Al Cohn - The Natural Seven

Styles: Saxophone Jazz
Year: 1955
File: MP3@320K/s
Time: 38:20
Size: 89,3 MB
Art: Front

(3:33) 1. A Kiss To Build A Dream On
(3:03) 2. Doggin' Around
(3:00) 3. Jump The Blues Away
(3:38) 4. Jack's Kinda Swing
(3:02) 5. The Natural Thing To Do
(2:45) 6. A. C. Meets Osie
(3:06) 7. Baby Please
(3:00) 8. 9:20 Special
(3:32) 9. Pick A Dilly
(3:37) 10. Count me in
(3:28) 11. Freddie's Tune
(2:32) 12. Osie's Blues

Some but not all of the material on this out-of-print LP has since been reissued on CD on a Bluebird set shared by Freddie Green and Al Cohn. Although originally associated with Woody Herman and cool jazz, Cohn always felt equally comfortable playing with swing-styled players. His "Natural Seven" looks toward the Kansas City Seven and includes two members of Count Basie's band (trumpeter Joe Newman and guitarist Freddie Green) among the personnel (which also has trombonist Frank Rehak, Basie soundalike pianist Nat Pierce, bassist Milt Hinton and drummer Osie Johnson). Although the music includes a few Basie-associated songs, Cohn also contributed several of his own swinging originals; Osie Johnson's vocal on "Osie's Blues" is surprisingly effective.~ Scott Yanow https://www.allmusic.com/album/the-natural-seven-mw0000413536

Personnel: Al Cohn – tenor saxophone; Joe Newman – trumpet; Frank Rehak – trombone; Nat Pierce – piano; Freddie Green – guitar; Milt Hinton – bass; Osie Johnson – drums, vocal; Manny Albam (tracks 1, 3, 8 & 12), Al Cohn (tracks 4-7 & 9-11), Ernie Wilkins (track 2) – arranger

The Natural Seven

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Bruce Forman & Cow Bop - Cowlifornia Swing

Bitrate: MP3@320K/s
Time: 57:32
Size: 131.7 MB
Styles: Swing
Year: 2012
Art: Front

[4:24] 1. It's All Your Fault
[5:33] 2. Roly Poly
[3:59] 3. Wahoo
[5:13] 4. Mambo Italiano
[2:58] 5. Cattle Call
[4:54] 6. A Gal In Calico
[5:15] 7. I've Found A New Baby
[4:56] 8. Indian Love Call
[6:10] 9. What Is This Thing Called Love
[3:55] 10. Them There Eyes
[4:09] 11. Someday
[6:02] 12. These Boots Are Made For Walking

The Cowbopsters are back with their fourth album called Cowlifornia Swing, and there are plenty of both western and jazz influences apparent. Much like their last album ("Too Hick for the Room") we hear guitarist Bruce Forman, vocalist Pinto Pammy (Forman's wife), bassist Alex King and drummer Jake Reed. The quintet has also added David Wise on saxophone and cornet. On several cuts, guests fill out the new album with tints of piano, fiddle, trombone, cello, mandolin and accordion. All are hot tunesters with solid credentials. Bruce Forman teaches jazz guitar at USC's Thornton School of Music, and others in the band are (or were) students there. Like their last successful album, Thornton alumnus Doug Gerry produced, and faculty member Andrew Garver mastered.

"Spade" Cooley coined the term "Western Swing" in the early 1940s, and it's interesting that "Spade" was a Los Angeles resident like the members of Cow Bop. He had fortune and fame, but was imprisoned in 1961 for murder. Despite the thousands of bands playing all over the West during the heyday of Western Swing, the genre is most closely associated with Bob Wills and his Texas Playboys. Cow Bop pays tribute to them with a boss arrangement of "Roly Poly" that wisely includes Phil Salazar's fiddle, the only cut with that classic western swing instrument, albeit played electric on this song.

Cow Bop's approach to bovine boogie also taps jazz standards ("I've Found a New Baby"), pop fare ("These Boots are Made for Walking," "Mambo Italiano"), country ("Cattle Call"), western ("Wahoo"), and some less oft-heard big band tunes ("A Gal in Calico"). The jazz chops predominate in these uplifting tunes and make for an enjoyable listen. We also hear Pinto Pammy's countrified sounds, like yodeling in "Cattle Call" and call-and-response (with David Jackson) in the novelty number "Wahoo." She's also comfortably smooth with a swinging version of "Indian Love Call," quite unlike the rendition done by Nelson Eddy and Jeanette MacDonald. Six-minute offerings like "What is this Thing called Love?" and "These Boots are Made for Walking" allow multiple instrumentalists to showcase with improvisation between verses. The arrangements are solid, but I wonder if they write any originals.

While some of Cow Bop's influences are clearly organic and corn-fed, Cow Bop's jazzy twang also provides a copious amount of toe-tapping fun. There may not be many big roadhouses and dancehalls left today, but you can catch this band at fairs, festivals, cafes, rodeos, burger joints and places like the Viva Cantina in Burbank. I haven't ever been there, but I imagine it as a place where young folks, old-timers, friends and neighbors all know each other and gather for listening or dancing the night away. Hailing from busy and heavily populated Southern California, Cow Bop's music conveys a rural ethos, but also demonstrates an urban, contemporary understanding. Cowlifornia Swing is music for dancing so roll up the rug, throw some cornmeal on the floor, invite the neighbors over and throw a party to their music. ~Joe Ross

Cowlifornia Swing

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Scott Hamilton - Two for the Road

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 54:38
Size: 127,8 MB
Art: Front

(7:11) 1. Diane
(7:28) 2. Two for the Road
(6:06) 3. Comin?In Home
(7:09) 4. On a Clear Day
(6:16) 5. Somewhere in the Night
(7:30) 6. Haunted Heart
(4:52) 7. Race Point
(8:02) 8. Fly Me to the Moon

In this new recording by Scott Hamilton for the Castellón label Blau Records, he is once again accompanied by Dena DeRose on piano, Ignasi González on double bass and Jo Kraus on drums. The songs have a natural, fresh, authentic and creative atmosphere with the musicians playing simultaneously as in a live concert, and all coinciding in the twists of tone, style, form and improvisation. Hamilton often discovers and recreates little-known and even forgotten songs, such as the one that gives the title to this new album "Two for the Road". One of the characteristic features of his style is his ability to recall legendary tenor saxophonists with his own unadulterated natural sound and phrasing; their reinterpretation nails them.

‘Diane’ is the first track, a relaxed, tempered swing, with the quartet playing improvisational twists, including the “eight-bar” double bass and the “four” drums. Then Henry Mancini's 'Two for the Road', a beautiful, quiet and melancholy ballad from Stanley Dan's film. ‘Comin’ in Home ’, a song with dixieland or even ragtime nuances and‘ On a Clear Day ’, a half tempo swing as clear as its title. 'Somewhere in the Night', an animated song with Latin airs, in which percussion takes center stage. It continues with ‘Haunted Heart’, a sensational ballad by Schwartz and Dietz from 1948. Then we have a sudden change of tempo with ‘Race Point’, by Hamilton himself, a fast blues. Closing this magnificent recording is'Fly me to the moon ', the well-known song performed by many artists.~ Teb García Ferrer https://discmedi-com.translate.goog/ca/disco_new/12827/scott-hamilton/two-for-the-road?_x_tr_sl=ca&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=nui,sc

Personnel: Scott Hamilton on saxophone, Dena DeRose on piano, Ignasi González on double bass and Jo Kraus on drums

Two for the Road

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Bruce Forman - Full Circle

Styles: Guitar Jazz
Year: 1984
File: MP3@320K/s
Time: 44:52
Size: 102,8 MB
Art: Front

(3:53)  1. Marshall Arts
(6:18)  2. Helen's Song
(5:23)  3. On The Sunny Side of The Street
(6:15)  4. Skylark
(6:16)  5. Circular
(4:04)  6. Giant Steps
(7:02)  7. Desert Rain
(5:36)  8. Summertime

Features tight guitar from Forman, and some great work on vibes from Bobby Hutcherson! Titles include "Giant Steps", "Circular", "Helen's Song", and "Marshall Arts".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/517378

Personnel:  Guitar – Bruce Forman;  Bass – Jeff Carney;  Drums – Eddie Marshall; Piano – George Cables;  Vibraphone, Guest [Special Guest] – Bobby Hutcherson

Full Circle

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Stan Getz, Chet Baker - The Stockholm Concerts [Disc 1], [Disc 2], [Disc 3]

Album: The Stockholm Concerts [Disc 1]
Styles: Saxophone And Trumpet Jazz
Year: 1983
File: MP3@320K/s
Time: 55:20
Size: 127,1 MB
Art: Front

( 1:43) 1. Announcement
(10:50) 2. Stablemates
( 7:42) 3. We'll Be Together Again
(10:52) 4. On the Up and Up
( 5:53) 5. How Long Has This Been Going on
( 7:08) 6. O Grande Amor
(11:08) 7. Just Friends

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Album: The Stockholm Concerts [Disc 2]
Time: 58:29
Size: 134,4 MB

( 9:00) 1. My Funny Valentine
( 8:40) 2. Sipping at Bell's
( 5:40) 3. Stella By Starlight
( 7:50) 4. Airegin
( 8:33) 5. The Baggage Room Blues
( 7:33) 6. We'll Be Together Again
(11:10) 7. I'll Remember April

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Album: The Stockholm Concerts [Disc 3]
Time: 58:58
Size: 135,6 MB

(1:25) 1. Annoucement
(8:38) 2. Just Friends
(8:22) 3. My Funny Valentine
(9:02) 4. Sippin' at Bell's
(5:04) 5. Blood Count
(9:55) 6. Milestones
(8:47) 7. Airegin
(5:28) 8. Dear Old Stockholm
(2:12) 9. Line for Lyons

According to this set's annotator, Mike Hennessey, and Stan Getz's biographer, Donald Maggin, the circumstances surrounding the making of these 1983 recordings was unpleasant in the extreme. For various reasons, Getz was unhappy to be concertizing with Baker and forced him out before the 35-date tour was halfway finished. Before Baker left, however, the men played a pair of concerts in Stockholm, which were fortunately recorded for posterity. Fortunately not because Getz and Baker shared any special rapport that led to a classic performance, but because the resulting album gives listeners another example of how wonderful a player Chet Baker was, even after years of drug addiction and general dissolution. Getz is his typical self lyrical, facile almost to the point of glibness, but musical nevertheless. Baker, on the other hand, is as he ever was one of the most spontaneously creative, emotionally compelling voices in jazz. The band is good if unspectacular; drummer Victor Lewis was a particularly nice choice in that he could drive a band like this without overwhelming the rather brittle lead voices. And Getz is excellent; if you're a Getz fan, he's in fine form here, so you won't be disappointed. Baker, on the other hand, is superb; it's his inimitable musicality that ultimately makes this rather pricey three-disc set a bargain.~Chris Kelsey https://www.allmusic.com/album/the-stockholm-concerts-mw0000047181

Personnel: Tenor Saxophone – Stan Getz; Trumpet – Chet Baker; Bass – George Mraz; Drums – Victor Lewis; Piano – Jim McNeely

The Stockholm Concerts [Disc 1],[Disc 2],[Disc 3]

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Miss Sophie Lee - Love Street Lullaby

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 41:41
Size: 96,9 MB
Art: Front

(2:55)  1. I Will Love You
(3:49)  2. Come and Get Your Happiness
(4:04)  3. Midnight Blue
(3:48)  4. When You're Smiling
(3:52)  5. Blue Moon
(5:10)  6. My Love Untitled
(3:32)  7. You Do Something to Me
(2:32)  8. A Little Trip to Heaven
(3:34)  9. It's Only a Paper Moon
(3:43) 10. That's Life I Guess
(4:06) 11. Love Street Lullaby
(0:31) 12. Korean Lullaby

If there is one constant element in New Orleans music, it is tradition. Though there are many styles and genres to be discovered and enjoyed within this vibrant and energetic city, there is a defining acoustic syncopated sound which is most identified and associated with New Orleans. Vocalist Miss Sophie Lee with Love Street Lullaby has upheld this steady emphasis on roots music blended with modern sophistication to become one of the premier singers of the Crescent City. The opening track "I Will Love You," a Lee original, sets up a gypsy swing vibe courtesy of guitarist Matt Johnson and trumpet man Dave Boswell, who maintain this groove throughout with their intense accompaniment. Pianist Bart Ramsey and bassist Tommy Sciple, having been with Lee for some time now, are stellar in their utilization and preservation of tempo. There is a certain way this music has to be played to obtain an accurate sound. Without the aid of electric instrumentation or drums the players rely on a sense of musical finesse and timing which is acquired through practice, dedication, and continuous live performances. The selections run the scope from classics like "Blue Moon," and "It's Only a Paper Moon," to Tom Waits' "A Little Trip to Heaven," where Lee grabs ahold and makes it her own. Her penned number "My Love Untitled," expresses not only her songwriting skills, but also her facility to interplay with the trumpet, revealing unique phrasing and intonations. The title track is another original, a song for the river, and of ladies singing about going home, where love waits. This is music that was conceived down on Frenchmen Street, brought to life in front of the locals who come to this part of town to hear the real deal. Since her 2008 self-produced release of "Tallulah Moon," Miss Sophie Lee has had children, opened up a jazz flavored restaurant Three Muses, and performs on a regular basis. There is an overwhelming feeling on Love Street Lullaby of a woman who is at peace with herself and the life she has chosen. It is brimming with positive possibilities of the power of music. ~ James Nadal https://www.allaboutjazz.com/love-street-lullaby-miss-sophie-lee-threadhead-records-review-by-james-nadal.php

Personnel: Miss Sophie Lee: vocals; Dave Boswell: trumpet; Matt Johnson: guitar; Bart Ramsey: piano and accordion; Tommy Sciple: upright bass; Matt Rhody: violin; Chris Kohl: clarinet; Michael Seman: percussion (11).

Love Street Lullaby

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J.J.Johnson - Willie Dynamite

Styles: Vocal
Year: 1974
File: MP3@320K/s
Time: 32:06
Size: 75,1 MB
Art: Front

(4:13) 1. Willie D
(3:07) 2. Willie Chase
(4:53) 3. King Midas
(3:01) 4. Willie Escapes
(3:02) 5. Passion's Dilemma
(3:38) 6. Keep On Movin' On
(3:01) 7. Make It Right
(2:37) 8. Parade Strut
(1:40) 9. Gospel Family
(2:51) 10. Willie D

One of the greatest soundtracks of the blacksploitation era served up with some incredible grooves from maestro JJ Johnson! The album's got a non-stop, hard-hitting groove that ranks it with the best of its time and which is arguably even better, because most of the record isn't nearly as well known as Shaft, Superfly, or other classics. Martha Reeves sings some of the deepest vocals of her career on the great title track "Willie D" an old sample cut that you're sure to recognize and the instrumental tunes are even better, filled with great percussion and jazzy flourishes from JJ in a style that really keeps things interesting! There's plenty of "chase" riffing on the album and titles include "Willie Chase", "Parade Strut", "Make It Right", "Gospel Family", "Keep On Movin", and "Willie Escapes". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/736408/JJ-Johnson-Martha-Reeves:Willie-Dynamite-Original-Soundtrack

Personnel: Martha Reeves, The Sweet Things - Vocal

Willie Dynamite

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Charlie Watts Quintet - A Tribute To Charlie Parker With String

Styles: Jazz, Bop
Year: 1992
File: MP3@320K/s
Time: 76:16
Size: 174,9 MB
Art: Front

(0:24) 1. Intro
(6:06) 2. Practicing, Practicing, Just Great
(5:10) 3. Black Bird, White Chicks
(4:28) 4. Bluebird
(5:46) 5. Bound For New York
(3:57) 6. Terra De Pajaro
(4:58) 7. Bad Seeds - Rye Drinks
(3:54) 8. Relaxing At Camarillo
(7:11) 9. Going, Going, Going, Gone
(0:43) 10. Intro To The Second Set
(3:18) 11. Just Friends
(3:16) 12. Cool Blues
(3:24) 13. Dancing In The Dark
(5:37) 14. Dewey's Square
(4:05) 15. Rocker
(6:33) 16. Lover Man
(7:18) 17. Perdido

Charlie Watts, the Rolling Stones drummer, was no fish out of water Thursday night at the Palace, leading his quintet, plus an eight-piece orchestra, through a program of tunes from that complicated yet most appealing art form, be-bop. Watts deftly broad-jumped genres as he and his cohorts played selections from his recent, first-rate release, “A Tribute to Charlie Parker With Strings.” The concert included such Parker compositions as “Cool Blues,” played by the quintet, and “Dewey Square,” played with strings added. Additionally, one heard songs associated with Parker, such as a re-creation of the classic “with strings” version of “Just Friends,” and originals written for the ensemble by its musical director, the compelling English alto saxophonist Peter King. While Watts isn’t a true bopper in the manner of a Max Roach or a Roy Haynes, that didn’t prove a detriment to his performance. Employing a tidy, non-flamboyant style, he kept the beat with crisp ride cymbal attacks, and occasionally whacked his snare drum to add propelling accents. The leader preferred to stay in the background, simply providing accompaniment, smiling or nodding his head in empathy as he played.

And while the moderate-size audience may have been watching Watts, it was King who stole the show. The 52-year-old horn man, who speaks Parker fluently, played with brio, delivering swooping and sweeping forays that were packed with choice notes as well as gritty little blues phrases that made you want to say, “A-men.” His originals, exemplified by the Latin-based “Terra de Pajaro,” were of the be-bop era, yet sounded fresh. Trumpeter Gerard Presencer, pianist Brian Lemon and bassist David Green were the other logs in this nicely burning fire. Session singer Bernard Fowler served as the evening’s narrator, reading Watts’ children’s book about Parker, “Ode to a High Flying Bird,” as a segue between tunes and singing “Laura” and “Loverman.” https://www.latimes.com/archives/la-xpm-1992-07-25-ca-3707-story.html

Personnel: Charlie Watts - drums; Peter King - alto saxophone, musical director; Gerard Presencer - trumpet; Brian Lemon - piano; David green - acoustic bass: Bernard Fowler - narration, vocals on "Loverman"

String Section: Jim David - violin; Arnold Goodger - violin; Andrew Hughes - violin; Adrian Staines - violin; Nicola Akeroyd - viola; Sylvia Knussen - cello; Robert Johnson - harp; Julie Robinson - oboe

A Tribute To Charlie Parker With String

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Willis Jackson - Legends Of Acid Jazz

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 76:47
Size: 176,0 MB
Art: Front

( 9:16) 1. Blue Gator
( 6:01) 2. Try a Little Tenderness
( 3:43) 3. Gator's Tail
( 4:33) 4. This Nearly Was Mine
(10:04) 5. East Breeze
( 5:14) 6. She's Funny That Way
( 9:04) 7. Mellow Blues
( 4:51) 8. Sportin'
( 4:05) 9. When I Fall in Love
( 8:19) 10. Cookin' Sherry
( 5:45) 11. Where Are You?
( 5:47) 12. Contrasts

Willis "Gator" Jackson's initial reputation was made as a honking and screaming tenor saxophonist with Cootie Williams' late-'40s orchestra and on his own R&B-ish recordings. By 1959, Jackson had de-emphasized some of his more extroverted sounds (although they occasionally popped up) and had reemerged as a solid swinger influenced by Gene Ammons and (on ballads) Ben Webster. This CD reissue from 1998 brings back in full two of Jackson's 1959-60 LPs: Blue Gator and Cookin' Sherry. Some of the music (which often falls into the soul-jazz genre) is reminiscent of the funky groove music that would become popular in the late '60s. Jackson sounds fine and is joined throughout by guitarist Bill Jennings, organist Jack McDuff, one of three bassists, one of two drummers, and sometimes Buck Clarke on conga. The accessible music alternates between warm ballads and jump tunes.~ Scott Yanow https://www.allmusic.com/album/legends-of-acid-jazz-mw0000037065

Personnel: Willis "Gator" Jackson - tenor saxophone; Bill Jennings - guitar; Jack McDuff - organ; Alvin Johnson, Bill Elliot - drums; Buck Clarke - congas

Legends Of Acid Jazz

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Lavay Smith & Her Red Hot Skillet Lickers - One Hour Mama

Styles: Vocal, Swing, Big Band
Year: 1996
File: MP3@320K/s
Time: 48:03
Size: 110,3 MB
Art: Front

(3:10)  1. Oo Poppa Do
(3:51)  2. Blue Skies
(6:24)  3. New Blowtop Blues
(4:01)  4. What's The Matter With You?
(4:38)  5. Squeeze Me
(2:48)  6. And Her Tears Flowed Like Wine
(4:58)  7. Going To Chicago Blues
(3:11)  8. Between The Devil And The Deep Blue Sea
(5:24)  9. Downhearted Blues
(4:07) 10. Walk Right In, Walk Right Out ('The Walking Blues')
(5:25) 11. One Hour Mama

The current swing revival, a very healthy development that has given younger dancers an opportunity to jitterbug to four/four music has, ironically, resulted in quite a bit of erratic music. Some of the so-called swing bands are really just playing rockabilly, '50s pop, or mere imitations of Louis Prima and Cab Calloway mixed in with R&B from later periods. But there are a few groups that really are playing swing, including singer Lavay Smith & Her Red Hot Skillet Lickers. The talented Smith has an appealing voice that sometimes sounds close to Dinah Washington's, but it's also flexible enough to handle material ranging from Bessie Smith to Anita O'Day. And, although the singer gets top billing, her instrumentalists are just as strong. The debut set by the Red Hot Skillet Lickers features heated and romping solos by trombonist Larry Leight, altoist Bill Stewart, tenor Harvey Robb, and Noel Jewkes on tenor, clarinet and baritone, along with a driving four-piece rhythm section. Pianist/arranger Chris Siebert is responsible for the inventive charts, which are sometimes a combination of earlier recordings and always leave space for solos. The material includes some blues, swing standards (such as "Blue Skies," "Squeeze Me" and "Between the Devil and the Deep Blue Sea"), and lots of riffing. The music is a joy. The fact that Lavay Smith's San Francisco ensemble has been able to benefit from the swing revival shows that it is possible to perform music that is both popular and quite swinging. ~ Scott Yanow http://www.allmusic.com/album/one-hour-mama-mw0000035527

Personnel: Lavay Smith (vocals); Noel Jewkes (clarinet, tenor saxophone, baritone saxophone); Bill Stewart (alto saxophone, tenor saxophone); Chris Siebert (piano); Dan Foltz (drums).

One Hour Mama

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Karrin Allyson - Yuletide Hideaway

Styles: Holiday
Year: 2013
File: MP3@320K/s
Time: 42:52
Size: 100,0 MB
Art: Front

(3:24)  1. Yuletide Hideaway
(3:37)  2. Winter Oasis
(3:26)  3. Christmas Bells Are Ringing
(3:45)  4. Winter Wonderland
(3:30)  5. Let It Snow! Let It Snow! Let It Snow!
(4:01)  6. This Time Of Year
(3:11)  7. Snowbound
(3:33)  8. Christmas Time Is Here
(3:12)  9. It's Love, It's Christmas
(3:22) 10. Have Yourself A Merry Little Christmas
(2:28) 11. You're All I Need For Christmas
(2:32) 12. I Like Snow
(2:44) 13. The Christmas Song

Four-time Grammy nominee, singer/pianist Karrin Allyson, released the sophisticated ‘Yuletide Hideaway’ on November 1st. The 13-song album is a combination of original Holiday songs and Christmas standards, and features Allyson’s trademark elegant, dreamy vocals. From ‘Let It Snow’ and ‘Winter Wonderland’ to Allyson’s stunning original title track and more, the album is at times playful, introspective, spirited  a timeless classic-in-the-making  as Allyson’s understated sophistication suggests a cozy, contemplative December evening by the fireplace, perhaps alone, perhaps with loved ones by our side.  http://www.birdlandjazz.com/event/410971-karrin-allysons-yuletide-new-york/

Yuletide Hideaway

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Dave Young - Two By Two 2

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 69:37
Size: 161,2 MB
Art: Front

(6:48)  1. Dolphin Dance
(3:29)  2. Blowin' The Blues Away
(6:04)  3. Make a Pallet on the Floor
(6:33)  4. Moment to Moment
(5:15)  5. Bass Blues
(5:12)  6. Self Portrait in Three Colours
(4:36)  7. One Finger Snaps
(8:04)  8. Loverman
(6:38)  9. Nascimento
(5:09) 10. Pendulum At Falcon's Lair
(6:07) 11. I'm All Smiles
(5:36) 12. Peaceful

After recording duets with five master pianists in early 1995 for Two by Two, Vol. 1, bassist Dave Young brought six more keyboardists into the studio for a follow-up volume later in the same year. The elegant interpretation of Herbie Hancock's "Dolphin Dance" with Ellis Marsalis is taken at a deliberate tempo, showcasing a long solo by the leader. There's no mistaking the gospel background of Cyrus Chestnut in the rollicking take of "Make Me a Pallet on the Floor," though Young's lively accompaniment makes it sound like he is steeped in church music as well. The bassist contributed the constantly shifting post-bop vehicle "Bass Blues" for the meeting with Oliver Jones, with whom he has worked on many occasions. Kenny Barron is on hand for the lush treatment of "Loverman." Young alternates between playing arco and pizzicato with Barry Harris in Oscar Pettiford's delightful (but infrequently performed) "Pendulum at Falcon's Lair." The young Canadian pianist Renee Rosnes is on hand for the playful jazz waltz arrangement of "I'm All Smiles." Fans of these sessions will find an additional track from each of these duo dates on Side by Side, Vol. 3.~ Ken Dryden https://www.allmusic.com/album/two-by-two-vol-2-mw0000184497

Two By Two 2

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The Ruby Moon - Vicarious Pleasures

Styles: New Orleans Jazz
Year: 2013
File: MP3@320K/s
Time: 49:23
Size: 114,0 MB
Art: Front

(3:25)  1. I Want a Little Sugar in My Bowl
(3:27)  2. It Doesn't Matter
(4:26)  3. I'm On to You
(3:49)  4. A Good Man Is Hard to Find
(3:37)  5. Kiss of Fire
(3:18)  6. It's Best You Met Somebody Else
(4:34)  7. Spanish Wine and Black Coffee
(4:02)  8. Can't Help Loving That Man of Mine
(3:53)  9. House of the Rising Sun
(2:48) 10. The Clowns Are Taking Over
(3:41) 11. Softly, As in a Morning Sunrise
(4:50) 12. St. James Infirmary
(3:27) 13. Redemption Is the Long Way Around

An album by a master New Orleans jazz singer with modern sensibilities, an adventurous spirit, a soulful delivery, and a heart as big as a house. Billie Holiday meets Tom Waits meets Bart Ramsey (the latter a composer of a half dozen of these songs). The musicians on the record are all virtuosos and the spirit of the music is high, taking New Orleans music to a fresh place. http://www.cdbaby.com/cd/rubymoon

Vicarious Pleasures

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Karen Marguth - A Way With Words Disc1 And Disc 2

Born in Minneapolis, raised in the San Francisco East Bay, Karen has been active as a performer throughout her life. Her professional background includes choreographing, directing, and performing in regional theatres and touring shows, singing in rock, blues, and jazz bands, doing voice-overs and studio work, and teaching dance and theatre with children and adults. She enjoys performing a wide variety of styles of music, being drawn primarily by lyrics, she says. “Any song that has unexpected, interesting, or simply profound lyrics draws my attention. It is the storytelling part of singing that I love best.” Karen has also worked as an educator since 1986, working as a classroom teacher in public elementary and middle schools, as an instructor for pre-service teachers at CSU Hayward, as a private consultant in school districts throughout California and for the UC Berkeley Writing Project. Her classroom methods have been the subject of two national research studies, and she received San Joaquin County’s CTA Outstanding New Educator Award in 1990. Currently, she is serving Central Unified Schools as an Instructional Support Coach for the Arts and Writing.

“Music, theatre and education merge quite logically for me,” Karen says. “Teaching and singing are both performance arts, the goal being to convey to the audience what’s important in the lesson or the song.”

In 1999, when she moved to Central California, Karen began to seek out opportunities to meet and work with local musicians. Happily, with jazz stations like KFSR and organizations like Jazz Fresno, she found it easy to find out about local musical events. By 2001, the Blue Street Jazz Band had started using her as a substitute vocalist, and that’s when her work in jazz performance began to blossom. Blue Street performs around the country at Jazz Festivals, and Karen soaked in all she could by listening to and talking with musicians and audience members at the festivals. People would recommend vocalists for her to study, and study she did. Though she still considers herself to be “low on the learning curve” about jazz, she has embraced jazz’s call to free oneself from the goal of creating “perfect” performances. Rather, jazz demands that an artist who is grounded in the structures of music theory let go and play with the music to create something new.

In 2008, Karen suggested to KFSR’s station manager, Joe Moore, that it might be fun to create a show focused on female vocalists. He agreed, and KFSR’s Vocal Hour was born, which airs every Friday at 2pm Pacific Time. In 2010, she released her eponymous album which received critical acclaim from European and American jazz writers, and she began performing more often, including at festivals in France and at southern California venues such as Dizzy's San Diego, Catalina's, and Charlie O's. Her 2013 release, "A Way With Words," is a two-disk set which is a tribute to the songs of Carroll Coates, and features Richie Cole and Gilbert Castellanos. Her goals are to continue to grow as a vocalist, to travel and perform as much as her day-job will allow, and start working on her next recording project. http://jazztimes.com/guides/artists/14504-karen-marguth

"Great big talent, much too small a pond. Her name is Karen Marguth, one of the finest American jazz vocalists you've likely yet to discover." ~ Christopher Loudon, Jazz Times

"Just You, Just Me is Karen's newest and perhaps most courageous work...to go into the world with just an acoustic bass man - the redoubtable Kevin Hill - at her side." ~ John McDonough, NPR

Disc 1

Styles: Jazz, Vocal
Year: 2013
File: MP3@320K/s
Time: 42:58
Size: 99,2 MB
Art: Front

(2:25)  1. You'll See
(6:02)  2. No One Ever Tells You
(3:39)  3. A Miracle
(5:15)  4. Afterglow
(3:19)  5. A Way With Words
(4:53)  6. Rainy Afternoon
(3:36)  7. Swing Song
(3:21)  8. I Have a Feeling / Hay Sentimientos
(4:12)  9. London By Night
(6:11) 10. Better to Have Loved

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Disc 2

Time: 40:36
Size: 93,8 MB
Art: Front

(4:11)  1. G Is One Sharp Key
(5:16)  2. So I Love You
(4:03)  3. Later for Love
(2:41)  4. Love Comes and Goes
(5:18)  5. It's Time, High Time
(3:55)  6. Hay Sentimientos (Alternate Version)
(3:59)  7. Someone Else's Sweetheart
(4:25)  8. Spring Has Sprung
(4:21)  9. Madness
(2:24) 10. Alone By the Sea

A Way With Words  Disc 1, Disc 2

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Dave Young - Two By Two

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 66:28
Size: 152,4 MB
Art: Front

(5:44)  1. OP & D
(5:44)  2. Younger Than Springtime
(6:04)  3. NPS
(6:00)  4. Smoke Gets In Your Eyes
(6:36)  5. Milestones
(8:49)  6. In a Sentimental Mood
(6:45)  7. Stablesmates
(6:10)  8. Passion Flower
(8:08)  9. One By One
(6:24) 10. Hot House

It is easy to understand why Dave Young is the one of the most in-demand bassists in Canada. With a fat tone and a gift for melodic solos similar to Ray Brown and Niels Pedersen, Young is joined for a pair of tunes by five different pianists. Oscar Peterson, with whom Young first recorded as a sideman in 1980, contributed a bluesy original ("OP & D") for the date, while he is also more than willing to take a backseat to Young. The bassist plays arco with Cedar Walton in a warm rendition of the venerable standard "Smoke Gets in Your Eyes"; this session marked their first recording together. Tommy Flanagan provides an elegant backdrop for Young during "In a Sentimental Mood." The sparks fly in his duet with John Hicks of Benny Golson's "Stablemates." 

The masterful duet with Mulgrew Miller of the classic bop tune "Hot House" uncovers new facets within this decades-old jewel. Anyone who enjoys these duo sessions will find an additional duo track by each of the pianists with Young (from the same studio dates) on the CD Side by Side, Vol. 3.~ Ken Dryden https://www.allmusic.com/album/two-by-two-mw0000030533

Two By Two

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Dakota Staton - An Invitation

Styles: Vocal
File: MP3@320K/s
Time: 28:57
Size: 67,1 MB
Art: Front

(2:50) 1. Broadway
(2:44) 2. Trust in Me
(2:40) 3. Moonray
(2:40) 4. Ain't No Use
(2:34) 5. The Late, Late Show
(2:10) 6. Summertime
(2:35) 7. Misty
(3:09) 8. Invitation
(2:16) 9. Give Me the Simple Life
(2:48) 10. You Showed Me the Way
(2:25) 11. The Party's Over

Described by influential critic Leonard Feather as "a dynamic song stylist recalling at times elements of Dinah Washington and Sarah Vaughan," Dakota Staton never enjoyed the widespread acclaim or commercial success of her reference points, but she remains one of the most soulful and commanding jazz singers of the postwar era. Born outside of Pittsburgh on June 3, 1930, Staton began singing and dancing as a child, later attending the Filion School of Music. At 16, she starred in the stage show Fantastic Rhythm and two years later joined local bandleader Joe Wespray. From there, Staton headlined a lengthy residency at Detroit's landmark Flame Show Bar, followed by years traveling the Midwest club circuit. Eventually she settled in New York City, and while performing at Harlem's Baby Grand she captured the attention of Capitol Records producer Dave Cavanaugh, who extended a contract offer. Staton's debut single, "What Do You Know About Love?," appeared in 1954, and a year later she claimed jazz magazine DownBeat's Most Promising Newcomer award.

By no means strictly a jazz act, however, Staton was also a bold, brassy R&B singer and performed alongside Big Joe Turner and Fats Domino at legendary disc jockey Alan Freed's first Rock 'n' Roll Party showcases. Freed regularly played Staton's "My Heart's Delight" on his daily WINS show, and when her long-awaited full-length debut, The Late, Late Show, finally hit retail in 1957, it proved an enormous crossover hit, peaking at number four on the Billboard pop charts. Its 1958 follow-up, The Dynamic Dakota Staton!, reached the number 22 spot and more importantly heralded the beginning of her long collaboration with arranger and conductor Sid Feller.

After marrying trumpeter Talib Ahmad Dawud in 1958, Staton converted to Islam and for a time performed under the name Aliyah Rabia. She was also an active member of Dawud's advocacy group the Muslim Brotherhood, which existed in large part to combat the radical politics of Black supremacist Elijah Muhammad. The Muslim Brotherhood found itself the center of controversy when Muhammad claimed, "they should be ashamed of trying to make fun of me and my followers while serving the devil in the theatrical world." The resulting media attention undermined Staton's commercial momentum, and while 1959's Crazy He Calls Me still charted, she never again enjoyed the crossover success that greeted her previous records. After ten Capitol dates, culminating in 1961's live Dakota at Storyville, she jumped to United Artists for 1963's From Dakota with Love. After two more UA sessions, Live and Swinging and Dakota Staton with Strings, she exited the label and did not cut another record for eight years. Upon relocating to Britain in 1965, Staton worked hotels and cruise ships, and was largely forgotten by the time she returned to the U.S. in the early '70s, signing to Groove Merchant and cutting the 1972 comeback attempt Madame Foo Foo with soul-jazz great Richard "Groove" Holmes. Sessions for Muse and Simitar followed, and in 1999 she signed with High Note for her final studio date, A Packet of Love Letters. Staton's health declined slowly but steadily in the years to follow, and she died on April 10, 2007, at the age of 76.~Jason Ankeny https://www.allmusic.com/artist/dakota-staton-mn0000668932/biography

An Invitation

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Simone Kopmajer, Paul Urbanek & Reinhardt Winkler - Soulmates

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 54:34
Size: 126,6 MB
Art: Front

(5:32) 1. All Along The Watchtower
(3:17) 2. Brazil
(3:54) 3. The In Crowd
(3:53) 4. All You Need Is Love
(3:54) 5. The Beat Goes On
(4:56) 6. Imagine
(4:38) 7. What's Going On
(4:32) 8. Angie
(3:48) 9. Never Said
(3:25) 10. Time After Time
(3:04) 11. But Not For Me
(3:34) 12. Jeepers Creepers
(6:02) 13. Time

A cool-toned Austrian jazz vocalist, Simone Kopmajer sings in flawless English. She had classical piano lessons starting at the age of eight and at 12 began playing saxophone. She performed in a youth big band and sang regularly in her father's band as a teenager. At 17 she studied with Sheila Jordan, who encouraged her. Kopmajer also studied with Mark Murphy, Jay Clayton, and Michele Hendricks. Since earning a Masters from the University of Music and Dramatic Arts in Graz, Austria, Kopmajer has toured the Netherlands twice with the Euro Big Band, appeared at European jazz festivals, and recorded three CDs: Moonlight Serenade (for the Japanese Venus label), her best-known set Romance (for Zoho), and her privately released Taking a Chance on Love. Each CD emphasizes her own fresh versions of standards.~Scott Yanow https://www.allmusic.com/artist/simone-kopmajer-mn0001897290/biography

Personnel: Simone Kopmajer - vocals; Paul Urbanek - piano, keyboards, keyboard-bass; Reinhardt Winkler - drums; Patrice Héral - percussion, background vocals; Herfried Knapp - upright bass; Beate Wiesinger - bass

Soulmates

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Bill Evans & Jim Hall - Undercurrent

Styles: Piano And Guitar Jazz
Year: 1962
File: MP3@320K/s
Time: 52:58
Size: 122,0 MB
Art: Front

(5:24) 1. My Funny Valentine
(4:40) 2. I Hear a Rhapsody
(4:34) 3. Dream Gypsy
(5:23) 4. Romain
(5:24) 5. Skating in Central Park
(5:09) 6. Darn That Dream
(5:41) 7. Stairway to the Stars
(4:17) 8. I'm Getting Sentimental Over You
(6:57) 9. My Funny Valentine (Alternate Take)
(5:24) 10. Romain (Alternate Take)

This is the first of two superb albums recorded by Bill Evans, and guitarist Jim Hall, and it was recorded over two sessions in April and May 1962. Arrangements simply for piano and guitar are rare in Jazz, and it is even more seldom that the results are truly inspiring and as musically worthwhile as in this case. It is usual for intuitive musical relationships to develop over a number of years, but here we find two musicians who clearly shared an immediate understanding. Both men are on absolute top form here Bill Evans was on fire throughout the early and mid sixties, nd after the tragic death of his previous musical partner, virtuoso bass player Scott Le Faro (at the age of 23), he was searching for new directions.

Jim Hall is a guitarist of tremendous skill and powerful technique, with a highly developed rhythmic and harmonic sense that shines through on this album. What is so special about the performances here is an almost telepathic anticipation of where the music is heading both musicians contribute equally, and there is a constant exchange of ideas, each reacting to the other with apparent ease, whatever the mood. This is a brilliant jazz album, of great depth and tremendous atmosphere, and both players express some exceptional ideas. Highly recommended.~Dominic L Brown https://lightintheattic.net/releases/3466-undercurrent

Personnel: Piano – Bill Evans; Guitar – Jim Hall

Undercurrent

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Ben L'Oncle Soul - Ben L'Oncle Soul

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 55:43
Size: 127,7 MB
Art: Front

(2:59) 1. Seven Nation Army
(3:44) 2. Soulman
(4:13) 3. Petite Soeur
(3:50) 4. Mon Amour
(4:05) 5. Elle Me Dit
(4:23) 6. I Don't Wanna Waste
(3:47) 7. Come Home
(4:48) 8. L'ombre D'un Homme
(3:51) 9. Ain't Off To The Back
(4:17) 10. Lise
(3:07) 11. Demain J'arrête
(4:11) 12. Partir
(3:34) 13. Lose It
(4:48) 14. Back For You

Ben l'Oncle Soul is a French soul singer with a retro style who made his eponymous Top Five hit album debut in 2010. Born Benjamin Duterde in 1984 in Tours, Indre-et-Loire, France, he took his name and look from Uncle Ben, the fictitious elderly African-American man dressed in a bow tie who serves as the brand image of Uncle Ben's Rice. The moniker Ben l'Oncle Soul was chosen rather than Uncle Ben to avoid any charges of trademark infringement. Years before Duterde adopted the Ben l'Oncle Soul moniker, he got his professional start as a vocalist in the Fitiavana Gospel Choir, which he joined in 2004. The Tours-based gospel choir made its album debut with I Have a Dream (2009), a collection of English-language soul classics such as "Killing Me Softly," "Lean on Me," and "(You Make Me Feel Like) A Natural Woman."

In turn, Duterde was offered a solo recording deal with the French division of Motown Records. Billing himself as Ben l'Oncle Soul, he made his solo recording debut with the Soul Wash EP (2009). Comprised of cover material, the majority of it sung in English, the six-track EP is performed in a retro style informed by the Motown and Stax sounds of the 1960s. A cover of the Gnarls Barkley smash hit "Crazy" was released as a single. A half-year later, Duterde made his full-length debut with the eponymous album Ben l'Oncle Soul (2010). Produced by Guillaume Poncelet and Gabin Lesieur, the album is comprised entirely of original material, plus the cover version of the White Stripes hit "Seven Nation Army" from the Soul Wash EP. With "Seven Nation Army" released as its lead single, Ben l'Oncle Soul was a Top Five hit on the French albums chart.~ Jason Birchmeier https://www.allmusic.com/artist/ben-loncle-soul-mn0002459668/biography

Personnel: Backing Vocals – Crystal Night, Lisa Spada; Baritone Saxophone – Frank Deruytter; Bass – Jérémie Coke, Olivier Carole; Bass [Synth Bass] – Guillaume Poncelet Cello – Anaël Rousseau; Drums – Arnaud Renaville; Guitar – Hailé Jno-Baptiste; Lead Vocals, Backing Vocals – Ben L'Oncle Soul; Piano, Keyboards, Programmed By – Gabin Lesieur; Piano, Keyboards, Programmed By, Trumpet – Guillaume Poncelet; Tenor Saxophone – Christophe Panzani; Trombone – Alain Palizeul; Trumpet – Olivier Bodson; Viola – Cédric Rousseau

Ben L'Oncle Soul

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Clark Terry - Clark After Dark: The Ballad Album

Styles: Jazz, Big Band
Year: 1978
File: MP3@320K/s
Time: 52:20
Size: 122,1 MB
Art: Front

(5:33) 1. Misty
(4:26) 2. Nature Boy
(5:25) 3. Georgia On My Mind
(5:07) 4. November Song
(6:16) 5. Clark After Dark
(5:50) 6. Willow Weep For Me
(4:27) 7. Yesterdays
(4:33) 8. Emily
(5:34) 9. Angel Eyes
(5:06) 10. Girl Talk

Clark Terry's 1977 studio date with an orchestra conducted by Peter Herbolzheimer might very well fall into the easy listening category were it not for his brilliant improvisations on fluegelhorn, which he plays throughout the session. Most of the material consists of classic songs that Terry was undoubtedly very familiar with by the time of this 1977 recording, including "Misty," "Willow Weep for Me," "Angel Eyes," and "Yesterdays," with the arrangements all having pretty much a low-key, late-night feeling, hence the album title. Producer Mike Hennessey co-wrote "November Song" with Willi Fruth, a ballad with swirling strings; and Herbolzheimer contributed "Clark After Dark," a tasty blues that is a good deal looser than most of the rest of the album, which also features great solos by pianist Gordon Beck and trombonist Dave Horler, as well as some great muted horn from Terry. The loping "Girl Talk" showcases tenor saxophonist Tony Coe and guitarist Martin Kershaw briefly. While this isn't one of Clark Terry's most essential LPs, his flawless playing make it a worthwhile investment if you can only find it.~ Ken Dryden https://www.allmusic.com/album/clark-after-dark-the-ballad-album-mw0001182361

Personnel: Flugelhorn – Clark Terry; Alto Flute – Stan Sulzman; Alto Saxophone – Al Newman, Roy Willox; Baritone Saxophone – Ronnie Ross; Bass – Chris Laurence; Bass Clarinet – Al Newman; Cello – Alan Dalziel, Bram Martin, Derek Simpson, Vivien Joseph; Clarinet – Ronnie Ross, Roy Willox, Tony Coe; Concertmaster [Violin, Leader] – Tony Gilbert; Double Bass – Arthur Watts, Rodney Stratford; Flute – Roy Willox, Stan Sulzman, Tony Coe; French Horn – Terry Johns; Guitar – Martin Kershaw; Piano – Gordon Beck; Tenor Saxophone – Stan Sulzman, Tony Coe; Trombone – Cliff Hardy*, Dave Horler, Nat Peck, Ray Premru; Trumpet – Dave Hancock, Derek Watkins, Eddie Blair, Kenny Wheeler, Tony Fisher); Viola – Ken Essex, Luciano Jorio, Margaret Major, Rusein Gunes; Violin – Bela Dekany, Charles Vorzanger, Dennis McConnell, Derek Solomon, Desmond Bradley, Diana Cummings, Fred Parrington, Hans Geiger, Homi Kagnga, Jim Archer, John Willison, Max Salpeter, Michael Jones (6), Paul Sherman (3), Peter Benson, Bill Armon, Bill Reid

Clark After Dark: The Ballad Album

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