Monique Thomas Voices Of Praise - It's Time

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 63:10
Size: 146,0 MB
Art: Front

( 5:14)  1. Don't Stop Believin'
( 5:07)  2. Ordinary Day
( 5:12)  3. Who ?
( 6:18)  4. It's Time
( 3:50)  5. Praise You
( 0:54)  6. WWYG Interlude
( 4:20)  7. Don't Be Shy
( 6:32)  8. Feel Better
( 5:47)  9. Take Me Higher
( 4:27) 10. God Said It
( 5:02) 11. Where Will You Go ?
(10:22) 12. All I Need

Creativity and tradition are not opposed. Originating from Black American religious chants, Gospel is the major artistic expression of the spiritual culture, and its musical influence has long since gone beyond its religious confines : although we cannot attribute it with the paternity of jazz, it had a strong influence on this music and is at the very root of soul music. Inspired by and rooted in tradition, Gospel defies trends and brings with it a universal profoundness. From Philadelphia, Pennsylvania (USA), Monique Thomas very early joined the chorals of her local Baptist churches and in many of them became lead singer. Immersed in both the radition of spirituals and in contemporary soul, she developed her own interpretation of Gospel. Living in France since 1998, she has finally found the opportunity to lay claim to her culture with an original project in the European Gospel landscape. Voices Of Praise is a thoroughly modern approach to Gospel, both in its respect for tradition and in its intention of faith, and, with a modern orchestration, is directly linked to the blues, funk and R'N'B cultures. https://store.cdbaby.com/cd/moniquethomas

It's Time

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David Murray Octet - Home

Styles: Saxophone, Clarinet Jazz
Year: 1982
File: MP3@320K/s
Time: 36:53
Size: 84,7 MB
Art: Front

(6:01)  1. Home
(6:51)  2. Santa Barbara And Crenshaw Follies
(6:11)  3. Choctaw Blues
(9:14)  4. Last Of The Hipmen
(8:35)  5. 3-D Family

Although David Murray has recorded in many different settings throughout his busy career, his octet has always been perfect for his talents. More disciplined than his big band, yet containing more tone colors than his smaller combos, the octet allowed Murray to be exploratory yet occasionally look backwards. This set, his second with the band, has quite an all-star lineup: Murray on tenor and bass clarinet, altoist Henry Threadgill, trumpeter Olu Dara, cornetist Butch Morris, trombonist George Lewis, pianist Anthony Davis, bassist Wilber Morris and drummer Steve McCall. All of the brilliant players have their opportunities to make strong contributions to Murray's five originals (best known of which is "3-D Family"), and the leader's writing is consistently colorful and unpredictable. Recommended. ~ Scott Yanow https://www.allmusic.com/album/home-mw0000649670

Personnel:  David Murray – tenor saxophone, bass clarinet; Henry Threadgill – alto saxophone, flute, alto flute; Olu Dara – trumpet; Lawrence "Butch" Morris – cornet; George Lewis – trombone; Anthony Davis – piano; Wilber Morris – bass; Steve McCall – drums

Home

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Cab Calloway & His Orchestra - Swinging 40s

Styles: Swing, Big Band 
Year: 2000
File: MP3@320K/s
Time: 43:57
Size: 101,5 MB
Art: Front

(3:17)  1. Russian Lullaby
(3:17)  2. 9:20 Special
(3:44)  3. The Very Thought Of You
(3:37)  4. Foo A Little Bally-Hoo
(2:28)  5. Is You Is Or Is You Ain't My Baby
(3:57)  6. Frantic In The Atlantic
(3:07)  7. Blue Skies
(1:15)  8. Bojangles Steps In
(2:36)  9. Easy Joe
(6:22) 10. Ain't That Something
(1:16) 11. Everybody Dance
(2:57) 12. The Honeydripper
(3:07) 13. Let's Go Joe
(2:50) 14. The Jumpin' Jive

One of the great entertainers, Cab Calloway was a household name by 1932, and never really declined in fame. A talented jazz singer and a superior scatter, Calloway's gyrations and showmanship on-stage at the Cotton Club sometimes overshadowed the quality of his always excellent bands. The younger brother of singer Blanche Calloway (who made some fine records before retiring in the mid-'30s), Cab grew up in Baltimore, attended law school briefly, and then quit to try to make it as a singer and a dancer. For a time, he headed the Alabamians, but the band was not strong enough to make it in New York. The Missourians, an excellent group that had previously recorded heated instrumentals but had fallen upon hard times, worked out much better. Calloway worked in the 1929 revue Hot Chocolates, started recording in 1930, and in 1931 hit it big with both "Minnie the Moocher" and his regular engagement at the Cotton Club. Calloway was soon (along with Bill Robinson, Ethel Waters, Louis Armstrong, and Duke Ellington) the best-known black entertainer of the era. He appeared in quite a few movies (including 1943's Stormy Weather), and "Minnie the Moocher" was followed by such recordings as "Kicking the Gong Around," "Reefer Man," "Minnie the Moocher's Wedding Day," "You Gotta Hi-De-Ho," "The Hi-De-Ho Miracle Man," and even "Mister Paganini, Swing for Minnie." Among Calloway's sidemen through the years (who received among the highest salaries in the business) were Walter "Foots" Thomas, Bennie Payne, Doc Cheatham, Eddie Barefield, Shad Collins, Cozy Cole, Danny Barker, Milt Hinton, Mario Bauza, Chu Berry, Dizzy Gillespie, Jonah Jones, Tyree Glenn, Panama Francis, and Ike Quebec. His 1942 recording of "Blues in the Night" was a big hit. With the end of the big band era, Calloway had to reluctantly break up his orchestra in 1948, although he continued to perform with his Cab Jivers. Since George Gershwin had originally modeled the character Sportin' Life in Porgy and Bess after Calloway, it was fitting that Cab got to play him in a 1950s version. Throughout the rest of his career, Calloway made special appearances for fans who never tired of hearing him sing "Minnie the Moocher."

Personnel:  Alto Saxophone – Andy Brown, Chauncey Haughton, Hilton Jefferson, Jerry Blake; Baritone Saxophone – Greely Walton, Rudy Powell; Bass – Milton Hinton; Drums – Buford Oliver, Cozy Cole, J.C. Heard; Guitar – Danny Barker; Piano – Bennie Payne, Dave Rivera; Tenor Saxophone – Al Gibson, Ike Quebec, Teddy McRae, Walter Thomas; Trombone – Claude Jones, DePrieste Wheeler, Keg Johnson, Quentin Jackson, Tyree Glenn; Trumpet – Irving Randolph, Jonah Jones, Lamar Wright, Paul Webster, Russell Smith, Shad Collins

Swinging 40s

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Harry James - Wild About Harry!

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 38:25
Size: 89,0 MB
Art: Front

(4:14)  1. Barn 12
(4:53)  2. What Am I Here For
(2:39)  3. Blues For Harry's Sake
(4:00)  4. Bee Gee
(3:22)  5. Blues On A Count
(4:14)  6. Kinda Like The Blues
(4:42)  7. Blues For Lovers Only
(3:11)  8. Countin'
(3:26)  9. Cotton Pickin'
(3:42) 10. Ring For Porter

By 1957, Harry James was in an artistic rut. Although he would occasionally try to come up with fresh material, he never did regain the stature he had in the 1940s. This Capitol LP mostly contains material arranged by Ernie Wilkins and the result is that the James band often sounds like Count Basie's. Buddy Rich's drumming helps uplift the band, altoist Willie Smith, tenorman Corky Corcoran and trombonist Herbie Harper have some good spots and James is in good form but the music is not all that memorable. ~ Scott Yanow https://www.allmusic.com/album/wild-about-harry-mw0000869403

Personnel:   Trumpet – Harry James; Saxophone – Willie Smith, Corky Corcoran, Ernest Small, Francis Polifroni, Herb Lorden; Trumpet – Robert Rolfe, Don Paladino, Nick Buono, Ray Linn; Trombone – Robert Edmondson, Herb Harper, Robert Robinson; Piano – Larry Kinnamon; Guitar – Allan Reuss; Bass – Russ Phillips; Drums - Buddy Rich.

Wild About Harry!

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Dave Brubeck - Jackpot

Styles: Piano Jazz
Year: 1966
File: MP3@256K/s
Time: 52:56
Size: 97,4 MB
Art: Front

( 6:48)  1. Ace in the Hole
( 6:49)  2. Out of Nowhere
(10:25)  3. You Go To My Head
( 3:06)  4. Who's Afraid (of Virginia Woolf?)
( 7:03)  5. Chicago (That Toddling Town)
( 2:58)  6. Rude Old Man
(10:58)  7. Jackpot
( 4:44)  8. Win a Few, Lose a Few

Dave Brubeck really hits the jackpot here playing live in Las Vegas with his classic quartet that includes the legendary Paul Desmond on alto sax! Dave's studio records for Columbia are all pretty darn great but sometimes, there's a little something extra in his live dates for the label maybe a few more relaxed moments, or less overall concepts that give the group a bit more of a spontaneous approach in ways that almost take us back to the early years on Fantasy Records. Dave opens up the set with a trio number, and a bit more bluesy vibe than usual then Desmond comes in, and blows us away all over again with his impeccable tone and timing alongside rhythm from Eugene Wright on bass and Joe Morello on drums. Titles include "Win A Few Lose A Few", "Jackpot", "Rude Old Man", "Ace In The Hole", and "Out Of Nowhere".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/570290/Dave-Brubeck:Jackpot

Personnel:  Piano – Dave Brubeck;  Alto Saxophone – Paul Desmond; Bass – Eugene Wright;  Drums – Joe Morello

Jackpot

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Johnny Richards Orquestra - Kiss Her Goodbye

Styles: Jazz, Big Band
Year: 2011
File: MP3@320K/s
Time: 77:27
Size: 179,9 MB
Art: Front

(1:22)  1. Intro & Theme
(1:55)  2. Kiss Her Goodbye
(2:28)  3. On the Wagon
(2:05)  4. Juke Jumps
(2:19)  5. Shutters
(3:04)  6. Nightmare
(1:40)  7. Playground
(3:27)  8. The Baby's Missing
(1:35)  9. At the Beach
(3:35) 10. Another Chance
(3:48) 11. Grown Up
(3:20) 12. Special Friends
(1:02) 13. Emily
(1:53) 14. Confession
(2:51) 15. End Title
(3:13) 16. The Moon Was Yellow
(0:50) 17. Theme
(4:13) 18. Ochun
(3:42) 19. Estoy Cansado
(7:31) 20. Dimples
(4:21) 21. Laura
(1:19) 22. Theme
(6:41) 23. Dimples
(4:56) 24. Band Aide
(4:06) 25. Laura

Johnny Richards was a forward-thinking arranger who incorporated Latin rhythms and dissonance, spending the early decades of his career working on Hollywood soundtracks before moving to New York City to contribute charts to Stan Kenton and leading his own band. Yet Richards has been badly neglected in the CD era, with few of his albums being reissued. This compilation is an important addition to his legacy, for it centers around an important, never-before-released soundtrack to the film Kiss Her Goodbye, shelved by Warner Bros. after the film (shot in Cuba) was seized following Fidel Castro's 1959 takeover. The source material came from a test pressing given to Richards by the label, which was tracked down by Uptown owner Bob Sunenblick, MD, with substantial help from discographers Michael Sparke and Jack Hartley in the identification of the musicians and song titles. The first 15 selections were recorded for the soundtrack, though they were likely only excerpted in the movie, as is typically the case, even though all of them are under four minutes. Some of the highlights include the breezy "Juke Jumps" (with fine solos by Phil Woods, Jimmy Cleveland, Burt Collins, and Ray Copeland), the mellow ballad "Shutters" featuring the trombone section and muted trumpet, and the suspenseful "The Baby's Missing" (showcasing Gene Quill's explosive alto). It is a shame that the movie was never completed, but at least Johnny Richards impressive soundtrack is finally available. The only previously issued track is "The Moon Is Yellow" from an LP by the Luis Tiramani Orchestra, with the arrangement credited to Tiramani but very likely ghost written by Richards. The final nine songs come from a pair of 1959 NBC radio broadcasts, with his mellow, playful original "Dimples" and lush, richly textured setting of "Laura" (both heard in two separate performances), which best display the arranger's gifts. The detailed liner notes and period photographs add value of this valuable, long lost music. ~ Ken Dryden https://www.allmusic.com/album/kiss-her-goodbye-new-york-city-1958-1959-mw0002146822

Johnny Richards - composer;  Ray Copeland, Clyde Reasinger, Burt Collins, Jerry Kail - trumpet;  Jimmy Cleveland, Jim Dahl, Billy Byers - trombone;  Al Antonucci - French horn;  Phil Woods - alto sax;  Frank Socolow - tenor sax;  Billy Slapin - baritone sax;  Shelly Gold - bas sax;  Bobby Pancoast - piano; Chet Amsterdam - acoustic double bass;  Charlie Persip, drums.

Kiss Her Goodbye

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Dmitry Baevsky - Introducing Dmitry Baevsky

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 57:37
Size: 133,6 MB
Art: Front

(4:44)  1. Love Is a Many Splendored Thing
(3:49)  2. Casbah
(6:12)  3. You Do Something to Me
(5:02)  4. Klact-Oveeds-Teen
(7:22)  5. Autumn Nocturne
(5:56)  6. Tin-Tin-Deo
(4:48)  7. Cool Eyes
(7:44)  8. Buffalo
(5:58)  9. Al-Leu-Cha
(5:57) 10. For You, For Me, Forever More

Over two years after advance copies teased the jazz press about the capabilities of teenaged alto saxophonist Dmitry Baevsky's surprising chops, the Lineage label finally came into being in early 2006, with Baevsky's debut as one of their inaugural releases. Well accompanied by veterans like pianist Cedar Walton and drummer Jimmy Cobb, along with bassist John Webber and guitarist Ilya Lushtak, the young Russian is still forming his own style, though he has obviously done his musical homework and was prepared for the recording session, which is sometimes a problem with young musicians prematurely given the opportunity to record as leaders. The set list covers a lot of ground, mixing standards and jazz compositions (both favorites and forgotten gems). He shows a bit of Phil Woods' influence in "Love Is a Many Splendored Thing," while he easily negotiates the tricky changes of Charlie Parker's "Klactoveedsedstene" and displays a bit of playfulness. The young man also measures up in ballad settings such as the lush "Autumn Nocturne" and Kenny Dorham's down-and-dirty blues "Buffalo." While it is impossible to render a verdict on a newcomer based on his first CD, Dmitry Baevsky obviously has studied his craft and has a lot of potential to offer; this initial session likely provided him some terrific seasoning by getting the opportunity to work with Walton and Cobb. ~ Ken Dryden https://www.allmusic.com/album/introducing-dmitry-baevsky-mw0000544977

Personnel:  Alto Saxophone – Dmitry Baevsky; Bass – John Webber ; Drums – Jimmy Cobb; Guitar – Ilya Lushtack; Piano – Hank Jones

Introducing Dmitry Baevsky

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Barbra Lica - You're Fine

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 44:43
Size: 105,6 MB
Art: Front

(3:18)  1. Before I Do
(3:50)  2. The Birds and the Bees
(3:42)  3. Let You Go
(3:45)  4. Jolie Oiseau
(3:06)  5. Everybody Else
(3:53)  6. Slow Dancing
(3:33)  7. More Than Anything (Like Song)
(4:32)  8. Drive
(3:26)  9. Nowhere with You
(5:00) 10. Lucky Break
(3:23) 11. All There Is
(3:08) 12. When I'm Gone

Barbra Lica is a fast-rising Canadian jazz vocalist and songwriter, and has been receiving accolades for her unique vocal ability that stresses subtlety and grace. Based in Toronto, Barbra’s live shows have captivated audiences all over North America with her genuine warmth and confident stage presence. Hot on the heels of her 2017 Juno-nominated recording, ‘I’m Still Learning’, Barbra Lica is back with her fifth and most ambitious offering to date ‘You’re Fine’ (November 2018). Having spent the last couple of years touring clubs and festivals, Barbra found herself in Nashville where she was blown away by the sounds of old country and western swing. She dedicated the next year to song writing trips between Nashville and Toronto, collaborating with new songwriters and work-shopping with her band to find a new space for contemporary jazz, one that borrows and fuses elements of American country music.

‘You’re Fine’ covers all the bases: poignant, introspective, tongue in cheek and heart breaking. This genre-bending project breaks every rule while searching for commonalities between musical palettes, human experiences and two sides of one border. Recorded at Addiction Sounds Studios in the heart of Nashville, this represents Barbra’s second production with in-demand Canadian producer/bassist Marc Rogers. It also features Barbra’s full band of rising talents from Toronto alongside legendary guest artists Paul Franklin (Vince Gill, Mark Knopfler, Shania Twain) on the pedal steel guitar and multi-instrumentalist Wanda Vick Burchfield (Taylor Swift, Trisha Yearwood, Jason Aldean). ‘You’re Fine’ is a musical event not to be missed “It starts and ends with Lica’s voice. It’s a bright, vibrant contralto one minute, laconic and syrupy the next when she lets a phrase die on the vine and trail off” ~ Frank De Blase, Journalist, City Newspaper https://barbralicamusic.com/

You're Fine

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Cris Delanno - Now and Forever

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 58:16
Size: 134,9 MB
Art: Front

(3:57)  1. Beat It
(3:50)  2. West End Girls
(3:14)  3. Life
(4:48)  4. Don't Stop 'Til You Get Enough
(5:00)  5. You Are Not Alone
(3:36)  6. Lucky
(3:42)  7. Make It Mine
(3:56)  8. 21 Guns
(3:43)  9. Am I the Same Girl
(3:39) 10. The Best of My Love
(4:15) 11. I Can't Give You Anythng but Love
(4:44) 12. Joy and Pain
(3:35) 13. Now and Forever
(3:13) 14. The Kids Aren't Alright
(2:58) 15. You Rise Me Up

Born in the U.S. but raised in Brazil, Cris Delano began singing in a children's chorus before becoming a backup vocalist for local numbers. In 1999, she published a book called Mais Nunca E Preciso Cantar (More Than Ever Is Necessary to Sing). 

Delano made her debut with Em Tom Maior, a tribute to local star Tom Jobim. The album was produced in 2000 by composer/arranger Roberto Menescal, founder of Brazilian label Albatroz. The independent Filha Da Pátria followed in 2001. ~ Drago Bonacich https://www.allmusic.com/artist/cris-delanno-mn0000134383

Now and Forever

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Dayna Stephens - I'll Take My Chances

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 73:07
Size: 170,5 MB
Art: Front

(9:01)  1. Good Tree, Good Fruit
(7:20)  2. Jfk International
(8:15)  3. Adrift
(7:26)  4. Dirty
(7:59)  5. Unrequited I
(5:13)  6. Prelude to a Kiss
(7:12)  7. Field of Landmines
(9:11)  8. I'll Take My Chances
(4:42)  9. Weezy
(6:44) 10. Unrequited

For his second Criss Cross release I'll Take My Chances, saxophonist Dayna Stephens has put together an impressive recital showing off his skill for composition, arranging, and improvisation. The ten tunes presented here are a nice mix of Stephens's originals, an Ellington classic, and original tunes from contemporary pianists Brad Mehldau and Aaron Parks. The tunes all prove to be fantastic vehicles for Stephens to showcase his warm, soulful sound, and the prowess of the group he has put together for this recording. For the rhythm section Stephens joins pianist, Gerald Clayton, and bassist, Joe Sanders, both young players who have been attracting attention since their time at the Thelonious Monk Institute, where Stephens also studied. Drummer Bill Stewart has been a powerful presence in the New York jazz scene for twenty years now and he and Sanders seem to connect almost effortlessly on this album. Stephens completes the rhythm section with guitarist, Charles Altura, who has just recently come into the spotlight for his work on Chick Corea's The Vigil (Stretch Records, 2013). On his original tunes Stephens shows off his talent for writing interesting melodies. "JFK International" has a winding, unpredictable melody, obviously inspired by the hustle and bustle that can always be found in the airport. Appropriately, "Field of Landmines" has a light and careful feeling to it and Stephens explores some new sounds during his solo by using a chorus pedal, adding an interesting texture to this album. 

The fact that Stephens's original, "I'll Take My Chances," comes directly after "Field of Landmines" may strike some listeners as humorous but the song itself sets a serious tone and sets a perfect backdrop for Stephens's rich tone. "Dirty," another Stephens original stands out on this album and finds Gerald Clayton accompanying from the Hammond B3. Stephens does his best to live up to the tune's name with a soulful bari sax solo. For the centerpiece of the album Stephens recruited vocalist, Becca Stephens, to lend her delicate voice to his treatment of the classic Ellington tune, "Prelude to a Kiss." Though piano and guitar have a history for stepping on each other's toes in this type of a group setting, Clayton and Altura do remarkable job of complimenting each other rather than getting in each other's way on this tune. With this album Dayna Stephens adds another credit to his growing discography and proves himself a force to be reckoned with, not only as a soloist, but also as a composer, arranger, and band-leader. The other members of his quintet interpret Stephens's music with confidence and authority and accompany him well. Hopefully we can look forward to hearing Stephens develop even more as a composer and improviser in the years to come. ~ Andrew Luhn https://www.allaboutjazz.com/ill-take-my-chances-dayna-stephens-criss-cross-review-by-andrew-luhn.php

Personnel: Dayna Stephens: Tenor and Baritone saxophones; Charles Altura: Guitar; Gerald Clayton: Piano/Hammond B3 Organ; Joe Sanders: Bass; Bill Stewart: Drums; Becca Stevens: Vocals

I'll Take My Chances

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Todd Gordon - Ballads from the Midnight Hotel

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 52:13
Size: 121,0 MB
Art: Front

(5:45)  1. Where or When
(3:55)  2. Everything Must Change
(2:53)  3. Hotel
(4:32)  4. If You Could Read My Mind
(2:05)  5. Indiscreet
(4:07)  6. I Get Along Without You Very Well
(3:17)  7. In the Wee Small Hours of the Morning
(4:29)  8. Somehwhere in My Heart
(3:55)  9. To Love and be Loved
(2:09) 10. The Second Time Around
(3:31) 11. The Good Life
(2:36) 12. Glad to be Unhappy
(3:14) 13. Come in from the Rain
(3:24) 14. In My Life
(2:15) 15. It's Impossible

In just a few years, Todd Gordon has established himself as “one of Britain’s most popular singers and entertainers” (Scottish Television). An avid Beatles fan until the age of 11, his musical horizons broadened when he heard Frank Sinatra's “Songs for Swingin' Lovers!” album. From that moment, he collected almost every recording by Ol' Blue Eyes whilst expanding his interest in jazz and swing, encompassing numerous other renowned singers and instrumentalists. Further inspiration came in 1975 when he met Ella Fitzgerald prior to one of her shows. During her concert, she invited him on stage and sang “You Are the Sunshine of My Life” specially to him. Since then, Gordon has been fortunate enough to meet many more of his idols including Bing Crosby, Rosemary Clooney, Count Basie, Woody Herman, George Shearing and Tony Bennett. Gordon's interest in music and singing was passionate, yet always private. But in 2000, he took part in a week-long vocal jazz workshop and that changed everything. His stage debut came in 2001 at Scotland’s top jazz club and from that moment on, as the cliché goes, he's never looked back. In 2003, aged 44, he was booked to open for Dionne Warwick during her UK tour, which prompted him to give up his day job organisng trade expos. Since then, Gordon has performed frequently at Britain’s top jazz venues, including The Pizza Express Jazz Room, The 606 in Chelsea and the world- renowned Ronnie Scott’s in London and The Plaza and The Algonquin hotels in New York where he even did a duet with actor Christopher Walken, singing “I've Got You Under My Skin”.He also features regularly at major jazz festivals and concerts. Indeed, he was the first-ever Scottish male vocalist to be booked for the London Jazz Festival, with his performance at the Royal Opera House in 2007 a show which was followed by a sell-out return visit two years later.Gordon's audiences range from intimate jazz clubs to large-scale shows (he regularly compères and performs at “Jazz on a Summer’s Day” against the backdrop of Edinburgh Castle Britain’s biggest jazz event with an audience of 20,000 plus) and he was also one of four nominees for a national music award alongside classical conductor Ilan Volkov, the pop group Texas and singing sensation, Annie Lennox. Gordon has performed joint concerts with most of Britain's best female jazz singers including Jacqui Dankworth, Claire Martin, Clare Teal, Elaine Delmar, Tina May, Juliet Roberts etc, as well as American singers Barbara Morrison and Clairdee. 

He works with the very best musicians and has released three albums with Ian Shaw in the producer’s chair: “Love’s Illusions,” “Ballads from The Midnight Hotel” (with Guy Barker and featuring a duet with Jacqui Dankworth), and “Moon River to the Days of Wine and Roses” an album celebrating the work of the legendary American Songbook lyricist Johnny Mercer, with the acclaimed Mel Tormé pianist, John Colianni. His latest releases (both reviewed on this site by both Ian Patterson and Bruce Lindsay) is a big band swing album with the Royal Air Force Squadronaires entitled “Evergreen” and “Love dot com” - an album Gordon recorded in Seoul after one of his tracks was used as the theme song in a top Korean TV drama series. Further expanding his passion for music, Gordon set up a concert promotion business, Jazz International, which has staged almost 100 events at Scotland’s leading music venues. In addition, he’s been presenting several weekly radio shows, one of which is syndicated worldwide. As a live performer, Gordon’s concerts appeal to a wider audience than just jazz lovers, however. He has created several crowd-pulling, and audience pleasing, concert themes, which have won five-star reviews. Line-ups for these range from a top flight trio to the superb BBC Big Band, the renowned Ronnie Scott's Jazz Orchestra and award-winning Back to Basie Orchestra. Along the way, many respected songwriters have praised Gordon’s interpretations of their songs, including the legendary Mike Stoller, the hugely successful Gilbert O’Sullivan, the co-composer of Sinatra’s “Watertown” masterpiece, Jake Holmes, as well as fêted composer, Stephen Sondheim. https://musicians.allaboutjazz.com/toddgordon

Ballads from the Midnight Hotel

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Ronnie Cuber - Live at Montmartre

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 53:34
Size: 123,8 MB
Art: Front

(4:48)  1. Tee's Bag
(5:03)  2. Bluesette
(5:05)  3. Cherokee
(8:48)  4. Just Friends
(7:10)  5. Au Privave
(7:15)  6. Silvers Serenade
(8:35)  7. Jazz Girls
(6:46)  8. Four

Of all the musical instruments invented by Adolphe Sax in the mid-19th century, the baritone saxophone remains the least played. Harry Carney persuaded Duke Ellington to use the heavy, cumbersome instrument and it became a distinctive part of the band's sound. Others who have played the baritone saxophone include Cecil Payne, Pepper Adams, Serge Chaloff and for reasons that remain obscure Lisa Simpson (perhaps she welcomed the challenge). Gerry Mulligan and the Swede Lars Gullin gave the instrument a distinctive, laid-back, specifically modern sound. All of which brings us to Ronnie Cuber, who uses the baritone sax as a forceful, hard bop instrument, creating a very distinctive sound all his own, as can be heard in this 2017 live recording from Jazzhus Montmartre in Copenhagen. Risks were taken. Well into the set, Cuber asked organist Kjell Lauritsen, "Can you play Cherokee?" When Lauritsen replied, "Yeah, not too fast," Cuber responded, "It's gonna be fast." Lauritsen says, "I don't know how anyone can play this instrument the baritone sax in that tempo. But with Ronnie everything falls into place. His playing sets every tempo, every mood right in place for all in the band."  Ray Noble's "Cherokee" is third up, following an original, "Tee's Bag," then Toots Thielemans' gentle ballad "Bluesette." Next comes "Just Friends" by John Klenner, from 1931 and Charlie Parker's "Au Privave," penned two decades later. Despite the fact that it's one of Parker's more enduring compositions, no one has ever been able to figure out what it means. Lauritsen is particularly good on this one and there's some fine drumming by Andreas Svendsen. Guitarist Krister Jonsson produces a good solo on Horace Silver's "Silver's Serenade" and an even better one on Lauritsen's "Jazz Girls," which otherwise sees Cuber at his straight ahead best. Then everything comes to a fine conclusion with "Four," by Miles Davis (though authorship has been contested by saxophonist Eddie "Cleanhead" Vinson and it also sounds remarkably like the Barton Lane showstopper "How About You?" from 1941). ~ Chris Mosey https://www.allaboutjazz.com/live-at-montmartre-ronnie-cuber-storyville-records-review-by-chris-mosey.php

Personnel: Ronnie Cuber: baritone saxophone; Kjeld Lauritsen: Hammond organ; Krister Jonsson: guitar; Andreas Svendsen: drums.

Live at Montmartre

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Bob Scobey's Frisco Band - Swingin' On The Golden Gate

Styles: Trumpet Jazz, Swing
Year: 1899
File: MP3@320K/s
Time: 38:31
Size: 89,3 MB
Art: Front

(2:48)  1. Sunny Disposish
(3:11)  2. Carolina In The Morning
(3:48)  3. Feet Draggin' Blues
(2:22)  4. It Happened In Sun valley
(4:07)  5. I Can't Get Started With You
(3:19)  6. Come Back Sweet Papa
(2:48)  7. Wabash Cannonball
(2:48)  8. New Orleans
(3:15)  9. Ain't-Cha Glad?
(3:19) 10. Let's Dance The Ragtime, Darlin'
(4:24) 11. Snag It
(2:18) 12. Waiting For The Robert E. Lee

Trumpeter Bob Scobey used an expanded version of his Frisco Jazz Band for this fine effort, last available as a now out-of-print LP. Matty Matlock's arrangements for the six horns (including three trombones), four-piece rhythm section and banjoist Clancy Hayes (who takes five vocals) are colorful and swinging. Some of the song choices are a bit off the wall (including "It Happened In Sun Valley," "Wabash Cannonball" and the recent "Let's Dance The Ragtime Darlin'"), but this brand of Dixieland avoids corn in favor of sincere swinging. In addition to Scobey (who is in fine form), the supporting cast has such strong players as trumpeter Dick Cathcart, clarinetist Matlock and pianist Ralph Sutton. ~ Scott Yanow https://www.allmusic.com/album/swingin-on-the-golden-gate-mw0000896219

Personnel: Bob Scobey - leader, trumpet; Clancy Hayes - banjo, guitar, vocals; Matty Matlock - clarinet, arranger; Abe Lincoln - trombone; Warren Smith - trombone; Jack Buck - trombone; Ralph Sutton - piano; Bob Short - tuba; Sammy Goldstein - drums.

Swingin' On The Golden Gate

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Calabria Foti - In The Still Of The Night

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 49:09
Size: 115,0 MB
Art: Front

(4:07)  1. Just one of those things
(3:40)  2. Miss Otis regrets
(4:09)  3. Anything goes
(5:14)  4. What is this thing called love
(4:35)  5. Night and day
(5:22)  6. I concentrate on you
(4:43)  7. Ev'ry time we say goodbye
(3:18)  8. Get out of town
(4:14)  9. It's alright with me
(5:41) 10. So in love
(4:01) 11. In the still of the night

With In the Still of the Night, vocalist Calabria Foti joins the ranks of Ella Fitzgerald, Frank Sinatra, Oscar Peterson, and many others -vocalists and instrumentalists who have dived deeply into the Cole Porter canon. It takes a very special talent to deftly probe the poetic and pithy romantic lingo that the Classic material offers. So, while that ocean is Trench deep, how is one to pluck new musical perspectives and give old ones a novel patina? Foti, along with a cadre of musicians of same mind, does so and strikes it rich here. Launching into things with a marvelous Latin-tinged send-up of "Just One of Those Things," we get the immediate idea that this run-through of Porter's material 11 of his greatest from Broadway and Hollywood -is going to be a fine and unique ride. Whether it is a "fabluelous" send up of "Miss Otis Regrets" or any of the rest, the selections here are delivered with an elegantly restrained texture that's spearheaded by Foti's marvelously versatile and in-command chops.  While Foti's voice is pitch-perfect and liquid gold, the keen thing about her effort stylistically is her extraordinary rhythmic and dynamic sense and the manner in which she plays with the beat ("Anything Goes," "Night and Day"). A careful listen yields an almost Chet Baker-esque approach to time. Key words in each lyric line are subtlely emphasized and de-emphasized with an instrumentalist's flair ("What is This Thing Called Love," "Every Time We Say Goodbye" with neat cello quotes of "Goodbye" and "My One and Only Love" -and "Get Out of Town"). There's no saccharine served at this table. That's no surprise, since Foti is a heralded violinist, as well as a premier chanteuse. Ever get that sense you're experiencing a memorable musical candlelight dinner conversation? You will here. ("I Concentrate on You," "In the Still of the Night"). It's luscious stuff. The ensemble on the session all crème and superb throughout includes producer/arranger pianist Michael Patterson (an outstanding job), guitarist Gene Bertoncini, bassist Ike Sturm, cellist Richard Locker, and drummer Jared Schonig. Cameos across the date by clarinetist Eddie Daniels and trombonist Bob McChesney add savory fill material always in perfect synch with what's going on. There's no stepping on heels in this dance. In the Still of the Night is certainly a fine addition to those aforementioned classic Songbook albums of the Greats and one that entices and enthralls with sublime taste. It is indeed the genuine turtle soup. ~ Nicholas F.Mondello https://www.allaboutjazz.com/in-the-still-of-the-night-calabria-foti-moco-records-review-by-nicholas-f-mondello.php

Personnel: Calabria Foti: vocals; Michael Patterson: piano; Eddie Daniels: clarinet; Gene Bertoncini: guitar; Richard Locker: cello; Bob McChesney: trombone; Ike Sturm: bass; Jared Schonig: drums. 

In The Still Of The Night

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Bruce Barth Quintet - In Focus

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 62:10
Size: 143,4 MB
Art: Front

(8:04)  1. I Hear Music
(5:45)  2. Escapade By Night
(7:53)  3. Nefer Bond
(5:17)  4. I Got It Bad
(6:27)  5. In Search Of
(5:32)  6. Pinocchio
(5:33)  7. Louise
(5:25)  8. Persistence
(7:05)  9. Wildflower
(5:05) 10. Secret Name

Bruce Barth's recording debut as a leader was an auspicious one, though it probably wasn't as widely distributed as it might have been by a U.S. label. Accompanied by a number of other talented young players (Steve Wilson on alto and soprano sax, trumpeter Scott Wendholdt, bassist Robert Hurst, and drummer Lewis Nash), the pianist works magic with time-tested standards such as his adventurous post-bop treatment of "I Hear Music" and a rhapsodic solo interpretation of Duke Ellington's "I Got It Bad (And That Ain't Good)." His trio arrangement of Wayne Shorter's "Pinocchio" is suspenseful yet full of energy, while another Shorter composition, "Wildflower," shows just a hint of McCoy Tyner's influence on his playing. Barth's original works are also worth investigating, especially the sauntering "Nefer Bond" (named for his cat) and the tender ballad "Louise," which features an intriguing blend of Wilson's soprano sax and Wendholt's trumpet. The overall strength of this initial recording as a leader by Bruce Barth make it worth the search. ~ Ken Dryden https://www.allmusic.com/album/in-focus-mw0000621670

Personnel: Bruce Barth - piano, composer;  Steve Wilson - alto saxophone, soprano saxophone; Scott Wendholt - trumpet; Robert Hurst - bass; Lewis Nash - drums

In Focus

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The Mike Nock Underground - Between Or Beyond

Styles: Piano Jazz
Year: 1971/2015
File: MP3@320K/s
Time: 38:47
Size: 89,9 MB
Art: Front

(5:12)  1. Between Or Beyond
(5:28)  2. The Squire
(3:22)  3. Hobgoblin
(4:51)  4. Outfall
(6:48)  5. Denim Dance
(4:58)  6. Lady Love
(4:00)  7. Wax Planet
(4:04)  8. Space Bugaloo

The Fourth Way (with keyboardist Mike Nock, violinist Michael White and drummer Eddie Marshall) was an early fusion quartet that released three fine albums between 1969-71, none of which has been reissued on CD. Between Or Beyond was an album released in 1970 by the German MPS label and credited to the Mike Nock Underground, basically the Fourth Way minus White. Given its time and place (recorded in Germany in June of 1970), sonically, it's very much of its time. But it's a corker of an album that is the equal to any of the Fourth Way discs as well as a lot of other better-known electric jazz experiments of the time. McClure plays electric bass and it's mixed to the foreground so it functions as much as a frontline instrument as in the rhythm section. While some of this disc dwells in the area of adventurous acoustic piano trio jazz ("Hobgoblin" and McClure's "Denim Dance"), most of it is electric piano based jazz/rock. Nock sounds like he's having a lot of fun making his piano do a lot of things the old acoustic couldn't do. A point of reference might be Canterbury bands' forays into jazz improv. Nock's disc is a good demonstration that before it devolved into formulaic demonstrations of soulless technique, some highly enjoyable recordings were released under the fusion banner. Good to see this one back in print, although it may be hard to come by since it's a Japanese reissue. ~ Robert Iannapollo https://www.allaboutjazz.com/ron-mcclure-wonderland-always-and-between-or-beyond-by-robert-iannapollo.php

Personnel: Mike Nock - piano, electric piano;  Ron McClure - bass; Eddie Marshall - drums.

Between Or Beyond

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Bryan Ferry - Bitter-Sweet

Styles: Vocal, New Orleans Jazz Revival 
Year: 2018
File: MP3@320K/s
Time: 42:52
Size: 99,5 MB
Art: Front

(2:54)  1. Alphaville
(3:42)  2. Reason or Rhyme
(2:30)  3. Sign of the Times
(3:57)  4. New Town
(2:49)  5. Limbo
(3:57)  6. Bitter-Sweet
(2:47)  7. Dance Away
(3:06)  8. Zamba
(3:01)  9. Sea Breezes
(3:11) 10. While My Heart Is Still Beating
(2:26) 11. Bitters End
(3:47) 12. Chance Meeting
(4:40) 13. Boys and Girls

Building upon 2012's The Jazz Age, and his acting turn as a cabaret singer in the 1930s Netflix drama Babylon Berlin, Bryan Ferry returns to his love of urbane classic jazz with 2018's Bitter-Sweet. Recorded with longtime collaborator/pianist Colin Good, Bitter-Sweet finds the Roxy Music frontman once again embracing the vintage 1920s and '30s big-band swing he first explored on 1999's As Time Goes By, and which he and Good brought to fruition with The Jazz Age. However, whereas The Jazz Age featured instrumental reworkings of many of Ferry's best-loved songs, Bitter-Sweet features Ferry singing jazz versions of both Roxy Music songs and songs from his solo career. Featured on the album are the six songs the singer contributed to the Babylon Berlin soundtrack, including "Alphaville," "Reason or Rhyme," "Bitter-Sweet," "Dance Away," "Chance Meeting," and "Bitters End." As arranged by Good and Ferry, these are all wry and romantic productions that evoke the smoky ambiance of Babylon Berlin's Weimar Republic-era setting. Elsewhere, Ferry transforms the new wave sophistication of "While My Heart Is Still Beating" off 1982's Avalon into a slinky, half-lidded crawl, and similarly mutates the pop exotica of his 1985 title track "Boys and Girls" into a slow-burn flamenco fever dream. Particularly compelling is Ferry and his orchestra's snappy rendition of "Sign of the Times" off 1978's The Bride Stripped Bare, in which the original track's driving guitar lines are transposed to a puckered trumpet lead. This is haunting jazz sprinkled with the golden dust of Ferry's glittery rock past. ~ Matt Collar https://www.allmusic.com/album/bitter-sweet-mw0003219669

Bitter-Sweet

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Rich Perry Quartet - Left Alone

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 61:28
Size: 141,5 MB
Art: Front

(10:32)  1. Infant Eyes
( 8:15)  2. Tripping
( 7:11)  3. Left Alone
( 5:35)  4. When Will the Blues Leave
( 8:28)  5. Long Ago and Far Away
( 7:32)  6. Bemsha Swing
( 6:58)  7. My One and Only Love
( 6:54)  8. Big Foot

A fine young veteran tenor player, Rich Perry went on the road in 1975 with the Glenn Miller ghost band. In 1976, he moved to New York and joined the Thad Jones/Mel Lewis orchestra. He went on to play with a wide variety of top players including Chet Baker, Machito, Bob Moses, Jack McDuff, Billy Hart, Eddie Gomez, Tom Harrell, the Mel Lewis big band, and Harold Danko. Rich Perry first recorded as a leader in 1993 for SteepleChase. ~ Scott Yanow https://www.allmusic.com/artist/rich-perry-mn0000288248/biography

Personnel: Rich Perry - tenor saxophone; Frank Kimbrough - piano; Jay Anderson - bass; Billy Drummond - drums

Left Alone

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Janet Seidel - Little Jazz Bird

Styles: Vocal Jazz
Year: 1994
File: MP3@320K/s
Time: 61:23
Size: 142,2 MB
Art: Front

(2:28)  1. September In The Rain
(3:12)  2. 42nd Street
(4:00)  3. Embraceable You
(4:22)  4. Skylark
(4:32)  5. Willow Weep For Me
(3:18)  6. Slow Hot Wind
(5:10)  7. My Ship
(4:07)  8. Cheek To Cheek
(2:33)  9. Them There Eyes
(3:33) 10. Like Someone In Love
(4:59) 11. Lush Life
(3:18) 12. I'm Old Fashioned
(3:47) 13. Sooner Or Later
(3:01) 14. That Black Magic
(3:42) 15. In The Wee Small Hours
(2:22) 16. Come Back To Me
(2:52) 17. Little Jazz Bird

Born in Australia's bush country, Janet Seidel emerged as one of that country's leading cabaret and jazz vocalists. She appeared frequently at Australia's top jazz and hotel venues beginning in the early '80s, often working with bassist brother David Seidel. Janet Seidel also performed at jazz festivals in the U.S., working with such jazz notables as Harry Allen, Dan Barrett, Dave McKenna, and Michael Moore. Her first venture into cabaret came in 2000 when she put together and starred in Doris and Me, a tribute to Doris Day's singing career. Often working with saxophone player Tom Baker and with her brother, she has made numerous albums for the LaBrava label. Her double album The Way You Wear Your Hat was named vocal album of the year by Australia's national newspaper and was a finalist for the prestigious ARIA award. Her The Art of Lounge, Vol. 2 was similarly a finalist for that award for the AIRA Jazz Album of the Year.  Seidel did not have great range, but she used the tools she possessed with great skill and effectiveness. With her intimate style, great feel for the lyrics of songs she sings, Seidel was one of those vocalists who was as much a story teller as a singer. The way she handled the music came off as a fortuitous blend of Blossom Dearie and Doris Day with an occasional nod to Julie London, although she was somewhat jazzier than the latter two. Like Jeri Southern, Shirley Horn, and Diana Krall, she often doubled at the piano.  From the turn of the millennium through the decade of the 2000s, Seidel recorded prolifically, releasing such albums as Love Letters (2000), Doris & Me (2001), Don't Smoke in Bed (2002), Comme Çi, Comme Ça and The Art of Lounge, Vol. 3 (both 2003), Dear Blossom and Hooray for Christmas (both 2004), Moon of Manakoora and Delovely (both 2005), and We Get Requests and Charade: Henry Mancini Songbook (both 2007). In addition, her Live in Taipei DVD was released in 2011. 

Janet Seidel died from ovarian cancer in Sydney in August 2017; she was 62 years old. The numerous recordings she made evince an exquisite, gentle, and agile voice that honored each tune she sang, from classic standards to pop songs and novelties. ~ Dave Nathan https://www.allmusic.com/artist/janet-seidel-mn0000420852/biography

Little Jazz Bird

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Harry James - The Complete Harry James In Hi-Fi Disc 1 And Disc 2

Album: The Complete Harry James In Hi-Fi Disc 1

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 67:48
Size: 157,6 MB
Art: Front

(3:11)  1. Cherry
(3:09)  2. Jalousie
(3:09)  3. Sleepy Lagoon
(3:31)  4. You Made Me Love You
(2:41)  5. Trumpet Blues
(2:56)  6. I've Heard That Song Before
(3:07)  7. I'm Beginning To See The Light
(3:07)  8. It's Been A Long Long Time
(3:20)  9. I Cried For You
(3:12) 10. My Silent Love
(3:40) 11. Velvet Moon
(5:04) 12. James Session
(3:11) 13. Music Makers
(1:38) 14. Ciribiribin
(3:00) 15. Two O'clock Jump
(2:44) 16. The Mole
(3:15) 17. Carnival
(4:00) 18. Autumn Serenade
(5:35) 19. Street Scene
(4:09) 20. September Song

The Complete Harry James In Hi-Fi  Disc 1

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Album: The Complete Harry James In Hi-Fi Disc 2

Time: 71:34

Size: 166,5 MB

(3:58)  1. Blue Again

(3:01)  2. Melancholy Rhapsody

(2:55)  3. These Foolish Things

(2:24)  4. Somebody Loves Me

(1:55)  5. Sleepy Time Gal

(2:59)  6. Don'che 'Go Way Mad

(3:12)  7. Crazy Rhythm

(3:12)  8. Strictly Instrumental

(3:17)  9. April In Paris

(3:04) 10. Walkin' Home

(3:48) 11. Smog bound

(2:21) 12. In A Sentimental Mood

(3:25) 13. Blues For A Count

(2:27) 14. Countin'

(4:21) 15. What Am I Here For?

(3:54) 16. Kinda Like The Blues

(3:41) 17. Cotton Pickin'

(2:55) 18. Blues For Harry's Sake

(4:29) 19. Blues For Lovers Only

(3:09) 20. Bee Gee

(3:53) 21. Barn 12

(3:04) 22. Ring For Porter

Three complete albums plus bonus tracks on a superb 2-CD collection. Made during the first years of the LP era, the Harry James albums Harry James in Hi-Fi and More Harry James in Hi-Fi comprised some of the greatest hits of the James orchestra - a unit that by that time had been working unceasingly with few changes since 1939. Among the instrumental figures present on both of the 1955-1956 albums were trombonist Juan Tizol (who had made a name for himself as part of the Duke Ellington orchestra) and saxophonist Willie Smith. By the time the LPs were made, both had been playing more than a decade with Harry James. Tizol entered the band in May 1944, while Smith joined a few months later, in November 1944. Both albums were best sellers when first issued, and are presented here in their entirety with the addition of four performances that were taken from the "More Harry James in Hi-Fi" sessions but originally issued on compilation albums. https://www.freshsoundrecords.com/harry-james-albums/5276-the-complete-harry-james-in-hi-fi-2-cd-set.htm

Personnel:  Harry James, Conrad Gozzo (tp), Ray Sims, Juan Tizol, Dick Nash (tb), Willie Smith (as), Corky Corcoran (ts), Larry Kinnamon (p), Allan Reuss (g), Bob Stone (b), Buddy Rich (d), Helen Forrest (vcl)

The Complete Harry James In Hi-Fi Disc 2

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