Bennie Green Quintet - Glidin' Along

Styles: Trombone Jazz
Year: 1961
File: MP3@320K/s
Time: 39:52
Size: 91,7 MB
Art: Front

(5:47)  1. African Dream
(8:04)  2. Sweet Sucker
(5:11)  3. Glidin' Along
(8:29)  4. Green's Scene
(4:03)  5. Milkshake
(4:16)  6. Stardust
(4:00)  7. Expubidence

Bennie Green was one of the few trombonists of the 1950s who played in a style not influenced by J.J. Johnson (Bill Harris was another). His witty sound and full tone looked backwards to the swing era yet was open to the influence of R&B. After playing locally in Chicago, he was with the Earl Hines Orchestra during 1942-1948 (except for two years in the military). Green gained some fame for his work with Charlie Ventura (1948-1950) before joining Earl Hines' small group (1951-1953). He then led his own group throughout the 1950s and '60s, using such sidemen as Cliff Smalls, Charlie Rouse, Eric Dixon, Paul Chambers, Louis Hayes, Sonny Clark, Gildo Mahones, and Jimmy Forrest. 

Green recorded regularly as a leader for Prestige, Decca, Blue Note, Vee-Jay, Time, Bethlehem, and Jazzland during 1951-1961, although only one further session (a matchup with Sonny Stitt on Cadet in 1964) took place. Bennie Green was with Duke Ellington for a few months in 1968-1969 and then moved to Las Vegas, where he spent his last years working in hotel bands, although he did emerge to play quite well at the 1972 Newport Jazz Festival and in New York jam sessions.~Scott Yanow http://www.allmusic.com/artist/bennie-green-mn0000160618/biography

Personnel: Bennie Green (trombone); Johnny Griffin (saxophone, tenor saxophone); Junior Mance (piano); Ben Riley (drums)

Glidin' Along

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Antonio Carlos Jobim - Verve Jazz Masters 13

Styles: Vocal, Bossa Nova
Year: 1993
File: MP3@320K/s
Time: 56:34
Size: 131,4 MB
Art: Front

(4:17) 1. Corcovado (Quiet Nights Of Quiet Stars)
(2:39) 2. Vivo Sonhando (Dreamer)
(3:40) 3. So Danco Samba
(2:47) 4. Desafinado (Off Key)
(3:35) 5. Aguas De Marco (Waters Of March)
(5:29) 6. O Grande Amor
(2:53) 7. Agua De Beber
(3:15) 8. Chovendo Na Roseiro (Double Rainbow)
(6:55) 9. O Morro Nao Tem Vez
(2:12) 10. Fascinating Rhythm
(2:57) 11. Insensatez (How Insensitive)
(3:11) 12. Inutil Paisagem (Useless Landscape)
(3:25) 13. O Morro não tem Vez
(2:06) 14. Por Toda Minha Vida
(2:43) 15. Triste
(4:23) 16. Borzeguim

Antonio Carlos Jobim's entry in the exhaustive VERVE JAZZ MASTERS set of historical reissues is one of the best single-disc Jobim anthologies available. It's not got much in the way of historical range, since it stops in the mid-'60s, just before Jobim left Verve for Reprise and then A&M. However, since Jobim's Verve years were, in the minds of many, his career highpoint, VERVE JAZZ MASTERS 13 distills the best of his most artistically and commercially successful period. Nearly all of Jobim's greatest songs are here in their definitive versions, and the whole is sequenced thoughtfully, so that the disc has a logical and delightful flow. This is magnificent stuff, as well as being the birth of bossa nova. https://www.allmusic.com/album/verve-jazz-masters-13-mw0000112351

Personnel: Antonio Carlos Jobim - Vocal, Guitar, Piano; Stan Getz - Tenor Saxophone; Joao Gilberto - Guitar, Vocal; Tommy Williams - Bass; Luiz Bonfa Bass; George Duvivier Bass; Paulo Ferreira Drums; Paulo Braga Drums; Paulo Jobim Guitar, Vocal, Producer

Verve Jazz Masters 13

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Sammy Davis Jr., Carmen Mcrae - Porgy And Bess

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 37:02
Size: 86,8 MB
Art: Front

(2:57) 1. Summertime
(3:39) 2. A Woman Is A Sometime Thing
(4:15) 3. My Man's Gone Now
(3:27) 4. I Got Plenty O' Nuttin'
(4:50) 5. Bess, You Is My Woman
(3:54) 6. It Ain't Necessarily So
(3:47) 7. I Loves You Porgy
(3:58) 8. There's A Boat Dat's Leavin' Soon For New York
(3:26) 9. Oh Bess, Where's My Bess
(2:44) 10. Oh Lawd, I'm On My Way

The 1959 film Porgy and Bess was supposed to be the crowning achievement of the legendarily tyrannical producer Samuel Goldwyn’s career; he had wanted to film the Gershwin brothers’ ‘American folk opera’ since seeing it on stage in 1935. Instead, it was a disaster: the director was fired and replaced, the sets burned down just before filming started, the actors were suspicious of potentially insulting stereotypes, the critics didn’t like it, and the Gershwins hated it. About the only thing to recommend it was Sammy Davis, Jr.’s turn as the serpent-tongued Sportin’ Life. Nonetheless, the widespread anticipation for the movie, coupled with the manifest genius of the opera’s score led to the Porgy-and-Bess-ification of music in jazz circles in 1959. No fewer than ten jazz albums of Porgy and Bess’ score were released in 1959: Miles Davis, Oscar Peterson, Ralph Burns, Mundell Lowe, Hank Jones, Bill Potts, Buddy Collette, Rex Stewart and Cootie Williams, Diahann Carroll with the André Previn Trio, and a duet album featuring Harry Belafonte and Lena Horne.

While shooting Porgy and Bess in Hollywood in the second half of 1958, Sammy Davis, Jr. also laid down tracks for his own Porgy and Bess album, with which to capitalise on his star billing in the film. Joining him would be his Decca stablemate Carmen McRae, with whom he had already recorded a duet album, Boy Meets Girl. Carmen provided two cuts (“Summertime” and “My Man’s Gone Now”, both recorded in New York), and joined Sammy in Los Angeles for one duet (“I Loves You Porgy”). Sammy recorded the remaining songs solo. Sporting notable cover art by pop artist James Meese, Decca’s Porgy and Bess was released in March 1959, exactly three months before the film’s premiere at the end of June. Columbia also released an official Porgy and Bess soundtrack album in June, but contractually Sammy could not appear in it. Cab Calloway subbed in for Sportin’ Life’s two songs from the film, “It Ain’t Necessarily So” and “There’s a Boat Dat’s Leaving Soon For New York”. Despite this, the name Sammy Davis, Jr. is emblazoned across the reverse of the LP sleeve, and so for many years many people have assumed it is Sammy when it is not.

Decca’s Porgy and Bess marked Sammy’s first collaboration on record with arranger Buddy Bregman, well known at the time for his work with Ella Fitzgerald and Bing Crosby. Bregman and Sammy had been friends for years, and while Bregman was working on the charts for Porgy and Bess, the two were actually rehearsing together for a stage play production of The Desperate Hours at the Hollywood Centre Theatre. A full string orchestra and The Bill Thompson Singers were brought in to back Sammy and, believe it or not, the arrangements manage to overcome even Sammy’s powerful voice, at times swallowing him with brass or suffocating him with strings (perhaps an audio mixing issue). Despite this, you can tell that Sammy isn’t holding anything back Porgy and Bess was a labour of love for him, especially given how hard he lobbied Goldwyn for his role in the film in the first place. http://sammydavisjr.info/music/releases/original-albums/porgy-and-bess/

Personnel: Sammy Davis, Jr. - vocals (on all tracks but 1 and 3)Carmen McRae - vocals (1, 3, 7)

Porgy And Bess

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Alan Baylock Jazz Orchestra - Two Seconds To Midnight

Styles: Jazz, Big Band
Year: 2003
File: MP3@320K/s
Time: 68:52
Size: 158,9 MB
Art: Front

(6:38) 1. Song For Bilbao
(6:08) 2. Night And Day
(5:26) 3. Skylark
(6:26) 4. Two Seconds To Midnight
(8:31) 5. Sea Changes
(7:48) 6. Out House
(6:08) 7. One Mint Julep
(7:57) 8. Dee Minor
(9:02) 9. Cottontail
(4:45) 10. When I Fall In Love

When it comes to putting together a big band, Alan Baylock has an enormous advantage. As chief arranger for the U.S. Air Force’s renowned jazz ensemble, the Airmen of Note, he’s on a first-name basis with some of the most accomplished big band musicians in the country, if not the world. Nearly a dozen of the sidemen on Two Seconds to Midnight, Baylock’s splendid debut recording as leader of the band, were enlisted from the ranks of the AON with four others from the Army Blues and one from the Navy Commodores. As a bonus, there are guest appearances by the celebrated pianist Kenny Werner on Baylock’s “Sea Changes” and Ellington’s “Cottontail.”

Of course, assembling these pros in a studio is one thing; handing them charts that are rewarding to play is quite another. The good news for musicians and listeners alike is that Baylock excels in that sphere as well. One doesn’t replace a legendary arranger such as Mike Crotty without having uncommon resourcefulness and talent. Baylock knows what it takes to make a big band fresh and exciting, and writes accordingly. As he explains it: “I consciously try to forget old habits to discover newer ways of doing things. Whether it’s mixing and matching instrument[al] colors to achieve subtly different sounds, adding a few extra notes into a voicing for more ‘crunch,’ putting in an unexpected rhythm... or completely reworking the harmonic and formal structure of a tune, it’s the process of experimentation that makes creating music so exciting...”

The excitement is evident throughout, from Pat Metheny’s dancing “Song for Bilbao” to the Victor Young/Ned Heyman’s ballad “When I Fall in Love.” The album’s other two standards are as different as, well, “Night and Day,” with tenors Tyler Kuebler and Jeff Antoniuk dueling on a scorching arrangement of the Cole Porter confession, and trumpeter Tim Leahey and trombonist Joe Jackson taking wing on Hoagy Carmichael’s achingly lovely “Skylark.” Ensemble and soloists are equally impressive on Jerry Bergonzi’s busy “Out House,” Mike Mainieri’s strapping “Dee Minor,” Rudolph Toombs’ funky R&B classic, “One Mint Julep,” and Baylock’s on-the-edge title selection.

There is one departure from the big band format, with Werner, bassist Paul Henry and drummer Steve Fidyk showcased on the billowing “Sea Changes.” Fidyk, bassists Henry or John Pineda, guitarist Shawn Purcell and pianist Bob Larson, it must be noted, comprise as capable a rhythm section as one could desire. And with trumpet and trombone sections made up almost entirely of Airmen, there’s no letdown there either.

“Cottontail,” with ripping solos by Werner, Fidyk, alto Andy Axelrad, Antoniuk (soprano), baritone Doug Morgan and tenor Luis Hernandez, is a gem, but so is almost everything else, with “Out House” (solos by Kuebler, Purcell and Fidyk) and “Dee Minor” (Larson, trombonist Ben Patterson, baritone Chad Makela) sure to give almost every attentive listener goosebumps. Not bad for a first try, Alan. We hope to hear from you again, not only as principal arranger for the Airmen but with your “own” band as well.~ Jack Bowers https://www.allaboutjazz.com/two-seconds-to-midnight-alan-baylock-sea-breeze-jazz-review-by-jack-bowers

Personnel: Alan Baylock, leader, arranger; Andy Axelrad, Antonio Orta, alto sax, flute; Joseph Henson, alto sax; Tyler Kuebler, tenor sax, clarinet; Luis Hernandez, tenor sax; Jeff Antoniuk, tenor, soprano sax, clarinet; Chad Makela, baritone sax, bass clarinet; Doug Morgan, baritone sax; Brian MacDonald, Mike Davis, Mike Kamuf, Rich Sigler, Tim Leahey, trumpet, flugelhorn; Ben Patterson, Jeff Martin, Joe Jackson, trombone; Jeff Cortazzo, bass trombone; Shawn Purcell, guitar; Bob Larson, piano; John Pineda, Paul Henry, bass; Steve Fidyk, drums.

Two Seconds To Midnight

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Laura Tate - I Must Be Dreaming

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 40:13
Size: 92,4 MB
Art: Front

(3:13)  1. Snake Tattoo
(3:21)  2. No Place to Hide
(3:00)  3. What a Way to Go
(3:43)  4. I Must Be Dreaming
(2:36)  5. Dead End Road
(4:27)  6. Talk Is Cheap
(4:06)  7. If Ever Forever Should End
(2:53)  8. Cowboy Jazz
(3:24)  9. Counting Up the Ways
(3:08) 10. Don't Try to Talk Me Out of Loving You
(2:50) 11. Too Blue
(3:27) 12. Hold On (The Edge of Your Love)

Whether she is singing Broadway hits or ballads, pop favorites or original compositions, Laura Tate brings heart and soul to her performance and recordings. The versatile singer, actor, producer, and community advocate continues to mesmerize audiences in both intimate cafes and huge concert halls, reaching each listener with her smooth sultry torch singer voice and warm stage presence. 

Released on June 1, 2015, the album, "I Must Be Dreaming," recorded in Los Angeles at Jesi-Lu Recording Studio, produced by Terry Wilson as a tribute the music of Mel Harker. http://www.musicbylauratate.com/

I Must Be Dreaming

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Christian McBride - The Movement Revisited: A Musical Portrait of Four Icons

Styles: Post-Bop, Straight-Ahead Jazz
Year: 2020
File: MP3@320K/s
Time: 64:50
Size: 149,8 MB
Art: Front

(10:43) 1. Overture/The Movement Revisited
( 3:20) 2. Sister Rosa - Prologue
( 6:25) 3. Sister Rosa
( 3:08) 4. Rosa Introduces Malcolm
( 2:49) 5. Brother Malcolm - Prologue
( 7:35) 6. Brother Malcolm
( 1:03) 7. Malcolm Introduces Ali
( 2:42) 8. Ali Speaks
( 6:00) 9. Rumble In The Jungle
( 0:40) 10. Rosa Introduces MLK
( 5:38) 11. Soldiers (I Have a Dream)
( 4:14) 12. A View From The Mountaintop
(10:26) 13. Apotheosis: November 4th, 2008

The spring 2020 release of The Movement Revisited: A Musical Portrait Of Four Icons is the latest chapter in Christian McBride's inspirational salute to the African American civil rights movement and to four of its heroes: Dr. Martin Luther King, Rosa Parks, Malcolm X and Muhammad Ali. Embracing big band jazz, small group jazz, gospel, funk and chorale musics, together with spoken word passages, the suite employs an eighteen-piece band, the ten-piece Voices Of The Flame gospel choir, two lead vocalists and four narrators. It concludes with a recently written fifth movement inspired by Barack Obama's election victory in 2008. At least two more movements suggest themselves: the Trump era and (bring it on) its aftermath.

The backstory: The Movement Revisited has its genesis in 1998 and a commission from the Portland (Maine) Arts Society. McBride was given a free hand in the commission other than the stipulation that it had to include a choir. He chose to write what he called a portrait of the civil rights movement, performed by a jazz quartet and a gospel choir. Rather than attempt documentary reportage in words and music, McBride set out to evoke the spirit of the movement.

In 2008, the Los Angeles Philharmonic invited McBride to make an expanded version of the suite for its upcoming concert season. (Timeline check: this was the year McBride was part of the lineup which recorded Pat Metheny's trio masterpiece Day Trip on the Nonesuch label). A few months later, Obama was elected President, and the Detroit Jazz Festival asked McBride to put together an ensemble to perform the piece. This led to the writing of the fifth movement, "Apotheosis November 4th 2008," in which the narrators playing King, Parks, X and Ali return to the stage to voice portions of Obama's victory speech. Rewind again: As a child, McBride learnt the history of the movement in school, but he had the good fortune to discover a more emotionally accessible resource than text books his grandmother's carefully archived collection of Jet and Ebony magazines from the 1960s and their profiles of the movement's leading lights. This was, he says, "the greatest gift my grandmother could have given me."

Fast forward to The Movement Revisited: Much of the album consists of instrumental ensembles and soloists, but these are anchored in spoken word sections in which actors quote passages from speeches made by King, Parks, X and Ali. Wendell Pierce (The Wire, Treme) represents King. Dion Graham (Malcolm X, The Wire) plays X. Vondie Curtis-Hall (Chicago Hope, Daredevil) plays Ali. The only non-actor is the distinguished poet Sonia Sanchez, who plays Parks.

This is an epic work. There are glancing resonances with Wynton Marsalis and the Lincoln Center Jazz Orchestra's Blood On The Fields (Columbia, 1997), but McBride tells his story in little over an hour, compared to the 3xCD set which Marsalis required. And do not mention Kamasi Washington. In that context, one is reminded of the 17th century mathematician Blaise Pascal's postscript to a correspondent: "I have made this letter longer because I have not had the time to make it shorter." Then again, in defense of Marsalis and Washington, McBride has had over twenty years on this project.~Chris Mayhttps://www.allaboutjazz.com/the-movement-revisited-christian-mcbride-mack-avenue-records

Personnel: Christian McBride: bass; Steve Wilson: saxophone, alto; Todd Bashore: saxophone; Ron Blake: saxophone; Loren Schoenberg: saxophone; Carl Maraghi: saxophone, baritone; Michael Dease: trombone; Steve Davis: trombone; James Burton: trombone; Doug Purviance: trombone; Lew Soloff: trumpet; Ron Tooley: trumpet; Frank Greene: trumpet; Freddie Hendrix: trumpet; Darryl Shaw: trumpet; Warren Wolf: vibraphone; Geoffrey Keezer: keyboards; Terreon Gully: drums.

The Movement Revisited: A Musical Portrait of Four Icons

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Rahsaan Roland Kirk - The Inflated Tear

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1968
File: MP3@320K/s
Time: 40:15
Size: 94,3 MB
Art: Front

(6:08) 1. The Black and Crazy Blues
(2:54) 2. A Laugh For Rory
(4:45) 3. Many Blessings
(4:15) 4. Fingers In the Wind
(4:58) 5. The Inflated Tear
(3:54) 6. The Creole Love Call
(2:42) 7. A Handful of Fives
(4:18) 8. Fly By Night
(4:04) 9. Lovellevelliloqui
(2:12) 10. I'm Glad There Is You

The debut recording by Roland Kirk (this was still pre-Rahsaan) on Atlantic Records, the same label that gave us Blacknuss and Volunteered Slavery, is not the blowing fest one might expect upon hearing it for the first time. In fact, producer Joel Dorn and label boss Neshui Ertegun weren't prepared for it either. Kirk had come to Atlantic from Emarcy after recording his swan song for them, the gorgeous Now Please Don't You Cry, Beautiful Edith, in April. In November Kirk decided to take his quartet of pianist Ron Burton, bassist Steve Novosel, and drummer Jimmy Hopps and lead them through a deeply introspective, slightly melancholy program based in the blues and in the groove traditions of the mid-'60s. Kirk himself used the flutes, the strich, the Manzello, whistle, clarinet, saxophones, and more the very instruments that had created his individual sound, especially when some of them were played together, and the very things that jazz critics (some of whom later grew to love him) castigated him for. Well, after hearing the restrained and elegantly layered "Black and Crazy Blues," the stunning rendered "Creole Love Call," the knife-deep soul in "The Inflated Tear," and the twisting in the wind lyricism of "Fly by Night," they were convinced and rightfully so. Roland Kirk won over the masses with this one too, selling over 10,000 copies in the first year. This is Roland Kirk at his most poised and visionary; his reading of jazz harmony and fickle sonances are nearly without peer. And only Mingus understood Ellington in the way Kirk did. That evidence is here also. If you are looking for a place to start with Kirk, this is it.~Thom Jurekhttps://www.allmusic.com/album/the-inflated-tear-mw0000765520

Personnel: Roland Kirk – tenor saxophone, manzello, stritch, clarinet, flute, whistle, cor anglais, flexatone; Rahn Burton – piano; Steve Novosel – bass; Jimmy Hopps – drums; Dick Griffin (incorrectly credited on the LP sleeve as Dick Griffith) – trombone (on "Fly by Night")

The Inflated Tear

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Matt Dusk - Back In Town

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 44:54
Size: 103,2 MB
Art: Front

(3:36)  1. Back in Town
(3:32)  2. All About Me
(3:04)  3. Best Is Yet To Come, The
(3:54)  4. Way You Look Tonight, The
(4:08)  5. More
(4:47)  6. As Times Goes By
(4:03)  7. Learning the Bluesn
(3:17)  8. Get Me To The Church On Time
(2:53)  9. Who's Got The Action
(3:38) 10. On the Street Where You Live
(3:56) 11. A Million Kisses Late
(4:01) 12. Where Were You When

Back in Town is the fourth studio album by Canadian jazz singer Matt Dusk. It was released by Decca Records on June 13, 2006 in Canada. The album was released worldwide with an alternative cover later in 2006.

In Canada, the album debuted at number seventeen on the albums chart. https://en.wikipedia.org/wiki/Back_in_Town_%28Matt_Dusk_album%29

Personnel: Matt Dusk (vocals); John Faux, John Chioidini (guitar); Assa Drori, Al Hershberger, Karen Winkelmann, Dynell Weber, Jennifer Munday, Jennifer Walton, Irina Voloshina, Anatoly Rosinsky, Johana Krejci, Katia Popov, Carolyn Wann Bailey, Becky Bunnell, Erin Hall, Christian Teal, Kevin Connolly , Sid Page, Raymond Kobler, Mary Kathryn Van Osdale, Pamela Sixfin, Alan Umstead, Darius Campo, Liane Mautner, Catherine Umstead, Haim Shtrum (violin); Raymond Tischer, Dave Walther , Harry Shirinian (viola); Dan Higgins (flute, piccolo, clarinet, alto saxophone); Pete Christlieb, Bob Sheppard (flute, clarinet, tenor saxophone); Gene Cipriano (clarinet, bass clarinet, baritone saxophone); Gary Grant, Mike Haynes , Larry Hall , Warren Luening, Wayne Bergeron, George Tidwell (trumpet); Paul Klintworth, Dana Kelley, Steven Becknell (French horn); Andy Martin , Roy Agee, Chris McDonald, Barry Green , Charles Loper, Chauncey Welsch (trombone); Craig Gosnell (bass trombone); Michael Lang (piano, celesta); Tom Rainer (piano); Mike Long (celesta); 'Big' Jim Right (organ); Peter Erskine, Shannon Forrest, Vinnie Colaiuta (drums, drum); L.A. String & Horn Section, Nashville String & Horn Section (unknown instrument); Ilya Toshinsky (guitar, banjo); Neil Stubenhaus, Spencer Campbell (electric guitar, electric bass); Tom Ranier, Randy Kerber (piano); Rob Wells (keyboards, programming); Chuck Berghofer (acoustic bass); Daniel Greco , Eric Darken, Paulinho Da Costa (percussion).

Back In Town

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Laura Tate - Songs From My Suitcase

Styles: Jazz, Vocal
Year: 2013
File: MP3@320K/s
Time: 41:01
Size: 94,5 MB
Art: Front

(3:21)  1. Blue Moon
(3:12)  2. Stormy Weather
(4:40)  3. Cry Me a River
(3:51)  4. Since I Fell for You
(2:47)  5. Fly Me to the Moon
(4:33)  6. I'm a Fool to Want You
(3:49)  7. Once
(4:19)  8. Round Midnight
(4:29)  9. I've Got You Under My Skin
(2:43) 10. At Last
(3:12) 11. Come Rain or Come Shine

Whether she is singing Broadway hits or ballads, pop favorites or original compositions, Laura Tate brings heart and soul to her performance and recordings. The versatile singer, actor, producer, and community advocate continues to mesmerize audiences in both intimate cafes and huge concert halls, reaching each listener with her smooth sultry torch singer voice and warm stage presence.

In this new album, she breathes new life into some of the most-beloved classics in the history of popular love songs, and debuts an original work, "Once" by longtime friend, songwriter/producer Joe Plewa. With her signature smoky voice and her expressive, soulful style, Laura beautifully conjures up sweet memories for many listeners while introducing these standards to a whole new generation of fans. http://www.cdbaby.com/cd/lauratate

Songs From My Suitcase

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Miles Davis - Bag's Groove

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 46:23
Size: 106,4 MB
Art: Front

(11:17)  1. Bags' Groove (Take 1)
( 9:27)  2. Bags' Groove (Take 2)
( 4:55)  3. Airegin
( 5:13)  4. Oleo
( 5:45)  5. But Not For Me (take 2)
( 4:56)  6. Doxy
( 4:45)  7. But Not For Me (take 1)

There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session featuring Thelonious Monk which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. 

The up-tempo and Latin-infused syncopation featured during the opening of "Airegin" flows into lines and minor-chord phrasings that would reappear several years later throughout Davis' Sketches of Spain epic. The fun and slightly maniacally toned "Oleo" features one of Heath's most impressive displays on Bags' Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags' Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc. [Some reissues include both historic takes of "Bags' Groove" as well as one additional rendering of the pop standard "But Not for Me."] ~ Lindsay Planer http://www.allmusic.com/album/bags-groove-mw0000649467

Personnel: Miles Davis (trumpet); Sonny Rollins (tenor saxophone); Milt Jackson (vibraphone); Thelonious Monk, Horace Silver (piano); Percy Heath (bass); Kenny Clarke (drums).

Bag's Groove

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Frank Foster & SDR Big Band - A Fresh Taste Of The Blues

Styles: Big Band, Swing
Year: 1996
File: MP3@320K/s
Time: 66:36
Size: 153,3 MB
Art: Front

(6:38) 1. Victorious Blues
(7:51) 2. Easin' It
(5:00) 3. Love Handles
(8:11) 4. Mirror Lake
(6:16) 5. Brotherly Shove
(8:02) 6. Lady In Lace
(5:22) 7. Didn' You
(5:18) 8. Ode To Joe Newman
(5:10) 9. Winners
(8:45) 10. A Fresh Taste Of The Blues

Frank Foster (b. 21 September 1928) is an American tenor and soprano saxophonist, arranger, and composer, who is best known for his work in different periods with the Count Basie orchestra, as well as under his own name. His playing style has been influenced by that of John Coltrane, but has remained very much his own.

Foster was born in Cincinnati, Ohio, and educated at Wilberforce University. In 1949 he played in Detroit with local musicians such as Wardell Gray, and on finishing his military service in 1953 he joined Basie's big band. Aside from his tenor playing, Foster contributed both arrangements and originals to the band's book (his best-known composition being "Shiny Stockings"), and when he left Basie in 1964, he worked as a freelance composer, providing material for such stars as Sarah Vaughan and Frank Sinatra. His time with Basie had also seen him work outside the band, most significantly a session with Thelonious Monk in 1954.

From 1970 to 1972 (and on occasional later dates) he played with Elvin Jones, and in 1972 and 1975 with the Thad Jones Mel Lewis big band. He has also led small groups, as well as the Living Color and The Loud Minority big bands, with which he toured Europe and Japan. He co-led a quintet with Frank Wess in 1983, and toured Europe as a member of Jimmy Smith's quintet in 1985. In 1986, Foster succeeded Thad Jones as leader of the Basie band, with which he stayed until 1995, since which he has led various small groups and revived The Loud Minority. User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL. https://www.jazzmusicarchives.com/artist/frank-foster

Personnel: Frank Foster (sax, cond, arr); Thomas Vogel (tp); Don Rader (tp); Karl Farrent (tp); Lubomir Rezanina (tp); Rudolf Reindl (tp); Marc Godfroid (tb); Ludwig Nub (tb); Ian Cumming (tb); Georg Maus (tb); Bernd Rabe (sax); Axel Kuhn (sax); Peter Weniger (sax); Andreas Maile (sax); Rainer Heute (sax); Klaus Wagenleiter (p, el-p); Henning Sieverts (b ); Klaus-Peter Schopfer (g); Keith Copeland (ds)

A Fresh Taste Of The Blues

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Miles Davis - Blue Period

Styles: Trumpet Jazz
Year: 1953
File: MP3@128K/s
Time: 19:04
Size: 17,9 MB
Art: Front

(9:56) 1. Bluing
(2:51) 2. Blue Room
(6:16) 3. Out Of The Blue

Blue Period is the third studio album by jazz musician Miles Davis. It was released in 1953 as a 10" LP, his second released by Prestige Records, recorded over the course of two 1951 recording sessions at New York's Apex Studio.

Bluing" and "Out of the Blue", two Davis compositions, were recorded on October 5, 1951, at the same session as the material for his first album The New Sounds (PRLP 124). "Blue Room", composed by Rodgers and Hart, was recorded earlier that year, at the same January 17 recording session as the three tracks used on the various artists LP Modern Jazz Trumpets (PRLP 113). This earlier session was Davis' first for Prestige.

The tracks on Blue Period were split when Prestige reconfigured its recordings for 12-inch LP. "Bluing" and "Out of the Blue" are featured on Dig (PRLP 7012), and two versions of "Blue Room" (including an alternate take) are on the CD of Miles Davis and Horns (originally PRLP 7025). https://en.wikipedia.org/wiki/Blue_Period_(album)

Personnel: Miles Davis – trumpet; Jackie McLean – alto saxophone; Sonny Rollins – tenor saxophone; Walter Bishop, Jr. – piano; Tommy Potter – double bass; Art Blakey – drums

On "Blue Room": Miles Davis – trumpet; Sonny Rollins – tenor saxophone; John Lewis – piano; Percy Heath – double bass; Roy Haynes – drums

Blue Period

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Jim Hall - Jazz Impressions of Japan

Styles: Guitar Jazz
Year: 1976
File: MP3@320K/s
Time: 42:43
Size: 120,5 MB
Art: Front

(6:56) 1. Light
(6:20) 2. Careful
(8:36) 3. Kyoto Bells
(2:29) 4. Without Words
(6:44) 5. Echo
(5:59) 6. Young One, For Debra
(3:02) 7. Two Special People
(2:34) 8. Something for Now

A harmonically advanced cool-toned and subtle guitarist, Jim Hall was an inspiration to many guitarists, including some (such as Bill Frisell) who sound nothing like him. Hall attended the Cleveland Institute of Music and studied classical guitar in Los Angeles with Vicente Gómez. He was an original member of the Chico Hamilton Quintet (1955-1956), and during 1956-1959 was with the Jimmy Giuffre Three. After touring with Ella Fitzgerald (1960-1961) and sometimes forming duos with Lee Konitz, Hall was with Sonny Rollins' dynamic quartet in 1961-1962, recording The Bridge. He co-led a quartet with Art Farmer (1962-1964), recorded on an occasional basis with Paul Desmond during 1959-1965 (all of their quartet performances are collected on a Mosaic box set), and then became a New York studio musician. He was mostly a leader during the following years and, in addition to his own projects for World Pacific/Pacific Jazz, MPS, Milestone, CTI, Horizon, Artist House, Concord, MusicMasters, and Telarc, Jim Hall recorded two classic duet albums with Bill Evans. A self-titled collaboration with Pat Metheny followed in 1999. A flurry of studio albums, reissues, and compilations followed throughout the next few years, with the exceptional Jim Hall & Basses standing out for its bass/guitar duet format. Jim Hall died at his apartment in Manhattan on December 10, 2013; he was 83 years old.~Scott Yanowhttps://www.allmusic.com/artist/jim-hall-mn0000286483/biography

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

Jazz Impressions of Japan

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Freddie Hubbard - This Is Jazz #25

Bitrate: MP3@320K/s
Time: 52:17
Size: 119.7 MB
Styles: Fusion, Trumpet jazz
Year: 1970/1997
Art: Front

[12:07] 1. Red Clay
[ 9:08] 2. Spirits Of Trane
[ 7:34] 3. Sky Dive
[ 7:03] 4. In A Mist
[11:06] 5. Take It To The Ozone
[ 5:16] 6. Here's That Rainy Day

Freddie Hubbard's installment of Sony's This is Jazz series is devoted to his fusion records from the early '70s. While these recordings won't be of much interest to fans of his hard bop classics, Hubbard nevertheless skillfully navigated the funk grooves and soul vamps of fusion, creating music that truly grooved. This disc contains many of the highlights from his CTI records, and is a good sampler for the curious. ~Stephen Thomas Erlewine

This Is Jazz #25

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Matt Dusk And Florence K - Quiet Nights

Styles: Vocal Jazz, Bossa Nova
Year: 2016
File: MP3@320K/s
Time: 55:55
Size: 128,5 MB
Art: Front

(4:45)  1. Quiet Nights of Quiet Stars
(5:30)  2. Girl from Ipanema
(3:25)  3. Ces mots stupides / Somethin’ Stupid
(6:09)  4. 'Deed I Do
(4:46)  5. Gee Baby, Ain't I Good to You
(4:01)  6. You Are the Sunshine of My Life
(4:57)  7. Your Kiss Is on My List
(4:23)  8. How Insensitive
(4:52)  9. This Masquerade
(4:22) 10. Our Love Is Here to Stay
(5:11) 11. They Can't Take That Away from Me
(3:28) 12. Just the Two of Us

Matt Dusk and Florence K revisit great standards like Somethin’ Stupid, Sunshine of My Life and The Girl From Ipanema with their own jazzy sound. Quiet Nights is a bright, glamorous sounding album which surrounds the listener with the soft comfort of the two artists warm voices. It is the perfect gift for lovers and will hit the shelves just before Valentines Day. Reprenant des grands standards allant de Somethin’ Stupid à Sunshine of My Life en passant par The Girl From Ipanema, le duo Matt Dusk et Florence K revisite ces classiques à la sauce jazz. 

Quiet Nights est un album ensoleillé, « glam » où les voix chaudes des deux artistes enveloppent l’auditeur dans un doux confort. Sorti quelques jours avant la Saint-Valentin, l’album Quiet Nights est le cadeau idéal des amoureux. Le premier extrait, Somethin’ Stupid, s’accompagne d’un vidéoclip en diffusion à la télévision. La popularité des deux artistes (et notamment de Florence K au Québec depuis la sortie de son livre Buena Vida) ainsi que le son « rétro » de cet album très en vogue actuellement devraient lui promettre un beau succès. http://www.amazon.ca/Quiet-Nights-Matt-Dusk/dp/B01AKUX75O/ref=sr_1_1?s=music&ie=UTF8&qid=1454048230&sr=1-1

Quiet Nights

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Dan Nimmer Trio - Yours Is My Heart Alone

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 68:08
Size: 156,2 MB
Art: Front

(4:28)  1. Yours Is My Heart Alone
(5:41)  2. Jambangle
(5:39)  3. Just Us
(5:36)  4. Ray
(5:52)  5. Speak Low I
(5:26)  6. Poinciana
(4:29)  7. Blues Etude
(3:56)  8. Road Song
(5:15)  9. Squatty Roo
(4:33) 10. Only Trust Your Heart
(6:05) 11. Falling In Love With Love
(5:30) 12. Speak Low II
(5:33) 13. Whims Of Chambers

Pianist Dan Nimmer needs to change his name to Dan Nimble for agile are his fingers as he navigates through a selection of pop and jazz standards as well as a couple of originals on this trio album with bassist Peter Washington and drummer Lewis Nash along for the ride. And what a ride it is. Nimmer's choice of material encompasses a wide range of composers including Oscar Peterson, Wes Montgomery, Johnny Hodges, Gil Evans and Paul Chambers as well as selections from the great American songbook. Since Nimmer is a master of styles, each track reveals the extent of his mastery. The title track is a fast-paced version where Nimmer switches from single notes to chordal playing with ease. 

His original "Ray," full of fast-played triplets, and Chambers' "Whims of Chambers," are both bop workouts. Kurt Weill's "Speak Low" is treated in two different ways: The first is funky, with Nimmer playing against Washington's bass figure, and the second a Latin version with a nicely built piano solo. Nimmer pays homage to the late Peterson with an expert treatment of "Blues Etude." Most notable is an inventive, exciting version of "Poinciana," which jumps off the CD ripe for lots of airplay. Along with Nimmer's performances, there are lots of moments where Washington's melodic bass work is emphasized, as on "Ray" and "Squatty Roo." Nash keeps a solid beat all the way through, making some swinging statements on "Yours Is My Heart Alone" and the aforementioned "Squatty Roo." Nimmer's trio is having a great time here and it's contagious. ~ Marcia Hillman  http://www.allaboutjazz.com/yours-is-my-heart-alone-dan-nimmer-venus-records-review-by-marcia-hillman.php
 

Personnel: Dan Nimmer: piano; Peter Washington: bass; Lewis Nash: drums.

Yours Is My Heart Alone

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Pee Wee Ellis - Yellin' Blue

Styles: Saxophone Jazz

Year: 1995

File: MP3@320K/s

Time: 65:00

Size: 149,6 MB

Art: Front

( 4:18)  1. Lazy Bird

( 8:31)  2. Do Dee Dum Diddy

( 9:52)  3. Sophisticated Lady

( 6:58)  4. Like Sonny

( 9:42)  5. Yellin' Blue

( 6:10)  6. Groovin' High

(11:24)  7. In A Mellow Tone

( 8:03)  8. Tag Alone

Saxophonist Pee Wee Ellis was the architect of James Brown's era-defining soul classics of the late '60s, introducing the dynamic arrangements and punishing rhythms that would define the emerging language of funk. Born Alfred Ellis in Bradenton, FL, on April 21, 1941, he was raised in Lubbock, TX, and was playing professionally by the time he reached middle school. In 1955, his family relocated to Rochester, NY, where he collaborated with classmates (and fledgling jazzmen) Chuck Mangione and Ron Carter. Ellis spent the summer of 1957 under the tutelage of sax giant Sonny Rollins, and after graduating high school he returned to Florida to form his own R&B combo, Dynamics Incorporated. The experience honed his skills as a writer, arranger, and multi-instrumentalist, and after a brief stint with the Sonny Payne Trio he joined the James Brown Revue in 1965. Assigned alto sax and organ duties, Ellis quickly proved himself an invaluable contributor to arrangements and horn charts as well, and when Nat Jones quit the lineup in early 1967, Brown named Ellis his new musical director, resulting in significant refinements to the Godfather of Soul's sound. Ellis channeled the lessons of his jazz background to strip Brown's music to its bare essentials, showcasing bold, precise horns and repetitive rhythms with a minimum of melodic embellishment -- hits like "Cold Sweat," "Licking Stick-Licking Stick," and "Funky Drummer" redefined the sound and scope of soul, pointing the way for its transformation to funk. Ellis went on to co-write and arrange a series of James Brown smashes, including "Say It Loud, I'm Black and I'm Proud" and "Mother Popcorn," as well as issuing a handful of solo singles on Brown's label King, among them "Little Green Apples" and "In the Middle." He resigned from Brown's band in the autumn of 1969, and after settling in New York City he signed to the Nashville-based Sound Stage 7 label and issued the rare groove classic "Moonwalk." Ellis also emerged as a sought-after session player, contributing to dates headlined by everyone from soul-jazz great Brother Jack McDuff to a latter-day blues-rock incarnation of the Blues Magoos. He then served as musical director and arranger for the CTI label's influential fusion imprint Kudu, overseeing sessions for Esther Phillips, George Benson, and Hank Crawford.

Ellis next teamed with the studio group Gotham to record the LP Pass the Butter for Motown's Natural Resources subsidiary before resuming his solo career with his first-ever full-length effort, the 1976 Savoy release Home in the Country. After relocating to San Francisco, Ellis formed a short-lived fusion quintet with soprano saxophonist Dave Liebman, also playing on and producing Liebman's 1977 A&M release Light'n Up Please! With 1979's Into the Music, he was named arranger for blue-eyed soul mystic Van Morrison, a collaboration that spanned until 1986 and included a series of well-regarded albums including Common One and Inarticulate Speech of the Heart. Ellis spent much of the late '80s touring behind longtime Brown backing vocalist Bobby Byrd in tandem with fellow J.B.'s alums Fred Wesley and Maceo Parker as the JB Horns, debuting on disc with the 1990 release Pee Wee, Fred and Maceo. Subsequent efforts include I Like It Like That and Funky Good Time/Live. After the JB Horns went on hiatus in 1992, Ellis reunited with another Brown alum, drummer Clyde Stubblefield, for the album Blues Mission. He then returned to his jazz roots with 1993's acclaimed Twelve and More Blues, a live set cut in Köln, Germany, with bassist Dwayne Dolphin and drummer Bruce Cox. That summer, Ellis also headlined a week of sold-out dates at Ronnie Scott's in London, an experience that shaped both his movement into acid jazz with 1994's Sepia Tonality and subsequent relocation to western England. With the move overseas, Ellis also resumed his partnership with Van Morrison on the latter's 1995 effort, Days Like This, serving as musical director of Morrison's studio and stage crew for years to follow; Ellis also formed his own band, the Pee Wee Ellis Assembly, for 1996's A New Shift. The group remained active in concert and on record for years to follow, confining most of its activities to Europe and pursuing a direction Ellis dubbed "smunk" i.e., smooth funk. ~ Jason Ankeny http://www.allmusic.com/artist/pee-wee-ellis-mn0000305424/biography

Personnel: Bass – Dwayne Dolphin;  Drums – Bruce Cox;  Tenor Saxophone, Producer – Pee Wee Ellis

Yellin' Blue

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Ramsey Lewis - Do What You Wanna (2 Parts)

World-famous jazz musician and composer Ramsey Emmanuel Lewis, Jr. was first given piano lessons at age four. He was born in Chicago on May 27, 1935, to hard-working, self-educated Southern farm workers who met in church.

Lewis attended Chicago Music College Preparatory School from 1947 to 1954. He credits his music teacher, Dorothy Mendelsohn, with teaching him how to listen with his inner ear. Other than his father’s Duke Ellington, Art Tatham and Mead Lux Lewis records, Lewis had no special exposure to jazz. After graduating from Wells High School in 1954, Lewis’ first music job was as an accompanist at the Zion Hill Baptist Church. He enrolled in Chicago Music College, but left at age eighteen to marry. In 1956, he formed the Ramsey Lewis Jazz Trio and signed with Chess Records in 1957 for the Trio’s first album. The Trio, composed of Eldee Young and Red Holt, played in famous New York jazz clubs and toured as full-time jazz musicians. Lewis recorded for Columbia Records from 1971 to 1974 and signed with GRP Records in 1991. He is the winner of three Grammy Awards, and from 1967 to 1976 earned five gold records. His major hits include “The In Crowd,” “Wade in the Water” and “Hang On Sloopy.”

Album: Do What You Wanna (Part 1)
Bitrate: MP3@320K/s
Time: 90:17
Size: 206.7 MB
Styles: Piano jazz
Year: 2016
Art: Front

[5:23] 1. Do What You Wanna
[3:49] 2. Wade In The Water
[5:50] 3. The In Crowd
[4:01] 4. Hey Mrs. Jones
[3:03] 5. Function At The Junction
[3:09] 6. Look-A-Here
[3:11] 7. Spanish Grease
[3:25] 8. 1-2-3
[3:07] 9. Hang On Sloopy
[3:12] 10. Uptight (Everything's Alright)
[4:04] 11. Bold And Black
[2:44] 12. Sexy Sadie
[5:03] 13. A Hard Day's Night
[2:38] 14. Here Comes Santa Claus
[4:20] 15. Blue Bongo
[2:52] 16. Carmen
[2:48] 17. Soul Man
[4:31] 18. Black Bird
[2:47] 19. Christmas Blues
[2:36] 20. Cielito Lindo
[4:51] 21. Wanderin' Rose
[3:39] 22. I Got Plenty O' Nutin'
[2:40] 23. The Breeze And I
[3:33] 24. Thanks For The Memory
[2:50] 25. Dancing In The Street

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Album: Do What You Wanna (Part 2)
Bitrate: MP3@320K/s
Time: 87:41
Size: 200.8 MB
Styles: Piano jazz
Year: 2016
Art: Front

[2:48] 1. Here 'tis
[3:46] 2. My Cherie Amour
[3:11] 3. Day Tripper
[3:08] 4. Summer Samba
[2:05] 5. Sometimes I Feel Like A Motherless Child
[3:12] 6. Cast Your Fate To The Wind
[2:41] 7. Black Eye Peas
[2:57] 8. Ain't That Peculiar
[3:50] 9. Cry Baby Cry
[3:15] 10. The Caves
[6:34] 11. Balle Del Alma (Dance Of The Soul)
[5:26] 12. Delilah
[3:38] 13. Blues For The Night Owl
[2:14] 14. Uhuru
[3:13] 15. Everybody's Got Something To Hide Except Me And My Monkey
[3:58] 16. The Shelter Of Your Arms
[3:15] 17. Back In The U.S.S.R
[3:50] 18. Consider The Source
[3:31] 19. Felicidade (Happiness)
[2:23] 20. Limelight
[4:01] 21. My Babe
[2:58] 22. Lonely Avenue
[4:54] 23. Dear Prudence
[3:43] 24. Down By The Riverside
[3:00] 25. Cecile

Do What You Wanna (Part 1),(Part 2)

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Pee Wee Ellis - Blues Mission

Styles: Saxophone, Jazz Funk
Year: 1993
File: MP3@320K/s
Time: 38:51
Size: 89,8 MB
Art: Front

(3:47)  1. Zig Zag
(3:23)  2. Gotcha!
(5:36)  3. Cold Sweat/Mother Popcorn
(3:11)  4. Yellin' Blue
(4:10)  5. One Mint Julep
(6:23)  6. Texas Sweet
(4:15)  7. Ham
(4:40)  8. Fort Apache
(3:20)  9. Blues Mission

Longtime James Brown arranger and band member Pee Wee Ellis took the spotlight on this set of hot instrumentals, blues-based uptempo numbers, and inspired covers. Ellis' tenor sax solos are strong, exuberant, and tight. His band members include guitarist Jean-Paul Bourelly in a more restrained role than usual, while Tyrone Jefferson provides the trombone fills and effects much as Fred Wesley did in The JBs. The group pays homage to Ellis' past with the stinging "Cold Sweat Mother Popcorn," rivaling the original Brown orchestra in their execution, funk, and energy. ~ Ron Wynn  

http://www.allmusic.com/album/blues-mission-mw0000099231

Personnel: Pee Wee Ellis (tenor saxophone), Jean-Paul Bourelly (electric guitar), Jack Walrath (trumpet), Tyrone Jefferson (trombone), Masabumi "Poo" Kikuchi (Hammond B-3 organ), Jean-Paul Bourelly (electric guitar), Darryl Jones (Fender bass), Clyde Stubblefield (drums).

Blues Mission

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Hilton Ruiz - Manhattan Mambo

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 52:23
Size: 120,3 MB
Art: Front

( 5:04)  1. Mambo Numero Cinco
( 6:36)  2. Sure Thing
( 4:30)  3. Michael's Mambo
( 5:20)  4. Home Cookin'
( 7:38)  5. Overtime Mambo
( 6:20)  6. Giovanni Speaks
(10:16)  7. Impressions
( 6:36)  8. Showtime

Pianist Hilton Ruiz is heard with a superior group of musicians adept at playing both bebop and Latin jazz. With a front line of trumpeter Charlie Sepulveda, David Sanchez on tenor and trombonist Papo Vazquez in addition to four percussionists, Ruiz's nonet displays plenty of fire on a set of originals, Pérez Prado's "Mambo Numero Cinco" and John Coltrane's "Impressions."~ Scott Yanow http://www.allmusic.com/album/manhattan-mambo-mw0000083168

Personnel: Hilton Ruiz (piano); David Sanchez (tenor saxophone); Charlie Sepúlveda (trumpet); Angel Papo Vasquez, Papo Vazquez (trombone); Steve Berrios (drums, cowbells, timbales, percussion); Ignacio Berroa (drums, timbales); Giovanni Hidalgo (congas, cowbells, bells, gong); Joe Gonzalez (bongos); Andy González (cowbells)

Manhattan Mambo

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