Saturday, July 14, 2018

Eddie 'Lockjaw' Davis - Jaws Strikes Again

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 63:53
Size: 147,5 MB
Art: Front

(5:38)  1. Don't Worry About Me
(5:17)  2. The Man I Love
(8:45)  3. Light And Lovely
(4:30)  4. Stompin' At The Savoy
(4:09)  5. When Sunny Gets Blue
(3:26)  6. Blue And Sentimental
(6:09)  7. Jumpin' With Symphony Sid
(5:31)  8. When Your Lover Has Gone
(7:00)  9. Pennies From Heaven
(6:03) 10. After You've Gone
(7:20) 11. Candy

Possessor of a cutting and immediately identifiable tough tenor tone, Eddie "Lockjaw" Davis could hold his own in a saxophone battle with anyone. Early on, he picked up experience playing with the bands of Cootie Williams (1942-1944), Lucky Millinder, Andy Kirk (1945-1946), and Louis Armstrong. He began heading his own groups from 1946 and Davis' earliest recordings as a leader tended to be explosive R&B affairs with plenty of screaming from his horn; he matched wits successfully with Fats Navarro on one session. Davis was with Count Basie's Orchestra on several occasional (including 1952-1953, 1957, and 1964-1973) and teamed up with Shirley Scott's trio during 1955-1960. During 1960-1962, he collaborated in some exciting performances and recordings with Johnny Griffin, a fellow tenor who was just as combative as Davis. After temporarily retiring to become a booking agent (1963-1964), Davis rejoined Basie. In his later years, Lockjaw often recorded with Harry "Sweets" Edison and he remained a busy soloist up until his death. Through the decades, he recorded as a leader for many labels, including Savoy, Apollo, Roost, King, Roulette, Prestige/Jazzland/Moodsville, RCA, Storyville, MPS, Black & Blue, Spotlite, SteepleChase, Pablo, Muse, and Enja. ~ Scott Yanow https://www.allmusic.com/artist/eddie-lockjaw-davis-mn0000166025/biography

Personnel:  Eddie "Lockjaw" Davis – tenor saxophone;  Wild Bill Davis – organ;  Billy Butler – guitar;  Oliver Jackson – drums

Jaws Strikes Again

Adrian Cunningham - Unspoken

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 55:32
Size: 129,0 MB
Art: Front

(5:59)  1. The Preacher
(8:34)  2. Zambezi
(7:04)  3. Unspoken
(6:57)  4. Triste
(7:53)  5. Blue Skies
(7:28)  6. Soul Food
(3:15)  7. White Diamond
(8:22)  8. There Is No Greater Love

Adrian Cunningham has already established himself as one of this Australia's finest jazz musicians and multi-instrumentalists, with countless club and festival appearances plus a number of highly acclaimed albums. Having been been based in NYC since 2008, Adrian has been playing regularly in the Big Apple, throughout USA and Europe. In 3 short years he has appeared some of NYC's finest clubs- Smalls, Birdland, 55 Bar, Fat Cat, the Apollo Theater, Dizzy's (Lincoln Centre) and even a private event at the hallowed Village Vanguard; with such luminaries as Lew Soloff, Wycliffe Gordon, George Coleman Jr and Bucky Pizzarelli.
 
Unspoken is the first album by this unique and talented artist and is already receiving critical acclaim from industry reviewers and musicians alike. Since the age of sixteen Adrian has been performing professionally on clarinet, saxophones, flute and piano, and has been a featured soloist for such notable artists as James Morrison, Don Burrows, Monica Trapaga, Emma Pask, Galapagos Duck and John Morrison's Swing City. Adrian has performed in New York, Japan, Indonesia, Africa and has studied extensively with internationally renowned clarinetist & recording artist Eddie Daniels. "Unspoken was inspired by those powerful moments in life that are beyond words, moments of intense happiness or tragedy. Communications beyond words; unspoken. Enjoy!" ~  Adrian Cunningham

"Through his beautifully played clarinet and tenor, Adrian tells us exactly what he has to say; and it's certainly worth hearing, believe me!" ~ Don Burrows AO MBE

"This new and emerging young jazz artist has a refreshing sound and style all his own beautiful" ~ James Morrison AM

Walkabout from internationally acclaimed jazz composer and musician Adrian Cunningham is a wonderfully executed collection of twelve original, self composed tracks. Adrian brings to the table a smooth, playful and notably cohesive sound, with each track drawing inspiration from his travels and time spent in New York.

Personnel:  Adrian Cunningham - alto & tenor saxophones, clarinet, Bill Risby - piano, Craig Scott - bass, Gordon Rytmeitster - drums

Unspoken

Danny Adler - Coffee Day In Night Town

Styles: Guitar Jazz
Year: 2007
File: MP3@320K/s
Time: 43:45
Size: 102,5 MB
Art: Front

(3:28)  1. Crazy 'Bout Oklahoma
(5:22)  2. The Wayward Wind
(2:31)  3. Hoodoo Man Blues
(2:36)  4. Rocks In My Pillow
(3:14)  5. Volare
(3:31)  6. Kiss It Goodbye
(3:04)  7. Oden Boogie
(3:23)  8. Sunnyland
(2:59)  9. Laura
(3:02) 10. Don't Let Your Deal Go Down
(3:37) 11. Born On A Train
(3:07) 12. Christmas Dogs (Solo Version)
(3:49) 13. Moon Nocturne

Encouraged by the renewed interest in his LP catalogue, courtesy of iTunes, Danny began writing more new original songs, touring and gigging more frequently. This LP from 2007 reflects an evolution of his expressive style and also a sense of continuity with his original Roogalator concept in forward development. Also included are several songs recorded live at the venerable folk institution Club 47 (Passim) in Cambridge MA during September 2006. Danny plays Hoodoo Man Blues, a Sonny Boy Williamson (The 1st) Blues tune to help celebrate witnessing the great Chicago Bluesman, Junior Wells jam this very same song at Club 47. Junior was accompanied by The Aces (Freddy Bellow and the Myers Brothers, Little Walter’s former backup band) in September 1966, almost 40 years to the day before Danny’s recording. https://dannyadler.bandcamp.com/album/coffee-day-in-night-town

Coffee Day In Night Town

John Tropea - Short Trip to Space

Styles: Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 36:27
Size: 85,4 MB
Art: Front

(3:12)  1. The Funk You See, Is the Funk You Do!
(4:15)  2. Can't Hide Love
(3:43)  3. Southside
(5:18)  4. You Can't Have It All
(7:14)  5. Short Trip to Space
(6:16)  6. Blue Too
(2:06)  7. Love's Final Moment
(4:20)  8. Twist of the Wrist

John Tropea is one of the most admired and highly regarded guitar players of his generation. His playing shows a vast knowledge and respect for the tradition of the instrument as well as an original style that continues to define how the guitar best serves a wide variety of musical styles. He is a musician’s musician who attracts the finest players for his own projects. Tropea has written for and played with major recording artists from around the world. In his long career, his contributions to other artist’s successes have been numerous, including his solo work with Deodato, (2001 theme), projects with Laura Nyro, Harry Chapin (Cat’s in the Cradle), Paul Simon (Fifty Ways), Alice Cooper (Goes to Hell), Eric Clapton (Journey Man), Dr. John, and many others. He is also a composer, arranger, and producer whose vital work is ably demonstrated by his personal projects. Tropea has a deserved worldwide reputation as an artist of quality among both audiences and other musicians. Tropea began guitar studies at the age of 12. His musical education continued at Berklee School of Music in Boston, where he studied jazz guitar, harmony, composition, and big band arranging. Immediately after arriving in Boston, Tropea began playing live R & B and jazz gigs with many different bands in the area, including The Three Degrees. Influenced by Wes Montgomery, Johnny Smith, Louis Bonfa, Pat Martino, and George Benson, it was at this time that Tropea began to absorb those influences into an original style of his own. Also among his mentors at the time were the great B3 organ players Jack McDuff and Jimmy Smith. After Berklee, Tropea recorded and toured with Deodato. Moving to New York in 1967, Tropea quickly became one of the most sought after session players. He soon became a peer among New York’s finest studio musicians. As well as world touring, Tropea wrote and produced three critically acclaimed solo albums with TK records. His first solo album “Tropea,” was released in 1975, followed by “Short Trip to Space,” and “To Touch You Again.” With those early recordings and other projects, Tropea formed close musical alliances with other great New York musicians including: David Spinozza, Warren Bernhardt, David Sanborn, Randy and Michael Brecker, Steve Gadd, Anthony Jackson, Don Grolnick, and Richard Tee (Tropea played in The Richard Tee band).

During this time Tropea also wrote and arranged music for film and broadcast advertising. With his frequent co-producer and friend Will Lee, Tropea went on to release “Simple Way to say ‘I Love You,’ and “Something Old, New, Borrowed and Blues” Live gigs from that era by The Tropea Band at Mikell’s, in New York City, remain legendary. Along with his own projects, Tropea currently plays with the Original Blues Brothers Band. Recently, Tropea has formed an astonishing band that not only gives voice to his “standard influences” but also defines him as a player, composer, and arranger of consummate musicianship and exciting presence. “When I was in college at Berklee School of Music, I was introduced to the Hammond B3 Bands and it was a heavy influence in my development. At this time in my life now, it is my passion to continue to play with this format.” Tropea’s band plays live regularly these days and has produced two CDs, “Standard Influence,” and “Standard Influence II/Rock Candy,” both “must haves” in any CD collection. Made up of world-class players, this is no pick up band; this is a REAL band that plays with the refined sense of ensemble one finds in the finest string quartet or chamber music group. Made up of: Ronnie Cuber, baritone sax, Clint de Ganon, drums, or Steve Gadd, drums, Anthony Jackson, electric bass, Dave Mann, tenor sax, Lou Marini, tenor sax, and Chris Palmaro, Hammond B3; everyone in this band is a virtuoso, yet no one ever over-plays.

While the band has a refined sense of time and a compelling groove that makes it impossible to sit still while listening, the arrangements have, at the same time, a transparency that allows the listener in, where all the intricacies become apparent. The sound is always balanced. You hear what everyone is playing. The musicians in this band know how to use space in their playing. And while all the solo playing is creative, musical, and virtuosic, it is the rhythmic component, the sense of accent, the power of the ensemble playing that drives this group to astonishing heights of excitement. The comping, the back up playing, is as vital, as intricate, as interesting as the solo playing integrated with it. Here is a refined group of musicians whose playing complements one another, whose aim is the sound, the quality of the band as a whole. They achieve this goal to the highest degree.  The band plays jazz, R&B, and Funk standards, along with original compositions. But each tune is made up of an original, tightly constructed, and sophisticated arrangement. This quality is a delight for the listener and makes an audience eagerly look forward to the next tune and what wonderful surprises that next tune will bring. Don’t look for long solos, endless choruses from this band. That is not what they are about. There is no dross here. While the band demonstrates complete understanding and mastery of a variety of musical styles, they play entirely without cliché. And this band knows how to program a set. Offering a wide dynamic balance, The Tropea Band plays with a savvy and wit that is appreciated by its audiences. Continually bringing new elements and surprises with each new tune, they know how to drive a set to an unbelievably energetic and satisfying conclusion. With the respect he has gained from some of the finest musicians playing today, Tropea has been able to put together a group that shares his vision, that continues to re-define venerable traditions, and that makes music together that is of lasting beauty and significance. Tropea has once again gotten back to his live audience, as well as those who follow his recordings, and with this band, he has found his apotheosis. https://store.cdbaby.com/cd/johntropea5

Personnel:  Guitar – David Spinozza , John Tropea;  Bass – Richard Davis, Will Lee ;  Drums – Rick Marotta, Steve Gadd ;  Keyboards – Don Grolnick;  Organ – Leon Pendarvis;  Percussion – Ralph MacDonald, Rubens Bassini;  Producer – John Tropea;  Reeds – George Young , Lew Delgatto, Lou Marini, Michael Brecker;  Trombone – Dave Taylor, Sam Burtis;  Trumpet – Alan Rubin, Jon Faddis, Randy Brecker;  Tuba – Tony Price ;  Vibraphone – Mike Mainieri

Short Trip to Space

Allegra Levy - Looking At The Moon

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 57:58
Size: 133,4 MB
Art: Front

(5:16)  1. Moon River
(4:09)  2. I Got the Sun in the Morning
(7:34)  3. Harvest Moon
(3:58)  4. Blue Moon
(4:15)  5. Moon Ray
(4:28)  6. Moonlight in Vermont
(4:20)  7. Moonshadow
(4:07)  8. Moonglow
(5:08)  9. Polkadots and Moonbeams
(3:59) 10. No Moon at All
(3:09) 11. It's Only a Paper Moon
(3:47) 12. Pink Moon
(3:43) 13. I'll Be Seeing You

The polar opposite of an ingénue, vocalist Allegra Levy drew more than one ace from the deck on her Steeplechase debut. Both tenorist Stephen Riley and cornetist Kirk Knuffke graced her ensemble for that date and an eclectic folio of songs supplied welcome fodder for everyone’s talents and interpretation. Looking at the Moon scales back and dials in focus both in terms of content and crew. Pianist Carmen Staaf, guitarist Alex Goodman and bassist Tim Norton converge as a rhythm section that’s both responsive to and anticipatory of Levy’s needs as songstress and the warm studio sound enriches a program with a very distinct thematic focus. Johnny Mercer’s “Moon River” is the first of thirteen tunes that relish in an abiding lunar leitmotif. Levy initiates the piece with wordless vocalese followed by a thrumming bass line and chiming accents from Goodman’s high-tuned strings. It’s a clever arrangement coupled to a cleanly-realized conceit and the first of what admirably amounts to a collection of many. 

Relaxed in phrasing and pacing , her voice caresses the lyrics without coddling them and the rendition of the antediluvian ballad takes on the resonance of a lullaby without attendant soporific side-effects. Levy’s attentions aren’t constrained to the dust-dappled pages of the Great American Songbook either as she draws cogently on other genres in observance of the truism that worthy songs exist when and where one finds them. “Harvest Moon” earns the longest interpretation of the set and the braid between Staaf and Goodman is especially incandescent with Norton holding down a buoyant bottom. Levy nearly oversteps in her quiet ornamentations in places, but the foursome pulls it off with plenty of room accorded for Norton to indulge in a calm, callus-kissing solo on his strings.  “Moonshadow” and “Pink Moon” are the other non-jazz entries and Levy has her harmonious way with each, rendering the first in a guise almost unrecognizable to the Cat Stevens original and bearing more resemblance to something Betty Carter might come up with in its measured radicalism. Nick Drake gets a similar revisionist salute as the penultimate piece of the set. 

Norton is once again instrumental (pun-intended) in framing the trajectory, shadowing Levy’s staggered sing-song locution with bulbous punctuations. Staff and Goodman are back for the serene closer “I’ll Be Seeing You,” itself an affable promise that Levy no doubt intends to make good on. ~ Derek Taylor http://dustedmagazine.tumblr.com/post/175746192550/allegra-levy-looking-at-the-moon-steeplechase

Looking At The Moon

Friday, July 13, 2018

Tiny Grimes - Food For Thought

Bitrate: MP3@320K/s
Time: 65:53
Size: 150.8 MB
Styles: Soul-jazz
Year: 1970/2004
Art: Front

[ 8:41] 1. Morgantini With Mime No. 1
[ 9:33] 2. Morgantini With Mime No. 3
[ 3:32] 3. Food For Thought
[10:13] 4. Connie Hayes Groovy Eyes
[ 8:17] 5. Young Blood's Blues
[ 4:49] 6. Everyday I Have The Blues
[ 6:06] 7. Some Groovy Fours
[ 3:24] 8. Sid's West End Blues
[ 3:50] 9. Lill Darlin'
[ 4:05] 10. Swinging Mama
[ 3:19] 11. Sid's West End Blues (Take 3)

Bass – Hayes Alvis; Drums – Paul Gunther; Guitar – Tiny Grimes; Organ – François Biensan; Piano – Jay McShann; Tenor Saxophone – Georges Kelly.

This CD was recorded during two sessions led by Tiny Grimes in Bordeaux in 1970, Barcelona in 1970 and in Paris in 1974 with the valuable collaboration of pianist Jay McShann, tenor sax player George Kelly and drummer Panama Francis. Digitally remastered.

Food For Thought mc
Food For Thought zippy

Karin Krog, Per Borthen Swing Department - Swingin' Arrival

Bitrate: MP3@320K/s
Time: 39:05
Size: 89.5 MB
Styles: Swing
Year: 1980
Art: Front

[4:21] 1. Sailboat In The Moonlight
[2:45] 2. Did You Mean It
[3:44] 3. When A Woman Loves A Man
[4:09] 4. Wop
[4:18] 5. The Moon Looks Down And Laugh
[4:06] 6. When Day Is Done
[3:07] 7. Say It With A Kiss
[4:23] 8. I Can't Believe That You're In Love With Me
[3:32] 9. What Shall I Say
[4:35] 10. Moten Swing

Alto Saxophone – Kristian Bergheim; Bass – Bjørn Pedersen; Drums – Arvid Bjerke[ Guitar – Finn Westbye; Tenor Saxophone – Totti Bergh; Trombone – Aage Teigen; Trumpet – Per Borthen; Vocals – Karin Krog.

Karin Krog (born May 15, 1937 in Oslo) is a Norwegian jazz singer. She is considered one of Norway's premier jazz singers and enjoys great international recognition. She is the granddaughter of musician/composer Anders Heyerdahl. Karin Krog's career began at jam sessions at Penguin Club in Oslo under contract as a singer in Kjell Karlsen's sixth (1955). In the following period she became known throughout the radio, and when the first jazz festival in Molde was held, she also sang there with Kjell Karlsen's quartet. In 1962 she started her first own band, but also collaborated with Frode Thingnæs and Egil Kapstad. In 1964 she released her first solo album, By Myself. In 1965 she joined the Norwegian Jazz Forum and became leader of this. In 1969, she began studying song at Ivo Knecevic. In the following years, she has collaborated with a host of well-known national and international musicians, such as Jon Christensen, Niels-Henning Ørsted Pedersen, Kenny Drew, Don Ellis, Archie Shepp, John Surman, Red Mitchell, Bengt Hallberg and others.

Per Borthen (born July 12, 1940) is a Norwegian jazz musician (trumpet) and band leader. His own "Per Borthen Swing Department Ltd." was established in 1966. They performed with Swingin 'Arrival (Talent Studios, 1980), participated in Jazz in Norway 1960-1970 (Herman Records) and Swingin' (Evigo, 2001) with vocalist contributions from Karin Krog and Laila Dalseth (as a time-song with the group).

Swingin' Arrival

Tommy Banks, Big Miller - Legacy

Bitrate: MP3@320K/s
Time: 36:56
Size: 84.5 MB
Styles: Contemporary jazz
Year: 2017
Art: Front

[2:35] 1. Hey There
[3:30] 2. When Sunny Gets Blue
[4:30] 3. Bye Bye Blackbird
[5:35] 4. Without A Song
[5:21] 5. If I Ruled The World
[4:06] 6. But Beautiful
[2:36] 7. All Of Me
[5:17] 8. Since I Fell For You
[3:21] 9. We'll Be Together Again

The story starts in 1922 when Miller was born in Sioux City, Iowa. In 1949 he began singing with Lionel Hampton out of Kansas City and then moved to Jay McShann’s band. The same band Charlie Parker started in. Miller was big, almost 6’ 4”, and made his reputation as a Kansas City shouter. You had to be commanding to appear in front of the territory bands or you would get blown off the stage. He worked with Fletcher Henderson, Count Basie, Duke Ellington and many other well-known bands.

In 1967 he got stranded in Canada when he was appearing as part of Jon Hendricks’ review – The Evolution of the Blues – and they went broke. He started taking one off gigs to raise the money to go back to the US but after visiting Edmonton and appearing with Banks on several occasions he was persuaded to stay. High praise for Banks and great news for Alberta.

This CD is a duet recording with Miller on vocals and Banks on piano. It was recorded in an afternoon in August 1989 and is a program of nine jazz standards, originally intended as a demo for a band recording that was never realized. It is a warm intimate session that could only have been produced by two old friends and consummate professionals who could hear each other breathe. ~R. Doull

Legacy mc
Legacy zippy

George Robert - Featuring Mr. Clark Terry Live

Bitrate: MP3@320K/s
Time: 74:59
Size: 171.7 MB
Styles: Saxophone jazz
Year: 1994
Art: Front

[12:28] 1. The Snapper
[ 7:10] 2. Michelle
[10:25] 3. Samba De Gumz
[12:36] 4. On Green Dophin Street
[11:37] 5. Simple Waltz
[ 7:39] 6. Joan
[13:02] 7. Mumbles

Alto Saxophone – George Robert; Bass – Isla Eckinger; Drum – Peter Schmidlin; Flugelhorn – Clark Terry; Piano – Dado Moroni. Live at Jazzclub Q-4 Rheinfelden, Dec 8, 1990.

Born on September 15, 1960 in Chambésy (Geneva), Switzerland, George Robert is internationally recognized as one of the leading alto saxophonists in jazz today. His discography includes more than 50 albums, among others with Kenny Barron (7), Clark Terry (5), Tom Harrell (5), Phil Woods (4), Ray Brown, Jeff Hamilton, Ivan Lins, Ray Drummond, Rufus Reid, Billy Hart, the Metropole Orchestra and many others.

In 2008 he was named Officer in the Order of Arts and Letters of the French Republic. He has been touring throughout the world since 1984 and is the author of « The Music of George Robert » (Advance Music). He is an international Yamaha recording & performing artist and is also endorsed by D’Addario/Rico reeds.

Featuring Mr. Clark Terry Live mc
Featuring Mr. Clark Terry Live zippy

Murray Anderson, Lance Field, Murray Stewart - Cape Town Today

Bitrate: MP3@320K/s
Time: 38:30
Size: 88.1 MB
Year: 2004
Art: Front

[2:31] 1. Muizenberg Dollar
[1:56] 2. Dawn On Signal Hill
[2:03] 3. District Twelve
[2:36] 4. Adderley Street
[1:55] 5. Young Boys
[2:05] 6. All Alone
[2:07] 7. Come Walk With Us
[2:00] 8. Hola Magents
[2:17] 9. Suikerbossie
[2:44] 10. Warmpampoensetees
[2:43] 11. Karringmelkwals
[2:59] 12. Al Le Die Berge Nog So Blou
[2:14] 13. Malmesbury In Die Swartland
[2:10] 14. Daar Kom Die Alabama
[2:35] 15. Huis Toe
[1:40] 16. January, February, March
[1:44] 17. Vat Jou Goed En Trek

Cape Town Today mc
Cape Town Today zippy

Jon Hendricks - Evolution Of The Blues Song

Bitrate: MP3@320K/s
Time: 46:31
Size: 106.5 MB
Styles: Vocal jazz
Year: 1960/2018
Art: Front

[3:14] 1. Jon Hendricks - Introduction
[1:10] 2. Jon Hendricks & Chorus - Amo
[2:29] 3. Jon Hendricks - Some Stopped On De Way
[5:23] 4. Hannah Dean & Chorus - Swing Low, Sweet Chariot
[3:40] 5. Pony Poindexter - New Orleans
[4:33] 6. Big Miller - If I Had My Share
[3:21] 7. Jimmy Witherspoon - Please Send Me Someone To Love
[2:24] 8. Big Miller - Sufferin' Blues
[2:26] 9. Hannah Dean & Chorus - That's Enough
[1:49] 10. Jon Hendricks & Chorus - Aw, Gal
[3:51] 11. Jimmy Witherspoon - See See Rider
[2:47] 12. Jon Hendricks - Jumpin' With Symphony Sid
[2:08] 13. Jimmy Witherspoon - Sun Gonna Shine In My Door
[2:44] 14. Jon Hendricks - W.P.A. Blues
[4:26] 15. Big Miller & Chorus - Sometimes I Feel Like A Motherless Child

Of the many projects Hendricks has been involved in, this is his crowning glory. It toured the country as a stage production, depicting the history of African-American roots music, from spirituals and field hollers to blues, gospel, and jazz. Hendricks recites signposts of the musical progression in rhyme, and singing here and there. Pony Poindexter plays a little tenor sax and talks about New Orleans, while Ike Isaacs' trio backs the singers. An intro by Hendricks postulates that adults "have their minds made up, don't confuse 'em with facts" and refers to musicians as "metaphysicians." This is one of several pieces where the chorus hums while Hendricks tells his tale. African drums, serving as a call-and-response device, inform "Amo." A slave story told in a Harry Belafonte style by Hendricks accents "Some Stopped on De Way," while a spiritual rap precedes "Swing Low Sweet Chariot." Big Miller digs into a personalized gospel blues, "If I Had My Share," and Witherspoon belts "Please Send Me Someone to Love" like only he can. A highlight is Miller's "Sufferin' Blues," followed by Hendricks' field holler "Aw, Gal" and Witherspoon's groovin' "C.C. (Circuit) Rider." Poindexter returns on "Jumpin' With Symphony Sid," which includes references to jazz and Lester Young. The program ends with Witherspoon's brilliant rendition of Big Bill Broonzy's "Sun Gonna Shine," Hendricks' downtrodden take on "W.P.A. Blues," and Big Miller's turn on "Motherless Child." If you'd like to get your children -- or uninformed grown-ups -- a quick, painless, enjoyable lesson in the last 100+ years of our American classical heritage, this is a perfect primer. ~Michael G. Nastos

Evolution Of The Blues Song mc
Evolution Of The Blues Song zippy

Jonah Jones Quartet - Swingin' At the Cinema

Styles: Trumpet Jazz, Swing
Year: 1958
File: MP3@320K/s
Time: 26:38
Size: 61,8 MB
Art: Front

(2:30)  1. True Love
(2:32)  2. Tammy
(1:56)  3. Gal In Calico
(2:23)  4. Around The World
(2:14)  5. Love Is A Many Splendoured Thing
(1:54)  6. Colonel Bogey March
(1:51)  7. An Affair To Remember
(2:12)  8. Secret Love
(2:11)  9. Three Coins In The Fountain
(1:56) 10. Fascination
(2:46) 11. All The Way
(2:09) 12. Lullaby Of Broadway

One in a lengthy series of Capitol albums by trumpeter/vocalist Jonah Jones and his quartet (there were five in 1958 alone), this set finds Jones looking for gold by performing a dozen numbers that originally debuted in Hollywood movies. There were no hits this time around, but the LP sold fairly well. Jones, joined by pianist George Rhodes, bassist John Brown and drummer Harold Austin, uplifts such tunes as "True Love," "Colonel Bogey March," "Three Coins In the Fountain" and "Lullaby of Broadway."~ Scott Yanow https://www.allmusic.com/album/swingin-at-the-cinema-mw0000877882

Swingin' At the Cinema

Ruth Price - The Party's Over

Styles: Vocal
Year: 1957
File: MP3@320K/s
Time: 32:57
Size: 76,0 MB
Art: Front

(2:06)  1. By Myself
(2:49)  2. Street Of Dreams
(3:05)  3. If I Love Again
(2:42)  4. The Masquerade Is Over
(3:06)  5. I Had The Craziest Dream
(2:39)  6. Bye And Bye
(2:22)  7. You Stepped Out Of A Dream
(2:33)  8. Take My Love
(3:59)  9. I'm The Girl
(2:10) 10. Something To Remember You By
(2:32) 11. The Party's Over
(2:48) 12. I Guess I'll Have To Dream The Rest

The aptly titled The Party's Over documents that moment in time when the conversation ends, the liquor runs dry, and the guests have all gone home. A contemplative, beautifully melancholy record, it captures a side of Ruth Price largely absent from her other LPs, paring her music to the essence of its being. Price favors a slightly breathy vocal approach that eloquently underscores the deeply personal intensity of songs like "By Myself," "If I Love Again," and "I Guess I'll Have to Dream the Rest." Norman Paris' small-combo arrangements are no less thoughtful: while the jazzy, piano-trio settings strip away unnecessary augmentation, the music is far from black-and-white splashes of instrumental color buoy Price's vocals at all the right moments.~ Jason Ankeny https://www.allmusic.com/album/the-partys-over-mw0000905473

The Party's Over

Ellis Marsalis - An Evening with the Ellis Mars

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 76:33
Size: 175,5 MB
Art: Front

( 8:17)  1. Bloomdido
( 4:27)  2. After
(12:38)  3. Sweet Georgia Brown
( 6:37)  4. Doctone
( 6:23)  5. Infant Eyes
( 5:50)  6. If I Were a Bell
( 9:50)  7. Delilah
(12:59)  8. Softly as in a Morning Sunrise
( 3:28)  9. Friendships
( 5:59) 10. Free Form Blues

It is a bit ironic that Ellis Marsalis had to wait for sons Wynton and Branford to get famous before he was able to record on a regular basis, but Ellis finally received his long-overdue recognition. The father of six sons (including Wynton, Branford, Delfeayo, and Jason), Ellis Marsalis' main importance to jazz may very well be as a jazz educator; his former pupils (in addition to his sons) include Terence Blanchard, Donald Harrison, Harry Connick, Jr., Nicholas Payton, and Kent and Marlon Jordan, among others. Born in New Orleans in 1934, he started out as a tenor saxophonist, switching to piano while in high school. Marsalis was one of the few New Orleans musicians of the era who did not specialize in Dixieland or rhythm & blues. He played with fellow modernists (including Ed Blackwell) in the late '50s with AFO, recorded with Cannonball and Nat Adderley in the 1960s, played with Al Hirt (1967-1970), and was busy as a teacher. Marsalis freelanced in New Orleans during the 1970s and taught at the New Orleans Center for Creative Arts. He recorded with Wynton and Branford on Father and Sons in 1982, an album that they shared with Chico and Von Freeman. After that, Marsalis recorded for ELM, Spindletop (a duet session with Eddie Harris), Rounder, Blue Note, and Columbia, issuing Twelve's It on the latter in 1998. Duke in Blue followed a year later. 

Since that time, Marsalis has kept busy releasing 2000's Afternoon Session, 2005's Ruminations in New York, and 2008's An Open Letter to Thelonious. In 2011, he offered his second holiday-themed effort, New Orleans Christmas Carol. He then joined son Branford and pianist Makoto Ozone for 2012's Pure Pleasure for the Piano. The following year, he offered the urbane solo piano recording On the First Occasion. In 2014, he guested on son Delfeayo's The Last Southern Gentlemen and then joined trumpeter Scotty Barnhart and the legacy Count Basie Orchestra for 2015's A Very Swingin' Basie Christmas. An active performer, Marsalis tours often and appears regularly at the New Orleans Jazz & Heritage Festival.~ Scott Yanow https://www.allmusic.com/artist/ellis-marsalis-mn0000795979/biography

Personnel:  Ellis Marsalis - piano;  Derek Douget - tenor & soprano sax;  Bill Huntington - bass;  Jason Marsalis - drums

An Evening with the Ellis Mars

Didier Lockwood - Storyboard

Styles: Violin, Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 54:31
Size: 126,4 MB
Art: Front

(7:35)  1. Thought Of A First Spring Day
(4:40)  2. Back To Big Apple
(5:45)  3. En Quittant Kidonk
(7:42)  4. Mathilde
(4:51)  5. Tableau D'une Exposition
(6:59)  6. 'Serie B'
(3:58)  7. Storyboard
(4:52)  8. Irremediablement
(8:06)  9. Spirits Of The Forest

This is a diverse CD that rewards repeated listening. Violinist Didier Lockwood's most rewarding recording in several years also features Joey DeFrancesco on organ and trumpet, bassist James Genus and guest Steve Wilson (doubling on alto and soprano) on the first three numbers. The biggest revelation of the set is that Lockwood takes a credible alto solo on "Serie B." Performing his originals along with a few obscurities, the violinist shows a great deal of versatility, sometimes distorting his tone to get a rockish sound and other times swinging hard. The music (well worth checking out) is fresh and contains its share of surprises.~ Scott Yanow https://www.allmusic.com/album/storyboard-mw0000619396

Personnel:  Didier Lockwood - violin, alto saxophone;   Steve Gadd - drums;   Joey DeFrancesco - organ, trumpet;  James Genus - bass;  Steve Wilson - soprano saxophone, alto saxophone;  Denis Benarrosch - percussion.

Storyboard

Allan Harris - The Genius Of Eddie Jefferson

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 40:56
Size: 94,3 MB
Art: Front

(3:59)  1. So What
(4:09)  2. Sister Sadie
(3:31)  3. Dexter Digs In
(3:53)  4. Billy's Bounce
(4:30)  5. Body And Soul
(4:18)  6. Jeannine
(3:29)  7. Filthy McNasty
(3:51)  8. Lester's Trip To The Moon
(3:54)  9. Memphis
(5:17) 10. Waltz For A Rainy Bebop Evening

In an accompanying press release, Allan Harris compares his deep dive into Eddie Jefferson’s groundbreaking oeuvre to “taking a master class at MIT.” No question that navigating the tricky, rapid-fire, street-smart wordplay of vocalese an art form Jefferson is widely credited with creating and of which he remains the undisputed champ, even 39 years after his untimely death is a daunting endeavor. But although he’s best known for his buttery tributes to Nat “King” Cole and Billy Eckstine, Harris ranks among the most dexterous singers around, and he proves fully up to the challenge. Indeed, it’s intriguing to hear these 10 gems mostly vocalese, plus such covers as “Memphis” and Duke Pearson’s “Jeannine” rechanneled from Jefferson’s vocal grit to Harris’ rich baritone. Befitting so notable a project, Harris has enlisted top-drawer support: tenor saxophonist Ralph Moore, pianist Eric Reed, bassist George DeLancey, drummer Willie Jones III and, most significant, alto saxophonist Richie Cole, who worked closely with Jefferson in his later years, including on the night he was shot and killed after a Detroit gig in 1979. The beauty of so many Jefferson creations is that they’re not only based on jazz standards but also reworked to lyrically celebrate jazz masters and jazz lore. “So What” recalls Miles and Coltrane’s famous mid-performance co-exit, while “Body and Soul” venerates Coleman Hawkins. Prez, Bird, Dex and Horace Silver are all genuflected to. Aptly, Harris closes with Cole’s “Waltz for a Rainy Bebop Evening,” a whirling salute to the jazz life and its giants. ~ Christopher Loudon https://jazztimes.com/reviews/vox/allan-harris-eddie-jefferson/

The Genius Of Eddie Jefferson

Thursday, July 12, 2018

Arnett Cobb with the Red Garland Trio - Sizzling & Blue And Sentimental

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 72:39
Size: 168,2 MB
Art: Front

(5:08)  1. Sweet Georgia Brown
(5:24)  2. Black Velvet
(7:46)  3. Blue Sermon
(6:05)  4. Georgia On My Mind
(7:37)  5. Sizzlin'
(6:58)  6. The Way You Look Tonight
(7:13)  7. Willow Weep For Me
(4:49)  8. Hurry Home
(5:10)  9. P.S. I Love You
(5:23) 10. Blue And Sentimental
(4:49) 11. Darn That Dream
(2:52) 12. Why Try To Change Me Now
(3:18) 13. Your Wonderful Love

This CD reissue combines together tenor saxophonist Arnett Cobb's two LPs, Sizzlin' and Ballads by Cobb. The former session has a good mixture of stomps and ballads with highlights including "Black Velvet," "Georgia on My Mind," and "The Way You Look Tonight." The latter date (originally cut for the Moodsville label) is all slow ballads and, despite the warmth in Cobb's tone, a certain sameness pervades the performances. Pianist Red Garland and drummer J.C. Heard are on both sessions with either George Tucker or George Duvivier on bass. Good music but not quite essential.~ Scott Yanow https://www.allmusic.com/album/blue-and-sentimental-mw0000096767

Personnel:  Arnett Cobb (ts), Red Garland (p), George Tucker, George Duvivier (b), J.C. Heard (d)

Sizzling & Blue And Sentimental

The Great Jazz Trio - N.Y. Sophisticate (A Tribute To Duke Ellington)

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 39:25
Size: 91,3 MB
Art: Front

(4:53)  1. In A Sentimental Mood
(4:47)  2. C Jam Blues
(4:31)  3. Mood Indigo
(4:15)  4. Satin Doll
(3:30)  5. Lush Life
(4:56)  6. Sophisticated Lady
(3:40)  7. Take The 'A' Train
(4:46)  8. I Got It Bad (And That Ain?t Good).mp3
(4:08)  9. Caravan
(4:42) 10. Solitude

Hank Jones is one of the most gifted jazz pianists of the second half of the 20th century, and this salute to Duke Ellington is only slightly blemished by the sometimes overbearing string arrangements by Masahiko Satoh. His trio, with bassist Eddie Gomez and drummer Jimmy Cobb, sticks to familiar selections from the vast Ellington songbook, with Jones occasionally switching to a Fender Rhodes electric piano or celeste. Happily the strings are omitted from cookers such as "C Jam Blues" and "Take the 'A' Train." Worth searching for.~ Ken Dryden https://www.allmusic.com/album/ny-sophisticate-a-tribute-to-duke-ellington-mw0000191921

Personnel:  Bass – Eddie Gomez;  Drums – Jimmy Cobb;  Piano – Hank Jones

N.Y. Sophisticate (A Tribute To Duke Ellington)

Phineas Newborn - Back Home

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 39:40
Size: 91,2 MB
Art: Front

(3:49)  1. Sugar Ray  (Newborn)
(6:08)  2. Ill Wind
(5:11)  3. Watch What Happens
(4:14)  4. No Moon At All
(4:25)  5. Back Home  (Newborn)
(5:27)  6. On Green Dolphin Street
(4:54)  7. Pamela  (Newborn)
(5:28)  8. Love For Sale

On one of Phineas Newborn's final recordings (although he would live until 1989), the brilliant but i'll pianist is reunited with the rhythm team that he had recorded with in 1969: bassist Ray Brown and drummer Elvin Jones. Actually, despite his health problems, Newborn was always superlative on records, and his playing on five straight-ahead standards (including "No Moon at All" and "Love for Sale") and three of his originals is excellent.~ Scott Yanow https://www.allmusic.com/album/back-home-mw0000674737

Personnel:  Phineas Newborn Jr. – piano;  Ray Brown – bass;  Elvin Jones – drums

Back Home

Marty Elkins - Fat Daddy

Styles:  Vocal
Year: 2018
File: MP3@320K/s
Time: 55:23
Size: 127,3 MB
Art: Front

(3:56)  1. You Turned The Tables On Me
(2:40)  2. On Revival Day
(3:44)  3. How Can You Face Me
(3:39)  4. That's All There Is To That
(3:14)  5. It's Too Hot For Words
(3:29)  6. Cow Cow Boogie
(4:22)  7. I Cover The Waterfront
(3:07)  8. It's A Pity To Say Goodnight
(5:57)  9. My Old Flame
(3:48) 10. Fat Daddy
(4:36) 11. I Can't Face The Music
(3:38) 12. Sugar
(5:07) 13. These Foolish Things
(3:59) 14. Trav'lin' All Alone

Marty Elkins was born in Jersey City, New Jersey.  As a child she listened mostly to the soul stations in New York, and the late night R&B shows like Jocko’s Rocket Ship.  She left there for college in Boston, and while in college was given a copy of Ella Fitzgerald and Ellis Larkins.  She was also exposed to Charlie Parker, Al Cohn and Zoot Sims, and Louis Jordan, but the life changing day was when she found a copy of Billie Holiday’s “Lady in Satin” in a local Woolworth bin in Cambridge, Massachusetts. Literally holing up in her room with this recording, and a Bessie Smith record she acquired, she became devoted to jazz and began listening to it exclusively.  She had the good fortune to meet musicians in that area who played jazz such as Herb Pomeroy, Ray Santisi, Jimmy Mosher, and Dave McKenna among others.  Dave McKenna had a steady gig at the Copley Plaza, and he encouraged her to sing with him there.  She landed a gig singing with a vocal trio in Bo Winiker’s band, floating around the Boston harbor singing Andrew Sisters songs. Marty keeps you believing... Her voice has a glowing roundness, she hit notes without strain and she swings...~ Zan Stewart, Downbeat Magazine ...More http://www.martyelkins.com/bio/

Fat Daddy