Willis Jackson & Von Freeman - Lockin' Horns

Bitrate: 320K/s
Time: 47:28
Size: 108.7 MB
Styles: Hard bop, Soul jazz
Year: 2009
Art: Front

[10:08] 1. Pow!
[ 7:10] 2. The Man I Love
[ 6:33] 3. Troubled Times
[ 6:24] 4. Summertime
[ 8:26] 5. The Shadow Of Your Smile
[ 8:45] 6. Willis And Von

This album has a somewhat unlikely matchup. While Willis "Gator" Jackson's roots are in honking and screaming R&B, and he later became a top-notch soul-jazz player, Von Freeman's unusual tone and exploratory style resulted in him being associated with the avant-garde and post-bop. However, this encounter works well. With organist Carl Wilson, guitarist Joe "Boogaloo" Jones and drummer Yusef Ali giving strong support, the two tenors challenge each other, romp on "Pow!" and "Willis and Von," and show off their highly original sounds on individual features. ~Scott Yanow

Lockin' Horns

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Gerry Gibbs - Moving On

Styles: Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 78:03
Size: 180,7 MB
Art: Front

(6:35)  1. Impressions/Giant Steps
(2:51)  2. I Love You Porgy
(4:42)  3. McBooGoo's Delight
(4:58)  4. Memories of Home
(4:00)  5. Sountrack For Routines On The Road
(4:45)  6. Mistakes, Misunderstandings, Moving On and Never Looking Back
(5:51)  7. Festival in Bahia
(4:34)  8. Purple Fingers
(6:16)  9. All Blues
(1:29) 10. Music From The Frustrated Suite, Movement #7
(5:07) 11. You Don't Know What Love Is
(6:03) 12. Use To Be A Cha Cha / Teen Town
(5:09) 13. Five Towns
(7:03) 14. Fields
(7:15) 15. Don't You Worry 'Bout A Thing
(1:18) 16. The Lick

Drummer Gerry Gibbs and his Thrasher Band gives the modern jazz listener so much to absorb and digest, that it sometimes approaches overload. The dense and purposefully convoluted structures they employ are overwhelming to a more simpleminded, mainstream jazz audience. But make no mistake, this is a group comprised of brilliant musicians who are multi-faceted, if not multifarious. Each bandmember plays many instruments at one time or another, the music is expanded far beyond mortal combat, into a realm where listening creates disbelief. It's astonishing to hear this band go through their paces in a studio, so the live concert experience must be even more spectacular. Flanked by the many woodwinds of Justin Vasquez, Rob Hardt, and Eric Hargett, pianist Andy Langham, and bassist Richard Giddens, Gibbs exploits a huge color palette to offer grand re-interpretations of standards, and some original music that is, to put it mildly, out of this world. He also plays trumpet, vibes, and percussion on occasion, and is credited for composing four of the selections. They include the hot bop "Soundtrack for Routines on the Road" in nutty rhythm changes, including cartoonish whimsy and blues refrains in a tribute to longtime friend Ravi Coltrane. Also, the title "Mistakes, Misunderstandings, Moving On, Never Looking Back" (G.T.J.) incorporates a march beat with an accordion that sounds like an eulogy, "Music from the Frustrated Suite, Movement #7" is a funky and soured sound with sax and flute, while "Memories of Home" references a complex, ever-changing rhythmic stance and a soprano sax lead. John Coltrane is never far from Gibbs' thoughts via his full-blown reinterpretation of "Impressions/Giant Steps," fast and serene, witty and wild, while McCoy Tyner's lovely and potent "Festival in Bahia" has the band's heart in the right place via a steady rolling pace, though the melody is a bit imprecisely rendered. 

The Jaco Pastorius medley "Used to Be a Cha Cha/Teen Town" is done straight, loose, and fast just like the composer, with a bass clarinet as the centerpiece, Stevie Wonder's "Don't You Worry 'Bout a Thing" has the distinct flavor of John Coltrane, and "You Don't Know What Love Is" is a tender ballad, the most true-to-original-form song on the date, with pianist Langham and baritone saxophonist Hargett taking the lead. For contrast, "McBoogoo's Delight" is straight out of the N.Y.C. skunk funk, Bill Cosby show vein, with big-time, wah-wah, Texas broad strokes included. Loony interpretations of "I Loves You Porgy" and "All Blues" are the real stunners, the former literally insane in a short, concentrated, ultra-modern form with the arrangement of Vasquez and Hardt's oboe, while the latter is nearly unrecognizable until you listen closely to the diffuse spacing of notes and Hargett's deconstructed, flute-accented arrangement. 

Hardt also contributes "Purple Fingers" as intricate, involved, and indescribable as anything; "Five Towns" mixes Tex Mex waltz or flamenco with a pop feel à la Ry Cooder, and "Fields," penned by Vasquez, is a modern modal piece influenced again by Coltrane. Gibbs dedicates this recording to both the late Alice Coltrane and Dewey Redman, powerful figureheads who have influenced many progressive jazz musicians. Reflected in this truly stunning music, Gerry Gibbs has taken a giant leap forward in presenting new music that may stagger the imagination of some, but for others provides a revelation for a new jazz order that should drop jaws left and right. ~ Michael G.Nastos https://www.allmusic.com/album/moving-on-never-looking-back-mw0000806362

Moving On

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James Moody - Running the Gamut: Legendary Sessions

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 35:07
Size: 80,8 MB
Art: Front

(6:56) 1. Buster's Last Stand
(4:47) 2. Paint the Town Red
(3:47) 3. Emprean Shore
(6:49) 4. Capers
(2:28) 5. If You Grin (You're In)
(6:14) 6. Wayward Plaint
(4:02) 7. Figurine

James Moody was an institution in jazz from the late '40s into the 21st century, whether on tenor, flute, occasional alto, or yodeling his way through his "Moody's Mood for Love." After serving in the Air Force (1943-1946), he joined Dizzy Gillespie's bebop orchestra and began a lifelong friendship with the trumpeter. Moody toured Europe with Gillespie and then stayed overseas for several years, working with Miles Davis, Max Roach, and top European players. His 1949 recording of "I'm in the Mood for Love" became a hit in 1952 under the title of "Moody's Mood for Love" with classic vocalese lyrics written by Eddie Jefferson and a best-selling recording by King Pleasure. After returning to the U.S., Moody formed a septet that lasted for five years, recorded extensively for Prestige and Argo, took up the flute, and then from 1963-1968, was a member of Dizzy Gillespie's quintet.

He worked in Las Vegas show bands during much of the 1970s before returning to jazz, playing occasionally with Gillespie, mostly working as a leader and recording with Lionel Hampton's Golden Men of Jazz. Moody, who alternated between tenor (which he preferred) and alto throughout his career, had an original sound on both horns. He was also one of the best flutists in jazz. Moody recorded as a leader for numerous labels, including Blue Note, Xanadu, Vogue, Prestige, EmArcy, Mercury, Argo, DJM, Milestone, Perception, MPS, Muse, Vanguard, and Novus. He died of complications from pancreatic cancer on December 9, 2010 in San Diego, CA. James Moody was 85 years old.~ Scott Yanow https://www.allmusic.com/artist/james-moody-mn0000786080/biography

Personnel: Tenor Saxophone, Alto Saxophone, Flute – James Moody; Bass – Reggie Workman; Drums – Albert Heath; Piano – Patti Bown; Trumpet – Thad Jones; vocals – Marie Volpe

Running the Gamut: Legendary Sessions

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Paul McCandless, John Taylor, Pierluigi Balducci, Michele Rabbia - Evansiana

Styles: Contemporary Jazz
Year: 2017
File: MP3@320K/s
Time: 47:46
Size: 109,8 MB
Art: Front

(4:17) 1. Very Early
(5:18) 2. Re: Person I Knew
(5:33) 3. Time Remembered
(4:52) 4. Turn out the Stars
(3:28) 5. B Minor Waltz - For Elaine
(4:43) 6. Children Play Song
(7:20) 7. Some Other Time
(6:26) 8. Sweet Dulcinea Blue
(2:47) 9. Blue in Green
(2:58) 10. Epilogue

Evansiana is a jazz album by a quartet with Paul McCandless, John Taylor, Pierluigi Balducci and Michele Rabbia. The album is an anthology of compositions by the pianist Bill Evans. It was released in February 2017 by the Italian label Dodicilune. https://en.wikipedia.org/wiki/Evansiana

Personnel: Paul McCandless, Soprano Sax, Oboe (track 2), Bass Clarinet (7); John Taylor, Piano; Pierluigi Balducci, Electric Bass; Michele Rabbia, Drums, Percussion

Evansiana

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Tony Bennett - Playin' With My Friends: Bennett Sings The Blues

Bitrate: MP3@320K/s

Time: 57:05

Size: 130.7 MB

Styles: Vocal

Year: 2001

Art: Front

[3:28] 1. Alright, Okay, You Win (With Diana Krall)

[3:35] 2. Everyday (I Have The Blues) (With Stevie Wonder)

[2:41] 3. Don't Cry Baby

[4:53] 4. Good Morning Heartache (With Sheryl Crow)

[3:14] 5. Let The Good Times Roll (With B.B. King)

[4:12] 6. Evenin' (With Ray Charles)

[3:52] 7. I Gotta Right To Sing The Blues (With Bonnie Raitt)

[3:49] 8. Keep The Faith, Baby (With K.D. Lang)

[3:23] 9. Old Count Basie Is Gone (Old Piney Brown Is Gone)

[3:19] 10. Blue And Sentimental (With Kay Starr)

[4:29] 11. New York State Of Mind (With Billy Joel)

[3:15] 12. Undecided Blues

[3:32] 13. Blues In The Night

[4:32] 14. Stormy Weather (With Natalie Cole)

[4:45] 15. Playin' With My Friends (With Others)

Tony Bennett's latter-day albums tend to have themes, and this one has two, as indicated by its double-barreled title: It is both a duets album and a blues album. The duet partners include ten singers who range from his recent touring partners Diana Krall and k.d. lang to fellow veterans Ray Charles, B.B. King, and Kay Starr, and younger, but still mature pop stars Stevie Wonder, Bonnie Raitt, and Billy Joel. All sound happy to be sharing a mic with Bennett. Not surprisingly, the singer's conception of the blues does not extend to the Mississippi Delta or the South Side of Chicago; rather, he is interested in the blues as filtered through the sound of the Swing Era, particularly from around Kansas City, and as interpreted by Tin Pan Alley and show tunes. For the former, his true mentor is Count Basie, whose overt influence is heard on six of the 15 tracks. Bennett makes no attempt to hide this, leading off the album with two songs, "Alright, Okay, You Win" (a duet with Krall) and "Everyday (I Have the Blues)" (a duet with Wonder), closely associated with Basie singer Joe Williams. The Broadway and Hollywood blues style is introduced in three selections written by Harold Arlen. On about half the tracks, the Ralph Sharon Quartet is augmented by Harry Allen's saxophone and Mike Melvoin's Hammond organ, but this remains a small, intimate affair that emphasizes the singers. There are missteps -- Sheryl Crow's Billie Holiday impersonation on "Good Morning, Heartache" is unfortunate, and Natalie Cole, as usual, sounds out of her depth on "Stormy Weather." But the trade-offs Bennett enjoys with King and Charles are priceless, and the Joel duet is surprisingly effective. On the whole, this is yet another entry in Bennett's lengthening series of autumnal recorded triumphs. ~William Ruhlmann

Playin' with My Friends"

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Esbjörn Svensson Trio - Seven Days Of Falling

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 62:23
Size: 145,7 MB
Art: Front

( 5:29)  1. Ballad For The Unborn
( 6:26)  2. Seven Days Of Falling
( 6:49)  3. Mingle In The Mincing-Machine
( 0:50)  4. Evening In Atlantis
( 6:02)  5. Did They Ever Tell Cousteau?
( 4:48)  6. Believe Beleft Below
( 6:43)  7. Elevation Of Love
( 4:16)  8. In My Garage
( 6:30)  9. Why She Couldn't Come
(14:25) 10. O.D.R.I.P

Now in their tenth year, the Swedish piano trio e.s.t. has gradually evolved into a significant force on the European scene, playing to packed houses and releasing records that figure on jazz and pop charts. Why they've never managed to achieve the same level of success in North America is a mystery. The more elegant alternative to the Bad Plus, they share a similar penchant for song-like structure, but with a more delicate approach, clearly rooted in Bill Evans and Keith Jarrett, as opposed to the Bad Plus' roots in Thelonious Monk. They even shared labels, with Columbia releasing the '01 compilation Somewhere Else Before as well as their compelling '02 effort, Strange Place for Snow. Sadly, they mustn't have moved enough copies to satisfy Columbia's powers that be, because their most recent disk, Seven Days of Falling , has remained noticeably absent from the shelves in North America for nearly a year. Finally 215 Music has stepped up to the plate to release the disk along with a bonus DVD containing four songs from their European live concert video, Live in Stockholm , and that makes the package as good an introduction to the group as any, as well as satisfying existing fans who have been waiting for this album for many months. With Seven Days of Falling e.s.t., consisting of pianist Esbjörn Svensson, bassist Dan Berglund and percussionist Magnus Öström, moves even further towards song form, and ups the ante in terms of what has traditionally been more subtle electronic processing. "Mingle in the Mincing- Machine" starts with a fuzz bass and clangy industrial-sounding percussion that drives a bouncy melody before moving into a rhythmical ostinato over which Berglund delivers a raucous solo. Svensson's solo is more subtly treated, with light washes in the background. Still, while the electronics are more overt than before, e.s.t. manages to use them in a refreshing way that adds to the music without completely defining it.

Contrasting up-tempo tunes like the bass-driven "Did They Ever Tell Cousteau" and the weighty "O.D.R.I.P.," the album also has its share of tender moments, including the sparse opener, "Ballad for the Unborn," and the poignant "Believe, Beleft, Below," which reappears as a bonus hidden track, with vocals from an unknown singer. Regardless of the context, the constant throughout is Svensson's innate lyricism and ability to weave a convincing story with his improvisations, as on "Elevation of Love," which leans towards a Metheny/Mays writing style. The fifty-minute concert footage on the DVD, which also features a music video and thirteen- minute interview, are all tunes taken from Somewhere Else Before , but in concert e.s.t. takes these simple pieces, including "Dodge the Dodo," the closest thing they've had to a "hit," and develop them into lengthier excursions that demonstrate just how strong they are, individually and collectively. An excellent package that highlights where they've been and where they're going, the North American release of Seven Days of Falling is an event that has been all too long in coming. ~ John Kelman https://www.allaboutjazz.com/seven-days-of-falling-esbjorn-svensson-215-music-munich-records-review-by-john-kelman.php

Personnel: Esbjörn Svensson: piano, keyboards; Dan Berglund: double-bass; Magnus Öström: drums, percussion.

Seven Days Of Falling

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Gerry Gibbs Thrasher Dream Trio - Live In Studio (Feat. Ron Carter & Kenny Barron)

Size: 177,1 MB
Time: 77:22
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Wives And Lovers (6:07)
02. Summer Of '42 The Summer Knows (6:01)
03. Casino Royale/The Look Of Love (Feat. Cassandra Wilson) (4:33)
04. Spartacus Love Theme (3:36)
05. On A Clear Day You Can See Forever (Feat. Roy Hargrove) (6:44)
06. Oklahoma! The Surrey With The Fringe On Top (3:53)
07. Alfie (Feat. Cassandra Wilson) (6:27)
08. Watch What Happens (Instrumental) (5:22)
09. Un Homme Et Une Femme (A Man And A Woman) (3:22)
10. Cast Your Fate To The Wind (Live) (3:35)
11. Summer Of '42 What Are You Doing The Rest Of Your Life (5:45)
12. Mondo Cane More (4:22)
13. Watch What Happens (Feat. Cassandra Wilson) (4:06)
14. Music To Watch Girls By (4:14)
15. Girl Talk (4:43)
16. Charade (Feat. Roy Hargrove) (4:25)

Drummer Gerry Gibbs has been living a recurring dream with slight variations for the past few years. In December of 2012, he laid down tracks with two of his idols—the legendary Ron Carter and the estimable Kenny Barron—and dubbed their group the Thrasher Dream Trio. The eponymous debut from that band, featuring fifteen tracks recorded at those sessions, was, not surprisingly, a strong and classy affair filled with standards, some originals, and other jazz-friendly fare, such as Stevie Wonder's "Don't You Worry 'Bout A Thing" and Burt Bacharach's "Promises, Promises."

At the time of that album's release, those last-mentioned tracks could simply be viewed as part of the well-rounded program. But looking back now, it actually seems like they were dropped as hints of what was to come. About a year-and-a-half after that first Thrasher Dream Trio album was recorded, Gibbs brought the band together again to lay things down for We're Back (Whaling City Sound, 2014), a jazz-does-R&B project with A-list guests—vibraphonist Warren Wolf, saxophonist Steve Wilson, and organist Larry Goldings. That album offered multiple helpings of Wonder and Earth, Wind & Fire along with single servings of Bacharach, Marvin Gaye, Miles Davis, and the Average White Band. As on the trio's first album, the sparks were flying. The playing field, however, had changed a bit.

For this, the third go-around for this group, Gibbs does it again, tweaking the formula without altering the essence of the trio. This time he turned the focus toward pop-ish material from the '50s and '60s—the work of Bacharach, Henry Mancini, Michel Legrand, and others of that ilk—and put an audience in front of the band, recording live at Systems Two Recording Studio. Guests are part of the package again—now it's trumpeter Roy Hargrove and vocalist Cassandra Wilson, each appearing on a few tracks—and they help to add another wrinkle or two to the project without drawing focus away from the trio.

The album opens on a fluid "Wives And Lovers" that allows Barron's lyricism to shine through, gives Carter a chance to step into the spotlight, and puts Gibbs' brushwork at center stage. From there, the trio moves on with an unusually upbeat take on "The Summer Knows," a Wilson-enhanced version of "The Look Of Love" that moves from bossa nova to swing, and a variety of other familiar hits of yesteryear. Hargrove joins in for "On A Clear Day," quoting Ellington at one point and playfully trading solos with Gibbs; Vince Guaraldi's cheerfulness shines through on a perky trio performance of his "Cast Your Fate To The Wind"; "More" is transformed from a stale confection into an enjoyable swinger; and "Watch What Happens" happens twice—first as a cheerful, Brazilian-based instrumental, then as a swing-centered feature for Wilson.

Along the way there are plenty of other bright spots—an appropriately noir-ish "What Are You Doing The Rest Of Your Life?" with Hargrove on flugelhorn, a leisurely stroll through "Girl Talk"—and plenty of moments that serve as simple reminders as to why Barron and Carter are loved, respected, and emulated the world over. Their time and taste are impeccable, and when married to Gibbs' in-the-tradition drumming, you know the music is going to go in the right direction every time. ~Dan Bilawsky

Personnel: Kenny Barron: piano; Ron Carter: acoustic bass; Gerry Gibbs: drums; Roy Hargrove: trumpet, flugelhorn (5, 7, 11, 16); Cassandra Wilson: vocals (3, 7, 13).

Live In Studio

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Reinhardt Winkler - Let's Face the Music

Styles: Jazz
File: MP3@320K/s
Time: 48:07
Size: 112,9 MB
Art: Front

(4:21) 1. Don't Be That Way
(4:22) 2. Let's Face the Music and Dance
(1:58) 3. Let the Drums Speak I
(4:32) 4. Mr. Bojangles
(4:17) 5. Beatrice
(3:44) 6. Lucky Mojo
(5:19) 7. Emily
(1:42) 8. Let the Music Speak II
(4:35) 9. Idaho
(4:50) 10. Poinciana
(4:35) 11. Flamingo
(3:47) 12. Why Should I Care?

Famous standards played by a remarkable ensemble lead by drummer Reinhardt Winkler.

Reinhardt Winkler: I've known most of the songs of my new album for a long time. As a child, I got my first jazz records and all the songs were on it. I fell in love with this music, the sound, the instruments, the vibe, I just liked everything. Over the years I've always stayed tuned to these particular songs and some of them have become my absolute favourites. So I decided to record these songs with musicians I appreciate so much. https://www.propermusic.com/cr73526-let-s-face-the-music.html

Personnel: Reinhardt Winkler - Drums; Harry Allen - Tenor Saxophone; Simone Kopmajer - Vocals; John Di Martino - Piano; Boris Kozlov - Bass; Wolfgang Puschnig - Alto Saxophone

Let's Face the Music

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Lyn Stanley - Live at Studio A

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 66:23
Size: 154,7 MB
Art: Front

(7:36) 1. Trieste
(4:54) 2. Pink Cadillac
(3:42) 3. Route 66
(3:38) 4. Blue Moon
(2:31) 5. You the Night and the Music
(2:58) 6. Go Slow / Nice Girls Don't Stay for Breakfast
(3:48) 7. Let There Be Love
(2:43) 8. Goody Goody
(4:12) 9. Love Letters
(5:21) 10. Sway
(5:45) 11. As Time Goes By
(3:16) 12. In the Still of the Night
(3:20) 13. Lover Man
(4:25) 14. Cry Me a River
(1:49) 15. Girl Talk
(3:33) 16. You Never Can Tell
(2:43) 17. Bye Bye Blackbird

Discovered in 2010 by world class jazz pianist and legend, Paul Smith, Lyn Stanley entered singing with the world’s most famous accompanist, Paul Smith and his trio, four months after meeting her. Lyn was born in Tacoma Washington, the same birth town as singers Diane Schuur and Janis Paige. Her dad played piano by ear in the style of Erroll Garner, and Lyn was an attentive listener at an early age. She also had a grandfather who was an opera singer and an uncle who sang tenor roles in local theater groups in Long Beach, CA. Lyn Stanley entered the singing world through a side door ballroom dancing. She began dancing in 2004 and took a fast study track to becoming a Pro/AM champion in ballroom dancing’s International Standard style and won three events and two national titles in 2010. She also placed 3rd in a World Title event the same year in the same style. Her dancing background leads her rhythm-making her singing style stand out, especially when added to her unique vocal tone.

Following her stage debut with Paul Smith, Lyn was accepted into an international open call for a Cabaret training program at Yale University. It was there Lyn learned how to prepare a one-woman show training with some of the greatest performers working in the industry including Amanda McBroom, Julie Wilson, Tovah Feldshuh, Sally Mayes, and Alex Rybeck. Her first one-woman show, “Makin’ Whoopee” was well-received by audiences and critics creating a call for an album from her fans. The birth of her debut album “Lost In Romance” came from her idea to present ballroom dancing rhythms and tempos into jazz interpretations. After all, jazz was first heard in the dance halls and then navigated to the instrumental solos popular today.

Lost In Romance is a unique album that combines 13 of Los Angeles’ best jazz musicians performing in four different trios along with soloists. The album is organized as a tale of love’s in’s and out’s, trials and tribulations, joys and disappointments in a sequence that is best appreciated when heard in song order. The songs include traditional Great American Songbook tunes, but also step into blues and even Broadway-with “Losing My Mind” performed from a dancer’s perspective in a jazz arrangement. The album’s musicians and stellar arrangements were created by Tamir Hendelman, Steve Rawlins and Llew Matthews all three have worked with some of the greatest artists in America including Barbra Streisand, Bette Midler and Nancy Wilson. Paul Smith listened to Lost In Romance shortly before his death on June 29, 2013. As Lyn’s mentor, he told her he was very pleased with the album and rated it “A++.” Those who knew Paul can attest that his accolades were sparse and his expectations high from every musician and singer he encountered. Prior to his death, he confided to Lyn that he “hoped to be around for her 10th album” and he believed others would appreciate her work as much as he did. https://www.allaboutjazz.com/musicians/lyn-stanley

Live at Studio A

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Willis Jackson - Keep on a Blowin'

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 77:29
Size: 178,9 MB
Art: Front

(10:22) 1. Keep on a Blowin'
( 4:02) 2. How Deep Is the Ocean
( 3:28) 3. On the Sunny Side of the Street
( 7:44) 4. Blue Strollin'
( 7:11) 5. The Man I Love
( 5:23) 6. A Smooth One
( 5:04) 7. Thunderbird
( 5:26) 8. Oh Lady, Be Good
( 9:14) 9. Back and Forth
( 3:51) 10. California Sun
( 7:54) 11. Body and Soul
( 7:44) 12. A Penny Serenade

In 1999, Fantasy reissued two of Willis Jackson's old Prestige LPs, Keep on a Blowin' (1959-60) and Thunderbird (1962), on this 78-minute CD for its Legends of Acid Jazz series. Spanning 1959-62, this reissue looks back on what was a very exciting period for the big-toned, breathy tenor man, who had moved away from the honking and screaming he had done in the late 1940s and early 1950s and had reinvented himself as a more mature provider of organ-combo soul-jazz. While Keep on a Blowin' (which features a young Jack McDuff on organ) is a straight-ahead collection of blues, ballads (including "How Deep Is the Ocean"), and standards, parts of Thunderbird (which employs Freddie Roach on the Hammond B-3) are more commercial and rock & roll-minded. But even on a remake of the surf rock ditty "California Sun," Jackson doesn't lose his jazzman's sense of improvisation. "The Man I Love" from Keep on a Blowin' is a real surprise Jackson begins the Gershwin standard as a lush ballad before unexpectedly switching to a fast tempo and approaching it as 200 mile-an-hour bop. This consistently rewarding CD is highly recommended.~Alex Henderson https://www.allmusic.com/album/keep-on-a-blowin-mw0000244072

Personnel: Tenor Saxophone – Willis Jackson; Bass – Milt Hinton (tracks: 1), Tommy Potter (tracks: 2, 5-6, 7-12), Wendell Marshall (tracks: 3-4); Congas – Buck Clarke (tracks: 1), Ray Barretto (tracks: 7-12); Drums – Alvin Johnson (tracks: 1-6), Frank Shea (tracks: 7-12); Guitar – Bill Jennings; Organ – Jack McDuff (tracks: 1-6), Freddie Roach (tracks: 7-12)

Keep on a Blowin'

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Tony Bennett & Lady Gaga - Love For Sale (Deluxe)

Styles: Vocal
File: MP3@320K/s
Time: 43:56
Size: 101,4 MB
Art: Front

(2:53) 1. It's De-Lovely
(3:42) 2. Night And Day
(3:40) 3. Love For Sale
(4:48) 4. Do I Love You
(3:06) 5. I've Got You Under My Skin
(3:56) 6. I Concentrate On You
(3:34) 7. I Get A Kick Out Of You
(4:31) 8. So In Love
(3:36) 9. Let's Do It
(4:16) 10. Dream Dancing
(3:00) 11. Just One Of Those Things
(2:49) 12. You're The Top

"Tony called me right after Cheek to Cheek came out and had gone No. 1,” Lady Gaga tells Apple Music, explaining the decision to follow up their successful duet album of Great American Songbook covers with an LP devoted solely to the music of Cole Porter. “He said, ‘I want to make this record with you, and it will be all Cole Porter songs,’ and I just thought it was a brilliant idea.” Gaga and Bennett breathe new life into some of Porter’s most timeless classics “You’re the Top,” “Night and Day,” “I Get a Kick Out of You,” and of course the heartbreaking title track.

Gaga takes a solo turn on “Do I Love You,” and as she tells it, Bennett provided her with the confidence to approach the recording booth alone: “Tony gave me the inspiration and permission to hold court in the studio again,” she says. “He reminded me that I am the artist.” But the real magic happens when the two come together. “I know he’s 95 years old, but I see a young boy every time I sing with him,” Gaga dotes. “It makes the experience so freeing to have two souls singing together.” https://music.apple.com/us/album/love-for-sale/1579361847

Love For Sale (Deluxe)

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Miles Davis Quintet - Steamin'

Styles: Trumpet Jazz
Year: 1961
File: MP3@320K/s
Time: 40:11
Size: 92,3 MB
Art: Front

(9:06) 1. Surrey with the Fringe on Top
(6:10) 2. Salt Peanuts
(6:17) 3. Something I Dreamed Last Night
(7:52) 4. Diane
(6:20) 5. Well, You Needn't
(4:24) 6. When I Fall in Love

Although chronologically the last to be issued, this collection includes some of the best performances from the tapes which would produce the albums Cookin', Relaxin', Workin', and ultimately, Steamin'. A primary consideration of these fruitful sessions is the caliber of musicians Miles Davis (trumpet), Red Garland (piano), John Coltrane (tenor sax), and Philly Joe Jones (drums) who were basically doing their stage act in the studio. As actively performing musicians, the material they are most intimate with would be their live repertoire. Likewise, what more obvious place than a studio is there to capture every inescapable audible nuance of the combo's musical group mind. The end results are consistently astonishing. At the center of Steamin', as with most outings by this band, are the group improvisations which consist of solo upon solo of arguably the sweetest and otherwise most swinging interactions known to have existed between musicians.

"Surrey With the Fringe on Top" is passed between the mates like an old joke. Garland compliments threads started by Davis and Coltrane as their seamless interaction yields a stream of strikingly lyrical passages. There are two well-placed nods to fellow bop pioneers Charlie Parker and Dizzy Gillespie on a revision of their "Salt Peanuts." Philly Joe Jones' mimicking cymbal speak which replicates Gillespie's original vocals is nothing short of genius. This rendition is definitely as crazy and unpredictable here as the original. Thelonious Monk also gets kudos on "Well, You Needn't." This quintet makes short work of the intricacies of the arrangement, adding the double horn lead on the choruses and ultimately redefining this jazz standard. Although there is no original material on Steamin', it may best represent the ability of the Miles Davis quintet to take standards and rebuild them to suit their qualifications.~ Lindsay Planer https://www.allmusic.com/album/steamin-with-the-miles-davis-quintet-mw0000191715

Personnel: Miles Davis – trumpet; John Coltrane – tenor saxophone (except 3 and 6); Red Garland – piano; Paul Chambers – bass; Philly Joe Jones – drums

Steamin'

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Don Cherry, Dewey Redman, Charlie Haden and Ed Blackwell - Old And New Dreams

Styles: Jazz, Post Bop
Year: 1994
File: MP3@320K/s
Time: 47:07
Size: 108,2 MB
Art: Front

(12:18)  1. Lonely Woman
( 5:41)  2. Togo
( 5:34)  3. Guinea
( 8:10)  4. Open or Close
( 7:31)  5. Orbit of La-Ba
( 7:50)  6. Song For The Whales

The second recording by Old and New Dreams was, like its first from three years earlier, named after the group. Trumpeter Don Cherry, tenor saxophonist Dewey Redman, bassist Charlie Haden, and drummer Ed Blackwell made for a mighty team, performing high-quality free bop in the tradition of the Ornette Coleman Quartet (of which they were all alumni). In addition to two of Ornette's tunes (including a lengthy exploration of "Lonely Woman"), the musicians each contributed an original of their own. Stirring music in a setting that always brought out the best in each of these musicians. ~ Scott Yanow http://www.allmusic.com/album/old-and-new-dreams-1979-mw0000649442

Personnel:  Bass – Charlie Haden;  Drums – Ed Blackwell;  Tenor Saxophone, Oboe [Musette] – Dewey Redman;  Trumpet, Piano – Don Cherry

Old And New Dreams

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Charlie Watts Quintet - From One Charlie

Styles: Jazz, Bop
Year: 1991
File: MP3@320K/s
Time: 28:02
Size: 65,6 MB
Art: Front

(5:51) 1. Practising, Practising, Just Great
(4:27) 2. Blackbird - White Chicks
(2:47) 3. Bluebird
(2:18) 4. Terra De Pájaro
(3:57) 5. Badseeds - Rye Drinks
(3:36) 6. Relaxing at Camarillo
(5:02) 7. Going, Going, Going, Gone

Charlie Watts, a charter member of the Rolling Stones and an OK jazz drummer, financed a few jazz projects during the 1980s and '90s. This particular set a tribute to Charlie Parker that features a quintet, vocalist Bernard Fowler (who sings "Lover Man" and adds some narration about Parker's life), six strings, harp, and oboe has renditions of seven songs associated with Bird. Altoist Peter King is easily the solo star, trumpeter Gerard Presencer is decent but not on the same level, and pianist Brian Lemon also gets in some spots; Watts stays in the background. This well-intentioned program is well worth acquiring and its highlights include versions of "Just Friends," "Dewey Square," and "Perdido."~ Scott Yanow https://www.allmusic.com/album/tribute-to-charlie-parker-with-strings-mw0000614758

Personnel: Drums – Charlie Watts; Piano – Brian Lemon; Saxophone, Alto Sax & Leader - Peter King; Trumpet – Gerard Presencer; David Green - Bass.

From One Charlie

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Pete Escovedo - Rhythm of the Night

Styles: Vocal
File: MP3@320K/s
Time: 42:36
Size: 99,3 MB
Art: Front

(4:46) 1. Africa
(4:03) 2. Ain't No Sunshine
(4:31) 3. Ain't Nobody
(3:47) 4. Glamorous Life
(5:58) 5. I'll be Around
(4:45) 6. Mas Que Nada
(4:35) 7. Overjoyed
(4:17) 8. Until You Come Back to Me
(5:50) 9. Rhythm of the Night

Legendary Percussionist Pete Escovedo is an artist who broke down the barriers between Smooth Jazz, Salsa, Latin Jazz and contemporary music. His name has been synonymous in the music industry for more than 50 years. Pete Escovedo is known worldwide for his live performances, session work and solo albums. He has recorded ten acclaimed solo albums, two albums with his daughter Sheila E., and the Latina Familia live album with Sheila E. and Tito Puente. Produced and arranged by son Peter Michael Escovedo, Rhythm of the Night is a collection of nine "Old School" Soul & R&B hits, re-arranged and transformed into an explosion of Latin Jazz articulated through a fourteen-piece Latin Jazz Orchestra. The 2021 Latin Grammys will be honoring Pete Escovedo with a Lifetime Achievement Award November 17th, 2021. Facebook views were approx. 2.2 million.~Opiniones Editoriales https://www.amazon.com/Rhythm-Night-Pete-Escovedo/dp/B09BBY9MLH

Rhythm of the Night

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Johnny Griffin - Take My Hand

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 65:01
Size: 149,6 MB
Art: Front

(10:47) 1. Isfahan
( 9:39) 2. Take My Hand
( 6:30) 3. All Through The Night
( 5:16) 4. Coming On The Hudson
(11:06) 5. Woe Is Me
( 7:33) 6. Hush-A-Bye
( 6:05) 7. Out Of This World
( 8:01) 8. If I Should Lose You

One of the more obscure recordings in Johnny Griffin's discography, this studio session from some time during the 1980s features the tenor saxophonist with a solid rhythm section consisting of pianist Michael Weiss, bassist Dennis Irwin, and the in-demand drummer Kenny Washington. At times, one gets the idea that Griffin has slowed down his playing style a bit, though blistering originals like "Take My Hand" quickly shake that notion. The lush, extended treatment of Billy Strayhorn's "Isfahan" (oddly credited to Griffin on the back insert) contrasts with the percolating take of Thelonious Monk's quirky and infrequently performed "Coming on the Hudson." Griffin's bluesy "Woe Is Me" is the perfect number for late, lonely nights, suggesting the last remaining patron in a bar about to close. Another bizarre packaging mistake switches the titles to "If I Should Lose You" and "Out of This World," the former a spirited hard bop arrangement, the latter ending the CD with a light Latin flavor.~Ken Dryden https://www.allmusic.com/album/take-my-hand-mw0000593067

Personnel: Tenor Saxophone – Johnny Griffin; Bass – Dennis Irwin; Drums – Kenny Washington; Piano – Michael Weil

Take My Hand

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Peter Ecklund - Blue Suitcase

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 41:52
Size: 97,0 MB
Art: Front

(3:29)  1. Old Madeira Waltz
(3:18)  2. Watching the World Go By
(4:26)  3. San
(4:01)  4. Dinah
(4:53)  5. Tail Fins
(3:35)  6. Foxtrot
(3:44)  7. This Can't Be Love
(3:44)  8. Lazy Ragtime
(3:40)  9. Love Sawng
(3:13) 10. Texas Shuffle
(3:43) 11. Waltz for a Song

Peter Ecklund is a conjurer, a creator of musical moods that span time, place and idioms. In this collection of jazz/pop eclectica, a combination of Ecklund originals and reinterpreted/rearranged standards, he evokes eras and emotions with a startling clairvoyance: you never heard it before, you never heard it THAT way before, but it feels exactly right. https://store.cdbaby.com/cd/pecklund

Personnel:  Peter Ecklund – trumpet, flugelhorn, ukulele; Matt Munisteri – guitar, vocals; Mike Weatherly – bass, vocals

Blue Suitcase

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Stéphane Grappelli, Django Reinhardt - Kings of Gypsy Swing

Styles: Swing
Year: 2008
File: MP3@320K/s
Time: 73:27
Size: 170,2 MB
Art: Front

(2:36) 1. The Continental
(3:07) 2. After You've Gone
(2:22) 3. Some of These Days
(3:47) 4. Nuages, Daphne
(3:18) 5. Viper's Dream
(2:22) 6. Mystery Pacific
(3:28) 7. Body & Soul
(3:17) 8. Oh, Lady Be Good
(2:36) 9. I Never Knew
(3:03) 10. I Found a New Baby
(2:30) 11. Tiger Rag
(3:16) 12. Minor Swing
(3:01) 13. Crazy Rhythm
(2:49) 14. Smoke Rings
(2:31) 15. Tiger Rag
(3:06) 16. After You've Gone
(3:14) 17. Georgia On My Mind
(2:45) 18. Honeysuckle Rose
(3:16) 19. Oh, Lady Be Good
(2:42) 20. St. Louis Blues
(2:14) 21. I Got Rhythm
(3:00) 22. Sweet Georgia Brown
(3:17) 23. Out of Nowhere
(2:46) 24. Limehouse Blues
(2:52) 25. Djangology

Jean Reinhardt (23 January 1910 – 16 May 1953), known by his Romani nickname Django (French: [d?ã?go ??jna?t] or [d??~go ?en??t]), was a Belgian-born Romani-French jazz guitarist and composer. He has been hailed as one of the first major jazz talents to emerge in Europe and as one of its most significant exponents. With violinist Stéphane Grappelli, Reinhardt formed the Paris-based Quintette du Hot Club de France in 1934. The group was among the first to play jazz that featured the guitar as a lead instrument. Reinhardt recorded in France with many visiting American musicians, including Coleman Hawkins and Benny Carter, and briefly toured the United States with Duke Ellington's orchestra in 1946. He died suddenly of a stroke in 1953 at the age of 43. Reinhardt's most popular compositions have become standards within gypsy jazz, including "Minor Swing" "Daphne", "Belleville", "Djangology", "Swing '42", and "Nuages". Jazz guitarist Frank Vignola claims that nearly every major popular-music guitarist in the world has been influenced by Reinhardt. Over the last few decades, annual Django festivals have been held throughout Europe and the U.S., and a biography has been written about his life. In February 2017, the Berlin International Film Festival held the world premiere of the French film Django.More...... https://en.wikipedia.org/wiki/Django_Reinhardt

Stéphane Grappelli (French pronunciation: [stefan g?ap?li]; 26 January 1908 – 1 December 1997, born Stefano Grappelli) was a French-Italian jazz violinist. He is best known as a founder for the Quintette du Hot Club de France with guitarist Django Reinhardt in 1934. It was one of the first all-string jazz bands. He has been called "the grandfather of jazz violinists" and continued playing concerts around the world well into his eighties For the first three decades of his career, he was billed using a gallicised spelling of his last name, Grappelly, reverting to Grappelli in 1969. The latter, Italian spelling is now used almost universally when referring to the violinist, including reissues of his early work.More.... https://en.wikipedia.org/wiki/St%C3%A9phane_Grappelli

Kings of Gypsy Swing

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Houston Person - Live in Paris

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 58:53
Size: 135,7 MB
Art: Front

(9:10) 1. Sweet Sucker
(8:43) 2. Only Trust Your Heart
(7:08) 3. Easy Walker
(8:06) 4. The Way We Were
(5:33) 5. Lester Leaps In
(7:39) 6. Since I Fell For You
(9:01) 7. Sunny
(3:29) 8. Jean-Jaures Shuffle

Houston Person recording live in Paris, but in a setting that has the tenor legend going right back to his 60s material as he's playing here in an organ combo, with Ben Paterson on the Hammond B3, Peter Bernstein on guitar, and the great Willie Jones III on drums! The whole thing crackles with a great sort of energy – maybe more of a small club sort of vibe, as you might have caught Houston doing in Philly or New Jersey back in the day with tunes that open up with an easygoing groove that's perfect for his skills on tenor nice and long on just about every number, with titles that include "Easy Walker", "Sweet Sucker", "Lester Leaps In", "Sunny", "Jean Jaures Shuffle", "Only Trust Your Heart", and "The Way We Were". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/993253

Personnel: Houston Person, tenor saxophone; Ben Paterson, Hammond B-3 organ; Peter Bernstein, guitar; Willie Jones III, drums.

Live in Paris

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Wardell Gray & Dexter Gordon - The Chase and the Steeplechase

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 49:57
Size: 114,6 MB
Art: Front

(11:35)  1. The Chase
(13:52)  2. The Steeplechase
( 6:58)  3. Milt to the Hilt
( 7:56)  4. Homecoming
( 3:27)  5. Swootie Patootie
( 3:15)  6. Sweet Lorraine
( 2:51)  7. Goodbye

A classic bit of aggressive bop from the team of Wardell Gray and Dexter Gordon famous in the LA scene for their fierce playing in competitive cutting contests! The album features the classic long reading of "The Chase", cut by Gordon and Gray at a GNP concert in 1952 backed by the similar "Steeple Chase", which grooves out in a similar format with very long tenor solos. The rest of the group features Conte Candoli on trumpet, Chico Hamilton on drums, Bob Tucker on piano, and Don Bagley on bass. The second part of the CD features classic early work from Tony Scott a set of clarinet tracks performed with a quartet featuring Dick Katz on piano, Milt Hinton on bass, and Sid Bulkin on drums. The style's a great mix of bop and swing in that mode that Tony always brought to his best work of the time, and which pushed an understanding of the clarinet in jazz long past the swing years. Titles include the original "Homecoming", "Sweet Loraine", "Goodbye", and "Swootie Patootie".  

© 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/635013

Personnel:  Wardell Gray tenor saxophone;  Dexter Gordon tenor saxophone;  Bobby Tucker piano; Don Bagley bass; Chico Hamilton drums

The Chase and the Steeplechase

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