Edmundo Ros and his Rumba Band - Cuban Love Song

Styles: Latin
Year: 1945
File: MP3@224K/s
Time: 52:59
Size: 86,5 MB
Art: Front

(2:30)  1. Negra consentida
(2:26)  2. Brazil
(2:57)  3. Rio de Janeiro
(2:38)  4. Mexico
(3:02)  5. Baia
(3:08)  6. The 3 Caballeros
(2:54)  7. Jesusita en Chihuahua
(2:59)  8. In chi chi Castenango
(3:12)  9. Rum & limonada
(3:15) 10. I'm crazy for you
(2:35) 11. Dengozo
(2:47) 12. Good good good
(3:13) 13. No can do
(2:42) 14. Cancion Cubana
(3:10) 15. Tell me again
(3:20) 16. Quimbamba
(3:09) 17. Chico Chico
(2:54) 18. The Parrot

Edmundo Ros , born Edmundo William Ros , ( Port of Spain , 7 December 1910 - Alicante , 21 October 2011 ), was a trinidadiano- born British singer , arranger and conductor who spent his entire career in Great Britain . He conducted a Latin American orchestra that was very popular and performed an intense activity in recording records. Born in Port of Spain, in Trinidad to a Venezuelan black mother and a father of Scottish descent , Edmundo was the eldest of four children: his sisters, Ruby and Eleonora, followed by his half-brother Hugo, an illegitimate son.  His parents separated after Hugo's birth, due to the fact that his wife badly accepted the betrayal of her husband, and after some missteps Edmundo was enrolled in a military academy . Li became interested in music and learned to play the bombardino . In the period 1927-1937 his family lived in Caracas , Venezuela . He was inserted into theBand of the Military Academy of Venezuela and at the same time entered the staff of the Venezuela Symphony Orchestra as a timpani player . Subsequently he received a scholarship from the government, and in the period 1937-1942 he studied harmony , composition and orchestration at the Royal Academy of Music in London.  At the same time, he was a singer and percussionist in the band of Don Marino Barreto at the Embassy Club and recorded numerous pieces together with Fats Waller who was visiting London in 1938. At the age of 90, in 2000 New Year's Honors List , Ros was named a Knight of the Order of the British Empire . He turned 100 in December 2010.  Ros is an honorary citizen of the city of London and Freemason , member of the Lodge Sprig of Acacia n. 41, of Jávea , Spain . He married twice: the first time with Britt Johansen in 1950 and the second with Susan in 1971. From the first marriage he had two children, Douglas and Louisa. https://it.wikipedia.org/wiki/Edmundo_Ros

Cuban Love Song

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Chuck Hedges & Johnny Varro - Skylark

Styles: Clarinet And Piano Jazz 
Year: 1983
File: MP3@320K/s
Time: 38:31
Size: 88,7 MB
Art: Front

(4:36)  1. When You're Smiling
(4:03)  2. Here's That Rainy Day
(4:19)  3. Autumn Leaves
(3:38)  4. 'Round Midnight
(4:13)  5. Have You Met Miss Jones?
(4:02)  6. Jitterbug Waltz
(4:31)  7. There Will Never Be Another You
(4:12)  8. Skylark
(4:53)  9. I Found a New Baby

During a visit to Los Angeles in June 1983, clarinetist Chuck Hedges crossed paths with pianist extraordinaire Johnny Varro on two occasions. First, they played a gig at Gatsby's, a Brentwood club where Varro was a regular and after that, they entered a Hollywood studio with bassist Ray Leatherwood and drummer Gene Estes and recorded this excellent album, which was released as the Magna Graphic album The Square Roots of Jazz in 1983 before being reissued as the Delmark CD Skylark in 1995. The improvisers enjoy a strong rapport throughout the session, which generally recalls the small group swing of the '30s and '40s. Hedges and Varro are equally melodic, and their warm lyricism is something to savor on familiar standards that include "Autumn Leaves," "Skylark," and Fats Waller's "Jitterbug Waltz." 

Thelonious Monk's "'Round Midnight," which Orrin Keepnews described as "the national anthem of jazz," is an interesting choice for Hedges  though it has been recorded by countless beboppers, hard boppers, and post-boppers, it isn't the first song that swing or Dixieland artists think of. But the song certainly works for Hedges and Varro. Swing fans will definitely want this album. ~ Alex Henderson https://www.allmusic.com/album/skylark-mw0000646939

Personnel:  Clarinet – Chuck Hedges; Piano – Johnny Varro;  Bass – Ray Leatherwood; Drums – Gene Estes

Skylark

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Anne Bisson - Four Seasons in Jazz - Live at Bernie's

Styles: Vocal And Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 50:33
Size: 117,6 MB
Art: Front

(0:44)  1. I Can See Clearly Now
(3:16)  2. Summer Breeze
(2:35)  3. Summer Me, Winter Me
(4:34)  4. The Summer We Crossed Europe in the Rain
(4:08)  5. September in Montreal
(3:11)  6. September Song
(3:39)  7. Maybe September
(3:50)  8. Midnight Sun
(3:10)  9. Summer Wishes, Winter Dreams
(4:45) 10. Sinking into the Future
(2:45) 11. Up Jumped Spring
(2:53) 12. It Might as Well Be Spring
(4:05) 13. Spring Can Really Hang You up the Most
(4:12) 14. The Summer We Crossed Europe in the Rain (Take One)
(2:40) 15. It Might as Well Be Spring_take Three

'Serendipity plants the seed, careful planning and hard work bring an amazing collaboration to life. Four Seasons in Jazz: Live at Bernie's is the landmark live recording featuring jazz pianist and vocalist Anne Bisson and the finest musicians and engineers in Hollywood. A selection of popular jazz standards and original compositions by the evocative Canadian songstress was recorded direct-to-disc over two days by Bernie Grundman in Hollywood, CA. Legendary engineer Michael C. Ross used a 100% analog recording chain straight to Grundman's all-analog record cutting system to realistically capture every amazing moment. Four Seasons in Jazz: Live at Bernie's is only the 3rd direct-to-disc recording ever created at Bernie Grundman Mastering. The Grand Master of Audio Mastering himself supervised the audio-to-disc transfer. This exquisite release is the inspiration of two music lovers and audiophile industry luminaries, Gary L. Koh of Genesis Advanced Technologies (USA) and Wuti Larnroongroj of Brilliance Music (Thailand). ~ Editorial Reviews https://www.amazon.com/Four-Seasons-Jazz-Live-Bernies/dp/B0745KR5XF

Four Seasons in Jazz - Live at Bernie's

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Marty Ehrlich, Peter Erskine, Michael Formanek - Relativity

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1999
File: MP3@320K/s
Time: 64:15
Size: 148,2 MB
Art: Front

(6:47)  1. Incident At Harpham Flat
(5:46)  2. Eloi Lament
(9:22)  3. Lucky Life
(6:53)  4. The Pivot
(5:55)  5. Holy Waters
(6:46)  6. Round The Four Corners
(8:36)  7. Jiggle The Handle
(3:43)  8. Relativo
(6:07)  9. Taglioni
(4:16) 10. In A Child's Eyes

You might justifiably expect sparks to fly on this collaborative effort, given the careers of Ehrlich and his compatriots, trio members Michael Formanek and Peter Erskine. Unfortunately, it rarely happens, and while all three are exquisite players individually, this disappointing, often tepid recording stands as an opportunity not fully realized. In part it might be the result of different styles: Ehrlich, of course, is the more adventurous of the group, but Erskine, whose heart is usually in more commercial ventures, seems comfortable with the music. The pieces are all originals by the trio members, but there are times when a certain boredom pervades the music. To be fair, there are some aggressive, exciting moments, too, but they are the exception. Ehrlich continues to show remarkable versatility on alto and tenor saxophones, clarinet, and flute (where he is particularly lyrical). ~ Steve Loewy https://www.allmusic.com/album/relativity-mw0000252729

Personnel:  Alto Saxophone, Tenor Saxophone, Clarinet, Flute – Marty Ehrlich; Double Bass – Michael Formanek; Drums – Peter Erskine

Relativity

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Oliver Jones - The Many Moods Of Oliver Jones

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 54:42
Size: 127,1 MB
Art: Front

(4:18)  1. Something For Chuck
(4:23)  2. Solar
(4:44)  3. You Must Believe In Spring
(2:02)  4. Straight No Chaser
(4:08)  5. I've Got It Bad And That Ain't Good
(2:14)  6. Summer Me, Winter Me
(4:41)  7. Caravan
(4:28)  8. Emily
(4:33)  9. Alone Together
(4:57) 10. Lovely Lauren
(3:02) 11. It's Only A Paper Moon
(5:19) 12. It Never Entered My Mind
(2:52) 13. Sweet Lorraine
(2:54) 14. If I Should Lose You

Oliver Jones was already in his fifties when he was discovered by the jazz world. He had started playing piano when he was seven and at nine, he studied with Oscar Peterson's sister Daisy; the Peterson influence is still felt in his style. Jones played with show bands and worked with pop singer Ken Hamilton (1963-1980), much of the time in Puerto Rico. It was not until he returned to Montreal in 1980 that he committed himself to playing jazz full-time. Since the mid-'80s, Oliver Jones has recorded extensively for Justin Time and established himself as a major modern mainstream player with impressive technique and a hard-swinging style. ~ Scott Yanow https://www.allmusic.com/artist/oliver-jones-mn0000133036/biography

The Many Moods Of Oliver Jones

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Ralph Peterson - Triangular 2

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 50:27
Size: 116,5 MB
Art: Front

(5:53)  1. Jean's Dream
(8:24)  2. Peri
(6:47)  3. Night & Day
(6:20)  4. Games
(4:51)  5. Blues for Jones
(6:50)  6. I Remember Bu
(5:15)  7. Red's Brazilian Fantasy
(6:04)  8. If I Were a Bell

Ralph Peterson's second Sirocco Jazz release is also his second trio recording. On Triangular 2, Peterson is joined by pianist David Kikoski and bassist Gerald Cannon to play six originals  three by Peterson and two standards. Peterson, who is known for his high energy drumming, is more restrained than usual, as expected due to the lack of horns, but Kikoski, who has performed with drum greats Roy Haynes and Billy Hart, and Cannon, a member of Roy Hargrove's group at the time of this recording, are veteran musicians who complement Peterson's energy with their own, forming a very cohesive unit in the process. The trio's arrangement of Cole Porter's "Night & Day" finds Peterson relaxed and swinging on brushes throughout, and features an excellent Kikoski solo. Frank Loesser's "If I Were a Bell," the session's up-tempo burner, is basically a fast and fiery Kikoski solo over Cannon and Peterson's driving rhythm until Kikoski hints at the melody at the end. Other favorites include the finger-poppin' "Blues for Jones," which appeared on two OTB recordings as "Nathan Jones," the melancholy tribute to Art Blakey, "I Remember Bu," and the samba-ish "Red's Brazilian Fantasy." This is a fine recording from a trio of musicians who deserve wider recognition. ~ Greg Turner https://www.allmusic.com/album/triangular-2-mw0000103032

Personnel:  Drums, Producer – Ralph Peterson;  Bass – Gerald Cannon; Piano – Dave Kikoski

Triangular 2

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Mariachi Brass, Chet Baker - A Taste of Tequila

Styles: West Coast Jazz, Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 25:50
Size: 59,8 MB
Art: Front

(2:21)  1. Flowers on the Wall
(2:09)  2. Tequila
(2:15)  3. Mexico
(2:45)  4. Cuando Calienta El Sol
(2:09)  5. Hot Toddy
(3:12)  6. 24 Hours to Tulsa
(2:36)  7. Speedy Gonzales
(2:53)  8. Come a Little Bit Closer
(3:13)  9. El Paso
(2:12) 10. La Bamba

After returning to the United States in 1964, Chet Baker recorded a fine album for Colpix, two for Limelight, and five (during a busy week) for Prestige. However, after that string, it would be until 1974 before the trumpeter recorded anything else worthwhile. During 1965-1966, he cut six remarkably commercial throwaways for the once viable World Pacific label. A Taste of Tequila was the first, featuring Baker's unenthusiastic solos on ten poppish tunes while joined by the Mariachi Brass, a rather weak derivative of the Tijuana Brass. Jack Nitzsche's arrangements must have sounded a bit corny even at the time. This LP is only recommended to listeners who are curious to hear how Baker (who exclusively played flügelhorn during this period even though he is pictured on the back cover of the album on trumpet) would sound playing "Tequila," "Hot Toddy," and "La Bamba." ~ Scott Yanow https://www.allmusic.com/album/a-taste-of-tequila-mw0000865288

A Taste of Tequila

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Jenny And The Mexicats - Jenny And The Mexicats

Styles: Flamenco, Jazz 
Year: 2012
File: MP3@320K/s
Time: 39:12
Size: 90,3 MB
Art: Front

(3:29)  1. Verde Más Allá
(3:36)  2. Hunt You Down
(3:26)  3. Starting Something
(3:56)  4. Llueve en el Mar
(3:20)  5. Me Voy a Ir
(4:55)  6. The Song Of The UV House Mouse
(3:35)  7. Heaven Knows
(3:06)  8. Freddy
(3:08)  9. Sin Mirar Atrás
(2:47) 10. Flor
(3:48) 11. Anthem Song

Jenny and the Mexicats is a fusion of nationalities and personalities, a band that has a very particular history more than anything accidental. The band had its beginnings in Madrid as Pachucos and the princess , in June 2008. It all started when Icho (double bass) invites Jenny to live in Madrid. Jenny, 20, had arrived at the right place. Icho called the best guitarist he knew, Pantera a guitarist with a very versatile flamenco technique, Icho and he had played together for many years in a rockabilly and punk group in his hometown in Mexico. Pantera proposed to a colleague who played the drawer instead of drums, and so came David , an extraordinary Spanish drawer, with whom he had already shared the stage in the world of flamenco.This is how the little adventure of an English girl who emigrates to Spain in search of new sounds is born, and gives rise to Jenny and the Mexicats. His first concert was Wonderland , a small festival that generates money to help cancer research in the United Kingdom, in August 2008. The roots that this new sound carried, made Jenny begin to compose a lot and so Jenny and the Mexicats began to rehearse at the place where everyone had met ... a flamenco tablao. Jenny didn't speak Spanish and David didn't speak English, so they only understood each other musically and with a little help from the two Mexicans translating. In England Jenny and the Mexicats began to attract attention and realized that they had created something special. On their return to Spain they realized that the merger also worked very well there, so they started playing on the street and later in all the rooms throughout Spain. After signing with a record label in England, Jenny and the Mexicats decided to choose to be independent to have more control musically of the band's sound and to be able to grow in a more real and natural way. Thus was born MEXICAT RECORDS. They recorded their first album 'JENNY AND THE MEXICATS' in the summer of 2011 in Madrid and moved to Mexico City in 2012. With this production they managed to obtain a Gold record. This record material contains a mix of songs in Spanish and English, classics of his material like Heaven Knows and Starting Something , in addition to three successes in Spanish: Green Beyond, I'm Going to Go and Flor, with which they managed to bring the name of the band to everyone's mouth. In 2014 they released their second album 'OME' and the first single Lips was part of the soundtrack of the movie "Love of my Loves" directed by Manolo Caro. The album has new songs with all the Mexicat spirit and mixes great rhythms, lots of energy and moments of sensitivity. In Frenético Ritmo and Boulevard the Mexican influences are noticed, there is even a song full of energy dedicated to the dogs of the band Sasha and Esteban. David's voice takes on more prominence in songs like, It Hurts when Walking, Lips and Boulevard. The last song of the album 'Back to Basics' demonstrates the simplest and most emotional way to compose Jenny, she alone with her guitar. It should be noted that all the art of the disc was designed by Pantera. A musical combination that mixes rhythms of jazz, rockabilly, folk, flamenco, reggae, are Veracruz, country and cumbia. What gives Jenny and the Mexicats a unique, virtually inimitable personality. Translate By Google http://www.jennyandmexicats.com/#about

Jenny And The Mexicats

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Herbie Hancock - Empyrean Isles

Styles: Piano Jazz 
Year: 1964
File: MP3@320K/s
Time: 53:51
Size: 124,4 MB
Art: Front

( 7:21)  1. One Finger Snap
( 8:30)  2. Oliloqui Valley
( 5:34)  3. Cantaloupe Island
(14:01)  4. The Egg
( 7:37)  5. One Finger Snap (Alternative Take)
(10:47)  6. Oliloqui Valley (Alternative Take)

As a member of Miles Davis' second quintet during the 1960s, pianist Herbie Hancock rarely performed live under his own leadership, but he did take the time to record. Hancock's 1964 effort, Empyrean Isles, remains one of the most diverse and often challenging records of the pianist's tenure with Blue Note Records. It's a rare jazz record that offers both a hugely popular hit, as well as an outré masterwork of rhythmic repetition and angular melodies. A masterpiece like Empyrean Isles deserves a first-class reissue, and the good folks at Music Matters have undertaken to press the ultimate vinyl version. With access to the original master tapes, some of the finest cutting and pressing equipment available, and a boatload of enthusiasm, they've cut what was a single LP onto two 180g 45 rpm discs that simply smoke any CD version ever released. Packaged with a deluxe, full-color gatefold jacket, and additional Francis Wolff session photographs inside, this pressing is a feast for both the aural and visual senses. Empyrean Isles is best know for the hit "Cantaloupe Island," which alone is worth hearing on this vinyl edition. The sound is large and smooth, and the piano which can sometimes sound boxed in on Van Gelder recordings is almost full-sized. Most importantly the weight of the piano chords come through loud and clear. What is most startling is the amount of additional information revealed through this true analog pressing. Freddie Hubbard's trumpet is brassy and rich, and Ron Carter's bass, which can often lack tone and depth on CD, is plump and three-dimensional. "Cantaloupe Island" has become one of the most ubiquitous jazz songs ever, especially after being sampled by Us3 for their hit 

"Cantaloop (Flip Fantasia)." A pressing like this will make people question whether they've ever really heard it at all. The real meat of Empyrean Islesits adventurous heart lies with "The Egg," A thirteen-minute exploration of the limits of beat repetition that includes some of Hubbard's most restless trumpet playing. He strains his horn against the locked rhythm, looking for a way out that never comes. It's a fascinating juxtaposition of improvisation over rigid reiteration. On this Music Matters pressing, those elements have never been clearer, with the Tony Williams' drums revealing particular snap and scale. Like most albums in the Blue Note catalog of the 1950s and '60s, Empyrean Isles was recorded at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey. That pedigree leaves a few period sonic fingerprints, but on the whole, with the proper care taken in this remastering, this recording offers a wealth of fresh detail and enhanced musicality. Empyrean Isles has fared well through the Music Matters process, yielding a pressing that will truly augment an understanding of the music. 

~ Greg Simmons https://www.allaboutjazz.com/empyrean-isles-herbie-hancock-blue-note-records-review-by-greg-simmons.php

Personnel: Herbie Hancock: piano; Freddie Hubbard: cornet; Ron Carter: bass; Tony Williams: drums.

Empyrean Isles

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Hossam Ramzy - Rock the Tabla

Styles: Jazz Fusion 
Year: 2011
File: MP3@320K/s
Time: 53:02
Size: 123,3 MB
Art: Front

(5:07)  1. Arabantana
(5:50)  2. Cairo to India
(4:30)  3. Six Teens: 6 Teens
(5:29)  4. Ancient Love Affair
(3:52)  5. Shukran Arigato
(5:04)  6. Bluesy Flusey
(4:32)  7. Billy Dancing
(4:04)  8. Sawagy
(3:03)  9. Dom & Doumbia: Dom and Doumbia
(5:33) 10. Rock the Tabla
(5:54) 11. This Could Lead to Dancing

After countless albums under his own name and guesting on other people's, the Egyptian percussionist comes out with something very high profile indeed. With people like jazz drummer Billy Cobham, Bollywood composer A. R. Rahman, and Turkey's Omar Tekbilek on board, it couldn't be anything less than stellar, and Ramzy has pulled out all the stops here. Although Egypt is at the core of everything, Rock the Tabla glides musically into many corners of the world, as on "Cairo to India," which brings two countries together quite naturally (as does the bonus cut, "This Could Lead to Dancing," which goes out on a glorious swirl of strings). In between, there's some stellar jazz-inflected material in "Six Teens," where Cobham offers a reminder of why he's so lauded, a pair of percussion duets (Egypt meets Japanese taiko drums and Egypt goes to Mali), and some Maghrebi pop on "Sawagy." The true highlight, however, is the title track, one of the best pieces of Arab rock to ever come out of a pair of speakers, with Tekbilek bringing the mizmar and a carefully unnamed guitarist who sounds suspiciously like a '70s icon (Ramzy worked on Page & Plant's Unledded), giving the tune some hard electric lines that really power it, and which might just be Ramzy's best composition to date. Unsurprisingly, all the percussion is mixed high, but not at the expense of everything else, and listening to the players is like attending a master class in musicality. It's certainly Ramzy's most inspired release in years. He's working with people he admires and who push him hard. The joy is hearing him and everyone else deliver. ~ Chris Nickson https://www.allmusic.com/album/rock-the-tabla-mw0002189604

Rock the Tabla

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Miryam Latrece - Quiero Cantarte

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 55:23
Size: 127,5 MB
Art: Front

(3:32)  1. Chega de saudade
(4:52)  2. Drume Negrita
(6:11)  3. Mediterráneo
(4:07)  4. Oh vida
(4:35)  5. Maça
(5:28)  6. Todo es de color
(4:30)  7. Meditaçao
(4:43)  8. Tramontana
(4:24)  9. Jogral
(3:44) 10. Yo vengo a ofrecer mi corazón
(5:02) 11. Like Someone in Love
(4:09) 12. La Leyenda del tiempo

want to sing to you is Miryam Latrece's second job . This young singer and songwriter from Madrid began to take her first steps in music from an early age. At seventeen he already belonged to a band called Akatupower, with which he would record two albums and participate in various music festivals. From 2013 he began his solo career, with performances in the most emblematic places of the Jazz scene in Madrid. And in 2016 he would publish his first solo work, Una Necessity .I want to sing to you is Miryam Latrece's new album , in which he performs versions of artists such as Tom Jobim , Djavan , Chet Baker or Joan Manuel Serrrat, among others. An album recorded with a trio of great musicians such as drummer and producer Michael Olivera, pianist Marco Mezquida and bassist Pablo Martín Caminero. As proof of the quality that this work treasures, nothing better than watching the video clip of Chega de Saudade , the theme that opens it.  The second album by young Madrid singer Miryam Latrece is the protagonist of this edition. We also review recent releases by Jéssica Pina, Vladimir Cetkar, Marc Jordan, The Rippingtons and Rahsaan Patterson. In the memory block we recover the two most international sound discs of Argentine guitarist Luis Salinas. https://www.cloud-jazz.com/miryam-latrece-quiero-cantarte

Quiero Cantarte

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Dear friends and followers,

I'll be away for a few days from tomorrow until mid-week next week.  As I won't be able to post, I ask you to also avoid requesting for re-ups until I come back, when things will go back to normal!
Take good care of yourself. See you soon! 

Roy Hargrove Quintet - The Vibe

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 61:12
Size: 141,7 MB
Art: Front

(6:32)  1. The Vibe
(7:02)  2. Caryisms
(5:02)  3. Where Were You?
(6:33)  4. Alter Ego
(5:07)  5. The Thang
(4:53)  6. Pinocchio
(6:03)  7. Milestones
(5:43)  8. Things We Did Last Summer
(6:27)  9. Blues For Booty Green's
(7:45) 10. Runnin' Out Of Time

The last of trumpeter Roy Hargrove's recordings to feature his longtime altoist Antonio Hart also includes pianist Marc Cary, bassist Rodney Whitaker, drummer Gregory Hutchinson and guest spots for the tenors of Branford Marsalis and David "Fathead" Newman, plus trombonist Frank Lacy and organist Jack McDuff. Hargrove (still just 22) was already on his way to being one of the better hard bop-based trumpeters in jazz, as he shows on group originals, James Williams' "Alter Ego," Wayne Shorter's "Pinocchio," "Milestones," and "The Things We Did Last Summer." A fine example of Hargrove's rapidly emerging style. ~ Scott Yanow https://www.allmusic.com/album/the-vibe-mw0000071800

Personnel: Trumpet – Roy Hargrove; Alto Saxophone – Antonio Maurice Hart; Bass – Rodney Thomas Whitaker; Drums – Gregory Hutchinson; Organ [B3] – 'Cap'n' Jack McDuff; Piano – Marc Anthony Cary; Producer – Larry Clothier; Tenor Saxophone – Branford Marsalis, David "Fathead" Newman; Trombone – Ku-Umba Frank Lacy

The Vibe

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Carla Cook - Dem Bones

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 60:30
Size: 139,3 MB
Art: Front

(4:53)  1. The More I See You
(6:42)  2. Like a Lover
(4:12)  3. Oh Gee
(6:55)  4. Dem Bones
(4:50)  5. Just a Sittin' and a Rockin'
(4:35)  6. Ode to Billie Joe
(5:44)  7. Someone to Light up My Life
(7:17)  8. For the Elders
(6:42)  9. Come, Ye Disconsolate
(5:00) 10. Better Than Anything
(3:37) 11. A Lover's Lullaby

The title of Carla Cook's latest album refers to the trombone choir she's enlisted to blend with her silky smooth voice. Her natural ability makes this one work. Whether she's scat singing, crooning soft ballads, or spinning acrobatic vocalese, Cook is always on pitch and quite in control. Her expressiveness is what makes her performances special. Cook, who grew up in Detroit, has made the connection between jazz and similar art forms. She made her decision to become a jazz singer while still in the 8th grade. On Fred Wesley's "For the Elders," Cook fills the role of fourth chair trombone. Her wordless vocals match the trombone trio that well. With ballads such as "Like a Lover" and "Someone to Light Up My Life," she's at the top of her form. But it's snappy scat singing that reveals itself as Cook's greatest strength. Near the finish of "Better than Anything," for example, she moves into a trumpet-like scat vocal that says it all better than words can. Carla Cook's eclectic program choices reflect her varied background. A degree in Speech Communication and formal training in voice, bass and piano must surely have helped hone her natural skills. Like most singers, exposure to many music forms has made her comfortable with it all. Finding "Ode to Billie Joe" and "Come, Ye Disconsolate" on her jazz album may come as a surprise, but it fits well. Cyrus Chestnut, James Genus and Billy Kilson provide a superb team spirit. More than just a superb follow-up to her It's All About Love debut, Dem Bones reminds us of power that jazz has in its capacity for creating bridges to most other art forms. ~ Jim Santella https://www.allaboutjazz.com/dem-bones-carla-cook-maxjazz-review-by-jim-santella.php

Personnel: Carla Cook: Vocals; Cyrus Chestnut: Keyboards; James Genus: Bass; Fred Wesley, Craig Harris, Tyrone Jefferson: Trombone; Jeffery Haynes: Percussion.

Dem Bones

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Randy Brecker - 34th N Lex

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 56:57
Size: 131,4 MB
Art: Front

(6:29)  1. 34th N Lex
(4:21)  2. Streeange
(5:37)  3. Shanghigh
(3:36)  4. All 4 Love
(3:59)  5. Let It Go
(7:42)  6. Foregone Conclusion
(5:11)  7. Hula Dula
(5:33)  8. The Fisherman
(5:01)  9. Give It Up
(4:36) 10. Tokyo Freddie
(4:48) 11. The Castle Rocks

Randy Brecker's last release ( Hangin' in the City ) was one strange puppy, a handful of serviceable tunes wound tightly around the convoluted perversion of "Randroid," the trumpeter's streetwise cabbie alter-ego. Brecker wisely got back to the groove this time around, leaving this disc's few vocals to more capable hands. The result is a highly entertaining album showcasing his strong suits of trumpet playing and composition, yet still maintaining a 21st century sensibility. The ensembles range from quartet to octet in size, all sounding much more than their sum thanks to Brecker's arranging skills. His trumpet and flugelhorn are the centerpieces most of the time, with outstanding contributions from brother Michael, bassist Chris Minh Doky, Ronnie Cuber, David Sanborn, Fred Wesley and other compadres. The leader must be one of the hippest white guys in the business, having nailed various aspects of black popular music down pat. Hip-hop beats color "All 4 Love" without sounding generic; a muted Brecker recalls Miles around the time of Star People, while J Phoenix's layered vocals bring a more fashionable vibe. Makeeba Mooncycle paints vocal accents and scattered words onto the canvas of "Streeange," giving the impression, if nothing else, of a mere phone call in the background. Less stereotypical urban sounds are also explored. The intro to "Foregone Conclusion" briefly recalls "Somewhere Out There" but blessedly moves into more appealing territory. "Tokyo Freddie" is a breakneck slice of neo-bop; "The Fisherman" leans close to Weather Report; heavy percussion and George Whitty's electric piano contribute to the intense urgency of "Hula Dula." These rank among Brecker's best compositions and will hopefully stay in his repertoire for some time. Low points: the rather uninteresting "Give It Up," which would fare better were it not imbedded among so many stronger compositions, and the general sense of sameness among the many minor keys and dark moods. High marks to Adam Rogers' cookin' guitar on "Shanghigh," Ronnie Cuber on the title track, and the whole bloody band for negotiating the difficult rhythms of "Let It Go." One of Brecker's best releases in a career full of hills and valleys; bravo for a successful evaluation of the state of jazz today. ~ Todd S.Jenkins https://www.allaboutjazz.com/34th-n-lex-randy-brecker-esc-records-review-by-todd-s-jenkins.php?width=1920

Personnel: Randy Brecker: Trumpet & flugelhorn (6). Michael Brecker: Tenor Sax (1-3,5-11). David Sanborn: Alto sax (1,5,7,8). Ronnie Cuber: Baritone sax (1,5,7). Ada Roviatti: Tenor sax (11). Trombone: Fred Wesley (3,5,9,10) & Michael Davis. Guitar: Adam Rogers (1-3,5-9) & Chris Taylor (2). Bass: Chris Minh Doky (1,3,6,7,10). Bass, keyboards, guitar and percussion programming: Gary Haasse (2,4,9). Drums, keyboards, bass & percussion programming: George Whitty (1-3,5-8,10,11). Drums: Clarence Penn (3,6,10). Drum Programming: Zach Danziger (2,4,9). Voice: Makeeba Mooncycle (2). Vocals: J. Phoenix (4).

34th N Lex

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Thelonious Monk Septet - Monk's Music

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 48:06
Size: 112,2 MB
Art: Front

( 0:52)  1. Abide With Me
(11:22)  2. Well You Needn't
( 5:24)  3. Ruby, My Dear
( 5:06)  4. Off Minor - Take 5
( 5:13)  5. Off Minor - Bonus Track
(10:44)  6. Epistrophy
( 4:36)  7. Crepuscule With Nellie - Take 6 / Mono
( 4:45)  8. Crepuscule With Nellie - Bonus Track

Many albums in the Original Jazz Classics reissue series include alternate takes or tracks recorded for, but ultimately not included on, the original vinyl LP. The label's 2011 Remasters edition of pianist Thelonious Monk's Monk's Music (Riverside, 1957) is no exception but is something of a first, in that "Blues For Tomorrow," the 13:33 minute bonus track, does not include a single note from the leader. The track was recorded on June 25, 1957, in the closing minutes of an otherwise unproductive session. Monk, unusually, arrived on time, but was distracted with worry about his wife, Nellie, who was in hospital. Drummer Art Blakey arrived an hour late and then had to assemble and mic up his kit. The band had difficulty following Monk's directions, leading Monk to exclaim to tenor saxophonists Coleman Hawkins and John Coltrane, "You're the great Coleman Hawkins, right? You're the guy who invented the tenor saxophone, right? Your'e the great John Coltrane, right? Well, the music is in the horn. Between the two of you, you should be able to find it." Eventually, towards the due end of the session, Monk threw in the towel and went home. Producer Orrin Keepnews, desperate to salvage some releasable music from the date, asked the remaining sextet to record a blues, which was quickly put together by alto saxophonist Gigi Gryce. "Blues For Tomorrow" was not included on the original Monk's Music, and was first released on a Riverside various artists compilation. (The alternate takes of "Off Minor" and "Crepuscule With Nellie" have long been included on reissues of Monk's Music). Happily, a second session on June 26 went resoundingly well, producing the other eight tracks which make up the Remasters disc which also includes, in the 00:55 minute opener, "Abide With Me," a second Monkless item, this one arranged by Monk for the horns only, as a curtain-raiser to the album proper. Monk's horns-rich arrangements, and the quality of the soloists to hand, has made Monk's Music a well-loved and important part of Monk's canon. Compositionally, however, it marked time. Putting aside its immediate predecessor, Thelonious Himself (Riverside, 1957), on which the mostly unaccompanied Monk focused on standards, it followed Brilliant Corners (Riverside, 1956), on which Monk led a quintet/septet on mostly freshly composed material. Most of the tunes on Monk's Music would have been familiar to the assembled musicians, who were thrown on June 25 by new and tricky arrangements and, very likely, by Monk's distracted mood.  Joe Tarantino's 24-bit remaster does Monk's Music proud, and it is appropriate to have "Blues For Tomorrow" on the same disc even if there's no Monk. ~ Chris May https://www.allaboutjazz.com/monks-music-thelonious-monk-original-jazz-classics-remasters-review-by-chris-may.php

Personnel: Thelonious Monk: piano (2-8); Ray Copeland: trumpet (1, 2, 4-9); Gigi Gryce: alto saxophone (1, 2, 4-9); John Coltrane: tenor saxophone (1, 2, 4-9); Coleman Hawkins: tenor saxophone; Wilbur Ware: bass (2-9); Art Blakey: drums (2-9).

Monk's Music

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Eddie Chamblee - Doodlin'

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 32:47
Size: 76,4 MB
Art: Front

(4:25)  1. Doodlin'
(1:54)  2. Back Street
(4:36)  3. Stardust
(4:02)  4. Robbin's Nest
(2:22)  5. Solitude
(2:17)  6. Long Gone
(2:23)  7. Strollin' Sax
(3:26)  8. Lester Leaps Again
(2:41)  9. Swing A Little Taste
(4:36) 10. Village Square

He was born in Atlanta, Georgia, and grew up in Chicago where he began learning the saxophone at the age of 12. After leaving Wendell Phillips High School, he studied law at Chicago State University, playing in clubs in the evenings and at weekends. He played in US Army bands between 1941 and 1946. After leaving the army, he joined Miracle Records. He played on Sonny Thompson's hit record "Long Gone" in 1948, and on its follow-up, "Late Freight", credited to the Sonny Thompson Quintet featuring Eddie Chamblee. Both records reached no. 1 on the national Billboard R&B chart.[3] Two follow-up records, "Blue Dreams" and "Back Street", also made the R&B chart in 1949. From 1947, he led his own band in Chicago clubs, as well as continuing to record with Thompson and on other sessions in Chicago, including The Four Blazes' no. 1 R&B hit "Mary Jo" in 1952. In 1954 he joined Lionel Hampton's band for two years, touring in Europe, before returning to lead his own group in Chicago. He accompanied both Amos Milburn and Lowell Fulson on some of their recordings, and then worked as accompanist to Dinah Washington on many of her successful recordings in the late 1950s and early 1960s. 

The two performed vocal duets in a style similar to that later adopted by Washington with Brook Benton, and were briefly married; he was her fifth husband. Chamblee also recorded for the Mercury and EmArcy labels, and with his own group in the early 1960s for the Roulette and Prestige labels. In the 1970s he rejoined Hampton for tours of Europe, where he also played with Milt Buckner, and he recorded for the French Black & Blue label. He also performed with the Count Basie Orchestra in 1982, and from the 1980s until his death with the Harlem Blues and Jazz Band, as well as in clubs in New York City. He died in New York in 1999 at the age of 79. https://en.wikipedia.org/wiki/Eddie_Chamblee

Personnel: Saxophone – Charles Davis , Eddie Chamblee; Bass – Robert Wilson; Drums – James Slaughter; Piano – Jack Wilson; Trombone – Julian Priester; Trumpet – Flip Ricard

Doodlin'

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Joy Bryan - Vocal & Jazz Essentials

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 72:42
Size: 170,3 MB
Art: Front

(2:29)  1. You're My Everything
(3:40)  2. East of the Sun
(2:07)  3. I Could Write a Book
(4:07)  4. Old Devil Moon
(3:46)  5. When It's Sleepy Time Down South
(2:59)  6. My Romance
(3:30)  7. Almost Like Being in Love
(1:47)  8. My Shining Hour
(4:57)  9. Make the Man Love Me
(3:32) 10. These Foolish Things
(3:10) 11. Swinging On a Star
(2:59) 12. I Was Doin' All Right
(3:37) 13. Aren't You Glad You're You?
(4:03) 14. It Never Entered My Mind
(3:13) 15. 'Round Midnight
(3:06) 16. Down the Old Ox Road
(3:56) 17. My Funny Valentine
(2:34) 18. What Is There to Say?
(2:38) 19. My Heart Stood Still
(3:55) 20. When the World Was Young
(3:11) 21. Mississippi Mud
(3:15) 22. Everything's Coming Up Roses

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

Vocal & Jazz Essentials

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Greg Osby - The Invisible Hand

Styles: Saxophone And Clarinet Jazz
Year: 2000
File: MP3@320K/s
Time: 65:20
Size: 150,6 MB
Art: Front

(8:02)  1. Ashes
(5:10)  2. Who Needs Forever
(5:40)  3. The Watcher
(7:40)  4. Jitterbug Waltz
(7:39)  5. Sanctus
(4:32)  6. Indiana
(8:44)  7. Nature Boy
(6:00)  8. Tough Love
(7:29)  9. With Son
(4:22) 10. The Watcher 2

Greg Osby has come a long way from his beginnings in St. Louis playing funk and R&B. His sound crossed our radar screens after moving to Brooklyn and joining forces with Steve Coleman in the mid-‘80s to form M-BASE, an urban-beat driven jazz. Osby had a very calculated, sometimes emotionless sound. It was if he was working equations in his head as he played. Where his older recordings suffered from a staid studio approach, his recent effort, Banned In New York, a live “bootleg” recording, displays Osby as an emotional quick-witted band leader. His last disc, Friendly Fire, a co-led affair with Joe Lovano proved Osby deserves to be considered as one of the top musicians working today. The Invisible Hand is further proof that Osby treads comfortably between the past and, importantly, the future of jazz. Joining him are Gary Thomas and Teri Lynn Carrington from his early Brooklyn days and two of the professor emeriti of jazz, Jim Hall and Andrew Hill. Hall is a guitarist that favors a subtle touch; a peculiar feature for someone so associated with cutting edge jazz. He has recorded classic albums with Sonny Rollins, Lee Konitz, and Paul Desmond. Lately, his Telarc dates have featured his third stream thinking. Andrew Hill’s Blue Note dates of the sixties were cerebral efforts, not quite post-bop and not really free jazz affairs. Early in Osby’s career he was a sideman for the late-‘80s Blue Note comeback of Hill. Likewise, he has recorded on two recent Hall dates. The Invisible Hand trades mathematics for emotion. The slow to mid-tempos presented are fertile grounds for group interplay and interpretation. For instance, they take on Fats Waller’s “Jitterbug Waltz,” a tune forever associated with Eric Dolphy. Rather than compete with our collective memories, Osby deconstructs the composition choosing bug parts over the whole, reworking it as an intellectual exercise. Osby’s deference to his esteemed colleagues shows. A stately and exquisite affair. 

~ Mark Corroto https://www.allaboutjazz.com/the-invisible-hand-greg-osby-blue-note-records-review-by-mark-corroto.php  

Personnel: Alto Saxophone, Clarinet, Producer, Liner Notes – Greg Osby; Bass – Scott Colley; Drums – Terri Lyne Carrington; Flute, Flute [Alto], Tenor Saxophone – Gary Thomas; Guitar – Jim Hall; Piano – Andrew Hill

The Invisible Hand

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The Fat Babies - 18th & Racine

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 50:56
Size: 118,3 MB
Art: Front

(3:12)  1. Liza
(3:35)  2. Till Times Get Better
(4:32)  3. The Stampede
(2:48)  4. Mable's Dream
(4:20)  5. Nobody's Sweetheart
(3:28)  6. I Can't Dance (I Got Ants in My Pants)
(4:55)  7. 18th & Racine
(2:40)  8. King Kong Stomp
(2:44)  9. El Rado Scuffle
(2:23) 10. Oh Baby
(3:36) 11. Stardust
(2:45) 12. I'll Fly to Hawaii
(3:21) 13. Oh Me! Oh My!
(3:13) 14. The Chant
(3:18) 15. Blueberry Rhyme

Early jazz stylists The Fat Babies' second album 18th & Racine is bolder than their first in their choice of material and their delivery of the songs included. Encouraged by the successful execution of their debut Chicago Hot (Delmark 2012) the band presents 14 lesser-known gems and an original composition by their cornetist Andy Schumm. The relative obscurity of these delightful pieces and the deftness by which the dust of history is polished off them exposes their raw emotion and makes for a very intriguing listening experience. Vocalist/multi-instrumentalist Charlie Gaines' whimsical "I Can't Dance (I Got Ants in My Pants)," first popularized by pioneering trumpeter Valaida Snow, features group vocals over drummer Alex Hall's clear, resonating beats and pianist Paul Asaro's bright, stride solo. Pianist Joseph Robichaux's "King Kong Stomp," which in its original incarnation in 1933 was one of the first recordings to introduce the vibraphone, opens with a primal, thumping rhythm that Hall and leader/bassist Beau Sample lay down. Reedman John Otto Richardson agile, elastic saxophone and Schumm's burnished horn contrast nicely with trombonist Dave Bock's bluesy growl. Banjoist Jake Sanders shines in a brief, crisp and innovative improvisation on composer Owen Murphy's "Oh Baby." Schumm plays the romantic and deceptively simple melody with a lilting tone and sophisticated flair. Shumm's own original, the title track, invokes the ambience of suave nightspots like the legendary Cotton Club. Schumm blows his horn with unbridled passion while Sample and Bock's exchanges add a dark and nocturnesque streak. Bock's trombone moans and roars over the syncopated rhythms with an urbane swagger. Pianist/composer Mel Stitzel's (of New Orleans Rhythm Kings fame) "Chant" epitomizes the exuberant camaraderie of this energetic ensemble. The various members engage in thrilling musical exchanges as they take their turns in the spotlight. This highly enjoyable and engaging disc closes with a nod to yet another pianist, this time Harlem giant James P. Johnson. Asaro plays Johnson's mellow "Blueberry Rhyme" with agility and elegance with only the backing of Hall's brushes. With 18th & Racine the "trad jazz combo" The Fat Babies have honed and perfected their skills not only as musicians but also as true revivalists. They have resurrected, with their unique approach, unjustly forgotten tunes and together the nostalgic aura of a bygone era. 

~ Hrayr Attarian https://www.allaboutjazz.com/18th-and-racine-the-fat-babies-delmark-records-review-by-hrayr-attarian.php

Personnel: Beau Sample: bass; Andy Schumm: cornet and alto saxophone; John Otto: clarinet and alto saxophone; Dave Bock: trombone; Jake Sanders: banjo; Paul Asaro: piano; Alex Hall: drums.

18th & Racine

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