12. Dearly Beloved
(7:03) 13. Little Rock Getaway
(7:19) 14. Polka Dots And Moonbeams
(4:39) 15. If I Love Again
(3:44) 16. Stella By Starlight
(3:38) 17. People Will Say We're In Love
(5:04) 18. What's New?

Donald Byrd and Clare Fischers 1957 New York studio collaboration is important for several reasons. For one, it marks Fischers first recording since January 1953, as well as his debut as the sole arranger for an album. It is equally important for Donald Byrd, as it remains the only album that the trumpeter ever made with string accompaniment.  Also included on this outstanding release is a New York, May 7, 1956 quartet session featuring the trumpeter backed by pianist Ray Santisi, bassist Doug Watkins and drummer Jimmy Zitano. Although this date varies greatly from Donald Byrd & Clare Fischers session with strings, we have decided to include it here in its entirety as bonus tracks, due to the dates equally unusual format. While Byrd recorded countless CDs in a quintet or sextet setting, the May 7, 1956 date is one of only two sessions that Byrd recorded as a leader in a quartet setting. https://www.freshsoundrecords.com/donald-byrd-albums/4340-with-strings.html

Personnel:  Donald Byrd (tp), Julius Baker (fl), Romeo Penque (cl), Clare Fischer (p, arr, cond), Milt Hinton (b), Osie Johnson (d), Harry Lookofsky, Gene Orloff (strings), Ray Santisi (p), Doug Watkins (b), Jimmy Zitano (d)

Donald Byrd With Strings + Byrd Blows On Beacon Hill

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Hilda Kazasian - Jazz & Samba

Styles: Vocal, Latin Jazz
Year: 2005
File: MP3@320K/s
Time: 41:24
Size: 122,6 MB
Art: Front

(3:21)  1. So Danco Samba
(3:39)  2. One Note Samba
(4:51)  3. Wave
(3:45)  4. Girl From Ipanema
(4:23)  5. Dindi
(3:52)  6. Triste
(2:21)  7. Desafinado
(4:02)  8. How Insensitive
(3:57)  9. Waters of March
(4:03) 10. Corcovado
(3:05) 11. Cadabadu

I was born with luck in a family of musicians. It happened in the 1970s on a sunny March day, which makes me an Aries sign. At first I lived on Denkooglu Street, on the navel of Sofia, in a house full of music, guests, and the smell of all the delicious things. My childhood continued on the most romantic street of Sofia - Elin Pelin, in my grandmother's house. The mornings began with a bundle of sun rays, a scent of flowering linden, the sound of guavas and the smell of warm milk with a spoonful of marmalade. Then I sang. The first song I sang in front of a microphone (about 5 years old) was for the " the thorn in the fifth " I still feel sorry for him! My singing was much more fun and enjoyable than the tedious endless hours before the piano. My parents were very listening to music Frank Sinatra, Louis Armstrong, Ela Fitzgerald ... (I learned these names a lot later, of course). And with such music I was put to sleep. And when they did not listen to the music of others they created theirs. 

I started playing the 5-year-old piano. A few years later I continued to study percussion instruments at the Sofia Music School. Then I met Professor Dobri Paliev, from whom I learned a lot about music and life at all. He has become one of the most important people in my life. While studying at the music school, I played in several symphony orchestras. I was a soloist of a youth big band, with whom I had the chance to tour half the world. During my studies at the Music Academy, I specialized in chamber music in Italy. Soon afterwards, I started working with my cousin Hristo Yotsov, who is one of the most talented musicians I know. With him we recorded 6 albums and we continue to work together. http://hildakazasyan.bg/??-???/

Jazz & Samba

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Keely Smith/Louis Prima - Breaking It Up!

Styles: Vocal
Year: 1951
File: MP3@320K/s
Time: 36:57
Size: 85,2 MB
Art: Front

(2:04)  1. Eleanor
(2:27)  2. Shake Hands with Santa Claus
(2:21)  3. Oooh-Dahdily-Dah
(2:28)  4. Basta
(2:40)  5. The Bigger the Figure
(2:44)  6. Boney Bones
(2:45)  7. One Mint Julep
(1:54)  8. Chili Sauce
(2:19)  9. Oh, Marie
(2:44) 10. Luigi
(2:32) 11. Paul Revere
(2:14) 12. It's Good as New (I Painted It Blue)
(2:25) 13. Barnacle Bill the Sailor
(2:33) 14. Shepherd Boy
(2:40) 15. Chop Suey, Chow Mein

In late 1951, Louis Prima was hot on the heels of a comeback success the year before with "Oh Babe!," and a record so big that it spawned numerous cover versions by everyone from Wynonie Harris and Lionel Hampton to Kay Starr and even a Spanish language version by Lalo Guerrero ("Chitas Patas Boogie" on Imperial and used in the movie Zoot Suit with Edward James Olmos). After three follow-ups went nowhere (one of which was the immortal "Zooma Zooma"), Prima came to Columbia Records and was handed over to A&R chief Mitch Miller. And here was part of the problem. Prima's audience liked a cruder Louis and were used to records cut on shoestring budgets with production values that were as raw as the music they framed, while Miller's production was state-of-the-art squeaky-clean. Miller had Prima covering R&B hits of the day ("One Mint Julep") jump blues ("Oooh-Dahdilly-Dah" and one of the few tracks to feature Keely Smith on here), Latin-flavored tunes ("Chili Sauce"), novelty tunes like "Barnacle Bill the Sailor," "Boney Bones," and "It's Good as New (I Painted It Blue)," as well as his patented Italian shuffles like "Eleanor," "Basta," "Luigi," "The Bigger the Figure" and a bombastic version of "Oh Marie" (perhaps the only dud in this entire package), framed in the corniest "Sing Along with Mitch" arrangement imaginable and a million light-years away from his famous Capitol recording of the same tune. This entire set combines all 14 sides of the seven singles issued, plus the addition of "Chop Suey, Chow Mein" along with the original 1958 cover art to Columbia's original issue of this material. Not his best, but an interesting one to add to the collection after you have most of everything else. ~ Cub Koda https://www.allmusic.com/album/breaking-it-up%21-mw0000045185

Breaking It Up!

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Greg Chambers - After Hours

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 25:27
Size: 58,3 MB
Art: Front

(3:36)  1. In The Pocket Feat. Paul Brown
(4:38)  2. After Hours (Feat. Jonathan Fritzen)
(3:31)  3. On The Move
(3:59)  4. Your Place Or Mine?
(2:33)  5. Groovin' High
(3:47)  6. Chelsea's Song (Feat. Paul Brown)
(3:19)  7. Human Nature

With the 2007 CD ‘City Lights’, and his 2011self-titled follow-up, sax-man Greg Chambers has been carving out his own niche in the annals of contemporary jazz.  Of course Chambers is far from being your regulation smooth jazz musician.  With a resume that includes a parallel project with his own jazz quartet plus work with the Aspen Festival Orchestra he remains well equipped to ring the changes.  However, his latest release, the seven-track EP ‘After Hours’ (that will hit the streets on March 26) puts him unequivocally back into smooth jazz territory.  Not only that, with stellar input from Jonathan Fritzen, Paul Brown Darren Rahn, Roberto Vally and Ross Bolton, ‘After Hours’ proves to be something of a musical tour de force. Take for example Chambers’ own composition ‘In The Pocket’ that features both Brown on guitar plus Brown’s old sparring partner Roberto Vally on bass.  It is very much smooth jazz on the mellow side and when Brown stays around to mix the jazz classic ‘Groovin’ High’ it affords Chambers the opportunity to indulge his penchant for a straight ahead groove.  Elsewhere Darren Rahn’s work at the mixing desk makes the most of Greg’s edgy interpretation of the Michael Jackson blockbuster ‘Human Nature’ and he does much the same with one of Chambers’ own tunes, the romantically inclined ‘Your Place Or Mine’, that is right up there with the best that ‘After Hours’ has to offer. Later Brown returns on guitar for another of my personal favorites, the seductively smoky ‘Chelsea’s Song’, and although the splendid ‘On The Move’ glides along with a tasty streetwise swagger, it’s the wonderfully easy grooving title cut that steals the show.  With Fritzen on keys at his hugely immaculate best this one is a gem. http://smoothjazztherapy.typepad.com/my_weblog/2013/02/greg-chambers-after-hours.html

After Hours

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Stefon Harris - African Tarantella

Styles: Vibraphone Jazz
Year: 2006
File: MP3@320K/s
Time: 54:43
Size: 125,6 MB
Art: Front

( 6:03)  1. Thanks for the Beautiful Land on the Delta
( 6:00)  2. Portrait of Wellman Braud
( 3:55)  3. Bourbon Street Jingling Jollies
( 5:46)  4. Sunset and the Mocking Bird
( 4:57)  5. The Single Petal of a Rose
( 6:56)  6. Memoirs of a Frozen Summer
( 9:00)  7. African Tarantella
(10:19)  8. Dancing Enigma
( 1:43)  9. Untitled

Given the number of tribute albums coming out these days, it's refreshing to see an artist reference lesser-known works and take a road less-travelled in terms of approach. Vibraphonist Stefon Harris' African Tarantella enlists a streamlined instrumental configuration to rework excerpts from Duke Ellington's 1970 "The New Orleans Suite" and 1958 "The Queen's Suite," along with parts of his own commissioned "The Garner Meditations." The result is less cerebral than The Grand Unification Theory (Blue Note, 2003), but no less ambitious. The Grand Unification Theory was a sweeping work stylistically an impressive disc that left some listeners in the cold after his more approachable Blue Note releases A Cloud of Red Dust (1998) and BlackActionFigure (1999). For the past couple of years he's toured significantly on the heels of Evolution (2004) with his fusion-centric group Blackout, which has found him just as capable of a visceral groove as headier pursuits. African Tarantella, while unequivocally a mainstream record, is the happy marriage of both, making it his strongest effort to date. 

When you've got the right people, you can do anything. Drummer Terreon Gully and bassist Derrick Hodge Harris' Blackout bandmates have emerged, seemingly out of nowhere, in the past couple of years, to be a highly flexible rhythm team. They're capable of more traditional swing on "Portrait of Wellman Braud," but on "Thanks for the Beautiful Land on the Delta," Gully's light but modernistic backbeat updates Ellington for the new millennium. That's not, however, the only piece that illustrates Ellington's timeless potential. With a nonet featuring piano, trombone, flute, clarinet, viola and cello, Harris contemporizes Ellington harmonically, creating a distinctive textural alternative to Ellington's horn-heavy arrangements. There are enough instruments here to respect the crux of Ellington's work, but it feels lighter and more open-ended. On "The Single Petal of a Rose" Harris is accompanied only by Hodge, and this simultaneous mix of vibes and marimba makes for one of the disc's high points respecting the original, but displaying an even greater sense of calm. Harris' voice is the most dominant on the recording, but there are opportunities for others to shine as well. Greg Tardy's solo on "Thanks for the Beautiful Land on the Delta" positions him as one of the most important clarinettists to emerge since Don Byron. While mostly arranged, Anne Drummond's lush flute dominates Harris' own balladic "Memoirs of a Frozen Summer," while pianist Xavier Davis' solo on the up-tempo but never hurried title track suggests that he is like many of the players in the ensemble a relatively young talent worth watching. The trick to successful homage is reverence that remains personal. Between new arrangements of existing work and his own compositional contributions, Harris has created an album that pays tribute to a clear source of inspiration but also goes to places that Ellington might never have imagined. ~ John Kelman https://www.allaboutjazz.com/african-tarantella-dances-with-duke-stefon-harris-blue-note-records-review-by-john-kelman.php

Personnel: Stefon Harris: vibraphone, marimba; Xavier Davis: piano; Derrick Hodge: bass; Terreon Gully: drums; Anne Drummond: flute; Greg Tardy: clarinet; Steve Turre: trombone; Jonah Chung: viola; Louise Dublin: cello.

African Tarantella

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Don Byas - Billie's Bounce

Bitrate: MP3@320K/s
Time: 95:02
Size: 217.5 MB
Styles: Saxophone jazz
Year: 2016
Art: Front

[ 8:27] 1. Lady Bird
[ 8:53] 2. Yesterdays
[ 9:45] 3. I'll Remember April
[ 8:22] 4. Lover Man
[ 7:22] 5. A Night In Tunisia
[ 5:48] 6. Anthropology
[10:28] 7. A Night In Tunisia (Alternate Take)
[ 7:27] 8. There Will Never Be Another You
[ 6:18] 9. Walkin'
[ 7:13] 10. Billie's Bounce
[ 7:17] 11. Moonlight In Vermont
[ 7:37] 12. Don't Blame Me

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

Billie's Bounce mc
Billie's Bounce zippy

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Otis Redding, Carla Thomas - King & Queen

Bitrate: MP3@320K/s
Time: 32:01
Size: 73.3 MB
Styles: Soul
Year: 1967/2012
Art: Front

[2:49] 1. Knock On Wood
[2:54] 2. Let Me Be Good To You
[2:59] 3. Tramp
[3:13] 4. Tell It Like It Is
[2:46] 5. When Something Is Wrong With My Baby
[2:33] 6. Lovey Dovey
[3:26] 7. New Year's Resolution
[3:04] 8. It Takes Two
[3:08] 9. Are You Lonely For Me Baby
[2:32] 10. Bring It On Home To Me
[2:33] 11. Ooh Carla, Ooh Otis

Otis Redding never recorded a lighter, more purely entertaining record than King & Queen, a collection of duets with Stax labelmate Carla Thomas. In all likelihood inspired by a series of popular duets recorded by Marvin Gaye -- indeed, "It Takes Two," Gaye's sublime collaboration with Kim Weston, is covered here -- the record serves no greater purpose than to allow Redding the chance to run through some of the era's biggest soul hits, including "Knock on Wood," "Tell It Like It Is,"and "When Something Is Wrong with My Baby," and while clearly not a personal triumph on a par with either Otis Blue or The Dictionary of Soul, the set is still hugely successful on its own terms. Redding and Thomas enjoy an undeniable chemistry, and they play off each other wonderfully; while sparks fly furiously throughout King & Queen, the album's highlight is the classic "Tramp," where their battle of the sexes reaches its fever pitch in supremely witty fashion. ~Jason Ankeny

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Allan Vaché - High Speed Swing

Bitrate: MP3@320K/s
Time: 35:07
Size: 80.4 MB
Styles: Swing, Clarinet jazz
Year: 1984/2016
Art: Front

[4:51] 1. Swing '39
[2:01] 2. If I Could Be With You
[4:20] 3. Emily
[3:09] 4. I've Started All Over Again
[2:37] 5. China Boy
[3:54] 6. Secret Love
[5:09] 7. I Don't Stand A Ghost Of A Chance With You
[1:41] 8. Gone With The Wind
[3:13] 9. Moonlight On The Ganges
[4:08] 10. Goodbye

Bass – Jack Wyatt; Clarinet, Leader – Allan Vaché; Drums – Kevin Hess; Guitar – Howard Elkins; Piano – John Sheridan. Recorded February 12, 1984 at Bob Bruce's United Audio Recording, San Antonio Tx.

When Allan Vaché plays swing on his clarinet, the smooth sounds invite comparisons to a young Benny Goodman, which isn't surprising since the King of Swing was one of Vaché's chief influences. Vaché can be downright blistering as well as warm and inviting and his graceful playing makes even complicated pieces seem easy. Critics also compare him to jazz clarinetist Peanuts Hucko.

Vaché evinced an early aptitude for music, which he pursued while at college during the 1970s. He became a student of the Metropolitan Opera Orchestra's David Dworkin. He also studied with traditional jazz clarinetist Kenny Davern. Early on he performed professionally with a number of noted musicians, among them Lionel Hampton, Bobby Hackett, Gene Krupa, Pee Wee Erwin, Clark Terry, Dick Hyman, Dick Wellstood, Max Kaminsky, Bob Wilber, Cliff Leeman, and Wild Bill Davison. He also often played with his brother, flügelhorn and cornet player Warren Vaché Jr.

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Monika Herzig - The Whole World In Her Hands

Bitrate: MP3@320K/s
Time: 58:21
Size: 133.6 MB
Styles: Piano jazz
Year: 2016
Art: Front

[5:04] 1. Plenty Of Nothing
[4:12] 2. Mosquitoes
[3:02] 3. The Cat That Stole The Moon
[5:23] 4. In A Nutshell
[5:47] 5. Song For Argentina
[5:28] 6. Istop
[5:19] 7. Royals
[4:58] 8. Oh Muddy Waters
[4:30] 9. 2-Way Mirror
[5:38] 10. A Total Non-Impossibility
[3:49] 11. Peaceful Piece
[5:05] 12. The Whole World In Her Hands

Jazz pianist Monika Herzig has toured internationally as a bandleader, pianist, author, and jazz advocate. The songs on this album include original compositions by Herzig, as well as arrangements of traditional tunes and current hits. Along with Herzig, an all-star ensemble performs on these works, including Leni Stern, Mayra Casales, Jane Bunnett, Arianna Fanning, Jennifer Vincent, Reut Regev, Jamie Baum, Lakecia Benjamin, and Linda Oh.

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Jorge Estrada - Voices Of The Black Forest

Bitrate: MP3@320K/s
Time: 56:20
Size: 129.0 MB
Styles: Latin jazz
Year: 2006
Art: Front

[6:38] 1. Black Gold
[8:51] 2. Lo Que Dejaste
[7:29] 3. Galadriel (For Bonnie Herman)
[7:24] 4. Voices Of The Black Forest
[4:02] 5. Si Sobrevives
[6:18] 6. Blue House
[9:44] 7. Istanbul Moments
[5:49] 8. Hannah's House

Hi my name is Jorge Estrada. I was born in Guadalajara, Mèxico and I’ve been a musician for 26 years. I studied in the Universidad de Guadalajara’s music school and from the beginning I was attracted mainly to jazz. Since then, I’ve been fortunate to learn and play with many people that have significantly helped me along the way. I also have been to places that not even in my wildest dreams I thought I would ever be. Some of the people I’ve worked with: Kitty Margolis, Joyce Cooling, Ann Dyer, Richard Howell, Steve Baughman, Madeline Eastman, Claudia Gômez, Jimmy Haslip, Sandro Albert, Marco Da Costa, Luis Conte, Sal Cracciolo,Brandon Fields, Jimmy Branly, Dean Taba, Don Shelton from The Singers Unlimited and The Hi-Lo's, Carlos Estrada and Alejandro Fernàndez, with whom I’ve had the pleasure of working and touring with for the last 10 years. Some of the countries I have performed are: USA, Venezuela, Turkey, Spain, Colombia and Brazil among others. I hope you enjoy my music ! ~Jorge.

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Quincy Jones - Mellow Madness

Bitrate: MP3@320K/s
Time: 44:11
Size: 101.2 MB
Styles: Jazz/Funk/Soul
Year: 1975
Art: Front

[3:52] 1. Is It Love That We're Missin'
[2:55] 2. Paranoid
[3:27] 3. Mellow Madness
[6:12] 4. Beautiful Black Girl
[4:16] 5. Listen (What It Is)
[3:28] 6. Just A Little Taste Of Me
[5:25] 7. My Cherie Amour
[3:02] 8. Tryin' To Find Out About You
[4:29] 9. Cry Baby
[7:00] 10. Bluesette

Backing Vocals – Carolyn Willis, Jesse Kirkland, Jim Gilstrap, Joe Greene, Leon Ware, Myrna Matthews, Paulette McWilliams, Quincy Jones, Tom Bahler; Bass – Louis Johnson; Congas, Percussion – Ralph MacDonald; Drums – Harvey Mason; Featuring [Introducing] – Brothers Johnson, Paulette McWilliams; Guitar – George Johnson, Wah Wah Watson, Toots Thielemans; Keyboards – Dave Grusin, Don Grusin, Jerry Peters, Quincy Jones; Saxophone – Ernie Krivda, Jerome Richardson, Sahib Shihab; Trombone – Frank Rosolino, George Bohanon; Trumpet – Bill Lamb, Chuck Findley, Quincy Jones, Tom Bahler. Recorded at The Record Plant, Los Angeles, Westlake Audio, Los Angeles.

Released not long after Quincy Jones was operated upon for life-threatening brain aneurysms, the music community was glad to have this album around (you can almost sense Q's own relief as he holds his forehead on the cover). Basically, though, it continues the polished, percolating soul direction that Q initiated with Body Heat, alienating purists but entertaining R&B audiences that rushed to buy it. The album is given its commercial edge by two new Jones discoveries, George Johnson (guitar, vocals) and Louis Johnson (bass), who would leap to fame the following year on their own as the Brothers Johnson. One attraction for jazz listeners is Toots Thielemans' "Bluesette," in which the Belgian virtuoso does a nice guitar/whistle cameo and Frank Rosolino blows some fine trombone, but the track is not helped by the overdubbed soul voices. ~Richard S. Ginnell

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Johnny Hodges & Wild Bill Davis - Wings And Things

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 35:50
Size: 82,3 MB
Art: Front

(7:16)  1. Wings and Things
(3:16)  2. The Nearness of You
(3:56)  3. Imbo
(3:58)  4. Take The "A" Train
(7:47)  5. Spotted Dog
(2:43)  6. Casanova
(3:24)  7. Dow De Dow Dow Dow
(3:26)  8. Peg O'My Heart

One of the best records to offer the team of alto giant Johnny Hodges and Hammond player Wild Bill Davis not just because there's a great soul food cover on the front, but also because the group features Grant Green on guitar! 

The group plays a number of originals, with a solid soul jazz sound that borders on a Blue Note bag and titles include "Wings & Things", "Dow De Dow Dow Dow", "Casanova", and "Spotted Dog". (MGM pressing. Cover has wear & stains, with a cutout hole.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/11716/Johnny-Hodges-Wild-Bill-Davis:Wings-Things 

Personnel:  Johnny Hodges - alto saxophone;  Wild Bill Davis - organ;  Lawrence Brown - trombone;  Grant Green - guitar;   Hank Jones - piano;  Richard Davis - double bass;  Ben Dixon - drums

Wings And Things

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Greg Chambers - Can't Help Myself

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 43:25
Size: 100,2 MB
Art: Front

(3:54)  1. Can't Help Myself
(4:07)  2. In the Moment (feat. Julian Vaughn)
(4:23)  3. So Into You
(3:42)  4. Off the Cuff (feat. Nils & Nate Harasim)
(4:06)  5. All My Life (feat. Jalen Seawright)
(3:34)  6. Saturday Afternoon (feat. Matt Godina)
(4:44)  7. It's On (feat. Paul Brown)
(3:55)  8. Come a Little Closer
(4:52)  9. Lovely (feat. Kevin)
(3:47) 10. Wait Awhile
(2:16) 11. Dreaming of You

Soulful, fresh, and catchy saxophone-led smooth jazz. Featuring appearances by Paul Brown, Julian Vaughn, Nils, Nate Harasim and others, Can't Help Myself will have you humming along and grooving from start to finish!

Greg Chambers is no longer a newbie, he is a rising star! Contemporary instrumental music (formerly known as smooth jazz) has taken a beating over the last five years. A tightly clustered pack of musicians whose differences are measured by the thickness of a sheet of paper are now being forced to dig just a tad deeper in their harmonic arsenal thanks to stellar talent such as Greg Chambers. An independent artist with some dynamite guest shots from Nate Harasim, Paul Brown and Matt Godina makes a bold statement that sometimes just being yourself is the best artistic statement one could make. Nate Harasim handles the mixing duties while Paul Brown is featured on It's On. While vocals on most releases that walk the smoother side of the jazz street are basically R&B cast offs looking for crossover gold, All My Life and Lovely are solid. Respectively, Jalen Seawright and Kevin Lewis are talent to keep an eye on with both tunes having more than ample opportunity to cross over on a variety of platform play lists. Bassist Julian Vaughn and six string ace Matt Godina add depth and flavor to a release that is a showcase for the exponential growth of Greg Chambers. Far more than pretty melodies, Greg Chambers is a lyrically driven artist that is now separating himself from the pack. A dynamic tone and the ability to compose a tune that has this artist opening for some major league talent, Greg Chambers is the new hot ticket for contemporary instrumental music! There are major label artists not making music this well! ~ Brent Black, Critical Jazz

Saxophonist Greg Chambers has been enjoying what must be a most satisfying high for him as he splits his time between making solid-grooved contemporary jazz music as a solo artist and serving as a private woodwind instructor in the San Francisco Bay area. Having worked with symphonies and orchestras as a classical saxophonist, Chambers seems to keep quite busy. His dedication to the smooth jazz genre is commendable in light of all of his other activities. As evidence of that commitment, he now steps out again with another pleasing project called Can't Help Myself. Remaining true to a cool, fluid style that plays well in the smooth jazz community, the album contains an abundance of tasteful grooves including but not limited to the up-tempo lead and title track, an equally movin and shakin track two entitled In The Moment (an apropos title as I m sure that is exactly where he was as he co-penned this one with multi-instrumentalist Matt Godina), the smooth and steady dancer So Into You, a laid-back and sexy It s On, an effective and soulful cover of K-Ci & JoJo s All My Life, and a cozy soprano sax presence found on the mid-tempo Saturday Afternoon. The saxman is joined here by some well-known and admired artists in the biz, namely guitarist/producer Paul Brown (who will be releasing his own impressive project shortly), the personable and talented keyboardist/producer Nate Harasim, funky guitarist Nils, and the always-on bassist Julian Vaughn. In addition to the beckon of Chambers' sax, I must say that the backing keys/piano, guitar, and strings work on several of the slower, romantic tracks (e.g., Come a Little Closer, Lovely, and the riveting finale sans drums or percussion, Dreaming of You) are simply more than worthy of a listen. Add to that the wonderful vocals found on the previously mentioned Lovely and provided by Kevin Lewis, and you've got a project that carries a lot of the confident stride of a well-produced effort. In a nutshell, Chambers, having established that he has a firm handle on the nuances, flavors, and soul of this music, has again accomplished his goal to satisfy. ~ Ronald Jackson, Smooth Jazz Ride

Smooth Jazz Therapy has been following the fortunes of sax-man Greg Chambers since 2007 and the release of his debut recording City Lights . At the time I described it as an album different enough to get him noticed and then delighted in watching his musical progression as, first with his 2011 self-titled follow up and again with the seven-track 2013 EP After Hours, he proceeded to carve out his own musical identity. Now this progression continues with the sparkling Can't Help Myself . Not only is it his most commercial to date but is also a wonderful showcase for his combined talents as songwriter, producer and performer. No doubt about it, Can't Help Myself is the real smooth jazz deal and, with input from the likes of Paul Brown, Nate Harasim, Nils and Julian Vaughn, is a timely reminder of how good contemporary jazz can be when done this well. Talking of doing things well, the CD opens with the fabulously zesty title cut that benefits from input from co-writer Harasim on keys. He stays around to lend a hand with the mid-tempo Off The Cuff that includes a nice interjection of guitar from Nils and is another of three songs he co-writes with Chambers. In fact Chambers writes or co-writes nine of the eleven choice tunes, five of them with guitarist and keyboard player Matt Godina. On this showing Chambers and Godina are establishing themselves as one of the genre s most formidable song writing partnerships and a case in point is the languid It's On for which Paul Brown guests on guitar. Just as good is the infectiously up-tempo In The Moment (featuring bass guitar from rising star Julian Vaughn) while another Chambers-Godina number is the immensely feel-good So Into You that is arguably amongst the best that Can't Help Myself has to offer. That said, they prove themselves to be equally adept when easing things down and they do just that, first with the super sultry Come A Little Closer and again for the similarly disposed Wait Awhile that just tips the scales as Smooth Jazz Therapy top track. Elsewhere Godina takes the lead on guitar for the relaxed groove of Saturday Afternoon and although Chambers closes out the collection with the romantically inclined Dreaming Of You he slips effortlessly into urban jazz territory for a sensational take on the Boyz II Men smash Lovely where vocals from Kevin Lewis really hit the spot and bass from the always excellent Roberto Vally provides the perfect anchor. 

The album s other cover is All My Life that was a hit for R & B duo K-Ci & JoJo but which here is given a lighter, more angelic touch courtesy of vocals of Jalen Seawright. It is a brilliant example of the light and shade that Chambers has crammed into Can't Help Myself and another reason, among many, why you should make it part of your collection. ~ Denis Poole, Smooth Jazz Therapy https://www.amazon.com/Cant-Help-Myself-Greg-Chambers/dp/B00LOZCWIS

Can't Help Myself

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Ralph Macdonald - The Path

Styles: Jazz Funk
Year: 1978
File: MP3@320K/s
Time: 35:24
Size: 81,5 MB
Art: Front

(5:44)  1. The Path (Part One)
(5:06)  2. The Path (Part Two)
(6:19)  3. The Path (Part Three)
(5:20)  4. Smoke Rings And Wine
(4:43)  5. I Cross My Heart
(4:35)  6. It Feels So Good
(3:34)  7. If Im Still Around Tomorrow

With an all-star cast that rivals if not surpasses his Sound of a Drum solo debut, Ralph MacDonald's sophomore effort, The Path, remains his most ambitious and successful solo record. The 18-minute title cut is a mind-boggling journey charting the progression of African-American music from its roots in tribal drumming through evolutions from blues to jazz to funk aided by drummers Idris Muhammad, Steve Gadd, and Rick Marotta as well as soloists including Michael Brecker, David Sanborn, and Bob James, MacDonald creates a virtual primer in percussion, navigating the twists and turns of his musical narrative with stunning precision. 

The record's second half can't help but suffer by comparison, although even the slightest material retains MacDonald's flair for deeply funky rhythms.~ Jason Ankeny https://www.allmusic.com/album/the-path-mw0000857331

Personnel:   Congas, Percussion – Ralph MacDonald;  Bass – Chuck Rainey, Will Lee, William Salter;  Clavinet – Arthur Jenkins, Jr.;  Drums – Charles Collins, Rick Marotta, Steve Gadd;  Guitar – Eric Gale, Hugh McCracken;  Guitar – Eric Gale, Hugh McCracken;    Strings – Al Brown, Gene Orloff, Guy Lumia, Harold Kohon, Jesse Levy, Joe Malin, Julien Barber, Kermit Moore, Matthew Raimondi, Mitsue Takayama, Paul Gershman, Sanford Allen, Selwart Clarke

The Path

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