Andrew Hill - But Not Farewell

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 63:22
Size: 146,1 MB
Art: Front

( 7:20)  1. Westbury
( 7:12)  2. But Not Farewell
( 8:28)  3. Nicodemus
(17:19)  4. Georgia Ham
( 5:44)  5. Friends
( 3:44)  6. Sunnyside
(13:32)  7. Gone

This is a recommended set of stimulating post-bop jazz. Andrew Hill's highly distinctive piano playing and unusual compositions hint at the past while following their own rules. The feeling of polyrhythms is present in several of Hill's seven compositions on this CD. The tightness of the bass-drum team (Lonnie Plaxico and Cecil Brooks) is quite impressive, as is the blend of Robin Eubanks' warm trombone and Greg Osby's alto. Osby's angular improvisations, which seem out of place in standard bebop, sound perfectly at home in Andrew Hill's music. "Friends" features the altoist's lyricism in a duet with the pianist. Although the final two numbers (including the 13-and-a-half-minute freely improvised "Gone") are solo piano performances, it is the quintet tracks with Osby and Eubanks that are the main reason to acquire this disc. ~ Scott Yanow https://www.allmusic.com/album/but-not-farewell-mw0000263609

Personnel:  Andrew Hill - piano; Greg Osby - soprano saxophone (tracks 1-3), alto saxophone (tracks 4 & 5); Robin Eubanks - trombone (tracks 1-4); Lonnie Plaxico - bass (tracks 1-4); Cecil Brooks III - drums (tracks 1-4)

But Not Farewell

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Geri Allen - Home Grown

Styles: Piano Jazz
Year: 1985
File: MP3@320K/s
Time: 43:52
Size: 101,0 MB
Art: Front

(5:36)  1. Mamma's Babies
(2:55)  2. Bemsha Swing
(8:36)  3. No More Mr. Nice Guy
(4:06)  4. Black Man
(6:14)  5. Round Midnight
(3:23)  6. Blue
(7:39)  7. Alone Together
(5:23)  8. Home Grown

Geri Allen's second recording, a solo effort for the German Minor Music label, finds her already displaying a pretty original style (which occasionally has hints of Herbie Nichols). Allen performs a pair of Thelonious Monk tunes ("Bemsha Swing" and "'Round Midnight"), plus six of her diverse and usually rhythmic originals. A fine early set. ~ Scott Yanow https://www.allmusic.com/album/homegrown-mw0001885479

Personnel:  Geri Allen - piano

Home Grown

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Ken Peplowski, Alan Barnes - Doodle Oodle

Styles: Saxophone And Clarinet Jazz
Year: 2009
File: MP3@320K/s
Time: 70:46
Size: 163,3 MB
Art: Front

(4:04)  1. Doodle Oodle
(6:51)  2. Two Funky People
(4:12)  3. Titter Pipes
(9:03)  4. In Love in Vain
(5:39)  5. Evening
(7:02)  6. Bennie's Pennies
(8:45)  7. Shady Side
(6:37)  8. Hanid
(5:40)  9. Vignette
(5:38) 10. Ready Eddie
(7:10) 11. Fajista

Alan Barnes is around the UK jazz circuit so much, in so many different guises, that it's easy to take his virtuosity, professionalism and love of jazz's most accessible song-rooted manifestations for granted, not to mention his standup skills as the MC to his own work. But Barnes's frequent partnerships with American mainstream swingers who sense a kindred spirit (Scott Hamilton is a regular participant) frequently produce sessions that soar above formulaic trots through the evergreens. This one finds Barnes with the US clarinetist and saxophonist Ken Peplowski, aided and abetted by the UK trio of pianist John Pearce, bassist Alec Dankworth and drummer Martin Drew. Typically, the two reedmen pick -swing-era jazz tunes that haven't been done to death, including Billy Byers's title track (at breakneck tempo, with Barnes boppish on alto, Peplowski earthier on tenor), Al Cohn's Two Funky People (a wry, lyrical clarinet duet), Coleman Hawkins's Hanid (baritone sax and clarinet, with a spirited melody and crisp participation from the rhythm section), Barney Bigard's Ready Eddie (a delicious, drifting, two-clarinet pirouette) and Hank Jones's Vignette (typically bright and balletic). It's a swing album with no pretensions, but it's played by experts who love the feel of the style. … we have a small favour to ask. ~ John Fordham https://www.theguardian.com/music/2009/dec/11/alan-barnes-ken-poplowski-doodle-oodle

Doodle Oodle

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Ann-Margret - On the Way Up

Styles: Vocal
Year: 1962
File: MP3@320K/s
Time: 30:45
Size: 71,5 MB
Art: Front

(2:36)  1. Oh, Lonesome Me
(2:08)  2. Slowly
(2:52)  3. Fever
(2:32)  4. What Do You Want from Me
(2:26)  5. Heartbreak Hotel
(2:37)  6. I Just Don't Understand
(2:23)  7. His Ring
(2:13)  8. Could It Be
(2:48)  9. What Am I Supposed to Do
(3:00) 10. Let Me Go, Lover!
(2:31) 11. Moon River
(2:36) 12. My Last Date (With You)

Ann-Margret's RCA Victor debut album, And Here She Is..., didn't get much attention in 1961, but she did better with her bluesy single "I Just Don't Understand," which peaked in the Top 20 in September. That set up this, her second solo LP, which featured "I Just Don't Understand," and like it was recorded partially in Nashville under the aegis of Chet Atkins and Dick Pierce. The two naturally brought a slight country feel to some of the tracks, notably the remakes of Don Gibson's 1958 hit "Oh, Lonesome Me" and the 1960-1961 hit "My Last Date (With You)" (aka "Last Date"). But the closest approximation of the sound was the kind of country-inflected pop/rock being pursued by Elvis Presley around the same time, which made a rendition of Presley's first major hit, "Heartbreak Hotel," an appropriate choice. At 20, Ann-Margret was an effective singer, if something of a chameleon, seeming to adopt a different persona for each number. She was at her most seductive singing Otis Blackwell's "Slowly," and she came on like a Latin fireball on "Fever," but was demure on the singles-chart entry "What Am I Supposed to Do" and ingenuously winning on "Moon River." RCA Victor appears to have been hoping it had found a distaff Presley, and it's possible Ann-Margret might have justified such a hope if her film acting career hadn't quickly outpaced her recording career; by the time this album was released, her movie debut, Pocketful of Miracles, had been out for several months and State Fair, which would establish her as a redheaded bombshell, was just getting into theaters. (She was still a mousy brunette on the album cover.) On the Way Up was an appropriate title, but records would soon take a back seat to other career goals. ~ William Ruhlmann https://www.allmusic.com/album/on-the-way-up-mw0000477097

On the Way Up

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Booker Ervin - That's It

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 43:18
Size: 99,8 MB
Art: Front

( 7:57)  1. Mojo
( 4:32)  2. Uranus
( 8:04)  3. Poinciana
( 7:12)  4. Speak Low
(10:59)  5. Booker's Blues
( 4:32)  6. Boo

Booker Ervin, who always had a very unique sound on the tenor, is heard in prime form on his quartet set with pianist Horace Parlan, bassist George Tucker and drummer Al Harewood. In virtually all cases, the jazz and blues musicians who recorded for Candid in 1960-61 (during its original brief existence) were inspired and played more creatively than they did for other labels. That fact is true for Ervin, even if he never made an indifferent record. 

In addition to "Poinciana" and "Speak Low," Ervin's quartet (which was a regular if short-lived group) performs four of the leader's originals; best known is "Booker's Blues." ~ Scott Yanow https://www.allmusic.com/album/thats-it-mw0000196833

Personnel:  Booker Ervin - tenor saxophone; Horace Parlan - piano; George Tucker - bass; Al Harewood - drums

That's It

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Flip Philipp, Renato Chicco - Face to Face

Styles: Vibraphone Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 53:37
Size: 124,4 MB
Art: Front

(5:40)  1. Black Narcissus
(4:06)  2. 'Til Then
(5:40)  3. Freedom Jazz Dance
(7:09)  4. Isfahan
(4:18)  5. 502 Blues
(5:27)  6. Empty Pockets
(6:01)  7. Around J.C.
(4:18)  8. Little B´s Poem
(6:04)  9. Lou
(4:51) 10. The Loop

The Hammond organ and the vibraphone are arguably the two warmest and most viscerally satisfying instruments ever played in a Jazz context (or any context, for that matter). It is disappointing, but perhaps not so surprising, that so little documentation exists of the two playing together. Most famous perhaps are guitarist Grant Green’s 1964 Blue Note recording Street of Dreams, featuring Bobby Hutcherson and Larry Young (with Elvin Jones) and organist John Patton’s Let ’Em Roll (1965), also on Blue Note and featuring Bobby Hutcherson (along with Grant Green and Otis “Candy” Finch). Other such recorded collaborations include: Lionel Hampton & Milt Buckner, Gary Burton & Larry Goldings, Joe Locke & Barbara Dennerlein, Steve Nelson & Mike LeDonne, Vid Jamnik & Rob Bargad (if I may...), Warren Wolf & Jake Sherman (with saxophonist Mike Tucker), Stefon Harris & Jared Gold (with guitarist Dave Stryker) and at least two fine projectsfeaturing Bobby Hutcherson & Joey DeFrancesco.  The great organist Eddie Louiss has recorded in duo with piano (Michel Petrucciani) and with accordion (Richard Galliano), but the duo of Hammond and vibes (at least to my knowledge), has never been recorded  until now. This elegant CD presents two highly accomplished individuals musically at the top of their game. Renato Chicco has played with some of the world’s greatest Jazz artists, including Jon Hendricks, Clark Terry and Jerry Bergonzi. Flip Philipp is principal percussionist with the Vienna Symphony and has shared the stage with such Jazz greats as Joe Zawinul, Idris Muhammad and Walt Weiskopf. Both are also highly valued and respected teachers of music.

The Hammond and the vibes actually emit very similar tonal ranges, textures, and tamburs. While the mechanics of each instrument are completely different, at the heart of both lie devices if not of similar function, then at least of similar shape and concept: the rotating tonewheels that create the actual sound of the Hammond, and the rotating discs controlling the vibrato speed of the vibraphone. Both can also be played dry (without vibrato and just to be clear, the Hammond’s vibrato is not controlled by the tonewheels, but by various independent vibrato settings). But these related attributes make a successful duo performance an even greater challenge. As with piano and guitar the two are chordal instruments with both accompaniment and solo capabilities. The tendency could easily be to overplay and crowd the music. But in this case, you have two extremely mature, sensitive and highly creative musicians whose collective wealth of musical knowledge and experience is succesfully and delightfully brought to life here, within this unique and demanding setting. ~ Rob Bargad https://store.cdbaby.com/cd/flipphilipp13

Personnel:  Flip Philipp: vibraphone; Renato Chicco: Hammond organ

Face to Face

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Reuben Wilson - Bad Stuff!

Styles: Jazz, Post Bop 
Year: 1972
File: MP3@320K/s
Time: 71:03
Size: 164,3 MB
Art: Front

(4:47)  1. Inner City Blues
(5:31)  2. Creampuff
(6:10)  3. Sugar
(6:26)  4. I'll Take You There
(6:12)  5. The Sweet Life
(4:15)  6. Never Can Say Goodbye
(5:19)  7. The Cisco Kid
(3:57)  8. The Last Tango in Paris
(4:55)  9. Superfly
(4:06) 10. We've Only Just Begun
(7:18) 11. Snaps
(6:47) 12. Groove Grease
(5:15) 13. The Look of Love

This Unidisc label two-fer compiles both of Reuben Wilson's sessions for the Groove Merchant label. The first, 1972's The Sweet Life, follows a series of sugary soul-jazz dates for Blue Note. The title notwithstanding, the session is his darkest and hardest-edged to date, complete with a physicality missing from previous efforts. Credit tenor saxophonist Ramon Morris, trumpeter Bill Hardman, guitarist Lloyd Davis, bassist Mickey Bass, and drummer Thomas Derrick, whose skin-tight grooves sand away the polished contours of Wilson's organ solos to reveal their diamond-sharp corners. The material, while predictable (i.e., standbys like "Inner City Blues" and "Never Can Say Goodbye"), is nevertheless well suited to the set's righteous funk sound. The 1974 follow-up, The Cisco Kid, pairs Wilson with a murderer's-row support unit including guitarist Melvin Sparks, trombonist Garnett Brown, bassist Bob Cranshaw, drummer Mickey Roker, and percussionist Ray Armando. Given the talent involved, it's regrettable that the album adheres to such a pedestrian formula, reimagining the same pop and soul covers as virtually every other jazz-funk session issued at the time. Besides the title cut, a reworking of War's Latin soul monster, the material includes readings of "Superfly," "The Look of Love," and "We've Only Just Begun" the energy and intensity nevertheless ratchet up several notches for the Wilson originals "Snaps" and "Groove Grease," elevating the entire endeavor in the process. ~ Jason Ankeny https://www.allmusic.com/album/bad-stuff-mw0001019718

Personnel:  Organ – Reuben Wilson; Bass [Fender] – Bob Cranshaw;  Congas – Ray Armando;  Drums – Mickey Roker; Guitar – Melvin Sparks; Trombone – Garnett Brown

Bad Stuff!

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Ivo Perelman - Reverie

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 54:07
Size: 124,4 MB
Art: Front

(10:15)  1. Transcendence
( 3:56)  2. Contemplation
(13:38)  3. Pensiveness
( 5:18)  4. Pursuance
(14:21)  5. Placidity
( 6:37)  6. Reverie

The release of Reverie marks 25 years of recording for Ivo Perelman and more than 50 albums under his own name, since his first, Ivo, in 1989.  He has released 17 of these since 2011, which is astonishing.  Many other musicians might have succumbed to the temptation to release a retrospective album and the title of this one might have led our thoughts in that direction, but this Reverie is of a very different kind and in a way that dissimilarity is down to pianist Karl Berger.  The saxophonist has in recent years been recording in his inimical, totally free style with pianist Matthew Shipp, who explores intense, impenetrable patterns and churning, spinning tempos.  Berger is quite different and makes this album an unusual venture for Perelman, as it is markedly disparate to all that he has done before. Karl Berger, too, is an avidly experimental musician, but the divergence is in the spaces left in his playing and Perelman has responded to that.  Both performers are reacting one to the other, both act in response to what they perceive aurally.  The result is calmer, more lucid even, the same extreme fervour expressed more subtly, more elusively.  Although Berger's own music often sounds like that of an old-hand, avant-garde musician of the classical calling (Heidelberg Conservatoire and University) he was in fact partnered with Ornette Coleman in establishing the Creative Music Studio in 1972 (Woodstock, N.Y.) and has played with Carla Bley, Marion Brown, Don Cherry, Lee Konitz, John McLaughlin, Roswell Rudd and Sam Rivers.  Karl is 79. So, no back-tracking, Ivo Perelman is still moving forward and at speed.  I am convinced that he will never repeat himself, never be lacking the incipient data that starts a new chain of thought that leads to the next step.  His musical future lies in the future and whatever that may be, the anticipation in itself will be precious. ~ Ken Cheetham http://www.jazzviews.net/ivo-perelman--karl-berger---reverie.html

Personnel:   Tenor Saxophone [Tenor Sax] – Ivo Perelman;  Piano – Karl Berger

Reverie

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Jeri Southern - When Your Heart's On Fire

Styles: Vocal
Year: 1956
File: MP3@320K/s
Time: 38:54
Size: 91,1 MB
Art: Front

(3:51)  1. Smoke Gets In Your Eyes
(2:49)  2. Can I Forget You?
(3:51)  3. Little Girl Blue
(3:28)  4. I Remember You
(3:45)  5. He Was Too Good To Me
(2:22)  6. You're Driving Me Crazy
(2:40)  7. You Make Me Feel So Young
(3:52)  8. Someone To Watch Over Me
(2:32)  9. Autumn In New York
(3:56) 10. My Ship
(3:33) 11. No More
(2:10) 12. Let Me Love You

It isn't the collection of suicidal torch songs indicated by the title, but Jeri Southern's When Your Heart's on Fire is by no means an exuberant, swinging LP. While backing strings move at glacier speed, Southern is similarly slow and thoughtful, seeming to weigh her words and thus transform "Someone to Watch Over Me" and "Autumn in New York" from standards into soliloquies. She reaches an obvious low point on "He Was Too Good to Me," but springs right back with "You're Driving Me Crazy," complete with a suitably noisy, raucous (and dated) arrangement. "You Make Me Feel So Young" and "I Remember You" are yet more tender ballads, just barely shifting the balance from world-weary to simply wise. Released as the back-end of a 1996 two-fer, When Your Heart's on Fire has also been reissued (as well as remastered) in Japan. ~ John Bush https://www.allmusic.com/album/when-your-hearts-on-fire-mw0000520723

When Your Heart's On Fire

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Brian Blade - Brian Blade Fellowship

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 61:59
Size: 142,7 MB
Art: Front

( 9:31)  1. Red River Revel
( 7:26)  2. The Undertow
(11:06)  3. Folklore
( 4:21)  4. In Spite Of Everything
( 7:46)  5. Lifeline
( 9:11)  6. Mojave
( 4:34)  7. If You See Lurah
( 8:00)  8. Loving Without Asking

Brian Blade Fellowship is an impressive debut as a leader for Brian Blade, one of the best young jazz drummers of the '90s. Producer Daniel Lanois doesn't follow jazz conventions, letting Blade run wild and blend genres, as on "Folklore," where the adventurous, searching jazz meets pygmy chants. All across the album, there is the sigh of a steel guitar, which adds an unusual, exotic texture to a debut that is uniquely daring and richly rewarding. ~ Leo Stanley https://www.allmusic.com/album/brian-blade-fellowship-mw0000037563

Personnel:  Brian Blade – drums; Melvin Butler – soprano and tenor saxophones; Jon Cowherd – piano, Wurlitzer; Dave Easley – pedal steel guitar; Daniel Lanois – mando guitar; Jeff Parker - acoustic guitar; Christopher Thomas – acoustic bass; Myron Walden – alto saxophone; Kurt Rosenwinkel – electric Guitar

Brian Blade Fellowship

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Lonnie Plaxico - Emergence

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 63:33
Size: 147,9 MB
Art: Front

(0:31)  1. The Mahayana (Great Vehicle) - Interlude
(4:58)  2. Transformation
(4:05)  3. Delusion
(4:12)  4. Emergence
(1:00)  5. Paramita (To Arrive at the Other Side) - Interlude
(7:34)  6. Libertarian
(3:51)  7. Changing Line
(5:37)  8. Emancipation
(7:34)  9. Red Light District
(2:29) 10. Sokoni (From the Sea) - Interlude
(5:39) 11. Equilibrium
(1:02) 12. 2 Bass - Interlude
(4:44) 13. Inner Voice
(2:39) 14. Kalomo (The Unexpeced) - Interlude
(6:30) 15. Matrix
(1:00) 16. Oji (The Gift Bearer) - Interlude

Emergence begins with a bang but then goes gradually downhill. Plaxico alternates between acoustic and electric bass, and mightily tries to reconcile the jazz and funk elements of his vision. Although most tracks feature driving rhythms, incredibly intricate horn writing, and compelling solos, the album grows numbingly repetitive as it proceeds. On the jazz side, "Transformation" begins the record with riveting post-bop fire, while "Libertarian" and "Red Light District" provide new perspectives on the standards "Dear Old Stockholm" and "Love for Sale," respectively. On the funk side, "Delusion" and "Emancipation" stand out, recalling the dissonant colors heard on Sam Rivers' acclaimed 1999 album Inspiration. But Plaxico seems to run low on ideas by the time he gets to "Equilibrium," "Inner Voice," and Chick Corea's "Matrix." Six brief interludes featuring bass and/or percussion are interspersed throughout the program, yielding mixed results the most effective being "Paramita (to arrive at the other side)." Monster players abound, including the wonderful Don Braden on saxophones, Ralph Alessi on trumpet, and Jason Moran on piano. Emergence is also distinguished by several lesser known but highly capable musicians: Larry Lunetta on trumpet, Tim Hegarty on sax, Eric Lewis on piano and organ, Lionel Cordew on drums, and Jeffrey Haynes on percussion. Haynes produced the interludes, and noted vocalist Cassandra Wilson, for whom Plaxico has served as musical director, produced the main tracks. ~ David R.Adler https://www.allmusic.com/album/emergence-mw0000055907

Personnel:  Lonnie Plaxico (acoustic guitar, electric guitar, bass guitar); Tim Hegarty (saxophone, tenor saxophone); Don Braden (soprano saxophone, tenor saxophone); Ralph Alessi, Larry Lunetta (trumpet); Eric Lewis (piano, electric piano, organ); Jason Moran (piano); Lionel Cordew (drums, percussion); Jeff Haynes (percussion)

Emergence

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Cecilia Sanchietti - Circle Time

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 50:55
Size: 117,5 MB
Art: Front

(1:01)  1. Intro the Groove
(5:11)  2. Dance for G
(6:23)  3. Et-No
(5:20)  4. Witchi Tai To
(6:05)  5. Fotogramma
(4:13)  6. Circle Time
(7:19)  7. Cecilia e i misteri dell'armonia
(6:27)  8. Dance of the Elephants
(2:52)  9. Rosa
(5:59) 10. Stolen Sleep

Humanity in odd time signature, as well as saying music and society. When this combination is apart, it reveals the universal unease of our planet perpetually hanging in the balance. This is a superb artistic intuition, because it has a project underneath and, even more important, it is expression of a genuine sensitivity and humanity: the freedom in jazz improvisation creates a center of attention for social connections and welcomes different identities. It makes use of a storytelling device, by hinting to a tribal jazz, which is actually virtuous, transgressive and therefore civilized strongly contemporary, it goes beyond its origins, when music was expression of pain and oppression. The theme is circular as the time of the history, and the time is here developed by the rhythm, which allows all musicians to perform solos in a circular way, showing the perfect match with the name of this artistic project, which mixes colors, moments and atmospheres in an harmonic and universal language, such as music is (and always should be). “Circle Time” is permeated of an anthropological jazz, that dreams of a new and culturally diverse humanism which, through the music, is here ideally integrated. http://www.ijm.it/albums/display/493

Personnel:  Cecilia Sanchietti: drums; Davide Grottelli: saxophones; Gaia Possenti: piano; Stefano Napoli: double bass; Special guest: David Boato: trumpet and flugelhon

Circle Time

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Oscar Pettiford - The Manhattan Jazz Septette

Styles: Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 71:13
Size: 167,7 MB
Art: Front

(2:46)  1. King Porter Stomp
(2:59)  2. Never Never Land
(2:51)  3. Like Listen
(2:54)  4. Since When
(2:25)  5. Love of My Live
(2:34)  6. Rapid Transit
(3:23)  7. Flute Cocktail
(3:41)  8. At Bat for K.C.
(3:15)  9. Do You Know What It Means to Miss new orleans ?
(3:10) 10. My Shining Hour
(3:17) 11. Thou Svelt
(2:13) 12. There'll Never Be Another You
(2:47) 13. Bull Market
(3:12) 14. Portrait of Jennie
(2:32) 15. Judy's Jaunt
(2:51) 16. Nina Never Knew
(3:15) 17. Walking Down
(3:13) 18. Gal in Calico
(2:59) 19. I Like to Recognise the Tune
(3:10) 20. Any Place I Hang My Hat
(2:51) 21. Love Is for the Very Young
(2:54) 22. Holiday
(3:14) 23. Ya' Gotta Have Rhythm
(2:37) 24. What Am I Here For

An impressive album presented here for the first time on CD, which combines great soloists with sophisticated arrangements by Manny Albam. As a bonus, we present another complete album, Guitar and the Wind, including many of the same musicians as our primary recording (Urbie Green, Eddie Costa, Osie Johnson and Barry Galbraith, who was the leader), and bearing a similar musical concept. This album was recorded exactly two years after the Manhattan Jazz Septette session and also includes brilliant saxophonist Bobby Jaspar and bassist Milt Hinton instead of Pettiford. 24 tracks total. Lonehill Jazz. 2006. ~ Editorial Reviews https://www.amazon.com/Manhattan-Jazz-Septette-Oscar-Pettiford/dp/B000HIVPK4

Personnel: Oscar Pettiford (b), Urbie Green (tb), Hal McKusick (as), Herbie Mann (fl, ts), Eddie Costa (p, vib), Barry Galbraith (g), Osie Johnson (d), Manny Albam (arr).

The Manhattan Jazz Septette

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Andrea Lindsay - La Belle Étoile

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 40:51
Size: 94,8 MB
Art: Front

(3:16)  1. Les yeux de Marie
(3:30)  2. Printemps noir
(2:51)  3. Bonne année
(4:04)  4. Le dernier des cosmonautes
(3:07)  5. La belle étoile
(3:26)  6. Porque te vas
(3:11)  7. Une série d'accidents
(3:42)  8. Près de toi
(1:44)  9. Drôle de chanson
(3:21) 10. Insensatez
(8:33) 11. Demain, dès l'aube

Andrea Lindsay is from Guelph, Ontario. Anglophone by birth, it is during a stay in France at the age of 18 that she discovers the French and falls literally in love. At first, Andréa meets Éric Graveline, a musician who becomes his accomplice and with whom she composes and produces, with the help of the most simple means, her first French-language album entitled La belle étoile. The Belle Étoile was launched in May 2006. This is the revelation for Andrea with this first French-language solo album. It is at this moment that she discovers her style, her path, the praise and recognition that accompanies the job well done. What do we think of the first time we see Andrea Lindsay: First, it looks a bit like Michelle Phillips, the blonde group "The Mamas & the Papas", the same ethereal and slender body; then, as soon as she sings, her little English accent captivates you from the first notes. In addition to being a technically sound singer with a background in classical singing, the lyrics of her songs are original and the compositions fantastic. You will fall under the musical charm of its alluring pop. Hard to resist. Translate by Google https://palmaresadisq.ca/fr/artiste/andrea-lindsay/album/la-belle-etoile/

La belle étoile

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Bill Cunliffe - Playground Swing

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 48:48
Size: 113,1 MB
Art: Front

(3:00)  1. A-Tisket, A-Tasket
(3:00)  2. The Wheels On the Bus
(3:22)  3. Meet the Flintstones
(3:19)  4. Chim Chim Chir-Ee
(4:09)  5. Over the Rainbow
(2:05)  6. Supercalifragilisticexpialidocious
(4:02)  7. This Old Man
(2:24)  8. Lullaby
(3:32)  9. Old McDonald / Mulberry Bush / Skip to My Lou / Farmer in the Dell / Three Blind Mice
(3:19) 10. Whistle While You Work
(2:55) 11. Frere Jacques
(3:16) 12. I've Been Working On the Railroad
(3:19) 13. It's a Small World
(2:55) 14. Twinkle, Twinkle, Little Star
(4:04) 15. Happy

These tunes take me back to Mrs. Doyle’s kindergarten class at Shawsheen Elementary School in Andover, Mass. I first heard “Over the Rainbow” in “The Wizard of Oz,” which aired once a year on the NBC-TV affiliate in Boston. “Meet the Flintstones” we all knew, of course, from the television show. Come to think of it, most of the songs I learned as a kid were from TV. The first movie I ever saw in a theater was “Mary Poppins” in 1964, and I was thrilled by the tunes in that wonderful Sherman Brothers score. Later that year, at the World’s Fair in New York, my dad and I took the “It's a Small World” ride and were serenaded by animatronic Disney figures singing that earworm of a song (also written by the Shermans). The other tunes are things we sang in school. I would sometimes accompany the children’s choirs at the piano, which I began learning at 8. I would say that every tune on this recording I knew by heart and played on the piano before I was 10! I had the chance to do a children’s album for the Yamaha Disklavier series which are MIDI products a few years ago, and I’m glad I had the foresight to ask my friend , co prodocer and engineer Dave Kreisberg to record it at the pianos in the David Abell store in Los Angeles. Abell, who sold me my Yamaha C7 a number of years ago, was a wonderful man. He represented to me the ideal piano retailer: warm, elegant, artistically and charitably inclined, yet always able to make good use of a sales opportunity. The track Happy was an afterthought on my part. In 2014, I arranged this tune for the Cal State Fullerton Jazz Orchestra, and thought it would be fun to recreate it in a more electronic vein, getting my old friends, drummer/producer Curt Bisquera and vocalist Daniela Spagnolo in on the action. I dedicate this project to my brother John (Frere Jacques!), 1959-1985. Miss him every day. I hope you enjoy this project as much as I had fun doing it. ~ Bill Cunliffe September 2015 https://store.cdbaby.com/cd/billcunliffe2

Playground Swing

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Claude Tissendier Tentet - Hampton Vibrations

Styles: Saxophone, Clarinet Jazz
Year: 2002
File: MP3@320K/s
Time: 61:54
Size: 143,5 MB
Art: Front

(4:50)  1. Till Tom Special
(4:12)  2. Jivin' The vibes
(3:55)  3. One sweet Letter from you
(4:39)  4. I'm in the Mood for Swing
(3:28)  5. Shoe Shiner's Drag
(3:32)  6. Four or Five Times
(4:53)  7. Star Dust
(4:25)  8. Memories of Hamp
(5:00)  9. Anytime at All
(4:24) 10. Air Mail Special
(3:39) 11. Midnight Sun
(4:03) 12. The Mood that I'm in
(4:39) 13. Tiss Boogie
(6:10) 14. Flying Home

Born France. While studying classical clarinet and alto saxophone at Toulouse Conservatory, Tissendier began playing jazz. His interests followed a chronological path, starting with New Orleans music, passing through the mainstream into bop. In 1977 he joined the big band led by Claude Bolling and also worked with Gerard Badini and others. In the early 80s he taught at the Paris School of Jazz and in 1983 formed a sextet especially to recreate the music of John Kirby. In demand for club and festival dates, the band won many awards for both live performances and records. In 1987 Tissendier formed Saxomania, a seven-piece band featuring two alto saxophones, two tenors and three rhythm. Once again he won honours and gained invaluable experience and exposure accompanying visiting American jazzmen including Benny Carter, Buddy Tate, Jimmy Witherspoon and Spike Robinson, with some of whom he also recorded. Tissendier’s alto playing is striking for its intensity and driving swing and the high musical standards displayed by the Saxomania band ably demonstrate that his is a major talent. https://www.allmusic.com/artist/claude-tissendier-quintet-mn0000391438/biography

Hampton Vibrations

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Ivo Perelman - Tenorhood

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 46:51
Size: 107,7 MB
Art: Front

( 7:50)  1. For Mobley
( 9:04)  2. For Webster
( 5:29)  3. For Coltrane
( 3:31)  4. Tenorhood
( 8:06)  5. For Ayler
(12:48)  6. For Rollins

For this meditation session, we ask you not to think about the legends of the tenor saxophone. Just listen to the interplay between Ivo Perelman and drummer Whit Dickey. Press play, and ignore the track titles dedicated to Hank Mobley, Ben Webster, John Coltrane, Albert Ayler, and Sonny Rollins  Why? Because, the saxophonist did just that when he created Tenorhood, a totally improvised collection of pieces the pair recorded in 2014. The Brazilian-born, New York resident has released music on a scale not seen since David Murray's campaigns of the 1990s, producing more than 20 albums in the last four years. Dickey has been a part of five of the sessions. As with all his later work, this music is improvised. A switch is flipped and the magic happens. With Tenorhood, he created these titles after playback  Perelman hearing the gestures and fragments of his tenor saxophone heroes within his own creations.

The pleasure here is finding those gestures in this music. The easiest to recognize is "For Ayler," a sound Perelman has conjured from his earliest days. Listen again to Soccer Land (Ibeji, 1994) and Albert Ayler's spirit is ever present in the wail and yowl of the master. Then there's "For Coltrane," and certainly no modern player has escaped feeling the weight of John Coltrane's music in life. Perelman and Dickey exercise the music of Intersteller Space (Impulse!, 1967), Dickey is a dynamo here, but more importantly, he is as much an accompanist to Perelman as pianist Matthew Shipp. He can color his sound, support, or challenge the saxophonist. He is even given all of the title track to solo with mallets and cymbals. There is spirit here, and life. The beauty of Ben Webster and the swing of Hank Mobley, both laid out in only barely recognizable signals. The pair end with Sonny Rollins. Perelman works that upper altissimo register that both he and Rollins are famous four. If you listen to Tenorhood with the openness of a meditator's mind, you are certain to hear all the spirits that inhabit the person that is Ivo Perelman. ~ Mark Corroto https://www.allaboutjazz.com/tenorhood-ivo-perelman-whit-dickey-leo-records-review-by-mark-corroto.php

Personnel: Ivo Perelman: tenor saxophone; Whit Dickey: drums.

Tenorhood

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Ann-Margret - Bachelors' Paradise

Styles: Vocal
Year: 1963
File: MP3@320K/s
Time: 34:31
Size: 80,3 MB
Art: Front

(2:33)  1. Bachelor In Paradise
(2:47)  2. I Wanna Be Loved
(2:30)  3. Something to Remember
(2:09)  4. Paradise
(2:56)  5. Lovin' Spree
(3:02)  6. You Took Advantage of Me
(2:26)  7. Let Me Entertain You - From the Warner Brothers Movie "Gypsy"
(2:45)  8. Never on Sunday - (From the Jules Dassins Motion Picture "Never on Sunday")
(2:36)  9. Romance in the Dark
(2:59) 10. Call Me Darling
(3:14) 11. Hold Me
(4:29) 12. Mr. Wonderful - From "Mr. Wonderful"

On April 9, 1962, 20-year-old Ann-Margret earned a standing ovation for her performance of the Oscar-nominated title song to the Bob Hope comedy Bachelor in Paradise at the annual Academy Awards ceremony, another stepping stone on her way to stardom. Perhaps because it was still promoting her as a pop/rock singer, RCA Victor Records, her record label, which was just releasing its second Ann-Margret LP, On the Way Up, took a while to retool her image as more of a middle-of-the-road traditional pop singer, and it wasn't until her fourth album, released the year following the Oscar show, that a recording intended to capitalize on the "Bachelor in Paradise" triumph appeared. The Ann-Margret of Bachelors' Paradise was very different from the one who had hit the Top 20 with the bluesy "I Just Don't Understand" less than two years earlier. This was no distaff Elvis Presley, with Chet Atkins behind the glass and the Jordanaires on background vocals; this was a nightclub chanteuse working with an orchestra and performing a bunch of pop standards written by the likes of Rodgers & Hart ("You Took Advantage of Me" from the 1928 musical Present Arms) and Styne and Sondheim ("Let Me Entertain You" from the 1959 musical Gypsy and its just-released film version). The point of consistency between the younger Ann-Margret and the mature 21-year-old who made Bachelors' Paradise was her kittenish sexuality, which was even more accentuated by this lush ballad approach. One of the LP's songs was "Lovin' Spree," a 1954 hit for Eartha Kitt, and Ann-Margret displayed Kitt's strong influence, though without the older singer's predatory bite. This new direction might have led to recording success if Ann-Margret had pursued it; instead, she continued to focus on movies, in particular her latest vehicle, the film adaptation of Bye Bye Birdie. ~ William Ruhlmann https://www.allmusic.com/album/bachelors-paradise-mw0000468962

Bachelors'Paradise

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Rick Margitza - Hands Of Time

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 50:39
Size: 116,7 MB
Art: Front

(7:31)  1. Hands Of Time
(5:47)  2. Hip Bop
(6:54)  3. Embraceable You
(7:06)  4. How Things Are At Home
(8:33)  5. Forty Five Pound Hound
(6:56)  6. At Long Last
(7:49)  7. Cultural Elite

For this modern straight-ahead set, Rick Margitza (heard on both tenor and soprano) performs six of his challenging originals plus "Embraceable You." The latter, whose melody is given some altered notes that do not help and make things sound sour, is a low point. However, Margitza sounds much stronger on his originals, particularly the boogaloo "Hip Bop," the medium-tempo blues "Forty Five Pound Hound," and the joyful "At Long Last." His rhythm section is excellent (bassist George Mraz is particularly responsive to the saxophonist's playing), and Margitza sounds in prime form, showing individuality on both of his horns. ~ Scott Yanow https://www.allmusic.com/album/hands-of-time-mw0000645101

Personnel: Saxophone – Rick Margitza;  Double Bass – George Mraz; Drums – Al Foster; Piano – Kevin Hays

Hands Of Time

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Dave Frishberg - Do You Miss New York? Live at Jazz at Lincoln Center

Styles: Vocal, Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 58:04
Size: 137,4 MB
Art: Front

(3:57)  1. Quality Time
(3:07)  2. I Was Ready
(1:00)  3. Jaws, Introduction
(2:35)  4. Jaws
(0:16)  5. Do You Miss New York' Introduction
(3:56)  6. Do You Miss New York'
(1:46)  7. Oklahoma Toad, Introduction
(3:57)  8. Oklahoma Toad
(2:47)  9. Little Did I Dream
(6:32) 10. Swinging The Classics Medley
(4:15) 11. The Hopi Way
(0:10) 12. The Difficult Season, Introduction
(3:56) 13. The Difficult Season
(3:26) 14. Zanzibar
(1:39) 15. Eastwood Lane, Introduction
(3:53) 16. Eastwood Lane
(0:39) 17. Eastwood Lane, Parody
(3:18) 18. My Country Used To Be
(3:00) 19. I Want To Be A Sideman
(0:35) 20. Heart's Desire, Introduction
(3:08) 21. Heart's Desire

With his fun, freewheeling approach to puns and sophisticated word play, Dave Frishberg never seems to take himself too seriously. There may be tender moments in his songs, as with "Little Did I Dream," but the punchline is never far behind. Do You Miss New York? is a lovely set performed before an appreciative audience at the Lincoln Center in 2002. There are stylish cuts, like "Quality Time," that turn tired clichés inside out and upside down, and more traditionally minded pieces, like "I Was Ready," are about falling in love. Frishberg shows his endless imagination on oddities like "Jaws," an unlikely theme song for the movie of the same name, and "Oklahoma Toad," a Western-styled jazz song about a toad and a bug. Frishberg accompanies himself with piano and even shows he's a sensitive player on the six-minute "Swinging the Classics." Since these songs were recorded in December, he also offers his version of a holiday song with "The Difficult Season," a song that aptly captures the melancholy mood that descends on many at that time of year. Fans of Frishberg's innovative lyrics will be happy to have a new live disc, while Do You Miss New York? will also work as a fine intro to those unfamiliar with his smart and deft lyrical constructions. ~ Ronnie D.Lankford Jr. https://www.allmusic.com/album/do-you-miss-new-york-live-at-jazz-at-lincoln-center-mw0000041437

Personnel: Dave Frishberg - Piano,Vocals, Producer

Do You Miss New York? Live at Jazz at Lincoln Center

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