Wynton Marsalis Septet - Blue Interlude

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 71:12
Size: 165,3 MB
Art: Front

( 3:19)  1. Brother Veal
( 5:55)  2. Monologue For Sugar Cane And Sweetie Pie
(37:09) 3. Blue Interlude(The Bittersweet Saga Of Sugar Cane And Sweetie ie
( 5:18)  4. And The Band Played On
(12:17)  5. The Jubilee Suite I. Day To Day/ II. Running And Gambling/ III. Grace.
( 7:11)  6. Sometimes It Goes Like That

With Wynton Marsalis, exuberance, energy and high-level musicianship is never an issue, but long-windedness can be. This may be one of the best of the trumpeter's mid-sized ensembles, a septet, with pianist Marcus Roberts, trombonist Wycliffe Gordon, saxophonists Wessell Anderson and Todd Williams, bassist Reginald Veal, and drummer Herlin Riley. It is also to the credit of Marsalis that he allows solid group interplay, and much room for his sidemen to not only stretch, but to also include their written works in the repertoire. The problem is for the listener, as the bulk of this material lays in long form, and is more a test for the band's stamina than the pleasure of the beholder. It works in concert, but not on the radio or at home. The 37-plus-minute title track, a grandiose treatise on bittersweet romance, is the most egregious with lengthy solos, tight but verbose ensemble sections, up-and-down dynamics, and rhythmic variations. "The Jubilee Suite" is only 12 minutes, and much more concise, echoing anthemic clarion calls, a hip modern New Orleans groove, and features for the clarinet of Williams and Marsalis. "And the Band Played On" is a processional march, and "Brother Veal" exudes a warm feeling marinated in easy swing, with the clarinet of Williams again a focal point. The last piece, "Sometimes It Goes Like That," is the most complex melody, using the typical variable tempo and melodic devices that make a Marsalis jazz tune fairly recognizable. The cover art and title might indicate this was a blue interlude in the personal life of Marsalis translated into music (and words on the indulgent "Monologue" prelude to the title cut) and self-consciously rendered. It's fine music, but not particularly unique or original. ~ Michael G.Nastos https://www.allmusic.com/album/blue-interlude-mw0000076016

Personnel:  Wynton Marsalis – trumpet; piano and spoken word (2); Reginald Veal – bass; Herlin Riley – drums; Marcus Roberts – piano; Wessel Anderson – alto saxophone; Todd Williams – tenor saxophone, soprano saxophone, clarinet; Wycliffe Gordon – trombone

Blue Interlude

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Margaret Whiting - The Wheel Of Hurt (Deluxe Edition)

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 69:50
Size: 162,5 MB
Art: Front

(2:46)  1. The Wheel of Hurt
(2:58)  2. You Don't Have to Say You Love Me
(2:47)  3. The World Inside Your Arms
(2:47)  4. Winchester Cathedral
(2:31)  5. Somewhere There's Love
(2:40)  6. Where Do I Stand
(2:50)  7. It Hurts to Say Goodbye
(2:30)  8. Time after Time
(3:18)  9. Show Me a Man
(2:27) 10. You Won't Be Sorry, Baby
(2:29) 11. Nothing Lasts Forever
(3:20) 12. But Why
(2:53) 13. Let's Pretend
(2:26) 14. Faithfully
(2:58) 15. Can't Get You Out of My Mind
(2:44) 16. Maybe Just One More
(3:25) 17. Where Was I
(2:13) 18. Love's the Only Answer
(2:28) 19. At the Edge of the Ocean
(3:01) 20. Love Has a Way
(3:00) 21. ("Z" Theme) Life Goes On
(3:47) 22. Until It's Time for You to Go
(2:03) 23. I'll Tell Him Today
(2:49) 24. The Wheel of Hurt - German Version
(2:27) 25. Nothing Lasts Forever - German Version

Margaret's first album for London remastered from the original stereo master tapes incorporated contemporary and country influences (to which she was no stranger, having charted with all those Jimmy Wakely duets in the '40s and '50s) into her sound and scored a Top 40 hit with the title track in 1966. We've added a full 13 rare single sides including her German-language version of "Wheel of Hurt" for a total of 25 tracks, all on CD for the first time! http://www.margaretwhiting.com/cds.htm

The Wheel Of Hurt (Deluxe Edition)

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Bud Freeman - Chicago

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 38:04
Size: 87,6 MB
Art: Front

(5:54)  1. Saturday Night Fish Fry
(4:06)  2. Meet As In San Juan
(6:11)  3. Basin Street Blues
(2:05)  4. Chicago
(5:02)  5. Schooldays
(3:20)  6. All By Myself
(5:35)  7. Loveless Love
(5:48)  8. One For The Money

Three of the selections on this LP are taken from a January 15, 1962 session reissued in full on a Black Lion CD. The great veteran tenor Bud Freeman is in fine form fronting a quartet also including pianist Dave Frishberg, bassist Bob Haggart and drummer Don Lamond. The other five numbers are part of a lesser date actually led by guitarist Elmer Snowden and featuring trumpeter Roy Eldridge, who takes a couple of vocals. Freeman is actually a bit out of place on the spirited if erratic set, which also includes pianist Ray Bryant, bassist Tommy Bryant and drummer Jo Jones. Get the Black Lion CD instead. ~ Scott Yanow https://www.allmusic.com/album/chicago-mw0000913151

Personnel:  Tenor Saxophone – Bud Freeman,  Trumpet, Vocals – Roy Eldridge;  Bass – Bob Haggart, Tommy Bryant ; Drums – Don Lamond, Jo Jones; Guitar – Elmer Snowden; Piano – Dave Frishberg, Ray Bryant .

Chicago

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Phineas Newborn Jr. - Fabulous Phineas

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 41:21
Size: 95,5 MB
Art: Front

(4:28)  1. Sugar Ray
(4:04)  2. What's New?
(4:38)  3. Pamela
(5:49)  4. 45° Angle
(4:32)  5. No Moon At All
(7:39)  6. I'll Remember April
(4:49)  7. Cherokee
(5:18)  8. Back Home

Fabulous Phineas is an album by American jazz pianist Phineas Newborn Jr. recorded in 1958 and released on the RCA Victor label. 

https://en.wikipedia.org/wiki/Fabulous_Phineas

Personnel:  Phineas Newborn Jr. – piano; Calvin Newborn – guitar; George Joyner –bass; Denzil Best – drums

Fabulous Phineas

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Vinny Golia - Lineage

Styles: Saxophone, Clarinet Jazz
Year: 1999
File: MP3@320K/s
Time: 71:47
Size: 164,4 MB
Art: Front

( 7:07)  1. Hello to Mrs. Minifield
( 9:57)  2. Winterset
(13:22)  3. Tenorphonicity
( 7:57)  4. Legends, Logic, Folklore, Fact
( 8:24)  5. Hsaibde
( 7:53)  6. So Close to Where you Live
( 7:42)  7. Pierrot for Al (dedicated to the memory of Al Wiertz)
( 9:20)  8. Caught by Surprise

As the album title suggests, lineage in jazz flows from like minds to the like minded. Vinny Golia’s Nine Winds label, the reservoir of West coast creative music, presents more challenging music than any label releasing modern music today. His quartet heard here includes long time collaborators Ken Filiano (bass) and Alex Cline (drums), plus the legendary trumpeter and veteran of Ornette Coleman and John Carter’s bands, Bobby Bradford. Golia on tenor & baritone saxophones and Bb & bass clarinets leads the pianoless quartet through eight original compositions too sober to be Ornette knock-offs. The lineage referred to here comes directly through John Carter. The quartet keeps its emotions checked but lets lyricism flow throughout the set. Bradford, the replacement for Don Cherry in Ornette’s band, plays with the folksiness of Cherry, but doesn’t display his brittle nature. Perhaps this is the format best suited to display Vinny Golia’s immense talent. With a familiar rhythm section and a sympathetic horn to trade off, Golia finds his voice. His sound dares comparisons to Anthony Braxton, but I’ll place Golia alongside Marty Ehrlich for imagination and creative compositions. The quartet plays at a relaxed organized groove, outside enough to please adventurous fans, yet composed enough for casual listening.~ Mark Corroto https://www.allaboutjazz.com/lineage-vinny-golia-nine-winds-records-review-by-mark-corroto.php

Personnel: Vinny Golia - Tenor & Baritone Saxophones, Bb & Bass Clarinet; Bobby Bradford - Trumpet;  Ken Filiano - Bass ; Alex Cline - Drums.

Lineage

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Eric Alexander - Summit Meeting

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 66:43
Size: 153,7 MB
Art: Front

(8:01)  1. Summit Meeting
(7:41)  2. The Sweetest Sounds
(8:48)  3. There But For The Grace Of...
(7:12)  4. I Haven't Got Anything Better To Do
(7:58)  5. A House Is Not A Home
(6:37)  6. This Girl's In Love With You
(5:29)  7. Something's Gotta Give
(7:09)  8. Andre's Turn
(7:45)  9. After The Rain

A direct descendent of competitive, no nonsense titans such as Sonny Stitt and George Coleman, Eric Alexander plays the horn with a decidedly assertive temperament, as if he always has something to prove. Summit Meeting, his fourth release for Milestone, is arguably the tenor saxophonist’s finest recording as a leader in a prolific, decade-long career. No longer a series of brilliantly executed segments, his solos flow logically from beginning to end, exhibiting calculation and a quickness of mind that match his fervor. For example, the seven choruses Alexander takes on the brisk title cut are rife with coherent, well-developed ideas, yet they retain the excitement of his earlier work. Other signs of Alexander’s continued development include curbing a tendency to race through improvisations on ballads, and occasionally displaying a willingness to take things a little easier. He plays the melody of “I Haven’t Got Anything Better To Do” with reverence. During the solo that follows, several strings of sixteenth and thirty-second note runs are not overdone, thereby adding a playful dimension to the music’s reflective mood. Alexander evinces uncharacteristic restraint on an agreeably swinging treatment of Bacharach and David’s “This Girl’s In Love With You.” He teasingly gives off signs of erupting only to pull back, and even without the fireworks makes a compelling statement. All of this evidence of Alexander’s maturation takes place in the company of players who’ve been involved in various projects with him since the early 1990s: pianist Harold Mabern, bassist John Webber, and drummer Joe Farnsworth. (Trumpeter Nicholas Payton plays on four of the nine tracks.) The record is chock-full of “Mabern moments.” During a brief solo on an up-tempo “A House Is Not A Home” he gleefully marches with his left hand and dances with the right. His accompaniment on the same track is a majestic wall of sound that inspires some of the tenor saxophonist’s freest playing of the set. When Alexander moves so fast that he nearly loses control in the middle of a burning “Something’s Gotta Give,” Mabern keeps him rooted by banging out a sequence of jocose, riff-like chords. ~ David A.Orthmann https://www.allaboutjazz.com/summit-meeting-eric-alexander-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Eric Alexander--tenor saxophone; Nicholas Payton--trumpet and flugelhorn; Harold Mabern--piano; John Webber--bass; Joe Farnsworth--drums.

Summit Meeting

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Duchess - Duchess

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 48:27
Size: 112,3 MB
Art: Front

(4:19)  1. Love Being Here With You
(3:00)  2. There Ain't No Sweet Man That's Worth the Salt of My Tears
(4:12)  3. Que Sera, Sera
(3:42)  4. My Brooklyn Love Song (Feat. Hilary Gardner)
(2:51)  5. A Doodlin' Song (Feat. Amy Cervini)
(3:47)  6. A Little Jive Is Good for You
(5:46)  7. P.S. I Love You
(3:09)  8. Hummin' To Myself (Feat. Melissa Stylianou)
(2:50)  9. It's a Man
(3:21) 10. I'll Be Seeing You
(3:11) 11. Lollipop
(4:51) 12. Blah, Blah, Blah
(3:22) 13. Heebie Jeebies

Sure-footed swing, sweet-toned harmony and ever insouciant charm are embodied in the new Jazz vocal trio Duchess, featuring notable New York singers Amy Cervini, Hilary Gardner and Melissa Stylianou. The group's debut album - DUCHESS, channels the 1930's inspiration of the virtuosic Boswell Sisters into a wonderfully entertaining and contemporary package. Duchess pairs the vocal trio with an ace New York band: pianist Michael Cabe, bassist Paul Sikivie and drummer Matt Wilson, plus saxophonist Jeff Lederer and guitarist Jessie Lewis. The songs of Duchess range from the Peggy Lee number "I Love Being Here with You" and Johnny Mercer's "P.S. I Love You" to new twists on "Que Sera, Sera" and the indelible standard "I'll Be Seeing You." There's a playful Gershwin rarity with "Blah, Blah, Blah" and a direct Boswell Sisters homage with their arrangement of "Heebie Jeebies." And there are solo spots for each of the Duchess ladies with "My Brooklyn Love Song" (Gardner), "A Doodlin' Song" (Cervini) and "Humming to Myself" (Stylianou). a blend of the vintage and the fresh, Duchess is a fizzing cocktail of an album. ~ Editorial Reviews https://www.amazon.com/Duchess-DUCHESS/dp/B00RXPTU7O

Vocalists Amy Cervini, Hilary Gardner and Melissa Stylianou

Duchess

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Peter Skellern - Astaire

Styles: Vocal And Keyboards Jazz 
Year: 1987
File: MP3@320K/s
Time: 35:20
Size: 81,7 MB
Art: Front

(4:11)  1. Isn't It A Lovely Day
(3:39)  2. Cheek To Cheek
(4:29)  3. They Can't Take That Away From Me
(3:58)  4. The Way You Look Tonight
(4:34)  5. The Continental
(2:43)  6. Putting On The Ritz
(2:46)  7. No Strings
(3:32)  8. Let's Call The Whole Thing Off
(2:59)  9. Night And Day
(2:25) 10. Top Hat, White Tie And Tails

A composer, singer, and musician, Peter Skellern played trombone in a school band and served as organist and choirmaster in a local church before attending the Guildhall School of Music, from which he graduated with honors in 1968. Because "I didn’t want to spend the next 50 years playing Chopin," he joined the vocal harmony band March Hare which, after changing their name to Harlan County, recorded a country-pop album before disbanding in 1971. Married with two children, Skellern worked as a hotel porter in Shaftesbury, Dorset, before striking lucky at the end of 1972 with a self-composed U.K. number three hit, "You're a Lady." The album Not Without a Friend consisted entirely of original material (aside from a rendition of Hoagy Carmichael's "Rockin' Chair"), and another U.K. hit single with the title track to 1975's Hold on to Love established Skellern as a purveyor of wittily observed if homely love songs of similar stamp to Gilbert O'Sullivan. He earned the respect of Beatles fans (already manifested following Derek Taylor's production of Not Without a Friend) when George Harrison assisted on Hard Times and the title number was later recorded by Ringo Starr. A minor hit in 1978, "Love Is the Sweetest Thing" (featuring Grimethorpe Colliery Band) was part of a tribute to Fred Astaire that won a Music Trades Association Award for Best MOR Album of 1979. Skellern subsequently wrote and performed six autobiographical programs for BBC television, followed by a series of musical plays (Happy Endings), and also hosted the chat show Private Lives in 1983. 

A year later he formed Oasis with Julian Lloyd Webber, Mary Hopkin, and guitarist Billy Lovelady in an attempt to fuse mutual classical and pop interests, but the band's recordings failed to make a major impact. In 1985, Skellern joined Richard Stilgoe for Stilgoe and Skellern Stompin' at the Savoy, a show in aid of the Lords Taverners charity organization. This led to the two entertainers working together on several successful tours and in their two-man revue, Who Plays Wins, which was presented in London's West End and New York City. After becoming disenchanted with the record business for a time, in 1995 Skellern issued his first album in nearly eight years. Originally conceived as a tribute to the Ink Spots, it eventually consisted of a number of songs associated with that legendary group, and a few Hoagy Carmichael compositions "just to break it up." He later wrote sacred choral music and was ordained as a deacon and priest in the Church of England. After developing an inoperable brain tumor, he died in February 2017 at 69 years of age. ~ Rovi Staff https://www.allmusic.com/artist/peter-skellern-mn0000687269/biography

Astaire

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Gary Smulyan - The Real Deal

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 67:41
Size: 156,1 MB
Art: Front

(8:36)  1. Cindy's Tune
(7:46)  2. Evol Deklaw Ni
(5:36)  3. Satan
(8:25)  4. Palomino Pal
(6:25)  5. Young Afro Brown
(8:36)  6. All My Life
(5:45)  7. Our Love is Here to Stay
(7:46)  8. Follow Me
(8:43)  9. Sassy Missy

Gary Smulyan, a passionate baritone saxophonist whose main inspiration is Pepper Adams, sounds at his best on this quintet set with trumpeter Joe Magnarelli, pianist Mike LeDonne, bassist Dennis Irwin, and drummer Kenny Washington. 

The music includes some hard-swinging straight-ahead romps and warm ballads. Among the highlights are Pepper Adams' "Cindy's Tune" (a tricky line written over the chord changes of "Honeysuckle Rose"), the obscure "Satan (Wears a Satin Gown)," "Young Afro Brown" (based on "Sweet Georgia Brown"), "All My Life," and the slow blues "Sassy Missy." This superior hard bop set serves as a perfect introduction to the playing of Gary Smulyan. ~ Scott Yanow https://www.allmusic.com/album/the-real-deal-mw0000026776

Personnel:   Gary Smulyan - baritone saxophone; Joe Magnarelli - trumpet, flugelhorn;  Mike LeDonne - piano; Dennis Irwin - bass; Kenny Washington - drums

The Real Deal

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Lee Konitz, Don Friedman - Lee Konitz Meets Don Friedman

Styles: Saxophone And Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 71:54
Size: 165,4 MB
Art: Front

(11:53)  1. Alone Together
(10:11)  2. In Your Own Sweet Way
( 7:45)  3. Huntington Street
( 9:41)  4. Opus D'amour
( 7:52)  5. It's You
( 8:28)  6. My Old Flame
( 8:57)  7. Almost Everything
( 7:04)  8. Lew 'N' Shu

Lee Konitz is one of a few alto saxophonists in jazz who avoided succumbing to copying Charlie Parker's approach, instead developing a dry, very lyrical style and an adventurous spirit in his musical instruments that rivals almost any other instrumentalist of his era. Matching him with the superb pianist Don Friedman was an inspired decision, as the two men soar in their musical explorations together, along with bassist Tsutomu Okada and drummer Jeff Williams. Their reworking of Dave Brubeck's "In Your Own Sweet Way" finds them moving further away from its famous theme (compared to its composer's performances) in a lengthy, but never dull interpretation. Konitz plays soprano sax on several tracks, including the drummer's driving "Huntington Street" and the leader's tricky "Lew 'N' Shu." Beautifully recorded in front of a respectful audience, this Japanese release is worth acquiring. ~ Ken Dryden https://www.allmusic.com/album/lee-konitz-meets-don-friedman-mw0000912707

Personnel:  Soprano Saxophone, Alto Saxophone – Lee Konitz; Bass – Tsutomu Okada; Drums – Jeff Williams; Piano – Don Friedman

Lee Konitz Meets Don Friedman

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Cristina Braga - Whisper: The Bossa Nova Brandenburg Concerto

Styles: Vocal, Bossa Nova
Year: 2016
File: MP3@320K/s
Time: 45:37
Size: 105,6 MB
Art: Front

(5:23)  1. Meditation
(4:04)  2. Samba Triste
(5:26)  3. É Doce Morrer No Mar
(5:20)  4. Whisper on a Prelude
(5:00)  5. Mot D'Amour
(4:21)  6. A Rã
(3:58)  7. Last Words
(5:35)  8. All Mine
(6:28)  9. Canto Triste

Whisper, the Bossa Nova Brandenburg Concerto, is the new CD by Cristina Braga, singer and harper. The new album brings us the live recording of a concert with Braga, the Brandenburg Symphony Orchestra, the Modern Samba Quintet and a special guest: the singer and guitarist Dado Villa-Lobos. Whisper features compositions from a pantheon of bossa nova legends, including Antonio Carlos Jobim, João Donato and Baden Powell. The album also features arrangements by Grammy winner Ruriá Duprat, Ricardo Medeiros, Alberto Rosenblit, and Jaques Morelenbaum, who was Jobim's musical director in the final years of his career. Whisper, a partnership project between the German Enja and the Brazilian Biscoito Fino, is in fact an exciting album recorded live in Germany, with the Brandenburg Symphony Orchestra and the contribution of the Modern Samba Quintet, which has in its formation some of the musicians in Brazil. Translate by Google https://biscoitofino.com.br/produto/cristina-braga-sinfonica-de-brandenburgo-whisper/

Whisper: The Bossa Nova Brandenburg Concerto

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Harold Danko - Tidal Breeze

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 62:25
Size: 143,9 MB
Art: Front

( 7:29)  1. Tidal breeze
( 7:06)  2. Blue Swedish wildflower
( 7:58)  3. Wayne Shorter
( 6:32)  4. McCoy's passion
( 7:00)  5. Swift shifting
( 8:50)  6. Personal cornucopia
( 5:23)  7. Soaring thru space
(12:02)  8. Pastoral landing

One of many fine outings by Harold Danko for Steeplechase, this quartet session is a bit different from most of his CDs for the label, as he mostly focuses on revisiting his older compositions. With the solid tenor saxophonist Rich Perry, bassist Scott Colley, and drummer Jeff Hirschfield rounding out this talented group, the pianist explores songs written during several different decades. His richly textured tribute "Wayne Shorter" is an excellent portrait featuring Perry, while the turbulent descending line of "McCoy's Passion" captures the energy of McCoy Tyner perfectly. The upbeat "Swift Shifting" is described by Danko as a blues of sorts, though few listeners will likely think of his driving post-bop anthem in that way. The one new song making its debut is the quirky "Personal Cornucopia," which alternates between its complex theme and soft, introspective passages for the rhythm section. ~ Ken Dryden https://www.allmusic.com/album/tidal-breeze-mw0000443423

Personnel:  Piano, Composed By – Harold Danko; Bass – Scott Colley; Drums – Jeff Hirshfield; Tenor Saxophone – Rich Perry

Tidal Breeze

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Hugh Laurie - Let Them Talk

Styles: Vocal, Guitar And Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 58:04
Size: 133,6 MB
Art: Front

(6:25)  1. St James Infirmary
(3:39)  2. You Don't Know My Mind
(4:55)  3. Six Cold Feet
(3:12)  4. Buddy Bolden's Blues
(3:47)  5. Battle Of Jericho
(4:09)  6. After You've Gone
(2:43)  7. Swanee River
(3:37)  8. The Whale Has Swallowed Me
(3:34)  9. John Henry
(3:33) 10. Police Dog Blues
(5:07) 11. Tipitina
(2:59) 12. Winin' Boy Blues
(1:12) 13. They're Red Hot
(4:57) 14. Baby Please Make A Change
(4:10) 15. Let Them Talk

Music has been present in Hugh Laurie’s career in some form or another since the days of Fry & Laurie, even working its way into House, the American television series that turned him into an international star in the 2000s. Without House, Laurie would never have been granted the opportunity to record an album like 2011’s Let Them Talk, a full-blooded immersion into American blues via New Orleans, shepherded by acclaimed roots producer Joe Henry and featuring such Big Easy heavy-hitters as Allen Toussaint, Dr. John, and Irma Thomas. To his enormous credit, Laurie never sounds like a dilettante among this group; he holds his own, working his way into the marrow of the songs, playing credible piano throughout the record. Which isn’t to say that he quite makes this selection of standards his own, either. There are reworkings and reinterpretations, “Tipitina” in particular being turned on its head, but the problem with Let Them Talk isn’t the guts and blood of the music, or the slightly studious air Henry cultivates. No, the problem is how Laurie’s blues accent inevitably slides into affectations quite familiar from House. He can’t help it, that’s his American accent, but it’s disarming to have a number cooking along and all of a sudden Princeton Plainsboro’s favorite misanthrope has taken the lead. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/let-them-talk-mw0002112639

Let Them Talk

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Arthur Blythe - Synergy

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 52:58
Size: 122,5 MB
Art: Front

( 6:28)  1. Morning Call
( 5:29)  2. Earth Tones
( 5:42)  3. Synergy
( 4:57)  4. Time Circles
( 3:21)  5. Infinity
( 4:56)  6. Afternoon Musings
( 5:05)  7. Sociability
( 4:58)  8. Walking Line
(11:56)  9. Night Scape

Throughout his career, Arthur Blythe has appeared with a wide variety of instrumentation, always willing to try new ensemble sounds. On this date, Blythe is teamed in a trio with the talented cellist David Eyges and the flexible drummer Bruce Ditmas. Blythe's bluesy and soulful tone, along with his ability to caress a melody, makes his adventurous flights more accessible than one might expect. David Eyges holds the group together by playing both supportive basslines (although obviously in a higher register) and soloing along with Blythe, while Bruce Ditmas keeps the momentum of the music flowing. All nine selections on the date were co-composed by the three musicians, so it is quite possible that they are largely free improvisations. However, the interplay between the players, the gradual development of the often fiery performances, and the strong (and sometimes joyful) melodies that pop up are so coherent that the music sounds as if it were more planned in advance than it probably was. Well worth checking out. ~ Scott Yanow https://www.allmusic.com/album/synergy-mw0000040090

Personnel:  Alto Saxophone – Arthur Blythe;  Cello – David Eyges;  Drums – Bruce Ditmas

Synergy

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Benny Goodman and His Orchestra - The Sound of Music

Styles: Clarinet Jazz
Year: 1959
Time: 35:08
Size: 80,8 MB
Art: Front

(3:22)  1. No Way To Stop It
(4:13)  2. Sixteen Going To Seventeen
(4:13)  3. So Long Farewell
(3:22)  4. Climb Ev'ry Mountain
(3:35)  5. The Sound Of Music
(4:40)  6. My Favorite Things
(4:14)  7. An Ordinary Couple
(3:23)  8. Maria
(4:02)  9. Do-Re-Mi

This release presents, for the first time on CD, Benny Goodman album devoted to the compositions of Rodgers & Hart's The Sound of Music (MGM SE3810). Performed by an all-star tentet featuring Jack Sheldon, Bill Harris, Flip Phillips and Red Norvo, it contains the first jazz version ever of My Favorite Things, taped nearly a year before John Coltrane's celebrated rendition. A live set by the exact same tentet recorded a week earlier (playing one of the tunes from The Sound of Music) has been added as a bonus.

Personnel: Benny Goodman, clarinet; Jack Sheldon, trumpet; Flip  Phillips, tenor sax; Bill Harris, tromboe; Jerry Dodgion, alto sax, flute; Red Norvo, vibes; Gene Di Novi, piano; Jimmy Wyble, guitar; Red Wootten, bass; John Markham (d).

The Sound of Music

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Pamela Joy - Hannah's Child

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 39:41
Size: 91,6 MB
Art: Front

(3:20)  1. Restored
(3:38)  2. Where Was I
(4:04)  3. East from West
(3:00)  4. All the More
(4:58)  5. Hope (Old Life)
(3:07)  6. Chameleon
(3:30)  7. Father Dear Father
(3:48)  8. Hannah
(3:17)  9. Wait
(3:01) 10. Save Us
(3:51) 11. Everlasting Arms

“The seductive warmth of her voice, her elegant phrasing, creative arrangements, thoughtful musicianship and her ability to swing with the best of them will intoxicate any lover of good singing and jazz.” ~ Cabaret Exchange http://www.pamelajoyjazz.com/home.html

Hannah's Child

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Michel Legrand - After The Rain

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 43:28
Size: 100,6 MB
Art: Front

(8:54)  1. Nobody Knows
(6:21)  2. After The Rain
(6:28)  3. I Was Born In Love With You
(7:55)  4. Orson's Theme
(7:46)  5. Pieces Of Dreams
(6:02)  6. Martina (Les Enfants Qui Pleurent)

This high-quality outing (reissued on CD) features composer Michel Legrand faring quite well as a jazz pianist. He performs six of his compositions (only "Pieces of Dream" is well-known) with a lyrical septet also including altoist Phil Woods (doubling on clarinet), tenor saxophonist Zoot Sims, trumpeter Joe Wilder, guitarist Gene Bertoncini, bassist Ron Carter, and drummer Grady Tate. The music generally swings, has plenty of fine melodic solos, and gives listeners a taste of some fresh Legrand material. ~ Scott Yanow https://www.allmusic.com/album/after-the-rain-mw0000267685

Personnel:  Piano, Producer – Michel Legrand; Bass – Ron Carter; Drums – Grady Tate; Guitar – Gene Bertoncini; Saxophone – Zoot Sims; Saxophone, Clarinet – Phil Woods; Trumpet, Flugelhorn – Joe Wilder 

 

R.I.P.
After The Rain

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The New Jazz Orchestra - Dejeuner sur l'herbe

Styles: Jazz, Big Band 
Year: 2015
File: MP3@320K/s
Time: 45:02
Size: 104,5 MB
Art: Front

(7:40)  1. Le déjeuner sur l'herbe
(4:41)  2. Naïma
(5:04)  3. Angle
(5:24)  4. Ballad
(5:25)  5. Dusk Fire
(5:05)  6. Nardis
(6:35)  7. Study
(5:05)  8. Rebirth

I remember reading about this record in Melody Maker when it came out. These were all the people I admired in one band! Yet I never ever saw a copy until one day twenty years later in a record shop in Ipswich, I pulled this gem from the racks. £2.50! I couldn't believe the price or the condition. Twenty years of searching and the music didn't disappoint. In fact, New Jazz Orchestra director, Neil Ardley, did issue the album privately and illegally on CD at one point but this is its first legit and beautifully presented release. Dusk Fire have done the music proud. Le Déjeuner Sur L'herbe was the follow-up to the first NJO record Western Union (1965) and it was a major advance. The orchestra had built an identity through a long-standing residency at University College of London courtesy of one of the students, George Foster, who ran the Jazz Society there. In fact, the orchestra averaged a gig a week for two years from 1965 7, quite an achievement in the economic climate of the time. Déjeuner is one of the finest British jazz records of any period. The obvious comparison in terms of its overall sonic impression has to be Gil Evans. For one thing, the absence of piano or guitar Frank Ricotti plays vibes -lends itself to a sound that is inevitably brass-led, though, here, one that eschews the brighter colours that might be associated with a Basie or Thad Jones. Yet, the orchestra could also play free and could match any other for fire power. Take, for example, Michael Garrick's "Dusk Fire." I love the original Rendell-Carr Quintet take but this version might just top it. The undersung {Jim Philip}} on tenor perhaps lacks {Don Rendell}}'s more subtle grasp of the tune's eastern-derived modes but makes up for this in the sheer ferocity of his playing. This is, if anything, a wilder, freer take on a hardy perennial. The two nods in the direction of the masters {Miles Davis}}' "Nardis,"" arranged by Ardley, and John Coltrane's "Naïma," arranged by Alan Cohen are recast quite beautifully. "Naïma" features with some fine, breathy tenor packed with sixteenth notes from Jim Philip over sotto voce brass, whilst "Nardis" unfolds majestically and lovingly. Jack Bruce's bass solo is set against gently supporting vibes and drums before {Ian Carr}}'s fluegelhorn opens the tune out. The piece closes around a brief interlude from tuba player George Smith. Elsewhere, Howard Riley's "Angle" is given an excellent reading, which allows the band to move into freer territory, whilst Mike Taylor's "Ballad" glows in the hands of saxophonist Dave Gelly (Gelly also contributes to the accompanying booklet). Mike Gibbs' theme-led "Rebirth" closes the album with the New Jazz Orchestra's only entry into Latin-tinged territory. But it is really the two remaining tracks the opening title track by Neil Ardley and "Study," which truly lift this album into a whole other category of "greatness."

"Study" was incorrectly attributed to Andrés Segovia on the original LP. Here, the composer is rightly credited as Alexandre Tansman, born in Poland but resident for much of his career in France. However, the correct title is in fact "Kolysanka No. 1 (Berceuse d'Orient)" and it is taken from Suite in Modo Polinico. It is well worth tracking down the 1958 recording by Segovia and hearing against Mike Taylor's setting here, which one suspects involved the hand of Ardley himself in its orchestration for the NJO. Taylor, and Ardley, move the piece from its original lullaby, andante cantabile setting to something much more grand and stately, more an adagio perhaps. It's impossible not to think of Sketches of Spain listening to this piece with its solos and closing duet from Henry Lowther and Barbara Thompson, here on soprano, that was often the high spot of an NJO performance. The sheer grace and elegance of "Study" is simply evocative of the open plains of Spain, its big skies and wonderful sunsets, as the piece builds from the opening statement of the scale and the simple melody derived from it, including a brief modulation up a semi-tone (I think). It's one of those performances you can bask in.  It's also worth noting here that the New Jazz Orchestra recorded a whole album of pieces by Mike Taylor in 1973, Mike Taylor Remembered, which finally achieved an official release on Dusk Fire in 2007. As for the title track, it is a minor masterpiece of form, deceptively easy on the ear but utilizing a number of different scales. Ardley's harmonic sense allows this exercise in polytonality to unfold in its own time and, while it sounds exotic in its use of modes, it never seems odd or discordant. Throughout, the playing is magnificent and it is great to hear musicians like Ian Carr, Barbara Thompson and Dick Heckstall-Smith in a big band setting. Ardley told author-pianist Brian Priestley in August 1971 that "Le Déjeuner Sur L'herbe" was for him a breakthrough composition:  ""Le Déjeuner Sur L'herbe" was the first time I tried to compose a piece from beginning to end, with no repeating chord sequence. The tune actually comes from a secondary part in a Debussy prelude, and I used the notes in it as motifs from which the rest of the piece came. (Priestley 1971, 12). It is very apparent from the interview that Ardley is looking outside African-American inspirations the title of course comes from Manet's impressionist painting. Over the course of his career, Ardley would continue to expand the jazz composer's palette, as well as the instrumentation available to the composer. If Le Déjeuner Sur L'herbe represents a crystallizing moment in his career, it also defines a unique period in British jazz. The lion was no longer en passant. It was rampant and it could roar. ~ Ducan Heining https://www.allaboutjazz.com/le-dejeuner-sur-lherbe-new-jazz-orchestra-dusk-fire-review-by-duncan-heining.php

Personnel: Personnel: Neil Ardley conductor, director; Derek Watkins, Henry Lowther, Harry Beckett, Ian Carr trumpets; John Mumford, Derek Wadsworth, Mike Gibbs, Tony Russell trombones; George Smith tuba; Dick Heckstall-Smith, Dave Gelly, Jim Philip, Barbara Thompson woodwinds, saxophones; Frank Ricotti vibes, percussion; Jack Bruce double bass, Jon Hiseman drums.

Dejeuner sur l'herbe

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Peter Skellern - A String Of Pearls

Styles: Piano Jazz
Year: 1982
Time: 34:17
Size: 79,6 MB
Art: Front

(3:06)  1. Busy Line
(4:30)  2. The Clouds Will Soon Roll By
(3:27)  3. Tell Me That That Ain't Wrong
(3:09)  4. Deep Henderson
(3:55)  5. I'll String Along With You
(2:47)  6. They All Laughed
(3:46)  7. About a Quarter To Nine
(2:31)  8. All or Nothing at All
(3:51)  9. Stormy Weather
(3:10) 10. Symphony In Riffs

A composer, singer, and musician, Peter Skellern played trombone in a school band and served as organist and choirmaster in a local church before attending the Guildhall School of Music, from which he graduated with honors in 1968. Because "I didn’t want to spend the next 50 years playing Chopin," he joined the vocal harmony band March Hare which, after changing their name to Harlan County, recorded a country-pop album before disbanding in 1971. Married with two children, Skellern worked as a hotel porter in Shaftesbury, Dorset, before striking lucky at the end of 1972 with a self-composed U.K. number three hit, "You're a Lady." The album Not Without a Friend consisted entirely of original material (aside from a rendition of Hoagy Carmichael's "Rockin' Chair"), and another U.K. hit single with the title track to 1975's Hold on to Love established Skellern as a purveyor of wittily observed if homely love songs of similar stamp to Gilbert O'Sullivan. He earned the respect of Beatles fans (already manifested following Derek Taylor's production of Not Without a Friend) when George Harrison assisted on Hard Times and the title number was later recorded by Ringo Starr. 

A minor hit in 1978, "Love Is the Sweetest Thing" (featuring Grimethorpe Colliery Band) was part of a tribute to Fred Astaire that won a Music Trades Association Award for Best MOR Album of 1979. Skellern subsequently wrote and performed six autobiographical programs for BBC television, followed by a series of musical plays (Happy Endings), and also hosted the chat show Private Lives in 1983. A year later he formed Oasis with Julian Lloyd Webber, Mary Hopkin, and guitarist Billy Lovelady in an attempt to fuse mutual classical and pop interests, but the band's recordings failed to make a major impact. In 1985, Skellern joined Richard Stilgoe for Stilgoe and Skellern Stompin' at the Savoy, a show in aid of the Lords Taverners charity organization. This led to the two entertainers working together on several successful tours and in their two-man revue, Who Plays Wins, which was presented in London's West End and New York City. 

After becoming disenchanted with the record business for a time, in 1995 Skellern issued his first album in nearly eight years. Originally conceived as a tribute to the Ink Spots, it eventually consisted of a number of songs associated with that legendary group, and a few Hoagy Carmichael compositions "just to break it up." He later wrote sacred choral music and was ordained as a deacon and priest in the Church of England. After developing an inoperable brain tumor, he died in February 2017 at 69 years of age. ~ Rovi Staff https://www.allmusic.com/artist/peter-skellern-mn0000687269/biography

Personnel:  Piano – Peter Skellern

A String Of Pearls

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Eric Alexander Trio - Just One Of Those Things

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 56:05
Size: 129,1 MB
Art: Front

(6:47)  1. You'd Be So Nice To Come Home To
(6:44)  2. Just One Of Those Things
(6:19)  3. Wise One
(6:47)  4. Beautiful Love
(6:42)  5. You Say You Care
(4:56)  6. We've Only Just Begun
(7:55)  7. Stardust
(3:54)  8. Russian Lullaby
(5:58)  9. Bessie's Blues

Steady progress of new releases at constant pace Eric Alexander (Born in 1968, Gilesberg, Ill.) It is the first time that this format is passed through in this format, it is the first battle produced by trio with bass and drums. The tenor of a thick and richly sturdy tone is barking fiercely in spiritual and aggressive at times and lurking and at one time it reflects a strange melancholy emotion with half hesitation to the lazy & relaxing, and it is quietly astounding A delicious painting adorned, middle-heavy and serious, yet gentle warmth also drifts ambitious battle content. A brilliant, martial arts and singing abundant full of directorial ritual hard boiled • bop performances!, Has been developed toughened, dressed in bass and drums, drilling and sharpening with a sharp turn There are also places like to come out, extremely strong support of outstanding support, reliable support, alexander, Alexander 's gentle health stance that puts deer and core in place "Kiyoshi" direct sphere improvising blow, Even though I am powerful, I will show myself for the first time in a mature sense of unraveling complaints modal and dynamic brave fighting action moderate and dynamic and action roaring and gentle surging blows that exquisitely disappeared from Liki, like mellow smoothly drawing streamline shapes, crossed freely and flexibly, Elegant and dizzying relaxation also shows everywhere, it shows powerful and deeply natural sounds of everything, awesome, deep sound image, and it is quite vivid in sweeping walks.

Personnel: Eric Alexander (tenor saxophone); Deszlon Douglas  (bass); Neal Smith (drums)

Just One Of Those Things

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