Pee Wee Ellis - Sepia Tonality

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 47:31
Size: 111,5 MB
Art: Front

(4:14)  1. What Are You Doing The Rest Of Your Life
(5:57)  2. I Should Care
(4:26)  3. Stardust
(4:15)  4. Sepia Tonality
(3:41)  5. Cleaning Windows
(3:36)  6. Cherry Red
(6:37)  7. Body And Soul
(4:20)  8. Prayer Of Love
(4:48)  9. Why Not
(5:34) 10. Come Rain Or Come Shine

A versatile composer, arranger, saxophonist and keyboard player, a musician whose repertoire encompasses all manner of music from jazz through soul and funk to stadium rock, Alfred Pee Wee Ellis stands distinctive in any company. Born in Bradenton, Florida in 1941, Pee Wee was raised in Lubbock, Texas where he played his first public show in 1954 while still in Junior High School. His family moved to Rochester, NY, the following year, where he continued to play professionally throughout High School. He also met Sonny Rollins at this time, and spent the summer of 1957 under his masterful tutelage - a pivotal experience. “A great sax player, he taught me a lot and I still listen to him”. Returning to Florida after graduation he formed his own ensemble, Dynamics Incorporated. He also worked on the carny circuit at this time, laying the foundation of his career as a bandleader and musical director, writer and arranger, and by now multi-instrumentalist, with tenor saxophone as his principal musical voice. It was during this period that he first came to the notice of James Brown. Back in New York, Pee Wee was working with The Sonny Payne Trio in 1965 when he got ‘the call’ from his close friend Wayman Reed to join the James Brown Revue, then the hottest, most sensational and successful head-buster on the R&B circuit, and fast becoming an international phenomenon. “I stood there in the wings and I thought, I should have bought a ticket. 

It was that much of a privilege to be so close to James Brown and that band” says Pee Wee now of his first exposure to the revue. Playing alto sax and organ Pee Wee quickly became an integral element in James’ expanding vision, writing arrangements and horn charts, and he was instantly promoted to bandleader when Nat Jones quit in January 1967. That very same day Pee Wee arranged Brown’s R&B Top 5 Hit, “Let Yourself Go” (from which, 'There Was A Time' was born), and then turned the soul world on its head with Brown’s follow-up, “Cold Sweat.” This was a million selling Number 1 Hit in the autumn of 1967 and it redefined the parameters of popular music. Brown had been out on a musical limb since 1964, with unconventional hits such as “I Got You (I feel Good)” and “Papa’s Got a Brand New Bag,” but Nat Jones’ arrangements had not taken him over the edge. Pee Wee’s “Cold Sweat” propelled James Brown into a new dimension musically, and founded a funk revolution that is still being copied and sampled the world over 30 years on. Pee Wee continued to be a mainspring in James Brown’s musical direction for the next two and a half years, co-writing and arranging the majority of the ‘Godfather’s’ single hits and album tracks during that period and also interjecting commercial success into the instrumental releases of the James Brown Band ('In the Middle', 'Popcorn', 'Soul Pride' and 'The Chicken'.) Pee Wee left the Revue in September of 1969, basing himself in New York and cutting a quick single for the Nashville label, Sound Stage 7, called “Moonwalk” backed with “That Thing”- this is now a sought after ‘rare groove.’ 

He moved to CTI’s Kudu label as musical director and arranger and worked with many of their roster including George Benson and Hank Crawford, and in particular, the exceptional Esther Philips, for whom he was musical director through a five year period. During the 70s Pee Wee continued as arranger and conductor for musicians like Sonny Stitt, and began to concentrate on his own projects such as an album called “Pass The Butter,” for Motown’s Natural Resources label. This led in 1976, to Pee Wee’s first album, “Home in the Country” recorded for Savoy/Arista just before he located to California’s Bay Area. Here he formed a band with David Liebman in 1977. Mark Isham had played with Pee Wee on the road with Esther, and had been in the band with David, so when Van Morrison needed some horns on a song he was working on, called 'Troubadours', Mark recommended Pee Wee. And so began a long-term relationship that was to produce much significant music - 'Into the Music', 'Live in Belfast', 'Beautiful Vision', 'Inarticulate Speech of the Heart', and 'Common One'. “Van gave me the freedom to put the horn charts together. I liked that”, says a modest Pee Wee of his contribution to some of the finest music from the 80s. During this decade, via Bobby Byrd and the JB Allstars, Pee Wee regrouped with Fred Wesley and Maceo Parker from the James Brown days to form the JB Horns. This line-up worked from 1988 and into the 90s, recording “Pee Wee, Fred and Maceo,” “The JB Horns,” and “I Like It Like That” in 1991, “Funky Good Time Live In Tokyo,” in 1992, and the hit albums, “Life on Planet Groove,” “Roots Revisited,” and “Mo Roots,” with the Roots Revisited Ensemble. Pee Wee resumed his solo recording career in 1992, with yet another formidable line-up of New York musicians on “Blues Mission,” which teamed him again with Clyde Stubblefield - the original ‘Funky Drummer’. Pee Wee’s next solo album was released the following year and was another departure - a jazz trio album recorded live in Koln, Germany with bassist Dwayne Dolphin and Bruce Cox on drums. Entitled “Twelve and More Blues,” this CD backtracks to Pee Wee’s musical roots and then moves straight ahead in a be-bop direction, tackling both jazz standards and his own original compositions with virtuosity and vitality. 

The album was chosen as one of the ten Best Jazz Albums of 1993 by the New York Times. Sampling of his songs by Salt 'n' Pepa, KMC KRU and Dodge City Productions, and a sell-out week at Ronnie Scott's in London in the summer of '93, with an astonishing group of young British musicians, sketched out the footprint for Pee Wee's movement from funk into jazz and beyond - 'a modern version of jazz, a little north of funk and well south of fusion' - as Musician Magazine put it. This movement was soon consolidated with a quartet album “Sepia Tonality,” recorded in New York in early 1994 and featuring Pee Wee on tenor, with Rodney Jones on Guitar, Will Boulware on organ and Grady Tate on Drums. A second trio album from Koln was recorded live during a Pee Wee Ellis Assembly Trio tour of Europe in the spring of '94. Called “Yellin' Blue,” it attracted much critical acclaim in Europe. Pee Wee's path had crossed Van Morrison's many times since the 1980s, particularly when Van called on the JB Horns to play with his band, so it was only natural that when Pee Wee relocated to the West Country in England he should rejoin Van on stage and in the studio. Pee Wee arranged the horns and played on Van's 1995 return to critical and commercial success, “Days Like This.” He followed this up working with Van on his subsequent albums, the jazz-orientated, “How Long Has This Been Going On,” and the Mose Allison tribute, “Tell Me Something.” Pee Wee, however, did not ignore his own career and in 1996 a new solo album on Minor Music hit the streets. Entitled, “A New Shift,” the CD was recorded in Germany . 

More studio work with Van Morrison followed later that year, and the resultant CD, “The Healing Game,” was released in 1997. Pee Wee's arrangements and solos turned the album into an instant classic and gave Van some of his strongest material ever for his stage performances. 1997 also saw the release of Pee Wee's “What You Like.” Recorded with the Assembly and the NDR Bigband, it also features Van Morrison and Fred Wesley. In the autumn Pee Wee became Van's Musical Director, arranging and developing Van's stage and studio sound, and also promoting “What You Like,” by touring in France and Germany with the Assembly. Since the turn of the new century Pee Wee had released “Ridin’ Mighty High,” (2001) “Live and Funky,” (2002) and “Different Rooms,” in 2005. Most recently he has performed with, and arranged for, the Miami based Spam All Stars with whom he will be performing live in 2007. He also played several successful dates with Fred Wesley in the UK in 2006 and they played together again in London and Europe in 2007. Pee Wee Ellis’ distinguished career has embraced some of the most important musical movements of recent decades, from jazz to funk, via the blues and a touch of rock. After almost forty years in the music business he is one of the most acclaimed saxophonists of his generation and one of the most sought-after arrangers and MD’s in the industry. His musical range and pursuit of excellence has gained him renown among his peers and the enduring respect of ensuing generations of musicians and fans. http://musicians.allaboutjazz.com/peeweeellis

Personnel: Pee Wee Ellis (tenor saxophone); Rodney Jones (guitar); Howard Johnson (tuba); Will Boulware (organ); Grady Tate (drums).

R.I.P

Born: April 21, 1941, Bradenton, Florida, United States

Died: September 24, 2021

Sepia Tonality

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Patti Wicks - Love Locked Out

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 60:42
Size: 139,4 MB
Art: Front

(5:26)  1. Love Locked Out
(4:27)  2. After You
(4:45)  3. I Have the Feeling I've Been Here Before
(4:36)  4. An Empty Glass
(4:54)  5. Body And Soul
(3:41)  6. Where Were You in April?
(4:53)  7. If You Could See Me Now
(4:09)  8. I Never Told You
(5:09)  9. It Never Entered My Mind
(2:42) 10. I Told You So
(3:51) 11. Would You Believe?
(4:14) 12. Blue Gardenia
(4:56) 13. When Summer Turns To Snow
(2:52) 14. On Second Thought

The term “torch singer” isn’t heard much nowadays but it’s an apt description of Patti Wicks, who sings from the heart, not the ego and plays great piano too. She’s at her best on this album of sad-eyed ballads that, in her words, “expresses the driving force of all humanity, the need and desire to love and be loved.” The moods of love vary from euphoria to heartbreak, and it is the latter emotion on which most of these songs are based. Wicks’ husky voice and unassuming style are perfectly tailored to express that painful sentiment, and she gently summons the listener to feel the sadness and the pain in every lyric.  Unlike most other contemporary singers (those who have read my reviews know how I feel about them as a whole), Wicks doesn’t bend or alter a lyric to suit her purpose, nor does she forswear passion for pyrotechnics. She simply sings, allowing the words to flow freely from a wellspring of knowledge and experience that is known as living. Her range is somewhat limited, leading one to wonder if she’ll be able to reach that next note, but she always does. In that respect, Wicks reminds me of Fred Astaire, Louis Armstrong or Jimmy Durante, three others whose voices seemed unfit for singing until one heard them sing. As each of them proved, and Wicks affirms, when it comes to getting the most out of one’s pipes, there’s a lot to be said for sincerity and soulfulness. Besides singing and playing marvelously, Wicks has a knack for uncovering and burnishing long-neglected nuggets, and there are a number of them here including Cole Porter’s “After You,” Ray Noble/Max Kesler’s “Love Locked Out,” Luiz Bonfa/Dick Manning’s “An Empty Glass,” two gems by Duncan Lamont, “Where Were You in April?” and “I Told You So,” and two more by Cy Coleman (“On Second Thought” and “Would You Believe?“) More familiar but no less charming are Rodgers and Hart’s “It Never Entered My Mind,” Tadd Dameron’s “If You Could See Me Now” and Bob Russell/Lester Lee’s “Blue Gardenia.” Wicks is accompanied on most selections by bassist Keter Betts and drummer Joe LaBarbera, who do what is necessary while keeping a decidedly low profile, as befits the album’s wistful makeup. In reviewing one of her earlier albums ( Room at the Top ), I portrayed Wicks as “an uncommonly gifted Jazz pianist who deserves far wider recognition and applause than she’ll probably ever earn.” Aside from amending the description to read “pianist-slash-singer,” that opinion remains unchanged. ~ Jack Bowers https://www.allaboutjazz.com/love-locked-out-patti-wicks-maxjazz-review-by-jack-bowers.php
 

Personnel: Patti Wicks, vocals, piano; Keter Betts, bass; Joe LaBarbera, drums.

Love Locked Out

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Milt Jackson, J.J. Johnson, Ray Brown - Jackson, Johnson, Brown & Company

Styles: Vibraphone, Trombone, Bop
Year: 1983
File: MP3@VBR ~253K/s
Time: 38:36
Size: 75,8 MB
Art: Front

(8:27) 1. Jaybone
(5:04) 2. Lament
(5:49) 3. Our Delight
(5:34) 4. Bags' Groove
(4:48) 5. Watch What Happens
(5:10) 6. My One And Only Love
(3:41) 7. The Jumpin' Blues

The interplay between vibraphonist Milt Jackson and trombonist J.J. Johnson is the main reason to acquire this set. With fine backup from pianist Tom Ranier, guitarist John Collins, bassist Ray Brown and drummer Roy McCurdy, Jackson and Johnson are in top form on a variety of bop standards, including Johnson's "Lament," "Our Delight," "Bags Groove" and "My One and Only Love." Enthusiastic, consistently swinging music from some of the best.~Scott Yanow https://www.allmusic.com/album/jackson-johnson-brown-company-mw0000188200

Personnel: Trombone – J.J. Johnson; Vibraphone – Milt Jackson; Bass, Producer – Ray Brown; Drums – Roy McCurdy; Guitar – John Collins; Piano – Tom Ranier

Jackson, Johnson, Brown & Company

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Pat Metheny - Side-Eye NYC (V1.IV)

Styles: Guitar Jazz
File: MP3@320K/s
Time: 62:45
Size: 144,5 MB
Art: Front

(13:47) 1. It Starts When We Disappear
( 5:26) 2. Better Days Ahead
( 7:12) 3. Timeline
( 5:34) 4. Bright Size Life
( 6:16) 5. Lodger
( 5:07) 6. Sirabhorn
( 7:43) 7. Turnaround
(11:37) 8. Zenith Blue

Pat Metheny burst onto the jazz scene in the 1970s as a guitar wunderkind, playing in vibraphonist Gary Burton’s band before establishing a career as a leader that’s been successful and influential by every conceivable metric. Now, with his new band Side-Eye, the 67-year-old guitarist is working with a rotating group of younger musicians. In the press materials for Side-Eye NYC (V1.IV), he explains that when he was a young player himself he’d benefited from older musicians like Burton hiring him and giving him a chance to develop through what he described as “the prism of their experiences.” He’s now interested in playing with those of a different generation “where there seems to be some kind of kinship happening.”

A live album recorded in New York City before the pandemic hit, Side-Eye NYC (V1.IV) spotlights two gifted rising stars: pianist/keyboardist James Francies and drummer Marcus Gilmore. More than half the album contains new material, and the rest features novel takes on some of Metheny’s older compositions. The trio enthusiastically dives into and explores a range of musical styles, bookending the collection with two new pieces: the electronica-tinged “It Starts When We Disappear” and the kaleidoscopic “Zenith Blue.” Originally featured on saxophonist Michael Brecker’s 1999 album Time Is of The Essence, “Timeline” gets turned into a soul-jazz outing here, and Metheny delivers some ferocious rock guitar on “Lodger.”

Metheny and his bandmates bring energy and fresh perspectives to the music on this album, whether it’s previously unheard or a decades-old favorite. The Side-Eye concept is a great setting for the leader, and a dream gig for any young musician who gets to play in the group and benefit from Metheny’s experience the way he benefited from his elders all those years ago.~ Lucy Tauss https://jazztimes.com/reviews/albums/pat-metheny-side-eye-nyc-v1-iv-modern/

Side-Eye NYC (V1.IV)

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Don Patterson - Dem New York Dues

Styles: Jazz, Hard Bop
Year: 1968
Time: 78:41
Size: 116,4 MB
Art: Front

( 6:57) 1. Little Shannon
( 6:39) 2. Opus De Don
( 7:28) 3. Dem New York Dues
( 9:22) 4. Sir John
( 9:48) 5. Stairway To The Stars
( 7:21) 6. Oh Happy Day
( 8:51) 7. Perdido
( 3:44) 8. Good Time Theme
(13:42) 9. Hip Trip
( 4:44) 10. Blue 'n Boogie

Despite claims to the contrary, organist Don Patterson was very much of the Jimmy Smith school, a hard-driving player with fine improvising skills but lacking a distinctive sound of his own. This CD (which reissues two complete LPs) features Patterson in prime form in a quintet with trumpeter Blue Mitchell, Junior Cook on tenor, and guitarist Pat Martino, and with a separate group that features trumpeter Virgil Jones and both George Coleman and Houston Person on tenors. Although "Oh Happy Day" is a throwaway, Patterson's spirited renditions of the blues and standards make this a fairly definitive example of his talents.~Scott Yanow https://www.allmusic.com/album/dem-new-york-dues-mw0000177249

Personnel: Organ – Don Patterson; Tenor Saxophone – George Coleman, Houston Person, Junior Cook; Trumpet – Blue Mitchell, Virgil Jones; Drums – Billy James; Frankie Jones; Guitar – Pat Martino

Dem New York Dues

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Newport Parker Tribute All Stars - From the Newport Jazz Festival Tribute to Charlie Parker

Styles: Jazz, Bop
Year: 1967
File: MP3@320K/s
Time: 48:14
Size: 111,2 MB
Art: Front

( 1:41) 1. Spoken Introduction By Father O'Connor
(11:22) 2. Buzzy
( 8:48) 3. Now's the Time
( 6:06) 4. Reminiscences: Father O'Connor And Musician
( 5:48) 5. Wee
( 0:26) 6. Closing Announcement By Father O'Connor
( 7:29) 7. Embraceable You
( 6:31) 8. Old Folks

Although it is not apparent from the outside of this CD, these performances are actually taken from two separate occasions. Trumpeter Howard McGhee, trombonist J.J. Johnson, Sonny Stitt (sticking to tenor), pianist Harold Mabern, bassist Arthur Harper Jr. and drummer Max Roach are heard at the 1964 Newport Jazz Festival jamming on three songs in tribute to Charlie Parker: "Buzzy," "Now's the Time" and "Wee." In-addition the MC, Father Norman O'Connor gets a few of the veterans to say a few words about Bird. The remainder of the CD features altoist Jackie McLean with his quartet at a studio session in 1967 performing searing ballad versions of "Embraceable You" and "Old Folks." A very interesting and well-rounded program, worth picking up.~Scott Yanow https://www.allmusic.com/album/from-the-newport-jazz-festival-tribute-to-charlie-parker-mw0000651975

Personnel: Bass – Arthur Harper, Jr., Scott Holt; Drums – Billy Higgins, Max Roach; Leader, Alto Saxophone – Jackie McLean; Tenor Saxophone – Sonny Stitt; Trombone – J.J. Johnson; Trumpet – Howard McGhee

From the Newport Jazz Festival Tribute to Charlie Parker

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Charlie Hunter, Chinna Smith, Ernest Ranglin - Earth Tones

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 57:31
Size: 132,1 MB
Art: Front

(5:48)  1. Long Bay
(9:15)  2. What I Am
(4:13)  3. Mestre' Tata
(6:45)  4. Live Got the Handle
(5:07)  5. One Foundation
(7:23)  6. Fade Away
(6:31)  7. Passion Dance
(8:29)  8. Rivers Of Babylon
(3:56)  9. Island In the Sun

It's been nearly a decade since Charlie Hunter collaborated with other guitarists (the great T.J. Kirk band of the mid-'90s), but Earth Tones finds him revisiting the format with very different results. T.J. Kirk was a fun band, but there was a bit of shtick involved: they brought an outgoing fusion sensibility (and a good bit of humor) to the music of Thelonious Monk, James Brown, and Rahsaan Roland Kirk. Earth Tones is something far more sublime. Hunter got together with legendary Jamaican guitarists Ernest Ranglin and Chinna Smith for an easygoing set of (mostly) covers that largely tread the kind of Jamaican-flavored jazz that Ranglin's been known for for years. There are some reggae and dub elements here and there, but you'd be hard-pressed to call it a reggae album. Recorded with very few overdubs, the cooperative arrangements are perfect, with plenty of space for everyone and the players almost finishing each other's thoughts. Hunter's guitar always has a bit of Leslie effect on it (remember, he's throwing down the basslines at the same time!), Chinna sticks to acoustic, and Ranglin plays with his trademark clean electric sound, so it's really easy to pick out who's doing what and compare their different styles.

Ranglin's fluid melodic lines contrast nicely with Smith, who makes some surprising yet wonderful note choices and wild intervalic leaps in his solos. Sharing the spotlight, there's less of Hunter's soloing than on his "proper" albums, but his playing is always fantastic and he lays down some big fat basslines. Drummer Shawn Pelton is ultra-supportive on drums and contributes tasteful drum programming that sometimes bubbles up from underneath, while session percussionist Manolo Badrena adds just the right accents. This album has the casual feel of a one-off affair, but that certainly doesn't mean it's any less enjoyable than Hunter's myriad other projects. In fact, this would have to rank right up there with his best, although one wouldn't necessarily consider this a Charlie Hunter project; it's a true collaboration. Regardless, putting these guys together was a stroke of genius. ~ Sean Westergaard http://www.allmusic.com/album/earth-tones-mw0000703553

Personnel:  Acoustic Guitar – Earl "Chinna" Smith;  Drum Programming – Shawn Pelton;  Drums – Shawn Pelton;  Electric Guitar – Ernest Ranglin;  Guitar [8-String] – Charlie Hunter; Percussion – Manolo Badrena

Earth Tones

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Various Artists - João Gilberto Eterno

Styles: Bossanova
File: MP3@320K/s
Time: 53:17
Size: 124,7 MB
Art: Front

1. Daniel Jobim - Garota de Ipanema (Dora Morelenbaum) (4:39)
2. Mônica Salmaso - Chega de Saudade (Guinga) (4:24)
3. Mario Adnet - Izaura (Antonia Adnet) (4:34)
4. Moreno Veloso - Bim Bom (2:37)
5. Jean Charnaux - Um Abraço no Bonfá (2:35)
6. ADNETs - Hô-Bá-Lá-Lá (3:09)
7. Joao Donato - Minha Saudade (Antonia Adnet) (2:47)
8. Rosa Passos - Doralice (2:32)
9. Goro Ito - João Marcelo (2:04)
10. Leila Pinheiro - Você e Eu (3:06)
11. ADNETs - Pra Que Discutir Com Madame (3:28)
12. Febian Reza Pane - Valsa (Bebel- Como São Lindos os Youguis) (3:20)
13. Joyce Moreno - Estate (5:46)
14. Mika Stoltzman - All of Me (Richard Stoltzman) (3:49)
15. Lisa Ono - Valsa da Despedida (Febian Reza Pane) (4:17)

Having had his arrangements and compositions recorded by an impressive list of artists ranging from Tom Jobim to Joyce to Leny Andrade, Mário Adnet has been more visible internationally since the '90s. In 1974, Adnet started to study music theory. Completing high school studies in the U.S., he moved to Austria and continued his musical studies at the Vienna School of Music. Adnet teamed up with Cláudio Nucci from 1977 to 1979. In the next year, he released his first album together with pianist and composer Alberto Rosenblit. In 1981, he was a finalist in TV Globo's MPB 81 and, until 1982, he was an arranger for Polygram. In 1983, he started to arrange for several artists like Joyce, Vinícius Cantuária, and Cláudio Nucci. His second album (and first solo one), the independent Planeta Azul (1984), was awarded by the Independent Producers Association. In 1990, Joyce, Lisa Ono, Clara Sandroni, Leny Andrade, and Trio da Paz launched his songs in the U.S., Europe, and Japan. In 1994, Tom Jobim recorded Adnet's arrangement of "Maracangalha" (by Dorival Caymmi) on his last CD, Antonio Brasileiro, which got a Grammy. Together with Djavan and Jorge Ben Jor, Adnet performed in 1994 in Miami. That same year, his CD Pedra Bonita (with special guests Tom Jobim, Joyce, Paulo Moura, Ivan Lins, Lisa Ono, and his sister Maúcha Adnet) was launched in Japan, where he performed the next year through several cities with Ono. In 1998, his soundtrack to the film Buena Sorte (Tânia Lamarca) won first prize in the II Brazilian Film Festival of Miami.~ Alvaro Neder https://www.allmusic.com/artist/mario-adnet-mn0000953716/biography

João Gilberto Eterno

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Joe Pass, J.J. Johnson - We'll Be Together Again

Styles: Guitar And Trombone Jazz
Year: 1983
File: MP3@320K/s
Time: 45:04
Size: 106,6 MB
Art: Front

(3:39) 1. Wave
(4:25) 2. We'll Be Together Again
(5:03) 3. Naked As A Jaybird
(4:10) 4. Blue Bossa
(5:47) 5. Limehouse Blues
(5:29) 6. How Long Has This Been Going On?
(4:25) 7. Bud's Blues
(2:33) 8. Nature Boy
(4:23) 9. Solar
(5:07) 10. When Lights Are Low

Few would argue with the statement that there is not an excess of guitar-trombone duet albums. In fact, in terms of instrumentation, this date (which has been reissued on CD) may very well be somewhat unique in jazz history. Trombonist J.J. Johnson had already been the pacesetter on his instrument for nearly 40 years at the time, while guitarist Joe Pass proved in the 1970s that he could make his axe fulfill all the roles of an orchestra. Still, the strong success of this inspired outing is a bit of a surprise. While Pass often adds walking lines behind Johnson, the trombonist sometimes plays long tones behind the guitarist's solos. Most exciting are the spots where the two share the lead equally. Other than Bud Powell's "Bud's Blues" and Johnson's "Naked as a Jaybird," the duo sticks to standards. But obviously, these versions sound quite a bit different than usual. Highlights include "Wave," "Limehouse Blues," "Nature Boy," and "When Lights Are Low." Highly recommended.~Scott Yanow https://www.allmusic.com/album/well-be-together-again-mw0000267680

Personnel: Guitar – Joe Pass; Trombone – J.J. Johnson

We'll Be Together Again

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Sophie Alour - Time For Love

Bitrate: MP3@320K/s
Time: 47:38
Size: 109.1 MB
Styles: Ballads, Saxophone jazz
Year: 2016
Art: Front

[3:24] 1. Nos Cendres
[5:29] 2. I Loves You, Porgy
[4:19] 3. The Second Time Around
[4:49] 4. Left Alone
[4:39] 5. Skylark
[4:58] 6. Ev'ry Time We Say Goodbye
[3:54] 7. Stars Fell On Alabama
[4:33] 8. Answer Me
[3:57] 9. I'm Old Fashioned
[3:37] 10. A Time For Love
[3:54] 11. Comptine

Sophie Alour (ts,ss); Sandro Zerafa (g); Sylvain Romano (b); Dédé Ceccarelli (ds); Stéphane Belmondo (tp); Rhoda Scott (org); Glenn Ferris (tb); David El Malek (ts); Alain Jean-Marie (p). QUINTET ALLEGRIA: Anne-Cécile Cuniot flûte traversière; Catherine Coquet hautbois et cor anglais; Gaëlle Burgelin clarinette; Cécile Hardouin basson; Camille Lebrequier cor.

"Time for Love", Sophie Alour's new opus is an album devoted to ballads and especially those immortalized by Shirley Horn, Joni Mitchell, Ella Fitzgerald or Nina Simone. Surrounded by the very best jazz musicians in France (Stéphane Belmondo, David El Malek (who is in charge of the musical direction of the project), and a wind quintet arranged by François Théberge, Rhoda Scott, Alain Jean-Marie, Dédé Ceccarelli) Sophie Alour confirms its sensitivity and expressiveness in the Jazz ballads. Time for Love is a great collective adventure that will hit the road of France and elsewhere, throughout the 2018/2019 season.

Time For Love

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Marty Grosz & His Hot Combination - Marty Grosz & His Hot Combination

Styles: New Orleans Jazz Revival
Year: 2006
File: MP3@320K/s
Time: 70:28
Size: 162,1 MB
Art: Front

( 4:14)  1. Alabamy Home
( 4:52)  2. Did I Remember?
( 4:02)  3. If It Ain't Love
( 4:34)  4. You
( 4:55)  5. What'll I Do?
( 4:59)  6. Don't Let It Bother You
( 3:59)  7. I'd Rather Be With You
( 4:09)  8. Murder In The Moonlight
( 7:01)  9. Four Or Five Times
( 4:40) 10. Life Begins When You're In Love
( 6:06) 11. Spoken Introduction To Just A Gigolo
( 3:39) 12. Just A Gigolo
(10:00) 13. Spoken Introduction To English Blues
( 3:11) 14. English Blues

Marty Grosz is a fine guitar player and singer, and has earned a solid rep as a purveyor of classic jazz styles. He's joined on Marty Grosz and His Hot Combination by a number of other players associated with classic styles, including clarinetist Ken Peplowski and trumpeter Jon-Erik Kellso. The main idea of the album, then, is fairly straightforward: surround yourself with great players, choose a handful of standards, and play your heart out. The collection begins with a spry, instrumental take on Dave Ringle and Duke Ellington's "Alabamy Home" before delving into a fine vocal version of Harold Adamson and Walter Donaldson's "Did I Remember?"

The track list includes lots of love songs and a neat take on "Just a Gigolo," revealing that Grosz has a romantic sensibility tinged with humor. The only item that distracts from the proceedings is Grosz's lengthy spoken introductions to "Just a Gigolo" and "English Blues." While both are more like funny monologues than introductions proper, they're too long and serve to interrupt the flow of music. Otherwise, Marty Grosz and His Hot Combination is a lovely album that reveals how joyful jazz was before the modern era. ~ Ronnie D.Lankford  

http://www.allmusic.com/album/marty-grosz-and-his-hot-combination-mw0000408647.

Personnel: Marty Grosz (vocals, guitar); Ken Peplowski (clarinet, tenor saxophone); Jon-Erik Kellso (trumpet); James Dapogny (cornet, piano); Arnie Kinsella (drums).

Marty Grosz & His Hot Combination

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Pat Metheny - Down In Texas (Live Houston '81)

Styles: Guitar Jazz
File: MP3@320K/s
Time: 147:55
Size: 339,3 MB
Art: Front

( 8:10) 1. Phase Dance
( 7:44) 2. Better Days Ahead
( 8:41) 3. The Windup
(11:40) 4. James
( 8:29) 5. Offramp
( 9:12) 6. It's For You
( 7:48) 7. The Bat Part ll
( 7:27) 8. Ozark
( 9:07) 9. Turnaround
(18:18) 10. Goin' Ahead
( 9:16) 11. Jaco
(15:53) 12. Au Lait (Suite)
(13:14) 13. San Lorenzo
( 8:41) 14. (Cross The) Heartland
( 4:08) 15. American Garage

In jazz terms, the Missouri born guitarist Pat Metheny is a global superstar. A musician who has always divided opinion, his forty eight album releases in a forty five year career to date have attracted thirty six Grammy Award nominations.

He has been the recipient of twenty outright Grammy awards, and is the only person to win in ten different categories. The sixty five year old’s musical career began in 1974 and his first major release, a trio recording “Bright Size life” with Jaco Pastorius on bass and drummer Bob Moses two years later, remains to this day a “go-to” album for legions of guitar enthusiasts. Total World wide sales of his albums exceed 20 million, his major period of success being with his fusion based group, known as “The Pat Metheny Group” or” PMG”, which was in existence for over three decades from 1977 and regularly filled large arenas and festival fields across the globe.

As well as “PMG”, plus his own duo’s, trio’s and quartet’s, Pat has also co-led bands with many other major players including Brad Mehldau, Ornette Coleman and Christian McBride, but it was with the recently departed Wisconsin born pianist and composer Lyle Mays that he formed a career long musical relationship, including this album, with its intriguing title that has been remembered by most jazz enthusiasts, whether they are Pat Metheny devotees or not. Its a mighty album throughout, with the Brazilian percussionist Nana Vasconcelos having a major part to play and elevating it to an iconic level.

The centre piece is of course the title track which occupies the whole of side one. It manages to be an ambient low tempo work while at the same time being both exciting and having the rare capacity to draw the listener into the somewhat mysterious musical landscape. From the leaders double bass intro’ (on an instrument he played only rarely) its easy to get hooked on the ethereal and mysterious musical conversations that abound between the twelve instruments at the trio’s disposal. There is no sense of urgency in the music, there doesn’t need to be, with nearly twenty one minutes of playing time, just constant invention and re-invention including a passage at high tempo and volume for three minutes or so half way through before calmer waters are revisited. Its a piece that gives much to the attentive listener and continues to expose more of its secrets with every listen.

Side two of the album is a little more upbeat and in line with the output we have expected from the Metheny fusion groups down the years. Ozark is a strong dramatically themed number with Lyle’s keyboards to the fore, followed by the Bill Evans tribute September 15th,(the day that the great pianist died in 1980). There is an orchestral backdrop to this with profound and poignant exchanges between piano and guitar. From the acoustic opening from the leader on Its For You the mood is very laid back and light with background vocals and broad low key chords from the synthesizer preceding an amplified solo from Pat that pointed the way to his expansive guitar style of future decades. The final track is the brief but melodic Estupenda Graca, another low key excursion to conclude an album that stands on its own, due in part to the impact of its title track, but also begins to form the style that has led to the continued success of all Pat Metheny Groups. http://jazzbluesnews.com/2021/05/26/cd-review-pat-metheny-down-in-texas-live-houston-81-2021-video-cd-cover/

Personnel: Pat Metheny (electric & acoustic six & twelve string guitars, bass); Lyle Mays (piano, synthesizer, organ, auto harp); Nana Vasconcelos (berimbau, percussion, drums, vocals)

Down In Texas (Live Houston '81)

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Sonny Stitt, Don Patterson - Legends Of Acid Jazz vol 2

Styles: Saxophone Jazz, Hard Bop
Year: 1998
File: MP3@320K/s
Time: 71:36
Size: 166,4 MB
Art: Front

(4:54) 1. Ratio And Proportion
(4:33) 2. Airegin
(6:15) 3. Little Angie
(4:43) 4. My Man String
(5:24) 5. Funk In 3/4
(6:05) 6. It's You Or No One
(6:02) 7. All The Things You Are
(3:29) 8. Lover Man
(5:39) 9. P.S. I Love You
(5:25) 10. Stella By Starlight
(5:34) 11. Bye Bye Blackbird
(4:01) 12. Over The Rainbow
(5:53) 13. Candy
(3:33) 14. Strike Up The Band

Two-fer CD reissue combines two 1968 sessions, both featuring Stitt and Patterson, that were recorded on consecutive days (September 23-24, 1968), although one was issued under Patterson's name and the other under Stitt's. The first six songs were issued as the Patterson LP Funk You!, on which Patterson leads a date that also has Sonny Stitt and Charles McPherson on saxes and Pat Martino on guitar. The other players get about as much space as Patterson, and as 1960s jazz with organ goes, this is pretty straight-ahead and boppish, rather than soul-jazz (as so much organ jazz from that decade was). For the bop factor, listen especially to the cover of Sonny Rollins' "Airegin," on which Martino in particular shines. Patterson does get in a more soulful mood on his composition "Little Angie," which has an elegiac mood somewhat similar to occasional slow instrumentals cut by Booker T. & the MG's during that period. The other eight songs were issued as the Stitt LP Soul Electricity!, an album that got its name because, for this session, Stitt plugged his alto and tenor saxophones into a Varitone attachment. What came out, though, was not fusion by any means, but a pretty straight-ahead session that found Stitt his usual competent self. The program is actually on the conservative side, leaning toward standards. Stitt's quartet is rounded out by Don Patterson on organ, Billy Butler on guitar, and Billy James on drums. This isn't the most logical package Stitt's half is more straight-ahead in flavor and, more importantly, neither album fits too well into the soul-jazz or acid jazz category but for fans of either artist, the material is worth hearing.~ Richie Unterberger https://www.allmusic.com/album/legends-of-acid-jazz-sonny-stitt-don-patterson-vol-2-mw0000602490

Personnel: Alto Saxophone, Tenor Saxophone – Sonny Stitt; Organ – Don Patterson; Alto Saxophone – Charles McPherson; Drums – Billy James; Guitar – Billy Butler, Pat Martino.

Legends Of Acid Jazz vol 2

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Sophie Alour - Uncaged

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 49:04
Size: 113,8 MB
Art: Front

(6:26) 1. Uncaged
(4:11) 2. Comptine
(4:07) 3. Haunted Part 1
(3:57) 4. Haunted Part 2
(6:49) 5. Sparkling Water
(2:45) 6. Snow In May
(4:24) 7. Sadrak
(5:26) 8. Nos cendres
(1:56) 9. Guerrier
(4:26) 10. Addict
(4:32) 11. Goodbye

Sophie Alour was born in 1974, she learned the saxophone by herself after she studied the clarinet at Quimper Music School in France. She learned jazz "on stage". In 2004, Rhoda Scott approached her to form her lady quartet, and the same year she played in the Wynton Marsalis' Big Band. She recorded her first album in 2005 'Insulaire', in 2007 she recorded 'Uncaged' with pianist Laurent Coq, double bass player Yoni Zelnik and drummer Karl Jannuska. She won several awards for this album and got the "Young Talent Django D'Or 2007". She has performed all around the world, exploring her repertoire, looking for its limits. She came back with 'Opus 3' in 2010 , closer to the jazz tradition. For her last album 'Géographie des rêves', Sophie Alour has decided to play with Yoann Loustalot (tp and flugelhorn), Nicolas Moreau (double bass), Stéphan Caracci (vibraphone) and Frederic Pasqua (drums). https://www.jazzmusicarchives.com/artist/sophie-alour

Uncaged

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Steve Kuhn - At This Time

Styles: Piano Jazz 

Year: 2016

File: MP3@320K/s

Time: 58:50

Size: 137,3 MB

Art: Front

(6:32)  1. My Shining Hour

(9:19)  2. Ah Moore

(6:10)  3. The Pawnbroker

(7:33)  4. All the Rest is the Same

(5:48)  5. The Feeling Within

(5:51)  6. Carousel

(5:47)  7. Lonely Town

(5:44)  8. This is New

(6:02)  9. I Waited for You

The wonderful and deeply satisfying At This Time... brings together pianist Steve Kuhn leading a trio comprised of electric bassist Steve Swallow and the ubiquitous (and always smiling drummer) Joey Baron. The immediate impulse for the recording was an extended set by this trio at Birdland, in New York City in 2015. Swallow and Kuhn go back forty years to Kuhn's ECM debut, Trance, with Kuhn knowing Baron for more than twenty years. This trio also recorded Kuhn's latest ECM release, Wisteria in 2012. The set list comes from the tunes played at the gig, and, even though these players all know each other very well, this very feeling of familiarity is enhanced by the fact that they had just played together. Granted, pros can be called together on short notice to play live or record and perform admirably, but there is an ineffable something about the atmosphere created by this album that gives it its special sound. The nine tracks are mostly in the six-minute range, with Kuhn's "All The Rest Is The Same" taking seven and a half minutes, and "Ah Moore" by Al Cohn reaching over nine minutes, so there is quite enough room for stretching out. However, the record feels as if it flies by, primarily because of the multitude of details that fit together perfectly and which flow ever forward. There is not a moment of fluff or indecision; each tracks sounds like first take, spontaneous creation with nothing to improve upon by trying again. This feeling of spontaneous perfection is only enhanced by the quality of the recording itself -the piano is crystalline (as is Kuhn's touch), Swallow's amazingly smooth electric bass sound is centered and full, but soft on the edges, while Baron knows exactly what to do and when to do it. The tunes themselves range from the well known opener, "My Shining Hour" to lesser known standards such as Kurt Weil's "This Is New," "Lonely Town" by Leonard Bernstein and Quincy Jones' "The Pawnbroker" among others. The Kuhn originals are placed in the middle of the set, with the perfect choice of "The Feeling Within" being performed solo, adding just the right touch of intensity. At This Time... will command attention without demanding it, and the attentive listener will find much in which to revel many times over. ~ Budd Kopman https://www.allaboutjazz.com/at-this-time-steve-kuhn-sunnyside-records-review-by-budd-kopman.php

Personnel: Steve Kuhn: piano; Steve Swallow: electric bass; Joey Baron: drums.

At This Time

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Charlie Ventura - East Of Suez

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 35:41
Size: 83,9 MB
Art: Front

(2:51) 1. Synthesis
(3:02) 2. Blue Champagne
(2:43) 3. Stop 'n' Go
(3:03) 4. Soothe Me
(3:13) 5. Pennies From Heaven
(2:47) 6. Eleven-Sixty
(2:50) 7. East Of Suez
(3:12) 8. Baby, Baby All The Time
(2:43) 9. Let's Jump For Rita
(3:01) 10. Out You Go
(3:09) 11. Sweet Georgia Brown
(3:01) 12. C.V. Jam

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: Tenor Saxophone – Charlie Ventura; Bass – Al Hall, Chubby Jackson, Gus Cole; Drums – Dave Tough , Shelly Manne , Specs Powell; Guitar – Bill DeArango , Eddie Yance; Piano – Bill Rowland, Lou Stein, Ralph Burns; Tenor Saxophone – Charlie Ventura; Trombone – Bill Harris, Kai Winding; Trumpet – Buck Clayton, Charlie Shavers ; Vocals – Buddy Stewart

East Of Suez

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Mel Tormé And Friends - Mel Torme and Friends: Recorded Live at Marty's, New York City

Styles: Vocal, Piano, Swing
Year: 1988
File: MP3@320K/s
Time: 78:59
Size: 181,7 MB
Art: Front

(2:51) 1. Let's Take a Walk Around the Block
(5:06) 2. New York State of Mind
(4:28) 3. When the World Was Young
(4:27) 4. Pick Yourself Up
(4:24) 5. Silly Habits
(3:46) 6. Mountain Greenery
(4:03) 7. Cottage for Sale
(2:29) 8. Take a Letter Miss Jones
(5:53) 9. Real Thing
(3:15) 10. Medley: Watch What Happens / Fly Me to the Moon / You And The Night And The Music / Shaking the Blues Away
(3:25) 11. Isn't It Romantic
(8:15) 12. "Porgy & Bess" Medley
(3:37) 13. The Folks Who Live on the Hill
(4:26) 14. The Best Is yet to Come
(3:54) 15. Isn't It a Pity
(4:36) 16. Wave
(5:02) 17. I Guess I'll Have to Change My Plan
(4:54) 18. Love for Sale

Recorded live at the nightclub Marty's in New York City, Mel Tormé and Friends was originally released as a double LP in 1981. It's a welcome reissue, presenting prime later Tormé who was, as usual, performing a nightclub show with a trio backup largely devoted to standards like Rodgers and Hart's "Mountain Greenery," Jerome Kern and Dorothy Fields' "Pick Yourself Up," Cole Porter's "Love for Sale" and a medley of songs from the Gershwins and DuBose Heyward's Porgy and Bess. What is unusual is the "and Friends" part, as Tormé is joined by such complementary guests as Cy Coleman (who plays piano on his and Carolyn Leigh's "The Best Is Yet to Come"), Gerry Mulligan (who performs on his and Tormé's composition "Real Thing," but whose solo medley has been cut), Jonathan Schwartz (who sings Lorenz Hart's original lyric for the song that became "I Guess I'll Have to Change My Plan") and one surprising but appropriate one: Janis Ian (who duets with Tormé on her own "Silly Habits").~ William Ruhlmann https://www.allmusic.com/album/live-at-martys-mw0000875927

The Friends Are: Cy Coleman/Janis Ian/Gerry Mulligan/Jonathan Schwartz

Personnel: Bass – Jay Leonhart, Rufus Reid; Drums – Donny Osborn; Piano – Mel Tormé, Mike Renzi

Mel Tormé And Friends

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Lady Blackbird - Black Acid Soul

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 41:57
Size: 96,6 MB
Art: Front

(4:01) 1. Blackbird
(2:58) 2. It's Not That Easy
(4:51) 3. Fix It
(3:42) 4. Ruler of my Heart
(3:38) 5. Nobody's Sweetheart
(3:17) 6. Collage
(3:20) 7. Five Feet Tall
(4:21) 8. Lost and Looking
(3:39) 9. It'll Never Happen Again
(4:13) 10. Beware the Stranger
(3:54) 11. Black Acid Soul

The highly-anticipated and debut album Black Acid Soul, due for its long awaited release on September 3rd via Foundation Music/BMG. With a voice that has stopped critics in their tracks, Lady Blackbird is a revelatory new talent with music that transcends the jazz scene through which the LA-based artist is rooted. Reflecting influences as varied as Billie Holiday, Gladys Knight, Tina Turner and Chaka Khan, with critics drawing comparisons to Adele, Amy and Celeste, Lady Blackbird’s distinct and beguiling talent is not one to be missed. Honouring the great's has come as a musical process to Lady Blackbird, having recorded her highly anticipated debut album Black Acid Soul in legendary Studio B (Prince’s room) in Sunset Sound, produced by Grammy-nominated Chris Seefried. Minimal yet rich, classic yet timely, the album connects backwards to Miles Davis (his pianist, Deron Johnson, plays Steinway Baby Grand, Mellotron and Casio Synth throughout) and forwards to Pete Tong (he made the Bruise mix of ‘Collage’ his Number Two Essential Selection tune of 2020) and, yes, Victoria Beckham Matthew Herbert’s remix of second single ‘Beware The Stranger’ soundtracked the designer’s Spring/Summer 2020 Fashion show. https://iamladyblackbird.bandcamp.com/album/black-acid-soul

Line-up: Lady Blackbird, Vocals | Deron Johnson, Steinway Baby Grand, Mellotron, Casio Synth | Jon Flaugher, Double Bass | Jimmy Paxson, Drums, Percussion | Chris Seefried, Electric Guitar, Acoustic Guitar | Troy “Trombone Shorty” Andrews, Trumpet.

Black Acid Soul

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Dizzy Gillespie - Free Ride

Styles: Trumpet Jazz
Year: 1977
File: MP3@320K/s
Time: 43:56
Size: 110,0 MB
Art: Front

(6:54) 1. Unicorn
(4:29) 2. Fire Dance
(6:44) 3. Incantation
(4:37) 4. Wrong Number
(5:23) 5. Free Ride
(6:33) 6. Ozone Madness
(4:38) 7. Love Poem for Donna
(4:32) 8. The Last Stroke Of Midnight

Although Lalo Schifrin is justifiably praised for his soundtrack work, many jazz purists turn up their noses at his jazz dates, such as his '60s work with Jimmy Smith and Wes Montgomery. The things that make Schifrin an anathema to the diehards the huge orchestras, the pop and soul riffs, the general air of over the top theatricality are all over 1977's Free Ride, his reunion date with Dizzy Gillespie. (Schifrin had been Gillespie's arranger in the late '50s.) In fact, Free Ride is so painfully dated that it's transformed into cockeyed cool, just the sort of record ironic hipsters should listen to while they're reading the novelizations of '70s cop shows that they bought for a bundle off of eBay. Gillespie plays with his usual wit and panache, but most of the time, he sounds like a sideman on his own album; the real focus of Schifrin's arrangements is the funky wah-wah guitars and ARP synthesizer solos that take center stage on tracks like "Fire Dance" (which sounds exactly like it should be the theme for a Charlie's Angels spinoff) and the mellow disco of the closing "Last Stroke of Midnight." Occasionally, Gillespie gets to break out on his own album, with the lovely solo on "Love Poem for Donna" his particular standout. For what it is, Free Ride is really quite good (guests include Lee Ritenour and future star Ray Parker, Jr.), but it's very much a record of and for its time.~Stewart Mason https://www.allmusic.com/album/free-ride-mw0000102458

Personnel: Dizzy Gillespie - trumpet; Lalo Schifrin - keyboards, arranger, conductor; Oscar Brashear, Jack H. Laubach - trumpet; Lew McCreary - trombone; Jerome Richardson - flute; Ernie Watts - saxophone; James Horn - saxophone, flute; Sonny Burke - piano, electric piano; Charles E. Spangler - synthesizer; Ray Parker Jr., Lee Ritenour, Wah Wah Watson - guitar; Wilton Felder - bass; Ed Greene - drums; Paulinho Da Costa - percussion

Free Ride

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Mel Tormé, Rob McConnell And The Boss Brass - Mel Tormé, Rob McConnell And The Boss Brass

Styles: Vocal, Big Band
Year: 1986
File: MP3@320K/s
Time: 43:34
Size: 100,2 MB
Art: Front

( 4:47) 1. Just Friends
( 4:57) 2. September Song
( 4:28) 3. Don'cha Go 'Way Mad
( 3:38) 4. A House Is Not A Home
( 3:46) 5. The Song Is You
( 4:03) 6. Cow Cow Boogie
( 5:36) 7. A Handful Of Stars/Stars Fell On Alabama
(12:15) 8. Duke Ellington Medley

This was a very logical matchup that came out as well on record as it looked on paper. Valve trombonist/arranger Rob McConnell has long led one of the top mainstream jazz big bands, while Mel Tormé blossomed into one of the truly great jazz singers in the 1980s. McConnell's charts suited Tormé perfectly, and the result is this consistently enjoyable and swinging album. The singer is quite enthusiastic and in top form on "Just Friends," a touching "September Song," "Don't 'Cha Go 'Way Mad," "A House Is Not a Home," "The Song Is You," a whimsical "Cow Cow Boogie," a "Stars" medley, and an exciting six-song Duke Ellington medley. Highly recommended.~Scott Yanow https://www.allmusic.com/album/mel-torm%C3%A9-rob-mcconnell-and-the-boss-brass-mw0000188380

Personnel: Mel Tormé - vocals

The Boss Brass: Arnie Chycoski - trumpet, flugelhorn; Erich Traugott, John MacLeod, Ian McDougall - trombone; Dave McMurdo, Bob Livingston, Ron Hughes - bass trombone; James MacDonald - french horn; Eugene Amaro - flute, tenor saxophone; Moe Koffman - clarinet, flute, alto saxophone, soprano saxophone; Bob Leonard - flute, bass clarinet, baritone saxophone; Rick Wilkins - clarinet, tenor saxophone; Dave Woods - trumpet, violin, flugelhorn; Robert Leonard - flute, bass clarinet, baritone saxophone; George Stimpson, Jerry Toth - flute, alto clarinet; Jimmy Dale - piano, electric piano; Guido Basso - harmonica, trumpet, flugelhorn; Ed Bickert - guitar; Jerry Fuller - drums; Brian Leonard - percussion; Steve Wallace - double bass; Rob McConnell - arranger, conductor, trombone.

Mel Tormé, Rob McConnell And The Boss Brass

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