Dave Young, Phil Dwyer Quartet - Fables And Dreams

Styles: Bop, Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 58:04
Size: 132,9 MB
Art: Front

(4:58)  1. Darn
(7:34)  2. NPS
(6:16)  3. All Of Me
(9:47)  4. Fables Of Faubus
(6:21)  5. Himh
(6:59)  6. Shifting Emphasis
(6:41)  7. Winter Song
(5:57)  8. Dobro
(3:29)  9. Whims Of Chambers

This CD features a quiet quartet that is often filled with inner tension and low-volumed heat. Bassist Dave Young engages in close interplay with guitarist Rob Piltch (whose tone is sometimes reminiscent of the late Jimmy Raney's), Phil Dwyer contributes lyrical tenor solos and some moody piano (sometimes sounding a bit like McCoy Tyner on the latter instrument) while drummer Michel Lambert is fine in support. Five of the nine songs are originals by bandmembers while the other pieces (including an abstract "All of Me" and a rather passionless version of Charles Mingus's "Fables of Faubus") almost sound like new compositions; the closing tenor-bowed bass duet on "Whims of Chambers" is most memorable. If the overall results on this session are are not all that unique, the well-played set does serve as a a good example of today's modern mainstream acoustic jazz and should satisfy most listeners. ~ Scott Yanow https://www.allmusic.com/album/fables-and-dreams-mw0000963650   

Personnel:  Phil Dwyer - tenor saxophone, piano, composer;  Michel Lambert - drums, composer;  Rob Piltch - guitar;  Dave Young - acoustic bass.

Fables And Dreams

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Kamasi Washington - Heaven And Earth (2-Disc Set)

Washington recorded Heaven and Earth with his band, the Next Step, as well as members of the Los Angeles collective known as the West Coast Get Down. The project’s contributors include Thundercat, Terrace Martin, Ronald Bruner, Jr., Cameron Graves, Brandon Coleman, Miles Mosley, Patrice Quinn and Tony Austin. Along with Washington’s take on the Fists of Fury theme, Heaven and Earth also features his new arrangement of Freddie Hubbard’s “Hubtones” and a new song by bandmate Ryan Porter. Heaven on Earth follows Washington’s acclaimed 2015 album, The Epic, as well as his 2017 EP, Harmony of Difference. The latter originally premiered as a multimedia piece at the 2017 Biennial at the Whitney Museum of American Art in New York City.

Album: Heaven And Earth (Disc 1)
Bitrate: MP3@320K/s
Time: 71:01
Size: 162.6 MB
Styles: Saxophone jazz
Year: 2018

[9:42] 1. Fists Of Fury
[8:53] 2. Can You Hear Him
[9:09] 3. Hub-Tones
[8:22] 4. Connections
[9:24] 5. Tiffakonkae
[9:52] 6. The Invincible Youth
[5:44] 7. Testify
[9:51] 8. One Of One

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Album: Heaven And Earth (Disc 2)
Bitrate: MP3@320K/s
Time: 73:22
Size: 167.9 MB
Styles: Saxophone jazz
Year: 2018
Art: Front

[10:30] 1. The Space Travelers Lullaby
[11:06] 2. Vi Lua Vi Sol
[ 5:57] 3. Street Fighter Mas
[12:40] 4. Song For The Fallen
[ 8:51] 5. Journey
[ 7:17] 6. The Psalmnist
[ 6:50] 7. Show Us The Way
[10:07] 8. Will You Sing

Heaven And Earth (Disc 1) (Disc 2)

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Budd Johnson - French Cookin'

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 35:09
Size: 81,2 MB
Art: Front

(3:03) 1. La Petite Valse
(5:41) 2. Le Grisbi
(4:30) 3. I Can Live With The Blues
(4:33) 4. Darling Je Vous Aime Beaucoup
(4:21) 5. Under Paris Skies
(3:47) 6. Hugues' Blues
(4:53) 7. Je Vous Aime
(4:19) 8. Je T'Aime

One of the earliest Texas tenors, arranging boss of the Earl Hines Grand Terrace Orchestra, and pivotal swing-to-bop figure, Budd Johnson distributed his gifts through several eras of jazz. He was a major composer and arranger and a saxophonist whose style fit as comfortably into bebop as it did into swing. Albert J. (Budd) Johnson was born in Dallas on December 14, 1910. His father was a choir director and cornetist who taught him piano at a young age. By Johnson's teenage years he had switched to drums and was playing with his brother, Keg Johnson, in bands around town. Eventually the two started their own group, the Moonlight Melody Six. They later joined Gene Coy's Amarillo-based band, the Happy Black Aces. Switching instruments again, this time to the saxophone, Johnson headed to Kansas City and then to Chicago, where he met and joined Louis Armstrong in 1933. During his stint in the Windy City he also met Earl Hines; their musical relationship lasted nine years. It was during his tenure with Hines that he came into his own as an arranger on top of being a solid member of the reed section.

By 1944 Johnson had moved to New York City, where he became involved in organizing and playing in smaller jazz combos, joining up with Coleman Hawkins, Dizzy Gillespie, Woody Herman, and Billy Eckstine, in whose band he replaced Dexter Gordon. Johnson became a pioneer of the emerging bop jazz style, and he is credited with organizing the first bop recording session. He remained an integral part of American jazz throughout the 1950s. In 1956-57 he played with Benny Goodman, with whom he toured Asia, and in 1958 he formed his own septet and recorded the album “Blues a la Mode.” In 1960 he did a stellar session “Budd Johnson and the Four Brass Giants,” for Riverside. Johnson, who takes tenor solos throughout the date and also contributes a bit of clarinet in addition to providing the arrangements, is matched with four distinctive and very different trumpeters: Clark Terry, Harry “Sweets” Edison, Nat Adderley and Ray Nance.

He seemed in top form that year (’60) for he also did “Let’s Swing,” which is regarded as one of his best efforts. He would go on to be involved in countless of sessions and too many recording to mention. During the 1960s Johnson played with Count Basie and Quincy Jones and rejoined Earl Hines in ’64. He formed the JPJ Quartet, which worked on an occasional basis, during the 1969-‘75 periods. He also served as music director for Atlantic Records and started his own publishing company. In the 1970s and 1980s he taught music at Queens College and the State University of New York at Stony Brook. Budd Johnson died in New York City on October 20, 1984. https://www.allaboutjazz.com/musicians/budd-johnson

Personnel: Budd Johnson – tenor saxophone; Hank Jones – piano; Kenny Burrell, Everett Barksdale – guitar; Milt Hinton – bass; Willie Rodriguez – latin percussion; Osie Johnson – drums; Joseph Venuto – marimba, vibraphone

French Cookin'

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Rose Betty Klub - Bleu

Size: 139,2 MB
Time: 59:18
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Blues Vocals
Art: Front

01. Babe, Deep In My Heart (2:20)
02. I Hate You (4:43)
03. Hawaii Dream (2:55)
04. Back To My Sunnyboy (5:39)
05. Minnie Minnie (4:24)
06. Bridget (4:52)
07. Gloria (4:59)
08. Right N' Wrong (3:17)
09. Thelma (5:28)
10. Bleu (3:42)
11. The Wild (6:20)
12. Belly Dance (3:55)
13. Cocodildudi (2:52)
14. Happy Feet (3:47)

C'est avec fraîcheur que le Rose Betty Klub, ce quintet insolite de jeunes montpellierains, débarque sur la scène jazz. Avec son dernier album BLEU, de compositions originales, le Rose Betty Klub affirme son style : du jazz tombé dans un juke box ! Un jazz teinté de rhythm n' blues, de soul, de boogie woogie, de rockabilly et de blues.

Une énergie scénique généreuse, juste ce qu'il faut de gouaille, un style pulpeux et distingué qui en jette, Rose Betty a de l'aplomb et une voix qui en impose.

Fascinée depuis sa plus tendre enfance par les comédies musicales américaines, Marie Nosmas - alias Rose Betty - plonge avec bonheur dans le jazz et crée il y 5 ans le Rose Betty Klub.

La brune Rose Betty a cette présence évidente et vivante que l'on doit aux années théâtre qui ont précédé son arrivée sur la scène musicale. Avec son look de pin up et son allant charismatique, Rose Betty ne peut s'empêcher de parler, d'inventer, de danser, de bondir, de rire, entraînant le Klub dans cette douce folie ! Le Klub, autant de filles que de garçons, pulse comme un big band et se réinvente à chaque morceau. On y découvre Jon Da Costa Ferreira - alias Johnny Mustang - passionné de blues et de rock n'roll, avec sa belle guitare Gretch, à l'origine des compositions, la douce Naïma Girou - alias Brigitte Parker - assurant une solide rythmique à la contrebasse, Karl Moussavou - alias Kenny Wild - fougueux derrière sa batterie, et la toute dernière arrivée, c'est Ana Baldeck - alias Thelma Brooks - aux solos créatifs, envoûtée par son piano.

Drôles, énergiques, et faussement nostalgiques, les concerts du Rose Betty Klub sont une assurance contre la morosité.

On martèle du pied, on balance la tête, on se déhanche, l'idée est là : donner le swing, être rock n'roll, comme Cab Calloway ou Chuck Berry savaient si bien le faire.

Des petits clubs de jazz aux grandes scènes, comme en première partie de Ben l'Oncle Soul, Cyrille Aimée ou Raphaël Lemonnier, le RBK cultive inlassablement un univers joyeux et vivifiant, et c'est bien en live que cela prend tout son sens!

Bleu

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The Roger Kellaway Trio - Heroes

Bitrate: MP3@320K/s
Time: 63:46
Size: 146.0 MB
Styles: Piano jazz
Year: 2006
Art: Front

[6:23] 1. Killer Joe
[8:33] 2. Cotton Tail
[5:48] 3. I Was Doing All Right
[5:02] 4. Nuages
[8:40] 5. Night Train
[3:38] 6. I'm Smiling Again
[6:11] 7. Midnight Sun
[5:42] 8. Moten Swing
[5:19] 9. 52nd Street Theme
[8:25] 10. Hymn To Freedom

Roger Kellaway: piano; Bruce Forman: guitar; Dan Lutz: bass.

The last we heard from pianist/composer Roger Kellaway was last year, when he dazzled the world with his remembrances as Bobby Darin's musical director (undoubtedly timed to coincide with the release of the Darin biopic Beyond The Sea. Now, we have a dramatic and long-needed tribute to the "drum-less" piano trio (guitar/bass/piano) that dates back to sessions from Art Tatum, Django Reinhardt, the King Cole Trio, and most especially the Oscar Peterson Trio, pre-Ed Thigpen when first Barney Kessel and then Herb Ellis occupied the guitar chair alongside bassist Ray Brown.

Kellaway explains the importance of the "drum-less" trio by noting that "...the difference between a trio with guitar and one with drums is immeasurable. With drums, the pianist is responsible (with the bassist, of course) for the harmony, but guitar is a chorded instrument, and harmonic clashes have to be avoided. The piano-guitar-bass trio is like a chamber-music group. There's more intimacy in the interaction...."

It seems pretty obvious that, although Roger Kellaway has cited several jazz musicians as models, his primary influence was the Oscar Peterson trio, although the are specific references to the King Cole trio ("I Was Doing All Right") and Django Reinhardt ("Nuages"). Save for a Kellaway original, "I'm Smiling Again," the other tunes were recorded by the Peterson group. Kellaway is utilizing the same trio that he worked with on the Bobby Darin project (bassist Dan Lutz and guitarist Bruce Forman). Forman remains one of my favorite underappreciated plectrists, having recorded most of his dozen albums in the 1980s. Kellaway further notes that this is a working trio, and thus he is out spreading the word of the "drum-less" trio as we speak. ~Michael P. Gladstone

Heroes

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Bruce Forman - In Transit

Styles: Guitar Jazz
Year: 1982
File: MP3@256K/s
Time: 41:12
Size: 76,5 MB
Art: Front

(7:55)  1. In Transit
(7:53)  2. Down The Line
(5:02)  3. Presione
(3:03)  4. Waltzing Matilida
(6:16)  5. Mood Indigo
(4:20)  6. Peace
(4:24)  7. Hold The Bones
(2:16)  8. The Trench

Bruce Forman, who has long been based in Northern California, teams up with organist Ed Kelly and drummer Eddie Marshall (both from San Francisco) on this fine trio set. On "Mood Indigo," Horace Silver's "Peace," "Waltzing Matilda" (which feels a bit like John Coltrane's version of "My Favorite Things"), and five mostly swinging Forman originals, the group sounds both exploratory and tied to the tradition. Although this album is not as memorable as his best dates, every Bruce Forman recording is well worth checking out for fans of the bop guitar.~ Scott Yanow https://www.allmusic.com/album/in-transit-mw0000898888

In Transit

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Peggy Lee - Love Held Lightly: Rare Songs by Harold Arlen

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 47:53
Size: 117,5 MB
Art: Front

(2:40) 1. Look Who's Been Dreaming
(4:18) 2. Love Held Lightly
(3:30) 3. Buds Won't Bud
(3:39) 4. Can You Explain?
(2:31) 5. Wait'll It Happens To You
(4:39) 6. Come On, Midnight
(4:25) 7. Happy With The Blues
(3:27) 8. Bad For Each Other
(2:50) 9. Love's No Stranger To Me
(2:39) 10. I Could Be Good For You
(4:14) 11. Got To Wear You Off My Weary Mind
(2:44) 12. I Had A Love Once
(3:38) 13. Love's A Necessary Thing
(2:35) 14. My Shining Hour

In 1988, Peggy Lee was persuaded to leave her casual retirement by the promise of recording some recently unearthed Harold Arlen songs. Her voice was far less attractive and vivacious than it had been even in the '70s, and health problems forced her to record everything from a wheelchair; what's more, when she heard the results, she refused to let the record be released for another three years. Nevertheless, Love Held Lightly is an important album, not just because it saves a few Arlen compositions from the brink of disaster, but also because Lee's unpretty voice serves this material well. When she sings "Come on, Midnight" or "I Had a Love Once," she sings the twilight years with as much poignancy as she sang middle age on her '60s hit, "Is That All There Is?" Her group featured sensitive accompaniment from Ken Peplowski on tenor and Keith Ingham on piano (the latter also arranged and directed). Another highlight, "Buds Won't Bud," blossoms from just another saloon song into a playful, what-the-hell romp. Eight of the songs received their first recording here, including a Lee/Arlen collaboration from decades previously. The only standard, "My Shining Hour" (lyric by Johnny Mercer), comes last, thus allowing Lee to end on a wise, confident note, accompanied only by acoustic guitar.~ John Bush https://www.allmusic.com/album/love-held-lightly-rare-songs-by-harold-arlen-mw0000093720

Personnel: Peggy Lee (vocals), John Chiodini (guitar), Phil Bodner (alto saxophone, bass flute), Ken Peplowski (tenor saxophone), Glenn Zottola (trumpet, flugelhorn), George Masso (trombone), Keith Ingham (piano), Mark Sherman (vibraphone, percussion), Jay Leonhart (bass), Grady Tate (drums),

Love Held Lightly

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The Clayton-Hamilton Jazz Orchestra - Absolutely!

Styles: Jazz, Bop
Year: 1994
File: MP3@320K/s
Time: 50:55
Size: 118,0 MB
Art: Front

(7:03) 1. Blues For Stephanie
(4:40) 2. Jazz Party
(5:09) 3. For All We Know
(3:55) 4. On The Sunny Side Of The Street
(7:09) 5. Reverence
(4:56) 6. Black Is Blue
(6:17) 7. Max
(4:34) 8. Prelude To A Kiss
(3:37) 9. A Beautiful Friendship
(3:30) 10. Devotion

Featuring some of Los Angeles' finest jazz musicians, the Clayton-Hamilton Jazz Orchestra (which has drummer Jeff Hamilton and altoist Jeff Clayton among its three leaders) performs the arrangements of the other co-leader, bassist John Clayton. There are several classic charts on this CD, including "Blues for Stephanie," "For All We Know" and "Reverence"; all ten selections are well worth hearing. The swinging music has its share of subtle surprises and many fine solos, including some by tenors Rickey Woodard and Charles Owens, pianist Bill Cunliffe, altoist Clayton and trumpeters Oscar Brashear, Snooky Young and Clay Jenkins. Highly recommended for big band fans.~Scott Yanowhttps://www.allmusic.com/album/absolutely%21-mw0000122870

Personnel: Alto Saxophone – Bill Green; Arranged By, Conductor – John Clayton; Baritone Saxophone – Lee Callet; Bass – Dave Bjur, John Clayton, Jr.; Drums – Jeff Hamilton; Guitar – Jim Hershman; Piano – Bill Cunliffe; Saxophone, Woodwind – Jeff Clayton ; Tenor Saxophone – Charles Owens, Rickey Woodard; Trombone – George Bohanon, Ira Nepus, Maurice Spears, Thurman Green; Trumpet – Bobby Bryant, Chuck Findley, Clay Jenkins, Oscar Brashear, Snooky Young

Absolutely!

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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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