David Gilmore - From Here to Here

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 66:02
Size: 152,0 MB
Art: Front

( 6:36)  1. Focus Pocus
( 5:24)  2. Cyclic Episode
( 5:04)  3. Metaverse
( 7:20)  4. Child of Time
( 7:50)  5. When and Then
( 4:26)  6. Innerlude
( 4:48)  7. Interplay
( 7:20)  8. The Long Game
(10:07)  9. Free Radicals
( 7:01) 10. Libation

On his second Criss Cross record, From Here To Here, guitar master David Gilmore picks up where he left off on his well-received 2017 label debut, Transitions (Criss 1393). Here, joined by a quartet of New York all-stars comprising pianist Luis Perdomo, bassist Brad Jones, and drummer E.J. Strickland, Gilmore navigates 8 recently-penned originals as well as Sam Rivers' Cyclic Episodes and the Bill Evans-Jim Hall classic Interplay. Throughout the proceedings, Gilmore unfailingly displays virtuosic technical and conceptual chops, exhaustive harmonic knowledge, melodic gifts, luminous sound, and sense of focus and proportion. These qualities made him an indispensable sideman several decades ago during long-term engagements with Steve Coleman and Wayne Shorter -- they've only developed and evolved over time.~ Editorial Reviews https://www.amazon.com/Here-DAVID-GILMORE/dp/B07W47GFQL

Personnel: Guitar – David Gilmore;  Bass – Brad Jones; Drums – E.J. Strickland; Piano – Luis Perdomo

From Here to Here

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Andy Biskin - Trio Tragico

Styles: Clarinet Jazz
Year: 2006
File: MP3@320K/s
Time: 63:00
Size: 146,3 MB
Art: Front

(5:33)  1. Boomerang
(6:13)  2. I Should Talk
(5:05)  3. Hey Day
(5:28)  4. Walking Distance
(4:15)  5. I Think Not
(5:18)  6. You That Knew Him
(4:32)  7. Paging Mr. Yes
(2:59)  8. Night Shade
(4:52)  9. Over the Years
(6:10) 10. Top Left Corner
(4:04) 11. Still Busy (the Honk Honk Song)
(5:38) 12. You Who
(2:48) 13. Plaything

Released in tandem with Early American (an exploration of the music of Stephen Foster), Trio Tragico showcases clarinetist Andy Biskin working within the confines of an unconventional chamber-jazz trio. With characteristic wit, the composer delivers an album that is not nearly as melodramatic as the title implies. Biskin enjoys a sublime foil in the rich and classically pure trumpet of Dave Ballou. Ubiquitous Downtown bassist Drew Gress is the fulcrum on which the two horn players pivot. With no drummer present, his lines support not only the pulse, but the principal melody and implied harmonies as well. A mercurial writer and economical improviser, Biskin's sense of humor seeps into his music in subtle ways. While the trio occasionally flirts with melancholy, it never sounds morose. Embracing postmodern irony, but without the cool detached attitude, Biskin and company plot a lyrically poignant course that's unfettered by stylistic conventions.

"Boomerang" opens the album with a solemn refrain, recalling an Old World dirge by blending mournful clarinet, somber trumpet and plangent bowed bass. Suddenly, the tune comes alive; the bass bounds into a brisk walking pattern, launching a jubilant clarinet flight, followed by an equally ebullient trumpet solo. The horns weave a sonorous web, accompanying each other throughout, and Gress takes a brief statement before the collective finish. The baroque-inspired composition "Over The Years" follows a similarly whimsical strategy. Biskin maintains straight-laced classicism, intermittently inserting searing Yiddish doina laments, then just as abruptly returning to the formal structure. The trio generates more than just pleasant melodies; compare the rich harmonies of "Hey Day" to the folksy, see-saw jauntiness of "Walking Distance," with its fractured lullaby ambience. The infectious "Paging Mr. Yes," while outwardly reminiscent of an early two-step, employs shades of an impulsive, Ivesian nature. Biskin's pieces are enigmatic but always accessible, from the gorgeous balladry and Middle Eastern flourishes of "I Should Talk" to sprightly bop pieces such as "I Think Not" and "Plaything." The trio blends subtle improvisation and nuanced group interaction so seamlessly into Biskin's compositions that the dividing line between the two vanishes. With creative arrangements and stellar interplay, Trio Tragico invokes a broad sonic palette, bringing these enchanting pieces to life. Whether exploring tangos, marches, Dixieland, bebop or any number of early American song forms, Biskin's trio handles it all with respect and good humor.~ Troy Collins https://www.allaboutjazz.com/trio-tragico-andy-biskin-strudelmedia-review-by-troy-collins.php

Personnel: Andy Biskin: clarinet, bass clarinet; Dave Ballou: trumpet; Drew Gress: bass.

Trio Tragico

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Art Van Damme - A Perfect Match

Styles: Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 37:33
Size: 87,5 MB
Art: Front

(3:05)  1. Bye Bye Blackbird
(3:04)  2. In the Wee Small Hours of the Morning
(2:27)  3. Tickle-Toe
(3:45)  4. Gone with the Wind
(2:34)  5. Valse Hot
(2:28)  6. The Best Thing for You
(3:48)  7. Satan's Doll
(3:05)  8. Bluesy
(4:06)  9. Spring Is Here
(3:47) 10. Tangee
(3:15) 11. Poinciana
(2:04) 12. Nicollet Avenue Breakdown

Jammed with writing assignments this week, I spent yesterday working and listening to accordionist Art Van Damme. It makes no sense to tell you how much Van Damme swings, since all great jazz accordionists swing. What made Van Damme singular were his thick chord voicings and his groovy attack, which sounded almost vocal. So teaming with guitarist Johnny Smith on A Perfect Match (1962) was a brilliant pairing. Van Damme's meaty, sighing chords and Smith's ringing, bell-like guitar notes sound like five people instead of two. Van Damme was born in 1920 in Norway, Mich. He was classically trained on the piano and began playing accordion at age 9, performing regularly at a local theater. After his family moved to Chicago when he was 14, Van Damme added concerts for the Sante Fe Railroad between the Midwest and California. At age 18 in 1938, he became fascinated by swing and started a trio with accordion, bass and guitar. He was hired in 1941 for a few months by bandleader Ben Bernie and left to become a solo act before forming another trio this time with accordion, vibes and bass. Drums were added in 1944.

Van Damme's impeccable playing style and one-man band approach landed him a steady job with NBC Radio in 1945 a spot that lasted until 1960. Thanks to his ability to craft small-group arrangements on the fly, he played on more than 100 episodes of The Art Van Damme Show, a 15minute segment for NBC (I wish someone would haul these out for a fresh listen). He also appeared regularly on TV in the '50s on celebrity-hosted variety shows. His visibility on the radio in the post-war years inspired a generation of jazz accordionists. After NBC, Van Damme opened a music studio and store in suburban Chicago in 1960, moving to Northridge, Calif. in 1968, spending his spare time playing golf. From the 1970s on, Van Damme regularly toured Japan and Europe, where the accordion was a familiar instrument, Van Damme died in 2010 at age 89.~ Jazzwax By Mar4c Myers https://news.allaboutjazz.com/art-van-damme-a-perfect-match

Personnel: Accordion – Art Van Damme;  Guitar – Johnny Smith

A Perfect Match

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Della Reese, Glenn Osser - Della Reese with Glenn Osser

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 45:37
Size: 105,8 MB
Art: Front

(3:17)  1. The Touch of Your Lips
(3:21)  2. He Was Too Good to Me
(3:30)  3. That Old Feeling
(3:55)  4. I Had the Craziest Dream
(3:23)  5. I Wish I Knew
(3:40)  6. Lamplight
(4:20)  7. How Did He Look?
(4:30)  8. More Than You Know
(4:24)  9. These Foolish Things
(3:41) 10. Deep in a Dream
(3:47) 11. Embraceable You
(3:43) 12. Two Sleepy People

Renowned as both a television star and a top-flight interpreter of jazz, blues, R&B, gospel, and straight-ahead pop music, Della Reese's many talents ensured a long, varied, and legendary show biz career. In addition to being nominated for both an Emmy and a Grammy and receiving a star on the Hollywood Walk of Fame, Reese was also an ordained minister in the Universal Foundation for Better Living, an association of churches she helped found in the early '80s. Born Deloreese Patricia Early on July 6, 1931, the young Reese began singing in the Baptist church choir in her hometown of Detroit at age six. In 1945, having developed quite rapidly, she caught the ear of legendary gospel queen Mahalia Jackson, who invited Reese to join her touring choir; Reese did so for the next five summers. Upon entering Wayne State University to study psychology, Reese formed a women's gospel group, the Meditation Singers, but her college career was cut short by the death of her mother and her father's serious illness. Reese worked odd jobs to help support the rest of her family; she also continued to perform with the Meditation Singers and various other gospel groups. Encouraged by her pastor, Reese began singing in nightclubs in hopes of getting a singing career off the ground; recently married to a factory worker named Vermont Adolphus Bon Taliaferro, her name was too long to fit on marquees, and she eventually arrived at her performing alias by splitting up her first name. After impressing a New York agent, who promptly signed her, Reese moved to New York and joined the Erskine Hawkins Orchestra in 1953. A year later, she had a recording contract with Jubilee, for whom she scored hits like "And That Reminds Me," a 1957 million-seller.

Switching to RCA Victor, Reese landed her biggest hit in 1959 with "Don't You Know?," a song adapted from Puccini's La Bohème; this cemented her career, leading not only to plentiful appearances on variety shows, but successful nightclub tours of the country and eventually nine years of performances in Las Vegas, as well as recording contracts with a variety of labels over the next few decades. Building on her previous variety show experience, Reese made a small bit of television history in 1969 when she became the first woman to guest-host The Tonight Show with Johnny Carson. Later that year, she became the first black woman to host her own variety show, the syndicated Della, which ran until 1970. Following its cancellation, Reese returned to her nightclub tours, often putting in guest appearances on television shows like The Mod Squad, Sanford and Son, and Chico and the Man; after three prior failed marriages, Reese also found a lasting relationship with producer Franklin Lett, whom she married in 1978.  On October 3, 1980, while taping a song for The Tonight Show, Reese suffered a brain aneurysm that nearly proved fatal; however, thanks to a successful operation, she was able to make a full recovery. She kept up her singing career and appeared on television shows like Designing Women, L.A. Law, and Picket Fences, as well as the Eddie Murphy films Harlem Nights and The Distinguished Gentleman. Reese also starred in the Redd Foxx sitcom The Royal Family from 1991-1992, and garnered what was undoubtedly her highest level of recognition in the inspirational drama series Touched by an Angel, a quite popular program that ran for nine years, between 1994 and 2003, on the CBS network. After Touched by an Angel finished its run, Reese continued to act intermittently on television through to 2014. She died at her home in Encino, California in November 2017 at the age of 86.~ Steve Huey https://www.allmusic.com/artist/della-reese-mn0000196544/biography

Born  28 August 1914, Munising, Michigan, USA. The son of Russian immigrants, Osser has had a successful career arranging and conducting for many leading bands and singers. He has also achieved a distinctive string sound through his clever scoring, which he describes as ‘voicing register, and composition of the counterpoint’. In his early career Osser concentrated on arranging, and his scores were accepted by Bob Crosby, Charlie Barnet, Bunny Berigan, Paul Whiteman, Les Brown and Red Nichols. During the 50s, while still regularly working with Whiteman (who was Musical Director of the ABC Network at that time), Osser was in demand to back many singers for albums, including Georgia Gibbs, Vic Damone, Jack Jones, Frankie Laine, John Raitt, Maurice Chevalier and Guy Mitchell. Osser was also recording his own instrumental albums, notably some with Bobby Hackett and Joe Bushkin. Further albums found Osser backing Johnny Mathis, Jerry Vale, Tony Bennett, Robert Goulet and Leslie Uggams. Leaving US Columbia Records and moving to RCA Records, Osser worked with Della Reese and Sam Cooke. Until 1987 he was Music Director and arranger for the Miss America Beauty Pageant on television, with Osser and his wife contributing various original songs including ‘Miss America, You’re Beautiful’ and ‘Look At Her’. He has also written many works for concert bands that are still regularly performed by many high school and college bands in the USA. https://www.allmusic.com/artist/glenn-osser-his-orchestra-mn0000663196/biography

Della Reese with Glenn Osser

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Harold Mabern - Mabern Plays Mabern

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 69:53
Size: 160,4 MB
Art: Front

( 9:44)  1. Mr. Johnson
( 8:00)  2. The Iron Man
( 7:34)  3. Lover Man
(11:56)  4. The Lyrical Cole-Man
( 8:53)  5. Edward Lee
( 5:59)  6. It's Magic
( 7:34)  7. The Beehive
(10:09)  8. Rakin' and Scrapin'

A tad more subdued than the barn-burning The Iron Man: Live At Smoke (Smoke Sessions Records, 2019), Mabern Plays Mabern still manages to jump full throttle from where that defining recording left us, with a lush, lyrical intensity and a vital, legacy-culling energy which plays as an exquisite coda to the pianist's long, outstanding career.  Alive with the same stylist's intuition and unbridled spirit which found him cutting through the ranks with such contemporaries as Charles Lloyd and Steve Coleman, and had him sitting on many notable sessions with, among others, Lee Morgan, Freddie Hubbard, Archie Shepp and Sarah Vaughan, the 81-year-old gentleman bopper takes to the spotlight and the stage, and celebrates our common humanity joyously with a virile drive that will surely stun young lions half his age.

Riding rubato into his rollicking tribute to J.J. Johnson, stalwart saxophonist Eric Alexander launches into the first of many flights of high-stakes frenzy as Mabern comps raucously behind him, buoyed by long-standing bassist John Webber and drummer Joe Farnsworth on high heat. The guest addition of trombonistSteve Davis gives the performance added zest, to the great delight of the Smoke audience. Mabern and Alexander trade blows (and Farnsworth solos for all he is worth) on "The Lyrical Cole-Man" a fevered nod to Coleman, whom he remained close friends with till the end. 1968's "Rakin' and Scrapin" makes its second, though lengthier rock solid appearance in as many recordings. Mabern's big hands swing a lot like, well, the Mabern of '68. Webber and Farnsworth hold steady with a soulful groove as Alexander sails and wails along. "The Beehive" buzzes as Alexander and special guestVincent Herring's winding alto sax leap and bound, play tag, and fuel each other's performance. A fitting farewell, indeed. ~ Mike Jurkovic https://www.allaboutjazz.com/mabern-plays-mabern-harold-mabern-smoke-sessions-records

Personnel: Harold Mabern: piano; Eric Alexander: saxophone, tenor; John Webber: bass, acoustic; Joe Farnsworth: drums; Steve Davis: trombone; Vincent Herring: saxophone.

Mabern Plays Mabern

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Ciyo - Put a Little Jazz in Their Lives

Styles: Vocal And Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 65:14
Size: 150,6 MB
Art: Front

(5:24)  1. Don't Worry Yourself
(4:44)  2. I'm in the Mood for Love
(6:20)  3. My Likkle Jamaica
(5:57)  4. Love Has Found Its Way
(6:13)  5. Living Inside Your Love
(5:04)  6. Put a Little Jazz in Their Lives
(5:45)  7. Flight of the Icons
(5:55)  8. A Blessing Waiting to Happen
(4:23)  9. Message to the Father
(7:28) 10. Cruisin' on the Sea
(6:13) 11. The Virtue of Patience
(1:41) 12. Song for Ernest, Earl & George

Put A Little Jazz In Their Lives is the long-awaited new album from one of the UK's finest musicians, guitarist and vocalist Ciyo Brown. This is Ciyo s 6th album release to date and illustrates his desire to celebrate diversity by merging jazz with reggae, in his own unique and inimitable way. Ciyo has worked with the likes of Suggs, Carleen Anderson, Caron Wheeler, Ronnie Laws, Jean Carne, Courtney Pine, Annie Lennox, Freddie McGregor, Roachford, Billy Paul, Carroll Thompson, John Holt , Janet Kay, Steel Pulse, Aswad, Hill-Street-Soul and the legendary Linda Lewis. ~ Editorial Reviews https://www.amazon.com/Put-Little-Jazz-Their-Lives/dp/B00LH1993K

Personnel: Ciyo - Vocal And Guitar

Put a Little Jazz in Their Lives

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Julie Budd - Julie Budd

Styles: Vocal
Year: 1971
File: MP3@320K/s
Time: 37:23
Size: 87,7 MB
Art: Front

(3:24)  1. Don't Take Your Love Away
(3:47)  2. I Don't Know How To Love Him (from the rock-opera "Jesus Christ Superstar")
(2:54)  3. Touch Me
(2:50)  4. Just Say Goodbye
(2:51)  5. I Love Your Kind Of Loving
(3:06)  6. The Long And Winding Road
(4:31)  7. You've Got A Friend
(3:26)  8. West Side Apartment
(3:23)  9. Marie de Vere
(3:19) 10. How Can I Be Sure (Of You)
(3:48) 11. Call Me

Hailed as one of the most sophisticated, sensitive and dynamic singers today, Julie Budd began her professional career at the age of twelve, in a Catskill Mountains talent show where she caught the attention of producer/arranger Herb Bernstein. Within six months Julie signed a major recording contract, and appeared on the Merv Griffin Show where she received a standing ovation from both the audience and the staff. Merv immediately took Julie under his wing, and from there she went on to appear on several major TV shows, including the Tonight Show, on which she has been a frequent guest. Throughout her career, Julie Budd has co-starred with such legendary performers as: Frank Sinatra, Bill Cosby, Joan Rivers, George Burns, Bob Hope, Don Rickles, Liberace and Robert Klein, to name a few. Julie Budd has also headlined in her own one-woman show and appeared in concert in: Las Vegas, Atlantic City, New York's Avery Fisher Hall, The London Palladium, Tel Aviv's Israeli Arts Center and with major symphonies throughout the country. Successful in her acting career, she has appeared in dramatic productions at New York's Circle Repertory Theatre, and Playwright's Horizons. In addition, Julie Budd has starred in Neil Simon's They're Playing Our Song, and also on Broadway in Catskills On Broadway. Julie made her film debut co-starring with Bill Cosby and Elliot Gould in Disney's The Devil and Max Devlin, where she received glowing notices. https://premierespeakers.com/julie-budd/bio

Julie Budd

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Charlie Shavers - Complete Recordings Vol. 3

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 76:00
Size: 176,8 MB
Art: Front

(2:39)  1. The Best Things In Life Are Free
(3:00)  2. Taking A Chance On Love
(2:25)  3. In A Little Spanish Town
(3:01)  4. You're My Everything
(2:45)  5. My Old Kentucky Home
(2:30)  6. Caroica
(2:20)  7. In The Still Of The Night
(2:35)  8. Soon
(3:26)  9. I'm A Fool To Love You
(2:50) 10. Blues For Choo Loos
(2:48) 11. I'm Forever Blowing Bubbles
(2:43) 12. Don't Be Late
(3:24) 13. It Might As Well Be Spring
(2:37) 14. Jada
(2:57) 15. But Beautiful
(2:35) 16. Fly Me To The Moon
(1:59) 17. It Don't Mean A Thing
(2:35) 18. Period Of Adjustment
(2:11) 19. Bossa Nova Petite
(1:39) 20. I Kid You Not
(3:15) 21. Porgy
(2:50) 22. Undecided
(2:17) 23. Opus 5
(2:55) 24. A Night In Tunisia
(2:30) 25. Shiny Stockings
(2:42) 26. Minor Blues
(2:31) 27. Tenderly
(1:53) 28. School Days
(1:55) 29. Big Time Blues

Charlie Shavers, one of the greatest if most underrated trumpeters of all time, was in his late prime during the period covered by Complete Recordings, Vol. 3 and four other volumes of Lone Hill Jazz reissues. Shavers' extroverted sound, brilliant technique, wide range and fertile wit always made his solos a delight. This CD reissues all of the music from his LPs Like Charlie and Excitement Unlimited plus five cuts from Charlie Shavers at Le Crazy Horse Saloon. The Like Charlie album has Shavers joined by a rhythm section with pianist Ray Bryant, and includes spectacular versions of "The Best Things in Life Are Free," "A Little Spanish Town," "Carioca," and other swing standards. The Crazy Horse numbers have Shavers with an unidentified trio while the Excitement Unlimited sessions showcase the trumpeter in an octet with tenor-saxophonist Budd Johnson and altoist Jerome Richardson. Although the first two volumes in this series are a bit more essential, this generous CD is also a must for Charlie Shavers collectors.~ Scott Yanow https://www.allmusic.com/album/complete-recordings-vol-3-charlie-shavers-ray-bryant-quartet-mw0000357955

Personnel: Charlie Shavers (tp), Ray Bryant (p), Tommy Bryant (b), Oliver Jackson (d)

Complete Recordings   Vol. 3

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Charlie Shavers - Complete Recordings Vol. 2

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 75:36
Size: 176,2 MB
Art: Front

(2:31)  1. Girl Of My Dreams
(2:33)  2. September In The Rain
(2:40)  3. What Can I Say After I Say I'm Sorry
(2:27)  4. Lover
(2:15)  5. I'll Get By
(2:45)  6. Out Of Nowhere
(2:38)  7. Dream
(2:35)  8. Bye Bye Blackbird
(2:48)  9. Pennies From Heaven
(2:18) 10. Frenesi
(2:34) 11. Green Eyes
(3:00) 12. Let's Fall In Love
(2:21) 13. All Of Me
(2:57) 14. Makin' Whoopee
(3:18) 15. Russian Lullaby
(2:57) 16. Taboo
(4:09) 17. You've Changed
(3:21) 18. It's All Right With Me
(2:34) 19. Loch Lomond
(2:33) 20. I Want A Little Girl
(2:40) 21. What Is This Thing Called Love?
(3:10) 22. On The Alamo
(3:15) 23. Undecided
(3:08) 24. All Of You
(3:00) 25. Please Don't Talk About Me When I'm Gone
(2:26) 26. I've Got The World On A String
(2:29) 27. Is You Is Or Is You Ain't My Baby

Sublime work from trumpeter Charlie Shavers  a player with a wonderful tone, and a clear, straightforward sound that was often sadly overlooked! The CD brings together the full tracks from 2 albums that Shavers recorded with pianist Ray Bryant Memorial, from 1959, and Here Comes Charlie, from 1960  both of them well-crafted sets that are a great example of Shaver's understated genius. 

The rhythms on both records are surprisingly complex  thanks to free drum work on the kit from Roy Burns, modern bass tones from Aaron Bell, and always-soulful work on piano from Ray Bryant and if we had to pick one album as our favorite, we'd say that we're especially flored by the Here Comes Charlie set as it goves far beyond even our already high opinion of Shaver's talents. https://www.freshsoundrecords.com/charlie-shavers-ray-bryant-albums/3991-complete-recordings-vol2.html

Personnel: Charlie Shavers (tp), Roy Burns (p), Tommy Bryant or Aaron Bell (b), Ray Bryant (d)

Complete Recordings  Vol. 2

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Charlie Shavers - Complete Recordings Vol.1

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 74:18
Size: 173,0 MB
Art: Front

(2:04)  1. C'est Si Bon
(2:29)  2. Domino
(2:19)  3. Mam'selle
(2:36)  4. The Last Time I Saw Paris
(1:54)  5. Pigalle
(2:29)  6. Song From "Moulin Rouge"
(2:06)  7. Darling, Je Vous Aime Beaucoup
(2:54)  8. Petite Fleur
(2:21)  9. My Man
(3:24) 10. I Kiss Your Hand, Madame
(2:27) 11. Comme Si, Comme CA
(3:21) 12. I Love Paris
(1:57) 13. Alexander's Ragtime Band
(3:20) 14. Basin Street Blues
(3:31) 15. Jazz Me Blues
(3:06) 16. Beale Street Blues
(2:41) 17. If I Could Be With You
(3:03) 18. Royal Garden Blues
(2:26) 19. At The Jazz Band Ball
(2:42) 20. Muskrat Ramble
(2:27) 21. Margie
(2:38) 22. St. Louis Blues
(3:16) 23. Daddy's Got The Gleeks
(3:00) 24. When The Saints Go Marching In
(2:35) 25. One O Clock Jump
(2:39) 26. Man With A Horn
(2:27) 27. You Came A Long Way From St. Louis
(1:52) 28. Back Home Again In Indiana

Charlie Shavers was one of the greatest jazz trumpeters of all time. He had brilliant technique, a very wide range, his own sound, a witty and swinging style, and gave the impression that he could play anything. Over five CDs, the Lone Hill label has reissued most of Shavers' recordings as a leader from 1954-1964, just skipping an album for Capitol, live sets put out by Hep and Spotlight, a Storyville date and two albums released by Vogue. Complete Recordings, Vol. 1 is a perfect place to start, because this CD reissues a set of French-associated songs (from the album Charlie Digs Paree), an exciting and successful program of Dixieland tunes (from Charlie Digs Dixie) and four numbers from the trumpeter's At Le Crazy Horse Saloon, an album whose contents are split between three CDs in this series. Shavers is heard throughout as the only horn in a quartet, with pianist Ray Bryant on all but the Crazy Horse selections. Sometimes the rhythm section provides a shuffle rhythm (à la Jonah Jones) while at other times they swing conventionally. It is particularly fun to hear the trumpeter tear into the Dixieland repertoire. Shavers is the star throughout and was at the peak of his remarkable powers during this period. It is a pity that he is largely forgotten today, for he was a truly remarkable player.~ Scott Yanow https://www.allmusic.com/album/complete-recordings-vol-1-charlie-shavers-ray-bryant-quartet-mw0000704042

Personnel: Charlie Shavers (tp), Oliver Jackson (d), Aaron Bell or Tommy Bryant (b), Ray Bryant (p)

Complete Recordings Vol.1

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Benny Goodman Trio, Quartet - After You've Gone Vol. 1

Styles: Clarinet Jazz, Swing
Year: 1987
File: MP3@320K/s
Time: 68:59
Size: 161,9 MB
Art: Front

(2:45)  1. After You've Gone - Take 2
(3:23)  2. Body and Soul - 1996 Remastered - Take 2
(3:13)  3. Who? (From the First National Film "Sunny")
(2:48)  4. Someday Sweetheart
(2:30)  5. China Boy
(3:09)  6. More Than You Know
(3:14)  7. All My Life - 1987 Remastered
(3:02)  8. Oh, Lady Be Good
(2:45)  9. Nobody's Sweetheart
(3:27) 10. Too Good To Be True
(3:22) 11. Moonglow - Take 1
(2:42) 12. Dinah (From "The Plantation Revue")
(3:18) 13. Exactly Like You
(3:22) 14. Vibraphone Blues
(3:18) 15. Sweet Sue - Just You
(3:27) 16. My Melancholy Baby
(3:22) 17. Tiger Rag
(2:49) 18. Stompin' at the Savoy - Take 2
(3:23) 19. Whispering
(3:44) 20. Ida, Sweet As Apple Cider
(3:06) 21. Tea For Two
(2:38) 22. Runnin' Wild

Although Benny Goodman came to fame as leader of a big swinging orchestra, from nearly the beginning he always allocated some time to playing with smaller groups. On July 13, 1935, the Benny Goodman Trio debuted (featuring drummer Gene Krupa and pianist Teddy Wilson) and 13 months later vibraphonist Lionel Hampton made the unit a quartet. The first interracial group to appear regularly in public, this outlet gave BG an opportunity to stretch out and interact with his peers. The CD After You've Gone contains the first ten Trio recordings and the initial twelve studio performances by the Quartet. Helen Ward contributes two fine vocals but the emphasis is on the close interplay between these brilliant players.~ Scott Yanow https://www.allmusic.com/album/original-benny-goodman-trio-and-quartet-sessions-vol-1-after-youve-gone-mw0000651279

Personnel: Clarinet – Benny Goodman; Drums – Gene Krupa; Piano – Teddy Wilson; Vibraphone – Lionel Hampton

After You've Gone  Vol. 1

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Archie Shepp - Gemini

Album: Gemini Disc 1

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 66:09
Size: 152,9 MB
Art: Front

( 4:17)  1. The Reverse - Alternate Version 1
(10:31)  2. Revolution (Mama Rose)
( 6:05)  3. Burning Bright
( 4:41)  4. Trippin'
( 6:54)  5. Time Stood Still
( 7:25)  6. Intertwining Spirits
( 5:19)  7. La Manzana
( 6:50)  8. Eva
( 5:10)  9. Pannonica
( 4:32) 10. The Reverse
( 4:21) 11. The Reverse - Alternate Version 2

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Album: Gemini Disc 2

Time: 41:24

Size: 95,4 MB

(11:08)  1. Hope Two

( 5:30)  2. Call Him

( 7:20)  3. Do You Want to Be Saved

(13:23)  4. Ujaama

( 4:02)  5. Rest Enough

Archie Shepp is a jazz legend. His links to Coltrane and his highly charged mix of out-there sax playing and political comment in the sixties and seventies assure him of a proud place in jazz history. Still going strong, for his 70th birthday he’s released this beautifully packaged, deluxe double CD. The first “The Reverse” is a new studio recording while the second is a live set from five years ago. “The Reverse” contains material in many different styles; blues, gospel, latin and bop. Public Enemy’s Chuck D raps on the title track. But like many birthday parties, while everybody’s having fun, there’s a sloppy atmosphere and some mess. Shepp’s energy is amazing. His playing pushes at the boundaries of tonality (which is a fancy jazz way of saying he occasionally sounds out of tune), with a breathy, raw, wobbly tone, lots of notes, over-blowing and shrieks. Sometimes this works, but occasionally his playing seems at odds with the material, for example on Thelonious Monk’s “Pannonica”. The mix is unbalanced, with Shepp pushed forwards at the expense of the other players; guest guitarist Stephane Guery sounds like he’s playing behind a wall.

Shepp’s singing is an acquired taste. You’ll either love the political, sexually explicit, talking jazz of “Revolution” or you’ll find it curiously old fashioned and tasteless, although Shepp’s soprano sax is on fine, keening form. I prefer the second CD, 'Live in Souillac'. This is a simply recorded live concert from 2002. The driving post-bop of “Hope Two” and “Ujaama” suits Shepp’s intense, over-the-top lines better than some of “The Reverse”, and to be frank, in my humble opinion his playing is better. Amina Claudine Myers contributes two entertaining, warm gospel songs and it all adds up to a very pleasant listen. It seems rude o be lukewarm about a birthday celebration. Hard-core Shepp fans will love this. But if you’re unsure how much you like Shepp, try before you buy. https://www.bbc.co.uk/music/reviews/p4p2/

Personnel: Tenor Saxophone, Soprano Saxophone, Voice – Archie Shepp; Voice [Guest] – Chuck D (tracks: 1-1 to 1-11) Bass – Cameron Brown (tracks: 2-1 to 2-5), Wayne Dockery (tracks: 1-1 to 1-11); Drums – Ronnie Burrage (tracks: 2-1 to 2-5), Steve McCraven (tracks: 1-1 to 1-11); Guitar [Guest] – Stéphane Guery (tracks: 1-1 to 1-11); Piano – Tom McClung (tracks: 1-1 to 1-11); Piano, Voice – Amina Claudine Myers (tracks: 2-1 to 2-5)

Gemini Disc 1, Disc 2

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Eartha Kitt - The Essential Recordings Disc 1, Disc 2

Album: The Essential Recordings Disc 1

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 59:04
Size: 136,0 MB
Art: Front

(3:33)  1. I Want to Be Evil
(3:01)  2. C'est Si Bon
(3:10)  3. Uska Dara (A Turkish Tale)
(2:43)  4. Under the Bridges of Paris
(3:29)  5. Angelitos Negros
(2:55)  6. Avril au Portugal (The Whispering Serenade)
(3:07)  7. Let's Do It (Let's Fall in Love)
(2:46)  8. Apres Moi
(2:30)  9. If I Love Ya, Then I Need Ya, If I Need Ya, I Want'cha Around
(2:38) 10. Hey Jacque
(3:05) 11. My Heart Belongs to Daddy
(3:47) 12. Lilac Wine (Dance Me a Song)
(3:06) 13. Smoke Gets in Your Eyes
(2:19) 14. My Heart's Delight
(3:01) 15. Looking for a Boy
(2:23) 16. I've Got That Lovin' Bug Itch
(2:27) 17. Fascinating Man
(4:00) 18. Thursday's Child
(2:07) 19. Love Is a Gamble
(2:50) 20. Santa Baby

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Album: The Essential Recordings Disc 2

Time: 53:13

Size: 122,6 MB

(2:53)  1. Just an Old Fashioned Girl

(2:31)  2. If I Can't Take It with Me (When I Go)

(2:47)  3. St. Louis Blues

(3:14)  4. Careless Love

(3:13)  5. Beale Street Blues

(3:27)  6. The Memphis Blues

(2:37)  7. Yellow Bird

(2:24)  8. Mack the Knife

(2:17)  9. I'd Rather Be Burned as a Witch

(2:42) 10. Shango

(2:36) 11. A Lady Loves

(2:47) 12. Good Little Girls

(1:53) 13. Diamonds Are a Girl's Best Friend

(2:49) 14. Lola-Lola

(2:40) 15. Love for Sale

(2:18) 16. Whatever Lola Wants Lola Gets

(1:56) 17. Never on a Sunday

(3:22) 18. All I Want Is All There Is and Then Some

(2:34) 19. Do It Again

(2:05) 20. Always True to You in My Fashion

Eartha Kitt was an exotic and uncompromising proposition for the psyche of 1950s America. Although this image may dominate our perception of Eartha Kitt as an artist, it hides a huge talent that lay beneath the outer sheen, and Eartha was to make her name as a talented singer, actress, dancer, cabaret star and political activist.~ Editorial Reviews https://www.amazon.com/Essential-Recordings-EARTHA-KITT/dp/B00OYPBSFS

Eartha Kitt epitomized the idea of the sex-kitten chanteuse, rising to fame with a nightclub act centered on her slinky stage presence and her throaty purr of a voice. As much as she enjoyed vamping it up, she also projected the image of an exotic international sophisticate, especially since she sang in several different languages. She brought a definite zest to her torch songs, and favored lyrics that painted her as the Material Girl of her time. Kitt's persona was so vivid and well-developed that she remained easily identifiable well after her early-'50s heyday, and it also helped her find success as an actress in movies, TV, and theater. Even if many remember her best as one of the actresses to play Catwoman on the '60s Batman series, Kitt was always a cabaret performer at heart, one whose act translated best in a live setting. She rose dramatically to fame from a childhood of neglect and poverty, moving from South Carolina to Harlem at age eight to live with an aunt. She toured internationally during her late teens as part of a dance company, and also developed a singing act. Signing with RCA, she scored numerous hits over 1953-1955, including "C'est Si Bon," "I Want to Be Evil," and "Santa Baby," among others; she later branched out into an acting career. Following her sharp criticism of the Vietnam War in 1968, Kitt endured a ten-year blacklisting in America and moved to Europe to make her living. She returned to the U.S. in the '80s and '90s, both as an actress and as a singer on the nightclub circuit. In 2000, she received a third Tony nomination for her work in the musical drama The Wild Party. Kitt continued performing and recording into the 2000s, but was diagnosed with colon cancer in 2006, and passed from the disease in late 2008. ~ Steve Huey https://www.allmusic.com/artist/eartha-kitt-mn0000162930/biography

The Essential Recordings Disc 1, Disc 2

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João Donato - Donato Deodato

Styles: Latin Jazz
Year: 1973
File: MP3@320K/s
Time: 32:07
Size: 74,0 MB
Art: Front

(4:06)  1. Whistle Stop
(5:56)  2. Where's J.D.
(6:03)  3. Capricorn
(6:36)  4. Nightripper
(5:19)  5. You Can Go
(4:05)  6. Batuque

This odd cult item, originally released on Muse in 1973, is also known as Donato/Deodato  a reference to then-hot arranger Eumir Deodato's participation and, probably, the similarity in their surnames. With the exception of the kick-off tune  the insanely catchy and wonderfully funky "Whistle Stop"  it's a brief, strange trip that meanders aimlessly and rather too lifelessly. Even the disc's notes admit as much. The prolific Brazilian keyboardist and arranger, whose many records never make it to the US (making this a follow-up of sorts to Donato's 1970 Blue Thumb release, A Bad Donato ), just wanted some cash so he could travel. He simply arrived at the studio, knocked out some tunes, suggested some musicians, collected his cash and left for vacation. So Deodato, another Brazilian keyboardist and arranger  whose dance-floor hit, "2001," was riding high at the time  was brought in to finish the job. An 11-piece group was pulled together and features nice spots for Randy Brecker on trumpet (particularly on "Nightripper"), Michael Gibson on trombone, the underrated Dud Bascomb on bass and Romeo Penque on flutes/whistles. 

Surprisingly, the higher-profile percussionists Ray Barretto and Airto make absolutely no impact here at all. The idea seems to have been to approximate the grander, more expensive CTI sound. As you might expect, then, Joao Donato has more of Deodato's personality, awash as it is in the latter's signature blend of first-rate funk ("Whistle Stop") and soapy TV movie sound-a-likes ("Where's J.D.?," "Capricorn," "You Can Go"). Even though it's impossible to decide whether Donato or Deodato plays the occasional electric piano solo, the overall effect will appeal to those who gravitate toward electric mood music in somewhat Latin styles. However, "Whistle Stop" despite whatever deficits in conception - is a true funk essential and a feather in the caps of Donato, Deodato and Ray Barretto. ~ Douglas Payne https://www.allaboutjazz.com/joao-donato-joao-donato-32-records-review-by-douglas-payne.php

Players: Airto: percussion; Ray Barretto: congas; Dud Bascomb: bass; Randy Brecker: trumpet; Deodato, Joao Donato: keyboards; Mauricio Einhorn: harmonica; Michael Gibson: trombone; Romeo Penque: flute and whistle; Bob Rose: guitar; Allan Schwartzberg: drums.

Donato Deodato

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Judy Niemack, Wolfgang Köhler - Sing Your Song

Styles: Vocal And Piano Jazz 
Year: 2019
File: MP3@320K/s
Time: 56:05
Size: 129,5 MB
Art: Front

(5:16)  1. My Old Man
(6:00)  2. Isn´t It Romantic?
(6:13)  3. Lost in the Stars
(3:29)  4. Sing Your Song
(4:57)  5. One for My Baby
(4:55)  6. Eagle Poem
(4:38)  7. Where Love Has Gone
(6:16)  8. The Judgement of the Moon and Stars (Ludwig´s Tune)
(2:55)  9. Asphalt Nightmare
(6:51) 10. Lonely House
(4:29) 11. I´m All Smiles

A talented and adventurous singer, Judy Niemack has long had an underground reputation in jazz, although she finally received more recognition for her abilities. She sang regularly in school, starting at age seven in a church choir, and at 17 decided to become a professional singer. After meeting Warne Marsh the following year, Niemack became dedicated to jazz. She attended Pasadena City College, had several years of classical study, and also attended the New England Conservatory in Boston and the Cleveland Institute of Music, in addition to private lessons with Marsh. She moved to New York in 1977, and the following year made her recording debut, By Heart, for Sea Breeze. She returned in 1988 with Blue-Bop.

Since that time, Niemack has freelanced with many top jazz musicians (including Toots Thielemans, James Moody, Lee Konitz, Clark Terry, Kenny Barron, Fred Hersch, Kenny Werner, Joe Lovano, and Eddie Gomez, among others), has written lyrics to other musicians' compositions (in addition to writing songs of her own), and has toured Europe regularly. In addition, she has been a top jazz educator, teaching throughout Europe. A colorful improviser, Niemack has continued to recorded as a leader, delivering such albums as 1990's Long as You're Living, 1992's Straight Up, and 1996's Night and the Music. In 2003 she delivered About Time, featuring her husband, Jeanfrançois Prins, on guitar; Eddie Gomez on bass; and David Friedman on vibraphone. What's Going On? appeared on Temps in 2007, followed by In the Sundance in 2009. Niemack paired with pianist Dan Tepfer for Listening to You in 2017.~ Scott Yanow https://www.allmusic.com/artist/judy-niemack-mn0000248476/biography

Wolfgang Köhler (born October 15, 1960 in Hofgeismar ) is a German professor of jazz and jazz pianist . As a piano player in the group “ Just Friends ”, Köhler undertook several tours from 1978 to 1991 through the German-speaking countries. From 1980 he studied at the Hochschule der Künste in Berlin with Walter Norris and others. Since then he has played with numerous well-known artists such as Jiggs Whigham , Randy Brecker , Herb Geller , Benny Bailey , Gitte Hænning , Nigel Kennedy , John Marshall and Ack van Rooyen . From 1982 to 1986 he was a member of the RIAS dance orchestra and later also a pianist in several talk shows. He is repeatedly invited to productions as a soloist in the successor orchestra, the RIAS Big Band .Wolfgang Köhler composed two theater revues (in collaboration with the playwright Gerhard Haase-Hindenberg ) and several film scores, including for the ZDF children's series “Karfunkel”. Since 1999 he has been professor for jazz piano at the Hanns Eisler Music Academy in Berlin . Since 2005 he has been playing with Tahsin Incirci in the “Duo Divan” alongside his professional activity. Since 2000 he has been a band leader with the “Allan Praskin Wolfgang Köhler Quartet”. https://de.wikipedia.org/wiki/Wolfgang_K%C3%B6hler_(Pianist)

Sing Your Song

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Eddie Higgins - Anticipation

Styles: Piano Jazz 
Year: 2020
File: MP3@320K/s
Time: 85:17
Size: 197,0 MB
Art: Front

(4:36)  1. Falling in Love with Love
(5:27)  2. Somewhere over the Rainbow
(5:17)  3. Zarac
(5:02)  4. Happiness Is a Thing Called Joe
(4:30)  5. I'll Be Loving You
(4:32)  6. Night in Tunisia
(7:00)  7. You Leave Me Breathless
(4:24)  8. Satin Doll
(3:44)  9. Strike up the Band
(6:30) 10. Prelude to a Kiss
(4:07) 11. Getting Sentimental over You
(7:14) 12. Foot's Bag
(4:41) 13. Tangerine
(5:57) 14. Spring Is Here
(4:53) 15. Between the Devil and the Deep Blue Sea
(4:08) 16. Blues for Big Scotia
(3:06) 17. You'd Be so Nice to Come Home To

Born and raised in New England, Eddie (Haydn) Higgins started his professional career in Chicago, while studying at the Northwestern University Music School. For twenty years Eddie worked at some of Chicago's best known jazz clubs, including the Brass Rail, Preview Lounge, Blue Note, Cloister Inn and Jazz Ltd. His longest and most memorable job was at the London House, where he led the house trio for twelve years, playing opposite the biggest jazz stars of the 50's and 60's, including Stan Getz, Oscar Peterson, Dizzy Gillespie, Errol Garner, George Shearing, Cannonball Adderley, Bill Evans and many others. During his stay in Chicago, Eddie recorded a number of albums under his auspices and many more as a sideman with a wide variety of musicians, ranging in style from Coleman Hawkins to Wayne Shorter, Don Goldie to Freddie Hubbard, Jack Teagarden to Al Grey. Eddie's versatility is well-known: he has backed singers, done studio work as both pianist and arranger and worked in every jazz medium from Dixieland to Modern Jazz.

In 1970, Eddie moved to Ft. Lauderdale, Florida and began spending winters in Florida and summers on Cape Cod, where he plays local clubs and enjoys sailing and tennis. Since the early 1980's, Eddie has traveled widely on the jazz festival circuit and has performed frequently in Europe and Japan. His releases on the Japanese “Venus” label have earned him number one in jazz sales on more than one album. In 1988, Eddie and jazz singer/pianist/artist Meredith d'Ambrosio were married and have become a popular team at clubs and festivals, as well as recording for Sunnyside Records.In recent years, Eddie's recording activity has become even more prolific and attention to his play has grown to be more widely recognized. He has received praise from such as Nat Hentoff and Gary Giddons. Attempts to describe his style are exemplified by the following: To these tributes, I would add that Eddie's play can be extraordinarily moving. Listen to his treatment of Brazilian themes on “Speaking of Jobim” and solo work on the album “Time On My Hands,” the latter which achieves an almost unparalleled marriage of style, composition and audio fidelity. You would think it was being played in a cathedral. https://musicians.allaboutjazz.com/eddiehiggins

Anticipation

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Karin Plato - Snowflake Season

Styles: Vocal 
Year: 2001
File: MP3@320K/s
Time: 47:39
Size: 110,8 MB
Art: Front

(3:12)  1. Jingle Bells
(4:23)  2. The Friendly Beasts
(3:45)  3. Carol Of The Bells
(5:38)  4. Snow
(4:44)  5. Her Gift
(3:28)  6. Children Go Where I Send Thee
(5:17)  7. Behold That Star
(3:35)  8. The Snowflake Season
(2:49)  9. Sleighride
(4:53) 10. I Saw Three Ships
(5:52) 11. What Are You Doing New Year's Eve?

Karin Plato grew up on the prairies in a small farming community called Alsask in the province of Saskatchewan. She studied the piano throughout her childhood. She later attended the University of Saskatchewan where she received her Bachelor of Music Degree in piano and voice. In 1985 she moved to Vancouver to study jazz and arranging at Capilano College. In 1996 and 1998 she studied vocal jazz at the Banff Centre For The Fine Arts with vocalists Sheila Jordan and Jay Clayton. In the late 1990s Karin seriously began to pursue a career as a jazz vocalist and composer. She began to appear in Vancouver jazz clubs performing a repertoire of jazz standards and originals and started performing in jazz festivals and concerts in BC, Alberta and Saskatchewan. Karin recorded her first album of jazz standards and originals in 1996 on a recording called Pastiche. In 1998 she recorded There's Beauty in the Rain for which she was nominated for a Juno award. (2000 Juno Awards) In the winter of 2000 Karin released two new recordings: Blue Again; a collection of duets; and Snowflake Season; a jazz/Christmas recording. In 2003 she released her fifth album The State of Bliss which features a guest appearance by Canadian vocalist Denzal Sinclaire on two duets. https://arioso-records.com/karinplato

Snowflake Season

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Della Reese - A Date With Della Reese

Styles: Vocal
Year: 1958
File: MP3@320K/s
Time: 33:58
Size: 78,9 MB
Art: Front

(2:07)  1. Sometimes I'm Happy
(4:12)  2. Happiness Is a Thing Called Joe
(2:09)  3. Almost Like Being in Love
(4:07)  4. Someone to Watch over Me
(2:45)  5. The Birth of the Blues
(1:55)  6. Pennies from Heaven
(2:15)  7. Getting to Know You
(3:19)  8. If I Forget You
(1:59)  9. All of Me
(3:16) 10. The Nearness of You
(4:02) 11. Just One of Those Things
(1:48) 12. The Party's Over

Renowned as both a television star and a top-flight interpreter of jazz, blues, R&B, gospel, and straight-ahead pop music, Della Reese's many talents ensured a long, varied, and legendary show biz career. In addition to being nominated for both an Emmy and a Grammy and receiving a star on the Hollywood Walk of Fame, Reese was also an ordained minister in the Universal Foundation for Better Living, an association of churches she helped found in the early '80s. Born Deloreese Patricia Early on July 6, 1931, the young Reese began singing in the Baptist church choir in her hometown of Detroit at age six. In 1945, having developed quite rapidly, she caught the ear of legendary gospel queen Mahalia Jackson, who invited Reese to join her touring choir; Reese did so for the next five summers. Upon entering Wayne State University to study psychology, Reese formed a women's gospel group, the Meditation Singers, but her college career was cut short by the death of her mother and her father's serious illness. Reese worked odd jobs to help support the rest of her family; she also continued to perform with the Meditation Singers and various other gospel groups. Encouraged by her pastor, Reese began singing in nightclubs in hopes of getting a singing career off the ground; recently married to a factory worker named Vermont Adolphus Bon Taliaferro, her name was too long to fit on marquees, and she eventually arrived at her performing alias by splitting up her first name. After impressing a New York agent, who promptly signed her, Reese moved to New York and joined the Erskine Hawkins Orchestra in 1953. A year later, she had a recording contract with Jubilee, for whom she scored hits like "And That Reminds Me," a 1957 million-seller.

Switching to RCA Victor, Reese landed her biggest hit in 1959 with "Don't You Know?," a song adapted from Puccini's La Bohème; this cemented her career, leading not only to plentiful appearances on variety shows, but successful nightclub tours of the country and eventually nine years of performances in Las Vegas, as well as recording contracts with a variety of labels over the next few decades. Building on her previous variety show experience, Reese made a small bit of television history in 1969 when she became the first woman to guest-host The Tonight Show with Johnny Carson. Later that year, she became the first black woman to host her own variety show, the syndicated Della, which ran until 1970. Following its cancellation, Reese returned to her nightclub tours, often putting in guest appearances on television shows like The Mod Squad, Sanford and Son, and Chico and the Man; after three prior failed marriages, Reese also found a lasting relationship with producer Franklin Lett, whom she married in 1978. On October 3, 1980, while taping a song for The Tonight Show, Reese suffered a brain aneurysm that nearly proved fatal; however, thanks to a successful operation, she was able to make a full recovery. She kept up her singing career and appeared on television shows like Designing Women, L.A. Law, and Picket Fences, as well as the Eddie Murphy films Harlem Nights and The Distinguished Gentleman. Reese also starred in the Redd Foxx sitcom The Royal Family from 1991-1992, and garnered what was undoubtedly her highest level of recognition in the inspirational drama series Touched by an Angel, a quite popular program that ran for nine years, between 1994 and 2003, on the CBS network. After Touched by an Angel finished its run, Reese continued to act intermittently on television through to 2014. She died at her home in Encino, California in November 2017 at the age of 86. ~ Steve Huey https://www.allmusic.com/artist/della-reese-mn0000196544/biography

A Date With Della Reese

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The Tenor Triangle With the Melvin Rhyne Trio - Tell It Like It Is

Styles: Jazz, Post Bop
Year: 1993
File: MP3@320K/s
Time: 63:03
Size: 145,0 MB
Art: Front

( 8:56)  1. Tell It Like It Is
(10:21)  2. Thing One
( 9:12)  3. Minor Changes
(8:02) 4. Ballad Medley-when Sunny Gets Blue - Cherokee - Memories Of You
( 7:15)  5. Lazy Bird
(12:06)  6. Body and Soul
( 7:07)  7. The Eternal Triangle

Are we clear on the concept here? Blowing session; three tenor saxophones backed by a classic organ trio; a standard or two (one way uptempo), the blues, and more blues. Mix in a deep groove, shake liberally, pour and enjoy. No little umbrellas, no tofu, no Perrier. Oh, yes: a generous dash of talent virtually guarantees a good time. And all of that is in here. Ralph Lalama, Tad Shull and Eric Alexander are the sax provocateurs, each striving to be as individual as possible and so to spark his peers to some unexplored space. “Old hat,” some will say, but so what? There’s plenty of music here, and a game of “who do you hear?” to pique the connoisseurs in the audience. I hear a touch of Dexter in Lalama, a rose-tinted hint of Shorter in Shull, and a champagne-crisp zest of ‘Trane in Alexander. Your mileage may vary, as they say on the ‘Net-but whoever you hear, you’ll hear plenty you like. ~ Bill Bennett https://jazztimes.com/archives/the-tenor-triangle-with-the-melvin-rhyne-trio-aztec-blues/

Personnel: Eric Alexander (tenor saxophone), Ralph Lalama (tenor saxophone), Tad Shull (tenor saxophone), Melvin Rhyne (Hammond organ), Peter Bernstein (guitar), Kenny Washington (drums)

Tell It Like It Is

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The Tenor Triangle With the Melvin Rhyne Trio - Aztec Blues

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 69:16
Size: 159,3 MB
Art: Front

(12:23)  1. Cedar's Blues
(11:52)  2. 'nother Fu'ther
(10:16)  3. The Song Is You
( 7:56) 4. Ballad Medley - But Beautiful-it Could Happen To You-I thought About You
( 6:16)  5. Melvin's Masquerade
(11:28)  6. Aztec Blues
( 9:02)  7. To The Chief

Are we clear on the concept here? Blowing session; three tenor saxophones backed by a classic organ trio; a standard or two (one way uptempo), the blues, and more blues. Mix in a deep groove, shake liberally, pour and enjoy. No little umbrellas, no tofu, no Perrier. Oh, yes: a generous dash of talent virtually guarantees a good time. And all of that is in here. Ralph Lalama, Tad Shull and Eric Alexander are the sax provocateurs, each striving to be as individual as possible and so to spark his peers to some unexplored space. “Old hat,” some will say, but so what? There’s plenty of music here, and a game of “who do you hear?” to pique the connoisseurs in the audience. I hear a touch of Dexter in Lalama, a rose-tinted hint of Shorter in Shull, and a champagne-crisp zest of ‘Trane in Alexander. Your mileage may vary, as they say on the ‘Net-but whoever you hear, you’ll hear plenty you like. ~ Bill Bennett https://jazztimes.com/archives/the-tenor-triangle-with-the-melvin-rhyne-trio-aztec-blues/

Personnel: Tenor Saxophone – Eric Alexander, Ralph Lalama, Tad Shull;  Organ – Melvin Rhyne; Drums – Kenny Washington; Guitar – Peter Bernstein

Aztec Blues

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