Noah Preminger - After Life

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 59:07
Size: 135,9 MB
Art: Front

(8:53) 1. World of Twelve Faces
(6:15) 2. World of Growth
(8:07) 3. Senseless World
(9:07) 4. Hovering World
(6:10) 5. Nothing World
(5:59) 6. World of Hunger
(4:44) 7. Island World
(9:50) 8. World of Illusion

At only 33 years of age, New York based Tenor Saxophonist, Noah Preminger, already has a long list of releases as a leader and has played with some of New York’s most lauded players (Jason Moran, Ben Monder, John Patitucci…). On his latest album ‘After Life’, Noah plays alongside guitarist Max Light, trumpeter Jason Palmer, Rudy Royston on drums and Kim Cass on double bass. Despite many of album’s tracks bearing decidedly gloomy titles (‘Senseless World’, ‘World of Hunger’, ‘World of Illusion’), the album never is dreary nor militant, merely pointing to global issues and the consequences of human behaviour. Noah’s compositions are full of character and whimsy, striking with unfaltering resolve. And these musicians at the top of their game sound like they’re rightly enjoying getting their teeth into these elegant creations.There are moments to get lost in, such as on the tranquil ruminations of ‘Island World’, which cradles as the horns languish. Noah’s pensive opener ‘World of Twelve Faces’, sees his soloing take on a searching tone as if entangled in the web of Max’s fluid chords. The spritely ‘World of Growth’ contains some impressive acrobatics from Jason Palmer’s trumpet as he and Noah bounce nicely off one another, trading licks with aplomb.

The slow introspection of ‘Senseless World’ sparkles, engineered by the undulating accents of Rudy’s drums. The looser playing from the horns translates the desired emotions; weariness with an added bite. The band reaches progressive new heights on the free-form ‘Hovering World’, it is defiantly raucous and unrestrained. The distracted narrative meanders into ominous droning with rattling drums, briefly returning to a juxtaposing traditional Hard Bop spell. The sombre and balanced double bass of Kim Cass plays out with stoicism over the unassuming ‘Nothing World’. The subtle melodies of Noah, Jason and Max grow in confidence to form a passionate ballad. The band gives an aggressive, writhing performance on the brash ‘World of Hunger’. Notes cascade with urgency as if making a call to arms. It’s an agitated and relentless composition, with a discordant yet incendiary hook. In contrast, the melancholy ‘Island World’, soothes with a sustained breathy tone and a deep sentimentality. The tender approach exemplifies the musical range these artists possess. Final track ‘World Of Illusion’, sees the band concluding in an impressive fashion, with saxophone and trumpet gracefully dancing around in a sparse introduction, then turning into a brooding and elemental arrangement. The energy gathers when Max’s expansive and textured sound combines with Rudy’s thumping drums.This album holds interest throughout and like a lot of Jazz albums it requires dedicated listening to fully appreciate the emotive soloing and seamless arrangements. ‘After Life’ will leave you captivated. https://ukvibe.org/album_reviews/noah-preminger/

After Life

---

Eric Dolphy Quartet - Europe, My Love

Styles: Saxophone, Clarinet And Flute Jazz
Year: 2015
File: MP3@320K/s
Time: 74:11
Size: 170,5 MB
Art: Front

(13:44) 1. Laura
( 5:58) 2. Les
(11:08) 3. Don't Blame Me
(12:08) 4. When Lights Are Low
( 9:06) 5. The Way You Look Tonight
(11:45) 6. Don't Blame Me #2
(10:19) 7. Woody'n You

Eric Dolphy was a true original with his own distinctive styles on alto, flute, and bass clarinet. His music fell into the "avant-garde" category yet he did not discard chordal improvisation altogether (although the relationship of his notes to the chords was often pretty abstract). While most of the other "free jazz" players sounded very serious in their playing, Dolphy's solos often came across as ecstatic and exuberant. His improvisations utilized very wide intervals, a variety of nonmusical speechlike sounds, and its own logic. Although the alto was his main axe, Dolphy was the first flutist to move beyond bop (influencing James Newton) and he largely introduced the bass clarinet to jazz as a solo instrument. He was also one of the first (after Coleman Hawkins) to record unaccompanied horn solos, preceding Anthony Braxton by five years. Eric Dolphy first recorded while with Roy Porter & His Orchestra (1948-1950) in Los Angeles, he was in the Army for two years, and he then played in obscurity in L.A. until he joined the Chico Hamilton Quintet in 1958. In 1959 he settled in New York and was soon a member of the Charles Mingus Quartet. By 1960 Dolphy was recording regularly as a leader for Prestige and gaining attention for his work with Mingus, but throughout his short career he had difficulty gaining steady work due to his very advanced style. Dolphy recorded quite a bit during 1960-1961, including three albums cut at the Five Spot while with trumpeter Booker Little, Free Jazz with Ornette Coleman, sessions with Max Roach, and some European dates. Late in 1961 Dolphy was part of the John Coltrane Quintet; their engagement at the Village Vanguard caused conservative critics to try to smear them as playing "anti-jazz" due to the lengthy and very free solos. During 1962-1963 Dolphy played third stream music with Gunther Schuller and Orchestra U.S.A., and gigged all too rarely with his own group. In 1964 he recorded his classic Out to Lunch for Blue Note and traveled to Europe with the Charles Mingus Sextet (which was arguably the bassist's most exciting band, as shown on The Great Concert of Charles Mingus). After he chose to stay in Europe, Dolphy had a few gigs but then died suddenly from a diabetic coma at the age of 36, a major loss. Virtually all of Eric Dolphy's recordings are in print, including a nine-CD box set of all of his Prestige sessions. In addition, Dolphy can be seen on film with John Coltrane (included on The Coltrane Legacy) and with Mingus from 1964 on a video released by Shanachie. ~ Scott Yanow https://www.allmusic.com/artist/eric-dolphy-mn0000800100/biography

Europe, My Love

---

Jordana Talsky - Neither of Either

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 39:00
Size: 90,4 MB
Art: Front

(3:10) 1. Run
(3:30) 2. Spark
(4:03) 3. Around You All the Time
(4:05) 4. Wave of Emotion
(3:34) 5. Neither of Either
(5:25) 6. Ways
(3:38) 7. Don't Know
(2:30) 8. Sick
(4:02) 9. Bitter Sweet Heart
(4:58) 10. You Oughta Know

Jordana is a singer-songwriter and loop artist. Her music fuses pop, acapella, jazz, and alt influences into a unique crossover sound. Listeners cite Imogen Heap, Sara Bareilles and KT Tunstall as references. Her show weaves original material along re-imaginings of standards, often drawn from the great songwriters of her native Canada. She has toured across Canada, the U.S. and Europe with notable festival appearances, including Summerfest (Milwaukee), Winnipeg Jazz Festival, Live at Heart (Sweden) and Folk Alliance International. Songwriting credits include finalist placements in the John Lennon Songwriting Competition (2018, 2014), CBC Searchlight (2018 top 10), Toronto Independent Music Awards (2015) and Julian Award for Emerging Canadian Artists. She has enjoyed widespread airplay for her two releases Neither of Either and Standard deviation. https://jordanatalsky.com/about

Neither of Either

---

Josie Falbo - Taylor St.

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 60:32
Size: 140,2 MB
Art: Front

(4:00) 1. What You Do To Me
(2:08) 2. Thou Swell
(3:21) 3. Little Jazz Bird
(4:24) 4. Pretty Blue Eyes
(4:15) 5. Only You
(4:00) 6. Love Found Me (Just in Time)
(3:30) 7. The Very Thought of You
(5:01) 8. At Last
(3:25) 9. Triste
(3:38) 10. Too Marvelous for Words
(6:05) 11. The Music That Makes Me Dance
(4:11) 12. This Is Real
(4:33) 13. Fragile, Handle With Care
(3:48) 14. Ave Maria (Intermezzo from "Cavalleria Rusticana")
(4:08) 15. Oh Happy Day

Chances are you’ve heard Josie Falbo more often than any other singer on the planet. The Chicago-based chanteuse’s voice has, over the years, been employed to sell Coca-Cola, McDonald’s, Budweiser, Sara Lee, Oscar Mayer and dozens of other name brands the world over. She has also sung behind Celine Dion, Michael Jackson, Earth, Wind & Fire, Michael Bolton and Nancy Wilson. Falbo’s age is hard to determine. The only clue available online is that she was signed to Vee-Jay (the label that hit it big with the Four Seasons but also produced some of Bill Henderson’s best work) in 1964. That puts Falbo in her 60s today-a remarkable fact given the incredible youthfulness of her voice. She can sound remarkably similar to the young Whitney Houston or Vanessa Williams. Indeed, throughout this 15-track collection, she often ventures deep into Houston or Williams territory, which makes for a decidedly schizophrenic album. Approximately half of the disc, all newer compositions, is pure pop-superb pop, but Houston-esque belting nonetheless. The balance consists of extraordinary jazz tracks. Falbo can swing hard, offering a blistering “Too Marvelous for Words,” an effervescent “Thou Swell” and a sassy “Little Jazz Bird.” She can also cuddle deep within a ballad, and delivers a delightful, rippling “The Very Thought of You” and a tender “The Music That Makes Me Dance.” Again veering from the jazz path, Falbo delivers an “Ave Maria” of incandescent beauty and, with her fellow members of the Lakeside Singers, erects a towering “Oh, Happy Day” that rivals anything Aretha Franklin has done.~ Christopher Loudon https://jazztimes.com/reviews/albums/josie-falbo-taylor-street/

Taylor St.

---

Lynne Arriale Trio - Chimes of Freedom

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 48:55
Size: 113,0 MB
Art: Front

(4:48) 1. Sometimes I Feel Like a Motherless Child
(4:55) 2. Journey
(4:18) 3. The Dreamers
(4:53) 4. 3 Million Steps
(4:56) 5. Hope
(5:11) 6. The Whole Truth
(5:18) 7. Lady Liberty
(3:52) 8. Reunion
(4:56) 9. Chimes of Freedom
(5:45) 10. American Tune

Melodic intelligence and inner exploration are at the core of any Lynne Arriale recording. Chimes of Freedom is no exception. It does, however, have many moments which are exceptional. Once again featuring bassist Jasper Somsen and drummer E. J. Strickland, the record weighs in at a nourishing forty-five minutes of mood enhancement. Seven Arriale originals are the backbone of this ten-song project. Vocalist K. J. Denhert joins the ensemble for the final two tracks. The trio opens by leading listeners through the familiar grace of the somber yet quietly hopeful "Sometimes I Feel Like a Motherless Child." Arriale quickly spins in another direction with the first of seven consecutive originals, a brisk "Journey" fostered by a tight groove and a spirited tempo. Arriale's signature gliding fingers, now at the fore, indeed seamlessly glide into "The Dreamers." The mood is altered once again with this mesmerizingly elegant tune which weaves through changes in a manner perhaps more like floating through them. As melody is a crucial element to Arriale and her fan base, one may find "3 Million Steps" to be among the most important pieces on the record. It is a song which splendidly represents Arriale's distinctive sound and approach. Somsen's thoughtful bass solo is then a highlight as the trio aligns with a connective unity of "Hope," embraced with calmly joyous interaction. Picking up the pace with a piano run, Arriale has Somsen and Strickland sprinting alongside her in perfect harmony in "The Whole Truth." Throughout the record Arriale's storytelling abilities are in abundance. "Lady Liberty" demonstrates fully her heartfelt caressing of every note. Gently, but with deep emotion, her fingers sing out with her unique warmth and charismatic tone. The ever-changing and smoothly-transitioned ride becomes energetic and strident as Strickland inserts his voice with controlled exuberance in "Reunion." This tune vividly displays the fiery enthusiasm, fierce undertones, and emotional investment with which Arriale has become synonymous. Denhert then sings Bob Dylan's "Chimes of Freedom." The title track is given a form of salient expressionism which is both respectful and understanding of Dylan's intent. The trio deftly tells the story significantly through their nuanced instrumentation. The final chapter is a melancholy take on Paul Simon's "American Tune." While Denhert laments Simon's verbiage, the trio paints an ostensibly clear visionary picture of the everyman tale. Lynne Arriale has a gifted touch and authenticity which she shares every time she sits down at the piano. She can be heard as a bedtime story or as a savvy instrumentalist. As connected as she is to the piano and the melody, she is equally aligned with her bandmates. Her significant and innate melodic investment is shaped and broadened by her ability to communicate and process together as a unit. This is a true blend of arrangements, storytelling, and improvisation. It is a collective artform presented here with sincerity and sophistication. ~Jim Worsley https://www.allaboutjazz.com/chimes-of-freedom-lynne-arriale-challenge-records

Personnel: Lynne Arriale: piano; Jasper Somsen: bass; E.J. Strickland: drums; K.J. Denhert: voice / vocals.

Chimes of Freedom

---

Alex Sipiagin - Nofo Skies

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 76:51
Size: 177,6 MB
Art: Front

( 9:23) 1. Rush
( 8:59) 2. Nofo Skies
( 8:52) 3. Recovery
( 9:11) 4. Savoir
( 5:27) 5. Sky 1
(10:28) 6. Shadows
( 7:06) 7. Start Of…
( 4:00) 8. Sky 2
( 8:41) 9. Between AM's (feat. Alina Engibaryan)
( 4:39) 10. For You

An active veteran of touring stages around the world, Russian trumpeter Alex Sipiagin has sessioned with, among many, Dr. John, Elvis Costello, Dave Holland's Big Band, Michael Brecker's Sextet and Quindecet, plus the Mingus Big Band, Dynasty Band, and Orchestra. For NoFo Skies, his first disc on Blue Room, Sipiagin reassembles his crackling three-horn septet from the loudly-acclaimed Moments Captured (Criss Cross, 2017) and delivers a crackling, ten-song set of smartly-crafted, sweet-listening originals. Sipiagin and company waste no time laying down the blueprint. Fronted by a flurry of exhilarating staccato lines, tenor saxophonist Chris Potter, Sipiagin, and alto saxophonist Will Vinson, along with the ever muscular Eric Harland on drums, "Rush" in. Keyboardist/pianist John Escreet flavors the title track with an airy, playful fusion. Potter continues his acrobatics when the song breaks into a tightly-choreographed Sipiagin/Harland conversation, giving way to more trade-offs between the horns. And though it feels disruptive to the flow and vibe and holds the disc back from a higher star rating, "Recovery" is a mellow stop and the first of four tracks that return the breathy stylings of vocalist/lyricist Alina Engibaryan to the otherwise bubbling mix. Sipiagin moves away from the percolating and propulsive with the ambient minimalist explorations of "Sky 1" and "Sky 2." Harland is a skittery presence, his brush work and atmospheric cymbal work giving balance to clouds of synth and the resonant depth of bassist Matt Brewer, who un-demonstrably, holds the whole of NoFo Skies quietly together.~ Mark Jurkovic https://www.allaboutjazz.com/nofo-skies-alex-sipiagin-blue-room-review-by-mike-jurkovic.php

Personnel: Alex Sipiagin: Trumpet; Chris Potter: Tenor Saxophone; Wiil Vinson: Alto Saxophone; John Escreet: Piano and Keyboards; Matt Brewer: Bass; Eric Harland: Drums; Alina Engibaryan: Vocals (# 3, 6, 9, 10).

Nofo Skies

---

Deborah J. Carter - Girl-Talking! Live in Concert

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 68:17
Size: 157,8 MB
Art: Front

(6:39) 1. My Favourite Things
(3:14) 2. Sister Sadie
(5:57) 3. New York State Of Mind
(6:24) 4. Yesterday
(5:09) 5. Red Top
(4:47) 6. Girl talk
(4:11) 7. Perfect Stranger
(4:14) 8. The Whistle Man
(5:40) 9. Ten Minutes Till The Savages Come
(3:48) 10. Between The Raindrops
(5:15) 11. Ahmad's Blues
(5:32) 12. You've Proven Your Point (Bongo Beep)
(3:43) 13. Ten Minutes In Paris
(3:38) 14. Sabado (Barri Sa Coma)

Deborah J. Carter is the epitome of a world class jazz singer. Born in the U.S. with ties in Hawaii and Japan, her home now is in Europe. Her current concert schedule agenda is a global itinerary of performances from Cristofori, Amsterdam to Madrid Spain. Her new recording, Girl-Talking!, highlights one of her live performances at the Pannonica jazz club in Hague, Holland in 2003. The concert features Carter with her working trio performing a variety of popular covers and jazz influenced songs. From her first note it's evident that Carter is a pro. With a polished and elegant voice and diva-like skills, Carter gives the audience an entertaining performance. The first set begins with a version of the classic "My Favorite Thing," which gives light to Carter's panache as she sings with playful exuberance while the band delivers equally engaging music. She's in total control when she scats, chats, and vocalizes on Horace Silver's "Sister Sadie." The modern classic "New York State of Mind" is refreshingly smooth as the trio swings along with Carter's lithe lyrics. Other gems include a moving version of John Lennon's timeless "Yesterday" where Carter soulfully expresses the haunting melody. The second set begins with the colorful "Whistle Man" as Carter's range stretches boundaries with ease. The trio aptly accentuates the singer with solid playing that leaves ample room for discovery on each tune. On the blues-themed "Ten Minute Till the Savage Comes," pianist Colen Molenaar and bassist Mark Zandvald share impressive solos and drummer Enrique Firpi displays crisp rhythmic skills on the bonus track "Sabado (Barr Si Coma)." With captivating vocals, good music, and the right atmosphere, Girl-Talking! is yet another entertaining glimpse of a jazz songstress who deserves a wider audience. It's easy to hear why Deborah Carter is popular with our fellow jazz fans across the ocean.~ Mark F. Turner https://www.allaboutjazz.com/girl-talking-deborah-j-carter-timeless-records-review-by-mark-f-turner.php

Girl-Talking! Live in Concert

---

David Benoit - Right Here, Right Now

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 49:09
Size: 113,5 MB
Art: Front

(5:22) 1. Watermelon Man
(4:37) 2. Right Here, Right Now
(5:25) 3. Le Grand
(4:31) 4. Don't Know Why
(5:12) 5. Jellybeans And Chocolate
(5:44) 6. Third Encounter
(5:35) 7. Swingin' Waikiki
(4:10) 8. Don't Let Me Be Lonely Tonight
(4:31) 9. Wistful Thinking
(3:58) 10. Quiet Room

A true elder statesman of contemporary jazz (whose seminal mid-'80s recordings helped pave the way for the smooth jazz genre), pianist David Benoit stayed relevant, fresh, and funky due to three factors brilliant melodies, stylistic diversity from track to track, and working with hip, edgy producers. Rick Braun co-produced two of Benoit's recent, similarly brilliant offerings, Professional Dreamer (1999) and Fuzzy Logic (2001), and on Right Here, Right Now assumes the helm fully, guiding Benoit through a wide terrain of musical territory, sometimes adding his own trumpet expertise. There's the ongoing fun of funk/soul triumphs like "Watermelon Man" (Herbie Hancock's classic fashioned with the old-school bounce of another Benoit influence, Ramsey Lewis), the retro-minded title track, and the brassy jam "Jellybeans and Chocolate" (featuring Brian Culbertson and Euge Groove). Benoit's more thoughtful side emerges on the film score-like "Le Grand," an unofficial tribute to the ststyle of Michel Legrand featuring a dense percussion atmosphere, and the understated, melancholy "Quiet Room," a tribute to Benoit's late father (featuring Braun and guitarist Pat Kelley) and something of a sequel to his Grammy-nominated piece "Dad's Room." Benoit's other stops include hitching posts in "Swingin' Waikiki" (ah, the joy of bossa, featuring saxman Andy Suzuki) and a mystical, bass-throbbing "Third Encounter." Aside from his occasional Vince Guaraldi reduxes, Benoit with a few exceptions never much relied on cover tunes, but here includes two besides the Hancock tune a dreamy "Don't Let Me Be Lonely Tonight" with Peter White and an orchestra, and a sparse easy listening cover of "Don't Know Why." Years passed, smooth jazz radio kept playing his oldies, yet his new stuff kept getting better and better.~ Jonathan Widran https://www.allmusic.com/album/right-here-right-now-mw0000316033

Personnel: David Benoit – acoustic piano (1-10), Wurlitzer electric piano (1), arrangements (1-7, 9, 10), string pad (2), synthesizer programming (2), Fender Rhodes (5), Hammond B3 organ (5), string arrangements and conductor (8); Pat Kelly – guitar (1, 3, 4, 7-10); Tony Maiden – guitar (1, 5); Randy Jacobs – guitar (2); Peter White – guitar solo (8); Kevin Axt – bass (1, 4, 8); Nathan East – bass (3, 6); Freddie Washington – bass (5); Dean Taba – bass (6, 7, 9, 10); Land Richards – drums (1, 4, 6, 8); Bud Harner – drums (2); Steve Ferrone – drums (3, 5, 6); Jeff Olson – drums (7, 9); Paulinho da Costa – percussion (1, 3, 4, 6, 7); Luis Conte – percussion (2); Lenny Castro – percussion (5); Brad Dutz – percussion (8); Euge Groove – tenor saxophone (5); Andy Suzuki – tenor saxophone (7, 9); Nick Lane – trombone (1, 2), horn arrangements (1, 2, 5); Brian Culbertson – trombone (5); Rick Braun – trumpet (1), party and fun stuff effects (1), arrangements (1, 2, 3, 5, 6), horn arrangements (1, 2, 5), synthesizer programming (2), computer programming (6), flugelhorn (10); Wayne Bergeron – trumpet (2)

Right Here, Right Now

---

Dayna Stephens - Right Now! Live at the Village Vanguard

Styles: Saxophone
Year: 2020
File: MP3@320K/s
Time: 100:11
Size: 231,3 MB
Art: Front

( 6:29) 1. Smoking Gun
( 6:22) 2. Tarifa
( 6:36) 3. Ran
( 7:33) 4. Contagious
( 9:06) 5. Radio-Active Earworm
( 7:46) 6. Faith Leap
( 5:32) 7. Lesson One
( 8:06) 8. Loosy Goosy
(11:13) 9. Planting Flowers
( 9:48) 10. JFK International
( 8:02) 11. You Are Me Blues
( 7:59) 12. The Beginning of an Endless Happy Monday
( 5:35) 13. Blakonian Groove

Dayna Stephens, ranked first-place Rising Star Tenor Saxophonist in the 2019 Downbeat Critics Poll, is proud to follow up his acclaimed 2020 trio release Liberty with his 10th album as a leader, Right Now! The Dayna Stephens Quartet Live at the Village Vanguard. Recorded at the historic New York club in February 2019, Right Now! finds Stephens fronting a brilliant quartet with Aaron Parks on piano, Ben Street on bass and Gregory Hutchinson on drums. “Playing the Vanguard was so special for me,” says Stephens. “The Vanguard was the first place I saw live musicians play, a videotape of the Johnny Griffin Quartet that I saw when I was 13. To lead my own group at the Vanguard is the highest honor that I, and the 13-year-old inside of me, could have ever imagined.” Much of the Right Now! repertoire comes from Stephens’ rich catalog as a leader, beginning with his 2007 debut The Timeless Now — on which “The Beginning of an Endless Happy Monday,” “Smoking Gun” (based on Monk’s “Evidence”) and “Contagious” were first heard. “In a way I see Right Now! as perhaps the bookend of this chapter in my evolution since The Timeless Now,” Stephens remarks, hinting at new directions to come. We also hear “Radio-Active Earworm” and “Loosy Goosy” from 2012’s Today Is Tomorrow and “JFK International” from 2013’s I’ll Take My Chances, revised and reinvented on the bandstand. “Every time I count off a tune it begins a new journey, even more so with different personnel,” Stephens says.

Street, who played bass on The Timeless Now as well as Liberty, brings his deep insight and effortless flow to the music at every step, complementing Hutchinson’s supple and joyously interactive swing. There are also five songs from Liberty (including “Loosy Goosy” as well), but in contrast to Liberty’s sparser trio versions of “Tarifa,” “Ran,” “Faith Leap” and Aaron Parks’ own “Planting Flowers,” we now hear Parks added to the mix. “In trio the conversation tends to be based more around rhythm,” Stephens notes. “Aaron adds a patient rhythmic and harmonic depth that I find really engaging. His solo on ‘Faith Leap’ knocks me out every time I hear it. And ‘Planting Flowers,’ which he wrote at age 15, is just one of the most perfect tunes I’ve ever played, and it works at many different tempos and approaches.” There are new compositions as well: “Lesson One,” a fiery midtempo homage to Stephens’ Bay Area mentor John Spingarn; “You Are Me Blues,” which refers to the human tendency to “forget about our unity as a species”; and the closing “Blakonian Groove,” a dedication to Stephens’ friend, neighbor and Kenny Barron Quintet bandmate, drummer Johnathan Blake. While Stephens plays soprano on “Tarifa” and alto on “Faith Leap” and “Endless Happy Monday,” Right Now! is mainly a showcase for his distinctively warm and agile tenor, revealing traces of many pivotal influences including Charlie Rouse, Sonny Rollins, Joe Henderson, Lester Young and more. Another sound emerges as well, on “Blakonian Groove” and “Radio-Active Earworm”: the Nyle Steiner Electronic Wind Instrument (EWI), which brings a wealth of alternate textures and colors to the band’s sound. “My EWI sound is directly influenced by the Leslie speaker that comes often with a Hammond B3 organ,” Stephens explains. “I also use guitar pedals and iPad sound generators and can get lost in it for hours at a time. This period of social distancing has driven me even deeper into sound design. My next recording is with the EWI-focused band Pluto Juice and will be out sometime in winter 2020.” https://daynastephens.bandcamp.com/album/right-now-live-at-the-village-vanguard

Personnel: Dayna Stephens, saxophone; Aaron Parks, piano;Ben Street, bass; Gregory Hutchinson, drums

Right Now! Live at the Village Vanguard

---

Glenn Crytzer - Focus Pocus

Styles: Swing
Year: 2013
File: MP3@320K/s
Time: 25:30
Size: 59,3 MB
Art: Front

(3:00) 1. Focus Pocus
(3:28) 2. Please Don't Imagine
(3:04) 3. My Blue Apples
(5:18) 4. All That I Can Give You is a Melody
(2:52) 5. A Case of the Blues
(4:08) 6. The Grass is Always Greener (If You're High)
(3:38) 7. Spendin' All My Rainy Days With You

Glenn Crytzer is a New York City based bandleader, arranger, composer, guitarist, and vocalist who is in love with the music of the Jazz Age and Swing Era. While completing his formal training in classical composition and cello at the Cleveland Institute of Music and the Florida State University, Glenn took up dancing the Lindy Hop as a hobby. Through the Lindy his love of early jazz grew, but he lamented that there were so few musical groups that specialized authentic performance of his favorite kind of music. Glenn decided to put his musical training to use, taught himself guitar, banjo, and jazz arranging, and set about bringing to life the music he loved. Now in his mid 30s, Glenn has become a staple in New York City’s jazz scene as a guitarist and bandleader. He has released 8 albums with his big band and combos and dozens of his recordings have been featured in films and TV shows seeking to evoke the sound of the golden age of radio. In 2017 his big band was named Best Group in New York in the NYC Jazz Awards. https://www.glenncrytzer.com/glenn

Focus Pocus

---

Van Morrison - His Band and the Street Choir

Styles: Vocal, Guitar
Year: 1970
File: MP3@320K/s
Time: 42:18
Size: 98,5 MB
Art: Front

(3:09) 1. Domino
(3:00) 2. Crazy Face
(2:40) 3. Give Me a Kiss
(3:29) 4. I've Been Working
(3:55) 5. Call Me Up in Dreamland
(3:53) 6. I'll Be Your Lover, Too
(3:48) 7. Blue Money
(4:14) 8. Virgo Clowns
(3:18) 9. Gypsy Queen
(2:12) 10. Sweet Jannie
(3:47) 11. If I Ever Needed Someone
(4:49) 12. Street Choir

Released in 1970, Van Morrison's Moondance was a hit commercially and critically. Encouraged by his manager, Morrison and a sextet including three players from the Moondance sessions hit the studio and delivered His Band & the Street Choir in time for that year's holiday season. Morrison responded to the pressure by relaxing into it. The feel here is loose, often celebratory. He digs deep into his long-held fascination with the New Orleans R&B tradition for inspiration. "Domino" is his highest charting single. The funky guitar lick, left-hand piano rumbling, driving, Memphis-style horns, and pumping bassline kick things off in grand party style. The ballad "Crazy Face," written in 1968, melds acoustic guitar, mandolin, and piano. Morrison's brittle, bluesy saxophone line and a grooving B-3 tip the balance toward R&B. "Give Me a Kiss" has a great Zigaboo Modeliste feel in the horn charts; Fats Domino gets referenced in Alan Hand's piano stroll, and the punchy, doo-wopping tag in the chorus nods at Frankie Ford. "I've Been Working" (which dates to Astral Weeks) is Morrison at his funky best, roaring above a cooking choogle. The acoustic guitar vamp is highlighted by swirling organ, and electric Meters-esque guitar and basslines. Drummer Dahaud Elias Sharr lays down tough breaks and fills throughout as jazzy horns frame the singer. "Call Me Up in Dreamland" features the loose-knit "street choir" (musicians, wives, girlfriends, etc.). It's built on the ragged, Celtic soul-gospel template that Morrison would continue to refer to. The intimate "I'll Be Your Lover Too," adorned only by acoustic guitar and whispering drums, is haunted with the slow-burn passion that would flow so easily on 1972's Saint Dominic's Preview. Second single "Blue Money" is a Rhodes-and-brass driven blues that returns to the NOLA trick bag for fire. The poetic "Virgo Clowns" is painted in a lovely meld of 12-string acoustic guitars and bass clarinet. "Gypsy Queen" is slippery love song, with Morrison offering a gorgeous falsetto. The Celtic soul in "If I Ever Needed Someone" is highlighted by the same trio of backing vocalists that appeared on Moondance's "Crazy Love." The closing title track draws on the swaggering, testifying gospel that inspired that album's "Caravan" (and, played back-to-back, seems to grow right out of it). The street choir's backing is sweeter, balanced by eloquent sax and harmonica breaks. As an album, His Band & the Street Choir may not equal Astral Weeks or Moondance, but the aim was never that lofty. That most of these songs have endured as fan favorites is testament enough to their quality.~ Thom Jurek https://www.allmusic.com/album/his-band-and-the-street-choir-mw0000191086

His Band and the Street Choir

---

Demis Roussos - My Only Fascination (Remastered 2016)

Styles: Vocal
Year: 2016
File: MP3@320K/
Time: 46:35
Size: 127,6 MB
Art: Front

(3:43) 1. My Only Fascination
(2:48) 2. White Sails
(3:11) 3. Marlene
(2:56) 4. Say You Love Me
(3:00) 5. Smile
(3:04) 6. Someday Somewhere
(3:25) 7. Lovely Lady Of Arcadia
(3:41) 8. Shadows
(3:43) 9. Reverie
(3:59) 10. We Pretend
(3:33) 11. Let It Be Me
(3:04) 12. Yellow Paper
(3:23) 13. With You
(3:00) 14. Un Dia Igual A Los Demas

Singer Demis Roussos, known for his dramatic, operatic vocal stylings, was born Artemios Ventouris Roussos in Alexandria, Egypt, on June 15, 1946, to Greek expatriate parents. In the early '60s, however, the family decided to return to their homeland, and once there, the young Roussos (who had studied trumpet and sung in the church choir in Egypt) began playing in local bands. One of these was Aphrodite's Child, which also featured Vangelis Papatanassiou and Lucas Sideras. A huge hit in Europe, especially France, the band released a handful of albums before breaking up in 1971. With his label contacts in place, however, Roussos was able to secure a deal as a solo recording artist, and later that same year issued the single "We Shall Dance," also included on the album On the Greek Side of My Mind. The 1970s were a prolific time for Roussos, and he released a number of singles and albums that charted highly on the European and Latin American charts. In 1978 the singer decided to retire, and moved to Malibu Beach, where he kept a lower profile. Eventually he moved back to Greece, however, and it was there from which he boarded TWA flight 847 to Rome on June 14, 1985. The plane was hijacked by members of Hezbollah and Islamic Jihad, and Roussos and his wife, along with the other passengers, were held captive for a few days. The experience changed his life, and he decided the best way he could help others and promote understanding in the world was by returning to music. The Story of Demis Roussos came out shortly thereafter, and for a short while the singer's career was reignited, especially in southern Europe. Demis Roussos died in Athens in January 2015; he was 68 years old.~ Marisa Brown https://www.allmusic.com/artist/demis-roussos-mn0000243851/biography

My Only Fascination (Remastered 2016)

---

The Puppini Sisters, The Pasadena Roof Orchestra - Dance Dance Dance

Styles: Vocal, Swing
Year: 2020
File: MP3@320K/s
Time: 44:24
Size: 102,8 MB
Art: Front

(3:30) 1. 9 to 5
(3:47) 2. I Wanna Dance With Somebody
(2:39) 3. Sing Sing Sing
(4:16) 4. Shallow
(3:37) 5. Dance Dance Dance
(2:51) 6. Ba Ba Baciami Piccin
a (3:20) 7. Jealousy
(3:44) 8. Dancing Queen
(3:17) 9. Mack the Knife
(3:54) 10. I Put a Spell On You
(2:45) 11. Puttin' On the Ritz
(3:39) 12. Groove Is In the Heart
(2:59) 13. Don't Fence Me In

Three simple words define gorgeous close harmonies, impeccable fashion sense and trailblazing re-workings of pop and classic songs… The Puppini Sisters! Often copied, never equalled, this truly original trio, founded in 2004 by Marcella Puppini and featuring Kate Mullins and Emma Smith, seamlessly blend elegance and sophistication with a touch of retro and turn it into a must have lifestyle.

With five unprecedented albums under their waist-cinching belts, including the fastest selling UK jazz album of all time, Betcha Bottom Dollar, and fans such as Prince Charles and Michael Bublé, its no wonder everybody wants a piece of them in some way or another; whether it is one of their inimitable albums, tickets to their exhilarating live shows or an exclusive and innovative item of merchandise, it all adds to the Puppini experience. So come and join the worldwide followers of this inspirational band and check out their new online shop below, to help bring Puppini retro chic to your life! https://www.thepuppinisisters.com/

Dance Dance Dance

---

Francesco Caligiuri Quintet - Renaissance

Styles: Saxophone, Clarinet, Flute
Year: 2019
File: MP3@320K/s
Time: 43:16
Size: 100,3 MB
Art: Front

(5:53) 1. The Breeze
(3:10) 2. Le petit enfant
(4:23) 3. Restless
(4:12) 4. Rêve
(5:48) 5. Il Canto dei Titani
(7:04) 6. Double Essence
(5:49) 7. Relax Your Mind
(6:54) 8. Renaissance

Eugenio Colombo describes the disc in the cover notes by saying these words: “Amazing, the music on this CD seems to have come from a secret (British) casket of the fatal 70s. Complexity of the compositional form, unitary and consequent conception of the proposed music, agogic and use of times and meters of other latitudes refer us to the aesthetics of the so-called “progressive rock”, but the expressive freedom and the risk in the improvisational parts transport us to a universe close to the most authentic African American avant-garde.

We are less surprised that this music is composed, organized and played by a young man: Francesco Caligiuri, from a small town near Cosenza, therefore from the periphery of the periphery of the Empire. Italy, on the outskirts of Europe, has accustomed us for a long time that cultural events do not necessarily take place in big cities, just think of Clusone, Noci but also, in other ways, Spoleto. The project is already defined by the choice of the adventure companions: Nicola Pisani soprano sax, the same Francesco Caligiuri baritone sax, bass clarinet and alto recorder, Michel Godard tuba and serpentone, Luca Garlaschelli double bass and Francesco Montebello drums; expert musicians, curious about different sound environments, without pre-made models and with original sounds.

The compositions are always at the service of the soloists, there is a counterpoint design which, also due to the absence of a harmonic instrument, gives us the illusion of listening to a small chamber orchestra instead of a jazz quintet”. https://francescocaligiuri.com/en/js_albums/renaissance-2/

Personnel: Francesco Caligiuri (baritone sax, bass clarinet and flute), Nicola Pisani (soprano sax), Michel Godard (tuba and serpentone), Luca Gralaschelli (double bass), Francesco Montebello (drums).

Renaissance

---

Ella Fitzgerald - Invite You To Listen And Relax

Styles: Vocal
Year: 1955
File: MP3@320K/s
Time: 35:09
Size: 82,2 MB
Art: Front

(3:08) 1. I Wished On The Moon
(2:43) 2. Baby
(3:00) 3. I Hadn't Anyone Till You
(3:13) 4. A Man Wrote A Song
(2:49) 5. Who's Afraid (Not I, Not I, Not I)
(2:27) 6. Happy Talk
(3:05) 7. Black Coffee
(3:05) 8. Lover's Gold
(2:55) 9. I'm Gonna Wash That Man Right Outa My Hair
(3:01) 10. Dream A Little Longer
(2:40) 11. I Need
(3:00) 12. Foolish Tears

Responding to the demand for mood music albums in 1958, Decca put together an LP of ballads and things that Ella Fitzgerald recorded in tandem with Decca's all-purpose music director Gordon Jenkins when he was riding high in the early '50s. Fitzgerald could invoke a few jazz inflections here and there, particularly on a bluesy rendition of "Black Coffee," but she is asked mostly to play the role of a white-bread pop crooner. All of Jenkins' harmonic, big-band, orchestral and choral trademarks are in full play here, evoking the cozy ambience of postwar suburbia as completely as anyone did in those days. As a period piece, it is very enlightening, but Fitzgerald's best Decca work lay elsewhere. ~Richard S. Ginell https://www.allmusic.com/album/miss-ella-fitzgerald-and-mr-gordon-jenkins-invite-you-to-listen-and-relax-mw0000871003

Invite You To Listen And Relax

---

Glenn Crytzer - Uptown Jump

Styles: Swing, Big Band
Year: 2015
File: MP3@320K/s
Time: 61:01
Size: 142,2 MB
Art: Front

(3:12) 1. The Savoy Special
(3:08) 2. Hop on the Mop
(3:05) 3. What Did I Do (an Ambiguous Love Song)
(3:42) 4. Uptown Jump
(4:46) 5. Le Fantôme de Saint Bechet
(3:26) 6. Not Far to Fargo
(3:23) 7. It's About Time
(3:44) 8. The Road to Tallahassee
(2:59) 9. Smokin' That Weed
(3:19) 10. Mrah!
(2:58) 11. Downtown Slump
(3:33) 12. Could This Be Love?
(3:17) 13. That Zombie Music
(3:09) 14. Yes, I'm in the Doghouse Now!
(3:33) 15. Glenn's Idea
(3:15) 16. The Lenox
(3:28) 17. Missouri Loves Company
(2:54) 18. Good Night, Good Luck

The first track on Glenn Crytzer's new album literally made me do a double-take: Did I really cue-up an album recorded just a few months ago or did I make a mistake and play a vintage track out of my own swing music library? This first track in question, “The Savoy Special,” has a tone and feeling so terrific with its bounce and that infectious “hep-hep” motif coming from the horns it sounds like you just struck it rich while crate-digging and plucked out a mint 78rpm swing-era record that no one has ever heard before. Welcome everyone to a new milestone in the modern swing era! I am writing this review for you, the readers of Swing DJ Resources which is a bit like preaching to the choir, so let's just cut to the chase and say that if you are a swing DJ, dancer, or music enthusiast, you will want this record. ‘Nuff said. Are we done here? Well, since I'm hoping that this album will find a much wider audience based on it's entertaining musicality, let's continue, shall we Back? Yes! Crytzer has always tried to get a more authentic sound out of his studio recordings. He eschews close-mic techniques the modern methods that attempt to stick a mic in front of everything to isolate the individual players for greater control over the recording process (but which introduce a certain artificiality in the sound.) To achieve the sound he is looking for, Crytzer favors using a vintage pair of microphones placed so as to capture the live sound of the room and the musical interaction between the instruments. Friends, this new album “Uptown Swing,” sets a new standard of excellence in recording for swing bands and demonstrates what can be accomplished with the studied use of old-school microphone techniques.More... https://swingdjresources.com/uptown-jump

New York’s finest: Glenn, guitar, arranger, composer, vocals; Mike Davis, trumpet; Dan Levinson, soprano, alto, tenor saxophone; Evan Arntzen, clarinet, tenor saxophone; Jesse Gelber, piano; Andrew Hall, string bass; Kevin Dorn, drums. Recorded this year at Peter Karl Studios (thanks, Peter, for the lively sound!)

Uptown Jump

---

Dusty Springfield - It Begins Again

Styles: Vocal
Year: 1978
File: MP3@320K/s
Time: 41:07
Size: 95,5 MB
Art: Front

(3:28) 1. Turn Me Around
(3:23) 2. Checkmate
(2:53) 3. I'd Rather Leave While I'm In Love
(3:17) 4. A Love Like Yours
(4:16) 5. Love Me By Name
(4:37) 6. Sandra
(3:18) 7. I Found Love With You
(3:40) 8. Hollywood Movie Girls
(5:00) 9. That's The Kind Of Love I've Got For You
(7:10) 10. That's The Kind Of Love I've Got For You - Extended Mix

It Begins Again is the tenth studio album recorded by Dusty Springfield and the ninth released. Recorded during the middle of 1977, It Begins Again was her first completed and released album since Cameo five years earlier. Two of the album's titles, "Turn Me Around" and "A Love Like Yours (Don't Come Knocking Every Day)", were tracks from the abandoned 1974 Longing sessions and Springfield decided to record new versions of both songs for It Begins Again, placing Chi Coltrane's "Turn Me Around" as the opening track.

It Begins Again, which was Springfield's debut album for the United Artists label in the US and Mercury Records in the UK, was recorded in Los Angeles and produced by Englishman Roy Thomas Baker, at the time best known for helping create the four first albums by Queen. Musically It Begins Again was however geared towards the American adult contemporary, pop and disco markets. Contributing on the album were some of the most renowned American session musicians of the era, such as Jay Graydon, Jeff Baxter, Joe Sample, Ed Greene and David Paich and it featured backing vocals by Pattie Brooks, Dianne Brooks and Brenda Russell all acclaimed recording artists and composers in their own right. The songs on the album were also written by a number of notable composers and lyricists, among others Nona Hendryx, Lesley Gore, Ellen Weston, Dean Parks, Peter Allen and Carole Bayer Sager. Barry Manilow's "Sandra", often singled out as the highlight of the set, is a gentle piano ballad that portrays the life of a suburban housewife who minutely details her daily chores, all the while assuring both herself and the listener that "I swear I love my husband and I swear I love my kids" yet in the last verse she reveals that she one day found herself cutting her wrists "doing the dishes, quite by mistake. It was real touch and go for a while."

Containing a diverse range of styles, It Begins Again was seen as somewhat experimental by Springfield herself, as well as music critics, who generally gave it favourable reviews. Despite the critical reception, the hopeful album title, as well as a series of promotional performances made in both the US and the UK promoting the up-tempo singles "A Love Like Yours" and "That's the Kind of Love I've Got for You", It Begins Again only briefly made the charts in Britain, peaking at No. 41, and did not chart in the US. Springfield stated that she had wanted to try something different, but felt that she now needed to move into a different style, a commercial, lightweight R&B, which resulted in the following album Living Without Your Love.

In 2002, Mercury/Universal Music UK released the album on CD for the first time, then also including Tom Moulton's extended remix of "That's the Kind of Love I've Got for You", originally only released as a promotional 12" single, which took advantage of the popularity of disco at the time. The song which was the closing track on It Begins Again was, however, the only true disco song on the album. The 12" version was somewhat popular with US deejays and the track in fact managed to reach No. 31 in the US Hot Dance Club Play chart. When the Pet Shop Boys in 2005 released their instalment in the mix album series Back to Mine they both included a Dusty Springfield track, Neil Tennant chose her 60s classic "Goin' Back" and Chris Lowe rather surprisingly the ballad "I'd Rather Leave While I'm in Love" from It Begins Again. https://en.wikipedia.org/wiki/It_Begins_Again

Personnel: Dusty Springfield – lead vocals, background vocals, production associate; Michele Aller – background vocals; Dianne Brooks – background vocals; Patti Brooks – background vocals; Brenda Russell – background vocals; Tommy Vig – background vocals, vibraphone; Rick Shlosser – drums; Ed Greene – drums; Oscar Castro-Neves – percussion; Mr. M. – percussion; Jeff Baxter – guitar; Charles Fearing – guitar; Jay Graydon – guitar; Thom Rotella – guitar; David T. Walker – guitar; Keni Burke – bass guitar; Colin Cameron – bass guitar; Bob Glaub – bass guitar; Chuck Rainey – bass guitar; Joe Sample – piano, keyboards; David Paich – piano, keyboards; William D. "Smitty" Smith – piano, keyboards, arranger; Jai Winding – piano, keyboards; John Barnes – synthesizer, keyboards, electric piano, Clavinet; Bill Payne – synthesizer, piano, electric piano, Clavinet; Richard Tee – piano, keyboards; Jerry Jumonville – saxophone, horn arrangements; Sid Sharp – concert master

It Begins Again

---

Esquire All Stars - The First Esquire Concert Vol.2 1944

Styles: Jazz, Big Band
Year: 2015
File: MP3@320K/s
Time: 58:15
Size: 135,3 MB
Art: Front

( 3:38) 1. Back O' Town Blues
( 2:45) 2. Muskrat Ramble
( 3:00) 3. Buck Jumpin'
( 3:24) 4. Stompin' at the Savoy
( 5:31) 5. For Bass Faces Only
( 3:26) 6. My Ideal
( 5:34) 7. Rose Room
( 3:24) 8. I've Got a Feeling I'm Falling
( 3:58) 9. More Than You Know
( 2:50) 10. Squeeze Me
( 1:51) 11. Honeysuckle Rose
(12:26) 12. Flying Home
( 4:38) 13. Jamming the Vibes
( 1:42) 14. Star Spangled Banner

Josie Falbo - You Must Believe in Spring

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 55:25
Size: 128,0 MB
Art: Front

(5:06) 1. You Must Believe in Spring
(4:02) 2. A Night in Tunisia
(4:36) 3. Joy Spring
(5:27) 4. A Flower Is a Lovesome Thing
(3:46) 5. A Sleepin' Bee
(3:29) 6. Manhattan
(4:34) 7. Heaven
(2:24) 8. Just You, Just Me
(4:33) 9. Midnight at the Starlight Haunted Ballroom
(5:04) 10. Estate
(2:44) 11. Devil May Care
(5:17) 12. Tis Autumn
(4:17) 13. Tristeza

On You Must Believe in Spring, Josie Falbo sings and swings her way through from The Great American Songbook. “Spring" includes Billy Strayhorn's “A Flower Is a Lovesome Thing", Harold Arlen/Truman Capote's mesmerizing “A Sleepin' Bee" and the title track, “You Must Believe in Spring," by the late, Michel Legrand and his writing partners, Alan and Marilyn Bergman, where she soars with complete authenticity. Producer/Arranger Carey Deadman delivers tracks for full orchestra (50+ strong!) to splendid effect, with a “who’s who” of Chicago recording artists: Jeremy Kahn on piano, the late Mark Colby, Jim Gailloreto, Dave Onderdonk, Mike Smith, Ernie Denov, Andy Baker, Roger Ingram and Rob Parton. Veteran Jim Massoth (recording/mixing at Crystall Recorders) swings the tenor saxophone solo on “Just You, Just Me." The CD liner notes are by esteemed journalist Howard Mandel.

Signed to Vee-Jay Records in 1963, Falbo released a '45 “Leave Me Alone/Easy To Love" which served as an early catalyst for her life in music and recording. Josie's vocal career began singing in Italian and English when she was 19 months old! As one of Chicago's most frequently heard studio singers for over 35 years, Falbo has sung on countless radio and TV commercials, including McDonald's, Sara Lee, Green Giant... the list goes on and on. Josie Falbo's 2010 Southport debut CD Taylor Street is filled with her love of many forms of music, especially R&B and jazz. Vocally she delivers with a style and sound that will amaze and impress any audience. The annual “Festa Italiana” on Taylor Street in Chicago always brings back a ‘slice of life’ for the neighborhood of Falbo’s youth, where she performs each year. ~ LAMPKIN PUBLICITY SERVICE https://news.allaboutjazz.com/critically-acclaimed-singer-josie-falbo-to-release-long-awaited-cd-you-must-believe-in-spring-on-southport-records-september-25.php

You Must Believe in Spring

---

Esquire All Stars - The First Esquire Concert Vol.1 1944

Styles: Jazz, Big Band
Year: 2015
File: MP3@320K/s
Time: 59:20
Size: 137,9 MB
Art: Front

(5:06) 1. Esquire Blues
(4:51) 2. Mop Mop
(3:46) 3. Do Nothing Till You Hear from Me
(4:18) 4. I Love My Man
(3:41) 5. I Can't Give You Anything But Love
(3:52) 6. I Got a Right to Sing the Blues
(3:37) 7. Sweet Lorraine
(9:08) 8. I Got Rhythm
(3:09) 9. The Blues
(1:26) 10. We All Drink'Coca-Cola'
(2:00) 11. Esquire Bounce
(3:30) 12. Rockin' Chair
(4:44) 13. Basin Street Blues
(1:44) 14. I'll Get By
(4:19) 15. Tea for Two

The First Esquire Jazz Concert was an all-star event held in 1944 at the Metropolitan Opera House to honor winners (including first and second place honorees) in the magazine's jazz poll. In addition to being broadcast, it was preserved on transcription discs and reissued many times over the years with different excerpts of the evening's program. Some of the highlights include "Sweet Lorraine" (Art Tatum with Al Casey, Oscar Pettiford, and Sid Catlett), "Do Nothin' Till You Hear from Me" and "Billie's Blues" (Billie Holiday), and a lengthy jam on "I Got Rhythm" featuring Red Norvo (on xylophone), Coleman Hawkins, Louis Armstrong, Barney Bigard, Jack Teagarden, and Roy Eldridge with the rhythm section. At times the piano is not clearly heard and there are brief interruptions by the broadcast host to introduce some of the soloists, but the sound quality is quite remarkable for the period. ~ Ken Dryden https://www.allmusic.com/album/the-first-esquire-concert-vol-1-mw0000236975

Personnel: Bass [String Bass] – Oscar Pettiford; Clarinet – Barney Bigard; Drums – Sidney Catlett; Guitar – Al Casey; Piano – Art Tatum, Teddy Wilson; Tenor Saxophone – Coleman Hawkins; Trombone, Vocals – Jack Teagarden; Trumpet – Roy Eldridge; Trumpet, Vocals – Louis Armstrong ; Vibraphone [Vibes] – Lionel Hampton; Vocals – Billie Holiday, Mildred Bailey; Xylophone – Red Norvo