Dexter Gordon - Settin' The Pace

Bitrate: MP3@320K/s
Time: 72:16
Size: 165.5 MB
Styles: Bop, Saxophone jazz
Year: 1998/2009
Art: Front

[2:55] 1. Blow Mr. Dexter
[2:52] 2. Dexter's Deck
[3:06] 3. Dexter's Cutting Out
[2:40] 4. Dexter's Minor Mad
[2:42] 5. Long Tall Dexter (Alternate Take)
[3:00] 6. Long Tall Dexter
[3:11] 7. Dexter Rides Again
[3:06] 8. I Can't Escape From You (Alternate Take)
[3:15] 9. I Can't Escape From You
[2:51] 10. Dexter Digs In (Alternate Take)
[2:55] 11. Dexter Digs In
[2:48] 12. Dexter Digs In (Previously Unissued)
[5:52] 13. Setting The Pace
[2:40] 14. So Easy
[2:41] 15. Dexter's Riff
[3:03] 16. Dexter's Mood (Previously Unissued)
[2:50] 17. Dexter's Mood
[3:39] 18. Dextrose (Previously Issued)
[2:47] 19. Dextrose
[3:25] 20. Index (Previously Unissued)
[3:03] 21. Index
[3:45] 22. Dextivity (Previously Unissued)
[2:59] 23. Dextivity

This single CD has most but not all of Dexter Gordon's Savoy recordings. While there are previously unheard extra alternate takes included ("Dexter Digs In," "Dexter's Mood," "Dextrose," "Index" and "Dextivity") time limitations resulted in the already issued alternates to "Blow Mr. Dexter," "So Easy" and "Dexter's Riff" being left out. Hopefully, the latter three takes will be issued eventually on a sampler; in the meantime, completists should hold on to their earlier Arista/Savoy two-fer. Gordon's four Savoy sessions (which feature a lot of "originals" based on the chord changes of blues and standards) found him introducing his hard tone and fairly distinctive style to a wide audience, making him one of the first full-fledged bop tenors. The supporting cast (which includes on various dates trumpeter Fats Navarro, baritonist Leo Parker and pianist Bud Powell) is strong, and it is noteworthy that now the discographies of Powell and Navarro have been slightly expanded. Highly recommended. ~Scott Yanow

Settin' The Pace

---

Eric Reed - Blue Trane

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 60:52
Size: 139,3 MB
Art: Front

(7:27)  1. Blue Train
(6:00)  2. Isotope
(7:29)  3. Polka Dots And Moonbeams
(3:23)  4. Reflections
(6:51)  5. You're Sensational
(5:02)  6. Cool Struttin'
(4:18)  7. Waltz For Zweetie
(4:03)  8. I Remember Clifford
(4:56)  9. Blue Silver
(5:20) 10. You Go To My Head
(5:59) 11. Maiden Voyage

Pianist Eric Reed is one of a growing number of talented musicians who have emerged from Wynton Marsalis' bands to pursue rewarding solo careers in their own right. Born in Philadelphia in 1970, Reed's first exposure to music came through his father, a minister and local gospel singer; he began playing piano at age two and soon discovered jazz, quickly developing into a musical prodigy. He entered music school at age seven, and resisted classical training in favor of jazz, inspired early on by Dave Brubeck, Ramsey Lewis, Art Blakey, and Horace Silver. Four years later, he moved with his family to Los Angeles, where he digested enough jazz history that he was able to begin playing around the city's jazz scene as a teenager, both as a leader and a sideman for the likes of Gerald Wilson, Teddy Edwards, John Clayton, and Clora Bryant. He first met Wynton Marsalis at age 17, and toured briefly with the trumpeter the following year (his first and only at Cal State-Northridge). In 1989, Reed officially joined Marsalis' band as the replacement for Marcus Roberts; the following year, he issued his debut album as a leader, A Soldier's Hymn, on Candid, with backing by his regular trio of bassist Dwayne Burno and drummer Gregory Hutchinson.                

Over 1991-1992, Reed worked with Freddie Hubbard and Joe Henderson as a sidelight, returning to Marsalis' group by the end of 1992. He cut a pair of well-received albums for MoJazz, It's All Right to Swing and The Swing and I, during 1993-1994, and in 1995 embarked on his first tour as leader of his own group. Two more dates for Impulse!, 1996's Musicale and 1997's Pure Imagination, found his style maturing and his critical and commercial success growing; he also spent 1996-1998 playing with the Lincoln Center Jazz Orchestra. 1999's Manhattan Melodies, his first outing for Verve, was a colorful and sophisticated tribute to New York City; that year, he also undertook the most prominent of several film-scoring projects, the Eddie Murphy/Martin Lawrence comedy Life. Reed also continued to record with Marsalis up into the new millennium. 2001 brought the acclaimed Happiness on Nagel-Heyer, and the next year saw two releases, the well-received From My Heart and a duet album with frequent cohort Wycliffe Gordon on trombone, We. ~ Steve Huey  http://www.allmusic.com/artist/eric-reed-mn0000799352/biography    

Blue Trane

---

Sheila Jordan - Triotrio Meets Sheila Jordan

Styles: Vocal
File: MP3@320K/s
Time: 57:27
Size: 131,8 MB
Art: Front

(8:06) 1. The Bird / Confirmation
(6:00) 2. If I Should Lose You
(7:33) 3. Memories Of You
(5:19) 4. Workshop Blues
(5:03) 5. Everything Happens to Me
(8:44) 6. Hanky Panky
(5:49) 7. Fair Weather
(6:52) 8. All Gods Chillun Got Rhythm / Little Willie Leap
(3:57) 9. The Crossing

The late journalist/author Chris Sheridan’s liner notes for Sheila Jordan’s first album “Sheila” declares, “This recording is an acutely personal statement. Only rarely in the history of jazz have a singer‘s feelings been so affectingly bared ... only a few vocalists have had the grit to subordinate technique and »style« to expressiveness ...

And the experience is breathtaking.” Mr. Sheridan’s assertion from 1977 still rings true and even more so. Sheila Jordan at the age 92 does not show any sign of slowing down or taking it easy. Her intensely creative power is evident throughout this album presented in a cross-generational collaboration with trioTrio consisting of three young elite instrumentalists of the New York scene. https://www.jazzmessengers.com/en/90723/triotrio/triotrio-meets-sheila-jordan

Personnel: Sheila Jordan (vocals, except tracks 3 & 6); Jacob Sacks (piano); David Ambrosio (bass); Vinnie Sperrazza (drums)

Triotrio Meets Sheila Jordan

---

Billy Taylor - Midnight Piano

Styles: Piano Jazz
Year: 1964
File: MP3@320K/s
Time: 33:34
Size: 81,2 MB
Art: Front

(2:43) 1. Midnight Piano
(2:38) 2. You came a long way from St Louis
(3:27) 3. Just The Thought of You
(2:08) 4. A Secret
(2:17) 5. My Romance
(2:30) 6. It's a grand Night for Swinging
(3:18) 7. You Tempt Me
(2:20) 8. Don't Every Say We're Through
(3:16) 9. Days of Wine and Roses
(2:54) 10. Miss Fine
(3:14) 11. That is all I ask
(2:46) 12. Love for Sale

This LP is a follow-up to an earlier collaboration by Billy Taylor and Oliver Nelson with the latter's arrangements, though this time around there are three separate supporting groups. The best tracks are from the big-band session, with an all-star brass and reed section, including Clark Terry and Phil Woods (whose brief solos are instantly recognizable). Taylor wrote several originals for this session, the upbeat and bluesy "Midnight Piano," the charming hard bopper "It's a Grand Night for Swinging," and the easygoing "You Tempt Me," while Nelson contributed the spunky, somewhat playful "Miss Fine."

The horns and rhythm segment hasn't stood the test of time as well due to the rather dated arrangements of "You Came a Long Way From St. Louis" and "Love for Sale" (along with two obscurities written by Teddi Castion). The portion of the record with strings ends up sounding more like mood music than jazz, in spite of the fact that the songs are all classics ("My Romance," "This Is All I Ask," and "Days of Wine and Roses"), except for Taylor's "Just the Thought of You." All of Nelson's arrangements are rather brief (under three and a half minutes each), suggesting that this release was shooting for airplay on easy listening as well as jazz radio stations. Overall, this long out of print LP is an enjoyable though not essential release by Billy Taylor.~Ken Dryden https://www.allmusic.com/album/midnight-piano-mw0000877053

Personnel: Piano – Billy Taylor; Bass – Ben Tucker; Drums – Grady Tate

Midnight Piano

---

The Red Beans & Rice Combo - Let The Joy Begin!

Size: 77,2 MB
Time: 32:52
File: MP3 @ 320K/s
Released: 2018
Styles: New Orleans Jazz
Art: Front

01. Blue Drag (4:29)
02. Calling All Cars (3:10)
03. I Ain't Drunk (2:54)
04. Mardi Gras In New Orleans (3:34)
05. One Meat Ball (3:12)
06. Save The Bones (3:22)
07. Who Drank My Beer (3:00)
08. Your Mind Is On Vacation (2:24)
09. A Chicken Ain't Nothin' But A Bird (2:45)
10. Such A Night (3:57)

The Combo features Tom Roberts on piano, whistling, & vocals, along with Dave Klug on drums and his custom-built "Kluger Soundboard," and Wayno on vocals, harmonica, & ukulele.

om Roberts is one of the world's leading exponents of early jazz piano. He has performed on The Tonight Show with Johnny Carson, and A Prairie Home Companion with Garrison Keillor. He was the featured pianist at the International Stride Piano Summit in Zurich, Switzerland, 2001 and 2009. Tom was the pianist for Vince Giordano and the Nighthawks in New York City (recent Grammy winners for the soundtrack to Boardwalk Empire) and the pianist and musical director for Leon Redbone for six years.

He has performed throughout Europe as a member of multiple ensembles from New Orleans and as a member of The Ortner Roberts Duo.

Tom has arranged and performed music for the soundtrack of the Martin Scorcese film The Aviator; for the syndicated PRI show Riverwalk Jazz, Live from the Landing with the Jim Cullum Jazz Band; and a number of pieces for Wynton Marsalis and The Jazz at Lincoln Center Orchestra. Recently he has composed new musical scores for the Charlie Chaplin films One A.M. and The Rink through a commission from The Pittsburgh Symphony.

Dave Klug has translated his quirky brand of humor into a successful illustration career for the past 350 dog years. His drawings have captured the eye and imagination of clients such as The Wall Street Journal, The New York Times and Scholastic. He is a regular contributor to Highlights Magazine and has been commissioned for larger than life murals for The Pittsburgh Zoo and Aquarium, The Consol Energy Center in Pittsburgh PA, and the world famous Primanti Brothers Restaurants.

Dave is also a household name when it comes to music, drumming for some of the Pittsburgh area's best bands since the 1980s. It's always a treat to see and hear Dave performing with one of the vintage drum kits he has rescued and restored.

Dave never strays very far from his passion for animals, and is committed to many Animal Charities including Animal Friends in Western Pennsylvania. His Veterinary Supply Store, Klugworld, creates a full line of client communications materials for animal care professionals across the country.

Wayno® is a Pittsburgh-based cartoonist, illustrator, pop artist, writer, and musician, whose name is in fact a registered trademark (hence the "circle R" symbol). He shares a special musical chemistry with Tom and Dave, and has a taste for obscure old tunes about food and drink.

He is the daily cartoonist for the internationally syndicated comic Bizarro.

Let The Joy Begin!

---

Dexter Gordon Quartet - Swiss Nights, Volume 1, Volume 2, Volume 3

Album: Swiss Nights, Volume 1
Styles: Saxopphone Jazz
Year: 2001
File: MP3@320K/s
Time: 68:20
Size: 159,9 MB
Art: Front

(10:54) 1. Tenor Madness
(10:48) 2. Wave
(10:13) 3. You've Changed
(12:48) 4. Days Of Wine And Roses
(13:40) 5. The Panther
( 9:55) 6. Montmartre/The Theme

---

Album: Swiss Nights Vol. 2
Time: 62:47
Size: 145,3 MB

(15:08) 1. There Is No Greater Love
( 5:33) 2. Sticky Wicket
(10:59) 3. Wave
(11:41) 4. The Theme
( 9:48) 5. Darn That Dream
( 9:37) 6. The Theme

Album: Swiss Nights - Volume 3
Time: 66:15
Size: 151,7 MB

( 0:07) 1. Introduction
(12:42) 2. Tenor Madness
(13:03) 3. Jelly Jelly Jelly
( 9:10) 4. Didn't We
(11:04) 5. Days Of Wine And Roses
( 9:36) 6. Sophisticated Lady
(10:31) 7. Rhythm-A-Ning/The Theme

As one of the great tenors to emerge from Los Angeles' Central Avenue scene, Dexter Gordon led a colorful and eventful, sometimes tragic life that included three triumphant comebacks in a four-plus-decade career. As a beloved, influential member of the bebop generation, his story (and Bud Powell's) inspired French director Bertrand Tavernier to tell a portion of it in the 1986 drama Round Midnight and to cast him in a lead role. Gordon was the top tenor saxophonist during the bop era and possessed his own distinctive sound, he created a large body of superior work and could successfully battle nearly anyone at a jam session. His years as a leader and co-leader at Dial, Savoy, and Blue Note were enough to make him a legend. Living in Europe for more than a dozen years, he recorded equally fine albums for Prestige, Steeplechase, and other labels, and his return to the U.S. resulted in several releases for Columbia and Blue Note.

Gordon was born to renowned parents in Los Angeles in 1923. His father, Dr. Frank Gordon, was among the first Black doctors in the city after graduating from Howard Medical School in Washington, D.C. in 1918. (His patients included Duke Ellington and Lionel Hampton.) His mother, Gwendolyn Baker, was the daughter of Captain Edward Baker, one of the five Black Medal of Honor recipients during the Spanish–American War. Gordon began playing clarinet at age 13 and switched to saxophone two years later. While at school, he played in bands with Chico Hamilton and Buddy Collette. His first important gig was with Lionel Hampton (1940 to 1943) although, due to Illinois Jacquet also being in the sax section, Gordon did not get any solos.

In 1943, he did get to stretch out on a recording session with Nat King Cole. Short stints with Lee Young, the Fletcher Henderson Orchestra, and Louis Armstrong's big band preceded his move to New York in December 1944, where he was hired for Billy Eckstine's Orchestra, trading off with Gene Ammons on Eckstine's recording of "Blowin' the Blues Away." Gordon recorded with Dizzy Gillespie ("Blue 'N' Boogie") and as a leader for Savoy before returning to Los Angeles in the summer of 1946. He was a major part of the Central Avenue scene, trading off with Wardell Gray and Teddy Edwards in many legendary tenor battles; studio recordings of "The Chase" and "The Duel" helped to document the atmosphere of the period.

After 1952, drug problems resulted in jail time and periods of inactivity during the rest of the '50s (although Gordon did record two albums in 1955). By 1960, he had recovered sufficiently to cut a core series of dates for Blue Note including Doin' Alright, Dexter Calling, Swingin' Affair and Go). After re-establishing his reputation, he moved to Europe in 1962 and remained there until 1976. While on the continent, he was in peak form Gordon's many SteepleChase recordings rank with the finest work of his career and include four dates with altoist Jackie McLean. Gordon returned to the U.S. on an occasional basis, recording in 1965, 1969 and 1970, and 1972, but by then he was almost forgotten in the U.S. although he remained a major attraction in Europe.

Given this status, it proved an odd yet welcome surprise that his return to America in 1976 was treated as a major media event, illustrated by the double-live Homecoming LP from his American tour, and the studio date Sophisticated Giant in 1977. A great deal of interest was suddenly given the living legend, with long lines of people waiting at clubs to see him. In 1978, appearing with Johnny Griffin, he sold out Carnegie Hall. Gordon remained a popular figure until his gradually worsening health made him only semi-active by the early '80s. His third comeback occurred when he was picked to star in the motion picture 'Round Midnight. Gordon's acting was quite realistic and touching. He was nominated for an Academy Award four years before his death. In the 21st century, several important live finds have been issued, including the Dutch Archives' In the Cave: Live at Persepolis, Utrecht, 1963, Rhino's vinyl-only Live at the Playboy Jazz Festival, and Elemental's At the Subway Club 1973.~Scott Yanowhttps://www.allmusic.com/artist/dexter-gordon-mn0000208404/biography

Personnel:

Vol 1: Dexter Gordon - tenor saxophone; Kenny Drew - piano; Niels-Henning Ørsted Pedersen - bass; Alex Riel - drums

Vol 2: Dexter Gordon - tenor saxophone; Kenny Drew - piano; Niels-Henning Ørsted Pedersen - bass; Alex Riel - drums

Vol 3: Dexter Gordon - tenor saxophone, vocals; Kenny Drew - piano; Niels-Henning Ørsted Pedersen - bass; Joe Newman - trumpet.

Swiss Nights - Volume 1,2,3

---

Tierney Sutton - Paris sessions 2

Styles: Vocal
File: MP3@320K/s
Time: 69:10
Size: 159,4 MB
Art: Front

(3:40) 1. Triste
(6:09) 2. April in Paris - Free man in Paris
(7:24) 3. Zingaro
(6:25) 4. Isn't it a pity
(6:42) 5. Beautiful love
(4:39) 6. Cinema paradiso - I knew I loved you
(7:31) 7. Moonlight
(5:05) 8. Pure imagination
(4:24) 9. A child is born
(2:35) 10. Doralice
(5:02) 11. August winds
(4:50) 12. You'd be so nice to come home to
(4:37) 13. Chorado

On 2014's Grammy-nominated Paris Sessions, acclaimed singer Tierney Sutton forged an indelible chemistry with classically-trained guitarist-arranger Serge Merlaud. Now husband and wife, the two take their musical connection to even deeper levels on Paris Sessions 2, set for release on May 6, 2022. Sutton's 15th album, which she has dedicated to the late songwriter Marilyn Bergman, represents yet another high-water mark in her esteemed career.

The nine-time Grammy nominee has been heralded for her abilities as both a jazz storyteller and her ability to use her voice as an instrument. Whether it was on her 2002 tribute to Bill Evans (Blue In Green), her 2004 Frank Sinatra tribute (Dancing in the Dark), her 2013 Joni Mitchell tribute (After Blue) or her 2016 salute to pop icon Sting (The Sting Variations), Sutton has continued to weave her spell with a combination of pure, pristine vocals, emotional honesty and striking reinventions of familiar tunes. That spell is very much intact on Paris Sessions 2. https://www.broadwayworld.com/bwwmusic/article/Tierney-Sutton-Set-to-Release-New-Album-Paris-Sessions-2-20220406

Paris sessions 2

---

Sheila Jordan - Comes Love: Lost Session 1960

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 34:18
Size: 81,9 MB
Art: Front

(4:05) 1. I'm The Girl
(1:38) 2. It Don't Mean a Thing (It It Ain't Got That Swing)
(4:46) 3. Ballad of the Sad Young Man
(2:12) 4. Comes Love
(3:00) 5. Don't Explain
(2:37) 6. Sleeping Bee
(4:28) 7. When the World Was Young
(1:41) 8. I'll Take Romance
(3:59) 9. These Foolish Things
(3:21) 10. Glad to Be Unhappy
(2:25) 11. They Can't Take That Away from Me

Sheila Jordan falls into that unique category of vocalist whose voice, once heard, is unlikely to be mistaken for anyone else. Now at ninety-two, she continues to perform regularly, if not frequently, most recently in August 2021 at Jazz In The Park in Peekskill New York. This release entitled Comes Love: Lost Session 1960 was recorded on June 19, 1960 at Olmsted Sound Studios NYC for Chatam Records backed by unidentified accompanists. Ms. Jordan was thirty-one at the time of this recording but, perhaps understandably, she has no recollection of this session nor the names of the musicians supporting her. This outing pre-dates by more than two years her official debut recording for Blue Note Records entitled Portrait Of Sheila on which she was accompanied by guitarist Barry Galbraith, bassist Steve Swallow and drummer Denzil Best.

William Shakespeare in The Tempest wrote the line "what's past is prologue" and if that is so, the Sheila Jordan heard on these early sides anticipates the singer she has become. The opening track is a little-known ballad by James Shelton called "I'm The Girl" in which the following couplet tells the story : "I'm the girl he calls up at three/ And I'm the one who will go." Jordan conveys the bitterness of the lyrics without being maudlin. The following track is a brief exposition of Duke Ellington's "It Don't Mean A Thing ( If It Ain't Got That Swing) which features her up-tempo scatting.

As this outing demonstrates, Jordan was prepared to tackle an eclectic choice of material from "Ballad Of The Sad Young Men" to Harold Arlen & Truman Capote's "Sleeping Bee" to Philippe Gérard & Johnny Mercer's "When The World Was Young." On the latter number, pay attention to the astonishing ending as Jordan takes the word "young" up a couple of octaves. The title track "Comes Love"is a pithy, clever romp where she stays in the middle register with the lyrics remaining intact.

At what would have to be considered the stepping off point in her recording career, Sheila Jordan had a fresh and unambiguous approach to American Songbook standards such as Oscar Hammerstein's "I'll Take Romance" and George & Ira Gershwin's "They Can't Take That Away From Me." Regardless of the material, Jordan understood it was important to emphasize the melodic development of the song and, by so doing, it would be transformed as distinctive to her.~ Pierre Giroux https://www.allaboutjazz.com/comes-love-lost-session-1960-sheila-jordan-capri-records__13576

Personnel: Sheila Jordan: voice / vocals

Comes Love: Lost Session 1960

---

Paco de Lucia - Fantasia Flamenca de Paco de Lucia

Styles: Guitar
Year: 1969
File: MP3@320K/s
Time: 37:24
Size: 86,1 MB
Art: Front

(6:06) 1. Aires de Linares - Tarantas
(3:09) 2. Mi Inspiracion - Alegrias
(3:22) 3. Guajiras de Lucia - Guajiras
(3:16) 4. Mantilla de Feria Cancion
(3:27) 5. El Tempul - Bulerias
(2:37) 6. Panaderos Flamencos - Panaderos
(4:39) 7. Generalife bajo la luna - Granaina
(3:15) 8. Fiesta en Moguer - Fandangos
(4:20) 9. Lamento minero - Minera
(3:07) 10. Celosa - Solea

The stamp of Sabicas is present in this second solo LP, with ten Flamenco numbers written alone for the first time, with the exception of ‘Los Panaderos Flamencos’ and ‘Mantilla de Feria’ which are by Esteban de Sanlúcar. It is recorded with a different guitar to the previous records, now made from rosewood, black as opposed to the white Cypress. Paco conceived this work as a kind of fantasy or Flamenco suite, and at just 21 years old offers a number of genres that show at once how he has matured as both composer and interpreter. The path run through the Flamenco styles reveals his desire to create a complete work where the songs are held within a distinctive style.

The album was recorded a year after Paco received the Award for Honour in Concert Guitar from the National Competition for Flamenco Art in Cordoba. It was also the year that Camarón released his first album, in which it is also possible to hear some falsetas (melodic variations) from this Fantasia. As he always would, Paco shared his music with his ‘brother’ Camarón de la Isla. http://www.pacodelucia.org/en/disc/fantasia-flamenca-de-paco-de-lucia

Fantasia Flamenca de Paco de Lucia

---

Erena Terakubo - Little Girl Power

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 67:26
Size: 156,1 MB
Art: Front

(6:42) 1. Little Girl Power
(5:14) 2. Marmaduke
(6:12) 3. Rocky
(7:54) 4. Lover Man
(4:28) 5. Lover
(7:34) 6. Juicy Lucy
(4:41) 7. Introduction To A Samba
(6:19) 8. You Are The Sunshine Of My Life
(4:46) 9. Winter Fireworks
(4:26) 10. Bird Lives
(4:36) 11. When You Wish Upon A Star
(4:30) 12. High Touch

Erena Terakubo was born in Sapporo, Japan. She began playing the alto saxophone at the age of nine. Terakubo played the saxophone influenced by artists such as Charlie Parker, Cannonball Adderley, and Sonny Stitt.

In 2010, Terakubo released her first album, "North Bird" with Kenny Barron, Christian McBride, Lee Pearson, and Peter Bernstein, through Japanese major label King Records. It marked No. 1 on the Japanese jazz charts and was awarded Swing Journal's Gold Disc. Later that year, she performed with Ron Carter, Omar Hakim, and Will Boulware at the Tokyo Jazz Festival. In 2011, Terakubo recorded her second album, "New York Attitude" with Kenny Barron, Ron Carter, Lee Pearson, and Dominick Farinacci. In the same year, she received a presidential scholarship from Berklee College of Music. She graduated in 2015. She moved to New York in the same year.

Terakubo has performed with Kenny Barron, Ron Carter, Jimmy Cobb, Louis Hayes, Vincent Herring, Christian McBride, John Beasley's Monk'estra, Lewis Nash, and Lenny White just to name a few. In addition, Terakubo has toured around the globe as a leader including Asia, Europe, Africa, South America, Australia, and the Middle East. Terakubo released 6 albums as a leader. https://www.jamrice.co.jp/erena/en/bio/bio.html

Personnel: Elena Terakubo (alto-sax, soprano-sax); Mayuko Katakura (piano, Rhodes); Motoi Kanamori (bass); Shinnosuke Takahashi (drums, percussions)

Little Girl Power

---

Sinne Eeg & The Danish Radio Big Band - We've Just Begun

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 51:47
Size: 119,3 MB
Art: Front

(4:03) 1. We've Just Begun
(5:19) 2. Like a Song
(5:04) 3. Those Ordinary Things
(3:35) 4. Talking to Myself
(4:36) 5. Hvorfor er lykken så lunefuld
(5:05) 6. My Favorite Things
(5:47) 7. Samba Em Comum
(5:53) 8. Detour Ahead
(6:41) 9. Comes Love
(5:40) 10. To a New Day

Any vocalist who can summon the world-class Danish Radio Big Band to serve as a backup group must have something special to offer. Sinne Eeg, whose lustrous voice uplifts and illuminates her ninth album, We've Just Begun, has all of that and more. Eeg, as it turns out, is a shining star in her native Denmark and if she weren't, she certainly should be. Singing mostly in English, Eeg displays a charming voice that is strong and clear and a style that is jazz-inflected but unmannered, in the image of her role models: Ella Fitzgerald, Sarah Vaughan and Anita O'Day. For comparison's sake, the contemporary vocalist who springs to mind is Roberta Gambarini, and there can be no higher compliment than that. No less than four of Eeg's earlier albums earned Danish Music Awards for Best Jazz Vocal Album of the Year, and the impression here is that We've Just Begun should be a strong contender for Music Award No. 5. Besides singing, Eeg wrote or co-wrote half of the album's ten selections, starting with the album's opener / title song, a freewheeling swinger on which Eeg's buoyant vocal (and scat chorus) is underlined by the band and tenor saxophonist Hans Ulrik. Eeg wrote the engaging waltz, "Like a Song," which follows, and co-authored the wistful and meditative ballad, "Those Ordinary Things," with lyricist Helle Hansen.

The DRBB's rhythm section shines on "Talking to Myself," an old-line swinger on which Eeg showcases her admirable jazz chops, grooving and scatting in a style that would certainly have pleased the above-named role models. She sings in Danish on "Hvorfor er Lykken Sa Lunefuld," a melodic song from the 1937 Danish film A Consummate Gentleman, before addressing the first of three American evergreens, Rodgers and Hammerstein's "My Favorite Things," whose even-tempered opening stanza gives way to a fiery midsection with burning solos by tenor Frederik Menzies and drummer Soren Frost. As if to show there is no limit to her virtuosity, Eeg sings the gently swaying "Samba em Comum" in English and Portuguese. The light-hearted solo is by trombonist Peter Dahlgren. The next two numbers, "Detour Ahead" and "Comes Love," were scored for Eeg by her longtime friend, the late American saxophonist / arranger Roger Neumann, to whose memory the album is dedicated. "Detour" advances slowly, lending full rein to Eeg's shapely and seductive voice, while "Comes Love" allows her to make the most of its clever and playful lyric (with more scatting thrown in for added spice). Eeg rings down the curtain with another of her compositions, the enticing, gospel-flavored anthem "To a New Day," which further underscores her impressive range and unerring timbre. Make no mistake, this is Eeg's album all the way, and she is a radiant and beguiling centerpiece. As for the Danish Radio Big Band, it is the luscious icing on the cake.

Personnel: Sinne Eeg: vocals, composer, arranger; Nikolai Bogelund: conductor; Dave Vreuls: trumpet; Bjarke Nikolasjsen: trumpet; Thomas Kjergaard: trumpet; Mads la Cour: trumpet; Gerard Presencer: trumpet; Lars Vissing: trumpet; Peter Fuglsang, Nicolai Schultz, Hans Ulrik, Anders Banke, Frederick Menzies, Anders Gaardmand, Jan Harbeck: saxes; Peter Dahlgren: trombone; Vincent Nilsson: trombone; Kevin Christensen: trombone; Annette Saxe: trombone; Jakob Munck: trombone; Henrik Gunde: piano; Per Gade: guitar; Kaspar Vadsholt: bass; Seren Frost: drums. Guest musicians – Rune Harder Olesen: percussion (3); Luis Conte: percussion (7); Sille Grenberg, Birgitte Soojin, Ninna Milner Juel, Maja Hanghoj, Alice Carreri: backing vocals (7).

We've Just Begun

---

Trudy Kerr - Cloudburst

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 65:21
Size: 150,0 MB
Art: Front

(5:18) 1. Joy Spring
(3:57) 2. Cloudburst
(4:16) 3. The Rabbit
(5:41) 4. Lady Luck
(4:35) 5. Weird Nightmare
(3:40) 6. Funk Evans
(4:10) 7. Somewhere In The Hills
(2:51) 8. Ruby My Dear
(4:02) 9. Come On Home
(5:20) 10. Jeannine
(6:21) 11. Left Alone
(4:53) 12. On A Misty Night - September In The Rain
(4:38) 13. Cinema Paradiso - That Day
(5:34) 14. Up Jumped Spring

Something of a miniature epiphany this. A vocal album sufficiently musicianly, substantial and in the instrumental tradition that it could equally well be filed under mainstream. Think vocal jazz automatically equals jazz-lite? Think again.

Cloudburst is London-based Australian Kerr's fifth album and follows her fine '02 homage to Chet Baker, My Old Flame. This time she puts the Great American Songbook aside and offers fourteen hardcore jazz instrumentals, to which lyrics and/or vocalese have later been added, either by her or by earlier writers. The original composers are Coltrane, Mingus, Monk, Clifford Brown, Gerry Mulligan, Horace Silver, Mal Waldron, Tadd Dameron, Bill Evans, Lerov Kirkland & Jimmy Harris, Duke Pearson, Antonio Jobim, Ennio Morricone, and Freddie Hubbard. To say Kerr does justice to these guys which she does is really to say something. The arrangements are unfussy, and wholly unsweetened, and Kerr's warm and sensuous voice, particularly effective in the midrange, delivers straightforward and engaging readings.

Key to the album's success is Kerr's band, a half dozen of London's finest, who're given plenty of space in which to stretch out and improvise. Dick Pearce (trumpet) and Derek Nash (baritone saxophone) return from My Old Flame, joined by Alan Skidmore (tenor saxophone), Tom Cawley (piano) perhaps best known right now as keyboards player with thrash jazz uber-iconoclasts Acoustic Ladyland Sam Burgess (bass), and Steve Brown (drums).

Tom Cawley's playing here will be a revelation to anyone who only knows him from his Acoustic Ladyland incarnation. Eight of the tracks are just Kerr and piano trio, and Cawley's fleet and glowing solos, out of Bud Powell, Al Haig, and Horace Silver, but fresh with it, are riveting. Skidmore, Nash, and Pearce shine as bright as you'd expect. Nash is compelling on Mulligan's "Bunny," here retitled "Rabbit," and Waldron's "Left Alone," as is Skidmore on Coltrane's "Moment's Notice," here retitled "Lady Luck," and Mingus' "Weird Nightmare." Pearce's dueting with Kerr on Dameron's "On A Misty Night" is exquisite. Burgess and Brown each get a couple of solos, with Brown particularly strong on Silver's "Come On Home," developing a series of snare drum press-rolls of barely restrained ferocity.

So, a vocal album for people who don't usually like vocal albums. Kerr is 100% real jazz musician, and Cloudburst is 100% real jazz. Things are looking up.~Chris May https://www.allaboutjazz.com/cloudburst-trudy-kerr-jazzizit-review-by-chris-may

Personnel: Trudy Kerr, vocals; Tom Cawley, piano; Sam Burgess, bass; Steve Brown, drums. Dick Pearce, trumpet, Alan Skidmore, tenor saxophone, Derek Nash, baritone saxophone on "The Rabbit," "Lady Luck," "Weird Nightmare," "Jeanine," "Left Alone," and "On A Misty Night/September In The Rain."

Cloudburst

---

John Beasley - Positootly!

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 49:16
Size: 113,3 MB
Art: Front

(5:04)  1. Caddo Bayou
(4:32)  2. Positootly!
(5:30)  3. Dindi
(6:40)  4. Black Thunder
(4:58)  5. Shatita Boom Boom
(5:28)  6. Tanguedia III
(4:53)  7. Elle
(4:45)  8. So Tired
(4:50)  9. The Eight Winds
(2:32) 10. Hope.. Arkansas

On Positootly!, pianist John Beasley explores a variety of styles for a thoroughly enjoyable and stimulating experience. Each track benefits immensely from the indelible touch of drumming great Jeff "Tain" Watts, in alliance here with percussionist Munyungo Jackson. Hailing from Louisiana, Beasley started playing in the late seventies, getting his seasoning with such jazz greats as Miles Davis, Freddie Hubbard and Dianne Reeves. Lately, he has gravitated towards composing for film and television, but he continues to release new music and tour with his band. This recording follows-up Letter to Herbie (Resonance, 2008), in which Beasley presented an impressionistic take on Herbie Hancock's music. Besides Watts and Jackson on drums, the musicians participating here are bassist James Genus, along with the blistering front line of saxophonist Bennie Maupin and trumpeter Brian Lynch. Most numbers are Beasley originals with three notable exceptions. The standout is a knockout rendition of, Argentine composer Astor Piazzolla's tango "Tanguedia III." On most selections, Beasley plays piano, but here he uses Fender Rhodes and synthesizer to create bandoneon accordion effects essential to tango. It's uniquely tango-jazz all the way in 2/4 start-stop fashion, building to a dynamic climax.

Other selections range from funk and soul to bop and bossa nova. Staying in a South American vein, Beasley puts forth his take on Antonio Carlos Jobim's "Dindi." Genus' bass sets the tone for this soft reflective piece, with the piano delivering softly swaying interludes. Watts and Jackson, as expected, add complexity to the beat. A further highlight is Beasley's "Black Thunder," dedicated to the late drummer Elvin Jones, and featuring Watts as a positive dynamo with pounding sticks. Maupin and Lynch deliver stirring solos as well. On Beasley's vigorous "The Eight Winds," Lynch's muted trumpet effectively leads the pianist into a burning,double-time solo, again resolutely backed by the churning drum duo. For hard boppers, there is Beasley's opener, "Caddo Bayou," featuring the whole band in this energized tribute to the leader's hometown. For soulful funk there is Bobby Timmons "So Tired," with Beasley again On Fender Rhodes, framing Maupin's strong tenor solo. Since positivity is the theme of this CD, it is fitting that it ends with the piano solo piece "Hope, Arkansas," Beasley's stately ode to Obama's presidency. ~ Larry Taylor https://www.allaboutjazz.com/positootly-john-beasley-resonance-records-review-by-larry-taylor.php

Personnel: John Beasley: piano, Fender Rhodes, synthesizer; Bennie Maupin: tenor and soprano saxophones; Brian Lynch: trumpet; James Genus: bass; Jeff "Tain" Watts: drums; Munyungo Jackson: percussion.

Positootly!

---

Keith Jarrett - Always Let Me Go (Live In Tokyo) Disc 1, Disc 2

Album: Always Let Me Go (Live In Tokyo) Disc 1

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 61:06
Size: 140,2 MB
Art: Front

(32:12)  1. Hearts In Space
( 3:34)  2. The River
(16:18)  3. Tributaries
( 9:01)  4. Paradox

---

Album: Always Let Me Go (Live In Tokyo) Disc 2

Time: 76:22

Size: 175,1 MB

(34:25)  1. Waves

(14:04)  2. Facing East

(14:51)  3. Tsunami

(13:00)  4. Relay

Recorded live in Tokyo in April 2001, Always Let Me Go is Keith Jarrett's 149th concert in Japan. Joined by his long-standing partners Gary Peacock and Jack DeJohnette, these performances are playful, explosive, somber, and completely improvised. After 20 years of working together, they trust each other (and the audience) enough to deliver over two hours of unscripted music. DeJohnette prowls through his drums like a restless cougar: he chatters, scuffles, and pounces on the skins with agility. Likewise, Peacock spoons out a concrete foundation of bass; one that bubbles as it spreads through the cracks in Jarrett's 88 keys (which serve the pianist so very well). For listeners familiar with the trio's Inside Out CD, here is the same idea further elaborated on. "Hearts in Space" spirals out of the starting gate with geometrical tremors, as three virtuosos all start their respective engines and read each other's pulses over the course of 32 minutes. The trio effortlessly glide from mood to mood in synchronization to deliver a ballad in the eye of a hurricane, then dismount into straight-ahead swing. "The River" is a stoic hymn, a richness of melancholy in deep scarlet blue. It is Jarrett's only solo here, as brief as it is rewarding. "Paradox" rides the crest of bebop in a simmering stew to close out the first disc with a punch that stops on a dime. There are enough recurring themes here to call it a standard of sorts, and the musicians quickly assume the proper formation as they've done thousands of times before. Disc two opens with "Waves," another half-hour marathon of moods that evolves seamlessly between chromatic stillness, manic fluttering, and gunpowder bop. DeJohnette clearly sets the tone for "Facing East" a syncopated clockwork of beat, as Jarrett pinwheels in like-minded percussives with Peacock flipping through volumes of frets. Next comes the aptly titled "Tsunami," which swells and bursts with power before finally subsiding to fractured stillness. It is the fire in the musicians' bellies perhaps the darkest and most ferocious passage of the album. As is often the case, Jarrett's distant vocals pinch the air from time to time. Although purists may wince at this additional layer of seasoning, there's no denying his expression comes out of the deepest level of commitment. It is this same commitment that fuels so much of the album. With the knowledge that Always Let Me Go is live and improvised, it adds a rewarding layer of understanding and appreciation, as few musicians can deliver such diamonds with so little structure in place. Song for song, the symbiosis is a marvel to behold and the audience knows it. These are gods at play, and the lightning bolts they toss around are awe-inspiring. ~ Glenn Swan https://www.allmusic.com/album/always-let-me-go-live-in-tokyo-mw0000662266

Personnel:  Keith Jarrett – piano; Gary Peacock - bass; Jack DeJohnette - drums

Always Let Me Go (Live In Tokyo)Disc 1, Disc 2

---

Gonzalo Rubalcaba - Charlie

Size: 167,0 MB
Time: 72:39
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Latin Jazz, Afro-Cuban Jazz
Art: Front

01. First Song ( 5:58)
02. Sandino (11:48)
03. La Pasionaria ( 9:58)
04. Hermitage ( 9:20)
05. Bay City ( 8:55)
06. Blue In Green ( 4:36)
07. Nightfall ( 9:07)
08. Transparence ( 6:03)
09. Silence ( 6:51)

One of the most important figures to emerge from Afro-Cuban jazz in the '90s, Gonzalo Rubalcaba is an extraordinarily versatile pianist able to blend disparate strands of Cuban and American jazz tradition into a fresh, modern whole. Born into a musical family in Havana on May 27, 1963, Rubalcaba began studying classical piano at age eight, honing his technique in that area for the next 12 years while playing around Havana by night. In 1983, he toured France and Africa with Cuba's longstanding Orquesta Aragon, and formed his own band, Grupo Proyecto, in 1985, the same year he was discovered by Dizzy Gillespie. In 1986, Rubalcaba played the Havana Jazz Festival with the American rhythm section of Charlie Haden and Paul Motian, and with Haden's support soon appeared at major international festivals like Montreal and Montreux.

Rubalcaba's early dates for Blue Note -- 1990's Discovery: Live at Montreux and the following year's The Blessing -- were instant classics, breaking him among American jazz audiences and showcasing his virtuosic technique and dense improvisations. Rubalcaba was finally able to play for American audiences beginning in 1993, including a star-making appearance at Lincoln Center, and soon emigrated from Cuba (though not to the U.S. right away; he eventually settled in South Florida in 1996). Rubalcaba recorded for several labels, including Blue Note, which was home to much of his best later work, including 1999's introspective Inner Voyage, 2001's Grammy-winning Supernova, 2004's Paseo, which offered new interpretations of old songs, and 2005's aptly named Solo. In 2002 Rubalcaba shared the title of Artist in Residence at the Montreal Jazz Festival with fellow pianist Chucho Valdés, and in 2003, as part of the Bele Bele Jazz Club series, issued Straight Ahead, re-releases of three separate recording sessions between 1986 and 1987. ~by Steve Huey

Charlie

---

Doug Webb - The Message

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 61:12
Size: 142,7 MB
Art: Front

(4:55) 1. Caught In The Webb
(5:17) 2. Nekide
(5:28) 3. The Message
(4:49) 4. I Was Doing Alright
(4:59) 5. Frustration
(4:26) 6. Doug's Dilemma
(4:53) 7. Keeping Up With The Joneses
(6:14) 8. New Beginning
(4:36) 9. Baubles, Bangles & Beads
(8:35) 10. Where Did You Come From?
(6:54) 11. Bonnie Lass

Tenor saxophonist Doug Webb may have played more gigs than anyone, claiming to never have turned one down. He continues to be the go-to saxophonist on the Los Angeles film and television scene with over 30 years in the business, and over 500 recordings. (One publication claims that he has appeared on over one thousand records). He’s also one of the longest-tenured artists on the Posi-Tone label, retuning with The Message, his eleventh album. While most of his recordings are in a quartet configuration, here he returns to the triple saxophone lineup of his acclaimed 2015 Triple Play, albeit with a mostly different lineup which includes Greg Osby on alto, Bob Reynolds on tenor, Charles Ruggiero on drums, and returning anchor Brian Charette on organ.

While the lineup would at first glance suggest an all-out blowing session, the date is centered in a more disciplined way around the compositions, bringing more ensemble passages like a big band than a series of lengthy solos or heated exchanges. That’s not to say there isn’t plenty of spirit at play in these mostly up-tempo renderings of mostly original material. In fact, while Webb contributes just one, Reynolds offers two with Osby and Charette contributing one each, as well as Webb’s frequent collaborator, Randy Aldcroft, who doesn’t play on the album, authoring three. That leaves just three covers, the title track, Gershwin’s “I Was Doing Alright,” and “Baubles, Bangles, and Beads.” The session invariably swings into hard bop and slight hints of soul-jazz with Charette being the linchpin on bass pedals, textured and nuance comping, concise chords to push the soloists, and his own economical statements.

They open with Webb’s “Caught in the Web” with the three saxophonists making rapid, rousing runs in just a few choruses each. There’s a clear emphasis on getting in out strong entries, focused improvisations, and precise handoffs to the next. Osby’s’ mid-tempo “Nekide” has the composer blowing fiercely before while the other group members join intermittently just to encourage him to go further. Eventually, the tenors get their say, joining in for an eventual explosive climax. The melodic title track follows as the horns mix ensemble parts with energetic individual statements. Charette’s organ and Ruggiero’s pulsating drumming steer the group deftly through changes like those heard on the title track. Charette sets up the mid-tempo Gershwin swinger “I Was Doing Alright” with Webb leading first to snappy snare work from Ruggiero and Osby and Reynolds follow as does Charette with his first solo opportunity.

We next have four consecutive originals, beginning with Reynolds’ “Frustration,” which opens at a blistering pace, settling in somewhat for his tenor solo before passing the baton to Osby’s frenetic cluster of notes and finally to Webb, who like, Reynolds settles it somewhat until Charrette takes up a notch in this turn as all go out with choruses of drum rolls on the eights. “Doug’s Dilemma” is the first of the three Aldcroft compositions, and we can breathe a little as Webb and company deliver the first ballad. The sound of the tenor and organ in unison on the melody is an interesting touch, just another example of how Webb deftly navigates various tempos and brings fresh perspectives to the material. “Keeping Up with the Joneses’ is taken at a steady pace although the title may suggest a brisker one. It’s another swinger. Charrette seems anxious to move into the soul-jazz mode, taking that tact with his solo and carrying the latter half of the tune in that direction. Finally, the highly melodic “New Beginning” is another mid-tempo swinger with concise statements from each front liner and Charette.

“Baubles, Bangles & Beads” is from the 1953 musical Kismet and is most often associated with Frank Sinatra. The quintet puts plenty of juice into this rendition, a feature for Charette, with each stating the theme beautifully to the abrupt close. Reynolds’ “Where Did You Come From” weighs in as the longest rack at eight and half minutes, giving each a chance to stretch at a relaxed pace. As he consistently does, Osby bursts in with a flurry of energy that lifts up the subsequent flights of each soloist. When one threatens to go to stratospheric levels, it almost seems like Webb acts as a conductor, cutting off ideas then offering something else, without any hint of disengagement or loss of continuity. Charette has the closer, “Bonnie’s Lass,” so organ centric that it conjures slight strains of soul-jazz but blossoms into one where the horns take their customary inspired flights.

One gets the impression that Webb could play virtually anything. His career reflects it and this album echoes strains that we’ve heard in jazz for the past six decades or more. These players know how to get in and get out, holding little back, saying tons with just a few impassioned choruses on most of the tracks in this joyous session. https://glidemagazine.com/273671/veteran-saxophonist-doug-webb-goes-all-out-with-bop-soul-jazz-mission-via-the-message-album-review%EF%BF%BC/

Personnel: Doug Webb - tenor saxophone; Greg Osby - alto saxophone; Bob Reynolds - tenor saxophone; Brian Charette - organ; Charles Ruggiero - drums

The Message

---

Olivia Trummer, Hadar Noiberg - The Hawk

Styles: Vocal, Piano And Flute
Year: 2019
File: MP3@320K/s
Time: 41:35
Size: 96,9 MB
Art: Front

(7:20) 1. The Hawk
(4:19) 2. Moena
(6:12) 3. Privacy
(4:52) 4. Beit Ha´arava
(5:08) 5. Fading Blue
(3:34) 6. Triste
(3:57) 7. Here Comes the Sun
(6:10) 8. Carossel

A surprising meeting in Berlin revealed to Hadar Noiberg and Olivia Trummer that they breath music similarly and like to mix their musical upbringing of jazz and classical music with various influences. With the flute and piano extending each other into one unified voice, they create passionate, mysterious and lyrical music which takes the listener on a voyage into their fantastical world.https://www.flavoredtune.com/produkt/olivia-trummer-hadar-noiberg-the-hawk-2-2/?lang=en

Personnel: Olivia Trummer - Piano, Vocals; Hadar Noiberg - Flutes, FX

The Hawk

---

Bobby Darin - The Legendary Bobby Darin

Bitrate: MP3@320K/s
Time: 65:30
Size: 150.0 MB
Styles: Pop/Rock/Jazz vocals
Year: 2004
Art: Front

[2:06] 1. Once In A Lifetime
[2:24] 2. More
[1:46] 3. Charade
[4:23] 4. Beyond The Sea
[1:33] 5. As Long As I'm Singing
[3:32] 6. Mack The Knife
[2:06] 7. On The Street Where You Live
[3:13] 8. Hello, Dolly!
[3:00] 9. A Nightingale Sang In Berkeley Square
[2:23] 10. The Good Life
[1:55] 11. I Got Rhythm
[2:43] 12. Oh! Look At Me Now
[2:48] 13. Moon River
[2:24] 14. You're The Reason I'm Living
[2:03] 15. Call Me Irresponsible
[2:22] 16. Goodbye, Charlie
[2:54] 17. Softly, As I Leave You
[2:33] 18. Venice Blue
[2:20] 19. If A Man Answers
[2:17] 20. 18 Yellow Roses
[2:19] 21. If I Were A Carpenter
[3:11] 22. Hits Medley Splish Splash 22. Beyond The Sea Artificial Flowers Clementine
[5:00] 23. (Your Love Keeps Lifting Me) Higher And Higher
[4:03] 24. The Curtain Falls

In a recording career lasting 17 years, Bobby Darin spent only three of those years, 1962-1965, signed to Capitol Records. They were busy years for him in the recording studio: he released seven Capitol LPs, five of which made the charts, and 11 Capitol singles, eight of which entered the Billboard Hot 100, two of those, the self-written, country-styled "You're the Reason I'm Living" and "18 Yellow Roses," reaching the Top Ten. Still, his relatively brief Capitol sojourn was not as memorable as his two stints at Atlantic Records, 1958-1961 (on the Atco subsidiary) and 1966-1967, which accounted for his eight other Top Ten hits, including the chart-topping "Mack the Knife." Naturally, however, Capitol has re-compiled its Darin catalog several times over the years, starting with 1966's deceptively titled The Best of Bobby Darin. In 2004, with a film biography and two book biographies imminent, Capitol tried again, and The Legendary Bobby Darin is the label's longest and most comprehensive attempt at a Darin compilation yet, topping out at 70-plus minutes and covering the stylistic bases of the singer's eclectic dabbling in rock & roll (the title song from his 1962 movie If a Man Answers), country (the hits noted above), folk-rock (the Atlantic recording of the Top Ten hit "If I Were a Carpenter"), and, of course, traditional pop. The last actually dominates the collection, with Darin, employing such arrangers as Frank Sinatra stalwart Billy May, turning in his versions of early-'60s show tunes and movie themes like "Once in a Lifetime," "Moon River," and "Hello, Dolly!" To give the collection the appearance of a more complete hits set, live versions of the Atco hits "Beyond the Sea" and "Mack the Knife" have been included, and the album concludes with two previously unreleased live cuts, both recorded in Las Vegas in 1963, the first a hits medley and the other a version of "The Curtain Falls." The result is a respectable effort that still represents only a slice of Darin's recording career.~William Ruhlmann

The Legendary Bobby Darin       

---

Terra Hazelton - Gimme Whatcha Got

Styles: Jazz, Vocal
Year: 2009
File: MP3@320K/s
Time: 47:57
Size: 113,8 MB
Art: Front

(3:50)  1. Coffee In The Morning
(4:59)  2. Everything I've Got Belongs To You
(5:19)  3. If I Had You
(3:02)  4. If I Can't Sell It
(3:26)  5. Gotta Gimme Whatcha Got
(3:58)  6. What Are You Doing New Years Eve?
(2:44)  7. Don't Let Your Love Go Wrong
(4:34)  8. Smoking My Sad Cigarette
(3:40)  9. I Like It Cause' I Love It
(4:02) 10. Two Sleepy People
(4:14) 11. Send Me To The 'Lectric Chair
(2:25) 12. I'm An Old Cowhand
(1:37) 13. Just Squeeze Me

With her sophomore album,  “Gimme Whatcha Got” , Terra Hazelton pays  tribute to the traditional jazz and gut-bucket blues that she came to love,  under the guidance of her mentor, the late legendary guitarist and music historian Jeff Healey (who also produced and was featured on  her 2004 debut “Anybody’s Baby”).This exciting new release also paints a portrait of a singer who has very much come into her own, supported by a veritable who’s who of Canadian talent;  Michael Kaeshammer, Alex Pangman, country star Russel De Carle and the Valleau Brothers (much loved front-men for the Polyjesters). Hazelton worked closely with producer John Sheard, crafting an album that expresses her own musical journey of the last five years. The result is an album which showcases her distinctive voice, innate musicality and her ability as a born storyteller. With “Gimme Whatcha Got”, Hazelton has emerged as one of Canada’s most versatile and engaging vocalists.  http://www.terrahazelton.com/music/albums/

Gimme Whatcha Got

---

George DeLancey - Swing Springs

Styles: Jazz, Bop
File: MP3@320K/s
Time: 37:57
Size: 87,9 MB
Art: Front

(4:17) 1. Cold Shoulder
(4:35) 2. Patience
(6:36) 3. Waltz in E
(4:11) 4. Man in the Moon
(3:30) 5. Flashpoint
(3:49) 6. Two-Step Away
(6:08) 7. Blues in F
(4:47) 8. Blind Love

A native of Cambridge, OH, and a student of such prestigious programs as the Columbus Youth Jazz Orchestra and the Michigan State University Jazz Studies Program, where he studied under Rodney Whitaker. He toured nationally and internationally with the Larry Fuller Trio from 2017 to 2019, and has performed as a sideman with bandleaders including Wessell Anderson, Peter Bernstein, Bobby Broom, Tia Fuller, Philip and Winard Harper, Christian Howes, Willie Jones III, Wynton Marsalis, Cécile McLorin Salvant, Tomoko Omura, Johnny O'Neal, Houston Person, Ben Paterson, Jeremy Pelt, Bria Skonberg, as well as many others in New York and throughout the United States.

He is active nationally as a bandleader and educator, and has worked with programs including Jazz at Lincoln Center’s Jazz for Young People, Christian Howes’ Creative Strings Workshop, and Keith Hall's Summer Drum Intensive. He is also the director of the Midwestern arts initiative Appalachian Muse. https://georgedelancey.com/about

Personnel: George DeLancey - bass; Chris Pattishall - piano; Charles Goold - drums; Stacy Dillard - soprano saxophone; Caleb Wheeler Curtis - alto saxophone; Jon Beshay - tenor saxophone and flute; Andrew Gutauskas - baritone and bass clarinet; Bryan Davis - lead trumpet; Josh Lawrence - trumpet; Robert Edwards - trombone and tuba; Jimmy O'Connell - trombone

Swing Springs

---