Chie Imaizumi - Unfailing Kindness

Styles: Post Bop, Big Band
Year: 2006
File: MP3@320K/s
Time: 56:06
Size: 129,4 MB
Art: Front

( 9:05)  1. A Change for the Better
( 5:50)  2. The More the Merrier
( 9:47)  3. Unfailing Kindness
( 6:30)  4. Lonley...
( 7:56)  5. Round and Round
(10:40)  6. Adversity
( 6:16)  7. Another Day

To all but the most jaded of cynics, Chie Imaizumi's Unfailing Kindness is sure to provide many hours of comfort for the soul as this extremely accessible and yet deeply rewarding music washes away all that might ail it. Imaizumi is letting us see her up close and personal as each tune translates her emotional being at various times in her recent life into music. The fact that this music is for large forces (ten players most of the time) makes it all the more remarkable, since it is light and limber with intricate arrangements that do not, however, sound congested or overburdened. There is much room for soloing, and when they get the chance to fly, the soloists make the most of it. The feeling that leads to the solo is one, though, of the underlying music pushing the performer out front, or lifting them above the others, rather than someone just stepping out and wailing. Imaizumi received her original musical training on the electric organ before she switched to piano, winning awards and beginning to record in Japan. The fact that she does not play on this record might seem strange but it is, in reality, part of the emotional roller coaster that the music represents. Among other issues in her life at the time, Imaizumi was afflicted with tenosynovitis, a painful repetitive stress injury, which forced her to stop playing. Anyone who has been through this kind of thing, especially a musician, knows how devastating not being able to function can be. However, Imaizumi turned adversity into opportunity. Indeed, the sixth and longest track is named "Adversity" and is the most interesting musically as it moves through many different moods and emotions. Turning her talents away from the playing and toward composing and arranging, she now builds worlds of sound with the help of other musicians. 

The album starts off with a bang with three very up tunes "A Change for the Better," with its Caribbean rhythms, "The More the Merrier," which kicks back with a New Orleans backbeat, and "Unfailing Kindness," with its meter switching between 5/4 and 4/4. Things take a needed rest with "Lonely," in which Imaizumi remembers how a three month tour felt, but rebounds with the driving changes tune "Round and Round," before getting to the aforementioned "Adversity." 

There are many subtleties in constant change throughout each tune, and an attentive listener will be rewarded many times over. The word is that actually attending an Imaizumi performance and watching her conduct her music is something else altogether. Many jazz fans find music to be highly emotional, and Imaizumi's music exudes both optimism and overcoming difficult times, but mostly the joy of creating and being able to share it. Highly recommended. ~ Budd Kopman https://www.allaboutjazz.com/unfailing-kindness-chie-imaizumi-review-by-budd-kopman.php

Personnel: Greg Gisbert: trumpet, flugelhorn; Ron Miles: trumpet, flugelhorn; John Gunther: alto and soprano saxophones, flute, clarinet; Gary Smulyan: baritone saxophone, bass clarinet; Alex Heitlinger: trombone; Mike Abbott: guitar; Jeff Jenkins: piano, Hammond B3; Mark Simon: bass; Paul Romaine: drums; Manavihare

Unfailing Kindness

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Dizzy Reece - Soundin' Off

Styles: Trumpet Jazz
Year: 1960
File: MP3@320K/s
Time: 41:58
Size: 96,2 MB
Art: Front

(5:05)  1. A Ghost of a Chance
(7:58)  2. Once in a While
(7:30)  3. Eb Pob
(7:46)  4. Yesterdays
(7:10)  5. Our Love Is Here to Stay
(6:27)  6. Blue Streak

Originally issued in 1960 and subsequently reissued multiple times in a variety of formats, the trumpeter Dizzy Reece's fourth Blue Note outing as a leader is here presented in Super Audio CD format by the APO label. While it would have been nice to see a bit more material on a reissue like this (with at least a couple of alternate takes), the original program is densely packed with high-quality music and makes for a solidly satisfying listening experience on its own. The opening track, interestingly enough, is both a ballad and a standard: on "Ghost of a Chance" Reece plays with a buttery, burnished tone that coats the familiar melody in a golden haze like the quality of light at dusk. The sun rises again on the next track, a midtempo number titled "Once in a While," and the tempo ratchets up another notch on "Eb Pob," a rather undistinguished composition on the "I Got Rhythm" changes that is completely redeemed by the quality of the solos. "Yesterday" finds pianist Walter Bishop delivering a curiously lackadaisical solo, but he gets back in the groove on a wonderful version of "Our Love Is Here to Stay." The program ends with a nice, bouncy blues original titled "Blue Streak." Throughout the album, Reece digs into his bag of sonic tricks without ever doing anything that detracts from the music itself. Soundin' Off is a little bit uneven, but is never less than a solid pleasure to listen to. ~ Rick Anderson https://www.allmusic.com/album/soundin-off-mw0000368905

Personnel:  Dizzy Reece - trumpet; Walter Bishop Jr. - piano; Doug Watkins - bass; Art Taylor - drums

Soundin' Off

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Nancy Kelly - Well, Alright!

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 58:41
Size: 135,4 MB
Art: Front

(4:33)  1. But Not For Me
(5:06)  2. I Wish You Love
(5:51)  3. Who Can I Turn To
(4:56)  4. I Only Have Eyes For You
(4:12)  5. I Love Being Here With You
(4:01)  6. Let's Fall In Love
(5:55)  7. For Once In My Life
(6:02)  8. Alright, Okay, You Win
(5:32)  9. Since I Fell For You
(6:35) 10. Let It Be Me
(5:54) 11. Fine And Mellow

The best things in life, and jazz, happen spontaneously. Which brings us directly to Ms Kelly, who again has teamed up with tenorist Houston Person. They collaborated in ’06 on Born to Swing; now their unique rapport graces a fledgling label in Bellevue, WA, Saying It With Jazz. Kelly and Person say it with eloquence, spread over eleven live tracks, backed by a highly responsive rhythm section: pianist Randy Halberstadt; bassist Jeff Johnson; and drummer Gary Hobbs. Kelly gives a master class on every track, belting “But Not For Me” at supersonic speed, avoiding words as if they were road-blocks, but never losing the jazz pulse. Person quotes from “Third Man Theme;’ Halberstadt offers his own, from “Surrey With the Fringe.” Kelly comes roaring back for the out chorus, resorting to scat for the title. “Who Can I Turn To” gives Kelly a chance to channel Carmen McRae; Anita O’Day is conjured up during “I Only Have Eyes,” containing Kelly’s signature visceral growl. Her range comes in handy on “Let’s Fall in Love:” she ends on the fifth, then suddenly swoops an octave higher. The girl’s fearless; does it again at the end of “Let It Be Me.” The title tune gives Halberstadt his solo highlight: Brubeck-flavored. Person’s tour de force comes on “Since I Fell For You.” BIllie Holiday’s “Fine & Mellow” evolves into a shuffle-shout, call-and-response with Kelly’s adoring audience. That’s how it went all night: the humor of a jazz conversation with everyone hearing each other; no need for arrangements. Person is a sensitive listener, filling in Kelly’s gaps with intelligent comments. The two must be joined at the hip very hip. ~ Harvey Siders https://jazztimes.com/reviews/albums/nancy-kelly-well-alright/

Well, Alright!

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The Monty Alexander Trio - Full Steam Ahead

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 41:26
Size: 96,4 MB
Art: Front

(5:16)  1. Freddie Freeloader
(6:24)  2. Once I Loved
(4:16)  3. Ray's Idea
(2:58)  4. Because You're Mine
(2:52)  5. I Can't Get No Satisfaction
(6:02)  6. Happy Talk
(4:38)  7. Estate
(5:21)  8. Hi-Fly
(3:36)  9. Just Friends

For his seventh Concord recording, all of which are easily recommended, pianist Monty Alexander teams up with bassist Ray Brown and drummer Frank Gant for four bop standards, a pair of bossa-nova tunes, and such unusual jazz vehicles as "Because You're Mine" (taken from a Mario Lanza movie), "Happy Talk," and "I Can't Get No Satisfaction." No matter what its source, the music is all turned into an entertaining and joyous brand of rhythmically exciting straight-ahead jazz, showing off Monty Alexander in good form. ~ Scott Yanow https://www.allmusic.com/album/full-steam-ahead-mw0000187641

Personnel: Piano – Monty Alexander; Bass – Ray Brown; Drums – Frank Gant

Full Steam Ahead

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Orrin Evans - Grown Folk Bizness

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 65:06
Size: 149,7 MB
Art: Front

(7:26)  1. Rocking Chair
(5:45)  2. Firm Roots
(8:02)  3. That Old Feeling
(8:48)  4. The Elm
(4:22)  5. Bernie's Tune
(5:17)  6. Volition
(9:05)  7. Rhythm-a-ning
(6:54)  8. Toy Tune
(9:21)  9. Route 80 East

It's been a few years since pianist Orrin Evans placed in the Thelonious Monk Piano Competition. All the while, he's been maturing as an artist with a nice spate of Criss Cross dates along the way documenting that development. Grown Folk Bizness is Evans' third release for the label and it ups the ante even further from what we experienced on his first two illustrative discs. This is due, in part, to the pianist's further amalgamation of his varied influences, but also the product of the heavy company the man keeps. To hold your own under the collective one-two punch of drummer Ralph Peterson is saying something. But Evans not only holds his own, he slings it right back, as the two fire off phrases at each other with deceptive panache. A front row seat to such action can be had by skipping to "Firm Roots," a seditious performance bounding with collective fireworks. An interesting point to ponder, Peterson has made a few consequential records as of late with pianist Uri Caine (the superlative and recent Blue Wail on Winter and Winter comes to mind) and the concentrated experience that came from that activity must have had some effect on his approach to the recital at hand, as both Evans and Caine tend to be forward-thinking and rambunctious players. As for his overall concept, Evans avoids the ordinary, maybe to the point of being too cagey at times, but he manages to push the music towards unexpected vistas. An obvious flight from clichés is the opening number, a solo piano take on Hoagy Carmichael's "Rocking Chair" which includes hints of stride, Cecil Taylor, and Monk all rolled into one. "That Old Feeling," which might tend to be associated with pianists along the line of Gene Harris or Dave McKenna, gets a substantial facelift in Evans' hands, a nice section in the middle developed through the use of block chords displaced to the offbeats. Then, as if to suggest that his "bag" is a capacious one, things take on an ECMish hue with a reworking of Richie Beirach's "The Elm." For some extra seasoning, saxophonists Ralph Bowen and Sam Newsome sit in on one number apiece and then team up for the concluding Route 80 East, a rollicking jam that caps off a dazzling junior effort from Evans. While the "mixed bag" approach that comes with Evans' style may seem schizophrenic at times, there's also great promise in this pianist's forward-thinking stance and fans of piano trio jazz will find more than enough sustenance here to keep this disc in heavy rotation. ~ C.Andrew Hovan https://www.allaboutjazz.com/grown-folk-bizness-orrin-evans-criss-cross-review-by-c-andrew-hovan.php

Personnel: Orrin Evans- piano, Rodney Whitaker- bass, Ralph Peterson- drums, Ralph Bowen- alto and tenor sax (tracks 7 & 9 only), Sam Newsome- soprano sax (tracks 8 & 9 only)

Grown Folk Bizness

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Pat Martino - Giants Of Jazz: Pat Martino

Styles: Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 52:21
Size: 120,7 MB
Art: Front

(5:43)  1. Road Song
(4:34)  2. The Visit
(5:06)  3. We'll Be Together Again
(5:54)  4. Alone Together
(6:13)  5. How Insensitive
(4:37)  6. Impressions
(2:53)  7. Nefertiti
(8:21)  8. Footprints
(6:11)  9. Willow
(2:44) 10. Send In The Clowns

Giants of Jazz: Pat Martino is a nice budget collection of the guitarist's landmark work from the '60s and '70s. Included are such standout tracks as the ballad "We'll Be Together Again," John Coltrane's "Impressions," and the expansive "Willow." While collectors will most likely want the full-length albums, this is a solid introduction to Martino's unique oeuvre. ~ Matt Collar https://www.allmusic.com/album/giants-of-jazz-pat-martino-mw0000339600

Giants Of Jazz: Pat Martino

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Darren Barrett - First One Up

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 65:30
Size: 152,0 MB
Art: Front

(5:44)  1. First One Up - Take 1
(5:33)  2. Word! Dr. Byrd
(7:59)  3. Impossible
(5:20)  4. 2 to 4
(6:29)  5. Grand Ravine
(6:45)  6. Up Down - Inside Out
(5:11)  7. Conceta Elfreda
(5:41)  8. A New Day Comes
(7:15)  9. Reflections
(6:45) 10. First One Up - Take 2
(2:42) 11. Dee's Theme

This is the debut recording by trumpeter Darren Barrett who in ’97 won the annual international Jazz competition sponsored by the Thelonious Monk Institute. The man clearly has exceptional chops and enthusiasm to match but he leaves an inescapable impression that what is being said has been recited many times before, often with deeper awareness and broader substance. In other words, purposeful as Barrett and his companions are, there’s nothing notably fresh or absorbing in their repertoire, which consists here of eight original compositions by Barrett (“First One Up” is performed twice) and one each by Steve Allen (“Impossible”) and Thelonious himself (“Reflections”). Barrett sounds much like several of his more recent predecessors (Roy Hargrove, Nicholas Payton, Marcus Printup, Terence Blanchard, Wallace Roney and others) with the obligatory nods toward Freddie Hubbard, Donald Byrd, Lee Morgan and other old line boppers. One of the drawbacks is that Barrett’s compositions, while earnest in their intent, haven’t much meat on their bones and thus serve mainly as routine springboards for improvisation. 

Another is that pianist Goldberg could use a more delicate touch to great advantage (and is that him or his piano making those strange noises while he solos?). Barrett’s front line partners, Greene (on eight tracks) and Garrett (on three), are quite capable but stylistically inseparable from many of their contemporaries. Make no mistake, Barrett shows great promise and gives an exceedingly good account of himself throughout, and First One Up may one day be seen in retrospect as the wellspring of an uncommonly productive career. For now, however, we must observe that “promising” is about as suitable a word as discretion will allow. The more acclamatory phrases may come later. ~ Jack Bowers https://www.allaboutjazz.com/first-one-up-darren-barrett-j-curve-records-review-by-jack-bowers.php

Personnel: Darren Barrett, trumpet; Aaron Goldberg, piano; Jimmy Greene, tenor, soprano sax; Kenny Garrett, alto sax (1, 6, 10); Reuben Rogers, bass; John Lamkin, drums.

First One Up

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Honi Gordon - Vocal & Jazz Essentials

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 34:00
Size: 78,9 MB
Art: Front

(2:31)  1. Ill Wind (You're Blowing Me No Good)
(5:19)  2. My Kokomo
(3:22)  3. Cupid
(5:01)  4. Why Try to Change Me Now
(2:43)  5. Lament of the Lonely
(3:27)  6. Why
(3:43)  7. Love Affair
(4:38)  8. Strollin'
(3:10)  9. Walkin' (Out the Door)

Honi Gordon was among the one-album wonders of jazz; the obscure, bop-oriented singer recorded only one LP as a solo artist (1962's little-known Honi Gordon Sings). But her lack of exposure was not due to a lack of talent. Gordon, the daughter of vocalist/composer George Gordon, had an appealing style that was influenced by Sarah Vaughan, Ella Fitzgerald, and Billie Holiday, as well as Annie Ross. There were also hints of Chris Connor in some of her performances. Gordon first sang professionally in the early '50s, when she became a member of a jazz vocal group called the Gordons. That outfit was a family affair, consisting of Honi Gordon as well as her father and two brothers. Though the group didn't sell a lot of records, it attracted the attention of Charles Mingus and did some recording with the famous bassist/pianist/bandleader. Pianist Mary Lou Williams was also an admirer of the group, as was bandleader/vibist Lionel Hampton. Nonetheless, the Gordons were unable to sustain a long career, and they broke up. By the early '60s, Honi Gordon was pursuing a solo career. She recorded her first solo album, Honi Gordon Sings, for Prestige in 1962, employing such noteworthy jazzmen as acoustic bassist George Duvivier, drummer Ed Shaughnessy, and the eclectic pianist Jaki Byard. The album was quite promising; Gordon showed herself to be a strong interpreter of lyrics on material that ranged from Mingus' "Strollin'" and the standard "Ill Wind" to her father's "My Kokomo." But, unfortunately, Gordon's first solo album was also her last after Honi Gordon Sings, she never recorded again as a solo artist. In 1991, Fantasy reissued Honi Gordon Sings on CD for the limited editions line of its Original Jazz Classics (OJC) series. ~ Alex Henderson https://www.allmusic.com/artist/honi-gordon-mn0000821836

Vocal & Jazz Essentials

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Illinois Jacquet - Night Out

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 50:34
Size: 117,2 MB
Art: Front

(4:28)  1. Harlem Nocturne
(6:12)  2. Las Vegas Blues
(4:24)  3. Robbin's Nest (Radio Edit)
(3:12)  4. Flying Home
(5:56)  5. Have You Met Miss Jones?
(2:35)  6. The Fluke
(5:06)  7. Achtung
(5:49)  8. Lullaby of the Leaves
(6:42)  9. Can't We Be Friends
(3:14) 10. Nite Out
(2:51) 11. No Sweet

One of the great tenors, Illinois Jacquet's 1942 "Flying Home" solo is considered the first R&B sax solo, and spawned a full generation of younger tenors (including Joe Houston and Big Jay McNeely) who built their careers from his style, and practically from that one song. Jacquet, whose older brother Russell (1917-1990) was a trumpeter who sometimes played in his bands, grew up in Houston, and his tough tone and emotional sound defined the Texas tenor school. After playing locally, he moved to Los Angeles where, in 1941, he played with Floyd Ray. He was the star of Lionel Hampton's 1942 big band ("Flying Home" became a signature song for Jacquet, Hampton, and even Illinois Jacquet' successor Arnett Cobb), and also was with Cab Calloway (1943-1944) and well featured with Count Basie (1945-1946). Jacquet's playing at the first Jazz at the Philharmonic concert (1944) included a screaming solo on "Blues" that found him biting on his reed to achieve high-register effects; the crowd went wild. He repeated the idea during his appearance in the 1944 film short Jammin' the Blues. In 1945, Jacquet put together his own band, and both his recordings and live performances were quite exciting. He appeared with JATP on several tours in the 1950s, recorded steadily, and never really lost his popularity. In the 1960s, he sometimes doubled on bassoon (usually for a slow number such as "'Round Midnight") and it was an effective contrast to his stomping tenor. In the late '80s, Jacquet started leading an exciting part-time big band that only recorded one album, an Atlantic date from 1988. Through the years, Illinois Jacquet (whose occasional features on alto are quite influenced by Charlie Parker) has recorded as a leader for such labels as Apollo, Savoy, Aladdin, RCA, Verve, Mercury, Roulette, Epic, Argo, Prestige, Black Lion, Black & Blue, JRC, and Atlantic. Illinois Jacquet died on July 22, 2004. ~ Scott Yanow https://www.allmusic.com/artist/illinois-jacquet-mn0000770629/biography

Night Out

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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