Lew Tabackin - L'archiduc (Round About Five)

Styles: Saxophone and Flute Jazz
Year: 1996
File: MP3@320K/s
Time: 68:17
Size: 157,7 MB
Art: Front

(12:20)  1. Night & Day
(10:19)  2. Wise One
(11:49)  3. I Don't Want to Be Kissed
(10:31)  4. In a Sentimental Mood
( 6:22)  5. L'archiduc - Round About Five
(10:25)  6. Delilah
( 6:27)  7. Oleo

Those who maintain that the elusive art of Jazz improvisation has fallen on hard times and point to Sonny Rollins as perhaps the last of the daring modern day voices on saxophone may be overlooking someone. In other words, it could be rewarding to listen, for example, to Lew Tabackin who, like Rollins, has devised a singular Jazz vocabulary and loves to dance across the high wire without a net. Tabackin’s mode of expression, although derived from and leaning heavily on Jazz tradition, is wholly modern in outlook and, like all memorable improvisation, is consistently creative and surprising. Such is certainly the case on L’Archiduc, recorded live in 1994 at the Belgian nightspot which bears that name. Tabackin is simply marvelous throughout, whether on tenor or flute (“Wise One,” “Delilah”), and it is altogether appropriate that he should end the concert with an impassioned reading of Rollins’ blazer, “Oleo.” Tabackin is accompanied by a “local” rhythm section Belgians Philippe Aerts on bass, Félix Simtaine on drums and while they are splendid in support, I kept wishing that L’Archiduc was spacious enough to house a piano. As it is, Tabackin must shoulder most of the melodic load himself, with Aerts soloing occasionally and Simtaine only once. It’s a good thing Lew has plenty to say. The first 1:37 of Cole Porter’s “Night & Day” are his alone before Aerts and Simtaine enter the fray. Trane’s meditative “Wise One” is followed by the playful “I Don’t Want to Be Kissed (By Anyone But You),” Ellington’s luminous “Sentimental Mood” and a sunny work written especially for the occasion by Tabackin, “L’Archiduc Round About Five.” Tabackin takes a well–earned breather of sorts, switching to flute on Victor Young’s soulful “Delilah,” before charging headlong into “Oleo.” This is crisp, persuasive saxophone work that would give even the indomitable Sonny a run for his money. ~ Jack Bowers https://www.allaboutjazz.com/larchiduc-round-about-five-lew-tabackin-igloo-records-review-by-jack-bowers.php
 

Personnel: Lew Tabackin, tenor saxophone, flute; Philippe Aerts, bass; Félix Simtaine, Drums

L'archiduc (Round About Five)

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Annekei - Annekei

Styles: Vocal, Guitar And Piano Jazz 
Year: 2006
File: MP3@320K/s
Time: 53:31
Size: 123,8 MB
Art: Front

(4:28)  1. Taxi Driver
(3:51)  2. Baby You
(4:44)  3. N.Y.C.
(4:29)  4. Brother
(4:33)  5. With Open Arms
(4:00)  6. Diamond Shell
(3:26)  7. Bull Fight
(4:17)  8. The Voice Within
(3:56)  9. Paradise
(4:11) 10. Hold On
(4:41) 11. Keep On Going
(4:06) 12. Close Your Eyes
(2:44) 13. Shiki

First challenge I found myself in New York was auditioning for Showtimeat The Apollo, and after making my way to the finals of the show with astanding ovation in 2004, I knew that it would take more thanrejections, empty pockets, or years of hard work to bring me down. I'veworked with so many amazing artists and producers here through theyears, been blessed with the most supportive audiences and the mostkiller band members. For the past 3 years, I've also performedfrequently at hospitals all over New York through the organization"Musicians On Call", where I've met the sweetest people, patients andvolunteers. On Danish soil right now you can find me on 2 beautiful"Rasmus Noehr" albums, as well as "Soeren Sko"s "One For My Baby",produced by my dear friend, Chris Minh Doky, who also joined me on basson my latest Japan tour! In the UK you can find my single "More Of YourLove" that I wrote with Shan Boogie and MKL and released in 2004...I signed with the Japanese label "Being Records" in March 2006,recorded and produced my 1st album "Annekei" in Tokyo that was releasedin September 2006, and just finished the recordings for my 2nd album"Tsuki" that will be released this June. Arigatou gozaimasu to all ofthe hard working, talented and positive people I've met in Japan! https://www.behance.net/gallery/40089/Annekei-My-First-Album

Personnel: Vocals, Guitar – Annekei; Piano – Akira Onozuka , Annekei; Electric Piano – Annekei; Alto Saxophone – Kazuki Katsuta, Yota Miyazato; Backing Vocals – Takashi Matsuzaki; Baritone Saxophone – Satoru Takahashi;  Bass – Koichi Osamu; Electric Piano, Piano – Akira Onozuka; Guitar – Annekei, Takashi Matsuzaki; Saxophone – Generation Gap;  Soprano Saxophone – Kazuki Katsuta; Trumpet – Shiro Sasaki 

Annekei

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Tadd Dameron - The Magic Touch

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 36:37
Size: 85,0 MB
Art: Front

(2:59)  1. On A Misty Night
(4:11)  2. Fontainebleau
(4:54)  3. Just Plain Talking
(3:18)  4. If You Could See Me Now
(2:51)  5. Our Delight
(3:01)  6. Dial B For Beauty
(4:56)  7. Look, Stop And Listen
(3:31)  8. Bevan's Birthday
(3:42)  9. You're A Joy
(3:12) 10. Swift As The Wind

Tadd Dameron is known to proclaim that he became an arranger rather than stay an exclusive instrumentalist because it was the only way he could get his music played. In retrospect, considering his best-known works are widely revered, few of them are frequently played by other bands, and only the finest musicians are able to properly interpret them. Dameron's charts had an ebb and flow that superseded the basic approach of Count Basie, yet were never as quite complicated as Duke Ellington. Coming up in the bop movement, Dameron's music had to have been by definition holding broader artistic harmonics, while allowing for the individuality of his bandmembers. The Magic Touch includes a handful of Dameron's most beloved compositions, as well as those that were more obscure, and have still never been covered. When you look at the sheer talent level of the players on this recording Clark Terry, Charlie Shavers, Joe Wilder, Jimmy Cleveland, Britt Woodman, Julius Watkins, Jerry Dodgion, Jerome Richardson, Johnny Griffin, Bill Evans, Ron Carter, George Duvivier, et al.one has to be in awe of them, and that only Dameron was able to convene such a band of extraordinary jazz performers in their prime. To effectively rein them all in was the trick, keeping solos at a bare minimum, and blending their personalized sounds together so harmoniously. "If You Could See Me Now" is the most famous, the immortal ballad of regret featuring the Sarah Vaughan styled vocal of Barbara Winfield. She also appears on the restrained and serene "You're a Joy." Dameron was known for his wonderfully piquant flute arrangements, with Dodgion, Richardson, and Leo Wright doing the honors, sounding chirpy during "If You Could See Me Now," in wonderfully supple Japanese style trills during "Dial B for Beauty," in staccato bop trim for "Swift as the Wind," or in heightened dramatic, evocative romantic nuances on the classic "Fontainebleau." The other classic standards include the definitive, spirited, cohesive rock 'em sock 'em horn punctuations and the great drumming of Philly Joe Jones for "On a Misty Night," and the direct, simple, hard swinging bop of "Our Delight" charts in most every big band's repertoire. The blues infused "Just Plain Talkin'" take the flutes and alto saxophonist Dodgion to a higher atmospheric level, "Look, Stop & Listen" is a quirky bop managed in choppy horn layers, while "Bevan's Birthday" is a Latin to easy swing and back inversion, triggered by the flutes to go back to the spicy beats. This CD version features several shorter alternate takes, thus increasing the value of the original sessions, not with longer solos, but different improvisational nuances. As close to a definitive recording as Dameron issued, and considering his very small discography, The Magic Touch is a recording that all modern jazz lovers need to own and take further lessons from. ~ Michael G.Nastos https://www.allmusic.com/album/the-magic-touch-of-tadd-dameron-mw0000378367

Personnel: Tadd Dameron - Piano, Arranger, Conductor; Clark Terry - Trumpet; Ernie Royal - Trumpet; Charlie Shavers - Trumpet; Joe Wilder - Trumpet; Jimmy Cleveland - Trombone; Britt Woodman - Trombone; Julius Watkins - French Horn; Jerry Dodgion - Alto Sax, Flute; Leo Wright - Alto Sax, Flute; Jerome Richardson - Tenor Sax, Flute; Johnny Griffin - Tenor Sax; Tate Houston - Baritone Sax; Bill Evans - Piano; Ron Carter - Bass; George Duvivier - Bass; Philly Joe Jones - Drums; Barbara Winfield - Vocals

The Magic Touch

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Billy Strayhorn - The Peaceful Side Of Jazz

Styles: Piano Jazz
Year: 1963
File: MP3@320K/s
Time: 35:26
Size: 82,5 MB
Art: Front

(3:27)  1. Lush Life
(2:51)  2. Just A-Sittin' And A-Rockin'
(3:42)  3. Passion Flower
(3:16)  4. Take The "A" Train
(3:40)  5. Strange Feeling
(4:03)  6. Day Dream
(3:17)  7. Chelsea Bridge
(3:21)  8. Multi-Colored Blue
(3:02)  9. Something To Live For
(4:43) 10. A Flower Is A Lovesome Thing

During his twenty-five year tenure with the Duke Ellington Orchestra as composer, lyricist, arranger, and Duke's closest musical confidante, Billy Strayhorn rarely performed in front of a live audience and even less frequently entered a recording studio. Although his piano playing can be heard on a handful of records with the Ellington Orchestra as well as on some of its members' side projects, most notably several dates with Johnny Hodges, Strayhorn made just one album as a featured solo artist. That album, the Peaceful Side of Billy Strayhorn recorded during two overnight sessions in Paris in January 1961, has recently been reissued in the original mono version on Capitol Jazz. It offers a unique opportunity to hear this brilliant composer's own takes on some of his best-known songs, including "Lush Life," "Take the A Train," and "Chelsea Bridge." It was certainly not a lack of technique that kept Strayhorn from recording more often. A classically trained pianist, his playing here is exquisite, evoking the impressionism of Debussy almost as much as the driving jazz of Ellington. This is a quiet, spare recording featuring just Strayhorn's piano with occasional accompaniment by bass, string quartet, or vocal chorus. Strayhorn brings out all the passion and melancholy of his own compostions, which are performed in much more relaxed tempos than we are used to hearing. Even "'A' Train" is treated as a moody ballad. Other highlights include a gently swinging "Just A Sittin' and A Rockin,'" and an exquisite version of the haunting "A Flower is a Lovesome Thing." It is a shame that Strayhorn did not record more, since he brought the same extraordinary musical intelligence and sophistication to his piano playing that he did to his composing. ~ Joel Roberts https://www.allaboutjazz.com/the-peaceful-side-of-billy-strayhorn-billy-strayhorn-capitol-records-review-by-joel-roberts.php

Personnel: Billy Strayhorn - piano; Michel Goudret - bass; Paris Blue Notes - vocal choir; Paris String Quartet - strings

The Peaceful Side Of Jazz

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Scott Bradlee's Postmodern Jukebox - Jazz Age Thirst Trap

Styles: Vocal, Contemporary Jazz
Year: 2019
File: MP3@320K/s
Time: 44:49
Size: 104,8 MB
Art: Front

(3:53)  1. Old Town Road
(3:28)  2. Young Dumb & Broke
(4:03)  3. Misery Business
(4:38)  4. Chandelier
(3:43)  5. Bad Guy
(4:43)  6. Everybody Talks
(3:57)  7. Sucker
(4:00)  8. Teenage Dream
(4:48)  9. I Knew You Were Trouble
(4:20) 10. High Hopes
(3:11) 11. idontwannabeyouanymore

How did Miley Cyrus' "We Can't Stop" become a '50s-style doo wop number? Since when was Meghan Trainor's "All About That Bass" about an upright bass fiddle? At what point did Macklemore's "Thrift Shop" evolve into a '20s hot jazz tune? And whose idea was it to rework Lorde's "Royals" into a polished ballad sung by a sad clown? It's all part of the topsy-turvy world of Postmodern Jukebox, an ongoing musical project spearheaded by pianist and arranger Scott Bradlee, who takes contemporary pop and rock tunes and fashions new arrangements for them that cast them in an unpredictable variety of musical styles from the past. Born on Long Island, Bradlee relocated to New York City after studying jazz at the University of Hartford. While playing gigs at restaurants and nightclubs in New York City, Bradlee began experimenting with ragtime and jazz arrangements of pop tunes from the '80s, and he recorded several self-released digital albums of his offbeat versions of well-known melodies, as well as performances that interpolated seemingly dissimilar songs of different eras. Bradlee upped the ante on these experiments in 2012 with an album called A Motown Tribute to Nickelback, but as he began imagining a new platform for his experiments, he thought of YouTube, where he had been posting solo performance videos since 2009. In 2013, Bradlee began posting weekly videos in which he and a rotating cast of musicians and vocalists performed a new song each week, recorded live in a single take in Bradlee's living room. In September 2013, Bradlee posted his '50s-style reimagining of Cyrus' "We Can't Stop," and the clip soon went viral, racking up over four million views in less than two months and topping 14 million two years later. Bradlee's Postmodern Jukebox channel was soon racking up Internet successes on a regular basis, and Bradlee continued to release both videos and albums based on his playful fun-house covers of popular songs. By 2015, Bradlee had made over 130 Postmodern Jukebox clips available online, and he and his crew were taking the show on the road, touring in North America, Europe, and the United Kingdom. Bradlee was quite prolific in 2016, with the release of several albums including PMJ and Chill and Swing the Vote! ~ Mark Dening https://www.allmusic.com/artist/scott-bradlees-postmodern-jukebox-mn0003405394/biography

Jazz Age Thirst Trap

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Peter Anderson & Will Anderson - Two Against One

Styles: Saxophone And Clarinet Jazz
Year: 2016
File: MP3@320K/s
Time: 63:46
Size: 147,3 MB
Art: Front

(4:41)  1. Speak Low
(4:53)  2. Sweet and Lovely
(3:52)  3. Hallelujah
(4:49)  4. Lotus Blossom
(5:12)  5. Manteca
(4:41)  6. A Foggy Day
(4:43)  7. Paris Blues
(4:31)  8. Desafinado
(3:53)  9. Georgia on My Mind
(4:34) 10. Manha de Carnaval
(6:28) 11. Appalachian Mountain Song
(6:42) 12. Misterioso
(4:41) 13. Old Devil Moon

”Virtuosos on clarinet and saxophone,” (New York Times) Peter & Will Anderson are one of the most extraordinary duos in jazz performing today. Their second release for their trio, "Two Against One" features guitarist Alex Wintz. https://store.cdbaby.com/cd/peterandwillandersontrio

Personnel: Peter & Will Anderson (sax & clarinet) Alex Wintz (guitar)

Two Against One

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Kay Starr - The Fabulous Favorites

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 31:54
Size: 74,3 MB
Art: Front

(2:53)  1. Side By Side
(2:50)  2. So Tired
(2:31)  3. Mississippi
(2:46)  4. I'm The Lonesomest Gal In Town
(2:49)  5. Half A Photograph
(2:24)  6. Comes A-Long A-Love
(2:28)  7. Bonaparte's Retreat
(3:06)  8. Wheel Of Fortune
(2:47)  9. The Rock And Roll Waltz
(2:14) 10. Hoop-Dee-Doo
(2:38) 11. Allez-Vous-En
(2:21) 12. Foolin' Around

A solid jazz singer whose early recordings tended to be forgotten after her ascendancy into the commercial sphere during the mid-'50s, Kay Starr was among the first pop singers to capitalize on the "rock fad" with her 1955 novelty "Rock and Roll Waltz." Her biggest hit came with the era-defining "Wheel of Fortune," a prime slice of '50s adult pop with a suitably brassy reading. Born in Oklahoma, she moved to Dallas at a young age and made her debut on radio while still in school. A brief stay with Glenn Miller & His Orchestra precipitated her working with groups led by Bob Crosby, Joe Venuti, and finally Charlie Barnet. She recorded a few numbers with Barnet that earned her a solo contract with Capitol. By 1948, Starr made her Your Hit Parade breakthrough with "You Were Only Foolin' (While I Was Falling in Love)." Subsequent hits like "Hoop-Dee-Doo," "Oh, Babe!," and "I'll Never Be Free" (the latter with Tennessee Ernie Ford) framed her in an emerging vein of the popular market that also looked back to traditional country and folk. In 1952, "Wheel of Fortune" became her biggest hit and one of the signature songs of the '50s pop sound. She struggled to reach a similar chart peak for several years afterwards, though "Comes A-Long A-Love" topped the British charts. With her move to RCA in 1955, the comical "Rock and Roll Waltz" spent several weeks at number one. It was her last major hit, followed by just one additional Top Ten entry, 1957's "My Heart Reminds Me." By the 1960s, she had begun to concentrate more on performing (especially in Las Vegas) than recording, despite moving back to Capitol in 1961. She subsequently played several oldies packages, including the 3 Girls 3 tour with Helen O'Connell and Margaret Whiting. Kay Starr died at her home in Los Angeles in November 2016; she was 94 years old. ~ John Bush https://www.allmusic.com/artist/kay-starr-mn0000857203/biography

The Fabulous Favorites

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Charlie Parker - Charlie Parker For Lovers

Styles: Saxophone Jazz 
Year: 2006
File: MP3@320K/s
Time: 36:23
Size: 84,0 MB
Art: Front

(3:29)  1. Easy To Love
(3:23)  2. Lover Man
(3:12)  3. I Didn't Know What Time It Was
(2:51)  4. I'm In The Mood For Love
(2:58)  5. Laura
(2:41)  6. Un Poquito De Tu Amor
(3:15)  7. Everything Happens To Me
(5:07)  8. I Love Paris - Take 3 / Master
(2:46)  9. Summertime
(3:28) 10. Autumn In New York
(3:07) 11. Out Of Nowhere

As part of Verve's For Lovers series, the genius alto saxophonist Charlie Parker is spotlighted on 11 tracks recorded between 1949 and 1954. This romantic set of standards aptly highlights Bird's melancholic flight, especially on the seven tracks from Charlie Parker with Strings: "Easy to Love," "I Didn't Know What Time It Was," "Laura," "Everything Happens to Me," "Summertime," "Autumn in New York," and "Out of Nowhere." Some of Bird's sidemen on these sessions include John Lewis, Red Rodney, Hank Jones, Buddy Rich, Kenny Clarke, Walter Bishop, Jr., and Ray Brown, not to mention a full string section. While this compilation contains timeless performances, it only represents a miniscule portion of Charlie Parker's panoramic legacy. ~ Al Campbell https://www.allmusic.com/album/charlie-parker-for-lovers-mw0000426002

Charlie Parker For Lovers

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Willie Bobo - Tomorrow Is Here

Styles: Vocal
Year: 1977
File: MP3@320K/s
Time: 35:13
Size: 81,5 MB
Art: Front

(3:51)  1. Suitcase Full Of Dreams
(3:18)  2. Funk De Mambo
(4:29)  3. Keep On Walking
(5:11)  4. Dreamin'
(3:01)  5. Wacky Tobacky (The Race)
(3:31)  6. Can't Stay Down Too Long
(3:18)  7. Time After Time
(3:36)  8. Kojak Theme
(4:54)  9. A Little Tear

Willie Bobo's only LP for Blue Note came at a point well past the label's heyday, when crossover was its primary focus. Hence Tomorrow Is Here has a pronounced '70s R&B/funk feel, with synthesizers, envelope followers, electric pianos, guitars and occasional strings interwoven with Bobo's steady Latin congas, timbales and self-effacing vocals. But there are a few gems to be found here one in particular. The leadoff track "Suitcase Full Of Dreams" is a great, haunting, Latin-accented song about a journeyman musician's life on the road that should have become a standard but is now almost completely forgotten. Karma's Reggie Andrews sits in on keyboards to give the record its contemporary sound; the other participants are L.A. sessionmen. Bobo's engaging personality, the injected Latin element, and "Suitcase" are what makes this otherwise dated record come alive.

Personnel: Willie Bobo - vocals, percussion; Gary Grant, Ron King, Nolan Smith - trumpet; George Bohanon, Thurman Green - trombone; Ray Pizzi, Ernie Watts - saxophone; Gary Herbig - reeds; Reggie Andrews, Larry Farrow, David Garfield - keyboards; Dennis Budimir, John Cadrecha, Craig McMullen, Sidney Muldrow, Curtis Robertson Jr. - guitar; Dean Cortez, Jim Hughart, David Troncoso - bass; Gary Denton, James Gadson, Jeff Porcaro, Carlos Vega - drums; Victor Pantoja - percussion; Sandi Erwin, Benard Ighner - vocals

Tomorrow Is Here

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Andy Fusco - Vortex

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 61:03
Size: 140,9 MB
Art: Front

(6:00)  1. Vortex
(5:21)  2. Friends and Neighbors
(8:06)  3. Spring Can Really Hang You up the Most
(5:13)  4. Matador
(6:19)  5. When Lights Are Low
(5:56)  6. Desperado
(6:18)  7. In Your Own Sweet Way
(6:37)  8. All or Nothing at All
(4:36)  9. Tailspin
(6:32) 10. Windows

Vortex, Andy Fusco's fourth release on the SteepleChase imprint in as many years, is cause for celebration. Until recently, recordings by the veteran alto saxophonist as a leader have been few and far between. The date reunites Fusco with tenor saxophonist Walt Weiskopf, who composed four of the selections and arranged nine of the ten tracks. The Fusco/Weiskopf association began decades ago in the sax section of the Buddy Rich Big Band and eventually resulted in a number of noteworthy discs, mostly under Weiskopf's name, for Criss Cross Jazz. Weiskopf is a master at fashioning charts for small-to-mid-sized ensembles. His arrangements for Vortex radiate enthusiasm as well as the wisdom of decades of experience. Weiskopf finds ingenious ways of voicing four horns (his tenor, Fusco's alto, Joe Magnarelli's trumpet and John Mosca's trombone) on the core material, as well as deftly integrating riffs and longer written figures into some of the improvised solos. Part of the fun of listening to the record is discovering the placement and the degrees of emphasis in the lines he writes for the soloists or when he chooses to leave the players to an exemplary rhythm section comprised of pianist Peter Zak, bassist Mike Karn and drummer Jason Tiemann. Weiskopf's treatments of jazz standards by Dave Brubeck, Chick Corea and Grant Green, a couple of Great American Songbook favorites and his own compositions are novel yet never twist the songs beyond recognition. There's an impressive synergy between Fusco's alto and Weiskopf's arrangement on the head of the ballad "Spring Can Really Hang You Up The Most." 

As a whole the record is well organized and rich in detail, yet each track retains some the loose-limbed quality of a combo playing a late-night club set for themselves and a few aficionados. Apart from shining a spotlight on Fusco, an extended analysis of the soloists' virtues is beyond the scope of this review. Suffice it to say that each man has a distinct voice and makes essential contributions to the record. Fusco possesses a tart, live wire tone and almost every note feels urgent and animated. His vocabulary is an invigorating extension of the bebop lexicon, with nods to Charlie Parker and Jackie McLean. Flinging short, disparate phrases into the air and miraculously forging connections between them, there's often an unhinged, thrill-ride quality to his playing. Even in the midst of a profuse, jam packed statement, Fusco never eclipses the rhythm section. Portions of "Matador" and "All Or Nothing At All" are good examples of him laying back a bit, each note firmly in place and joined to Zak, Karn and Tiemann. Is it too much to ask that Fusco and this group make an appearance outside of the confines of the recording studio? Probably. From start to finish, Vortex is an exhilarating record. 

~ David A.Orthmann https://www.allaboutjazz.com/vortex-andy-fusco-steeplechase-records-review-by-david-a-orthmann.php

Personnel: Andy Fusco: alto saxophone; Walt Weiskopf: tenor saxophone; Joe Magnarelli: trumpet; John Mosca: trombone; Peter Zak: piano; Mike Karn: bass; Jason Tiemann: drums.

Vortex

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Zoot Sims Quartet - Tenorly

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 65:18
Size: 160,5 MB
Art: Front

(2:58)  1. Night And Day, Take 1
(2:58)  2. Night And Day, Take 2
(2:58)  3. Night And Day, Take 3
(3:20)  4. Slingin' Hasch, Take 1
(3:30)  5. Slingin' Hasch, Take 2
(2:48)  6. Tenorly, Take 1
(2:50)  7. Tenorly, Take 2
(2:47)  8. Tenorly, Take 3
(3:21)  9. Zoot And Zoot
(3:41) 10. I Understand, Take 1
(3:33) 11. I Understand, Take 2
(3:08) 12. Don't Worry About Me
(3:13) 13. Crystal
(5:52) 14. Toot's Suite
(4:27) 15. The Late Tiny Kahn
(3:18) 16. Call It Anything
(4:12) 17. Zoot's Suite
(3:32) 18. Once A While
(2:42) 19. Great Drums

Throughout his career, Zoot Sims was famous for epitomizing the swinging musician, never playing an inappropriate phrase. He always sounded inspired, and although his style did not change much after the early 1950s, Zoot's enthusiasm and creativity never wavered. Zoot's family was involved in vaudeville, and he played drums and clarinet as a youth. His older brother, Ray Sims, developed into a fine trombonist who sounded like Bill Harris. At age 13, Sims switched permanently to the tenor, and his initial inspiration was Lester Young, although he soon developed his own cool-toned sound. Sims was a professional by the age of 15, landing his first important job with Bobby Sherwood's Orchestra, and he joined Benny Goodman's big band for the first time in 1943; he would be one of BG's favorite tenormen for the next 30 years. He recorded with Joe Bushkin in 1944, and even at that early stage, his style was largely set. After a period in the Army, Sims was with Goodman from 1946-1947. He gained his initial fame as one of Woody Herman's "Four Brothers" during his time with the Second Herd (1947-1949). Zoot had brief stints with Buddy Rich's short-lived big band, Artie Shaw, Goodman (1950), Chubby Jackson, and Elliot Lawrence. He toured and recorded with Stan Kenton (1953) and Gerry Mulligan (1954-1956). Sims was also a star soloist with Mulligan's Concert Jazz Band of the early '60s and visited the Soviet Union with Benny Goodman in 1962. A freelancer throughout most of his career, Sims often led his own combos or co-led bands with his friend Al Cohn; the two tenors had very similar sounds and styles. Zoot started doubling on soprano quite effectively in the '70s. Through the years, he appeared in countless situations, and always seemed to come out ahead. Fortunately, Zoot Sims recorded frequently, leading sessions for Prestige, Metronome, Vogue, Dawn, Storyville, Argo, ABC-Paramount, Riverside, United Artists, Pacific Jazz, Bethlehem, Colpix, Impulse, Groove Merchant, Famous Door, Choice, Sonet, and a wonderful series for Pablo. ~ Scott Yanow https://www.allmusic.com/artist/zoot-sims-mn0000228087/biography

Personnel: Tenor Saxophone – Zoot Sims; Bass – Don Bagley (tracks: 14 to 19), Pierre Michelot (tracks: 1 to 13); Drums – Jean-Louis Viale (tracks: 14 to 19), Kenny Clarke (tracks: 1 to 13); Guitar – Jimmy Gourley (tracks: 14 to 19); Piano – Gerry Wiggins (tracks: 1 to 13), Henri Renaud (tracks: 14 to 19); Trombone – Frank Rosolino (tracks: 14 to 19)

Tenorly

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Marilena Paradisi, Kirk Lightsey - Some Place Called Where

Styles: Vocal And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 44:49
Size: 103,7 MB
Art: Front

(4:10)  1. Portrait
(5:32)  2. Some Other Time
(7:06)  3. Like a Lover
(5:35)  4. Soul Eyes
(4:07)  5. Little Waltz
(6:28)  6. Some Place Called Where
(5:36)  7. Autumn Nocturne
(6:13)  8. Fresh Air

Bunny Mellon, America’s foremost arbiter of superior taste, lived by the motto “Nothing should be seen,” meaning that in order to achieve true aesthetic beauty, nothing must stand out. As a defining principle it perfectly describes octogenarian pianist Kirk Lightsey’s exquisite craftsmanship across each of these seven covers and one original. And Lightsey has found an ideally symbiotic partner in Italian vocalist Marilena Paradisi. On what is only her second album performed entirely in English, Paradisi demonstrates the same captivating ability to fully meld with the songs without dampening their distinct moods. The duo opens with Mingus’ contemplative “Portrait,” sketching deeply personal tonal “pictures” based on lifelong experiences and observations. The gorgeously bittersweet “Some Other Time” connects with a wistful “Autumn Nocturne,” the darkly revelatory “Soul Eyes” and the staccato roil of Ron Carter’s “Little Waltz,” steadily rising in intensity as it progresses from sweet joy to bruised dejection. Exploring more fulfilling romantic sentiments, they add a rapturous “Like a Lover” and a beatific rendering of the Wayne Shorter/Dianne Reeves title track. Paradisi and Lightsey (alternating between piano and flute) close with the co-written “Fresh Air,” a gently flowing venture “into the light,” traveling not to a heavenly reward but toward more earthly and sensual pleasures. ~  By Christopher Loudon  https://jazztimes.com/reviews/albums/marilena-paradisi-kirk-lightsey/

Some Place Called Where

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Dick Hyman - There Will Never Be Another You

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 67:39
Size: 156,0 MB
Art: Front

(6:55)  1. Here's That Rainy da Again
(6:32)  2. Blue Skies
(9:28)  3. Spring Is Here
(5:54)  4. Sobbin' Blues
(3:51)  5. Jungle Blues
(5:04)  6. Undecided
(3:10)  7. Shine
(9:33)  8. Yesterdays
(4:22)  9. Send in the Clowns
(4:14) 10. Skylark
(6:08) 11. There Will Never Be Another You
(2:23) 12. Boswil Boogie

Dick Hyman not only has one of the largest repertoires of any jazz pianist, but he is equally adept at playing swing, stride, and boogie-woogie, as demonstrated in this 1998 solo concert at Alte Kirche Boswil in Switzerland. With a superb instrument, an attentive audience, and fabulous acoustics, Hyman dazzles the packed church with a stunning performance. His rapid-fire rendition of "Blue Skies" shows the influence of Art Tatum, Fats Waller, Teddy Wilson, and Earl Hines. No one has ever eclipsed Tatum's famous arrangement of "Yesterdays," but Hyman's interpretation is a lyrical, understated masterpiece in its own right. In addition to standards, Hyman revives long-forgotten tunes like "Sobbin' Blues" and currently out of favor songs from the early days of jazz such as "Shine" and Jelly Roll Morton's "Jungle Blues." Hyman's bluesy chord substitutions give new life to the often listlessly played ballad "Send in the Clowns." He leaves the audience smiling with "Boswil Boogie," which was likely improvised on the spot. ~ Ken Dryden https://www.allmusic.com/album/there-will-never-be-another-you-mw0001016067

Personnel:  Piano - Dick Hyman

There Will Never Be Another You

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Lionel Hampton and Dexter Gordon - Lionel Hampton with Dexter Gordon

Styles: Vibraphone Jazz
Year: 1994
File: MP3@320K/s
Time: 39:06
Size: 90,1 MB
Art: Front

(7:01)  1. Cutie
(7:56)  2. They Say That Falling In Love With You Is Wonderful
(4:20)  3. Lullaby Of Birdland
(5:13)  4. I Should Care
(6:30)  5. Seven Comes Eleven
(8:04)  6. Blues For Gates

One of many impromptu sessions staged in 1977 for Lionel Hampton's Who's Who in Jazz label, this recording features the basic band of Hampton on vibes, Bucky Pizzarelli on guitar, Hank Jones on piano, George Duvivier on bass, Oliver Jackson on drums, and Candido Camero on congas that is common to many of the albums, plus, in this case, Dexter Gordon (an alumnus of the Hampton big band) on tenor and soprano saxophone. The songs are mostly standards like "They Say That Falling in Love Is Wonderful" and "I Should Care," and Hampton and Gordon are given extended solo time in the relaxed arrangements, with Pizzarelli and Jones also taking occasional turns. The charm of all the 1977 Who's Who sessions is their intimacy: they sound more like something overheard after the final set in a club than formal recordings. This is one of the better ones. ~ William Ruhlmann https://www.allmusic.com/album/lionel-hampton-with-dexter-gordon-mw0000188260

Personnel: Vibraphone, Producer – Lionel Hampton; Soprano Saxophone, Tenor Saxophone – Dexter Gordon; Bass – George Duvivier; Congas – Candido; Drums – Oliver Jackson; Guitar – Bucky Pizzarelli; Piano – Hank Jones

Lionel Hampton with Dexter Gordon

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Adam Birnbaum Trio - A Comme Amour

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 64:37
Size: 149,3 MB
Art: Front

(5:44)  1. Whisper Not
(5:34)  2. All Through the Night
(4:35)  3. Goodby
(5:19)  4. Gabriel's Dance
(5:39)  5. In Your Own Sweet Way
(5:22)  6. A Comme Amour
(6:09)  7. Kate the Great
(6:13)  8. Urgency
(4:35)  9. In Walked Bud
(5:28) 10. New Orleans
(5:10) 11. I Got It Bad
(4:44) 12. Blind Seven

Adam Birnbaum is emerging as one of the top young voices in jazz piano. Since receiving a graduate Artist’s Diploma in jazz studies from The Julliard School in 2003, he has become a presence on the New York City scene as a leader and sideman, performing in such venues as the Village Vanguard, the Blue Note, Birdland, the Jazz Standard and Dizzy's Club Coca-Cola. He has also performed on many national and world stages, including the Gilmore International Keyboard Festival, the Kennedy Center, the Montreal Jazz Festival, The Spoleto Festival, The Red Sea Jazz Festival, The Rockport Chamber Festival, NPR Jazz Christmas, and the Capetown Jazz Festival. As a leader, Birnbaum has released four albums under his name in Japan and the U.S. His first release, Ballade Pour Adeline, received a Gold Disk award from As a leader, Birnbaum has released four albums under his name in Japan and the U.S. His first release, Ballade Pour Adeline, received a Gold Disk award from Swing Journal as one of the top albums of 2006. Adam’s U.S. debut Travels, released in 2009 under the Smalls record label, received enthusiastic reviews in Allmusic.com, All About Jazz and JazzTimes. Birnbaum’s recent release Three of A Mind, featuring bassist Doug Weiss and drummer Al Foster, was hailed as “an eloquent dispatch from the heart of the contemporary piano trio tradition” by the New York Times, and received an Editor’s Pick and four star review in Downbeat magazine. As a sideman, Birnbaum’s wide-ranging versatility and artistry have made him a first call for a wide variety of ensembles. He has performed or toured with established jazz artists such as Al Foster, Greg Osby, Regina Carter, The Vanguard Jazz Orchestra, and Jazz at Lincoln Center with Wynton Marsalis, as well as with young artists such as Darcy James Argue’s Secret Society and Cecile Mclorin Salvant. Birnbaum has appeared as a sideman more than 25 albums. Birnbaum is also recognized as a composer and arranger. Allmusic.com reviewer Ken Dryden said “Birnbaum’s compositions prove immediately infectious, each with a hook that draws the listener along for the ride. 

“A review of Travels in JazzTimes praised the album’s “stellar originals.” In 2009 Birnbaum premiered Dream Songs, a trio suite based on the poetry of John Berryman. The work was commissioned by Chamber Music America. Since 2012 Birnbaum has worked with Chelsea Music Festival each year to arrange Bach, Debussy, Beethoven, etc, for his own trio featuring strings and other guests musicians. Born and raised in Boston, Massachusetts, Birnbaum studied at the New England Conservatory of Music before moving to New York City in 2001, one of two pianists selected to participate in the Julliard School’s inaugural jazz studies program. In 2004 he won the American Jazz Piano Competition and became the American Pianists Association's Cole Porter fellow in Jazz. That same year, he became the first jazz pianist to present a recital at the prestigious Gilmore Rising Stars Recital Series. In 2006, he received the first-ever "special mention" prize at the Martial Solal Jazz Piano Competition in Paris. He has toured West Africa and Asia sponsored by Jazz at Lincoln Center and the U.S. State Department. Adam has studied with Danilo Perez, Kenny Barron, and Fred Hersch. Adam Birnbaum is currently an Assistant Professor of Jazz at SUNY Purchase. He is also a Steinway Artist. http://www.adambirnbaum.com/bio

A Comme Amour

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George Coleman - My Horns of Plenty

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 63:15
Size: 145,1 MB
Art: Front

(12:34)  1. Lush Life
(11:16)  2. Conrad
(13:41)  3. My Romance
( 3:01)  4. The Sheik of Araby
( 8:59)  5. You Mean so Much to Me
(13:43)  6. Old Folks

This reissue of George Coleman’s recording My Horns of Plenty is a real treat for those wanting to hear the sheer talent of a lesser known saxophonist. Coleman enjoyed his greatest exposure when Miles Davis, who had a knack for surrounding himself with great musicians, featured him early on in his great '60s quintet. But since then, Coleman's musicianship has not waned. The skill and depth of Coleman's playing is clearly evident on this 1991 reissue. Equally adept on soprano, alto, and tenor saxophone, Coleman possesses a smooth and dynamic presence. With speed and poise he shines on the Billy Strayhorn composition “Lush Life”. His tenor is as silky as butter on the classic “My Romance” and his own compositions give ample room for band members to show their skills on “You Mean So Much To Me.” With great tunes, an equally talented band, and an outstanding voice, it's nice to discover a cornucopia of good music on Mr. Coleman’s My Horns of Plenty. ~ Mark F.Turner https://www.allaboutjazz.com/my-horns-of-plenty-george-coleman-birdology-review-by-mark-f-turner.php

Personnel: George Coleman - Alto, Tenor, Soprano Saxophones; Ray Drummond - Bass; Billy Higgins - Drums; Harold Mabern - Piano

My Horns of Plenty

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Larry Willis - My Funny Valentine

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 63:38
Size: 146,1 MB
Art: Front

(5:46)  1. For Opener's
(3:18)  2. It could Happen to You
(6:31)  3. Blues for Wynton Kelly
(8:52)  4. Who's Kidding Who
(6:03)  5. Rhythm-A-Ning
(6:28)  6. Blood Count
(6:46)  7. My shining Hour
(5:45)  8. Lazy Afternoon
(8:02)  9. Ethiopia
(6:02) 10. My Funny Valentine

Although Larry Willis had played fusion and electric jazz-rock in the 1970s, the Willis heard on 1988's enjoyable, if conventional, My Funny Valentine is a more conservative post-bopper/hard bopper whose main reference points include McCoy Tyner, Tommy Flanagan, Wynton Kelly and Bill Evans. Willis plays the acoustic piano exclusively on this CD, and standards are a high priority. Nothing cutting-edge occurs, just straight-ahead jazz that's honest, warm and melodic. Most of the selections are trio numbers with bassist George Mraz and drummer Al Foster, although the pianist is joined by the passionate alto saxman Kenny Garrett on Thelonious Monk's "Rhythm-A-Ning," Garrett's insistent "For Openers" and Willis' haunting "Ethiopia." As a trio pianist, Willis is in good form on such often recorded standards as "My Funny Valentine," "Lazy Afternoon" and Billy Strayhorn's "Bloodcount" all of which demonstrate how sensitive a ballad player he can be. Initially released only in Japan by the Jazz City label, My Funny Valentine came out in the U.S. when the Philadelphia-based Evidence Music reissued it in 1998. ~ Alex Henderson https://www.allmusic.com/album/my-funny-valentine-mw0000198066

Personnel: Larry Willis – piano; Kenny Garrett – alto saxophone; George Mraz – bass; Al Foster – drums

My Funny Valentine

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Niels-Henning Ørsted Pedersen - Hommage, Once Upon A Time

Styles: Jazz, Post Bop
Year: 1990
File: MP3@320K/s
Time: 45:38
Size: 106,0 MB
Art: Front

(3:36)  1. Cream
(9:08)  2. Tango Jalousi
(7:56)  3. Lullabye-Bye
(3:55)  4. Sporge-Jorgen
(3:50)  5. Det Haver Sa Nyeligen Regnet
(5:25)  6. Lost In The Stars
(3:07)  7. J.P.
(5:16)  8. That Ol' Black Magic
(3:21)  9. September Song

A virtuoso who mostly played in bop-oriented settings, Niels-Henning Ørsted Pedersen was in great demand since he was a teenager. One of many superb European bassists to emerge during the 1960s, Pedersen originally studied piano before starting to play bass with Danish groups when he was 14. He had to reluctantly turn down Count Basie's offer to join his orchestra when he was just 17, but worked steadily as the house bassist at the Club Montmartre and as a member of the Danish Radio Orchestra. Whenever American jazzmen passed through Scandinavia, they asked for Pedersen; during the 1960s he played with Sonny Rollins, Bill Evans, Roland Kirk, Dexter Gordon, Bud Powell, and even Albert Ayler (although the latter's session was not too successful). In the 1970s, Pedersen was featured in a duo with Kenny Drew. Starting in the mid-'70s, he was an occasional member of the Oscar Peterson Trio and he recorded several dates as a leader for SteepleChase. Pedersen also recorded in many different settings for Pablo Records during the era. He remained very active until his sudden death in April 2005. He was 58. ~ Scott Yanow https://www.allmusic.com/artist/niels-henning-%C3rsted-pedersen-mn0000404907/biography

Personnel: Niels-Henning Ørsted Pedersen - bass, keyboards, producer; Palle Mikkelborg - trumpet, flugelhorn, keyboards, piano, producer; Ole Kock Hansen - keyboards; Thomas Clausen - piano, keyboards; Helen Davies-Mikkelborg - harp; Lennart Gruvstedt - drums; Mehmet Ozan - percussion; Niels Eje - oboe d'amore;  Cy Nicklin - vocals;  Jan Kohlin - trumpet; Palle Bolvig - trumpet; Vincent Nilsson - trombone; Axel Windfeld - trombone; Jan zum Vohrde - saxophone;  Flemming Madsen - saxophone; Bjarne Boie Rasmussen - viola; Mogens Durholm - violin;  Anika Telmanyi - violin;  Lars Holm Johansen - cello; Ars Nova Choir - choir

Hommage, Once Upon A Time

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Pete Jolly & Ralph Pena - The Duo

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 64:49
Size: 149,4 MB
Art: Front

(6:15)  1. Easy To Love
(4:51)  2. We'll Be Together Again
(7:43)  3. Celia
(7:15)  4. Friday The Thirteenth
(6:28)  5. I Love You
(4:49)  6. Variations
(4:44)  7. Bulja Bass
(5:03)  8. On Green Dolphin Street
(3:17)  9. Whistle While You Work
(7:44) 10. Walkin'
(6:37) 11. I Don't Wanna Be Kissed

When pianist Pete Jolly passed away in 2004, he was one of the last major survivors of the West Coast jazz scene of the 1950s. A powerful two-handed pianist influenced by Bud Powell but having his own style within straight-ahead jazz, Jolly worked in Los Angeles for decades, which led to him being underrated and often overlooked by the rest of the jazz world. Jolly had a trio with bassist Chuck Berghofer and drummer Nick Martinis that lasted over 40 years. However just prior to the formation of that group, Jolly often worked in a duo with bassist Ralph Pena. The music on this CD, of which originally only a dozen LPs were pressed, is rare in the extreme. It is taken from a 1960 tour of New Zealand and features Jolly and Pena digging into a variety of jazz standards and originals. Most unusual are the fairly early covers of Bud Powell's "Celia," George Wallington's obscure "Variations," and Thelonious Monk's "Friday the Thirteenth." Pete Jolly and straight-ahead jazz piano collectors will definitely want this rare item. ~ Scott Yanow https://www.allmusic.com/album/the-duo-mw0000486668

Personnel: Pete Jolly, piano; Ralph Pena, bass

The Duo

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Susan Wong - Close to Me

Styles: Vocal 
Year: 2019
File: MP3@320K/s
Time: 45:24
Size: 104,5 MB
Art: Front

(3:59)  1. Vincent
(4:00)  2. Sing For You
(4:50)  3. Man In The Mirror
(3:49)  4. The One You Love
(3:35)  5. Sunday Morning
(4:00)  6. What's Going On
(3:47)  7. Don't Dream It's Over
(3:51)  8. He's the One
(2:32)  9. Can't Hurry Love
(3:32) 10. That's Why You Go Away
(4:43) 11. When You Were My Man
(2:41) 12. Yesterday

The long-awaited new album by Susan Wong has arrived. "Close To Me" is particularly special because Susan worked on the arrangements and production of the album. Throughout this project, she maintains her trademark style of sultry vocals over smoothly adapted cover versions such as the piano laced rendition of "Man In The Mirror" original by Michael Jackson. Recorded over 3 years at studios in the USA, Hong Kong, Philippines, Susan spent countless hours and sleepless nights alongside other co-producers refining her sound to highest standards. Recorded & mixed at 24bit/96khz. This album is recorded with audiophiles in mind and exemplifies ultra-high definition audio, ready to be experienced on super class HiFi stereos, in Master Quality Authenticated sound. MQA CD plays back on all CD players. When a conventional CD player is connected to an MQA-enabled device, the CD will reveal the original master quality. ~ Editorial Reviews https://www.amazon.com/Close-Me-MQACD-SUSAN-WONG/dp/B07QV6W57S

Close to Me

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