Bill Cunliffe - Bill Plays Bud

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 61:06
Size: 146,1 MB
Art: Front

(6:16)  1. Melancholia
(5:26)  2. Un Poco Loco
(8:49)  3. Polka Dots and Moonbeams
(4:25)  4. Comin' Up
(6:05)  5. Hallucinations
(3:46)  6. Tempus Fugit
(4:49)  7. Sure Thing
(6:01)  8. 52nd Street Theme
(3:51)  9. Borderick
(3:09) 10. Dusk at Saudi
(4:17) 11. Willowgrove
(4:06) 12. Glass Enclosure

Bouncing With Bill. Chick Corea's recent tribute to Be Bop pioneer Bud Powell, Remembering Bud Powell (Concord/Stretch 9012-2) was a welcome tribute to the Charlie Parker/Dizzy Gillespie of the piano. Bud Powell, while constantly being critically acknowledged, has had relatively few program recordings of his music by other musicians. Joining Corea in recognizing Powell is the East Coast-West Coast pianist Bill Cunliffe. Standard and Nonstandard Fare. The Cunliffe and Corea recordings share several Powell originals. Both boast "Tempus Fugit," "Glass Enclosure," and "Dusk in Saudi." "Willow Grove" is also represented on both discs. Each pianist includes a personal composition. But, where Corea confines himself to all original compositions; Cunliffe chooses to explore both rarer Powell compositions and jazz standards closely associated with Powell. "Coming Up" and "Sure Thing" are rarely heard Powell vehicles that are brought out for closer inspection by Cunliffe. "Tempus Fugit" and "Hallucinations" along with "Un Poco Loco" are capably interpreted, often with the original Powell arrangements. Ralph Moore and More. Tenor Saxophonist Ralph Moore proves he is empathetic with both Powell and Cunliffe. His muscular support and solos on "Polka Dots and Moonbeams" and "52nd Street Theme" make this already excellent disc a gem. Dave Carpenter provides a solid bottom upon which Cunliffe rocks and croons; while Joe La Barbera and Papo Rodriguez provide the rhythmic direction. The music herein is personally played by musicians of great substance. The modest Naxos price should make this fine recording a must have. Naxos Jazz. This recording is among the third wave of Naxos Jazz releases, all of which have been review within these electric pages by this critic. I have found that all of these recordings have been of a very high quality. All, for the most part, have been recorded live direct to two track digital, preserving that special spontaneity that is jazz. Naxos Jazz has also provided a wide variety of styles and performances, all executed superbly. The other recent Naxos Jazz recordings include Donny McCaslin's Exile and Discovery (Naxos Jazz 86014-2), Clifford Adams' The Master Power (Naxos Jazz 86015-2), the Mike Nock Quintet's Ozboppin' (Naxos Jazz 86019-2), Flipside's Flipside (Naxos Jazz 86013-2), and Larry Karush's Art of the Improviser (Naxos Jazz 86011-2). ~ C.Michael Bailey https://www.allaboutjazz.com/bill-plays-bud-bill-cunliffe-naxos-review-by-c-michael-bailey.php?width=1920

Personnel: Bill Cunliffe: Piano, Ralph Moore: Tenor Saxophone, Dave Carpenter: Acoustic Bass, Joe La Barbera: Drums, Papo Rodriguez: Percussion

Bill Plays Bud

---

Scott Robinson - Melody From The Sky

Styles: Saxophone Jazz 
Year: 2007
File: MP3@320K/s
Time: 71:34
Size: 166,4 MB
Art: Front

(5:46)  1. Davenport Blues
(3:45)  2. Where Is Love?
(2:59)  3. Just Like A Melody Out Of The Sky
(4:49)  4. Isfahan
(6:35)  5. Yardville
(3:35)  6. I'm Making Believe
(8:27)  7. Saxophone Blues
(3:42)  8. This Is No Laughing Matter
(4:26)  9. Sweet Rhythm
(2:36) 10. The Swan
(5:34) 11. Ups And Downs
(3:54) 12. Count Your Blessing Instead Of Sheep
(3:32) 13. For No Reason At All In C
(2:37) 14. Singin The Blues
(4:42) 15. C Here
(4:27) 16. A Melody From The Sky

Known as a multi-talented/stylistic woodwindist, Robinson concentrates on the C-Melody saxophone for this CD, which makes it not only a rarity, but an event unto itself. He also showcases a four-pitch selection: organ based, string quartet flavored, straight-ahead swing, and guitar-oriented jams with either James Chirillo or Marty Grosz on four cuts apiece. Mark Shane and Larry Ham split keyboard duties, with Lee Hudson or Greg Cohen on bass, and occasionally Cohen plays a bass marimba originally owned by Sun Ra. On the lighter side is the solo laden, easily swung "Davenport Blues," the relaxed quartet take of "This Is No Laughing Matter," the quaint "For No Reason at All," and the old-timey, stride-based title track. With the strings the slowed torch song "Where Is Love?" is short and sweet with no solos, the quartet adds spice without being overbearing during "I'm Making Believe," and turns "Count Your Blessings" into a languid, heartfelt ice melter. Also in a classical/romantic vein is the serene 3/4 Saint Saens piano (Ham)/sax ballet "The Swan." The organ numbers provide the greatest contrast and offer Robinson a challenge to make the sounds mesh; in fact, the keyboard sounds more like a C-3. In this area are the classic ballad "Isfahan," the reverential organ- (Shane) based "Sweet Rhythm" with choppy, banjo-like chords from Grosz, the modern "Freedom Jazz Dance"-type Robinson original "C Here" with organ by Ham on top (no foot pedal bass), and a loping legato sax and subtle marimba lurking behind while stretched, long organ tones from Ham inform the ballad take on "Singin' the Blues." In an Earl Bostic tone, Rudy Wiedhoeft's '20s-era "Saxophone Blues" is an 8+ minute-long, blues-drenched, country-styled groove swing, with again Ham and Chirillo's single-line solo a highlight. The best swinger is a John Kirby/Raymond Scott/Keystone Cops-ish Robinson-penned "Ups & Downs," trumped up by Jon Erik-Kellso's trumpet, while a hard bopping sax/guitar (Chirillo) line sets the fuse on Robinson's "Yardville," while Grosz and Cohen's slight marimba inserts a buoy for Robinson's good swing on "Just Like a Melody out of the Sky." If it were just a matter of sound, this would be a novelty item, but Robinson plays the C-melody so well without straining or going overtly smooth. The instrument, though not being produced anymore, deserves a revisit and a close listen on this truly delightful, high-variety recording that is better upon repeated listenings. Highly recommended. ~ Michael G.Nastos https://www.allmusic.com/album/melody-from-the-sky-mw0000064494

Personnel: Scott Robinson - C-melody saxophone; Jon-Erik Kellso - trumpet ; Marty Grosz, James Chirillo- Guitar; Ming Yeh - violin; Larry Ham - piano, organ; Carol Benner - viola

Melody From The Sky

---

Ramsey Lewis Trio, Jean DuShon - You Better Believe Me

Styles: Vocal And Piano Jazz
Year: 1965
File: MP3@320K/s
Time: 38:09
Size: 89,4 MB
Art: Front

(2:37)  1. You'd Better Believe Me
(2:51)  2. Who Can I Turn To (When Nobody Needs Me)
(2:37)  3. Night Time
(2:44)  4. Something You Got
(3:31)  5. He Was Too Good To Me
(3:59)  6. Goodbye Lover, Hello Friend
(3:01)  7. Corcovado (Quiet Nights)
(3:20)  8. Ain't Nobody's Business
(3:09)  9. Let It Be Me
(2:57) 10. It Had Better Be Tonight
(4:13) 11. My Coloring Book
(3:05) 12. I'm Beginning To See The Light

Jean Du Shon chases her Argo debut with this collaboration with the Ramsey Lewis Trio. (John Levy managed both at the time.) The pairing was a stroke of genius that went unnoticed to the masses. They groove on Woodrow "Buddy" Johnson's "You'd Better Believe Me" and mix Latin rhythms with cocktail vibes on Antonio Jobim's "Corcovado." "Goodbye Lover, Hello Friend," "It Had Better Be Tonight," and "Night Time" are other well-crafted joints from the out-of-print album's eight tracks. ~ Andrew Hamilton https://www.allmusic.com/album/you-better-believe-me-mw0000852572

Personnel:  Piano – Ramsey Lewis; Vocals – Jean DuShon;  Alto Saxophone, Flute – Ronald Wilson; Bass – Cleveland Eaton, Eldee Young; Cello – Eldee Young; Drums – Red Holt; Guitar – Roland Faulkner 

You Better Believe Me

---

Oscar Peterson Trio - Saturday Night At The Blue Note

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 66:37
Size: 153,8 MB
Art: Front

(12:12)  1. Kelly's Blues
(10:12)  2. Nighttime
(11:00)  3. Medley: Love Ballade / If You Only Knew
( 6:41)  4. You Look Good To Me
( 6:48)  5. Old Folks
( 7:27)  6. Reunion Blues
(12:14)  7. Song to Elitha

Oscar Peterson reunited with guitarist Herb Ellis and bassist Ray Brown for this well-recorded engagement, which has resulted in four CDs being released by Telarc. The inclusion of drummer Bobby Durham did make the music a bit safer, and rather than revisit their classic complex arrangements, the ensemble jammed on the songs, so one does not hear the startling octaves that were present in the Oscar Peterson Trio's work of the late '50s. However, the repertoire on Saturday Night at the Blue Note (which includes two standards, Milt Jackson's "Reunion Blues," and five of Peterson's originals) is fresh and fairly challenging. Enjoyable music, it's recommended to the pianist's fans. 

~ Scott Yanow https://www.allmusic.com/album/saturday-night-at-the-blue-note-mw0000265663

Personnel:  Piano – Oscar Peterson; Bass – Ray Brown; Drums – Bobby Durham; Guitar – Herb Ellis

Saturday Night At The Blue Note

---

Marvin Stamm - Stammpede

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 34:12
Size: 79,4 MB
Art: Front

(4:23)  1. Oriental Spice
(4:14)  2. Los Samana
(3:37)  3. Powerplay
(4:23)  4. Coming Attractions
(3:57)  5. Stammpede
(5:23)  6. Masque Afrique
(4:53)  7. By Torchlight
(3:17)  8. Carnevale

An excellent bop-based trumpeter and a busy session player during much of his career, Marvin Stamm has long been a flexible player. He started on trumpet when he was 12 and later studied at North Texas State University. Stamm was with Stan Kenton's Mellophonium Orchestra during 1961-1963 (getting occasional solos) and played with Woody Herman during 1965-1966. He gained some recognition for his playing with the Thad Jones/Mel Lewis Orchestra (1966-1972), but spent much of his time during the next two decades in the studios. Stamm, who performed with Benny Goodman during 1974-1975 and toured with George Gruntz's Concert Jazz Band in 1987, has since concentrated much more on jazz playing, and his Music Masters releases are good examples of his talents. ~ Scott Yanow https://www.allmusic.com/artist/marvin-stamm-mn0000857448/biography

Personnel: Trumpet – Allen Rubin, Marvin Stamm; Alto Saxophone, Tenor Saxophone – Lou Marini; Baritone Saxophone – Ronnie Cuber; Bass – Marcus Miller; Drums – Ronnie Zito; Guitar – John Tropea; Keyboards – Kenny Ascher; Percussion – Susan Evans; Synthesizer – Chris Palmaro; Tenor Saxophone – Dave Tofani; Trombone – Jim Pugh; Vocals – Kasey Cisyk

Stammpede

---

Thad Jones, Mel Lewis Jazz Orchestra - Presenting Thad Jones, Mel Lewis & The Jazz Orchestra

Styles: Flugelhorn Jazz, Big Band
Year: 1966
File: MP3@320K/s
Time: 45:06
Size: 104,5 MB
Art: Front

( 5:29)  1. Once Around
( 5:37)  2. Willow Weep For Me
( 5:01)  3. Balanced Scales = Justice
( 5:48)  4. Three In One
( 5:32)  5. Mean What You Say
( 4:37)  6. Don't Ever Leave Me
(12:59)  7. ABC Blues

The debut recording of the Thad Jones/Mel Lewis Orchestra launched a mighty (if part-time) all-star big band. With arrangements by Jones, Bob Brookmeyer, and Tom McIntosh and such soloists as baritonist Pepper Adams, pianist Hank Jones, valve trombonist Brookmeyer, Jerome Richardson on various reeds, altoist Jerry Dodgion, and Joe Farrell and Eddie Daniels on tenors (in addition to flügelhornist Jones), it is not surprising that the orchestra was soon rated near the top. Among the seven selections are four Thad Jones originals (including "Mean What You Say"), "Willow Weep for Me," and Brookmeyer's lengthy "ABC Blues." ~ Scott Yanow  https://www.allmusic.com/album/presenting-thad-jones-mel-lewis-the-jazz-orchestra-mw0000877905

Personnel:  Thad Jones – flugelhorn;  Mel Lewis – drums;  Hank Jones – piano;  Richard Davis – bass;  Pepper Adams, Eddie Daniels, Joe Farrell, Jerry Dodgion,  Jerome Richardson – saxophone;  Jimmy Nottingham,  Bill Berry, Danny Stiles , Richard Williams – trumpet;  Jack Rains, Bob Brookmeyer – trombone, Tom McIntosh, Cliff Heather.

Presenting Thad Jones-Mel Lewis & The Jazz Orchestra

---

Dizzy Reece - A New Star

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 70:44
Size: 162,4 MB
Art: Front

(3:36)  1. O Moon
(9:23)  2. Butch
(3:07)  3. Bang
(6:21)  4. This Is Always
(2:36)  5. Now's the Time
(3:02)  6. Please Call
(2:58)  7. Chorous
(3:40)  8. Basie Line
(6:36)  9. Yardbird Suite
(3:41) 10. How Deep Is the Ocean
(6:37) 11. Out of Nowhere
(5:40) 12. Scrapple from the Apple
(7:37) 13. Bluebird (take 1)
(5:44) 14. Bluebird (take 2)

This is what musicians call a 'blowing sessions'. No attempt to create any so-called 'new sounds'. Just honest-to-goodness, down-to-earth, relaxed swinging jazz. This date gives a real first recording break to one of the British jazz scene's 'musicians' musicians, trumpeter Dizzy Reece. Dizzy's following is confined to just about every musician who has blown with him, a handful of knowledgeable fans (the kind who dig Miles Davis) and a couple of critics. This particular writer has tried to wake the town and tell the people about Dizzy since early 1954, but so far all appears to have fallen on deaf ears. Born in Kingston, Jamaica, Dizzy Reece first learnt baritone horn before switching to trumpet, his schoolmates included altoist Joe Harriott and tenorist Wilton 'Bogey' Gaynair. Reece came to Europe, via London, in 1948 and whilst in Paris between 1949 and 1950 sat in with Americans Don Byas and Hay Cameron. 

He later worked in Germany, Holland and Italy, returning to London in 1954. Playing loosely in the Miles Davis style, he gained sufficient attention in the London clubs for Tempo to give him a recording contract. The session presented here by Jasmine date from 1955 and 1956 and include his complete LP 'A New Star' plus his 'Dizzy Blows Bird' tracks. Tubby Hayes is featured on "Now's The Time" & "Please Call" and Ronnie Scott plays on "Out Of Nowhere" & "Scrapple From The Apple". ~ Editorial Reviews https://www.amazon.com/New-Star-ORIGINAL-RECORDINGS-REMASTERED/dp/B000059T6Q

A New Star

---

Monica Zetterlund - It Only Happens Every Time

Styles: Vocal 
Year: 2016
File: MP3@320K/s
Time: 36:53
Size: 85,7 MB
Art: Front

(5:12)  1. It Only Happens Every Time
(3:38)  2. Long Daddy Green
(4:37)  3. Silhouette
(5:06)  4. He Was Too Good To Me
(4:07)  5. The Groove Merchant
(4:14)  6. Love To One Is One To Love
(4:16)  7. Happy Again
(5:40)  8. The Second Time Around

Swedish singer Monica Zetterlund is backed by the Thad Jones-Mel Lewis Orchestra on the Inner City LP It Only Happens Every Time. Her phrasing is precise, but her vocal style doesn't always blend well with the big band. Jones' "It Only Happens Every Time" comes off under-rehearsed, as if the chart is still in a state of flux, a similar problem that occurs during "The Second Time Around." Better is the swinging treatment of "Long Daddy Green" and the tearjerker ballad "He Was Too Good to Me." Sadly, none of the instrumental soloists is identified, though Pepper Adams shines on baritone sax in two compositions by the late Lars Gullin, one of Europe's best players of the instrument; this was also Adams' final recording with the band. Overall, this is a good, though hardly essential record. ~ Ken Dryden https://www.allmusic.com/album/it-only-happens-every-time-mw0000852532

Personnel:  Monica Zetterlund – vocals; Thad Jones – flugelhorn; Mel Lewis – drums; Harold Danko – piano; Rufus Reid – bass; Jerry Dodgion – saxophone, flute; Ed Xiques – saxophone, flute, clarinet; Rich Perry – saxophone, flute, clarinet; Dick Oatts – saxophone, flute, clarinet; Pepper Adams – saxophone; Frank Gordon – trumpet; Earl Gardner – trumpet; Jeff Davis – trumpet; Larry Moses – trumpet; Earl McIntyre – trombone; John Mosca – trombone; Clifford Adams – trombone; Billy Campbell – trombone

It Only Happens Every Time

---

David Hazeltine - After Hours

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 71:42
Size: 164,5 MB
Art: Front

(4:09)  1. Happy Times
(5:48)  2. Captain's Song
(5:58)  3. Theme for Ernie
(6:19)  4. Detour Ahead
(7:08)  5. 4 Flights Up
(7:09)  6. People
(4:18)  7. Look What I Found
(4:07)  8. Hindsight
(4:15)  9. I'm a Fool to Want You
(7:11) 10. Goodbye
(4:39) 11. Confluence
(4:51) 12. I Get a Kick Out of You
(5:44) 13. Caravan

After Hours is a very appropriate title for this trio CD led by pianist David Hazeltine, because it was recorded following two dates at the Artists Quarter in Minneapolis, with the musicians warmed up very nicely after playing two or more sets for paying customers. Hazeltine is joined by bassist Billy Peterson and drummer Kenny Horst on both sessions. Their are a number of well executed standards, especially the sauntering "Detour Ahead" and the up-tempo Latin-flavored take of "I Get a Kick Out of You," and an intense version of "Caravan," which includes a brief but effective solo by Horst. The leader contributed several tasty originals, including the driving hard bop "Captain's Song," "4 Flights Up," which is reminiscent of Cedar Walton's approach to the piano and features a sterling bass solo by Peterson, as well as the funky piano solo "Look What I Found." While only a few customers who stuck around to hear this music as it was recorded in the wee hours of the morning at the club, the rest of us at least have a chance to hear this long hidden music by the David Hazeltine Trio. ~ Ken Dryden https://www.allmusic.com/album/after-hours-vol-2-mw0000257527

Personnel:  Piano – David Hazeltine; Bass – Billy Peterson; Drums – Kenny Horst

After Hours

---

Philip Catherine - Blue Prince

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 64:33
Size: 149,1 MB
Art: Front

(3:34)  1. Coffee Groove
(5:03)  2. Global Warming
(3:50)  3. With a Song in My Heart
(7:42)  4. The Creeper
(5:39)  5. The Postman
(6:35)  6. More Bells
(4:22)  7. Memories of You
(6:02)  8. Kwa Heri
(4:10)  9. Blue Prince
(6:32) 10. Arthur Rainbow
(6:18) 11. Magic Box
(4:38) 12. Sweet Lorraine

Belgian guitarist Philip Catherine has performed with the creme de la creme of modern jazz and fusion. Noticeably inspired by the late great Django Rheinhardt, Catherine has emerged as a true stylist who melds lush romanticism with bold, simmering lines, witnessed here on Blue Prince. The guitarist utilizes his warm-toned hollow bodied electric guitar to great effect via shrewd employment of volume control techniques, jazzy chord progressions and scathing leads, evidenced on the often blistering yet predominately cool and sleek Bop-ish burner, “Coffee Groove”. Trumpeter Bert Joris proves to be a near perfect foil for Catherine, as the twosome frequently engage in brisk unison choruses, while also trading sprightly fours during this groove-laden set primarily consisting of medium tempo swing motifs. The band turns in a peppery walking blues, titled “The Creeper” and continues along with a series of pieces featuring amicable melodies and sonorous themes amid sympathetic accompaniment by the rhythm section. On, “Blue Prince” Joris articulates Chet Baker-style, understated lyricism as everyone gets a spot to exhibit their wares, yet a few more accelerated or rapidly paced pieces tossed into the mix might have elevated the excitement factor a few notches. Otherwise, Blue Prince is a solid and expertly executed effort, as Catherine implicitly illustrates why he is one of the finest guitarists on the globe. ~ Glenn Astarita https://www.allaboutjazz.com/blue-prince-philip-catherine-dreyfus-records-review-by-glenn-astarita.php

Personnel: Philip Catherine; guitars: Bert Joris; trumpet, bugle: Hein Van de Geyn; double bass: Hans Van Oosterhout; drums

Blue Prince

---

The Microscopic Septet - Manhattan Moonrise

Styles: Progressive Jazz, Post Bop  
Year: 2014
File: MP3@320K/s
Time: 61:15
Size: 142,0 MB
Art: Front

(3:50)  1. When You Get In Over Your Head
(5:51)  2. No Time
(8:14)  3. Manhattan Moonrise
(3:22)  4. Obeying the Chemicals
(4:13)  5. A Snapshot of the Soul
(5:12)  6. Star Turn
(5:49)  7. Hang It On a Line
(5:12)  8. Let's Coolerate One
(5:02)  9. Suspended Animation
(4:14) 10. Blue
(4:57) 11. You Got That Right
(5:15) 12. Occupy Your Life

In the 80s, the band engendered a cagey slant on mainstream swing and then morphed into the risk-taking New York downtown scene, eventually garnering widespread attention and sell-out crowds at the Knitting Factory and other hip venues. They regrouped in 2006, carrying the torch for what has become a singular sound, ingrained in classic jazz stylizations, bop, funk, and the free-jazz domain. Known for its quirky deviations, razor-sharp horns arrangements and melodic hooks, the septet's spunkiness and tightknit overtures align with the stars on Manhattan Moonrise. The musicians tackle a funk rock itinerary spiced with pianist Joel Forrester's New Orleans style phrasings in support of baritone saxophonist Dave Sewelson's ballsy impetus on "Hang It On A Line." Augmented by whispery horns and contrapuntal dialogues, they ring in a good timey vibe, slightly shaded with sober undertones. They spark a polytonal jamboree, while integrating linear unison choruses and drummer Richard Dworkin's snappy breaks between choruses. Here, the ensemble renders alternating modalities and launch the bridge with Sewelson's fervent solo spot atop a swaggering groove. And the musicians shift the dynamic with a straightforward and slightly in-you-face interlude as an embryonic current ensues. Towards the finale, the hornists gel to a simple melody via extended notes, yielding a subliminal nod to 70s like soul jazz. No monumental surprises here, but another stirring and broadly entertaining production by these consummate team players. ~ Glenn Astarita https://www.allaboutjazz.com/manhattan-moonrise-microscopic-septet-cuneiform-records-review-by-glenn-astarita.php

Personnel: Phillip Johnston: soprano saxophone; Don Davis: alto saxophone; Mike Hashim: tenor saxophone; Dave Sewelson: baritone saxophone; Joel Forrester: piano; Dave Hofstra: bass; Richard Dworkin: drums.

Manhattan Moonrise

---

Mal Waldron with Eric Dolphy and Booker Ervin - The Quest

Styles: Piano, Saxophone Jazz, Post Bop
Year: 1962
File: MP3@320K/s
Time: 41:37
Size: 95,9 MB
Art: Front

(8:54)  1. Status Seeking
(4:09)  2. Duquility
(4:45)  3. Thirteen
(4:26)  4. We Diddit
(5:39)  5. Warm Canto
(5:39)  6. Warp and Woof
(8:02)  7. Fire Waltz

Although often reissued under Eric Dolphy's name, this CD reissue gives the leadership back to pianist Mal Waldron. The seven originals not only feature altoist Dolphy (who makes a rare appearance on clarinet during "Warm Canto") but tenor-saxophonist Booker Ervin, Ron Carter (on cello) and Waldron. With bassist Joe Benjamin and drummer Charlie Persip giving alert support, the complex music (which falls between hard bop and the avant-garde) is successfully interpreted. Worth checking out. ~ Scott Yanow https://www.allmusic.com/album/the-quest-mw0000078389

Personnel:  Mal Waldron – piano; Eric Dolphy – alto saxophone, clarinet; Booker Ervin – tenor saxophone (tracks 1-4, 6 & 7); Ron Carter – cello; Joe Benjamin – bass; Charlie Persip – drums

The Quest

---

Eva Cassidy - Imagine

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 40:44
Size: 94,2 MB
Art: Front

(3:13)  1. It Doesn't Matter Anymore
(3:56)  2. Fever
(5:42)  3. Who Knows Where The Time Goes
(4:48)  4. You've Changed
(4:36)  5. Imagine
(4:48)  6. Still Not Ready
(4:05)  7. Early Morning Rain
(2:32)  8. Tennessee Waltz
(3:19)  9. I Can Only Be Me
(3:41) 10. Danny Boy

A desperate clamoring from fans worldwide is no doubt the last thing the late singer could have imagined when she was at clubs and at home singing and doing rough recordings of the tunes that would someday be chosen for this magnificent hodgepodge. But many years after her death in obscurity in late 1996, she became a true phenomenon, with enthusiasts who find in her voice a true connection to heaven (take that in any number of ways). So even if the songs are rough, they're still Eva Cassidy. Another precious listen to her transcendent voice so brilliant in all genres; wispy and angelic one minute, soulful and guttural the next is worth all the dusty shelf-searching this compilation no doubt entailed. The songs recorded at the now-defunct Annapolis club Pearls the obscure chestnut "It Doesn't Matter Anymore," which Paul Anka gave to Buddy Holly; Gordon Lightfoot's "Early Morning Rain"; and the tearjerking "Danny Boy" present Cassidy at her purest, her simple acoustic guitar riding along behind increasingly emotional vocal lines. "Fever" is an alternate take from the version that wound up on Chuck Brown's The Other Side, beautifully torchy and featuring a sly violin line by brother Dan Cassidy. She recorded a folky rendition of the Sandy Denny classic "Who Knows Where the Time Goes" at the Maryland Inn, her voice rising and falling over a subtle violin. Her smoky jazz chops think Norah Jones with a lot more fire are in full force on "You've Changed" (recorded at Blues Alley in Washington, D.C.). Probably the richest performances are the powerful home-demo renditions of the title track and "Tennessee Waltz," given off-the-cuff readings (with only simple guitar lines) that show off Cassidy's casual genius. Finally, Cassidy's dad found a few formal early studio recordings, "Still Not Ready" and "I Can Only Be Me," a heartrending song Stevie Wonder wrote for Spike Lee's School Daze but never recorded. That's OK Cassidy's unintentional penchant is for redefining songs and creating new and definitive versions. Most likely, no major label would ever put out a new artist recording with this kind of a mixed bag, both stylistically and production-wise. But this hardly matters, as listeners seek more and more from the angel who left long before the world fell in love with her. The continuing heavenly serenade is hard to resist. ~ Jonathan Widran https://www.allmusic.com/album/imagine-mw0000661451

Imagine

---

Buddy Morrow - Night Train

Styles: Trombone Jazz 
Year: 2001
File: MP3@320K/s
Time: 28:35
Size: 67,0 MB
Art: Front

(2:13)  1. Mangos
(2:15)  2. With a Song in My Heart
(2:04)  3. Midnight March
(3:01)  4. One Mint Julep
(2:22)  5. Rib Joint
(2:19)  6. With the Wind and the Rain in Your Hair
(3:02)  7. Night Train
(2:30)  8. Hey, Mrs. Jones
(2:14)  9. I'll Close My Eyes
(2:05) 10. Back Home
(4:25) 11. Pink Lady

Throughout his career, Buddy Morrow loved playing with big bands and doing what he could to keep nostalgic swing alive. He began playing trombone when he was 12 and within two years was working locally. Morrow developed quickly and moved to New York, where he studied at the Institute of Musical Art. He made his recording debut in 1936 with singer Amanda Randolph and trumpeter Sharkey Bonano. Morrow  known as Moe Zudekoff until he changed his name in the early 1940s kept busy during the swing era, working with Artie Shaw (1936-37 and 1940), Bunny Berigan, Frank Froeba, Eddie Duchin, Tommy Dorsey (1938), Paul Whiteman (1939-40) and Bob Crosby. After serving in the Navy (1941-44) he was with Jimmy Dorsey's Orchestra (1945). In 1945, at age 26, Morrow formed his own big band but it quickly failed. He became a studio musician for the remainder of the decade. In 1950 he formed a new orchestra that had strong success, giving an R&Bish sound to older standards and having a hit with "Night Train." Morrow spent most of the 1960s and '70s as a studio musician but he worked a bit with the World's Greatest Jazz Band in 1970; in the late 1970s he took over Tommy Dorsey's ghost band. Since then Morrow has been one of the few full-time big band leaders, performing melodic dance music based in the swing era. ~ Scott Yanow https://www.allmusic.com/artist/buddy-morrow-mn0000537569/biography

Night Train

---

Ian Shaw - Shine Sister Shine

Styles: Vocal, Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 69:05
Size: 159,8 MB
Art: Front

(3:44)  1. Carry On World (Starring Everyone)
(3:46)  2. I Don't Know Enough About You
(3:50)  3. Trip and Tumble
(4:39)  4. This Beautiful Life
(3:44)  5. Shine Sister Shine
(6:16)  6. Keep Walking (Song for Sara)
(2:46)  7. How Little We Know
(4:56)  8. Not The Kind of Girl
(4:44)  9. Empire State of Mind New York
(3:27) 10. Touch Your Soul
(5:19) 11. Shine
(3:15) 12. Coming Around Again
(6:15) 13. Marche Loin (Pour Sara)
(3:36) 14. On Saturday Afternoons in 1963 - Bonus Track
(4:12) 15. A Horse Named Janis Joplin - Bonus Track
(4:28) 16. Jesse - Bonus Track

I ran my first 10K ever to these songs, on a cool morning in country backroads as mist lifted to reveal an early and golden morning. I ran my middle-aged, twice-cancered, arthritic, feminist, queer body to this album and Ian's voice. His music, his force and that of the glorious women he is channeling and championing here kept me going. This is an album of songs to run to and to crawl to. Here is music to sob to and anthems to change the world still so much world to change. Ian and I met on social media, we have friends in common, we met talking of the refugee crisis, we met because Ian was taking action about the refugee crisis. Taking action, no matter what. New takes, because we can. A new take on an old song for Joni Mitchell's always relevant Shine, reminding us that there are so many sides to truth, to every hurt. Light and dark, because there is not one without the other, no life without death, the dichotomy held here very gently, so we can allow the pain and not be broken by it. Keep Walking's true story of Ian's friend Sara. From Eritrea to Libya to Calais to Birmingham and the UK asylum system. A tale of someone else's pain, sustained in song, that we might feel it ourselves, maybe even feel it enough to make a difference. In action, there is hope. Ian's open-hearted version of This Beautiful Life is a full-throated call for a shining existence, and a vital panacea for the also-truth of Trip And Tumble's collapse, crumble, stumble from grace. Tanita Tikaram and Ian's Shine Sister Shine becomes a sing-a-long, march-along, dance-along paean to the LGBT community &ncash; so much achieved and still so far to go, both out in the world and among ourselves. Ian says the 'Sister' here is every gender and sexuality, all of us shining. Too many to list, but every one of these tracks offers a gift for the listener willing to let someone touch your soul. These are songs to hold us when we ask why, to promise that it's not only good to cry, but right to do so. They are also songs to prompt us when we ask how how do we make a difference, how do we create value in our individual lives, in a carry on world, starring everyone of us? This is an album crammed with sharp pain, deeply felt, then countered with soaring, resonant hope. Empire States Of Mind for all. We see what hurts, we cry the tears, and because we know there is also life, also light, we dig deep and find the strength to make a change. https://www.ianshaw.biz/p/albums/sister-about.php

Shine Sister Shine

---

The Microscopic Septet - Been Up So Long It Looks Like Down To Me: The Micros Play The Blues

Styles: Progressive Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 62:13
Size: 154,4 MB
Art: Front

(4:33)  1. Cat Toys
(2:47)  2. Blues Cubistico
(6:34)  3. Dark Blue
(4:04)  4. Don't Mind If I Do
(4:50)  5. Migraine Blues (for Wendlyn Alter)
(6:21)  6. PJ In The 60s
(4:34)  7. When It's Getting Dark
(5:43)  8. Simple-Minded Blues
(2:28)  9. After You, Joel
(4:26) 10. 12 Angry Birds
(5:51) 11. Quizzical
(6:21) 12. Silent Night
(3:16) 13. I've Got A Right To Cry
(0:17) 14. Untitled

Saxophonist Phillip Johnston founded The Microscopic Septet in 1980 when the group briefly counted John Zorn as one of its members. They recorded four albums and were a regular presence in New York's downtown scene before disbanding in 1992. In 2006 Cuneiform Records re-released the four albums leading to the reformation of the group and presently, to their new release Been Up So Long It Looks Like Down to Me: The Micros Play the Blues. Johnston and pianist Joel Forrester, saxophonist Dave Sewelson and bassist Dave Hofstra were all members of the original group. However, drummer Richard Dworkin and saxophonist Don Davis followed closely, both coming on board in the early 1980s. Only tenor saxophonist Mike Hashim is a later arrival, having joined the band shortly after the reformation in 2007. If any of their album titles crystalizes the essence of the The Micros, it is Surrealistic Swing: The History of the Micros, Vol. 2 (Cuneiform Records, 2006). Johnston and Forrester, who evenly divide the writing credits on this album, share an affinity if not an outright insistence for a swing-based criteria. 

Yet throughout their recordings, there is a progressive bent that makes the music feel neither nostalgic nor avant-garde but somewhere in-between. Each of fourteen compositions on Been Up So Long It Looks Like Down to Me share that aesthetic sense but each with its own idiosyncrasy. "Cat Toys" could be out of the 1940s save for an appealing and technically modern bass solo from Hofstra. "Blues Cubistico," with its swinging dance rhythm, is kept up to date with Hashim and Sewelson's low-end improvised saxophones. The down and dirty "Dark Blues" features Johnston, Hashim and Sewelson in some fine creative interplay, handing off to Forrester for an engaging piano solo. Dworkin has time to shine on the percussion driven "Migraine Blues," a blend of swing and jump blues. "PJ in the 60s" opens as close to free playing as the group goes but quickly returns to the concept; again, the three saxophones enter into some pleasing dialog with Forrester and Dworkin later getting some quality solo time.

The tracks on Been Up So Long It Looks Like Down to Me are relatively compact, with one clocking in at under one minute; all having a contagious cheerfulness, modernly ostentatious and colorful textures. Like all of the compositions in the Microscopic Septet catalog, there is an unaffected and timeless quality to the music that will appeal to those who favor mainstream as well as the more exploratory listener. ~ Karl Ackermann https://www.allaboutjazz.com/been-up-so-long-it-looks-like-down-to-me-the-micros-play-the-blues-microscopic-septet-cuneiform-records-review-by-karl-ackermann.php

Personnel: Phillip Johnston: soprano saxophone; Don Davis: alto saxophone; Mike Hashim: tenor saxophone; Dave Sewelson: baritone saxophone; Joel Forrester: piano; Dave Hofstra: bass; Richard Dworkin: drums.

Been Up So Long It Looks Like Down To Me: The Micros Play The Blues

---

Art Pepper - Cinnamon

Styles: Saxophone Jazz 
Year: 2009
File: MP3@320K/s
Time: 30:41
Size: 71,0 MB
Art: Front

(2:59)  1. Chili Pepper
(2:54)  2. Surf Ride
(3:10)  3. Cinnamon
(3:15)  4. Nutmeg
(3:14)  5. Susie The Poodle
(3:11)  6. Holiday Flight
(2:52)  7. Straight Life
(3:29)  8. Thyme Time
(3:07)  9. Art's Oregano
(2:26) 10. Brown Gold

Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth hearing. In the 1950s, he was one of the few altoists (along with Lee Konitz and Paul Desmond) who was able to develop his own sound despite the dominant influence of Charlie Parker. During his last years, Pepper seemed to put all of his life's experiences into his music and he played with startling emotional intensity. After a brief stint with Gus Arnheim, Pepper played with mostly black groups on Central Avenue in Los Angeles. He spent a little time in the Benny Carter and Stan Kenton orchestras before serving time in the military (1944-1946). Some of Pepper's happiest days were during his years with Stan Kenton (1947-1952), although he became a heroin addict during that period. The '50s found the altoist recording frequently both as a leader and a sideman, resulting in at least two classics (Plays Modern Jazz Classics and Meets the Rhythm Section), but he also served two jail sentences stemming from drug offenses in 1953 and 1956. Pepper was in top form during his Contemporary recordings of 1957-1960, but the first half of his career ended abruptly with long prison sentences that dominated the '60s. His occasional gigs between jail terms found him adopting a harder tone influenced by John Coltrane that disturbed some of his longtime followers. 

He recorded with Buddy Rich in 1968 before getting seriously ill and seeking rehabilitation at Synanon (1969-1971). Pepper began his serious comeback in 1975 and the unthinkable happened: Under the guidance and inspiration of his wife Laurie, Pepper not only recovered his former form, but topped himself with intense solos that were quite unique; he also enjoyed playing clarinet occasionally. His recordings for Contemporary and Galaxy rank with the greatest work of his career. Pepper's autobiography Straight Life (written with his wife) is a brutally honest book that details his sometimes horrifying life. Art Pepper died of a cerebral hemorrhage on June 15, 1982 at the age of 56. ~ Scott Yanow https://www.allmusic.com/artist/art-pepper-mn0000505047/biography

Cinnamon

---

Cecil Payne - The Very Best Of

Styles: Saxophone Jazz 
Year: 2010
File: MP3@320K/s
Time: 64:51
Size: 149,8 MB
Art: Front

(3:50)  1. Man Of Moods
(7:50)  2. Arnetta
(5:29)  3. I'm Gonna Learn Your Style
(3:40)  4. Tall Grass
(6:40)  5. Saucer Eyes
(5:35)  6. Bringing Up Father
(6:21)  7. Like Church
(4:24)  8. This Time The Dream's On Me
(3:50)  9. Dexterity
(4:00) 10. Yes, He's Gone
(4:47) 11. How Deep Is The Ocean
(5:00) 12. Groovin' High
(3:20) 13. Chessman's Delight

Acclaimed by peers and critics among the finest baritone saxophonists of the bebop era, Cecil Payne remains best remembered for his three-year stint with Dizzy Gillespie's seminal postwar big band. Born in Brooklyn, NY, on December 14, 1922, Payne began playing saxophone at age 13, gravitating to the instrument after hearing Lester Young's work on Count Basie's "Honeysuckle Rose." Young's supple, lilting tone remained a profound influence throughout Payne's career. After learning to play under the tutelage of local altoist Pete Brown, Payne gigged in a series of local groups before receiving his draft papers in 1942. He spent the four years playing with a U.S. Army band, and upon returning to civilian life made his recorded debut for Savoy in support of J.J. Johnson. During a brief stint with Roy Eldridge, Payne put down his alto and first adopted the baritone. Later that year he joined the Gillespie orchestra, earning renown for his unusually graceful approach to a historically unwieldy instrument. Payne appears on most of Gillespie's key recordings from this period, including "Cubano-Be/Cubano-Bop," and solos on cuts like "Ow!" and "Stay on It," but despite near-universal respect among the jazz cognoscenti, he remained a little-known and even neglected figure throughout his career. After exiting the Gillespie ranks in 1949, Payne headlined a session for Decca backed by pianist Duke Jordan and trumpeter Kenny Dorham. Following tenures with Tadd Dameron and Coleman Hawkins, in 1952 Payne launched a two-year stint with Illinois Jacquet, and in 1956, he toured Sweden alongside childhood friend Randy Weston. That same year, Payne also headlined the Savoy LP Patterns of Jazz. In 1957, he and fellow baritonist Pepper Adams backed the legendary John Coltrane on Dakar. 

Shortly after the session he abandoned the music business to work for his father's real estate firm and did not return to performing until 1960. The following year Payne joined the cast of playwright Jack Gelber's off-Broadway hit The Connection, an exposé of the urban drug culture informed by its on-stage jazz performances. From there, he again toured Europe, this time as a member of Lionel Hampton's band, but returned stateside only to resume his real estate work. Payne recorded just a handful of sessions in the years to follow, most notably Zodiac, a superb 1969 date for the Strata-East label. He nevertheless remained a valued sideman, working with Machito from 1963 to 1966 and spending the next two years with Woody Herman. In 1969, he joined Basie, with whom he played for three years. Payne spent the 1970s on and off the radar, cutting sessions for Xanadu and Muse as well as joining the New York Jazz Repertory Orchestra in 1974. He also toured Europe in conjunction with a musical theater showcase titled The Musical Life of Charlie Parker. During the 1980s, he focused his energies into Dameronia, a band formed by drummer Philly Joe Jones in tribute to the music of Tadd Dameron. Payne continued with the ensemble throughout the decade, assuming an even greater creative role following Jones' 1985 death. He also rejoined Jacquet for an extended stint, and toured the New York City club circuit with Bebop Generation, a sextet he founded and led. During the early '90s, Payne helmed a series of well-regarded albums for Delmark. However, as the decade wore on he seemed to vanish, and eventually friends and admirers found him living in his Brooklyn home, a virtual recluse suffering from failing eyesight and living on a modicum of food. A proud, fiercely independent man, Payne only grudgingly accepted the financial assistance of the Jazz Foundation of America, but his health quickly improved and in time he returned to performing. He continued playing regularly well into his eighties, passing away November 27, 2007, just weeks shy of his 85th birthday. ~ Jason Ankeny https://www.allmusic.com/artist/cecil-payne-mn0000661645/biography

The Very Best Of

---

Al Haig - Trio And Quintet!

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 50:00
Size: 115,2 MB
Art: Front

(5:40)  1. Maxology
(5:53)  2. Prince Albert
(6:10)  3. Yesterdays
(3:37)  4. Maximum
(4:01)  5. Just One Of Those Things
(3:09)  6. Yardbird Suite
(2:43)  7. Taboo
(4:55)  8. Mighty Like A Rose
(3:38)  9. S'Wonderful
(1:51) 10. Spotlight
(5:26) 11. 'Round Midnight
(2:49) 12. The Moon Was Yellow

One of the finest pianists of the bop era (and one who learned from Bud Powell's innovations quite early), Al Haig was quite busy during two periods of his career but unfortunately was pretty obscure in the years between. After serving in the Coast Guard (playing in bands during 1942-1944) and freelancing around Boston, Haig worked steadily with Dizzy Gillespie (1945-1946), Charlie Parker (1948-1950), and Stan Getz (1949-1951); and was on many recordings, mostly as a sideman (including some classic Diz and Bird sessions) but also as a leader for Spotlite, Dawn, and Prestige. However (other than little-known dates in 1954 for Esoteric, Swing, and Period), Haig did not lead any more albums until 1974. He played fairly often during the 1951-1973 period, but was generally overlooked. That changed during his last decade, when he was finally recognized as a bop giant and recorded for Spotlite, Choice, SeaBreeze, Interplay, and several Japanese and European labels. ~ Scott Yanow https://www.allmusic.com/artist/al-haig-mn0000604469/biography

Personnel: Piano – Al Haig; Bass – Bill Crow, Tommy Potter ; Drums – Lee Abrams, Max Roach; Tenor Saxophone – James Moody; Trumpet – Kenny Dorham

Trio And Quintet!                  

---

David Giardina - Crooning In Public

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 46:23
Size: 107,3 MB
Art: Front

(2:08)  1. Stairway to Paradise
(5:13)  2. Jeanie With the Light Brown Hair
(3:03)  3. Poor Butterfly
(2:10)  4. Do It Again
(3:12)  5. Glow Worm
(4:12)  6. Danny Boy - Londonderry Air
(2:11)  7. Sympathy
(3:54)  8. Tristesse
(2:55)  9. What More Can I Ask For
(4:22) 10. I'm Always Chasing Rainbows
(3:03) 11. I Want What I Want (When I Want it)
(3:09) 12. None But the Lonely Heart
(3:30) 13. A Pretty Girl Is Like a Melody
(3:14) 14. April Showers

“Croon Prince” David Giardina is doing it in public! Crooning that is. Giardina has been a crusader and interpreter of the timeless treasures of Tin Pan Alley since the early 1990’s. His first album “Alive In Tin Pan Alley!” showcased many beloved songs from this golden age of American popular music. In his latest album "Crooning In Public" he has put together some more classic songs that are now in the public domain. The album features selections by tune-writing teams George/Ira Gershwin, Henderson/Brown/DeSilva and Tchaikovsky/Goethe. Can’t make this stuff up! You’ll also hear songs by Irving Berlin, Victor Herbert, Stephen Foster and the last surviving Tin Pan Alley song writer Bernie Bierman plus many others. Some of the tunes are famous, some are..surprises. Special thanks to celebrated concert pianist Paul Bisaccia for his stellar work on most of the tracks. Also thanks to the incomparable Mark York for his fantastic work on "Poor Butterfly" and to Stu Chamberlain (piano) and Susan Mitchell (violin) for their wonderful playing on "What More Can i ask For". Should Crooning in Public be a crime? You be the judge. https://store.cdbaby.com/cd/davidgiardina12

Crooning In Public

---