Swedish Swing Quartet - Live at Salsta Castle (Remastered)

Styles: Swing
File: MP3@320K/s
Time: 73:31
Size: 169,2 MB
Art: Front

(6:03) 1. Avalon
(5:19) 2. Poor Butterfly
(5:32) 3. Limehouse Blues
(5:18) 4. I Must Have That Man
(6:17) 5. I Got Rhythm
(6:31) 6. Sweet Georgia Brown
(8:31) 7. More Than You Know
(6:16) 8. Tangerine
(5:33) 9. Have You Met Miss Jones
(6:36) 10. Stompin' At The Savoy
(5:52) 11. Moonglow
(5:37) 12. Flying Home

John Pizzarelli - With A Song In My Heart

Styles: Vocal And Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 43:25
Size: 101,4 MB
Art: Front

(3:53) 1. With A Song In My Heart
(2:27) 2. This Can't Be Love
(4:36) 3. I Like To Recognize The Tune
(4:13) 4. It's Easy To Remember
(2:59) 5. Johnny One Note
(4:12) 6. Nobody's Heart
(4:25) 7. Happy Talk
(2:47) 8. Mountain Greenery
(3:40) 9. I Have Dreamed
(2:34) 10. The Lady Is A Tramp
(4:36) 11. She Was Too Good To Me
(2:59) 12. You've Got To Be Carefully Taught

John Pizzarelli salutes composer Richard Rodgers with this songbook including a dozen of his works. The vocalist/guitarist is accompanied by his trio, with Larry Fuller replacing Ray Kennedy, bassist Martin Pizzarelli, and drummer Tony Tedesco. Pizzarelli adds a personal touch to "I Like to Recognize the Tune" by altering Lorenz Hart's lyrics a bit, while also scatting up a storm in unison with his guitar. Bucky Pizzarelli is an added guest and soloist for "It's Easy to Remember," an intimate duet with the vocalist playing rhythm. Cesar Camargo Mariano takes over at the piano for the breezy bossa nova setting of "Happy Talk." Arranger Don Sebesky wrote the charts for the six tracks and a quartet of brass and reeds, highlighted by the snappy scoring of "The Lady Is a Tramp," recalling Pizzarelli's previous Telarc salute to Frank Sinatra (Dear Mr. Sinatra, in which he trades fours scatting with each of the horns). This release is a little short in the CD era, clocking in at just over 43 minutes, but there's never a dull moment.~ Ken Dryden https://www.allmusic.com/album/with-a-song-in-my-heart-mw0000793387

Personnel: John Pizzarelli – guitar, vocals; Larry Fuller – piano; Martin Pizzarelli – bass; Tony Tedesco – drums; John Mosca – trombone, baritone horn; Andy Fusco – alto saxophone, tenor saxophone, bass clarinet; Kenny Berger – baritone saxophone, bass clarinet; Tony Kadlech – trumpet, flugelhorn

Special guests: Bucky Pizzarelli – guitar (track 4); Cesar Camargo Mariano – piano (track 7); Don Sebesky – Swing Seven Arrangements

With A Song In My Heart

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Adam Rogers - Art Of The Invisible

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 61:03
Size: 140,0 MB
Art: Front

(6:31)  1. Long Ago (And Far Away)
(7:53)  2. Absalom
(6:41)  3. Bobo
(5:30)  4. The Aleph
(6:31)  5. The Invisible
(6:54)  6. Cathedral
(7:54)  7. Book Of Sand
(6:27)  8. In Broad Daylight
(6:37)  9. The Unvanquished

What's the best way to find out who's the best guitarist in New York? Simple-ask a few apple-based guitarists (or any other instrumentalists, for that matter). I've conducted an informal poll and the answer I've gotten more often than not is the leader here, who I've counted among the world's finest plectrists for almost a decade now. 2002 is shaping up to be nothing less than the "Year of Adam Rogers," with a hefty role taken in fantastic new releases by Scott Colley and Alex Sipiagin and notable appearances on Chris Potter's Traveling Mercies , The Mingus Big band's Tonight at Noon and a fairly well-received debut by Miss Norah Jones. Now, finally, Criss Cross Jazz gives us the long deserved and long overdue debut by quite simply, one of the world's finest guitarists- ever.

Adam's been developing his incredible gifts in a variety of genres throughout his career, and clearly finds fascination and inspiration in all musical places; from fusion to pop to mainstream to ethnic to avant-garde. This record finds him at his essence-swinging, mainstream, contemporary, small group, post-bop guitar nirvana. Guitar lovers-stop right now and buy this one before anything else this year because Adam's put himself right at the head of New York's, and therefore the world's, elite cadre of incredible players pushing the instrument's future forward. Highlights? The entirety of the outing swings incredibly hard or waxes gorgeously soft, with one standard and eight originals from Adam's mighty pen. Seems as though Mr. Rogers has known all along that composition, not merely prodigious technique on the instrument, is at the core of consequence on the musical map. That said, his skills as a pure player are absolutely mind-boggling, with long lines and phraseology extending the lineage of Martino, Montgomery and Benson, extruding a tone from a Gibson ES-335 so phat and warm it could be coming from a jazz box three times the width. One of the instrument's great compers as well, he relinquishes that role for the most part here to the refined and harmonically astute pianist Eduardo Simon. What a quartet he's assembled- Michael Brecker Band mates Clarence Penn, who stirs and swings the date hard and is full of surprises on the kit, and Scott Colley, a complete player with velvety tone on acoustic bass, round out the band.

Compositionally, it's full of layers. Listen to "Cathedral" for heart rendering piano and crystalline single note work emphasizing Rogers' mastery of linear phraseology, especially his uncanny ability to speed up and slow down the tempo of any given line and return to the phrase at precisely the right nanosecond. On "Book of Sand" he brings authentic classical technique to the fore while "Broad Daylight" and "Bobo" take Martino's and Montgomery's way with a minor blues to the next level, indeed. I had the pleasure of sitting stage side for Michael Brecker's Boston run last year. After that incredible string of performances, I remember leaving the club thinking Adam had nudged the bar delimiting the role of the small-group guitarist in a pianoless quartet up just a little further than it had been prior to that day. With Art of the Invisible, he's accomplished nothing less than raising the bar for all of mainstream jazz guitardom. ~ Phil DiPietro https://www.allaboutjazz.com/art-of-the-invisible-adam-rogers-criss-cross-review-by-phil-dipietro.php

Personnel: Adam Rogers- guitar, Scott Colley-bass, Edward Simon-piano, Clarence Penn-drums

Art Of The Invisible

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John Hicks - East Side Blues

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 53:43
Size: 123,3 MB
Art: Front

(7:10)  1. East Side Blues
(6:03)  2. Yemenja
(7:18)  3. Never Let Me Go
(6:43)  4. Out of Somewhere
(7:15)  5. Mow's Move
(8:01)  6. Is That So?
(4:32)  7. Somedity
(6:38)  8. A Beautiful Friendship

East Side Blues is an album by pianist John Hicks's Trio recorded in Japan in 1988 and released on the Japanese DIW label. https://en.wikipedia.org/wiki/East_Side_Blues

Personnel:  John Hicks - piano; Curtis Lundy - bass; Victor Lewis - drums

East Side Blues

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Charlie Ventura With Mary Ann Mccall - Another Evening With Charlie Ventura And Mary Ann Mccall

Styles: Vocal, Hard Bop
Year: 1954
File: MP3@320K/s
Time: 40:09
Size: 93,4 MB
Art: Front

(3:43) 1. Soft Touch
(4:07) 2. We'll Be Together Again (Voc)
(3:30) 3. There'll Be Some Changes Made (Voc)
(2:48) 4. The Breeze And I
(3:16) 5. Charlie's Venture
(3:06) 6. Swingin' On A Star
(7:36) 7. It Don't Mean A Thing
(2:49) 8. Deep Purple
(3:14) 9. Jersey Bounce
(2:28) 10. Lover
(3:28) 11. Yesterdays

Tenor man Charlie Ventura was was a prominent fixture on the jazz scene during his era. Born Charles Venturo he was one of thirteen children from a musical family who went on to become a jazz legend, and was named “Number One Tenor Saxophonist” by Down Beat Magazine in 1945. In the summer of 1942, Charlie got a call at his day job at the Philadelphia Navy yard to join Gene Krupa's band. Unwilling to relinquish the security of a paycheck, he turned them down. Then came the second phone call and before long, Charlie was on the road with the band becoming a featured soloist, along with trumpet star, Roy Eldridge and singer Anita O'Day. Throughout the forties, fifties and sixties, Charlie Ventura and Gene Krupa made music history together as America's leading jazz greats. Ventura was one of the first jazz musicians to make the transition from swing to be-bop. In 1946, he formed his own “Bop for the People” band, playing a commercially-oriented form of be-bop. Continuing to play with The Gene Krupa Trio, he cut “Dark Eyes,” which led to over a dozen released albums, including “Charlie Ventura With Special Guest Charlie Parker”(1949) “Bop For The People”(1949-53) and “Charlie Ventura And His Orchestra.”(1954-55) Many fans will remember the succession of great jazz groups, fronted by Charlie, that appeared at The Open House nightclub he owned in Lindenwold, New Jersey. Playing Las Vegas with Jackie Gleason, and Atlantic City, New York and Philadelphia, Charlie Ventura was the consummate jazzman. “Jazz is maturing and maturity carries responsibilities. I feel that I'm supposed to make people laugh, make them cry, make them day dream and give them some excitement,” Charlie explained. His lifetime of musical achievement ended in January, 1992, but his legacy to the world of jazz lives on. https://www.allaboutjazz.com/musicians/charlie-ventura

Personnel: Vocals – Mary Ann McCall; Saxophone – Charlie Ventura; Bass – Bob Carter; Drums – Sonny Igoe; Piano – Dave McKenna

Another Evening With Charlie Ventura And Mary Ann Mccall

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Charlie Ventura With Mary Ann Mccall - An Evening With Charlie Ventura And Mary Ann Mccall

Styles: Vocal, Hard Bop
Year: 1954
File: MP3@320K/s
Time: 27:22
Size: 63,8 MB
Art: Front

(5:14) 1. Charlie's Parley
(2:58) 2. Careless (Voc)
(5:42) 3. Get Happy
(3:13) 4. Sam And Don
(3:23) 5. Detour Ahead (Voc)
(3:53) 6. Basin Street Blues
(2:57) 7. Please Be Kind (Voc)

Mary Ann McCall was a fine singer who started out singing middle-of-the-road pop, yet grew as a well-respected jazz singer during her episodic career. She began as a singer and dancer with Buddy Morrow's Orchestra in her native Philadelphia and was with Tommy Dorsey briefly in 1938. McCall had her first stint with Woody Herman in 1939 and she was Charlie Barnet's vocalist during a period of time (1939-40) when his band was attracting attention. McCall then dropped out of music, but when she returned it was for a high-profile position with Woody Herman's First Herd in 1946 and Second Herd from 1947-50. McCall was married to Al Cohn for a time, had a solo career and sang with Charlie Ventura from 1954-55. She gradually faded away from the scene, singing in Detroit from 1958-60 and then moving to Los Angeles where she was active on a part-time basis. McCall re-emerged to sing and record with Jake Hanna in1976 and Nat Pierce in 1978, still sounding close to prime form. As a leader, McCall recorded four songs for Columbia in 1947, six for Discovery in 1948, four for Roost in 1950; she recorded albums for Regent in 1956, Jubilee in 1958 and Coral in 1959. ~ Scott Yanow https://www.allmusic.com/artist/mary-ann-mccall-mn0000370718/biography

An Evening With Charlie Ventura And Mary Ann Mccall

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Johnny "Hammond" Smith - Legends Of Acid Jazz: Soul Flowers

Styles: Hard Bop, soul Jazz
Year: 1999
File: MP3@320K/s
Time: 69:21
Size: 162,1 MB
Art: Front

(3:23) 1. Theme From N.Y.P.D.
(5:00) 2. Dirty Apple
(3:20) 3. Days Of Wine And Roses (Instrumental)
(3:16) 4. Ode To Billy Joe
(3:11) 5. You'll Never Walk Alone
(3:05) 6. Alfie
(2:56) 7. Tara's Theme (My Own True Love)
(3:25) 8. Here's That Rainy Day
(5:27) 9. I Got A Woman
(3:01) 10. Dirty Grape
(8:09) 11. Animal Farm
(3:07) 12. Black Strap Molasses
(3:29) 13. She's Gone Again
(5:43) 14. Hi Heel Sneakers
(3:30) 15. To Sir With Love
(3:42) 16. Love Is A Hurtin' Thing
(5:30) 17. Please Send Me Someone To Love

Prestige's second volume of Johnny "Hammond" Smith's recordings in their Legends of Acid Jazz series contains two full original albums: 1967's Soul Flowers and its 1968 follow-up, Dirty Grape. Both sessions were recorded within four months of each other with the same sextet, featuring guitarist Wally Richardson, tenor saxophonists Houston Person and Earl Edwards, bassist Jimmy Lewis, drummer John Harris, and Richard Landrum on conga. On both records, he basically tackles modern pop songs that were hits on the pop and R&B charts and songs from movies and TV. This could have been predictable, lightly swinging jazz-pop, like so many soul-jazz records of its ilk in the late '60s, but what makes both sessions so enjoyable is that the band is lively, gritty, and clearly having fun with this material. Of the two, Soul Flowers is a little more satisfying, but both are highly enjoyable and they make for a great two-fer one that's the equal of Smith's first edition of Legends of Acid Jazz.~ Stephen Thomas Erlewine https://www.allmusic.com/album/legends-of-acid-jazz-vol-2-mw0000050217

Personnel: Organ – Johnny "Hammond" Smith; Congas – Richard Landrum; Drums – John Harris; Electric Bass [Fender] – Jimmy Lewis; Guitar – Wally Richardson; Tenor Saxophone – Earl Edwards, Houston Person

Legends Of Acid Jazz: Soul Flowers

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Mose Allison - The Word From Mose

Bitrate: MP3@320K/s
Time: 29:55
Size: 68.5 MB
Styles: Bop, Jazz-blues
Year: 1964/1998
Art: Front

[2:23] 1. Fool Killer
[2:59] 2. One Of These Days
[2:11] 3. Look Here
[2:50] 4. Days Like This
[2:12] 5. Your Red Wagon
[1:53] 6. I'm The Wild Man
[2:58] 7. Rollin' Stone
[3:01] 8. New Parchman
[2:44] 9. Don't Forget To Smile
[2:30] 10. I'm Not Talking
[4:09] 11. Lost Mind

This iconoclastic performer has sometimes been described as a country blues player, perhaps leading to images of a blind man standing on a corner playing a guitar with a bottleneck slide. In reality, Mose Allison is from a much more cosmopolitan tradition, and the country blues adage comes from attempts to describe the sound he gets playing light, swinging jazz with a distinctly rural, Southern influence. This album, from one of many he recorded for Atlantic, actually contains examples of him taking material from the real country blues heritage and reworking it into his own style, to brilliant effect. His "New Parchman Farm" is a fantastic piece, as he changes what was once a stark, depressing prison blues into something else again. Perhaps this version would be more suited to white-collar criminals such as the Watergate mob, basking in upper-class prisons complete with tennis courts. At any rate, this is a performance that only the most hardened individual would be able to listen to without a smile cracking their face. Like most of Allison's releases, this one suffers from a handful of tracks that although not quite throwaway, surely lack the substance of the best songs here. ~Eugene Chadbourne

The Word From Mose

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Teodross Avery - The Diva's Choice

Styles: Saxophone Jazz

Year: 2009

File: MP3@320K/s

Time: 61:51

Size: 142,0 MB

Art: Front

(7:06)  1. Tryin' To Find The Light

(6:24)  2. The Dreamer (Vivo Sonhando)

(5:00)  3. Type Of Girl (Feat. Leela James)

(7:40)  4. Love With Respect (Instrumental)

(5:20)  5. She Doesn't See

(0:09)  6. Interlude: In Portuguese

(4:13)  7. Journey To Paradise

(6:16)  8. Never Let You Go

(6:25)  9. Adult Music (Feat. Roy Ayers)

(5:33) 10. A New Beginning

(7:41) 11. Love With Respect (Feat. Shannone Holt)

Teodross Avery is a saxophonist to watch, as evidenced by many of today’s biggest names in music relying on his wide musical reach. While growing up in Oakland and Vacaville, California, his parents exposed him to a broad range of music including traditional African music, Soul, Rock, and Jazz. At ten, his father started him with classical guitar lessons. Jolted by the sound of John Coltrane’s ‘Giant Steps,’ he switched to the saxophone. As a testament to his young promise, the great Wynton Marsalis purchased a saxophone for him. He eventually won a full music scholarship at 17 to attend the prestigious Berklee College of Music in Boston. While at Berklee, renowned A&R exec, Carl Griffin of GRP/Impulse Records, heard of Avery’s new cutting edge sound and signed him at 19, stating, “I was so thoroughly impressed with his lyricism and writing talent”. In 1994, Avery launched his first album “In Other Words”, which was welcomed by critical acclaim, including a rave review in USA Today, which praised its “mature sense of composition, swing, and improvisation.” After tackling New York City, Avery landed a performing role in the successful film Love Jones in 1995. He then launched his second album, “My Generation”, under the GRP/Impulse label, in 1996. He has also performed and/or recorded with the likes of Amy Winehouse, The Roots, Leela James, Dee Dee Bridgewater, Shakira, Joss Stone, Roy Hargrove, Roy Ayers, Pat Monahan (lead singer of Train), Mos Def, Lauryn Hill, Matchbox Twenty, Talib Kweli, and Betty Carter. Avery holds a Masters degree in Music from the Steinhardt School of Education at New York University, and is the recipient of multiple awards, including The Sony Innovator Award (1992), The NFAA’s Clifford Brown/Stan Getz Fellowship (1992), and The NAACP ACT-SO Award (1991). https://www.cdbaby.com/cd/Teodrossavery

The Diva's Choice

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Jesse Van Ruller - Spirits High

Styles: Guitar Jazz
File: MP3@320K/s
Time: 49:36
Size: 214,1 MB
Art: Front

(5:56) 1. Tideline
(4:40) 2. Bye, Bye, Big City, Bye
(3:34) 3. Drops
(3:54) 4. Sonder
(5:40) 5. Spirits High
(5:34) 6. First Steps, Born Again
(5:13) 7. Apollo
(5:06) 8. Robin
(2:33) 9. First Steps (reprise)
(4:24) 10. Fantail
(2:55) 11. Into Silence

Van Ruller was born in Amsterdam on 21 January 1972. He started playing the guitar at the age of seven. "He continued his studies at Miami University, Ohio (MM 1995), and in 1995 won the Thelonious Monk International Jazz Guitar Competition in Washington, DC." Van Ruller recorded two quintet albums for Bluemusic: European Quintet in 1996 and Herbs, Fruits, Balms and Spices two years later. He went on to record three albums for Criss Cross Jazz. These were Here and There and Circles in 2002, and Views in 2005. The guitarist composed almost all of the pieces played on the last two. https://en.wikipedia.org/wiki/Jesse_van_Ruller

Personnel: Alto Saxophone – Maarten Hogenhuis; Electric Guitar – Jesse Van Ruller

Spirits High

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Joyce - Timeless

Bitrate: MP3@320K/s
Time: 40:42
Size: 93.2 MB
Styles: Latin jazz
Year: 2012
Art: Front

[3:31] 1. Everything
[5:09] 2. Sometimes When We Touch
[4:47] 3. One Moment In Time
[3:24] 4. Time After Time
[4:10] 5. If We Hold On Together
[4:24] 6. Love Of A Lifetime
[4:06] 7. For The First Time
[4:07] 8. Time After Time
[3:46] 9. So Nice (Summer Samba)
[3:13] 10. All The Time

James Moody - Flute 'n the Blues

Styles: Saxophone And Flute Jazz
File: MP3@320K/s
Time: 36:00
Size: 88,3 MB
Art: Front

(4:11) 1. Flute 'n the Blues
(2:34) 2. Birdland Story
(2:46) 3. It Could Happen to You
(2:46) 4. I Cover the Waterfront
(4:26) 5. Body and Soul
(3:24) 6. Breaking the Blues
(3:25) 7. Parker's Mood
(3:56) 8. Easy Living
(3:46) 9. Boo's Tune
(4:41) 10. Richard's Blues

This fairly rare Lp (which has fortunately been reissued on a Chess CD along with Last Train To Overbrook) features James Moody's septet of 1956, a fine bop-based unit that also includes trumpeter Johnny Coles and pianist Jimmy Boyd. Moody, who had just begun to play flute, is heard on that instrument along with tenor and alto; an added plus are Eddie Jefferson's three vocals (including his alternate lyrics for "Parker's Mood"). The basic material (mostly standards and blues) are given spirited and swinging treatment by the underrated group.~ Scott Yanow https://www.allmusic.com/album/flute-n-the-blues-mw0000313322

Personnel: James Moody - tenor saxophone, alto saxophone, flute; Johnny Coles - trumpet; William Shepherd - trombone ; Pee Wee Moore - baritone saxophone; Jimmy Boyd - piano, peck horn; John Latham - bass; Clarence Johnston - drums; Eddie Jefferson - vocals

Flute 'n the Blues

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