Wednesday, August 14, 2019

Guy Lafitte - Happy ! (Paris, France 1977) [The Definitive Black & Blue Sessions]

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 66:50
Size: 154,4 MB
Art: Front

(5:25)  1. Put On A Happy Face (take 1)
(6:32)  2. My Foolish Heart
(6:29)  3. Make Someone Happy
(4:29)  4. Get Happy
(7:07)  5. Happy Go Lucky Local
(5:13)  6. Sometimes I'm Happy
(7:43)  7. Happiness Is A Thing Called Joe
(6:16)  8. Put On A Happy Face
(6:00)  9. My Foolish Heart (take 1)
(4:25) 10. Sometimes I'm Happy (take 1)
(7:06) 11. Happiness Is A Thing Called Joe (take 2)

A fine swing tenorman whose main inspiration was always Coleman Hawkins, Guy Lafitte appeared in many mainstream settings through the years. LaFitte started out paying clarinet including with swing-oriented gypsy bands. After switching to tenor in 1947 and moving to Paris, he worked with Big Bill Broonzy (1950), Mezz Mezzrow (1951), Bill Coleman (off and on starting in 1952), Dicky Wells and Buck Clayton. Through the years, Lafitte has frequently led his own mainstream combos and was also often utilized by veteran American players who were visiting France including Lionel Hampton (1956), Duke Ellington (for the 1961 film Paris Blues), Milt Buckner, Wallace Davenport, Arnett Cobb and Wild Bill Davis. As a leader, Guy Lafitte led many sessions during the 1954-93 period (particularly 1954-64) including for CFD, Duc-Thomson, Pathe, French Columbia, VSM, French RCA, Vega, Black & Blue and CTPL. ~ Scott Yanow https://www.allmusic.com/artist/guy-lafitte-mn0000652078

Happy ! (Paris, France 1977) [The Definitive Black & Blue Sessions]

Rare Silk - American Eyes

Styles: Vocal
Year: 1985
File: MP3@320K/s
Time: 42:07
Size: 97,2 MB
Art: Front

(4:58)  1. Oops!
(5:42)  2. Watch What Happens
(2:25)  3. 'Round Midnight
(8:10)  4. Hello
(5:10)  5. American Eyes
(5:24)  6. Storm
(4:40)  7. Up From The Skies
(5:34)  8. Burn It!

For a short time, Rare Silk looked as if it was going to be a significant jazz vocal group. Rare Silk, which consisted of Gaile Gillaspie, Marylynn Gillaspie, Todd Buffa and Marguerite Juenemann (replaced by Barbara Reeves), started out as a swing-oriented group in the vein of The Pied Pipers and (even with the inclusion of a male member) The Andrews Sisters. They appeared with Benny Goodman at the 1980 Playboy Jazz Festival. During the next few years, the ensemble modernized their style to include both bop and funkier material, recording for Polydor (1982) and Palo Alto (1985-86); most notable were their versions of "New York Afternoon," "Red Clay" and "Spain." However, Rare Silk never really did catch on and they eventually broke up. ~ Editorial Reviews https://www.amazon.com/American-Eyes-Rare-Silk/dp/B000NB9SJK

Personnel:  Barbara Reeves, Todd Buffa, Gaile Gillaspie, Marylynn Gillaspie - vocal;    Michael Berry - drums;  Eric Gunnison - keyboards; Kip Kuepper - bass; Arlene Taylor - violin

American Eyes

Tuesday, August 13, 2019

Lee Morgan - Candy

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 42:04
Size: 97,1 MB
Art: Front

(7:07)  1. Candy
(5:39)  2. Since I Fell For You
(5:06)  3. C.T.A.
(7:27)  4. All The Way
(5:01)  5. Who Do You Love, I Hope
(6:16)  6. Personality
(5:26)  7. All At Once You Love Her

Recorded when he was only 19, Candy was one of the first albums (along with The Cooker, recorded the same year) where Lee Morgan showed his own unique style. His prodigal technical virtuosity had already been proven at this time in the Dizzy Gilliespie band, but Morgan's first solo ventures had been remarkable only because of his young age. Here, the influence of some of Morgan's mentors can be seen, but instead of just emulating the style of older trumpeters like Clifford Brown, he has begun absorbing bits and pieces of the phrasing and style of a wide range of musicians, from Gillespie to Miles Davis, then using them to forge his own sound. Morgan places himself front and center here there are no other horns to carry the melodic lines, leaving him quite exposed, but he manages to perform beautifully. Not merely a technical marvel, his tone on this album was sweet and his playing fluid, infused with joy and crisply articulated emotion. Morgan would later turn out to be an expert songwriter, but here songs like Buddy Johnson's "Since I Fell for You," and Jimmy Heath's "C.T.A." gave him ample space to show off his talents. ~ Stacia Proefrock https://www.allmusic.com/album/candy-mw0000649662

Personnel: Lee Morgan - trumpet; Sonny Clark - piano; Doug Watkins - bass; Art Taylor - drums

Candy

Grace Knight, Vince Jones - Come In Spinner

Styles: Vocal
Year: 1990
File: MP3@320K/s
Time: 47:09
Size: 108,6 MB
Art: Front

(3:16)  1. I've Got You Under My Skin
(3:04)  2. The Man I Love
(4:17)  3. Mood Indigo
(2:33)  4. Don't Know Much About Love
(4:34)  5. L'il Darlin'
(2:47)  6. Don't Get Around Much Anymore
(4:13)  7. I Get Along Without You Very Well
(3:22)  8. Sophisticated Lady
(3:24)  9. You Go To My Head
(2:56) 10. Loose Lips
(3:40) 11. Body And Soul
(3:14) 12. Joy Juice
(2:21) 13. In A Sentimental Mood
(3:22) 14. Lover Come Back To Me

Born Vincent Hugh Jones, 24 March 1954, Paisley, Scotland. In 1955 Jones’ family emigrated to Australia and lived in Wolloongong, New South Wales. The son of a musician, he was exposed to the jazz greats at an early age and he began to play trumpet in local bands. As an admirer of cool jazz he was especially influenced by Chet Baker and Miles Davis. In 1974 Jones began many years of playing and singing on the New South Wales club and jazz circuit. In 1982 he recorded his debut, Watch What Happens, which featured standards and some original material. The success of the album enabled him to form a sextet that played and toured extensively. More recordings followed, and Jones became a popular festival and cabaret attraction. In 1990 he accepted an acting role in the ABC period series, Come In Spinner. The subsequent album soundtrack of standards, with Jones and Grace Knight, became a milestone in the Australian recording industry as the biggest selling Australian jazz album ever, with sales in excess of 200, 000. Jones rejected the commercial and celebrity opportunities that beckoned, preferring to concentrate on his own musicality and he released and produced new albums each year. Standards became less obvious in his repertoire and originals, written by himself or band members, became more prominent. In 1992, he toured Europe with his sextet which included Barney McAll, Lloyd Swanton and Andrew Gander. There were concerts in The Netherlands, Germany, England and at the Montreux International Jazz Festival. An effective concert and cabaret performer, Jones’ sensitive, almost tortured persona, complimented the melancholic nature of his music, which became increasingly more introspective. After the release of Trustworthy Little Sweethearts, the Jones band toured Europe to considerable success. When he returned to Australia Jones retreated to his isolated farm in rural Victoria to compose new material. The album, Future Girl, contained original material, much of it inspired by his passion for the environment and conservation. Jones maintains full control in all aspects of his recordings and performs only when inclined, but his fierce independence and dedication to his art has resulted in a highly original and important body of work. By the late 90s he had developed more as a vocalist who occasionally played the trumpet. His singing is individual and eloquent, containing sensitive phrasing and sincerity. https://www.allmusic.com/artist/vince-jones-mn0000216835/biography

After leading the successful Australian act the Eurogliders, U.K.-born singer Grace Knight launched a solo singing career which saw her become one of Australia's leading jazz divas. In her early teens, Knight sang in folk clubs and first met musician Bernie Lynch while singing on a cruise ship. They would form the highly successful Eurogliders in 1980 and go on to international success. After the Eurogliders split in 1989, Knight sang backup vocals in the Tania Bowra Band before recording the soundtrack to the ABC-TV miniseries Come in Spinner with jazz musician Vince Jones. The album featured 1940s jazz standards and marked a career change for Knight. The singles "I've Got You Under My Skin," "The Man I Love," and "Sophisticated Lady" propelled the album to number five on the national charts in May 1990. Her debut album, Stormy Weather (September 1991), reached number 14 on the national chart in October, and another cover, "Fever," was released as a single. Her second album, Gracious, contained more jazz standards and covers such as "On a Clear Day," "Moondance," "Cry Me a River," and "Papa Was a Rolling Stone." Knight released her fourth album, Live, in February 1996, a double album recorded over three nights at Sydney's jazz venue the Basement. She released her fourth solo album, Zeitgeist, in 2000, a collection which featured several original songs penned by Knight. https://www.allmusic.com/artist/grace-knight-mn0000194742

Personnel:  Vocals – Grace Knight, Vince Jones; Baritone Saxophone – Tony Buchanon; Bass – Lloyd Swanton; Clarinet – Lee Hutchings; Clarinet, Alto Saxophone – Col Loughlan; Clarinet, Tenor Saxophone – Jason Morphett; Drums – Andrew Gander; Guitar – Jim Kelly; Piano – Max Lambert; Trombone – Bob McIver; Trumpet – Dick Motz, John Hoffman, Paul Panichi 

Come In Spinner

Howard McGhee, Teddy Edwards - Wise In Time

Styles: Trumpet And Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 73:57
Size: 170,6 MB
Art: Front

(6:04)  1. I Want To Talk About You
(6:05)  2. If You Could See Me Now
(7:04)  3. Crescent
(7:42)  4. Ruby My Dear
(5:06)  5. Time Waits
(7:46)  6. Relaxing At Camarillo
(6:53)  7. Reflections
(7:35)  8. Blues In The Closet
(4:38)  9. On A Misty Night
(4:08) 10. In Walked Bud
(4:14) 11. Yardbird Suite
(6:36) 12. Moose The Mooche

Originating from the same recording sessions (trumpeter Howard McGhee's last) that resulted in its superior companion Young at Heart, this set is a bit of a disappointment. McGhee, tenor saxophonist Teddy Edwards, pianist Art Hillery, bassist Leroy Vinnegar and drummer Billy Higgins all sounded fine on the other record but this album sticks exclusively to ballads and the results are dragging and a bit dreary. The renditions of such songs as "I Want to Talk About You," "I Remember Clifford" and John Coltrane's "Crescent" do not even come close to comparing with more definitive earlier versions and the musicians sound a bit tired. Skip this set and get Young at Heart (and some of Howard McGhee's earlier albums) instead. ~ Scott Yanow https://www.allmusic.com/album/wise-in-time-mw0000428357

Personnel: Howard McGhee – trumpet; Teddy Edwards – tenor saxophone; Art Hillery – piano; Leroy Vinnegar – bass; Billy Higgins – drums

Wise In Time

Lalo Schifrin - Towering Toccata

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 41:09
Size: 95,8 MB
Art: Front

(5:05)  1. Towering Toccata (Based on the Toccata & Fugue in D Minor)
(4:20)  2. Frances' Theme (From the Film "The Day of the Animals")
(6:16)  3. Macumba
(2:51)  4. Eagles in Love (From the Film "The Eagle Has Landed")
(4:13)  5. Theme from "King Kong" (From the Paramount Film "King Kong")
(2:43)  6. Most Wanted Theme
(6:09)  7. Midnight Woman
(4:48)  8. Roller Coaster (From the Universal Film "Rollercoaster")
(4:41)  9. Eagles in Love (From the Film "The Eagle Has Landed") - Alt. Take

After scoring an unexpected high-profile success with the disco/jazz fusion of Black Widow, Lalo Schifrin quickly recorded a follow-up album in a similar vein. 1977's Towering Toccata replicates the elegant yet dance-friendly style of Black Widow to the tee, right down to the unconventional cover choices. The best of these is the title track, an insistently rhythmic piece that transforms Bach's gothic-organ extravaganza "Toccata and Prelude in F Minor" into a mid-tempo disco workout that backs up Schifrin's jazzy explorations on the electric piano and synthesizer with scratching rhythm guitar and a pronounced dance beat. Other notable moments on this album include "Most Wanted Theme," which is transformed from action-show theme music into a symphonic funk workout, and "Rollercoaster," a funky vamp from the Schifrin soundtrack of the same name that is ideally suited for Towering Toccata's disco/jazz mindset. There is even another monster-movie theme cover in the vein of the previous album's "Jaws"; this time, it's a disco-friendly treatment of John Barry's "Theme From King Kong" that layers atmospheric horn and flute lines over a bottom-heavy rhythm section fueled by wah-wah guitar and synth bass. However, other tracks on Towering Toccata fail to be as distinctive or adventurous as these highlights. For instance, the original tunes ("Macumba," "Midnight Woman") fit the album's mood but are lacking strong hooks and memorable twists in their arrangements that distinguished the originals on Black Widow. This problem of inconsistent material, combined with the fact that the album is basically a stylistic carbon copy of its predecessor, means that it isn't the ideal follow-up to Black Widow that Schifrin fans might have hoped for. That said, the album has enough strong tunes and enough of a consistent sound to please hardcore Lalo Schifrin fans and anyone who loved Black Widow. ~ Donald A.Guarisco https://www.allmusic.com/album/towering-toccata-mw0000742076

Personnel: Lalo Schifrin - piano, keyboards, arranger, conductor; Burt Collins, John Frosk, John Gatchell - trumpet; Urbie Green - trombone; Joe Farrell, Jeremy Steig - flute; Gerry Niewood - alto saxophone; David Tofani, Lou Marini - tenor saxophone, flute; Ronnie Cuber - baritone saxophone; Clark Spangler - keyboards; Eric Gale, John Tropea - guitar; Will Lee - bass; Steve Gadd - drums, dahka-de-bello; Max Ellen, Paul Gershman, Emanuel Green, Charles Libove, Marvin Morgenstern, David Nadien, Max Pollikoff, Matthew Raimondi - violin; Lamar Alsop, Manny Vardi - viola; Charles McCracken, Alan Shulman - cello

Towering Toccata

Mike Moreno - Three for Three

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 55:43
Size: 128,8 MB
Art: Front

(6:54)  1. The Big Push
(6:27)  2. For Those Who Do
(7:10)  3. You Must Believe in Spring
(5:37)  4. Clube da Esquina No. 1
(9:24)  5. April in Paris
(8:15)  6. A Time for Love
(6:35)  7. Perhaps
(5:19)  8. Glass Eyes

Jazz guitarist and composer Mike Moreno started his musial journey at the age of 15 at the “High School for the Performing and Visual Arts” High School for the Performing and Visual Arts in Houston from where some of the great jazz musicians of our times like Robert Glasper, Jason Moran, Kendrick Scott, Eric Harland, Helen Sung were graduated. At 18, moved to New York and he is actively one of the prominent contemporary jazz guitarists of the 21st century since then. The Joshua Redman Elastic Band, Lizz Wright Band, Nicholas Payton Quartet, Stefon Harris Sonic Creed, Me’Shell N’Degeocello, Jason Moran, Terence Blanchard, Robert Glasper, Ambrose Akinmusire, Gretchen Parlato, Aaron Parks, Claudia Acuña, Greg Osby 4, Wynton Marsalis and the Jazz At Lincoln Center Orchestra, Jeff “Tain” Watts, Jeremy Pelt, John Ellis, Myron Walden, Kenny Garrett, Yosvany Terry, Ralph Bowen, Will Vinson are some of the musicians that Moreno has worked with. He released “Between the Lines”, his debut album as a a leader in 2007. Instead of interpreting the well-known standards, he came up with totally original compositions in the first album. His easily recognizable unique lyrical style, mature compositions, the notes he play and didn’t play made his difference amongst his peers since the very first album till the last one. His second album “Third Wish” comes up next on 2008. Besides his own compositions, there were a couple of standards in this album like the very vivid version of Herbie Hancock’s “I Have a Dream” with a creatively striking intro. In 2011 comes the third album “First in Mind” where I have many favorite songs like Joshua Redman’s “Soul Dance” where we can see Moreno’s fluency in acoustic guitar also.  Sonny Rollins’ “Airegin” with a memorable 5/4 intro and a verw well-know jazz ballad “But Beautiful” played in an ethereal way, are to name a few. In 2012 “Another Way” comes next as guitarist’s 4th release as another way to show his masterful compositional abilities. This album for me is the depiction of a science fictional atmosphere as in Luc Besson’s “Fifth Element”. 

Maybe that’s because of Moreno’s composition with the same name in the album, who knows? I think Mike Moreno is highly qualified in creating that sci-fi atmosphere with his playing throughtout all of his his albums. In 2015 the guitarist comes with “Lotus” that starts with a beautiful acoustic guitar “Intro” which is my wake up alarm song for more than a year now so I probably know the song better than anybody else in this space. That ”Intro” leads smoothly to “The Hills of Kykuit”. Again in this album we see the beautiful collaboration of Aaron Parks on piano and Mike Moreno on guitar. In October 2017 comes finally “Three for Three”, Moreno’s 6th album as a leader. This album is the third release (after “Third Wish” and “First in Mind”) from Criss Cross Records, a record company in Netherlands with a variety of modern jazz works. It is a trio album, the smallest group Moreno has ever recorded as a leader, with long term collaborators Doug Weiss on bass and Kendrick Scott on drums. And it is the only album where there isn’t any Mike Moreno composition in it. The album starts with the striking version of Wayne Shorter’s underrated composition “The Big Push” which is my favorite in the album. My other favorite is Michel Legrand’s “You Must Believe in Spring”. I must say that it is the best version of this song I’ve heard since Bill Evans. The beautiful Radiohed song “Glass Eyes” cover was a big surprise for me when I first heard. The song has already a misty and cloudy nature and Moreno played it in the best way one can play with again creating his outer space atmosphere. Furthermore, I also must say it is a challenge to choose Charlie Parker’s world-renowned “Perhaps” probably becuase it was one of Charlie Parker’s most known and played compositions. But again with his modern version, it is far different from the mainstream versions we’ve listened millions of times. Mike Moreno is one of the leading modern jazz guitarists of this century with a great technical ability, lyrical one of a kind approach with strong sense of time and rhythm, and always a very melodic player especially seen on the ballads. Not only into jazz but he is also very much into Brazilian music which makes his sound more lyrical maybe. After listening his latest album and hoping that he’ll come again to our country on tour to play, here are some questions about his latest album “Three for Three” with Mike Moreno on guitar, Doug Weiss on bass and Kendrick Scott on drums. http://www.jazzdergisi.com/en/mike-moreno-three-for-three/

Personnel: Guitar – Mike Moreno;  Bass – Doug Weiss; Drums – Kendrick Scott

Three for Three

Monday, August 12, 2019

Chuck Hedges - Swingtet - Live at Andy's (Live)

Styles: Clarinet Jazz
Year: 1994
File: MP3@320K/s
Time: 72:31
Size: 168,3 MB
Art: Front

(6:09)  1. Softly as in a Morning Sunrise
(5:31)  2. New Orleans
(7:53)  3. Cheek to Cheek
(6:04)  4. Nuage
(7:18)  5. It's Allright with Me
(5:04)  6. Gamblers' Waltz
(5:11)  7. Breakfast Feud
(5:50)  8. I Don't Wanna Be Kissed
(4:52)  9. Liza
(5:15) 10. She's Funny That Way
(6:41) 11. Autumn Leaves
(6:38) 12. The Blues (My Naughty Sweetie Gives Me)

The talented clarinetist Chuck Hedges is joined by some excellent Chicago-based players (vibraphonist Duane Thamm, guitarist Dave Bany, bassist John Bany, and drummer Charles Braugham) for a spirited set of superior swing-based tunes. "Softly As in a Morning Sunrise," "It's Allright With Me," "Breakfast Feud," and "I Don't Wanna Be Kissed" are among the high points of this consistently swinging and very enjoyable music, a bit of a throwback to the 1950s. Hedges has rarely been given the opportunity to lead a record session, so that fact (on top of the high quality of the music) makes this successful effort something special. ~ Scott Yanow https://www.allmusic.com/album/swingtet-live-at-andys-mw0000123863

Personnel: Chuck Hedges - clarinet; Duane Thamm - vibraphone, chimes;  John Bany - bass, vocals; Dave Bany - guitar;  Charles Braugham - drums

Swingtet Live at Andy's

Thelma Gracen - Thelma Gracen / Introducing Milli Vernon

Styles: Vocal 
Year: 1955
File: MP3@320K/s
Time: 71:01
Size: 165,5 MB
Art: Front

(2:50)  1. I’ll Remember April
(3:01)  2. Night and Day
(4:17)  3. I’ll Never Be the Same
(2:34)  4. Tea for Two
(3:40)  5. I’ll Get By
(2:35)  6. Out of Nowhere
(3:55)  7. Solitude
(1:47)  8. Just You, Just Me
(4:14)  9. I’m Yours
(2:46) 10. People Will Say We’re in Love
(3:48) 11. More Than You Know
(1:59) 12. Let There Be Love
(2:19) 13. Weep for the Boy
(2:11) 14. Moments Like This
(2:58) 15. Spring Is Here
(2:48) 16. ST. James Infirmary
(3:14) 17. My Ship
(2:05) 18. This Year’s Kisses
(3:03) 19. Moon Ray
(2:35) 20. Everything but You
(3:02) 21. Every Time
(2:52) 22. Blue Rain
(2:39) 23. I Don’t Know What Kind of Blues I’Ve Got
(3:37) 24. I Guess I’ll Have to Hang My Tears out to Dry

Thelma Gracen
Just where the boundary lies between the singer of popular songs and the real jazz singer is very often difficult to delineate. Thelma Gracen’s name may not ring any bells for neither jazz fan nor pop addict, but don’t let that deter you. After enjoying a few of her songs, you will realize that she had what it takes to be not only a good singer, but a good jazz singer. She has the beat, the feeling, and that special inner understanding of a lyric that can make an indifferent song sound good, a good song sound great, and a great song sound the way it was meant to sound.

Introducing Milli Vernon
Before this recording session, Jazz singer Milli Vernon was virtually unknown, and for good reason. She had served her apprenticeship singing with various bands under the name Pat Cameron, and on club dates in the New York area for about six years. Her voice was pretty and expressive, and she had a strong sense of time, good intonation and a kind of flexible, intimate quality to her voice that makes her sound like no other. For her first album, Milli was backed beautifully by Dave McKenna, Jimmy Raney, Wyatt Ruther, Jo Jones, and on all but three of the tracks by Ruby Braff as well, in a collection of seldom recorded tunes which include Artie Shaws’s moody Moon Ray. https://www.freshsoundrecords.com/thelma-gracen-milli-vernon-albums/46591-thelma-gracen-introducing-milli-vernon-2-lp-on-1-cd.html

Personnel: Thelma Gracen, Milli Vernon (vcl), Ruby Braff (tp), Georgie Auld (ts), Quentin Anderson (tb), Lou Levy, Dave McKenna (p), Barney Kessel, Jimmy Raney (g), Joe Comfort, Wyatt Rhuter (b), Sid Bulkin, Jo Jones (d)

Thelma Gracen / Introducing Milli Vernon

Dave Stryker - Blue to the Bone III

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 72:41
Size: 167,9 MB
Art: Front

( 7:57)  1. Stan's Shuffle
( 8:31)  2. Complicity
( 5:21)  3. Crazy House
( 6:05)  4. If 6 Was 9
(11:09)  5. For Jack & T
(11:20)  6. Going Home
(10:01)  7. So Long Eric
(10:43)  8. Soulful Mr. Timmons
( 1:29)  9. Doin' the Bone

Dave Stryker’s Blue to the Bone Band, ongoing since ’96, features the guitarist with three other rhythm players and four horns. Established to showcase his blues side, it covers the jazzier realm of the blues as opposed to primitive, gutbucket territory. The horn section (alto saxophonist Steve Slagle, baritone saxophonist and chief arranger Bob Parsons, trumpeter Brian Lynch, and trombonist Clark Gayton) functions as an extension of Stryker’s guitar sound, and the rhythm section (pianist James Williams, bassist Anderson and drummer Tim Horner) keeps the blues feeling true underneath. Stryker’s “For Jack and T” salutes the late organist Jack McDuff and tenorman Stanley Turrentine, two of the guitarist’s former employers. “Doin’ the Bone” is a short, funky cut with Tower of Power-style horns. Slagle arranged Charles Mingus’ “So Long, Eric,” and Williams and Parsons arranged the pianist’s “Soulful Mr. Timmons,” in which the composer takes a stomping, most satisfying solo. There are solid solos from all hands throughout the album, with the lesser-known Gayton taking honors here and there with his triphammer tonguing. Based on the personnel and the feeling of these performances, I’d like to catch this group live. ~ By Owen Cordle https://jazztimes.com/archives/dave-stryker-blue-to-the-bone-iii/

Personnel: Alto Saxophone – Steve Slagle; Baritone Saxophone – Bob Parsons ; Bass – Jay Anderson; Drums – Tim Horner; Guitar, Liner Notes – Dave Stryker; Piano, Organ – James Williams ; Trombone – Clark Gayton; Trumpet, Flugelhorn – Brian Lynch

Blue to the Bone III

Ron McClure - Never Forget

Styles: Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 68:40
Size: 157,9 MB
Art: Front

(5:52)  1. Halfmoon Again
(7:28)  2. Hello Spring
(4:07)  3. Lament for Lost Heroes
(7:26)  4. Belle
(6:39)  5. Never Forget
(8:41)  6. Hey New Day
(6:12)  7. We'll Say Hello Again
(6:32)  8. Illusions Of ...
(6:23)  9. Stinky Fingers
(9:16) 10. Remember Me

A resourceful and flexible bassist, Ron McClure has thrived in hard bop, jazz-rock, and free and bebop sessions and bands. One of the finest upper register players on either acoustic or electric, his rhythmic skills are tremendous. McClure has also been an active educator since the early '70s, teaching at Berklee and Long Island University and doing workshops both nationally and internationally. He started on piano at age five, and later played accordion and bass. McClure studied privately with Joseph Iadone and attended the Hartt School of Music, graduating in 1963. He later studied composition with Hall Overton and Don Sebesky. McClure played with Buddy Rich in the mid-'60s, and worked and recorded with Marian McPartland, Herbie Mann, and Maynard Ferguson during that same period. McClure played in Wyton Kelly's band in 1966, then joined Charles Lloyd in 1967. The Lloyd group also included Keith Jarrett and Jack DeJohnette, and enjoyed unusual popularity and publicity for a late-'60s jazz band. They were the first American group to play at a Soviet jazz festival, and also appeared at the Fillmore, one of the few jazz acts to play there. McClure was a founding member of the jazz-rock band the Fourth Way -- with Michael White, Mike Nock, and Eddie Marshall -- in 1968. They got a good response at the Newport and Montreux festivals in 1970, but disbanded in 1971 after a three-year stint. During the '70s, McClure played with Joe Henderson, Gary Burton, Mose Allison, Jack DeJohnette, Dave Liebman, Thelonious Monk, Tony Bennett, and Jarrett. He recorded with Jerry Hahn, Julian Priester, Cal Tjader, and the Pointer Sisters, and spent three years with Blood, Sweat & Tears in the mid-'70s. McClure played and recorded with George Russell, Tom Harrell, John Scofield, John Abercrombie, Mark Gray, Jimmy Madison, Adam Nussbaum, Richie Bierarch, Vincent Herring, Kevin Hayes, Bill Stewart, and Michel Petrucciani in the '80s and '90s. McClure has done sessions as a leader for Ode, Bellaphon, EPC, Steeplechase, and Ken Music. He has a few dates available on CD. ~ Ron Wynn https://www.allmusic.com/artist/ron-mcclure-mn0000831201/biography 

Personnel: Bass – Ron McClure; Alto Saxophone – Vincent Herring; Drums – Bill Stewart; Piano – Kevin Hays; Trumpet – Eddie Henderson

Never Forget

The Fat Babies - Chicago Hot

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 60:33
Size: 141,4 MB
Art: Front

(3:18)  1. Snake Rag
(2:42)  2. London Cafe Blues
(4:58)  3. San
(3:41)  4. Alexander's Ragtime Band
(4:04)  5. I Surrender Dear
(4:04)  6. Dardanella
(2:54)  7. Black Snake Blues
(3:21)  8. Here Comes the Hot Tamale Man
(4:31)  9. Froggie Moore
(4:25) 10. Willow Tree
(2:55) 11. Weary Blues
(4:50) 12. Liza (All the Clouds'll Roll Away)
(4:00) 13. Please
(2:43) 14. Susie
(3:43) 15. Tight Like This
(4:19) 16. Stomp Off, Let's Go

What 's old is new again or maybe it's more accurate to say, what used to be hip is hot again. The Fat Babies' Chicago Hot harkens back to the early jazz-blues amalgamation of King Oliver, and is as vibrantly interpreted by this seven-piece ensemble as it was when the music was originally pressed onto 78 RPMs. In the past decade, Hot Jazz has been steadily gaining fans as many contemporary musicians find new inspiration in these old forms. The Fat Babies is a very talented incarnation of this hep-cat renaissance. Borrowing mainly from the music of Chicago's famous South Side, the Fat Babies also incorporates the phrasing and feel of hot jazz extraordinaire, Bix Beiderbecke thanks to cornetist Andy Schumann. Coupled with the sly lines of clarinetist John Otto, Schumann's inventive and catchy improvisations radiate on tracks like Jelly Roll Morton's "Froggie Moore" and "Black Snake Blues," by blues singer Victoria Spivery. The music really comes to a boil when cornet and clarinet are joined with the propulsion of trombonist Dave Bock's melodic turns. In "Here Comes the Hot Tamale Man," all three wind instruments rise and fall in a torrent of Dixieland bliss trading eights while the others lay down a supportive bedrock. With Otto flying high, Schumann lets loose a swinging, raspy solo invention before giving ground to Bock's rhythmically exciting and melodically spot-on solo. Typical of Chicago style Hot Jazz, most tracks employ a swinging, upbeat style whose format lends itself to inventive, fast-paced soloing. A notable exception is Fats Waller's medium-paced classic "Willow Tree," its beautiful melody allowing the soloists time to intersperse quick melodic darts with glistening, held notes. 

The track is also a great opportunity for the rhythm section; throughout Chicago Hot, these three display remarkable timing as a unit, masterfully weaving together for the fast tempo and quick accent breaks of the Hot Jazz format. On this slower track, however, there's space and time to drink in their combined appeal. Pianist Paul Asaro impresses with his dramatically quiet intro to "Liza (All The Clouds'll Roll Away)" before the tune takes off into a quick, trotting pace, matched beautifully by the pianist's crisp, accentual phrasing. There may not be many second acts in American history, as author F. Scott Fitzgerald claimed, but there is a long tradition of second looks especially in music which has always proven itself extraordinarily malleable and awaits only a young enough audience to appreciate the newness these old sounds can accommodate. 
~ Jack Huntley https://www.allaboutjazz.com/chicago-hot-the-fat-babies-delmark-records-review-by-jack-huntley.php

Personnel: Beau Sample: string bass; Andy Schumm: cornet; John Otto: clarinet, saxophones; Dave Block: trombone; Paul Asaro: piano; Jake Sanders: tenor banjo; Alex Hall: drums; Mike Walbridge: tuba.

Chicago Hot

Sunday, August 11, 2019

Bobby Hutcherson - Montara

Styles: Vibraphone Jazz 
Year: 1975
File: MP3@320K/s
Time: 35:39
Size: 82,1 MB
Art: Front

(5:35)  1. Camel Rise
(4:24)  2. Montara
(4:17)  3. (Se Acabo) La Malanga
(5:37)  4. Love Song
(3:54)  5. Little Angel
(6:42)  6. Yuyo
(5:08)  7. Oye Como Va

With the possible exception of Grover Washington's Feels So Good, no other album captured the spirit of jazz in 1975 like Bobby Hutcherson's Montara. Recorded in his hometown of L.A., Montara is the very sound of groove jazz coming out of fusion, and Latin jazz's tough salsa rhythms coming home to roost in something more warm and effluvial that would meet the populace where it was changing and mellowing out rather than making it sit up and take notice. That said, Montara is, like the Washington record, a masterpiece of the genre even though it isn't celebrated in the same way. Featuring a stellar cast of musicians among them Willie Bobo, Blue Mitchell, Bobby Matos, Ernie Watts, Harvey Mason, Plas Johnson, Fred Jackson, Larry Nash, and Chuck Domanico Montara is a portrait of Hutcherson's complex gift of subtlety and virtuosity. Whether it's the funky Weather Report dance of "Camel Rise," with Nash's electric piano and the horns weaving around one another in a soulful samba melody, the sweet soulful groove of the title track, where Hutcherson's solo lilts to the point of actually singing, the killer Cuban salsa of "La Malanga," done in complete minor-key frenzy (all the while without losing the easy, slippery grace of soul-jazz), the shimmering echoplexed electric piano and vibes interplay on "Love Song," or the steaming, burning gasoline orgy of Hutcherson's read of Santana's "Oye Como Va," with a killer flute line by Watts winding its way through a knotty bassline and multi-part percussion, the effect is the same: blissed-out moving and grooving for a summer day. Hutcherson's chameleon-like ability to shape-shift is truly remarkable as a sideman and especially as a leader. He never overplays, his charts are tight, and he always creates a band vibe. Almost all of his solo recordings reflect the strengths of the ensemble rather than his strengths as a soloist. Montara is one of the great feel-good jazz albums of the 1970s, one of the great Latin jazz albums of the 1970s, and one of the great groove jazz records. Seek it out without hesitation. ~ Thom Jurek https://www.allmusic.com/album/montara-mw0000036961

Personnel: Bobby Hutcherson - vibes, marimba; Oscar Brashear, Blue Mitchell - trumpet; Plas Johnson - flute; Ernie Watts, Fred Jackson, Jr. - tenor saxophone, flute; Eddie Cano - piano; Larry Nash - electric piano; Dennis Budimir - guitar; Chuck Domanico, Dave Troncoso - bass; Harvey Mason - drums

Montara

Joy Bryan – Make The Man Love Me

Styles: Vocal
Year: 1962
File: MP3@320K/s 
Art: Front

(2:59)  1. My Romance.mp3
(4:57)  2. Make the Man Love Me.mp3
(3:30)  3. Almost Like Being in Love.mp3
(4:03)  4. It Never Entered My Mind.mp3
(3:40)  5. East of the Sun.mp3
(3:37)  6. Aren't You Glad You're You.mp3
(3:56)  7. My Funny Valentine.mp3
(4:07)  8. Old Devil Moon.mp3
(3:32)  9. These Foolish Things.mp3
(3:15) 10. Everything's Coming Up Roses.mp3

Pre-rock pop, ballads and standards vocalist who cut albums in late '50s, early 60s on West Coast. She was not hugely successful, nor attained widespread notoriety, but her 1961 release with Wynton Kelly and Leroy Vinnegar was good effort. ~ Ron Wynn https://www.allmusic.com/artist/joy-bryan-mn0001193072

Personnel: Vocal - Joy Bryan;  Bass – Leroy Vinnegar; Drums – Frank Butler; Guitar – Al Viola; Piano – Wynton Kelly

Make The Man Love Me

Cannonball Adderley - 74 Miles Away / Walk Tall

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 35:11
Size: 80,9 MB
Art: Front

( 6:22)  1. Do Do Do (What Now Is Next?)
( 6:56)  2. I Remember Bird
( 2:36)  3. Walk Tall (Baby, That's What I Need)
(13:51)  4. 74 Miles Away
( 5:24)  5. Oh Babe

With the hit "Mercy Mercy Mercy" still reverberating on the sales charts, Capitol simply had the Quintet crank out one live club date after another at this point, hoping for another smash. They never really got one, but Cannonball and Nat Adderley, in league with pianist Joe Zawinul, bassist Victor Gaskin and drummer Roy McCurdy, left a strong legacy like this vigorous live Hollywood gig. One of Nat's best gospel-styled hip-shakers, "Do Do Do," opens the record, and Joe Zawinul comes up with another bluesy, catchy self-help tune in the vein of "Mercy" called "Walk Tall," prefaced by another of Cannonball's wryly inspirational talks. Indeed Cannonball was such an ingratiating speaker that he could even deliver a gracious ode to a critic, in this case Leonard Feather prior to his eloquent performance of Feather's "I Remember Bird." Yet the Adderleys and Zawinul could also take off and offer exploratory, nearly avant-garde solos on Zawinul's Middle-Eastern-flavored montuna in 7/4 time, "74 Miles Away" (which presages some of Joe's experiments with Weather Report). This was a rare thing, a group that could grab the public's attention and gently lead them into more difficult idioms without pandering or condescension. ~ Richard S.Ginell https://www.allmusic.com/album/74-miles-away-walk-tall-mw0000869511  

Personnel: Alto Saxophone – Cannonball Adderley; Bass – Victor Gaskin; Cornet – Nat Adderley; Drums – Roy McCurdy; Piano – Joe Zawinul

74 Miles Away/Walk Tall

Craig Chaquico - Once In A Blue Universe

Styles: Guitar Jazz
Year: 1997
File: MP3@320K/s
Time: 47:03
Size: 109,0 MB
Art: Front

(5:03)  1. Midnight Swim
(4:08)  2. Holding Back The Years
(5:49)  3. Dreamcatcher
(5:15)  4. Blue Universe
(4:54)  5. Trade Winds
(3:29)  6. Lights Out San Francisco
(5:03)  7. Dipsea Trail
(5:09)  8. Oceans Apart
(4:35)  9. Feelin' Alright
(3:34) 10. Indian Spring

Former Jefferson Starship guitarist Craig Chaquico is one of the most successful and reliable of the crop of rock musicians who have recently switched genres into contemporary jazz. His fourth CD, Once in a Blue Universe continues to broaden his jazz horizons while providing some very satisfying and distinctive music. Fans of Craig's first two albums ( Acoustic Planet and Acoustic Highway ) will find the same improvisational and eclectic guitar style prevalent on those albums. Those who welcomed Craig's turn toward more complex compositions and arrangements on A Thousand Pictures will enjoy the additional moods and extended saxophone presence. The first few notes of the first song ("Midnight Swim") set the beat with a funky bass line and readily identifies the artist with Craig's signature style on acoustic guitar. Dave Koz assists with a strong and funky sax line for an all-around finger-snapping tune. Craig's companion on the Guitars, Saxophones and More Tour, Richard Elliot, makes a strong guest appearance with his distinctive tenor saxophone on "Dreamcatcher," one of the first cuts to receive radio play. Another GS&M tour member, Peter White makes an appearance on "Lights Out San Francisco"; the guitar interplay between Craig and Peter makes this mellow track a winner. Other notable cuts include the romantic soft-tempo title song, subtitled "Kimberly's Eyes" featuring John Klemmer and Third Force, "Oceans Apart" and a mellow cover of pop tune "Holding Back the Years," one of the only non-original compositions on the disc. Those who saw Craig and Douglas Spotted Eagle together at the Catalina Island Jazz Festival in 1996 will recognize the diverse percussion and arrangement from Spotted Eagle on the end-cut "Indian Spring. "Produced by long-time keyboardist and producer Ozzie Ahlers, Once in a Blue Universe is a solid addition to any contemporary jazz or guitar collection, filled with tunes you will be humming days later. Highly recommended. ~ AAJ Staff https://www.allaboutjazz.com/once-in-a-blue-universe-craig-chaquico-higher-octave-music-review-by-aaj-staff.php

Musicians: Guitar-Craig Chaquico; Spanish Guitar-Peter White; Keyboards-Ozzie Ahlers, William Aura; Saxophone-Richard Elliot, John Klemmer, Dave Koz, Kevin Paladini; Drums & Percussion-Lenny Castro, Alain Eskinasi, Carlos Vega, G.G. Gonaway, Wade Olson, Douglas Spotted Eagle; Bass Guitar-Larry Kimpel, Jim Reitzel; Piano-Gregg Karukas

Once In A Blue Universe

Rare Silk - New Weave

Styles: Vocal
Year: 1983
File: MP3@320K/s
Time: 40:30
Size: 96,8 MB
Art: Front

(3:46)  1. New York Afternoon
(5:42)  2. Red Clay
(3:42)  3. You Know It's Wrong
(5:56)  4. Lush Life
(3:53)  5. Joy
(4:52)  6. (I Can Recall) Spain
(5:22)  7. Sugar
(4:48)  8. Happying
(2:26)  9. D.C. Farewell

The Grammy nominated debut album of Rare Silk, turned out to be the best vocal jazz record of the eighties, still a pleasure to listen. With high-class musicians including Michael Brecker, Randy Brecker and Ronnie Cuber backing up their exceptional vocal performance, original lyrics written for instrumental pieces and fantastic vocal arrangements, Rare Silk created a collectible rare gem with “New Weave”. The interpretation of Stanley Turrentine’s “Sugar” is probably the best version of this song. https://somehowjazz.com/rare-silk-new-weave/

Personnel:  Alto Saxophone – Lawrence Feldman; Tenor Saxophone – Michael Brecker; Trumpet – Randy Brecker; Baritone Saxophone – Ronnie Cuber; Percussion – Dave Charles; Guitar – Bruce Forman; Bass – Kim Stone; Drums – Michael Berry; Keyboards – Eric Gunnison; Vocals – Gaile Gillaspie, Marguerite Juenemann, MaryLynn Gillaspie, Todd Buffa

New Weave

Saturday, August 10, 2019

Guy Lafitte - Sax and Fantasy

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 33:55
Size: 79,0 MB
Art: Front

(2:46)  1. Blueberry Hill
(4:05)  2. My Funny Valentine
(2:50)  3. But Not for Me
(2:41)  4. A Poem
(3:04)  5. How Deep Is the Ocean
(3:41)  6. Imagination
(3:03)  7. Dans Un Vieux Livre
(3:08)  8. Rough Riding
(3:00)  9. As Long as There's Music
(2:49) 10. A Mountain Sunset
(2:43) 11. Polka Dots and Moonbeams

A fine swing tenorman whose main inspiration was always Coleman Hawkins, Guy Lafitte appeared in many mainstream settings through the years. LaFitte started out paying clarinet including with swing-oriented gypsy bands. After switching to tenor in 1947 and moving to Paris, he worked with Big Bill Broonzy (1950), Mezz Mezzrow (1951), Bill Coleman (off and on starting in 1952), Dicky Wells and Buck Clayton. Through the years, Lafitte has frequently led his own mainstream combos and was also often utilized by veteran American players who were visiting France including Lionel Hampton (1956), Duke Ellington (for the 1961 film Paris Blues), Milt Buckner, Wallace Davenport, Arnett Cobb and Wild Bill Davis. As a leader, Guy Lafitte led many sessions during the 1954-93 period (particularly 1954-64) including for CFD, Duc-Thomson, Pathe, French Columbia, VSM, French RCA, Vega, Black & Blue and CTPL. ~ Scott Yanow  https://www.allmusic.com/artist/guy-lafitte-mn0000652078

Sax and Fantasy

Steve Lacy Four - Morning Joy

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 76:11
Size: 174,9 MB
Art: Front

( 9:21)  1. Epistrophy
( 7:42)  2. Prospectus
(16:10)  3. Wickets
(10:24)  4. Morning Joy
( 7:38)  5. Work
(11:41)  6. In Walked Bud
(13:11)  7. As Usual

This limited edition reissue adds one extra track to the original release, a poignant version of Thelonious Monk's "Work." Otherwise, it is the same glorious set of pieces (with remastered sound) performed live in the mid-'80s by one of Steve Lacy's sterling working groups. The quartet is hot, and the two-horn front line is in perfect synchronization. As Lee Jeske enthusiastically notes in his liners, the session "burns," with the extroverted Steve Potts easily distinguishable from his more exacting, precision-oriented alter ego. The choice of tunes is fairly typical for Lacy a few Monk compositions mixed with Lacy originals. Lacy is well-known for his interpretations of Monk, and it is not hard to hear why. He plays each piece deliberately, broadening its scope and infusing it with new meaning. There are near-perfect versions of several tunes, including the rousing Lacy original, "Prospectus." This recording may be a good antidote for those who think of Lacy's music as too reserved or intellectual: It swings with visceral energy. The selection of notes seems virtually perfect, too, and Oliver Johnson and Jean-Jacques Avenal, while overshadowed by the horns, are wonderful in support. Morning Joy may not break any new ground, but it should provide considerable listening pleasure, both for those already familiar with the miraculous world of Steve Lacy and for those who are entering it for the first time. ~ Steve Loewy https://www.allmusic.com/album/morning-joy-live-at-sunset-paris-mw0000571819

Personnel: Steve Lacy – soprano saxophone; Steve Potts – alto saxophone, soprano saxophone; Jean-Jacques Avenel – bass; Oliver Johnson - drums

Morning Joy

Greg Murphy Trio - Bright Idea

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 75:14
Size: 174,8 MB
Art: Front

(7:24)  1. Softly, as in a Morning Sunrise (From "The New Moon")
(3:47)  2. Happy (From "Despicable Me 2")
(7:20)  3. Bright Idea
(6:27)  4. Earthlings
(2:42)  5. 24K Magic
(4:58)  6. Street Cats
(5:08)  7. Finer Things
(7:08)  8. For My Mom
(4:39)  9. Straight No Blues
(8:37) 10. Moving Violation
(6:09) 11. Well, of All Things
(6:36) 12. Untitled Original 11383
(4:13) 13. Juneteenth Notes

The truly bright idea on keyboardist Greg Murphy’s Bright Idea was to bring in drummer Jeff “Tain” Watts. It isn’t just that Watts is a legendarily powerful player who, after making his name with the Marsalis brothers, went on to energize albums by Michael Brecker, Danilo Pérez, David Kikoski, and others; he also fits well with Eric Wheeler, Murphy’s regular bass player. Listen to the two work together on the album-opening “Softly, as in a Morning Sunrise” and the chemistry is obvious. The modal variation Murphy devised for the tune’s minor-key groove gets turbocharged by Watt’s churning, Blakey-style polyrhythms. What could have come off as just a pleasant, hard-bop take on an old chestnut is not only sparked into life but made to sizzle. The best bits of Bright Idea follow suit, with Murphy’s workmanlike solos given a jolt of energy that lifts everything a notch higher. There’s a lovely swagger to their take on Bruno Mars’ “24K Magic,” while their reading of the recently discovered John Coltrane tune “Untitled Original 11383” is strong and convincing. Even the Pharrell Williams earworm “Happy” takes on heft thanks to the grounding Watts and Wheeler provide. ~ J.D. Considine https://jazztimes.com/reviews/albums/greg-murphy-trio-bright-idea/

Personnel:  Piano, Keyboards – Greg Murphy; Bass – Eric Wheeler; Drums – Jeff "Tain" Watts

Bright Idea