Joe Sample - Invitation

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 49:57
Size: 115,0 MB
Art: Front

(3:53)  1. Black Is The Color
(4:57)  2. A House Is Not A Home
(5:07)  3. Come Rain Or Come Shine
(4:22)  4. Invitation
(6:49)  5. Summertime
(5:20)  6. Nica's Dream
(5:01)  7. Stormy Weather
(3:45)  8. Django
(6:12)  9. My One And Only Love
(4:26) 10. Mood Indigo

A luscious outing from piano great Joe Sample, this disc includes beautiful interpretations of ten standards and near standards. Featuring plush orchestral arrangements by Dale Oehler wrapped over and around Sample's piano trio, Invitation is simply one of the loveliest recordings of Sample's career. With a rhythm section made up of bassist Cecil McBee and drummer Victor Lewis, augmented by Lenny Castro on percussion, the music is of a piece from start to finish. Producer Tommy Lipuma has found a wonderful setting for Sample to show his gorgeous, acoustic piano stylings, and the orchestra feels like part of the trio instead of an add-on. When Sample uses synths, they are indistinguishable from the orchestra. Overall, a smooth, romantic, highly recommended recording. ~ Jim Newsom  http://www.allmusic.com/album/invitation-mw0000618430

Personnel: Joe Sample (piano, synthesizers); Cecil McBee (acoustic bass); Victor Lewis (drums); Lenny Castro (percussion). Additional personnel: New York Philharmonic, Metropolitan Opera Orchestra (strings); Joe Mardin, Larry Williams (synthesizer programming).

RIP 
(February 1, 1939 – September 12, 2014)

Invitation

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Kirk Lightsey - Nights Of Bradley's

Bitrate: MP3@320K/s
Time: 64:04
Size: 146.7 MB
Styles: Piano jazz
Year: 2004
Art: Front

[ 7:02] 1. I Told You So
[12:01] 2. Speak No Evil
[10:38] 3. A Time For Love
[ 4:20] 4. Giant Steps
[10:51] 5. From Dream To Dream
[13:28] 6. In Your Own Sweet Way
[ 5:41] 7. Oleo

Pianist Kirk Lightsey and bassist Rufus Reid first played together on a regular basis as members of Dexter Gordon's quartet in the 1980s. Their duo session is particularly special due to the tight musical communication between the two players, and the fact that it took place at Bradley's. Open for 25 years in New York and usually featuring piano/bass duos, Bradley's was one of the Big Apple's top after-hours clubs and a place for pianists to play before their peers. Lightsey and Reid (who is showcased on Benny Golson's "From Dream to Dream") explore seven sophisticated compositions, all but Johnny Mandel's "A Time for Love" originating in the jazz world. The two musicians are heard at the top of their game (which two decades later they happily still are) and come up with an endless series of fresh variations, including on Wayne Shorter's haunting "Speak No Evil" and a cooking rendition of "Oleo." ~Scott Yanow

Nights Of Bradley's

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Frank Foster & George Wallington - Here Comes

Styles: Saxophone And Piano Jazz
Year: 1954
File: MP3@320K/s
Time: 68:07
Size: 156,2 MB
Art: Front

(3:55) 1. Little Red
(5:01) 2. How I Spent The Night
(3:49) 3. Blues for Benny
(3:37) 4. Out Of Nowhere
(4:15) 5. Gracias
(3:48) 6. The Heat's On
(4:19) 7. How I Spent The Night (alt. take)
(4:08) 8. Frankie and Johnnie
(4:03) 9. Baby Grand
(3:39) 10. Christina
(3:55) 11. Summertime
(4:01) 12. Festival
(3:51) 13. Bumpkins
(4:06) 14. Frankie and Johnnie (alt. take)
(3:55) 15. Summertime (alt. take)
(3:53) 16. Festival
(3:43) 17. Bumpkins (alt. take)

This double reissue combines saxophonist Frank Foster's first U.S. recording and a session led by pianist George Wallington that took place one week later with Foster sitting in. Recorded for Blue Note in Hackensack, NJ, on May 5, 1954, Here Comes Frank Foster (also issued as New Faces, New Sounds) was only Foster's second album as a leader. His debut album was recorded one month earlier for the Vogue label in Paris, France. Here Comes Frank Foster fits neatly with other albums from the mid-'50s Blue Note catalog. Foster shares the spotlight with trombonist Benny Powell, and the rhythm section of Gildo Mahones, Percy Heath, and Kenny Clarke is superb. On tracks eight through 17, Foster is heard as a member of the George Wallington Showcase band, recorded for Blue Note on May 12, 1954. This solid little organization included James Moody's ace trumpeter Dave Burns, trombonist Jimmy Cleveland, baritone saxophonist Danny Bank, bassist Oscar Pettiford, and, once again, drummer Kenny "Klook" Clarke. Arrangements were scored by Quincy Jones. This straight-ahead hard bop is tasty and stimulating. Use the four alternate takes for a chaser.

Personnel: Tenor Saxophone – Frank Foster; Piano – George Wallington, Gildo Mahones; Baritone Saxophone – Danny Bank; Bass – Oscar Pettiford, Percy Heath; Drums – Kenny Clarke; Flute – Danny Bank; Trombone – Benny Powell , Jimmy Cleveland; Trumpet – Dave Burns

Here Comes

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David Liebman - Miles Away

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 55:57
Size: 128,7 MB
Art: Front

(7:01) 1. Code M.D.
(4:48) 2. Wili (For Dave)
(2:59) 3. In a Silent Way
(5:23) 4. 81
(6:33) 5. Fall
(6:09) 6. All Blues
(6:52) 7. Pan Piper
(5:14) 8. Milestones
(4:00) 9. Smooch
(4:23) 10. Solar
(2:30) 11. Boplicity

Dave Liebman, who played with Miles Davis’ group during 1974-1975, pays tribute to the innovative trumpeter throughout this excellent Owl CD. To Liebman’s credit, he does not ignore Davis’ fusion period; in fact, he starts out with the most recent composition (Robert Irving’s “Code M.D.” from 1984) and works his way backwards chronologically. Actually, with Vic Juris often playing rockish guitar and the older tunes being reharmonized, there is a definite unity and freshness to the material. Charles Mingus’ moody ballad “Smooch” comes across as quite contemporary while “Solar” sounds like it could have been written in the 1970s. Liebman’s highly expressive soprano, Juris’ echoey guitar, and pianist Phil Markowitz are the main soloists, but everyone plays quite well; the inclusion of Caris Visentin’s English horn on “Pan Piper” (from Sketches of Spain) is a nice touch. Because this project does not merely copy the past but brings some fresh insight to the material, one suspects that even Miles Davis would have liked the results. By Scott Yanow. AMG. https://whoisthemonk.wordpress.com/2010/11/23/dave-liebman-group-miles-away-1994/

Personnel: David Liebman- (Soprano Sax); Vic Juris(Acoustic Guitar, Electric Guitar); Kent Heckman- (Electric Guitar); Caris Visentin- (English Horn); Phil Markowitz- (Piano, Keyboards); Tony Marino- (Acoustic Bass, Electric Bass); Scott Cutshall (Hand Claps); Jamey Haddad- (Drums, Percussion).

Miles Away

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Barney Kessel - Modern Jazz Performances from Bizet's Carmen

Styles: Guitar Jazz
Year: 1958
File: MP3@320K/s
Time: 43:34
Size: 100,1 MB
Art: Front

(5:51)  1. Swingin' The Toreador
(6:46)  2. Apadon The Edge Of Town
(4:03)  3. If You Dig Me
(5:00)  4. Free As A Bird
(3:15)  5. Viva El Toro!
(5:59)  6. Flowersville
(4:43)  7. Carmen's Cool
(3:58)  8. Like, There's No Place Like...
(3:56)  9. The Gypsy's Hip

This is an unusual set that has been reissued on CD. During an era when many Broadway and movie scores were recorded in jazz settings (thanks in part to the success of Shelly Manne's best-selling My Fair Lady album), guitarist Barney Kessel chose to interpret nine melodies from Bizet's opera Carmen. The guitarist is heard in three different settings: joined by five woodwinds and a rhythm section; with five jazz horns (including altoist Herb Geller and trumpeter Ray Linn) and a trio; and with vibraphonist Victor Feldman in a quintet. Kessel also wrote the arrangements, which pay tribute to the melodies while not being shy of swinging the themes. An interesting if not essential project. ~ Scott Yanow  

http://www.allmusic.com/album/modern-jazz-performances-from-bizets-carmen-mw0000207507

Personnel: Barney Kessel (guitar); Herb Geller (alto saxophone); Justin Gordon (tenor saxophone, flute, alto flute); Chuck Gentry (baritone saxophone); Ray Linn (trumpet); Harry Betts (trombone); Buddy Collette (flute, alto flute, clarinet); Bill Smith (clarinet, bass clarinet); Jules Jacob (clarinet, oboe); Pete Terry (bass clarinet, bassoon); Victor Feldman (vibraphone); Andre Previn (piano); Joe Mondragon (bass); Shelly Manne (drums).

Modern Jazz Performances from Bizet's Carmen

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Roger Kellaway - The Art Of Interconnectedness

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 74:43
Size: 171,5 MB
Art: Front

(5:55)  1. You Took Advantage Of Me
(5:02)  2. Lazy 'Sippi Steamer
(7:59)  3. Emily
(8:07)  4. Creole Love Call
(4:01)  5. Sophisticated Lady
(4:17)  6. Remembering You
(6:42)  7. New Orleans
(7:20)  8. Blackwall Tunnel Blues
(5:33)  9. Jorjana
(4:37) 10. When I Grow Too Old To Dream
(7:05) 11. I'm Still In Love With You
(8:00) 12. Un Canto Per la Pace

It took ten years for this excellent concert by pianist Roger Kellaway at New York City's Vineyard Theatre to be issued; but it was worth the wait. Starting with a striding "You Took Advantage of Me," Kellaway captivates his audience. His slow dreamy interpretation of "Emily," a sauntering rhythmic "Creole Love Call," and a melancholy "New Orleans" are among the fine examples of the standards he played for the hushed audience. 

There are also a number of less familiar works that Kellaway plays just as well. Louis Armstrong's "Lazy 'Sippi Steamer Goin' Home" is a joyful masterpiece of stride piano. "Blackwall Tunnel Blues," by trombonist Charles Sonnastine, has a bluesy flavor but isn't actually a blues number. Kellaway features several of his own works, too. The upbeat Latin-flavored "Jorjana" and equally infectious "Un Canto Per La Place" are very attractive, but "Remembering You" is one Kellaway piece that will surely catch the listener's ear; co-written with actor Carroll O'Connor, it was the closing melody heard on each episode of the TV sitcom All in the Family. Believe it or not, the audience doesn't explode with the outburst one would expect for such a recognizable work. 

Highly recommended! ~ Ken Dryden  http://www.allmusic.com/album/art-of-interconnectedness-mw0000042515

Personnel: Roger Kellaway (piano).

The Art Of Interconnectedness

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Roy Hargrove & The RH Factor - Distractions

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 38:04
Size: 88,6 MB
Art: Front

(1:19) 1. Distractions (intro)
(2:23) 2. Crazy Race
(2:22) 3. Kansas City Funk
(4:59) 4. On the One
(5:43) 5. Family
(0:20) 6. Distractions 2
(4:22) 7. A Place
(3:53) 8. Hold On
(4:57) 9. Bullshit
(0:42) 10. Distractions 3
(2:48) 11. Can't Stop
(4:10) 12. Distractions 4

A straight-up hard bop player of often stunning ability, Roy Hargrove (RH) needs to play more than straight-up hard bop, and sometimes he embarks on outside projects like The RH Factor for explorations beyond the jazz repertoire. He performs on trumpet and flugelhorn here, with an experimental laboratory that includes a double rhythm section (bassists Reggie Washington and Lenny Stalworth; drummers Jason "JT Thomas and Willie Jones III), guitarist Todd Parsnow, and three keyboard players (Bobby Sparks, Charles McCambell, Renee Neufville), plus David "Fathead Newman as featured saxophone soloist and neo-funk mystery man D'Angelo guest-starring on "Bull***t.

The set begins with the promise of Hargrove's trumpet quicksilver runs through the opening "Distractions (Intro). Then his hot trumpet bounces through the second tune, "Crazy Race ... but these opening glimmers prepare expectations for greatness that the rest of the music just never reveals. Distractions basically offers two solid pieces: the title track, chaotic yet streamlined modern jazz chopped into four servings as brief as twenty seconds ("Distractions 3 ) and as long as four minutes (the set-ending "4 ); and the track with D'Angelo. The remainder, mainly co-composed by Neufville and featuring her lead vocal, sound like bargain bin Patrice Rushen, limpid music that's not quite jazz or funk.

To be fair, "A Place cops the guitar voicings from Heatwave's classic "Groove Line and scratches them against powerful trumpet blasts; Hargrove opens soft around the edges in a romantic Herb Alpert mood before soaring high and mighty mighty, like Lee Morgan just lettin' it all hang out. Hargrove also finds much inspiration in D'Angelo's bad-ass hip-hop funk groove, singing through his mute just to sound a little edgy, like he was beaming through some magical, time-traveling old-time radio into its thick, rubbery jam. The fact that he further blows his ass off over the blistering groove of "Distractions 4 more than four minutes, thankfully, of steady rockin' instrumental boil almost makes the rest of these Distractions more disappointing. The whip-crack sound of the snare drum, its almost ridiculous, sustained fast tempo, and the monumental energy and fever of Hargrove's trumpet are enough to make you wonder, "Where was this guy for the past half hour?~ CHRIS M. SLAWECKI https://www.allaboutjazz.com/distractions-roy-hargrove-verve-music-group-review-by-chris-m-slawecki

Personnel: Roy Hargrove: trumpet, flugelhorn, vocals; Keith Anderson: saxophone; David "Fathead" Newman: saxophone, flute; Bobby Sparks; organ, Moog, Rhodes, piano, clavinet; Renee Neufville: Wurlitzer, vocals; Charles McCampbell: clavinet, piano, XP80; Todd Parsnow: guitar; Lenny Stalworth: bass; Reggie Washington: bass; Willie Jones III: drums; Jason "JT" Thomas: drums, vocals; D'Angelo: vocals, ASR 10.

Distractions

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Tia Fuller - Pillar Of Strength

Year: 2005
File: MP3@320K/s
Time: 59:50
Size: 137,6 MB
Art: Front

(4:34) 1. Pillar Of Strength
(6:50) 2. New Life
(6:02) 3. Rain Of Patience
(5:26) 4. Bookie-Head
(2:57) 5. Easy Living
(7:15) 6. Golden Lady
(6:09) 7. Sunday Nostalgia
(5:22) 8. In Her Honor
(5:44) 9. My Secret Love
(8:05) 10. Little Big Sis
(1:22) 11. I Surrender All

Saxophonist and flutist Tia Fuller stakes her claim to being one of the finest new musicians on the scene with her exhilarating debut as a leader, Pillar of Strength. Her top-shelf chops on reed and wind instruments are complemented by her formidable skills as a composer and arranger, and she has an excellent band along for the ride. Things jump off at the top with the burning title cut, a Marion Jones sprint, with Fuller playing an alto solo bursting with passion and dexterity. Kim Thompson thunders behind her on drums, Miriam Sullivan's bass pumps the bloodstream, and Miki Hayama comps nimbly on piano. Fuller displays a light, airy touch on soprano on the Afro-Cuban blend "New Life. Sean Jones' well-spaced, eloquent trumpet solo stokes the fire and is followed by another solid Hayama solo. Fuller and Jones bring the song home with a tight trumpet/soprano tandem.

The virtuosity continues as Fuller picks up the flute on her introspective, sultry original "Rain of Patience, her light, beautiful touch supplemented by Sullivan's strong plucked solo. Fuller returns to alto on the groovin' "Bookie-Head, whose fine horn play recalls the kind of Blue Note riffs that formed the backbone of acid jazz. "Easy Living is a soothing bass/alto duet that Sullivan closes with an arco flourish. Hayama's Wonder-esque chords on the Fender Rhodes are the highlight of "Golden Lady. Fuller plays more richly harmonic soprano on "Sunday Nostalgia," sharing more simpatico with Jones' flugelhorn. "In Her Honor, a tribute to Fuller written by Jones, is a straight-ahead jumper with a Latin twist. After Fuller's strong solo the composer takes his own dynamic turn, blowing the song out. "My Secret Love, a slice of romance nicely rendered by the band all around, more than fulfills the standard requirement.

Fuller commits a glorious act of self-destruction on "Little Big Sis by blowing her own tune to smithereens with an absolutely blistering solo. On-point playing by the rhythm section and another high- act by Jones makes this tune the highlight of the disc. Fuller closes the show with a reverent solo soprano on "I Surrender All. It's unfortunate that, in a diminishing jazz market, artists like Tia Fuller and her bandmates must struggle to be heard. Here's to hoping that this refreshing talent breaks through the wall of silence.~ TERRELL KENT HOLMES https://www.allaboutjazz.com/pillar-of-strength-tia-fuller-wambui-review-by-terrell-kent-holmes
wire Personnel: Tia Fuller: alto and soprano saxophones, flute; Sean Jones: trumpet, flugelhorn; Miki Hayama: piano, Fender Rhodes; Miriam Sullivan: acoustic bass; Kim Thompson: drums; Ashton Fuller: drums (9); cowbell, woodblock (2); Daisy Shumake-Taylor: congas (2).

Pillar Of Strength

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Mulgrew Miller - Live at the Kennedy Center, Vol. 1

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 55:12
Size: 127,6 MB
Art: Front

( 9:38) 1. If I Should Lose You
(11:46) 2. When I Get There
(10:22) 3. From Day to Day
(12:19) 4. Skylark
(11:05) 5. Relaxin' at Camarillo

The best thing about Live at the Kennedy Center, Volume 1 is that there will be a Volume 2. Mulgrew Miller is a consummate captain of the piano trio and larger ensembles and has released a string of fine recordings on the MaxJazz imprint, including Live At Yoshi's, Volume 1 & Volume 2 and The Sequel. Miller is a large man and a commanding pianist, like Oscar Peterson, and I suspect that he will inherit the mantle that once belonged to Art Tatum.

Live at the Kennedy Center is a Thanksgiving Feast in five courses. Each of the carefully crafted selections clocks in, on average, at eleven minutes plus. That's a lot of music from few pieces, betraying Miller's tendency for fully exploring compositions in live settings. This is jazz studiously examined and freely performed. In 2002, the Kennedy Center inaugurated the KC Jazz Club, an intimate room on the roof of the center. Mulgrew Miller and his trio opened the club with the performance documented on this disc.

All the selections on this performance were arranged by Miller, who proves superb at the task. The majority are taken at a fairly fast clip. "If I Should Lose You is introduced with a highly impressionistic prelude, before breaking out as a 4/4 juggernaut with Rodney Green keeping time on the ride while dropping cymbal and drum bombs left and right in homage a la Tony Williams. Bassist Derrick Hodge stays right on the beat, if not a little ahead, giving the piece the feeling of spinning out of control, save for the centrifugal force of swing. His solo is at once progressive and traditional. Miller's harmonic sense is never taxed, and he spins out chorus after chorus of fresh ideas.

Miller's two original compositions, "When I Get There and "From Day to Day, juxtapose very different styles of writing. "When I Get There is frankly Monkian in tempo and harmony, with a heavy smattering of church and blues. Sections recall the late Gene Harris' impeccable command of the blues. The rhythm section brings the piece off with an orchestral flair. "From Day to Day, a lilting waltz of a certain complexity, is a bit of a different animal. Few traces of Monk here, more Bill Evans and, well, Mulgrew Miller.

The single ballad is a crackerjack. Miller is gentle with Hoagy Carmichael's "Skylark. Hodge and Green are equally gentle, softly propelling the song. Midway through, the band breaks into a brisk 4/4 stride as Miller probes every nook and cranny of the standard. The trio takes the coda, Bird's "Relaxin' at Camarillo, at breakneck speed, as bebop should be. Miller demonstrates his grasp of the genre while remaining fresh and vibrant in his approach. I hope we don't have too long a wait for Volume 2.~ C. MICHAEL BAILEY https://www.allaboutjazz.com/live-at-the-kennedy-center-volume-1-mulgrew-miller-maxjazz-review-by-c-michael-bailey
Personnel: Mulgrew Miller: piano; Derrick Hodge: bass; Rodney Green: drums.

Live at the Kennedy Center, Vol. 1

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Mulgrew Miller - Live at the Kennedy Center, Vol. 2

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 63:58
Size: 147,4 MB
Art: Front

( 9:26) 1. Song for Darnell
(12:34) 2. Grew's Tune
(12:41) 3. Farwell to Dogma
(13:05) 4. Old Folks
(16:10) 5. Eleventh Hour

Mulgrew Miller was once opined as being one of the most underrated pianists in jazz, belonging to a middle generation of musicians between the 1950s-'60s masters and the "young lions of the 1990s. Proving patience is a virtue and there is something to be said for simply doing one's job consistently (citing Cal Ripkin, Jr.) Miller is in the midst of making the finest music of his distinguished career. Live at the Kennedy Center Volume 2 completes Miller's inauguration of the KC Jazz Club atop Washington, DC's Kennedy Center for the Performing Arts, following Live at the Kennedy Center Volume 1 (MaxJazz, 2006).

Miller's Kennedy Center recordings come on the heels of another two-disc live set Live at Yoshi's Volume 1 (MaxJazz, 2004) and Volume 2 (MaxJazz, 2005) which complement those of Jessica Williams' Live at Yoshi's Volume 1 (MaxJazz, 2004) and Volume 2 (MaxJazz, 2005). All are trio formats that allow the listener to hear Mulgrew Miller as a pianist with a rare command of his instrument.

Volume 2 picks up where Volume 1 leaves off, basically staying in an up-tempo mode and demonstrating Miller's intelligent compositions. Miller mixes things up on "Song for Darnell, beginning in a melodically minimalist manner before transforming into an assertive ballad whose swing coefficient goes off the chart with several 4/4 breaks where Miller plays his piano like a bulldozer leveling a lot. "'Grew's Tune is structured staccato romp that recalls much of the late Gene Harris' playing. Miller's double-stops are fun and exciting, accenting the piece with a drama that extends to Derrick Hodge's bass solo.

"Farewell to Dogma teases the listener with gospel chords and phrasing that draw the expectant listener in, thinking Miller is about to embark on a soul jazz extravaganza. Miller, all the while, is deconstructing that same soul jazz into its individual elements, exploring each with care and completeness: A style palette, if you will. "Eleventh Hour is much the same way. It is five minutes of boogie-blues and the rest proto-hard bop. Mulgrew Miller proves a master at compelling jazz, drawing listeners close and then surprising them. That is the fun of jazz.~C. Michael Baileyhttps://www.allaboutjazz.com/live-at-the-kennedy-center-volume-2-mulgrew-miller-maxjazz-review-by-c-michael-bailey

Personnel: Mulgrew Miller: piano; Derrick Hodge: double bass; Rodney Green: drums.

Live at the Kennedy Center, Vol. 2

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Deborah Silver - Sunny Side

Styles: Vocal
File: MP3@320K/s
Time: 15:51
Size: 36,7 MB
Art: Front

(3:59) 1. You're Nobody 'Til Somebody Loves You
(3:02) 2. Straighten Up and Fly Right
(2:31) 3. Almost Like Being in Love (Acoustic Version)
(2:52) 4. On the Sunny Side of the Street
(3:25) 5. I Got Rhythm

Mississippi born vocalist, Deborah Silver is back to follow up her chart-topping album, Glitter & Grits, with her new EP, Sunny Side, which delivers thrilling versions of some of jazz’s greatest standards including ‘You’re Nobody ‘Till Somebody Loves You,’ ‘Straighten Up and Fly Right,’ ‘Almost Like Being in Love,’ ‘On the Sunny Side of the Street,’ and ‘I Got Rhythm.’ Sunny Side (produced by Steve Tyrell & Ray Benson, who also produced Glitter & Grits, featuring musicians from his 10x GRAMMY award-winning band, Asleep at the Wheel) includes duets with Bill Medley (Righteous Brothers), Ann Hampton Callaway (TONY nominated Jazz diva) and American Idol finalist Casey Abrams (Postmodern Jukebox). There’s no doubt that Deborah’s wide appeal lies in her ability to reinterpret classics and combine genres to create exciting fresh takes on some of Jazz’s most loved songs. https://newworldnjazz.com/deborah-silver-sunny-side-ntl-records/

Sunny Side

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Johnny Griffin, Eddie 'Lockjaw' Davis - Pisces

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 50:17
Size: 116,8 MB
Art: Front

(4:13)  1. Pisces
(4:36)  2. Midnight Sun
(4:32)  3. Willow Weep For Me
(3:44)  4. Bewitched, Bothered And Bewildered
(3:33)  5. What Is There To Say?
(4:32)  6. She's Funny That Way
(4:16)  7. Yesterdays
(4:09)  8. Sophisticated Lady
(4:46)  9. Willow Weep For Me (alternate)
(4:14) 10. She's Funny That Way (alternate)
(4:06) 11. Sophisticated Lady (alternate)
(3:31) 12. What Is There To Say (alternate)

The early '60s was a golden age for tenor tandems. Towering team-ups like Gene Ammons and Sonny Stitt, Zoot Sims and Al Cohn, and Eddie "Lockjaw" Davis and Johnny Griffin were illustrative of the Zeitgeist. Such a simple formula, joining the talents of two titans on that most popular of jazz horns, but it's one that consistently yielded both artistic and financial profit. For a time the partnership of Davis and Griffin stood at the front of the pack. The 1962 recording Pisces is unique in discography of Davis and Griffin for several reasons. Firstly, though the saxophonists share billing on the traycard as well as the same rhythm section, none of the tracks feature the pair together. Secondly, the set list is comprised almost completely of ballads. The only exception arises in the Griffin-penned title waltz that ambles along at a medium tempo. Thirdly, and perhaps most surprisingly, the tape reel sat sequestered on a shelf for the better part of forty years. The chosen schematic removes the possibility of sparks striking between the two men, but each is so versed at fronting an ensemble that it's worth paying attention to his interplay with the Parlan-led rhythm team that also employs supple bass of Buddy Catlett and the always ecumenical drumming of Art Taylor. 

Aside from Griffin's jovial opener the remaining cuts predictably draw from the jazz standard songbook. For some inexplicable reason Davis is saddled with Parlan's decision to play celeste on his featured tracks and the cloying wind chime tonalities of the instrument quickly pall. Even Catlett and Taylor sound a bit stultified by the situation. Luckily the robust purr of Davis' horn acts as an effective antidote, gliding eloquently through choruses and offering a salty tang to the otherwise saccharine surroundings. Parlan's piano work is a different story, nimble and elegant and dulcetly supportive of Griff's mellifluous lines, particularly on pieces like the positively intoxicating reading of "Willow Weep For Me." Adding measurably to an already valuable trove are four alternate takes (three by Griff and one by Jaws) that bolster the running time to just over fifty fulsome minutes. According the liner notes, the pair cut the date at a New York studio and interest swiftly waned toward the results. Davis' topflight session at Rudy Van Gelder's taped two days earlier with the same rhythm section and conguero Willie Bobo added (released as Goin' to the Meeting ) may have also swayed opinions against releasing the material. Today's vantage point makes room for a different appraisal. Davis' catalog is now a finite commodity, making virtually any "new" work worth scrutiny. Griffin continues to record, but again anything of antique vintage unearthed in his oeuvre is cause for collectors and casual fans to take notice. Despite a minor complaint or two, this collection is certainly that, and one that any fan of either man should waste no time in checking it out. ~ Derek Taylor https://www.allaboutjazz.com/pisces-johnny-griffin-riverside-review-by-derek-taylor.php

Personnel: Johnny Griffin- tenor saxophone; Eddie 'Lockjaw' Davis- tenor saxophone; Horace Parlan- piano, celeste; Buddy Catlett- bass; Arthur Taylor- drums.

Pisces

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Bill Evans - Quintessence

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 43:23
Size: 99,6 MB
Art: Front

( 6:08) 1. Sweet Dulcinea Blue
( 8:17) 2. Martina
( 3:45) 3. Second Time Around
( 7:34) 4. A Child Is Born
(10:07) 5. Bass Face
( 7:29) 6. Nobody Else But Me

Bill Evans was such a looming force as a trio pianist that people tend to overlook his achievements in a quintet context. A few sessions made the point throughout his career, though, like this 1976 date that was one of Evans’s personal favorites. With longtime friend Philly Joe Jones plus new-to-Evans associates Harold Land, Kenny Burrell, and Ray Brown, the ensemble is stellar to say the least; and the players strike a comfortably creative groove on a program that includes originals by trumpeters Thad Jones and Kenny Wheeler, plus Burrell’s blowing tune "Bass Face." And how fascinating to hear Ray Brown, the man who defined bass playing in the pre-Evans-trio style, finally making music with the pianist. https://concord.com/concord-albums/quintessence/

Personnel: Piano – Bill Evans; Bass – Ray Brown; Drums – Philly Joe Jones; Guitar – Kenny Burrell; Tenor Saxophone – Harold Land

Quintessence

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Stan Kenton - A Merry Christmas

Styles: Piano, Christmas
Year: 2003
File: MP3@128K/s
Time: 34:21
Size: 33,7 MB
Art: Front

(1:58) 1. O Tannenbaum
(1:52) 2. The Holly And The Ivy
(2:14) 3. We Three Kings Of Orient Are
(1:44) 4. Good King Wenceslas
(4:07) 5. The Twelve Days Of Christmas
(2:04) 6. Once In Royal David's City
(1:46) 7. God Rest Ye Merry Gentlemen
(3:17) 8. O Come, All Ye Faithful
(2:11) 9. Angels We Have Heard On High
(2:10) 10. O Holy Night
(8:24) 11. Christmas Medley
(2:29) 12. What Is Santa Claus?

When bandleader Stan Kenton was approached to record an album of holiday music in 1961 he agreed, on one condition -- no songs about singing snowmen or flying reindeer. The resulting album, A Merry Christmas, is a polyphonic masterpiece that is at once progressive and traditional. Included are such well-known classics as "O Tannenbaum" and "The Twelve Days of Christmas" as well as lesser known gems like "The Holly and the Ivy" and "Once in Royal David's City." Featuring Kenton's idiosyncratic style of arranging piercing trumpets over a wooly blanket of trombones and mellophones, this is beautiful, forward-thinking and angular music that addresses both complex classical harmony and Basie-style swing. Epitomizing this is the intricate and delicate harmonic dissonance on "O Come, All Ye Faithful," a must-hear for Kentonites. As a bonus, the album includes Kenton regular trumpeter Maynard Ferguson's stellar 1960 medley "Christmas for Moderns," which features the high-note master's hip takes on such other holiday nuggets as "White Christmas and "Jingle Bells." Fans should also get a kick out of Kenton's humorous 1963 spoken word piece "What Is Santa Claus?."~Matt Collar https://www.allmusic.com/album/a-merry-christmas%21-mw0000316697

A Merry Christmas

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Beverly Kenney - Sings for Playboys

Styles: Jazz, Vocal
Year: 1957
File: MP3@320K/s
Time: 35:01
Size: 80,6 MB
Art: Front

(2:38)  1. Do It Again
(3:33)  2. A Woman's Intuition
(3:00)  3. You're My Boy
(2:07)  4. Mama, Do I Gotta?
(3:56)  5. What Is There to Say
(3:30)  6. A Lover Like You
(3:08)  7. A Summer Romance
(2:59)  8. Life Can Be Beautiful
(2:30)  9. It's Magic
(2:32) 10. You're Adorable
(3:14) 11. Try A Little Tenderness
(1:47) 12. It's A Most Unusual Day

Beverly Kenney had a tragically brief life, committing suicide in 1960 when she was just 28, probably over a broken love affair. A subtle improviser with a haunting voice and a real skill for interpreting lyrics, she had six albums released during her lifetime. Sings for Playboys, despite its lightweight title, is one of her finest efforts. Accompanied by just pianist Ellis Larkins (who doubles on celeste) and bassist Joe Benjamin, Kenney digs into a dozen songs, only five of which could qualify as standards. While she brings new life to such tunes as "A Woman's Intuition" and "Try a Little Tenderness," she performs definitive versions of such forgotten numbers as "You're My Boy," "Life Can Be Beautiful," and "It's a Most Unusual Day." The music alternates between ballads and lightly swinging pieces with Larkins being a perfect accompanist for Kenney, who is heard throughout at her most expressive. The Japanese have rediscovered Beverly Kenney during the past decade; she's long overdue for American recognition. ~ Scott Yanow  http://www.allmusic.com/album/sings-for-playboys-mw0000537914

Personnel: Beverly Kenney (vocal); Ellis Larkins (piano, celeste); Joe Benjamin (bass).

Sings For Playboys

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Earl Klugh - The Journey

Styles: Guitar Jazz
Year: 1997
File: MP3@320K/s
Time: 51:35
Size: 119,2 MB
Art: Front

(5:14)  1. All Through the Night
(4:28)  2. Last Song
(3:58)  3. 4 Minute Samba
(5:05)  4. Sneakin' out of Here
(6:10)  5. The Journey
(4:19)  6. Good as It Gets
(5:53)  7. Fingerdance
(6:19)  8. Evil Eye
(3:59)  9. Walk in the Sun
(6:07) 10. Autumn Song

As is usual with Earl Klugh's recordings, Journey features the guitarist's pretty tone on melodic and lightly funky material. His backup band sounds very anonymous and none of his sidemen display an original personality. However Klugh's musicians do their job well, providing a safe background for the guitarist as he interprets ten of his original melodies. Earl Klugh collectors will most likely enjoy this effort due to his sound and the peaceful vibes, but those who prefer more adventurous music will not be converted. 

~ Scott Yanow https://www.allmusic.com/album/the-journey-mw0000024744

Personnel: Earl Klugh - guitar, keyboards; Paul M. Jackson, Jr. - electric guitar; Al Turner - bass; Greg Phillinganes, David Spradley, Luis Resto, Albert Duncan - keyboards; Ray Manzerolle - synth wind; Ron Otis, Harvey Mason - drums; Paulinho da Costa - percussion; Lenny Price - saxophone; Johnny Mandel - orchestral arrangements, conductor

The Journey

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The Boilermaker Jazz Band - Panama

Bitrate: MP3@320K/s
Time: 61:35
Size: 141.0 MB
Styles: Swing
Year: 2000
Art: Front

[3:34] 1. I Would Do Anything For You
[5:50] 2. You Tell Me Your Dream
[4:12] 3. Did I Remember
[4:01] 4. New Orleans Joys
[5:55] 5. I'll See You In My Dreams
[3:54] 6. In The Good Old Summertime
[4:18] 7. Shoe Boogie
[4:37] 8. If I Had You
[6:57] 9. Panama
[5:43] 10. Just For A Thrill
[4:34] 11. Siboney
[4:12] 12. I Wonder Who's Kissing Her Now
[3:43] 13. Little Grass Shack

Paul Cosentino - Clarinet/Leader; Clint Baker - Trumpet; Dan Davisson - Banjo; Gerry Gagnon - Trombone; Ernest McCarty - Bass; Tom Roberts - Piano; Rich Strong - Drums.

There seems to be a small but lively revival of swing music from the 1920's and 30's. Don Neely's San Francisco based Royal Society Jazz Orch. has been issuing CDs which delve into the charts from this period. Now along comes the Boilermaker Jazz Band out of Pittsburgh, PA headed by clarinetist Paul Cosentino. Cosentino uses the pretty much discarded complex Albert system of playing which was taught by the well known New Orleans clarinet teacher, Lorenzo Tio, Jr., in the early 1900's. Among his more famous pupils were Sidney Bechet and Barney Bigard. Using this system, Cosentino's clarinet takes on a soulful, sometimes mournful, mahogany sound which works well with the music and the style he plays it in which comes close to, but doesn't quite reach, New Orleans traditional.

All of the music on this set was written between 1902 and 1939 and most of it is played in an up tempo manner. But there are some surprises. We tend to forget that Latin rhythms were favored by the early New Orleans jazz players and Cosentino's group reminds us of that with "Siboney" with Gerry Gagnon's quivering trombone taking the lead. The waltz "In the Good Old Summertime" is done as a rip roaring barrelhouse swinger. "Little Grass Shack" has an uncredited singer backed by the banjo instead of ukelele. The more senior of us may recall that this tune was a favorite of Arthur Godfrey who did use a ukelele. One of the more engaging tracks is a blusey, melodic Cosentino clarinet on "If I Had You" followed by that unknown crooner.

Calling this group a band may be a bit of an overstatement. The biggest it gets is seven pieces. The quartet format is used for six tracks and a trio for one. But whatever the configuration, the outcome is an exciting, spirited and fun-filled session. Recommended. ~Dave Nathan

Panama

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Joe Sample, Ray Brown, Shelly Manne - The Three

Styles: Piano Jazz

Year: 1978

File: MP3@320K/s

Time: 32:02

Size: 73,5 MB

Art: Front

(5:05)  1. Yearnin'

(5:17)  2. On Green Dolphin Street

(5:43)  3. Satin Doll

(6:02)  4. Manhã  De Carnaval

(4:38)  5. 'Round About Midnight

(5:14)  6. Funky Blues

Quite possibly one of the most successful Japanese piano trio recordings of the 70s a super-session performed by a group that includes Joe Sample on acoustic piano, Ray Brown on bass, and Shelly Manne on drums! Given that Sample's best known during the era for his electric keys with the Crusaders (and on countless studio sessions), it's a real treat to hear him tickle the ivories in an acoustic way and a genuine surprise to hear how strong his work is in such a format. Joe manages to swing the tunes with plenty of creative improvisation, but also keeps a strong focus on the groove too making for an album that's got some of the rhythmic flourishes of the best work of the Oscar Peterson trio in later years, but with some of the added freedoms of the Japanese scene. Titles include "On Green Dolphin Street", "Round Midnight", "Funky Blues", "Manha Do Carnaval", "Yearnin", and "Satin Doll".~https://www.dustygroove.com/item/731110

Personnel:  Joe Sample (piano);  Shelly Manne (drums);  Ray Brown (Bass).

The Three 

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Jim Hall - Live in Tokyo

Styles: Guitar Jazz
Year: 1976
File: MP3@320K/s
Time: 52:25
Size: 120,3 MB
Art: Front

( 9:08)  1. Billie's Bounce
( 4:55)  2. Twister
( 8:01)  3. Secret Love
( 8:45)  4. Concierto de Aranjuez
(10:57)  5. Chelsea Bridge
(10:37)  6. St. Thomas

One of a pair of recordings made during a tour of Japan for Paddlewheel (a subsidiary of King), the Jim Hall Trio, with bassist Don Thompson and drummer Terry Clarke, is in top form during this 1976 concert. The opener, Charlie Parker's "Billie's Bounce," is an introspective interpretation, though played with plenty of fire, while "Twister," a duo performance credited to both Hall and Clarke, may very well be an improvisation. 

A quiet piece like the excerpt from Rodrigo's "Concierto de Aranjeuz" is tailor-made for Hall's often subtle, rather understated approach to his instrument. First-rate versions of "Chelsea Bridge" and "St. Thomas" round out this highly recommended live set, which has never been issued outside of Japan nor made available on CD.~Ken Dryden https://www.allmusic.com/album/live-in-tokyo-mw0001245277

Personnel:  Guitar – Jim Hall;  Bass – Don Thompson;  Drums – Terry Clarke

Live in Tokyo

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Ramsey Lewis Trio - Sound Of Christmas

Styles: Piano, Christmas
Year: 1961
File: MP3@320K/s
Time: 29:14
Size: 67,9 MB
Art: Front

(4:01)  1. Merry Christmas Baby
(2:08)  2. Winter Wonderland
(2:22)  3. Santa Claus Is Coming To Town
(2:47)  4. Christmas Blues
(2:39)  5. Here Comes Santa Claus
(2:19)  6. The Sound Of Christmas
(3:15)  7. The Christmas Song
(3:16)  8. God Rest Ye Merry Gentlemen
(2:55)  9. Sleigh Ride
(3:27) 10. What Are You Doing New Year's Eve?

Those who purchase a Christmas album are mainly looking for festive music suitable for decorating the tree or baking cookies and not an introspective, challenging listening experience. Thus an artist who records such a record must take into account what the audience wants to hear and not his own musical aspirations, which may be why Mingus and Miles never recorded one. Ramsey Lewis, however, is the perfect guy for such a task, since he always approached playing jazz from the standpoint of creating a catchy hit with the public rather than arty noodling. Although recorded in 1961, a few years before he hit it big with "The 'In' Crowd," he still can swing harder than most at this early stage. Lewis and his trio barrel through the first five songs with a healthy dose of jubilant bounce and a penchant for uncovering the unexpected blue notes in carols. He glides through "Winter Wonderland" with heavy, funky chords and a propulsive snap but takes a more reverent approach on "Santa Claus Is Coming To Town," a slow, gospel-tinged treatment. The latter half of the album adds a string section (which fortunately doesn't oversaturate the music with glitz like on other Christmas albums) and Lewis tinkers around with the celeste a little bit here. "The Sound Of Christmas" is one of the most euphoric songs, a cascading wash of strings and bells awash with the glee of holiday tunes. While Lewis deserves most of the credit, Eldee Young and Redd Holt also deserve an extra candy cane for providing such enthusiastic support. Simply put, this is one of the most flat-out fun jazz Christmas albums you'll find. Lewis avoids the overly reverent no "Silent Night" or "What Child Is This?" in favor of songs he can tear through with the brisk gait of a sleigh ride and the delight of a full stocking. Lewis was later criticized for his eagerness to land on the charts, but his sensitivity to the tastes of the public served him well here. ~ David Rickert https://www.allaboutjazz.com/the-sound-of-christmas-ramsey-lewis-verve-music-group-review-by-david-rickert.php

Personnel: Ramsey Lewis - piano; Eldee Young - bass; Redd Holt - drums; string section on 6-10.

Sound Of Christmas

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