Christina Lux - Pure Love

Styles: Vocal And Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 45:39
Size: 106,3 MB
Art: Front

(3:26)  1. Shelter
(5:51)  2. Believe
(7:32)  3. Best Friend
(4:39)  4. Liar
(4:03)  5. You Say You Love Me
(4:48)  6. Love Is...
(4:23)  7. Let It Flow
(3:55)  8. You Mean So Much to Me
(7:00)  9. Late at Night

The singer/songwriter and guitarist Christina Lux is a phenomenon. Since the mid-eighties she has become one of Germany's most wanted backup singers . She has been touring with the Jule Neigel Band back in 1989 and more recently, as a special guest, supportet Fury in the slaughterhouse on their 1998 tour. Renowned artists such as Grace Jones, Oleta Adams, Gabrielle and Nina Hagen had her sing backing vocals on prime-time TV shows. She sang on studio albums for Mick Karn of Japan fame and Deep Purple's Jon Lord. Even on dance records such as RMB's Mission Horizon (2001) her unique voice can be heardBut Christina Lux also has a career of her own. Since releasing her first two solo albums "She is Me" (1998) and "Little Luxuries" (1999) she has performed countless club concerts all around the country. Some of these were as a soloist, others as a member of her own trio including bass-player Marius Goldhammer ( Marla Glen..) and her one-man-percussion-orchestra Roland Peil (Die Phantastischen 4..). She has opened shows for Paul Young in 1999 and for New York's Tuck+Patti in 2001. Music magazine "Gitarre & Bass" (7/2001) says, " What sets her apart from others is her warm and deeply touching voice, supported by her finely tuned feeling for spontaneity and free-flowing improvisation combined with her jazzy, grooving rhythm guitar...truly great!"While the music industry sometimes fails to recognize the gold in their own backyard, Christina Lux is regarded as a brilliant musician's musician by critics both at home and in other countries. Perhaps this is because of the wide range of her repertoire: songs that are written in authentic American English, sung with her dark magic velvety voice, blending acoustic soul and funky folk with jazzy improvised highlights. According to the music magazine Soundcheck, she holds her own in a comparison with Rickie Lee Jones or Shawn Calvin.Christina Lux is a truly exceptional live artist. Her latest offering Pure Love, gives the best feel yet for the spontaneity of her live performances. Since, with the exception of two tracks, it was recorded in live situations, we're able to experience the pure magic of one of her concerts...pure pleasure! ~ Editorial Reviews https://www.amazon.com/Pure-Love-Christina-Lux/dp/B00005T7OQ

Pure Love

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Barney Wilen - French Ballads

Styles: Saxophone Jazz 
Year: 1987
File: MP3@320K/s
Time: 56:22
Size: 130,5 MB
Art: Front

(4:41)  1. L'Ame Des Poetes
(3:05)  2. What Are You Doing The Rest Of Your Life
(4:28)  3. Sous Le Ciel De Paris
(3:51)  4. Syracuse
(4:11)  5. Un Ete 42
(4:11)  6. My Way
(7:15)  7. Les Feuilles Mortes
(4:13)  8. Once Upon A Time
(4:42)  9. Seule Ce Soir
(4:27) 10. Manoir De Mes Reves
(4:17) 11. Tears
(4:19) 12. La Vie En Rose
(2:38) 13. Les Moulins De Mon Coeur

Barney Wilen's mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960). Wilen began working in a rock-influenced style during the '60s, recording an album entitled Dear Prof. Leary in 1968. In the early '70s, Wilen led a failed expedition of filmmakers, musicians, and journalists to travel to Africa to document pygmy music. Later Wilen played in a punk rock band called Moko and founded a French Jazzmobile-type organization that took music to people living in outlying areas. He also worked in theater. By the mid-'90s, he was working once again in a bebop vein in a band with the pianist Laurent de Wilde. Much of Wilen's later work was documented on the Japanese Venus label. ~ Chris Kelsey https://www.allmusic.com/artist/barney-wilen-mn0000117853/biography

Personnel: Barney Willen - Saxophone; Michel Graillier - Piano; Ricardo del Fra - Bass; Sangoma Everett - Drums

French Ballads

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Benny Green - The Place To Be

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 58:51
Size: 135,9 MB
Art: Front

(5:59)  1. Nice Pants
(2:31)  2. Playmate
(6:59)  3. I Want To Talk About You
(3:10)  4. The Place To Be
(5:13)  5. I Felt That
(6:16)  6. Pensativa
(5:56)  7. One Of Another Kind
(5:23)  8. Which Came First?
(3:28)  9. Noreen's Nocturn
(7:13) 10. Concertina
(2:29) 11. The Gravy Waltz
(4:09) 12. The Folks Who Live On The Hill

Benny Green is one of the most gifted jazz pianists around, and The Place To Be shows off his abilities in a variety of settings. The album starts off with a big band arrangement of “Nice Pants” which at times sounds like it’s based on the changes of “Critic’s Choice,” a tune that was a staple of the Buddy Rich book from the 1960s. It has a time medium tempo swing to it and features an excellent bass solo by Christian McBride in addition to Green’s omnipresent powerhouse piano. The big band groove is also found in “I Want to Talk About You,” partly based upon “How High the Moon,” and “I Felt That,” the latter tune with a Thelonious Monk-inspired melody. Green’s trio work is outstanding and nicely varied. “Playmate” is a real tour de force and features blazingly fast single-line and octave runs a la Oscar Peterson. In the middle of the song there is a lot of nice stride piano. 

Green and company change pace with “Pensativa,” a pleasant bossa nova that is indebted to Antonio Carlos Jobim’s “Wave” and also to “You Came Along from Out of Nowhere.” “One of Another Kind” is an interesting composition and almost sounds like an up-tempo version of Miles Davis’ “So What?” Green displays a similar eclecticism with his solo piano pieces. They range from a swinging version of Steve Allen's “Gravy Waltz” to the highly contrapuntal “The Place To Be” to a very sensitive and understated performance of the beautiful ballad “The Folks Who Live on the Hill.” The last song is one of the most poignant compositions in the Great American Songbook, yet it is not performed that often, the most recording being Diana Krall’s. Benny Green is a consummate jazz pianist. He’s mastered all the past styles from Kansas City stride to Bill Evans to bebop and beyond and he’s taking the music to heights unknown. The Place To Be is just that, the place where everyone who appreciates great jazz will want to be. 

~ William Grim https://www.allaboutjazz.com/the-place-to-be-benny-green-blue-note-records-review-by-william-grim.php

Personnel: Benny Green, piano; Delfeayo Marsalis, trombone; Christian McBride, bass; Byron Stripling, trumpet; Gary Smulyan, baritone sax; John Clark, flugelhorn; Kenny Washington, drums; Herb Besson, tuba; Jerry Dodgion, flute, alto sax

The Place To Be

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Chris Gillespie - Live At The Carlyle

Styles: Vocal, Piano Jazz, Cabaret
Year: 2007
File: MP3@320K/s
Time: 68:21
Size: 157,8 MB
Art: Front

( 4:40)  1. How About You
( 8:08)  2. But Beautiful
( 4:32)  3. How Deep Is The Ocean
( 5:50)  4. Alone Together
( 5:38)  5. In the Still Of The Night
( 4:37)  6. They Can't Take That Away From Me
( 5:44)  7. What's New
(13:09)  8. Take Five
( 6:04)  9. Don't Explain
( 8:12) 10. Here's To Life
( 1:42) 11. Thank You & Credits

Chris Gillespie epitomizes grace, style and sophistication in keeping with the tradition of the Carlyle Hotel. He has performed in Austria, France, Germany, Australia, Colombia and the Philippines. As a composer and performer, he has entertained Sir Paul McCartney, Bette Midler, Mary Wilson, Billy Joel, Steve Tyrell, Paul Shaffer, Luis Miguel, and heads of state: Juan Manuel Santos, President of Colombia, Petar Stoyanov, President of Bulgaria, and Bill Clinton. Before Mr. Gillespie earned the coveted position of playing 5 nights a week in the prestigious Bemelmans Bar in 2001 either with his trio (Keith Loftis, saxophone, and Dmitri Kolesnik, bass) or on his own he performed in other respected venues such as Windows on the World and The Rainbow Room. Standing out from the crowd, Chris draws from his influences of Bach and Gershwin, combining jazz and classical music as though they were intended to be played together, with audiences erupting in cheers when they hear the transition from one to the other, especially in his take on Paul Desmond's "Take 5”. Chris’s discography consists of “You’ve Arranged the Stars For Me”, a commissioned recording of originals, a compilation from the Great American Song Book titled "L-O-V-E”, and an album produced by Joyce Johnson, “Live At The Carlyle”. His latest recording, “Portraits Of Porter”, is an all-Cole Porter tribute with Bucky Pizzarelli and Martin Pizzarelli on which one can truly experience the broad palette of Gillespie's interpretations. He is also featured on Frank Tate’s album, which is a collection of songs performed by various artists who personally knew the legendary Bobby Short. Mr. Gillespie’s next release will be “The Early Show” (title of the album to be determined), an album replicating the Bemelmans Bar experience when he entertains on his own. Mr. Gillespie has performed at Avery Fisher Hall, Jazz at Lincoln Center, Merkin Concert Hall, The Lehman Center for the Performing Arts with Marvin Hamlisch and the Cafe Carlyle. His appearances on FOX5, NBC, FoxBusiness News, NPR (National Public Radio) in an interview with Faith Middleton brought exposure of his work to a larger audience. http://www.chrisny.com/

Live At The Carlyle

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Chris Barber - Petite Fleur

Styles: Trombone Jazz 
Year: 1958/2011
File: MP3@320K/s
Time: 36:44
Size:fron
Art: 85,4 MB


(2:46)  1. Petite Fleur
(3:05)  2. High Society
(3:19)  3. Everybody Love My Baby
(4:18)  4. Bugle Call Rag
(3:40)  5. Hushabye
(3:02)  6. Whistlin' Rufus
(2:18)  7. Tuxedo Rag
(3:53)  8. Majorca
(3:54)  9. I Can't Give You Anything But Love
(6:26) 10. When The Saints Go Marching In

"The legendary jazzman, Sidney Bechet, wrote “Petite Fleur” around 1952, when he was living in Paris, and just nine years later Chris Barber saw his version of the song become a hit in Britain and America." Barber, who was born in Hertfordshire in 1930, became one of the most popular figures on the traditional jazz scene during the 1950s, although he had been playing trombone around London clubs just after the war and had, in fact, formed his own band before deciding to team up with Ken Colyer. It was when Colyer left the band and Barber took over that he also began to experiment with small musical combinations within the framework of the band, and from this emerged a skiffle line-up that included Lonnie Donegan. Barber’s style of traditional jazz, his flair for choosing the right kind of personnel to work with, notably the clarinettist Monty Sunshine, has earned him world-wide acclaim and respect. “Petite Fleur” is an album that contains some memorable examples of his work during the days in the fifties when the trad jazz boom was at its height, and even today it makes easy and highly enjoyable listening. https://coverheaven.co.uk/chris-barber-jazz-band-petite-fleur/

Personnel:  Trombone – Chris Barber; Banjo, Guitar – Dick Bishop; Bass – Dick Smith;  Clarinet – Monty Sunshine; Drums – Ron Bowden; Trumpet – Pat Halcox

Petite Fleur

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Carol Kidd - That's Me

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 57:50
Size: 134,0 MB
Art: Front

(3:44)  1. That's Me
(4:10)  2. When the World Was Young
(2:33)  3. Little White Lies
(3:52)  4. This Bitter Earth
(3:24)  5. You Don't Bring Me Flowers
(3:46)  6. Night and Day
(5:27)  7. This Love of Mine
(3:50)  8. I'm Putting All My Eggs in One Basket
(6:09)  9. I Can't Get Started (With You)
(3:11) 10. Round Midnight
(8:05) 11. Judy Garland Medley: I'm Always Chasing Rainbows/Over the Rainbow/The Trolley Song
(2:40) 12. Let Me Sing and I'm Happy
(3:34) 13. Send In the Clowns
(3:16) 14. Down and Out Blues

For over a decade, jazz singer Carol Kidd has managed to consistently pull in accolades, "Best Awards," and honors from an arena consisting of all-time greats such as Peggy Lee, Ella Fitzgerald, and Sarah Vaughan. Born in Glasgow, Scotland, Kidd has known since she was five years old that she was a singer. While raising three children and running a hotel, she sang part-time all over Britain, performing on-stage and on television. Her full-time professional career began in 1990 when Frank Sinatra issued her an invitation to appear live with him at Ibrox Stadium, Glasgow, in front of a capacity crowd. British jazz lovers gave rave reviews and Kidd was invited to sing at London's internationally acclaimed Ronnie Scott's Club, where she was heard by Tony Bennett. The momentum of her success picked up and she was voted the Best Performer at the Edinburgh International Jazz. In 1990 she also signed with Linn Record, and the label released her debut album, The Night We Called It a Day. The album was voted Best Jazz Recording at the U.K. Musical Retailer's Awards. After being named Best Vocalist at the Cannes International Jazz Awards, Kidd began to receive invitations to appear all over Europe, the Far East, and the United States.

Kidd's respect for the integrity of lyrics often set her apart from other jazz singers, but it was her combination of big band songs and jazz, always sung in perfect pitch, that captured fans. Linn released her sophomore album, I'm Glad We Met in 1991, and Kidd continued performing worldwide throughout the '90s. In 1998, Linn released one album for her, and the Honest label released two more, including the extra popular All My Tomorrows. Honest also came out with a compilation, The Best of Carol Kidd, Vol. 1, in 1998. In April 1998, Kidd had the honor of presenting the prizes at The Duke of Edinburgh's Awards, held at Holyrood Palace in Edinburgh. That same year she met with the Queen and Prince Philip in Windsor Castle at a Reception for the Arts, and she was also listed on The Queen's Birthday Honours List. This was followed in October 1998 by Prince Charles presenting her with the MBE (Services to Jazz) award in Buckingham Palace, and his also requesting that Kidd send him some of her CDs. Some of the other awards bestowed on Kidd during the '90s were: Best Vocalist from Cannes International Jazz Awards; Best Performer, from Edinburgh Jazz Festival; Best Vocalist, from U.K. Jazz Awards; and Best Jazz Recording, from U.K. Music Retailers Awards. In 2000, Linn released both the compilation Linn Box Two and the album Crazy for Gershwin, which reflected the world's love both for the endearing Gershwin songs and for Kidd. By 2001 three of her tracks had become theme songs for TV soaps in Asia where she had become a major star. In Korea, her rendition of "When I Dream" became the background music for the Korean film Shiri, and she held the number one spot week after week on the Asian Music Box charts over names like Britney Spears, Celine Dion, and Mariah Carey. Linn released A Place in My Heart, with Kidd singing with the legendary Robert Farnon Orchestra, in May 2001. Farnon (born in 1917, Toronto, Canada) lives in Europe and has decades of big band experience composing, arranging, and conducting popular and light music. Recording together, Kidd and Farnon pulled rave reviews with 12 favorite tracks such as "Pennies From Heaven," "The Sunny Side of the Street," "I Get Along Without You Very Well," and "Bewitched, Bothered, and Bewildered." Kidd filled the rest of 2001 with three major concerts in Singapore and one in Cambodia, plus returning once again to her homeland to do a major concert at the Glasgow Royal Concert Hall. ~ Eleanor Ditzel https://www.allmusic.com/artist/carol-kidd-mn0000795936/biography

That's Me

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James Williams - After Ego

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 49:31
Size: 113,5 MB
Art: Front

(6:20)  1. Black Scholars
(6:49)  2. Alter Ego
(7:27)  3. Havana Days
(5:29)  4. Fourplay
(6:39)  5. A Touching Affair
(6:36)  6. Waltz For Monk
(6:43)  7. Beauty Within
(3:24)  8. Yours And Mine

Pianist James Williams learned a great deal from his stint with Art Blakey's Jazz Messengers and when he emerged from the group he was perfectly qualified to be a bandleader. His Sunnyside session features such up-and-coming players as guitarist Kevin Eubanks, the reeds of Billy Pierce and Bill Easley, bassist Ray Drummond, and drummer Tony Reedus on a set of original material. Five of the seven songs were composed by Williams, while the other two (including the memorable "Waltz for Monk") were contributed by Donald Brown. The frequently exciting music (high-quality modern hard bop) still sounds fresh. ~ Scott Yanow https://www.allmusic.com/album/alter-ego-mw0000106677

Personnel:  Piano – James Williams; Double Bass – Ray Drummond; Drums – Tony Reedus; Guitar – Kevin Eubanks; Tenor Saxophone, Alto Saxophone, Flute, Clarinet – Bill Easley; Tenor Saxophone, Soprano Saxophone – Billy Pierce

After Ego

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Pablo Held, John Scofield - The Trio Meets John Scofield

Styles: Piano And Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 63:30
Size: 146,3 MB
Art: Front

(14:44)  1. Cameo
(18:06)  2. Kubrick / Camp Out
(15:37)  3. Nocturne
( 9:50)  4. Imaginary Time
( 5:12)  5. Marcie

This encounter between jazz-fusion guitar star John Scofield and young German pianist Pablo Held’s trio will be just the ticket for Scofield followers who know him for his imposing jazz credentials as well as his funky, jam-band ones. Two tunes here are Scofield’s, two are Held’s, and the finale is a delicate jazz-ballad interpretation of Joni Mitchell’s Marcie, which the guitarist paints with all the soft hues his famous textural creativity offers him. Scofield delves back into something near the jazz phrasing of Wes Montgomery or Kenny Burrell on Held’s Cameo, which begins with impressionistic trickles and guitar effects and shakes itself into fluent swing over Robert Landfermann’s bass-walk. 

Scofield’s own Kubrick/Camp Out starts with unaccompanied musings on slinky elisions and bluesy chords, moving on to mix swing, dissonant arco-bass improv, and a time-juggling piano solo. Imaginary Time, a collage of brightly chiming melody, stop-time breaks and sly buildups, brings the house down at Cologne’s Philharmonic Hall. It’s a fascinating fresh setting for a unique guitarist who always means business. ~ John Fordham https://www.theguardian.com/music/2014/dec/18/pablo-held-john-scofield-trio-meets-john-scofield-review

Personnel:  Pablo Held - piano, composer; Robert Landfermann - bass;  Jonas Burgwinkel - drums;  John Scofield - guitar, composer

The Trio Meets John Scofield

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Steve Slagle - Alto Blue

Styles: Saxophone Jazz 
Year: 1997
File: MP3@320K/s
Time: 60:21
Size: 139,4 MB
Art: Front

(7:31)  1. Blues not to lose
(5:51)  2. Hail-Bop
(9:22)  3. Full moon
(5:13)  4. Jaco time
(6:01)  5. Detour ahead
(9:52)  6. Peacefully
(9:53)  7. Jump Monk
(6:33)  8. The Midget

Steve Slagle, who has a very appealing tone on alto, strong technique, and a style that is quite versatile, performs seven blues on this exciting set, as well as a flute feature on "Detour Ahead." By varying tempos and grooves (ranging from bebop to Ornette Coleman and a bit of funk), each song manages to have its own personality and a mundane sameness never occurs. Trumpeter Ryan Kisor, who had grown quite a bit during the past few years, seemed at this point to be obviously poised for potential greatness and sounds quite individual. Bassist Scott Colley and drummer Gene Jackson, although in a supporting role, are major assets and work together quite well. The material is made up of four Slagle originals, one song by Dave Stryker, Charles Mingus' "Jump Monk" and Lee Morgan's "The Midget," in addition to "Detour Ahead"; it's consistently colorful and catchy enough to both inspire the musicians and be memorable for the listeners. Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/alto-blue-mw0000597428

Personnel:  Alto Saxophone, Flute – Steve Slagle; Bass – Scott Colley; Drums – Gene Jackson; Trumpet – Ryan Kisor

Alto Blue

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Peggy Lee - Peggy At Basin Street East

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 56:34
Size: 130,8 MB
Art: Front

( 1:35)  1. Overture
( 1:47)  2. Day In-Day Out
( 2:32)  3. Call Me Darling
( 4:15)  4. One Kiss/ My Romance/ The Most Beautiful Man In The World
( 5:46)  5. But Beautiful/The Second Time Around
( 2:59)  6. Fever
( 3:47)  7. I'm Gonna Go Fishin'
( 2:32)  8. I Love Being Here With You
( 3:57)  9. By Myself
( 1:56) 10. Heart
( 4:08) 11. I've Never Left Your Arms
(14:30) 12. Ray Charles Tribute: Hallelujah, I Love Him So/ I Got A Man/ Just For A Thrill/You Won't Let Me Go/ Yes Indeed!
( 1:23) 13. Peggy Lee Bow Music
( 5:20) 14. I Don't Know Enough About You Medley

Like legions of other Peggy Lee fans, I never had reason to question the authenticity of Basin Street East (Blue Note), accepting that it was, as billed, “recorded at the fabulous New York club” during Lee’s fabled gig in early ’61. Turns out, though, that neither Basin Street East nor either of Lee’s other “live” outings from that era-1959’s Beauty and the Beat! with George Shearing and the ultrarare Two Shows Nightly from ’68-were quite as legit as Capitol led us to believe. Peggy, the penultimate perfectionist, demanded that all three albums be reshaped and, to varying degrees, rerecorded within the safely controllable confines of a studio, then sweetened with audience applause. How sad to learn, then, that there has never existed an entirely genuine “live” recording from the days when Lee ruled as queen of the supper-club circuit. Not, that is, until now. Thanks to some diligent detective work by producer Cy Godfrey, Lee’s engagement-ending performance from February 8, 1961, can be heard in its entirety on Peggy at Basin Street East: The Unreleased Show (Collectors’ Choice). 

As Godfrey recalls in the liner notes, he was nosing around the Capitol vaults when he came across a series of mislabeled Basin Street “safety” tapes that fortuitously turned out to contain the complete February 8 date. Double the length of the stingy original LP, the new disc includes more than a dozen additional songs. A misty “Call Me Darling” substitutes for “Moments Like This,” and the far more interesting “The Most Beautiful Man in the World” replaces “The Vagabond King” in the first medley. Lee also adds her sizzling, Afro-Cuban “Heart” and an ethereal “I’ve Never Left Your Arms,” and finishes with a spirited “greatest hits” encore. The disc does, as expected, suffer a few minor technical setbacks. Apart, however, from occasional moments of inaudibility (including unfortunate muddiness during Lee’s spoken introduction to her Ray Charles tribute), The Unreleased Show remains a rare and vibrant testament to Peggy at her unedited best. ~  By Christopher Loudon https://jazztimes.com/archives/peggy-lee-peggy-at-basin-street-east/

Peggy At Basin Street East

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Hilton Ruiz - Strut

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 49:24
Size: 113,6 MB
Art: Front

( 6:19)  1. The SideWinder
(10:46)  2. Goin'Back To New Orleans
( 4:57)  3. Bluz
( 4:19)  4. Aged In Soul
( 8:07)  5. All My Love Is Yours
( 5:55)  6. Soca Serenade
( 2:34)  7. Why Don't You Steal My B
( 6:24)  8. Lush Life

Pianist Hilton Ruiz mixes together elements of salsa, r&b, funk and jazz but, instead of his music becoming some type of hybrid, the result is a very danceable variety of jazz that is both accessible and challenging. Ruiz, whose main influence is McCoy Tyner, gathered together a very interesting assortment of players for Strut. Trumpeter Lew Soloff contributes some high notes and leads the horn riffing, trombonist Dick Griffin's extroverted trombone is witty in its short spots, Sam Rivers (mostly on tenor) and percussionist Mongo Santamaria add their sounds to the brew and guitarist Rodney Jones is second only to Ruiz in taking solo honors. 

It is particularly rewarding to hear a Latin remake of "The Sidewinder" and many of the other good-natured melodies are catchy. Strut should be able to win over both jazz fans and those listeners who claim to not understand or be able to appreciative creative music. ~ Scott Yanow https://www.allmusic.com/album/strut-mw0000203520

Personnel:  Piano – Hilton Ruiz; Bass – Rodney Jones; Congas – Mongo Santamaria; Drums – Robby Ameen, Steve Berrios; Electric Bass – Francisco Centeno; Guitar – Rodney Jones; Tenor Saxophone, Soprano Saxophone – Sam Rivers; Timbales, Percussion – Robby Ameen, Steve Berrios; Trombone – Dick Griffin; Trumpet – Lew Soloff

Strut

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Peter Erskine - Motion Poet

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 53:31
Size: 124,1 MB
Art: Front

(6:26)  1. Erskoman
(6:43)  2. Not a Word
(6:25)  3. Hero with a Thousand Faces
(7:23)  4. Dream Clock
(6:01)  5. Exit up Right
(4:07)  6. A New Regalia
(3:25)  7. Boulez
(7:44)  8. The Mystery Man
(5:13)  9. In Walked Maya

A highly skilled, versatile drummer, Peter Erskine has anchored big bands and jazz-rock fusion groups. He's known for sophisticated rhythms, distinctive accompaniment, and powerful, rippling solos. Erskine began drumming at three, and participated in Stan Kenton's National Stage Band Camps from the age of six. He studied with Alan Dawson and Ed Soph, attending the Interlochen Arts Academy in Michigan and Indiana University. He played with Kenton from 1972 to 1975, then from 1976 to 1978 with Maynard Ferguson. Erskine joined Weather Report in 1978, and was their drummer and percussionist until 1982. He also did several West Coast sessions in the late '70s, and was a member of Steps and Steps Ahead. During the '80s he worked with John Abercrombie's groups and the quartet Bass Desires. He's also worked with Joe Farrell, Marc Johnson, Mike Brecker, Randy Brecker, John Scofield, Bob Mintzer, Lew Soloff, Kenny Kirkland, Mike Mandel, and Kenny Werner, among others. As a leader, he debuted with Peter Erskine in 1982 on Contemporary, followed by several well-received efforts for Denon. During the '90s, he developed a good relationship with ECM, releasing such albums as 1992's You Never Know, 1995's As It Is, and 1998's Juni. Also during the '90s, Erskine founded his own Fuzzy Music label, delivering such albums as 1995's From Kenton to Now with tenor saxophonist Richard Torres and 1998's Lava Jazz. In the 2000s, Erskine continued to release albums via Fuzzy Music with 2002's Badlands, 2005's The Lounge Art Ensemble: Music for Moderns, and 2016's Dr. Um, which introduced his Dr. Um Band featuring keyboardist John Beasley. In 2017, Erskine reunited Beasley and the Dr. Um Band for Second Opinion. ~ Ron Wynn https://www.allmusic.com/artist/peter-erskine-mn0000842492/biography

Personnel: Drums, Percussion – Peter Erskine; Arranged By – Bob Mintzer (tracks: 8), Randy Brecker (tracks: 5), Vince Mendoza (tracks: 1 to 4, 6, 7, 9); Baritone Saxophone – Roger Rosenberg (tracks: 1, 3, 4, 6); Bass – Marc Johnson (2) (tracks: 2 to 4, 8, 9); Bass Trombone – Matt Finders (tracks: 2 to 4, 6); Electric Bass – Will Lee (tracks: 1, 5, 6); French Horn – Jerry Peel (tracks: 2 to 4), John Clark (2) (tracks: 2 to 4), Peter Gordon (8) (tracks: 2 to 4); Guitar – Jeff Mironov (tracks: 1, 5, 6); Guitar, Guitar Synthesizer – John Abercrombie (tracks: 2 to 4, 8, 9); Keyboards – Jim Beard (tracks: 1 to 8); Piano – Eliane Elias (tracks: 2, 5); Soprano Saxophone, Alto Saxophone, Flute – Lawrence Feldman (tracks: 1, 3 to 6); Tenor Saxophone – Bob Mintzer (tracks: 4, 6, 8), Michael Brecker (tracks: 3); Tenor Saxophone, Flute – Bob Mintzer (tracks: 1, 3 to 6); Trombone, Tuba – Dave Bargeron (tracks: 1, 2 to 4, 6); Trumpet – Joe Mosello (tracks: 1, 3 to 6), Randy Brecker (tracks: 4, 8); Trumpet, Flugelhorn – Lew Soloff (tracks: 1 to 4, 6)

Motion Poet

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John Pizzarelli Trio - For Centennial Reasons: 100 Year Salute to Nat King Cole

Styles: Vocal And Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 52:04
Size: 120,4 MB
Art: Front

(4:32)  1. Straighten Up and Fly Right
(2:36)  2. A Hundred Years from Now
(3:22)  3. The Very Thought of You
(3:18)  4. (I Would Do) Anything for You
(4:52)  5. I'm Such a Hungry Man
(4:46)  6. It's Only a Paper Moon
(3:39)  7. Body and Soul
(3:22)  8. Nat King Cool
(4:03)  9. When I Fall in Love
(2:35) 10. Save the Bones for Henry Jones ('Cause Henry Don't Eat Meat)
(3:55) 11. Hit That Jive, Jack!
(3:06) 12. Could-'Ja
(3:20) 13. Red Sails in the Sunset
(4:32) 14. (Get Your Kicks On) Route 66

When guitarist/vocalist John Pizzarelli last paid tribute to his primary musical inspiration with 1999’s P.S. Mr. Cole, he was in his late thirties, and Nat Cole probably still cast an imposing shadow as a legendary jazz master. P.S. was his second release honoring his hero, following not long after 1994’s Dear Mr. Cole, a swinging trio session with Benny Green and Christian McBride. A third Pizzarelli album celebrating the inimitable Cole might seem like overkill, but For Centennial Reasons (oy, that pun) has more to do with Pizzarelli’s age than Cole’s. At 58, he’s lived a dozen years longer than the pop star, who died of lung cancer in 1965 just shy of his 46th birthday. Pizzarelli’s no less reverent here than on the previous albums, but instead of approaching the elder master with “Mr. Cole” formality, he imbues the 12 standards (and two originals) with a lived-in ease and familiarity that make it one of his more satisfying sessions. Featuring his finely calibrated trio with bassist Mike Karn and pianist Konrad Paszkudzki, the album seamlessly ranges across a smart array of material with only three repeats from the earlier albums (the relaxed opener “Straighten Up and Fly Right,” the quietly besotted “It’s Only a Paper Moon,” and the jivey closer “Route 66”). Whether he’s wending his way through well-worn ballads such as “The Very Thought of You” and “Body and Soul,” or cutting loose on obscure pieces like Bobby Troupe’s “I’m a Hungry Man” and Danny Barker’s “Save the Bones for Henry Jones (Cause Henry Don’t Eat Meat),” Pizzarelli finds the ideal tempo, his phrasing a model of grace and efficiency. Pizzarelli was never a wild man musically, but the older-and-wiser persona suits him on his latest Nat Cole communion. https://jazztimes.com/reviews/albums/john-pizzarelli-trio-for-centennial-reasons-100-year-salute-to-nat-king-cole-ghostlight/#
 

Personnel:  Guitar, Vocals – John Pizzarelli; Co-producer – Jessica Molaskey; Double Bass – Mike Karn; Drums – Konrad Paszkudzki

For Centennial Reasons: 100 Year Salute to Nat King Cole

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Eric Alexander - The Battle: Live at Smoke

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 60:33
Size: 139,5 MB
Art: Front

(12:49)  1. Blues up and Down
(10:48)  2. Road Song
( 9:37)  3. Firm Roots
( 8:08)  4. Ritual Dance
(11:07)  5. Shirley's Song
( 8:01)  6. Eleven Years

Without a doubt, Eric Alexander is one of the most hardworking and serious young tenor saxophone players out there. To see him perform live is to witness technical fluency combined with up-tempo and hard boppin' intensity. This recording, taped live at Smoke in New York, finds him joined by the equally talented Vincent Herring on alto sax. The first track sets the stage for the whole session. "Blues Up And Down is the classic stomping blues showcased by Gene Ammons and Sonny Stitt on Boss Tenors (Verve, 1961), but with a few added harmonic curveballs. Since Alexander and Herring play different instruments, the final exchanges between the two demonstrate their ability to feed off, rather than upstage each other. In that sense these two musicians are not engaged in an actual battle, but rather a motivational exercise that puts them both at the top of their game. They do the same in an easy tempo on Wes Montgomery's "Road Song, with bassist John Webber laying down the structure and Mike LeDonne showcasing piano voicings that some have associated with to McCoy Tyner. "Ritual Dance, a composition by the drummer Carl Allen, lets Eric Alexander draw from his Coltrane influences by double-timing on his solo and even throwing in a quick reference to "Mr P.C." "Shirley's Song provides a relaxing ballad before the group ends the "battle just as it started, with "Eleven Years. ~ Alain Londes https://www.allaboutjazz.com/the-battle-live-at-smoke-eric-alexander-highnote-records-review-by-alain-londes.php

Personnel: Eric Alexander: tenor saxophone; Vincent Herring: alto saxophone; Mike LeDonne: piano; John Webber: bass; Carl Allen: drums.

The Battle: Live at Smoke

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Viktorija Pilatovic - Stories

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 39:39
Size: 91,6 MB
Art: Front

(4:01)  1. Rising Sun
(6:14)  2. New 2
(4:28)  3. On Your Knees
(5:31)  4. Conviction
(6:55)  5. Stories of England
(4:29)  6. Question Me
(2:01)  7. Nice Odd
(5:57)  8. Every Home

Lithuanian jazz vocalist and composer Viktorija Pilatovic’s has shared the stage with an impressive lineup of musicians from around the world Victor Wooten, Victor Mendoza Gene Jackson and Robin Eubanks, to name a few and she has performed at the prestigious Montreux Jazz Festival as well as the Vilnius Mama Jazz Festival. Viktorija explains that her new album ‘Stories’  ‘is inspired and dedicated to people I have met while living in Lithuania,The Netherlands, Spain and Ecuador. Each song represents a certain state of mind. Music has helped me to express and capture those elusive moments in a gentle way’. It must be said that the geography we cover by exploring her new album, is quite something. The new album was recorded in Spain with mainly Spanish musicians (Israel Sandoval, Perico Sambeat Alberto Palau, Ales Cesarini and Mariano Steimberg) and mixed in New York and  Viktorija’s songs were written Ecuador, The Netherlands, Lithuania and Valencia you get the feeling you are going on a worldwide tour before you even start listening! The whole album, with the exception of one track (Nice Odd) has a relaxing and calming feel to it, mainly due to Viktorija’s well trained vocal style, with a cohesive theme that holds everything together well. The vocals suit the writing perfectly and Viktorija’s emotional intent for the album, are demonstrated well, not only through her vocal style but also through her wonderfully descriptive lyrics. Special mention to the pianist Alberto Palau who’s performance on this album shows supports where needed and absolutely shines when the occasion arises. Question Me is Viktorija’s favourite track from the album and features some gorgeous sax from Perico Sambeat. You can hear how much she enjoys singing this song there is an evident ease and relaxation to her vocal and her lyric  ‘I will lose myself in this sensation’ really does sum up quite clearly her emotions during this song. New 2 written in Ecuador and about prohibited and unconditional love, is my favourite from track the album. 

With a definite theatrical feel to it at times, the variety of this song, kept me engaged throughout.  Opening with a subtly sexy groove with a Latin tinge, it occasionally leads us somewhere slightly unexpected. Half way through the song, this groove takes us into a wonderful vocal scat section with some nice vocal harmonies that work really well, leading us seamlessly into a gorgeous piano solo from Alberto Palau and the piano is very strong throughout. Stories of England I was intrigued with, as Viktorija has said it has nothing to do with her own experience of England, so I was very curious as to why it was titled in such a way. It is based on a story that she was told, the lyrics say ‘he shared with me stories of England’ so the song is about the impact these stories had on her rather than a direct experience. This song has a very understated, gentle bluesy feel about it, very simple arrangement and instrumentation very nice. Nice odd is fascinating as it is a track that Viktorija wants to evolve and include on her future recordings, which is an interesting concept. It is very short at 2 mins, but quite different from the rest of the tracks on the album. An irregular time and an almost psychedelic feel to it at times, with some synth sounds that have not really appeared at any other point in the album. ‘Nice odd’ is the truly perfect title for this track. It is oddly placed in the context of the album, but it’s not actually a problem and you do genuinely want to know how it will develop in the future. It is nice and yes, a little odd but in a good way. On your knees has some gorgeous guitar from Israel Sandoval and the lyrics in this track ‘hiding tears, while you’re on your knees, trying to survive that cold feeling’ exemplify the heartfelt emotions expressed throughout the album. As a classically trained pianist who moved into studying vocal jazz, Viktorija’s album is well placed in this genre. The whole album is very well executed, with good arrangements and she really has achieved what she out to. Superb musicians that support each other collectively, with the opportunity to shine occasionally and they do. I believe Viktorija has described her own album perfectly, as it really does ‘capture those elusive moments in a gentle way’. https://jazzineurope.mfmmedia.nl/2018/01/viktorija-pilatovic-stories-cd-review-by-fiona-ross/

Personnel: Viktorija Pilatovic – voice | Alberto Palau – piano | Ales Cesarini – bass | Mariano Steimberg – drums | Perico Sambeat – saxophone, track 4 and 6 | Israel Sandoval – guitar, track 3 and 8

Stories

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Coleman Hawkins - Hollywood Stampede

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 48:42
Size: 114,2 MB
Art: Front

(2:57)  1. April In Paris
(2:56)  2. Rifftide
(3:16)  3. Stardust
(3:03)  4. Stuffy
(3:11)  5. Hollywood Stampede
(3:15)  6. I'm Thru With Love
(3:21)  7. What Is There To Say?
(3:08)  8. Wrap Your Troubles In Dreams
(2:54)  9. Too Much Of A Good Thing
(3:07) 10. Bean Soup
(2:51) 11. Someone To Watch Over Me
(3:07) 12. It's The Talk Of The Town
(3:06) 13. Isn't It Romantic?
(2:36) 14. Bean-A-Re-Bop
(2:50) 15. The Way You Look Tonight
(2:56) 16. Phantomesque

Hawkins led one of his finest bands in 1945, a sextet with the fiery trumpeter Howard McGhee that fell somewhere between small-group swing and bebop. This CD contains all of that group's 12 recordings, including memorable versions of "Rifftide" and "Stuffy"; trombonist Vic Dickenson guests on four tracks. 

This CD concludes with one of Hawkins' rarest sessions, an Aladdin date from 1947 that finds the veteran tenor leading a septet that includes 20-year-old trumpeter Miles Davis. ~ Scott Yanow https://www.allmusic.com/album/hollywood-stampede-mw0000203302

Personnel:  Tenor Saxophone – Coleman Hawkins; Alto Saxophone – Howard Johnson (6) (tracks: 13 to 16); Bass – John Simmons (tracks: 9 to 12), Oscar Pettiford (tracks: 1 to 8); Bass [Probably] – Curley Russell (tracks: 13 to 16); Drums – Denzil Best (tracks: 1 to 12); Drums [Probably] – Max Roach (tracks: 13 to 16); Guitar – Allan Reuss (tracks: 1 to 12); Piano – Hank Jones (tracks: 13 to 16), Sir Charles Thompson (tracks: 1 to 12); Trombone – Kai Winding (tracks: 13 to 16), Vic Dickenson (tracks: 5 to 8); Trumpet – Howard McGhee (tracks: 1 to 12), Miles Davis (tracks: 13 to 16)

Hollywood Stampede

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Clifford Jordan - Soul Fountain

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 28:16
Size: 65,7 MB
Art: Front

(2:39)  1. TNT
(3:00)  2. I've Got A Feeling For You
(3:32)  3. H.N.I.C.
(2:37)  4. I Got You
(2:07)  5. Caribbean Cruise
(5:42)  6. Senor Blues
(4:05)  7. Eeh Bah Lickey Doo
(4:31)  8. Retribution

Clifford Jordan's Soul Fountain was recorded for Atlantic in 1966 and produced by no less a talent than Arif Mardin. It was not released until 1968 and then reissued properly in 1970 on the Vortex imprint, by which time Jordan had become an American expatriate living in Europe as so many other jazzmen had. The bottom line is that there was no good reason for any of it. This may be, like Jordan's Plays Leadbelly album, a recording of deep roots music in this case soul but as a jazz album with big fat grooves, stellar playing, and arrangements, it's a monster. The bands (a bit different on sides one and two) tell a big part of the story of the album. The first five tracks the front side feature Jordan on tenor and piano, Jimmy Owens on trumpet and flugelhorn, Julian Priester on trombone, Frank Owens playing both piano and B-3, Ben Tucker on upright bass, Bob Cranshaw on upright and Fender electric bass, drummer Bob Durham, and percussionists Orestes Vilató and Joe Wohletz. The music on side one includes the smoking Ben Tucker jams "T.N.T." and "H.N.I.C.," the first of which is a complete soul-jazz groover with big-boned tenor work by Jordan knotted up in the best Blue Note early three-horn front-line '60s fashion: it's where hard bop met the extrapolated sounds of Latin boogaloo and Ray Charles-styled big-band soul. Tucker's grooves were scorching. The latter tune, written in a minor key, offers more Latin grooves with the same front-line 12-bar blues set up with beautiful call and response, a knotty chorus, and wonderfully seamless harmonies among the horns. Jordan contributes a pair of originals to the side (and three overall). The first is "I've Got a Feeling for You," coming right out of the groove territory with those hand drums popping in and around the piano played by Cliff, and a snarling B-3 workout in the fills by Frank Owens. It's suave, spunky, and swaggering with great trumpet work by Jimmy Owens. Jordan's latter tune on the side is a too-brief little calypso fueled hard bop number. The kit work by Durham is hot and the Jordan solo swings hard and in the pocket. The other tune on the side is a burning funky workout on James Brown's "I Feel Good" with amazing trombone work by Priester, who could have been a part of the '70s J.B.'s in a heartbeat, as his sense of propulsion and rhythm is infectious and Durham's breaks are smoking and in the pocket. Side two offers a bit of a change: Big John Patton plays organ, Billy Higgins plays drums, and Ray Barretto replaces Vilató on congas! Three tunes make up the side: one is a reading of Horace Silver's "Senor Blues" that is so full of Latin groove that it drips. Jordan's interplay with the drummers and Patton is rich, wrangling, his best Sonny Rollins in the role and taking it outside slightly via Coltrane. 

The breezy "Eeh Bah Lickey Doo," by the saxophonist is a shimmering, lightly funky riff-based blues with Jordan playing flute to change things up the tonal contrast between his little woodwind and Patton's B-3 simmering is very hip especially when Big John takes his solo. The final track, written by Priester and Abbey Lincoln is called "Retribution." It's the most complex tune here rhythmically, juxtaposing an intensely clave rhythm against a straight cut time and the front-line playing right in between the two signatures. Priester's lyric sense is complex but utterly accessible, and when Jordan takes his solo following that fat downbeat where it all comes together, he can walk between both poles effortlessly. Patton just pushes from the inside out and finds the horn in the corners. Barretto even at this point was offering a dimension on other people's recordings that was singular. He sounded like no one else and his manner of reading the hard bop accents and angles through boogaloo added a hip factor of ten to the side. Priester's solo is brief, followed by Jimmy Owens' before they bring it all back to that melody, closing it out on a very high point indeed.  Certainly, Jordan's great accomplishments as a leader the two Glass Bead Games volumes and In the World on Strata East, as well as Night of the Mark 7 from the '70s are regarded as high marks in his career, but this side should not be counted out by any stretch of the imagination. Mardin's production work adds the right amount of warmth and Jordan is clearly relaxed and in control, walking the razor's edge between the hard bop past, the present-day soul, and the future openness that he would embrace wholesale a couple of years later. This is a fine set and well worth pursuing whether on wax or via the Wounded Bird reissue (it needs to be said that the latter's program of reissuing Atlantic and Warner jazz from the early '70s is really special in that it highlights work that has been forgotten or was entirely ignored). ~ Thom Jurek https://www.allmusic.com/album/soul-fountain-mw0000582716

Personnel: Clifford Jordan — tenor saxophone, flute, piano; Jimmy Owens - trumpet, flugelhorn; Julian Priester - trombone; John Patton - organ (tracks 6-8); Frank Owens - piano, organ (tracks 1-5); Ben Tucker - bass (tracks 1-5); Bob Cranshaw - bass, electric bass (tracks 1-5); Bobby Durham (tracks 1-5), Billy Higgins (tracks 6-8) - drums; Ray Barretto - congas (tracks 6-8); Joe Wohletz - bongos, percussion; Orestes Vilato - percussion (tracks 1-5)

Soul Fountain

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Aldo Romano - Alma Latina

Styles: Jazz, Post Bop
Year: 2002
File: MP3@320K/s
Time: 39:35
Size: 91,6 MB
Art: Front

(3:36)  1. Roanugo
(4:54)  2. Santa Maria Novella
(5:05)  3. C'Era Una Volta
(3:38)  4. Tastière
(1:49)  5. Cadenza
(1:09)  6. Una Volta Dany
(4:44)  7. Amalgame
(5:09)  8. Alma Latina
(5:10)  9. 6 Million Dollars Song
(4:14) 10. La Dernière Chanson

A record seems to mark a milestone in the career of drummer Aldo Romano. This is the one he recorded in duet, in Italy, with the bassist Jean-François Jenny-Clark, that is to say Il Piacere , musical illustration of the world of Pavese and the Latin of the musician more obvious than ever. It was in 1979, that is to say a year at the same time as the one where he integrated the French label Owl managed by Jean-Jacques Pussiau. Therefore, his records will take, at least for a few years, a less specifically jazz turn (he will return) as on Night Diary or Alma Latina . His friends are at his side (Jenny-Clark, Bartholomew, Portal, Lockwood, Jasper Van't Hoff), while here, it is his old guitarist partner Philippe Catherine and young musicians he discovered who second him , including Benoît Wideman and Jean-Pierre Fouquey. 

There, there are no traces of free jazz practiced during the years of learning with Gato Barbieri and Don Cherry. The binary rhythms have been integrated. And, above all, the composer reveals himself progressively. ~ Hervé Comte http://www.letriton.com/artistes/albums/album-alma-latina-763

Personnel: Aldo Romano battery, Philip Catherine electric guitar; Gilles Perrin percussion; Sylvain Marc electric bass, choirs; Estelle Goubert acoustic and electric piano; Jean-Pierre Fouquey acoustic and electric piano; Dany Kane harmonica; Maurizio Giammarco tenor saxophone; Benoît Widemann synthesizer, electric piano

Alma Latina

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Teddy Edwards - Back to Avalon

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 43:21
Size: 100,6 MB
Art: Front

(2:53)  1. Avalon
(5:36)  2. The Cellar Dweller
(4:29)  3. You Don't Know What Love Is
(7:23)  4. Steppin' Lightly
(3:50)  5. Sweet Georgia Brown
(4:44)  6. Our Last Goodbye
(6:36)  7. Good Gravy
(5:19)  8. (Under) A Southern Moon and Sky
(2:28)  9. Avalon (Version 2)

The liner notes written by Kirk Silsbee tell a tale easily as intriguing as the fine music on this CD. Producer Lester Koenig asked Teddy Edwards to assemble a large ensemble of lesser known jazz musicians from Los Angeles to record originals and new arrangements of standards. Those players had difficulty with the somewhat tricky charts, and because they were not up to the highest standards, the project was mutually agreed upon to be scrapped. Nearly 35 years later, Ed Michel came upon the tapes, assessed that the feeling and spirit in them was good enough, and had them cleaned up by editing in alternate takes spliced by audio computer to enhance the originally imperfect sessions. After some fact checking, the alleged or disputed lineup was confirmed, and the result is solidly swinging,enjoyable music. It showcases the magic touch Edwards displayed in composition and arranging, his distinctive tenor sax, and the ability of these players, many who would later prove their own mettle removed from the obscurity of that time. And now, the rest of the story...this is a really good album! Edwards is well known for his classic, ahead of its time, original soul-jazz tune "Good Gravy," and it appears here for its first recording, the horns grooving together and strutting their stuff. While "The Cellar Dweller" is usually in reference to a perennial last place sports team, this one is for the listeners of The Jazz Cellar nightclub in San Francisco, naturally bluesy and easy swinging with Edwards as the front runner, and the horns following in varying levels of dynamics. "(Under) A Southern Moon & Sky" takes Edwards back to his Mississippi roots and love for Duke Ellington in an attractively exotic and sensual, riki-tiki calypso beat courtesy of Larance Marable cracking his sticks on drum rims. 

The swing standard "Avalon" bookends the session, one at medium tempo, the other faster, both with wonderful interplay and rich balance. A supercharged take of "Sweet Georgia Brown" has Edwards out of the gate flying, extending the second chorus with a witty extrapolation and during the jamming bridge, while the contrasting sad and bittersweet "You Don't Know What Love Is," with the plaintive second lead of trumpeter Nathaniel Meeks, and the especially downhearted "Our Last Goodbye" wrenches every ounce of emotion from a somber place where no one really wants to be. Trombonist Lester Robertson and alto saxophonist Jimmy Woods became major players in L.A. from this point onward, and deserve a close listen here, while baritone saxophonist Modesto Brisenio is heard to good effect, especially on the intro of the quick waltz "Steppin' Lightly," which also sports some compelling rhythm changes slowed to half time, sped up, and funkified. There are recordings that rank as underrated or under appreciated, but Back to Avalon should not merely be tagged as such. Thankfully through hindsight this recording was released in fully flowered form so all can realize what a marvelous all-around musician Teddy Edwards was. ~ Michael G.Nastos https://www.allmusic.com/album/back-to-avalon-mw0000645746

Personnel: Tenor Saxophone – Teddy Edwards; Alto Saxophone – Jimmy Woods; Baritone Saxophone – Modesto Brisenio; Bass – Roger Alderson; Drums – Larance Marable; Piano – Danny Horton ; Trombone – Lester Robertson; Trumpet – Nathaniel Meeks

Back to Avalon

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Kenny Drew - The Ideation Of Kenny Drew

Styles: Piano Jazz
Year: 1954
File: MP3@320K/s
Time: 25:10
Size: 58,2 MB
Art: Front

(3:15)  1. Four And Five
(4:18)  2. Polka Dots And Moonbeams
(6:00)  3. Kenny's Blues
(3:36)  4. Lo Flame
(3:24)  5. 52nd Street Theme
(4:34)  6. Chartreuse

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death. ~ Scott Yanow https://www.allmusic.com/artist/kenny-drew-mn0000081841/biography

Personnel:  Piano – Kenny Drew;  Bass – Eugene Wright; Drums – Lawrence Marable

The Ideation Of Kenny Drew

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