Sol Yaged - It Might as Well Be Swing

Styles: Clarinet Jazz, Swing
Year: 1962
File: MP3@320K/s
Time: 37:08
Size: 85,3 MB
Art: Front

(6:20)  1. Yacht Club Swing
(2:55)  2. Easy Living
(4:52)  3. Love Me or Leave Me
(3:26)  4. I'll Never Be the Same
(6:05)  5. It Might as Well Be Swing
(3:18)  6. Auf Wiedersehen My Dear
(2:47)  7. Lulu's Back in Town
(7:21)  8. After You've Gone

Sol Yaged is one of the final living legends from the original era of American Big Band & Swing music. Born 1922, playing clarinet since 1935, Sol has played alongside every jazz great you can imagine from Glen Miller to Lionel Hampton to Gene Krupa. Known as “the disciple of Benny Goodman,” Sol was amazed by Goodman’s abilities and attended nearly every single Benny Goodman orchestra live show, band rehearsal, or recording date. So much so that when it came time to film the 1956 movie “The Benny Goodman Story” Sol Yaged was hired to fly out to Hollywood for a month to teach lead role Steve Allen how to play, look and act like Benny Goodman. Now 95 years old, Sol continues to remain a world-renown clarinetist and legend in the underground jazz, big band and swing communities from players of all ages, especially in his home: New York City.  What lies before you is Sol’s debut LP release “It Might As Well Be Swing.” Released in 1956 and out of print since 1962, Pine Hill Records and Sol Yaged teamed up to bring this wonderful album back to life with a limited edition reissue on white vinyl, digipak CD, and digital. This is the first time any Sol Yaged recording has been made available digitally. This album features fellow living legend Harry Sheppard on vibraphone. At 89 years old, Harry still performs regularly in Texas where he now lives. He remains the only other surviving musician on this album. The album was delicately and passionately remastered to make it sound the highest quality possible while keeping it true to its original sound. This is a very limited edition pressing of 300 LP’s [White vinyl w/ Download Card] and 300 Digipak CD’s. Pine Hill Records is honored to bring this back over 60 years after its original release. Sol and Harry are two wonderful people who have and continue to give their entire lives to music. Don't miss out on this piece of big band history! https://store.cdbaby.com/cd/solyaged1

Personnel:  Clarinet – Sol Yaged; Bass – Mort Herbert; Drums – Mickey Sheen; Piano – Ken Kersey; Vibraphone – Harry Sheppard

It Might as Well Be Swing

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Barney Kessel - Supreme Jazz

Styles: Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 61:11
Size: 142,2 MB
Art: Front

(2:43)  1. Speak Low
(3:25)  2. Love Is Here To Stay
(3:15)  3. On A Slow Boat To China
(3:18)  4. How Long Has This Been Going On?
(3:09)  5. A Foggy Day
(3:18)  6. 64 Bars On Wilshire
(3:12)  7. Prelude To A Kiss
(4:26)  8. Begin The Blues
(3:22)  9. Embraceable You
(3:07) 10. Midnight Sun
(3:49) 11. Jeepers Creepers
(3:37) 12. My Old Flame
(2:50) 13. You Stepped Out Of A Dream
(3:55) 14. I Didn’t Know What Time It Was
(4:02) 15. Easy Like
(4:09) 16. That's All
(2:44) 17. April In Paris
(2:43) 18. North Of The Border

One of the finest guitarists to emerge after the death of Charlie Christian, Barney Kessel was a reliable bop soloist throughout his career. He played with a big band fronted by Chico Marx (1943), was fortunate enough to appear in the classic jazz short Jammin' the Blues (1944), and then worked with the big bands of Charlie Barnet (1944-1945) and Artie Shaw (1945); he also recorded with Shaw's Gramercy Five. Kessel became a busy studio musician in Los Angeles, but was always in demand for jazz records. He toured with the Oscar Peterson Trio for one year (1952-1953) and then, starting in 1953, led an impressive series of records for Contemporary that lasted until 1961 (including several with Ray Brown and Shelly Manne in a trio accurately called the Poll Winners). After touring Europe with George Wein's Newport All-Stars (1968), Kessel lived in London for a time (1969-1970). In 1973, he began touring and recording with the Great Guitars, a group also including Herb Ellis and Charlie Byrd. A serious stroke in 1992 put Barney Kessel permanently out of action, but many of his records (which include dates for Onyx, Black Lion, Sonet, and Concord, in addition to many of the Contemporaries) are available, along with several video collections put out by Vestapol. Kessel was diagnosed with inoperable cancer in 2001, which eventually took his life in May of 2004. He was 80 years old. ~ Scott Yanow https://www.allmusic.com/artist/barney-kessel-mn0000784527/biography

Supreme Jazz

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Jacques Loussier Trio - Ravel's Boléro

Styles: Piano
Year: 1999
File: MP3@320K/s
Time: 51:55
Size: 124,5 MB
Art: Front

(17:15)  1. Ravel's Boléro
( 6:10)  2. Nymphéas I. Allegro
( 5:45)  3. Nymphéas II. Andante
( 5:29)  4. Nymphéas III. Vivace
( 6:02)  5. Nymphéas IV. Largo
( 3:54)  6. Nymphéas V. Presto
( 3:08)  7. Nymphéas VI. Cantabile
( 4:08)  8. Nymphéas VII. Prestissimo

As with his CD The Bach Book , Jacques Loussier is again embellishing the work of another master composer on this recent Telarc release entitled Ravel's Bolero. This CD is as much, and even more so about Loussier's own compositional abilities, for with the exception of the title cut, all songs were composed and arranged by Loussier. As great a record as the Bach Book is, Bolero easily surpasses it on many different levels. Maybe it's the fact that Loussier and Ravel share a common heritage and nationality, or that Loussier's formative years where spent studying with Yves Nat, himself a disciple of Ravel. It's this reviewers opinion that Ravel is just more of a modern figure than Bach, and being that there is less of a gap in the lineage between Ravel and modern players like Loussier, Ravel's music is simply more accessible, leaving a lot of space for creative improvisations. Take the title cut for example, an extended line played over a pedal point. With such minimalism at work, Loussier is able to extend over and beyond the composers harmonic conception, by improvising complex lines that revolve around, and are at times intertwined with original theme. A feeling of impressionism and noir prevail throught this CD from the opening Bolero, which faithfully reproduces the exotic flavor of Ravel's original score, within the confines of the piano trio. Although the piece Nympheas, with it's seven movements, was composed by Loussier; it's various themes filled with violent storms and eerie silence, manage to suggest melodies and harmonies found within the repetitive structure of Ravel's Bolero. 

It is clear that Loussier and trio are playing off one another, and demonstrating extreme control over the use of time, tone, and timbre. The music on this disc represents homage being paid to one master gone, from another master living. ~ AAJ Staff https://www.allaboutjazz.com/ravels-bolero-telarc-records-review-by-aaj-staff.php

Personnel: Jacques Loussier (piano); Benoit Dunoyer De Segonzac (bass); Andre' Arpino (drums)

Ravel's Boléro

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Dawn Holt Lauber - Something Borrowed, Something Blue

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 49:26
Size: 114,6 MB
Art: Front

(3:39)  1. My Love
(1:25)  2. Hands, Eyes, Heart
(2:10)  3. The Call
(4:57)  4. Ave Maria
(3:29)  5. Jesu, Joy of Man's Desiring
(4:16)  6. I Follow Thee
(4:11)  7. Laudate Dominum
(2:15)  8. Alleluia
(2:55)  9. Pie Jesu
(4:12) 10. Vocalise
(4:19) 11. A Nuptial Blessing
(4:01) 12. Panis Angelicus
(2:49) 13. Vocalise
(4:41) 14. Heaven

Just as she blends a masterful mix of musical genres in concert halls across the country, engaging oratorio soloist Dawn Holt Lauber will inspire the musical choices you make for your wedding day with this collection of the old and new, appropriately titled "Something Borrowed, Something Blue." Listen in and you will be lured by a handful of selections that are a bit off the beaten path a beautiful marriage of classical and jazz that promises to be a perfect accompaniment to the beginning of your new life together. Dawn Holt Lauber has appeared extensively with the Chicago Jazz Ensemble. She first performed Duke Ellington's sacred works at the Riverside Church in New York City with members of the Duke Ellington Orchestra. She has been a soloist at the Riverside Church for five years.

Something Borrowed, Something Blue

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Marcus Printup, Emil Viklicky - Jazz Na Hrade (Live)

Styles: Trumpet And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 58:52
Size: 135,5 MB
Art: Front

( 0:36)  1. Introduction by the President of the Republic, Vaclav Klaus
(12:01)  2. Highlands, Lowlands
(11:05)  3. In Holomoc Town
( 8:56)  4. Mystery of Man Blues
( 9:08)  5. Dolphin Dance
( 7:36)  6. Lasko, Boze, Iasko
( 9:25)  7. Body and Soul

A talented trumpeter with a lot of potential, Marcus Printup was discovered by Marcus Roberts at the University of North Florida in 1991. Printup started on trumpet in the fifth grade, played funk as a teenager, and in college was part of a ten-piece band called Soul Reason for the Blues. Since that time, he has toured and recorded with Roberts, played with the Lincoln Center Jazz Orchestra, recorded with Carl Allen, performed with Betty Carter, and cut a number of excellent albums as a leader for Blue Note. ~ Scott Yanow https://www.allmusic.com/artist/marcus-printup-mn0000673081/biography

Personnel:  Marcus Printup - trumpet; Emil Viklicky - piano; František Uhlír - bass; Laco Tropp - drums

Jazz Na Hrade

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Les Pommes De Ma Douche - L'âme Des Poètes Disparus

Styles: Jazz
Year: 2016
File: MP3@320K/s
Time: 54:51
Size: 127,3 MB
Art: Front

(3:51)  1. Le piano de la plage
(4:02)  2. Dis, quand reviendras-tu ?
(4:28)  3. La maison près de la fontaine
(4:13)  4. Couleur café
(4:26)  5. Ma première guitare
(4:05)  6. Tango pour Claude
(3:26)  7. Le p'tit bal perdu
(3:11)  8. Fais-moi mal Johnny
(4:18)  9. Les vieux amants
(4:09) 10. La chansonnette
(4:27) 11. La pluie fait des claquettes
(4:25) 12. Clopin clopant
(5:44) 13. C'est en septembre

The apples of my shower are literally, My Showerheads is an irresistible swing quintet, and they craftily delight in giving their growing audience of fans incredibly tasty gypsy-jazz arrangements of the greatest tunes from the golden days of French song. 

In this album they are Trenet and Gainsbourg, Boris Vian and Barbara, just some of the marvelous artists and composers whose Hall of Fame melodies they treat with tenderness, respect and unerring precision. Under the benevolent gaze of these great poets of the (recent) past, the band gives us a session (spiritualism!) Where the soul and the metronome rhythms and ethereal solos communicate in swing thats light and elegant The Apples at the (very) best of their Art! Augustin BONDOUX & Patrick FRÉMEAUX. Translate by Google https://www.amazon.fr/LAme-Poetes-Disparus-Pommes-Douche/dp/B01E99WLRC

L'âme des poètes disparus

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Irvin Mayfield - A Love Letter to New Orleans

Styles: Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 71:36
Size: 165,4 MB
Art: Front

(5:26)  1. Mo' Better Blues
(5:56)  2. Latin Tinge II
(2:53)  3. Romeo and Juliet
(1:48)  4. Old Time Indians Meeting of the Chiefs
(8:54)  5. James Booker
(7:15)  6. El Negro Parts 1, 2, 3
(5:00)  7. Fatimah
(1:39)  8. Lynch Mob - Interlude
(8:08)  9. Blue Dawn
(3:52) 10. George Porter
(5:06) 11. Super Star
(4:59) 12. Wind Song
(2:26) 13. I'll Fly Away
(8:07) 14. Mardi Gras Second Line

The body of Crescent City trumpeter Irvin Mayfield's work might be considered "a love letter to New Orleans," and this compilation of his Basin Street Records recordings, assembled to accompany a book with each song constituting a chapter (it is available as a stand-alone CD and in a CD/book package), certainly makes that case. Drawing from such albums as Love Songs, Ballads and Standards (a duo collection with Ellis Marsalis), Half Past Autumn Suite, and Strange Fruit, plus Mayfield's work with the group Los Hombres Calientes, the music ranges from traditional N.O. "Indian" chants and second-line playing to straight-ahead jazz. Mayfield's different projects make for a range of music that is almost too varied. Strange Fruit, for instance, is a concept album about a 1920s lynching, and music from it sits oddly beside, say, the version of Leon Russell and Bonnie Bramlett's "Superstar" from the Ellis Marsalis album. But it all relates to New Orleans somehow, and the album gives a good sense of Mayfield's recorded accomplishments so far. ~ William Ruhlmann https://www.allmusic.com/album/a-love-letter-to-new-orleans-mw0002122078

A Love Letter to New Orleans

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Pee Wee Erwin And His Dixieland Band - The Land Of Dixie

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 39:18
Size: 91,0 MB
Art: Front

(5:18)  1. At The Jazz Band Ball
(7:06)  2. Basin Street Blues
(3:30)  3. Lassus Trombone
(7:15)  4. Memphis Blues
(5:21)  5. Panama
(5:59)  6. Dixieland SHuffle
(4:49)  7. Satanic Blues

An excellent trumpeter who spent most of his career on the fringe of fame, Pee Wee Erwin made many fine records during his career. He began playing trumpet when he was four. Stints with territory bands were followed by gigs with Joe Haymes (1931-1933) and Isham Jones (1933-1934). Erwin then moved to New York and became a busy studio musician, working often on radio, including with Benny Goodman during 1934-1935. After playing with Ray Noble in 1935, he succeeded Bunny Berigan in both the Benny Goodman (1936) and Tommy Dorsey (1937-1939) orchestras. 

Erwin put together an unsuccessful big band in 1941-1942 and tried again with little luck in 1946. He worked steadily playing Dixieland at Nick's during the 1950s, ran a trumpet school with Chris Griffin in the 1960s (Warren Vache was one of his students), and played steadily until the end of his life. Pee Wee Erwin led sessions on an occasional basis in the 1950s (including a couple for United Artists) and made six albums during 1980-1981, including three for Qualtro and one for Jazzology, still sounding quite good that late in his career. ~ Scott Yanow https://www.allmusic.com/artist/pee-wee-erwin-mn0000301789/biography

Personnel: Pee Wee Erwin - Trumpet; Sal Pace - Clarinet; Andy Russo - Trombone; Billy Maxted - Piano; Jack Fav - Bass; Kenny John - Drums

The Land Of Dixie

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Terell Stafford - Centripetal Force

Styles: Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 67:40
Size: 156,9 MB
Art: Front

(6:58)  1. Addio
(5:36)  2. I'll Wait
(6:20)  3. Skylark
(7:12)  4. Old Devil Moon
(4:43)  5. A Child Is Born
(6:47)  6. Mia
(7:48)  7. For The Broken Hearted
(6:58)  8. My Romance
(7:15)  9. Daahoud
(7:58) 10. Somebody Bigger Than You And I

Centripetal Force is a good title for this CD, Terell Stafford's second as a leader. In physics, it describes how separate energies gravitate toward the center; here, the center is more than Stafford's beautiful horn there's a warm calm at the core of this music, regardless of tempo. Some of this comes from familiarity, since Stafford, Stephen Scott, and Victor Lewis were bandmates in Bobby Watson's hard bop '90s group, Horizon. But there's nothing hard about this release, which is full of soul and heart. Stafford's playing is clean, fluid, and expressive, whether he's going flat-out on an incandescent "Old Devil Moon" or being achingly tender describing "My Romance," accompanied only by Scott's eloquent piano. On the purely beautiful "A Child Is Born," he duets with Russell Malone, who also delivers memorable solos on the relaxed and swinging "Skylark" and Lewis' high-energy opener, "Addio." Stafford offers two fine compositions of his own: the haunting "I'll Wait," with subtle percussion (including bird sounds) supplied by Daniel Moreno, and "Mia," an intriguing mix of light and shadow that balances Stefon Harris' pearly vibe tones with Stafford's smoky flugelhorn and the honey of John Clark's French horn. Stafford's talent for building solos is especially evident on Scott's "For the Broken Hearted," which is more lively than its title suggests. An exciting "Dahoud" and a loving ballad tribute to Stafford's grandmother round out the ten tracks by these ten superb musicians. But while there's plenty of brilliance here, there's no trace of flash: Stafford goes straight for the honest meaning in every tune. And whether his tone is golden or growling, muted or crystalline, he communicates straight to the listener's center. ~ Judith Schlesinger https://www.allmusic.com/album/centripetal-force-mw0000483798

Personnel:  Trumpet – Terell Stafford; Bass – Ed Howard (tracks: 1 to 4, 6, 7, 9, 10); Drums – Victor Lewis (tracks: 1 to 4, 6, 7, 9, 10); Flugelhorn – Terell Stafford; French Horn – John Clark (2) (tracks: 6); Guitar – Russell Malone (tracks: 1, 3, 5); Percussion – Daniel Moreno (tracks: 1, 2, 7, 10); Piano – Stephen Scott (5) (tracks: 1, 2, 4, 6 to 10); Tenor Saxophone – Ron Blake (tracks: 9), Tim Warfield (tracks: 4); Vibraphone – Stefon Harris (tracks: 6, 7)

Centripetal Force

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Cecilia Sanchietti - La Terza Via

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 48:35
Size: 112,2 MB
Art: Front

(5:24)  1. Which Way
(5:26)  2. Circus
(6:07)  3. Not (In) My Name
(3:44)  4. Shouting to a Brick Wall
(6:16)  5. Sweet & Bitter
(3:56)  6. Run Baby Run
(4:42)  7. Emerging Lands
(5:13)  8. Hang Gliding
(5:42)  9. The Third Way
(2:00) 10. Innocence

Italian drummer Cecilia Sanchietti is an elegant musician and thoughtful composer. Both attributes are amply demonstrated on her second release as a leader La Terza Via, loosely translated as "The Third Side of the Coin." Of the ten captivating pieces that comprise the album seven are Sanchietti's originals and the other three seamlessly fit within the overall conceptual unity of the disc. The leader's antiwar "Not (in) my name" is dramatic and multifaceted. It opens with poignant and bitter martial drumbeats. Belgian saxophonist Nicholas Kummert lets loose dense, floating lines over the resonant rhythm flourishes. Kummert, who is also an accomplished vocalist, makes his tenor sax sing in forlorn and yearning phrases. Pianist Pierpaolo Principato contributes a contemplative improvisation while bassist Marco Siniscalco solos with lyricism and eloquence. The tune transforms to a peaceful, lullaby like, nocturne and delightfully concludes on the cautionary note of Sanchietti's unaccompanied rolling thrums. In contrast composer and bandleader Maria Schneider's "Hang Gliding" is exuberant and expansive. Principato's angular vamps contribute subtle tension to the ambience. Sanchietti and Siniscalco add lithe and agile lines that together create a suave, instrumental dance. Kummert blows with warmth, passion and erudite spontaneity. The quartet members complement one another for a moving and cinematic performance. Equally intriguing is the trio's interpretation of the title track. It starts off with Siniscalco's reverberations echoing against silent pauses followed by the ensemble stating the theme with overlapping refrains. Principato lets loose shimmering crystalline melodic cascades. Sanchietti takes center stage with breathtakingly energetic and muscular polyrhythms showcasing her prowess as a percussionist. 

Still early in her career Sanchietti has proven herself a unique and versatile artist. Her compositions are engaging, her drumming gracefully nimble and her rapport with her band fluid. The result is a charismatic work that, even without breaking new ground, is soulful and satisfying. ~ Hrayr Attarian https://www.allaboutjazz.com/la-terza-via-cecilia-sanchietti-bluejazz-review-by-hrayr-attarian.php

Personnel: Cecilia Sanchietti: drums, composer; Pieraolo Principato: piano; Marco Siniscalco: electric/acoustic bass; Nicolas Kummert: tenor sax.

La Terza Via

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Wallace Roney - Jazz

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 65:05
Size: 149,9 MB
Art: Front

( 8:51)  1. Vater Time
( 5:22)  2. Children of the Light
( 6:29)  3. Inflorescent
( 5:00)  4. Fela's Shrine
( 9:18)  5. Nia
( 5:28)  6. Revolution: Resolution
( 5:46)  7. Her Story
(11:00)  8. Stand
( 7:48)  9. Un Poco Loco

In a time when the definition of the word jazz is in heated debate, it takes a certain amount of courage for trumpeter Wallace Roney to use it as the title of his third release for HighNote. Roney continues to mine the place where contemporary rhythms and technology meet the language of jazz, and while there are those who will balk at his use of turntablists, synthesizers and hip hop rhythms, one listen is all it takes. It may be increasingly difficult to empirically define jazz, but one knows it when one hears it, and Jazz is most definitely a jazz album. With the same core group that's been with him since Prototype (HighNote, 2004) saxophonist/clarinetist/brother Antoine Roney, pianist/keyboardist/wife Geri Allen and drummer Eric Allen there are a couple of new faces, most notably keyboardist Robert Irving III, who replaces Adam Holzman. Both Irving and Holzman were key players in Miles Davis' 1980s bands and, given that Roney's starting point has, since Village (Warner Bros., 1997), been the late trumpeter's earliest forays into electric music and he was a protégé of the late icon in his final years working with Miles alumni has always felt completely right. Roney is no mere Miles clone, however, and only those listening to him with the most cursory of ears could suggest otherwise. Roney possesses a similarly rich tone, an ear for playing exactly what's required no more, no less and an ability to morph pop music like Sly and the Family Stone's "Stand" into an extended and open-ended modal workout. 

But while the persistent, In a Silent Way-like groove that defines its core is referential, the hard-hitting and virtuosic trumpet/drums duo that opens "Stand" is not. Miles' technical skill often ebbed and flowed with his health, but Roney suffers no such inconsistencies. He's never sounded better, moving from strength to strength. Roney's time spent from the mid-1980s to the early-1990s with another Miles alumnus, the late drummer Tony Williams, informs bassist Rashaan Carter's "Inflorescent," a relaxed, largely acoustic track that features Geri Allen's best piano solo of the set. Antoine Roney's "Nia" is another lyrical piece, with subtle turntable work by another regular collaborator, Val Jeanty, and stunning less-is-more (but all the more powerful for it) solos from both Roney brothers. It's the more energetic tracks, however, that are the most revealing indicators of just how far along the trumpeter has come at taking his stylistic starting point and making it his own. His "Vater Time," which begins with a hip hop beat and turntable work by DJ Axum but turns decidedly swinging for Antoine Roney's tenor solo, proves that there is a nexus where the traditional and the modern can coexist. It's a theme that's run through Roney's albums for a decade now, but it's never been so clear, so wonderfully conceived and so flawlessly executed. For those who think jazz has to live in a time warp, Jazz just might sway that opinion. ~ John Kelman https://www.allaboutjazz.com/jazz-wallace-roney-highnote-records-review-by-john-kelman.php

Personnel: Wallace Roney: trumpet; Antoine Roney: soprano saxophone, tenor saxophone, bass clarinet; Geri Allen: piano, keyboards (2, 3, 5, 6, 7, 8, 9); Robert Irving III: keyboards, Fender Rhodes (1, 4, 6, 8); Rashaan Carter: bass; Eric Allen: drums; DJ Axum: turntables (1, 4); Val Jeanty: turntables (5, 6, 8).

Jazz

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Doris Day - I Have Dreamed

Styles: Vocal
Year: 1961
File: MP3@320K/s
Time: 39:40
Size: 91,9 MB
Art: Front

(2:59)  1. I Believe In Dreams
(3:43)  2. I'll Buy That Dream
(4:08)  3. My Ship
(3:14)  4. All I Do Is Dream of You
(3:02)  5. When I Grow Too Old to Dream
(4:15)  6. We'll Love Again
(3:12)  7. I Have Dreamed
(3:20)  8. Periwinkle Blue
(3:01)  9. Someday I'll Find You
(2:47) 10. You Stepped Out of a Dream
(3:25) 11. Oh What a Beautiful Dream
(2:29) 12. Time to Say Goodnight

"The mood of these songs is dreamy," writes annotator Pete Martin, thus defining the theme of Doris Day's second LP of 1961. As usual, someone Day herself, her conductor, a Columbia Records A&R person had chosen a theme for her album and picked a group of songs, most of them interwar standards that derived from stage musicals or movies. Dreaminess was a concept familiar to any band singer of the 1940s, and Day was such a singer, so she certainly knew her way around "I'll Buy That Dream," even if the hit versions of the 1945 song were by such competitors as Helen Forrest (with Dick Haymes) and Kitty Kallen (as vocalist with Harry James' band). Her vocal style, warm, but never actually sensual, had always conformed to the unruffled approach of the '40s band singers, and she was right at home exploring sedate nighttime fantasy. Actually, though, the concept was a bit threadbare by now; Day had already recorded "Dream a Little Dream of Me" and "Wrap Your Troubles in Dreams (And Dream Your Troubles Away)" on her 1958 album Day by Night, and obvious choices such as "Dream," "I Had the Craziest Dream," and "Darn That Dream" were eschewed in favor of a handful of unknown songs. Day did well by such unusual theater choices as "My Ship" from Lady in the Dark and "Someday I'll Find You" from Private Lives, and orchestra director Jim Harbert (who contributed his own "I Believe in Dreams") swathed everything in blankets of strings. But the album was not all it could have been, and the use of second-rate material and a second-rate conductor suggested that Columbia was losing faith in Day as a recording artist after years of poor sales. Ironically, it became her first new album to chart since 1957. ~ William Ruhlmann https://www.allmusic.com/album/i-have-dreamed-mw0000845878

R.I.P.
Died: May 13, 2019
Born: April 3, 1922

I Have Dreamed

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Donny McCaslin - The Way Through

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 56:06
Size: 129,9 MB
Art: Front

(6:01)  1. Skyward
(2:49)  2. San Lorenzo
(6:31)  3. Shadowlands
(5:59)  4. I Should Care
(7:50)  5. The Way Through
(3:57)  6. Break Tune
(3:23)  7. Free California
(5:40)  8. Fe Fo Fi Fum
(4:36)  9. What Remains
(3:30) 10. Woody And You
(5:46) 11. Flutter

The Way Through explores the many colors of jazz while at the same time respectfully stretching the music’s boundaries. Donny McCaslin, a tenor saxophonist with a rich, warm sound, is also an extremely skilled arranger with an interesting use of space. The basic instrumentation here is sax, bass, and drums, but there’s also sax duet improvisations, solo work by McCaslin, and judicious use of voice, steel pan, and sampler. McCaslin has many paints on his palette, and his selections are always tasteful and interesting. McCaslin combines original compositions with the standard “I Should Care,” Dizzy Gillespie’s “What Remains,” and Wayne Shorter’s “Fee Fo Fi Fum.” McCaslin is not afraid to take chances, and he is not afraid to mix styles and eras. A good example is his song “Break Tune” which, true to its title, breaks down the melody and explores the line between control and chaos. Here McCaslin uses a sampler, and the song is a successful merger of jazz and the new technology. The integration of acoustic and electronic instruments is still evolving, and McCaslin understands both well enough to take a positive step in harmonizing the two worlds. McCaslin’s other original compositions are equally notable. There’s “San Lorenzo,” which starts off with a slow, yearning sax and ends in ecstatic singing. 

The steel pan, vocals, and Latin rhythms combined with McCaslin’s lyrical playing make this song a real gem. Other originals include “Skyward,” which has a swinging melody and interesting chordal work, the meditative exploration “Shadowlands,” and the title track “The Way Through,” where McCaslin stretches out with pure tones and expressive lines. The recording ends with the wonderful “Flutter,” a duet improvisation with McCaslin and altoist David Binney that channels Eric Dolphy and highlights McCaslin’s imaginative playing. McCaslin explores a lot of territory on The Way Through , and whether he’s coloring inside the lines or disregarding them altogether, he always has something interesting to say. His assimilation of different styles and technologies is also compelling, and certainly worth watching. McCaslin is just shy of 40, which in the world of jazz is relatively young; it’s inspiring to hear him emerge as a leader, and listeners should look forward to more. ~ Florenze Wetzel https://www.allaboutjazz.com/the-way-through-donny-mccaslin-arabesque-jazz-review-by-florence-wetzel.php

Personnel: Donny McCaslin - Soprano Sax, Tenor Sax; Dave Binney - Alto Sax; Anders Bostrom - Flute, Alto Flute, Bass Flute; Scott Colley - Bass; Adam Cruz - Percussion, Drums, Marimba, Steel Pan; Doug Yates - Clarinet, Bass Clarinet; Luciana Souza - Vocals.

The Way Through

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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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