Tim Tamashiro - Drinky

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 37:21
Size: 86,6 MB
Art: Front

(3:21)  1. I Won't Dance
(3:45)  2. Sunday In New York
(4:00)  3. You've Made Me So Very Happy
(2:23)  4. Have You Met Miss Jones'
(3:46)  5. Dream Weaver
(2:53)  6. I Get a Kick Out Of You
(2:51)  7. Accentchuate The Positive
(2:37)  8. How Do You Like Your Eggs In The Morning'
(3:11)  9. For Once In My Life
(3:25) 10. I'll Never Leave You
(5:04) 11. What A Wonderful World

Drinky is a new philosophy for you to relish jazz. I coined the phrase drinky jazz for a special reason. I've always yearned for people to see that jazz is fun music. But often just the mention of jazz freaks people out. When jazz is brought up in conversation many people react by tensing up. Then they almost always they say, I don't like jazz. When I mention the idea of drinky jazz to people they almost magically open up to jazz. Drinky jazz lets you drop the notion that all jazz is weird or thinky. Drinky jazz is fun because it's designed to be pleasing and interactive. You can bring your funnest friends along to eat, drink and laugh. Talk if you want to. If I'm doing my job singing drinky jazz I will EARN your ears. This drinky jazz philosophy promises you three things: great songs, cold drinks and bad jokes. I hope Drinky is the mark of a new jazz movement where you can discover the joy of jazz. It's incredible music with the most talented musicians anywhere. Let's go on this journey together and most of all let's have fun with a bit of swinging music! ~ Editorial Reviews https://www.amazon.com/Drinky-Tim-Tamashiro/dp/B0189FT5SU

Personnel:  Tim Tamashiro - Vocal; Tilden Webb -  Piano; Jodi Proznick - Bass; Jesse Cahill - Drums; Cory Weeds - Saxophone; Vince Mai - Trumpet; Rod Murray - Trombone

Drinky

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Johnny Hartman - Today + I've Been There

Styles: Vocal
Year: 1997
File: MP3@320K/s
Time: 77:00
Size: 179,7 MB
Art: Front

(3:59)  1. By The Time I Get To Phoenix
(4:27)  2. Didn't We
(4:27)  3. Games People Play
(4:12)  4. Betcha By Golly Wow
(3:21)  5. Summer Wind
(4:04)  6. Help Me Make It Through The Night
(5:44)  7. Folks Who Live On The Hill
(5:07)  8. We've Only Just Begun
(4:43)  9. I've Got To Be Me
(2:08) 10. 59th Street Bridge Song (Feelin' Groovy)
(4:49) 11. Raindrops Keep Falling On My Head
(3:34) 12. If
(3:56) 13. Rainy Days And Mondays
(3:38) 14. You Go To My Head
(4:16) 15. Meditation
(3:56) 16. The First Time Ever I Saw Your Face
(3:51) 17. Sunday Sun
(4:07) 18. For The Good Times
(2:32) 19. Easy Come, Easy Go

Today and I've Been There were both ill-advised attempts at bringing Johnny Hartman into the pop mainstream in the early '70s. Previously, Hartman's rich voice sounded as if was capable of anything, but these records prove that wasn't the case. Recorded for the Perception label, these two albums find Hartman running through such '70s pop and soul standards as "By the Time I Get to Phoenix," "Games People Play," "Betcha By Golly Wow," "Help Me Make It Through the Night," "We've Only Just Begun," "59th Street Bridge Song," "If," "Rainy Days and Mondays," "The First Time Ever I Saw Your Face" and "For the Good Times." Although he sounds fine, he doesn't sound comfortable and the slick musical backdrops aren't well-suited for the hushed intimacy of his voice. Occasionaly, as on the lush treatment of "Summer Wind," everything falls together and the music achieves the high standards of Hartman, but for the most part this single-disc pairing of Today and I've Been There is certainly sub-par. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/today-ive-been-there-mw0000031664

Personnel: Vocal - Johnny Hartman; Arranged By – Tony Monte (2);  Bass – Earl May (tracks: 10-19); Drums – Don Reid (tracks: 10-19); Flute – Jimmy Heath (tracks: 10-19); Guitar – Al Gaffa (tracks: 10-19), Bob Rose (tracks: 10-19);  Keyboards – Ken Ascher (tracks: 10-19);  Tenor Saxophone – Jimmy Heath (tracks: 10-19)

I've Been There

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Simone Kopmajer - Daydreaming

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 25:23
Size: 58,9 MB
Art: Front

(3:30)  1. If We Never Met Again
(4:04)  2. Crazy Moon
(3:35)  3. Day Dreaming
(4:04)  4. Cat Song
(3:56)  5. Time And Time Again
(2:40)  6. Travelling To You
(3:30)  7. You Can Kiss Me

With all audiophile music lovers in mind, Simone Kopmajer presents Daydreaming. It includes brand-new original material in a smooth and relaxing jazzy mood as well as cover songs like Aretha Franklin’s “Day Dreaming”, Merle Haggard’s “Crazy Moon” and Pat Metheny’s masterpiece “Travels” in the vocal version “Travelling to You”. 

The original songs on Daydreaming are the result of Simone’s long-time and fruitful song writing collaboration with lyricist Karolin Tuerk. As a premiere, however, S.K. has brought out the pianist in herself and played all piano parts on this recording. http://www.simonekopmajer.com/news/2017/12/11/6u46n2uv8h7azmxupfn3a9nhj67lqc

Daydreaming

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Five Play - On The Brink

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 65:47
Size: 152,1 MB
Art: Front

(3:29)  1. I'll Get By
(6:07)  2. I've Got The World On A String
(5:24)  3. How Insensitive
(5:03)  4. On The Brink
(7:22)  5. Medley: I'm A Fool To Want You/ In The Wee Small Hours Of The Morning/This Love
(4:30)  6. Scatterbrain
(4:24)  7. Shifting Down
(5:04)  8. Like Someone In Love
(2:50)  9. Some Nerve
(5:37) 10. Someone Nice Like You
(4:24) 11. Momma Flossie
(6:16) 12. How Deep Is The Ocean
(5:11) 13. I Believe In You

Drummer Sherrie Maricle from the Diva Big Band takes four of her bandmates to form this all female quintet of mainstream jazz players. Karolina Strassmayer and Laura Dreyer both play alto sax and flute, Canadian pianist Lorraine Desmarais and Australian acoustic bassist Nicki Parrott help Maricle in the rhythm section. Though the woodwind players are quite lyrical, playing in unison most of the time, it's the sparkling bottom end tones and witty asides of Parrott and the exquisite pianistics of Desmarias that keep the music flowing. The bandmembers wrote none of the 13 selections, but there are homages to the Al Cohn-Zoot Sims tenor tandem, Frank Sinatra, many American popular songwriters, and contemporary jazzmen Jerry Bergonzi and John Scofield, with arrangements by John McNeil. At their best in uptempo hard swinging modes, Strassmayer and Dreyer frequently sound like twin Phil Woods bop towers, for instance the furious "I'll Get By," the outstanding Bergonzi written-up-and-gone title track, the Latin-ish "Scatterbrain," a luscious take on Kenny Dorham's easy swinging "Shifting Down," and the waltzy 6/8 version of the standard "Like Someone in Love." Two flutes appear on the sleepwalk slow "Someone Nice Like You." Alto and flute contrast on the bossa "How Insensitive" and a Sinatra medley of "I'm a Fool to Want You/Wee Small Hours/This Love of Mine." Desmarais' glistening light shines on her delicate features for a bluesy "I've Got the World on a String," where Parrott tears up a solo and states the melody line with the others laying out. The pianist is also particularly strong at improvising on the changes of "On the Brink," her solo is positively captivating, setting up Maricle's drum breaks quite well. Though a steady timekeeper, the drummer does get to punch in with traded fours, solo bars and phrases, but gives the spotlight to her bandmates for the majority of this recording. On Scofield's "Some Nerve" given a too brief 2:28, Maricle plays the N.O. shuffle cum calypso rhythm to perfection and delight. "Momma Flossie" is the Cohn-Sims flagwaver, and a perfect example of what happens throughout, that Strassmayer and Dreyer are reluctant to step on each other's toes and really wail. It's also unfortunate that the producers have not seen fit to identify which solos are Strassmayer's or Dreyer's. This lack of variation and sameness in that regard renders their playing relatively uninteresting; they're very fine musicians, but not distinct. Hopefully they'll get another shot to mix it up a bit. ~ Michael G.Nastos https://www.allmusic.com/album/on-the-brink-mw0000671740

Personnel:  Sherrie Maricle: Leader, Drums;  Karoline Strassmayer: Alto Saxophone, Flute;  Laura Dreyer: Alto Saxophone, Flute;  Lorraine Desmarais: Piano;  Nicki Parrott: Bass

On The Brink

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Dick Hyman - Mirrors - Piano & Organ Jazz

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 38:39
Size: 90,8 MB
Art: Front

(3:24)  1. House of Mirrors
(3:21)  2. In the Heat of the Night
(4:11)  3. Groovin'
(2:36)  4. In the Wee Small Hours
(3:03)  5. Mercy, Mercy, Mercy
(2:44)  6. The Flower Road
(3:36)  7. Ode to Billy Joe
(2:29)  8. Up, Up and Away
(3:27)  9. Do Nothin' Till You Hear from Me
(3:06) 10. Hit the Road, Jack
(3:28) 11. Weekend Blues
(3:09) 12. Respect

A very versatile virtuoso, Dick Hyman once recorded an album on which he played "A Child Is Born" in the styles of 11 different pianists, from Scott Joplin to Cecil Taylor. Hyman can clearly play anything he wants to, and since the '70s, he has mostly concentrated on pre-bop swing and stride styles. Hyman worked with Red Norvo (1949-1950) and Benny Goodman (1950), and then spent much of the 1950s and '60s as a studio musician. He appears on the one known sound film of Charlie Parker (Hot House from 1952); recorded honky tonk under pseudonyms; played organ and early synthesizers in addition to piano; was Arthur Godfrey's music director (1959-1962); collaborated with Leonard Feather on some History of Jazz concerts (doubling on clarinet), and even performed rock and free jazz; but all of this was a prelude to his later work. In the 1970s, Hyman played with the New York Jazz Repertory Company, formed the Perfect Jazz Repertory Quintet (1976), and started writing soundtracks for Woody Allen films. He has recorded frequently during the past several decades (sometimes in duets with Ruby Braff) for Concord, Music Masters, and Reference, among other labels, and ranks at the top of the classic jazz field. In 2013, Hyman teamed up with vocalist Heather Masse for a set of standards on the Red House label called Lock My Heart. ~ Scott Yanow & Al Campbell https://itunes.apple.com/ca/album/mirrors-piano-organ-jazz/581315632

Mirrors - Piano & Organ Jazz

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Don Shirley Duo - Improvisations

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 44:19
Size: 102,2 MB
Art: Front

(7:36)  1. Sometimes I'm Happy
(3:44)  2. But Not For Me
(2:59)  3. Tenderly
(4:06)  4. What Is There To Say
(3:18)  5. Autumn Leaves
(4:44)  6. Atonal Ostinato Blues In B Flat
(3:20)  7. When I Fall In Love
(5:30)  8. Over The Rainbow
(4:03)  9. Let's Fall In Love
(4:57) 10. Walkin' By The River

Pianist, composer, and arranger Don Shirley was born in Kingston, Jamaica, on January 29, 1927. He began playing piano at age two and seven years later had developed his skills so rapidly, he was studying theory at the prestigious Leningrad Conservatory of Music. Shirley made his concert debut with the Boston Pops in 1945, while the following year the London Philharmonic Orchestra performed one of his first major compositions. In the ensuing years between 1954 and 1968, Shirley performed as a soloist and as a member of several symphonies, including the Boston Pops, Detroit Symphony, Chicago Symphony, and the National Symphony Orchestra of Washington. Shirley also composed several organ symphonies, a piano concerto, two string quartets, and numerous pieces for piano. His musical language also encompassed tastefully mastered combinations of standards, show tunes, ballads, spirituals, and jazz performed with his own trio. Incredibly, Shirley also found time between performing and recording to obtain a doctorate of Music, Psychology, and Liturgical Arts. Throughout the '50s and '60s, Shirley released numerous albums on the Cadence label. In 1999, Collectables began reissuing several of those albums as two-for-one sets. ~ Al Campbell https://www.allmusic.com/artist/don-shirley-mn0000160561/biography

Improvisations

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Roy Brooks & The Improvisational Sphere - Live at Lelli's

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 44:38
Size: 102,2 MB
Art: Front

(11:48)  1. Ha-Ya !
(13:06)  2. Samba Del Sol
(13:44)  3. Basketball
( 5:58)  4. Her Blues Is Mine Ra

Roy Brooks ! what can i say about one of the greatest jazz drummers ?! a man who paid his dues, who lived an hard life...who's Detroit Jazz ! started to play in the 50's with Yusef Lateef, spent 5 years with Horace Silver doing the hard and the bop, then with Dexter Gordon, Lee Morgan, Jackie McLean, two years with Mingus, played with Max Roach M'Boom... plus many others... in the 80's he formed The Artistic Truth & The Aboriginal Percussion Choir... the rec. on this album is even more precious since this is the sole available rec. of this innovative group who had been assembled by Roy for this occasion only ! surely a unique sphere with very eclectic instrumentations and varied exotic flavors coming from Africa, the Caribbean/Cuba, Brazil, not to mention the blues from the deep South... Mr. Brooks latest proper release came out in 1983, so nearly 30 years ago ?! higher forces were in motion to make this happens... " ep https://www.soundohm.com/product/live-at-lelli-s/pid/16781/
 

Personnel:  Drums, Marimba, Steel Drums – Roy Brooks;  Congas, Bells, Percussion – Ray Mantilla;  Guitar – Rodney Rich; Organ [Hammond B-3 Organ] – Claudine Myers; Shaker, Cuica, Percussion, Tabla – Jerry LeDuf

Live at Lelli's

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Karin Plato - This Could Be the One

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 56:21
Size: 129,3 MB
Art: Front

(3:45)  1. This Could Be the One
(6:01)  2. I've Just Seen a Face
(5:33)  3. Sweet Summer
(8:47)  4. July
(4:16)  5. Take Time
(4:49)  6. I'm so Lonesome I Could Cry
(3:56)  7. What Came Before
(3:47)  8. Life Is a Beautiful Game
(6:16)  9. Insomnia
(4:27) 10. Heart and Soul
(4:40) 11. Sorrow

Born 31 March 1960, Alsask, Saskatchewan, Canada. As a small child, Plato studied piano, later attending the University of Saskatchewan in Saskatoon, where she received a Bachelor Of Music Degree in Piano and Voice. In 1985, she moved to Vancouver to study vocal jazz and arranging at Capilano College, and has made the city her base ever since. In the late 90s, she also studied with Sheila Jordan and Jay Clayton at the Banff Centre For The Arts. In 2000, There’s Beauty In The Rain was nominated for a Juno Award. Appearing in concert throughout Canada, Plato has also appeared at many jazz festivals. Her appearance at Sasktel Jazz Festival in 2000, at which she opened for Brad Mehldau, was recorded for CBC’s Jazzbeat. The April Arrangement is a concert performance in which she presents some of her original compositions and arrangements of standards for a septet, which she has performed at the Vancouver East Cultural Centre and Festive Jazz (2000), her arrangements of traditional Christmas carols and original songs presented at the Capilano College Theatre for the Performing Arts. In 2000, she became a member of DIVAS For Life, which came about when the Vancouver-based magazine, Lifestyles, profiled six female vocalists: Plato, Laura Crema, Dee Daniels, Kate Hammett-Vaughan, Stevie Vallance and Tammy Weis. Established to help raise money for people living with cancer and other life-threatening illnesses, their debut concert was a huge success and the singers appeared collectively and individually at a series of SOR engagements, including the Vancouver International Jazz Festival. With some personnel changes, DIVAS have continued to perform to rave reviews and to raise money for their espoused cause, making records and broadcasting on CBC. Plato uses her very pleasing contralto to deliver elegant performances of standards and original material with flair and sophistication, singing in an unadorned and intimate style. https://itunes.apple.com/us/album/this-could-be-the-one/1439082010

This Could Be the One

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Gordon Goodwin's Big Phat Band - The Phat Pack

Styles: Big Band
Year: 2006
File: MP3@320K/s
Time: 75:12
Size: 173,6 MB
Art: Front

(6:07)  1. Cut n’ Run
(3:39)  2. Too Close For Comfort
(6:36)  3. Count Bubba’s Revenge
(6:13)  4. Play That Funky Music
(6:39)  5. The Phat Pack
(4:47)  6. Hunting Wabbits 2 (A Bad Hare Day)
(7:36)  7. La Almeja Pequena (The Little Clam)
(6:53)  8. Get in Line
(5:09)  9. Attack of the Killer Tomatoes
(5:30) 10. Under the Wire
(6:28) 11. Whodunnit?
(5:20) 12. It Was a Very Good Year
(4:08) 13. Ever Braver, Ever Stronger (An American Elegy)

The suave and irrepressible Rat Pack, whose urbane image was shrewdly nurtured for so many years by Ol' Blue Eyes, meistersinger Frank Sinatra himself, is no longer with us. Luckily, we have as partial solace The Phat Pack, the convivial third recording by jack-of-all-trades Gordon Goodwin's Big Phat Band. Goodwin bows respectfully to his illustrious predecessors by reprising two songs closely associated with members of the Rodent Gang, Sinatra's "It Was a Very Good Year" and Sammy Davis Jr.'s "Too Close for Comfort," also appending an evocative title song that could have served as the Pack's overture in a cabaret or concert hall. One of the more engaging aspects of any album by Goodwin's exemplary ensemble is that one never knows quite what to expect from moment to moment as the music veers in a heartbeat from straight-ahead swing to funk, Latin, neo-hip shuffle and back again not to mention such wild anomalies as "Hunting Wabbits 2," Goodwin's quirky salute to Elmer Fudd and those incomparable Warner Bros. cartoons from the '40s and '50s (for "Hunting Wabbits 1," see the BPB's previous album, XXL). Needless to say, the all-star band is razor-keen throughout, lending power and charisma to Goodwin's personable compositions and charts. 

Soloists aren't named, but that has to be Eric Marienthal's nimble soprano on "Wabbits," his aggressive alto on "Get in Line" and "Attack of the Killer Tomatoes," Andy Martin's supple trombone on "Tomatoes," Wayne Bergeron's screaming trumpet on "La Alma Pequena (The Little Clam)." That's ironic, as clams are almost never a part of Bergeron's musical diet. As usual, Goodwin has invited several well-known guest artists to sit in, and all of them are superb. Vocalist Dianne Reeves positively nails "Too Close for Comfort," alto David Sanborn is suitably raunchy on "Play That Funky Music," ace clarinetist Eddie Daniels burns rubber on the grueling "Under the Wire," and the vocal group Take 6 takes charge on "It Was a Very Good Year." Another Goodwin staple is the patriotic finale, in this case the poignant "Ever Braver, Ever Stronger (An American Elegy)." So much to say, so little space remaining. Highlights (besides those already mentioned) include "Cut 'n Run," "Count Bubba's Revenge," "Whodunnit?" Well, let's be honest. Everything else. And it should be noted that the disc is accompanied by a DVD with soundtrack, photos, lyrics and other extras. Alas, I was unable to play my copy, as it requires a compatible Direct Show DVD player, which I don't have. As Sinatra would have intoned, "That's Life." Goodwin's debut album, Swingin' for the Fences, was Grammy-nominated, XXL earned one (in a minor category), and if this isn't a leading contender for the top big band prize, I'll eat broccoli (yuck!) with my supper (please don't tell my wife I said that). ~ Jack Bowers https://www.allaboutjazz.com/the-phat-pack-gordon-goodwin-immergent-records-review-by-jack-bowers.php

Personnel: Gordon Goodwin: leader, composer, arranger, piano, tenor saxophone; Wayne Bergeron, Dan Fornero, Bob Summers, Dan Savant, Pete DeSiena (4,6,12): trumpet; Eric Marienthal: alto, soprano saxophone, flute; Sal Lozano: alto saxophone, flute, piccolo; Brian Scanlon, Jeff Driskill: tenor saxophone, clarinet; Jay Mason: baritone saxophone, bass clarinet; Andy Martin, Alex Iles, Charlie Morillas, Craig Ware, Craig Gosnell (2): trombone; Grant Geissman, Carl Verheyen (4): guitar; Rick Shaw: acoustic, electric bass; Bernie Dresel, Ray Brinker (10,11,13): drums; Luis Conte, Brad Dutz (4,6,12): percussion. Special guests: Dianne Reeves (2): vocal; David Sanborn (4): alto saxophone; Eddie Daniels (10): clarinet; Take 6 (12): vocal.

The Phat Pack

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Hollyridge Strings - Christmas Favorites

Styles: Christmas
Year: 2008
File: MP3@320K/s
Time: 28:10
Size: 65,9 MB
Art: Front

(2:40)  1. Winter Wonderland
(2:50)  2. Jingle Bells
(2:50)  3. The Christmas Song (Merry Christmas To You)
(2:17)  4. Santa Claus Is Comin' To Town
(2:20)  5. Santa's Got A Brand New Bag
(2:34)  6. Jingle Bell Rock
(2:58)  7. Have Yourself A Merry Little Christmas
(2:34)  8. White Christmas
(2:35)  9. I'll Be Home For Christmas
(2:14) 10. Little Saint Nick
(2:13) 11. Do You Hear What I Hear?

The Hollyridge Strings was a catchall name for the group of largely interchangeable studio musicians who recorded a series of easy listening instrumental albums for Capitol Records at the peak of the British Invasion era. The project was masterminded by music industry veteran Stu Phillips, a composer and producer who previously headlined his own series of Capitol easy listening records including Organ and Strings in Stereo before leaving the label in 1960 to become head of A&R for Colpix Records, where he produced a series of pop smashes including the Marcels' "Blue Moon," Shelley Fabares' "Johnny Angel," Paul Petersen's "My Dad," and James Darren's "Goodbye, Cruel World." In 1964 he returned to Capitol, where his familiarity and dexterity with the rock idiom made him the logical choice to cash in on Beatlemania with a record targeted at a more mature audience; the first Hollyridge Strings record, The Beatles Song Book, was a Top Ten hit, and resulted in similarly syrupy collections of hits by Elvis Presley, the Beach Boys, the Four Seasons, and Simon & Garfunkel. At one point in time, no fewer than three different Hollyridge Strings LPs hovered in the Billboard Top 20, and their success spurred copycat projects from labels including Vee-Jay (the Castaway Strings), Liberty (the Sunset Strings), and MGM (the Fantabulous Strings). During his Capitol stint Phillips also headlined his own Feels Like Lovin', a minor classic of '60s soft pop that added vocals to the signature Hollyridge Strings sound. ~ Jason Ankeny https://itunes.apple.com/us/album/christmas-favorites/715549502

Christmas Favorites

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John Wright - Makin' Out

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 37:57
Size: 87,2 MB
Art: Front

(4:53)  1. Makin' Out
(4:31)  2. Like Someone In Love
(4:13)  3. Back In Jersey
(4:36)  4. Sparkie
(4:33)  5. Soul Search
(4:18)  6. It Could Happen To You
(3:14)  7. Street
(7:36)  8. Kitty

John Wright was born in Louisville, Kentucky in 1934 and moved to Chicago with his family two years later. As a child, he was immersed in the gospel music of his mother’s church; he learned jazz piano while stationed in Germany in the U.S. Army during the Korean War, where he also met Dizzy Gillespie and Dexter Gordon. His first recording in 1960, with the John Wright Trio, was entitled South Side Soul, a phrase that became his nickname. Over a lengthy musical career, and work as a librarian in the Cook County Department of Corrections, he has also had many political involvements. In 2008, he was inducted into the Wendell Phillips High School Hall of Fame, and in 2009 he was awarded the Walter Dyett Lifetime Achievement Award by the Jazz Institute of Chicago. ...Read More.. https://never-the-same.org/interviews/john-wright/

Personnel:  Piano –John Wright;  Bass – Wendell Marshall;  Drums – Roy Brooks;  Tenor Saxophone – Eddy "Cat-Eye" Williams

Makin' Out

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James Moody - Heritage Hum

Styles: Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 48:40
Size: 112,2 MB
Art: Front

(5:03)  1. Heritage Hum
(5:55)  2. Sound For Sore Ears
(4:32)  3. Road Runner
(5:21)  4. Can't Fool Around With Love
(6:09)  5. Rainy Days
(7:32)  6. Travel On
(7:27)  7. Soul Searching
(4:10)  8. Parker's Mood
(2:27)  9. Pennies From Heaven

While not as all-out funky as some of the other Perception jazz LPs from the time (including Moody's own The Teachers), this one's got a great slinking groove to it, and features nice playing by Michael Longo, who was also in Dizzy's funky 70s group at the time. Eddie Jefferson sings vocals on a hilarious version of "Pennies From Heaven", and other titles include "Heritage Hum", "Road Runner", "Soul Searching", and "Travel On".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/22942/James-Moody:Heritage-Hum

Personnel:   Saxophone, Flute – James Moody;  Acoustic Bass – Samuel Jones;  Drums – Frederick Waits;  Piano – Michael Longo;  Vocals – Eddie Jefferson

Heritage Hum

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Marianne Faithfull - Negative Capability

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 52:32
Size: 123,0 MB
Art: Front

(4:04)  1. Misunderstanding
(3:40)  2. The Gypsy Faerie Queen
(3:52)  3. As Tears Go By
(4:21)  4. In My Own Particular Way
(3:39)  5. Born to Live
(4:57)  6. Witches Song
(5:01)  7. It's All Over Now, Baby Blue (Re-Recorded)
(3:40)  8. They Come at Night
(4:20)  9. Don't Go
(4:56) 10. No Moon in Paris
(2:52) 11. Loneliest Person
(3:26) 12. No Moon in Paris (Radio Edit)
(3:36) 13. They Come at Night (Alt. Version)

Recorded in Paris with Bad Seed Warren Ellis and PJ Harvey collaborator Rob Ellis, who back her with unshowy, sympathetic orchestration, Marianne Faithfull’s 21st album is a masterly meditation on ageing and death. Coming in the wake of health problems, struggles with loneliness and the loss of some of her closest friends, her lyrics are characteristially unflinching, from In My Own Particular Way’s admission that “I know I’m not young and I’m damaged/ But I’m still pretty kind of funny” to Born to Live’s tribute to Anita Pallenberg and the unbearably raw Don’t Go, about the death from cancer of her former guitarist Martin Stone. There’s a foray into wider global events too: They Come at Night, a Mark Lanegan co-write, is a furious reaction to the Bataclan terror attack of 2015. Faithfull’s reprise of As Tears Go By, 54 years after her version of the Jagger/Richards/Oldham song launched her career, has a real poignancy, the line “It is the evening of the day” in particular carrying a new-found emotional heft. Comparisons with such late-career highlights as Johnny Cash’s American Recordings albums and Leonard Cohen’s You Want It Darker are inevitable, but Negative Capability really does belong in such exalted company. … we have a small favour to ask. Three years ago we set out to make The Guardian sustainable by deepening our relationship with our readers. The same technologies that connected us with a global audience had also shifted advertising revenues away from news publishers. We decided to seek an approach that would allow us to keep our journalism open and accessible to everyone, regardless of where they live or what they can afford. More than one million readers have now supported our independent, investigative journalism through contributions, membership or subscriptions, which has played such an important part in helping The Guardian overcome a perilous financial situation globally. We want to thank you for all of your support. But we have to maintain and build on that support for every year to come. Sustained support from our readers enables us to continue pursuing difficult stories in challenging times of political upheaval, when factual reporting has never been more critical. The Guardian is editorially independent – our journalism is free from commercial bias and not influenced by billionaire owners, politicians or shareholders. No one edits our editor. No one steers our opinion. This is important because it enables us to give a voice to those less heard, challenge the powerful and hold them to account. Readers’ support means we can continue bringing The Guardian’s independent journalism to the world. If everyone who reads our reporting, who likes it, helps to support it, our future would be much more secure. https://www.theguardian.com/culture/2018/nov/04/marianne-faithfull-negative-capability-review-five-stars

Personnel:  Marianne Faithfull – vocals; Nick Cave – backing & additional vocals, piano; Rob McVey - guitar, piano, synthesiser, backing vocals; Ed Harcourt - piano, bass guitar, baritone guitar, keyboards, wurlitzer, rhodes, organ, harmonium, backing vocals; Warren Ellis - viola, synthesiser, violin, keyboards, piano, alto flute, backing vocals, producer

Negative Capability

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Nick Hempton - Odd Man Out

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 64:05
Size: 147,3 MB
Art: Front

(4:44)  1. Nice Crackle
(5:45)  2. Five Ways Through Harsimus Cove
(4:37)  3. The Winnie Blues
(5:24)  4. Day Dream
(6:37)  5. The Set-Up
(4:55)  6. Fifth Floor Run-Up
(5:58)  7. Nights and Mornings
(7:42)  8. The Slip
(5:33)  9. A Bicycle Accident
(6:48) 10. Streetlight Lament
(5:57) 11. Blue Shadows

So, just who is the Odd Man Out? It's not exactly one of the great enigmas of modern times, but it's something to ponder. Not for too long, though, for time will be much better spent enjoying the music. Odd Man Out is the third album from saxophonist Nick Hempton and his band and it represents a notable step forward for what was already an impressive and hugely enjoyable ensemble. So what's changed since Hempton's second album The Business (Posi-Tone Records, 2011)? In many ways it's business as usual on Odd Man Out: same label, same band, same straight-ahead, swinging, approach, same combination of originals plus two covers. Hempton is once again staring out from the right side of the cover, although he now sports a neatly-trimmed beard and a quizzical eyebrow. But there's a bit more stylistic breadth, a few extra surprises, on album number three. Trombonist Michael Dease is a very welcome guest. Paired with Hempton's tight, dry saxophone tone Dease's open, warm trombone really helps to enrich the sound, whether it's on up-tempo numbers such as "Nice Crackle" or slinky groovers like "The Set-Up," which also features a good-humored Dease solo. Duke Ellington and Billy Strayhorn's "Day Dream" written for alto saxophonist Johnny Hodges proves to be a terrific vehicle for Hempton's more considered and reflective side. The ballad is a duet between Hempton and Art Hirahara, with the pianist providing a beautifully judged accompaniment to the saxophonist's melodic interpretation of the tune. Hempton's own "Nights And Mornings" offers another chance for him to show his skills as a balladeer, this time on a film-noirish tune full of images of rainstorms and lonely streets. There are some odd little twists, too. "Five Ways Through Harsimus Cove" sounds at first as though Hempton's soundtracking the progress of a cat burglar in a '60s crime caper. "A Bicycle Accident" has an improvised feel, resolving gradually to the album's more characteristic straight-ahead sound then pausing briefly before kicking in with a selection of moods and grooves a little Latin, a spot of R&B and eventually ending with the plaintive sound of Dan Aran's cymbals. Randy Newman's "Blue Shadows" (from the 1986 movie Three Amigos) adds a bit of country to the mix. Marco Panascia's jaunty bass line and Aran's rat-a-tat percussion set things up for a Roy Rogers vocal, so it's almost a surprise when Hempton's saxophone enters instead. Although it would probably be even more of a surprise if Rogers did suddenly burst into song. ~ Bruce Lindsay https://www.allaboutjazz.com/odd-man-out-nick-hempton-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Nick Hempton: alto saxophone, tenor saxophone; Michael Dease: trombone; Art Hirahara: piano; Marco Panascia: double bass; Dan Aran: drums.

Odd Man Out

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Charmaine Clamor - Jazzi Pino

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 67:36
Size: 155,5 MB
Art: Front

(7:06)  1. Dahil Sa'yo
(3:26)  2. O, Ilaw
(3:41)  3. Minamahal Kita
(4:28)  4. Lahat Ng Araw
(3:18)  5. Pamulinawen
(3:21)  6. Usahay
(4:59)  7. Sa Ugoy Ng Duyan
(5:06)  8. Pakiusap
(5:03)  9. Minamahal, Sinasamba w/Mon David
(5:13) 10. Matul Nila
(3:37) 11. Dungawin Mo Hirang
(4:55) 12. Ay, Kalisud
(4:32) 13. Panahon Na / Hindi Kita Malimot
(2:26) 14. Harana Sa Dilim
(6:20) 15. My Funny Brown Pinay (My Funny Valentine)

Charmaine Clamor is a Filipina jazz singer based in Hollywood, California best known for melding traditional Filipino folk songs and instruments with American jazz and blues in a newly developed musical genre called "Jazzipino" Born in Subic-Zambales, Philippines, Charmaine Clamor began her singing career at age 3, entertaining passengers in the back of buses traveling to Manila. As she grew, she began providing piano accompaniment while her mother sang kundiman (Filipino torch songs) and English language classics. She didn't move to the United States until she was 16, and grew up speaking Tagalog, singing karaoke, and eating lumpia. Still maintains family connections in Luzon Province, where she visit every year. Has a master's degree in physical therapy and worked full-time as a physical therapist in hospitals and clinics. Volunteers for environmental organizations that promote 'green' living and is a pesco-vegetarian. Originator of Jazzipino, a genre of music utilizing American jazz, blues, soul, Filipino folk music, and other musical forms. She has simultaneously made the top 5 on both JazzWeek’s World (#2) and Traditional Jazz (#4) charts and is the first Filipino-American artist to place two consecutive recordings in the World Music top 10. Has been profiled on NPR's "Weekend Edition" and BBC's "The World." Records in North America under Michael Konik's independent recording company FreeHam Records, which includes the Tony-Award winning Blues great, Linda Hopkins. Charmaine performs at America's leading jazz clubs, performing arts centers, and concert halls. She frequently top bills Filipino cultural celebrations, such as the San Francisco Filipino-American Jazz Festival and the Filipino Library's annual gala in Los Angeles. On September, 2007, at her New York City show, she launched her second album, "Flippin' Out", at the Iridium Jazz Club, with "My Funny Brown Pinay" (to the tune of "My Funny Valentine"). On April 15, 2008, at her Brooklyn debut performance, she treated the mixed crowd to this same theme song/anthem ("Look at my skin – it's brown… Look at my nose – it's flat"). May, 2008, Charmaine Clamor and 8 international jazz artists and bands appeared at the 3rd Annual 2008 Miri International Jazz Festival, at ParkCity Everly Hotel, in Sarawak, Malaysia. In November, 2008, Charmaine released My Harana: A Filipino Serenade the follow-up to "Flippin’ Out," touring America and the Philippines in support of the record. 

In September, 2009, "Jazzipino" was launched with a full fledged promotional tour in the Philippines under the Viva Records label. Charmaine is a founding member of JazzPhil-USA, a non-profit organization that promotes jazz artists of Filipino descent in the United States and has been credited with introducing Filipino culture to mainstream audiences. Charmaine was selected by The Filipino Women's Network as one of the 100 Most Influential Filipino Women in the United States  In May, 2008, Charmaine was noted as a rising jazz star in the United States by LA Weekly’s jazz critic Brick Wahl. Her two-night gig at Hollywood’s Catalina Bar & Grill was Wahl's jazz event Pick of the Week: “She made a big splash with Flippin’ Out its hip mix of beautifully arranged standards and jazzed-up Tagalog love songs took the ‘Filipina Singing Sensation’ into the upper reaches of the jazz and world charts. And no wonder: Her husky, sassy tone, languid moves and unpretentious Pinoy attitude that’s just a tad rebellious have the kind of natural appeal you can’t buy at any music school.” Jazz Times Magazine described her as "a dynamic new compass point in world music." All About Jazz wrote that she is "quite simply one of the finest singers to come around in a long time." Jazz critic Don Heckman of the Los Angeles Times stated that “Her debut album, 'Searching for the Soul', announced the arrival of an impressive new vocal artist.” He subsequently wrote that Charmaine is "One of the important and original new jazz singers of the decade." In January, 2009, he selected Charmaine's debut at Yoshi's Jazz Club as the Pick of the Week in San Francisco. Charmaine has headlined the top jazz clubs in New York, Los Angeles, San Diego, San Francisco, Seattle, Atlanta, and Miami. Often, she is the first Pinay to perform at the venue  such as at Yoshi's, in SF. In July, 2009, in San Diego, California, she won the 6th Annual Asian Heritage Award in the Performing Arts which recognizes Asian and Pacific Islander leaders in various fields, including Medicine, Education, Government, and the Performing Arts. In October, 2009, Charmaine won the 12th Annual FILIPINAS Magazine Achievement Award in Entertainment. She was also honored with a special FAMAS Award (Filipino Oscar) for her cultural trailblazing. Charmaine has had two consecutive albums in the JazzWeek World Music Top-10. https://www.last.fm/music/Charmaine+Clamor/+wiki

Jazzi Pino

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Ethel Smith - Seated One Day At The Organ

Styles: Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 46:50
Size: 109,4 MB
Art: Front

(4:48)  1. The Lost Chord
(3:53)  2. Jesu, Joy Of Man's Desiring
(2:54)  3. Cradle Song
(2:37)  4. Mazurka
(3:31)  5. Warsaw Concerto
(1:25)  6. Flight Of The Bumble Bee
(4:00)  7. Ritual Fire Dance
(4:25)  8. Clair De Lune
(4:31)  9. Liebestraum
(4:26) 10. Largo
(2:05) 11. Brahm's Cradle Song
(4:25) 12. Fugue In G Minor
(3:43) 13. Malaguena

Ethel Smith (November 22, 1902,  May 10, 1996) was an American organist who played primarily in a pop style on the Hammond organ. Born Ethel Goldsmith, she performed from a fairly young age and traveled widely, after studying both music and several languages at Carnegie Tech. She became proficient in Latin music while staying in South America, and it is the style of music with which she is now most associated. She was a guitarist as well as an organist, and in her later years occasionally played the guitar live for audiences, but all her recordings were on the organ. She ultimately recorded dozens of albums, mostly for Decca Records. An attractive woman with a preference for colorful outfits, particularly hats, Smith performed in several Hollywood films such as George White's Scandals (1945) and Melody Time (1948). She was married to Hollywood actor Ralph Bellamy from 1945 to 1947, at the height of her fame, and their acrimonious divorce made headlines. She never had children. Her rendition of "Tico Tico" became her best-known hit. She performed it in the MGM film Bathing Beauty (1944), after which her recording reached the U.S. pop charts in November 1944, peaked at #14 on January 27, 1945, and sold nearly two million copies worldwide. "Down Yonder" was her second national hit, reaching #16 on October 27, 1951. Smith's recording of "Monkey on a String" became the theme song for Garfield Goose and Friends, a popular children's television show in Chicago that ran from 1952 until 1976. https://en.wikipedia.org/wiki/Ethel_Smith_(organist)

Seated One Day At The Organ

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Pat Patrick Band - Get Up and Dance

Styles: Vocal, Big Band
Year: 2009
File: MP3@320K/s
Time: 44:15
Size: 102,9 MB
Art: Front

(3:18)  1. September
(3:30)  2. Lady Marmalade
(4:14)  3. Give It To Me Baby
(4:55)  4. All Night Long
(3:36)  5. Can't Take My Eyes Off You
(3:37)  6. I Like The Way You Move
(3:10)  7. Hey Pokey Way
(2:10)  8. This Cat's On A Hot Tin Roof
(5:44)  9. Let's Get It On / Stir It Up
(3:36) 10. KISS
(3:45) 11. Can't Get Enough Of Your Love
(2:32) 12. The Letterman Theme

Pat Patrick, like John Gilmore, spent virtually his entire career with Sun Ra's Arkestra, leading to him being somewhat underrated. Patrick had a particularly appealing sound on baritone and, although he did not lead any record sessions of his own, he was one of the better baritonists of the 1950s and '60s. As a child he studied piano, drums, and trumpet before switching to saxophones. 

At Du Sable High School in Chicago he first met John Gilmore. Patrick did record with John Coltrane (Africa Brass), play briefly with Duke Ellington, was a member of a little-known version of Thelonious Monk's quartet (1970), and in 1974 he recorded with the Jazz Composer's Orchestra. But otherwise, Pat Patrick from 1954 on and off until his death was closely associated with Sun Ra, where he was a reliable sideman. ~ Scott Yanow https://www.allmusic.com/artist/pat-patrick-mn0000143284/biography

Get Up and Dance

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Christine Fawson - Sings Jazz

Styles: Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 42:45
Size: 98,6 MB
Art: Front

(5:18)  1. Night in Tunisia
(4:13)  2. World on a String
(6:25)  3. It Might as Well Be Spring
(5:02)  4. The Second Time Around
(6:03)  5. I Concentrate on You
(4:57)  6. I Love You
(3:08)  7. Fools Rush In
(3:14)  8. What Is This Thing Called Love
(4:20)  9. Could It Be You

Former Berklee Professor, Christine Fawson has made her fourth album as a leader. Over the years, Christine has played many different styles of music. But old school swinging jazz keeps calling her! On Sings Jazz, she is accompanied by Tim Ray on piano, who penned beautiful arrangements for the album. Also on the album is Dave Zinno on upright bass and Casey Schereuell on drums. Guest Vocalist, David Thorne Scott. 

This is an exciting album full of improvisation and a real live jazz feel. Go see Christine Fawon live to get the true experience of old school jazz singer/entertainer! https://store.cdbaby.com/cd/christinefawson4

Sings Jazz

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Andrew Hill - Dance With Death

Styles: Piano Jazz 
Year: 1980
File: MP3@320K/s
Time: 45:55
Size: 105,6 MB
Art: Front

(5:32)  1. Yellow Violet
(5:51)  2. Partitions
(7:31)  3. Fish 'N Rice
(6:39)  4. Dance With Death
(6:44)  5. Love Nocturne
(6:24)  6. Black Sabbath
(7:10)  7. Dance With Death (alternate take)

In a little over seven years beginning in '63, pianist Andrew Hill recorded over a dozen albums as a leader for Blue Note, yet it is only in recent years that the importance of these recordings is being recognized. Although he was overshadowed at the time by more eminently approachable pianists including Herbie Hancock and McCoy Tyner, the truth is that while Hill's somewhat more oblique style kept him from reaching a broader audience, time and Blue Note's reissue of several key Hill recordings are painting a picture of an artist who created a complex world of rhythms and harmonies, examining music on the left without losing sight of memorable thematic constructs and clever, shifting grooves. Groove may not be a word that comes immediately to mind when thinking of Hill, but one listen to the lightly funky "Fish 'n Rice" and the more subtly insistent pulse of both versions of the title track included on the recently reissued Dance With Death and it becomes clear that Hill is as capable of captivating rhythms as he is more complex shifts. His more challenging side is in evidence on the aptly-named "Partitions," where the piece is broken up into discrete segments of varying tempi that still manage to hang together as a conceptual whole. Hill's time sense, with front-line instruments seeming to follow each other as they walk through the complicated theme of the balladic "Love Nocturne" until they eventually converge, is more elastic, less rigid than many of his contemporaries. Hill's sometimes convoluted compositions could sound clumsy in the wrong hands, but as was the case on '64's classic Point of Departure, Hill has surrounded himself with a stunning, albeit generally less well-known lineup. 

Woodwind multi-instrumentalist Joe Farrell, who would achieve his greatest success with Chick Corea a few years down the road, was already an established player with a robust tenor sound and a less nasal soprano sound than Coltrane, and would go on to grace Hill's more overtly ambitious '69 date, Passing Ships . Charles Tolliver, whose thick trumpet tone differentiated him from other fine contemporaries like Woody Shaw, never achieved the level of attention he deserved, although he is featured on many fine recordings by artists including Horace Silver, Jackie McLean and Booker Ervin, and released a number of intriguing albums as a leader in the '70s. Bassist Victor Sproles may be the least-known member of the quintet, but he possesses an approach not unlike Ron Carter's and, along with drummer Billy Higgins, the best-known player on the session, he navigates the challenging meters without losing sight of the inherent swing of the material, most notably on "Yellow Violet." Meanwhile Hill the pianist solos with an intriguing combination of lyricism and odd eccentricity. Dance With Death may not be the unequivocal masterpiece that Point of Departure is, nor is it as monumentally ambitious as Passing Ships , but it comes close an outstanding small ensemble work that continues to demonstrate what people have been missing and are only now beginning to realize. ~ John Kelman https://www.allaboutjazz.com/dance-with-death-andrew-hill-blue-note-records-review-by-john-kelman.php?width=1920

Personnel: Charles Tolliver (trumpet), Joe Farrell (tenor sax, soprano sax), Andrew Hill (piano), Victor Sproles (bass), Billy Higgins (drums)

Dance With Death

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Shirley Scott - Happy Talk (Remastered)

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 34:48
Size: 80,2 MB
Art: Front

(8:43)  1. Happy Talk
(5:28)  2. Jitterbug Waltz
(4:51)  3. My Romance
(5:17)  4. Where or When
(5:01)  5. I Hear a Rhapsody
(5:26)  6. Sweet Slumber

An admirer of the seminal Jimmy Smith, Shirley Scott has been one of the organ's most appealing representatives since the late '50s. Scott, a very melodic and accessible player, started out on piano and played trumpet in high school before taking up the Hammond B-3 and enjoying national recognition in the late '50s with her superb Prestige dates with tenor sax great Eddie "Lockjaw" Davis. Especially popular was their 1958 hit "In the Kitchen." Her reputation was cemented during the '60s on several superb, soulful organ/soul-jazz dates where she demonstrated an aggressive, highly rhythmic attack blending intricate bebop harmonies with bluesy melodies and a gospel influence, punctuating everything with great use of the bass pedals. Scott married soul-jazz tenor man Stanley Turrentine, with whom she often recorded in the '60s. The Scott/Turrentine union lasted until the early '70s, and their musical collaborations in the '60s were among the finest in the field. Scott wasn't as visible the following decade, when the popularity of organ combos decreased and labels were more interested in fusion and pop-jazz (though she did record some albums for Chess/Cadet and Strata East). But organists regained their popularity in the late '80s, which found her recording for Muse. Though known primarily for her organ playing, Scott is also a superb pianist  in the 1990s, she played piano exclusively on some trio recordings for Candid, and embraced the instrument consistently in Philly jazz venues in the early part of the decade. At the end of the '90s, Scott's heart was damaged by the diet drug combination, fen-phen, leading to her declining health. In 2000 she was awarded $8 million in a lawsuit against the manufacturers of the drug. On March 10, 2002 she died of heart failure at Presbyterian Hospital in Philadelphia. ~ Alex Henderson and Ron Wynn https://itunes.apple.com/ca/album/happy-talk-remastered/915593021

Personnel:  Shirley Scott - organ;  Earl May - bass;  Roy Haynes - drums

Happy Talk (Remastered)

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