Lew Soloff - Speak Low

Styles: Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 55:21
Size: 126,9 MB
Art: Front

(7:55) 1. Marilyn
(7:26) 2. Duty Blues
(7:45) 3. Speak Low
(9:14) 4. Raunchy Rita
(4:39) 5. Reincarnation of a Lovebird
(9:51) 6. But Beautiful
(8:28) 7. Stella by Starlight

In May of 1968, Lew Soloff got the call to replace Randy Brecker in a fledging jazz/rock band called Blood, Sweat and Tears. The band became a immediate hit, selling millions of albums and winning a Grammy Award for their initial release. Since then, he has become one of New York's "first call" trumpeters and has never lost his love for jazz, which is apparent in his 1987 album, Speak Low. ~ Editorial Reviews https://www.amazon.com/Speak-Low-Lew-Soloff/dp/B001CJJPJK

Personnel: Trumpet – Lew Soloff; Bass – Richard Davis; Drums – Elvin Jones; Piano – Kenny Kirkland

Chris Barber and His Jazz Band - Folk Barber Style

Styles: Trombone Jazz
Year: 1965
File: MP3@320K/s
Time: 34:22
Size: 83,3 MB
Art: Front

(2:17) 1. Banks of The Bann
(2:16) 2. Alabamy Bound
(3:21) 3. Midnight In Moscow
(2:03) 4. Tom Dooley
(2:28) 5. Streets of Laredo
(2:37) 6. Midnight Special
(2:01) 7. So Long, It's Been Good to Know You
(2:03) 8. When Johnny Comes Marching Home
(2:09) 9. Wimoweh
(3:17) 10. On Top of Old Smokey
(2:14) 11. Kisses Sweeter Than Wine
(2:02) 12. Ha, Ha, This-A-Way
(2:48) 13. Goodnight Irene
(2:38) 14. Bobby Shaftoe

Donald Christopher Barber OBE (17 April 1930 – 2 March 2021) was an English jazz musician, best known as a bandleader and trombonist. As well as scoring a UK top twenty trad jazz hit with "Petite Fleur" in 1959, he helped the careers of many musicians. These included the blues singer Ottilie Patterson, who was at one time his wife, and Lonnie Donegan, whose appearances with Barber triggered the skiffle craze of the mid-1950s and who had his first transatlantic hit, "Rock Island Line", while with Barber's band. He provided an audience for Donegan and, later, Alexis Korner, and sponsored African-American blues musicians to visit Britain, making Barber a significant figure in launching the British rhythm and blues and "beat boom" of the 1960s.

Barber was born in Welwyn Garden City, Hertfordshire, on 17 April 1930. His father, Donald Barber, was an insurance statistician who a few years later became secretary of the Socialist League, while his mother was a headmistress. His parents were left-leaning, his father having been taught by John Maynard Keynes, while his mother became, in Barber's words, "the only socialist mayor of Canterbury". Barber started learning the violin when he was seven years old. He was educated at Hanley Castle Grammar School, near Malvern, Worcestershire, to the age of 15, and started to develop an interest in jazz. After the end of the war, he attended St Paul's School in London, and began visiting clubs to hear jazz groups. He then spent three years at the Guildhall School of Music, and started playing music with friends he met there, including Alexis Korner.More,,,https://en.wikipedia.org/wiki/Chris_Barber

Personnel: Chris Barber (trombone); Pat Halcox (trumpet), Ian Wheeler (clarinet, alto, soprano); Eddie Smith (banjo, guitar); Dick Smith (bass); Graham Burbidge (drums); Ottilie Patterson (vocals, melodica).

Folk Barber Style

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Charles Earland - I Ain't Jivin', I'm Jammin'

Styles: Jazz, Post Bop
Year: 1992
File: MP3@320K/s
Time: 58:37
Size: 134,5 MB
Art: Front

( 6:55) 1. I Ain't Jivin', I'm Jammin'
( 8:47) 2. Thinking Of You
( 6:20) 3. City Lights
( 3:50) 4. One For Andre
( 7:11) 5. World Of Competition
( 8:16) 6. Sweety Pie
( 7:11) 7. Tell Like It Is
(10:03) 8. Cease The Bombing

The easy-going and the laid-back dominate I Ain't Jivin', I'm Jammin', an album that isn't quite in a class with Black Talk!, Whip Appeal or Unforgettable, but is nonetheless a welcome addition to Charles Earland's catalogue. The improviser swings hard and passionately on Wayne Shorter's "Tell It Like It Is," but his mellow side wins out on such congenial, groove-oriented jazz/R&B fare as pianist Neal Creque's "Cease the Bombing" and the originals "Sweety Pie," "World of Competition" and "Thinking of You." Even at his most relaxed, though, Earland's music is undeniably gritty. Among the noteworthy soloists employed this time are trombonist Clifford Adams, guitarist Oliver Nevels and the promising young tenor & soprano saxman Eric Alexander. ~ Alex Henderson https://www.allmusic.com/album/i-aint-jivin-im-jammin-mw0000118692

Personnel: Electric Organ, Keyboards – Charles Earland; Bass – Darryl Jones; Drums – Steve Cobb; Guitar – Oliver Nevels; Percussion – Tony Carpenter; Tenor Saxophone, Soprano Saxophone – Eric Alexander; Trombone – Clifford Adams

I Ain't Jivin', I'm Jammin'

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Rob Brown Quartet - Jumping Off the Page

Styles: Flute, Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 54:58
Size: 126,4 MB
Art: Front

(8:11) 1. Twinkle
(5:47) 2. Flat Out
(7:39) 3. Elbow Figure
(8:32) 4. Sonic Drawl
(7:29) 5. Like A Top
(3:26) 6. Charcoal Glow
(7:07) 7. Step With Care
(6:43) 8. Open Chanel

Alto saxophonist and flutist Rob Brown is often featured in the context of other leaders' recordings as an inventive improviser who has enough of the early AACM in him to stretch time, space, and harmonic ideas, and enough of the late-'50s hard bop tradition in his playing to make whatever he involves himself in move. This being only his third date as a leader, it's difficult to see why. Brown is a fiery player and an inspiring bandleader. With a harsh yet rich tone that comes out of the Anthony Braxton school of alto blowing, he careens through rapid successions of crisscrossing melody lines in "Twinkle," the opener, trading fours and overtones with Roy Campbell's trumpet.

With a rhythm section comprised of the young Chris Lightcap on bass and Jackson Krall on drums, this quartet has enough heat to share a bandstand with anybody. Over seven compositions, Brown reveals how brevity is the key to dragging ideas out of his players. He is always firmly in charge, but in a capacity that is nurturing musically. There are places, such as on "Like a Top" and "Step With Care," where his own development in the Ornette Coleman school of melodic free improvisation shines forth as it leads the quartet into places it could never have expected to go. In all, this is an awesome example of the new jazz coming from New York.~Thom Jurek https://www.allmusic.com/album/jumping-off-the-page-mw0000957852

Personnel: Alto Saxophone, Flute, Composed By – Rob Brown; Bass – Chris Lightcap; Drums – Jackson Krall; Trumpet – Roy Campbell

Jumping Off the Page

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Manhattan Jazz Orchestra - Swing, Swing, Swing

Styles: Swing, Big Band
Year: 2006
File: MP3@320K/s
Time: 53:00
Size: 122,9 MB
Art: Front

(6:18) 1. Ironside
(7:24) 2. Swing, Swing, Swing
(6:37) 3. Jumpin' At The Woodside
(6:38) 4. Moonlight Serenade
(6:54) 5. Take The A Train
(6:50) 6. Ai No Corrida
(6:04) 7. Manteca
(6:11) 8. Stompin' At The Savoy

Manhattan Jazz Orchestra was created by pianist/arranger David Matthews and an accomplished Japanese producer Shigeyuki Kawashima (both GRAMMY winners) in 1989. It is one of the premier and most prolific big bands in the US, having released more than 13 CDs over the years.

For Swing, Swing, Swing, recorded in 2006, Matthews and his big band chose as materials tunes written by and associated with Quincy Jones ("Ironside," "Ai No Corrida") and Glenn Miller ("Moonlight Serenade") for the first time. They also pay tribute to the great big bands led by Count Basie, Duke Ellington, Dizzy Gillispie and Benny Goodman. The title tune is Matthews' original that takes a nostalgic look back at the big band era. The all-star band, including star players Lew Soloff, Ryan Kisor, Randy Brecker, Jim Pugh and Chris Hunter, plays Matthews' intricate scores with technical perfection and provide inspired solos. Recommended for fans of the contemporary big band sound!

Produced by Shigeyuki Kawashima and David Matthews. Recorded February 2004, New York. Lew Soloff (trumpet); Ryan Kisor (trumpet); Walter White (trumpet; )Scott Wendholt (trumpet); Randy Brecker (trumpet); Jim Pugh (trombone); John Fedchock (trombone); Larry Farrell (trombone); David Taylor (bass trombone); Fred Griffen (French horn); John Clark (French horn); Tony Price (tuba); Chris Hunter (alto sax,flute); Aaron Heick (soprano sax,tenor sax); Scott Robinson (baritone sax,bass clarinet); Chip Jackson (bass); Terry Silverlight (drums); David Matthews (arranger,conductor,piano).

Swing, Swing, Swing

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Nicole Zuraitis - Hive Mind

Size: 104,7 MB
Time: 45:05
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Move On (4:45)
02. Out Of My Heart (4:25)
03. The Inscription (4:45)
04. Idle (6:45)
05. Jolene (4:28)
06. Sunny Side (4:46)
07. Failing (4:06)
08. Episodes (3:54)
09. Pure Imagination (4:25)
10. Shirley's Waltz (2:42)

Vocalist and pianist Nicole Zuraitis has made a name for herself internationally as a jazz singer and songwriter. Nicole will release her album “Hive Mind” in September 2017 with Dot Time Records. She is the 2016 winner of the New York City Songwiting Competition Coffee Music Project, 2015 finalist in the Sarah Vaughan International Vocal Competition at NJPAC, a 2014 winner of the ASCAP Herb Alpert National Young Jazz Composers award and a semi finalist in the National American Traditions Vocal Competition in winter 2015, taking home both the People’s Choice Award and the Johnny Mercer Award. Her world music folk band EVA tours internationally alongside folk legends Livingston Taylor, Melanie Safka and Tom Chapin. As a sidewoman she fronts the Dan Pugach Nonet, joined The Omar Hakim Experience as a vocalist at the Iridium Jazz Club, sung background vocals for Maz of Snarky Puppy, and had the great pleasure of singing with Bernard Purdie, Kung Fu and Elise Testone recently at the New Orleans Jazz Festival. She is a proud member of the Litchfield Jazz Camp faculty and has lead her band on the MainStage of the Litchfield Jazz Festival twice, as well as appeared as a sideman with the Carmen Staaf Quintet. In August 2017 she will sing with the Litchfield Jazz Orchestra under the direction of Jen Allen on the MainStage of the Litchfield jazz Festival. She holds a residency at the iconic jazz club 55 bar once a month and headlined the Blue Note Jazz Club in March 2016.

In the Key of Monk

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Jessica Williams - In the Key of Monk

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 63:05
Size: 144,9 MB
Art: Front

(4:38) 1. Bemsha Swing
(4:31) 2. Just a Gigolo
(6:02) 3. Reflections
(3:01) 4. I Love You Sweetheart of All My Dreams
(5:12) 5. Monk's Mood/Crepuscule With Nellie
(5:09) 6. Monk's Hat
(5:28) 7. San Francisco Holiday
(4:44) 8. I Remember Monk
(5:46) 9. The House That Rouse Built
(5:22) 10. Pannonica
(6:29) 11. Ask Me Now
(6:36) 12. Blues Five Spot

Jessica Williams' career took off during the 1990s with a series of memorable recordings for the Canadian label Jazz Focus, and this solo piano tribute to Thelonious Monk is one of her best live performances. She establishes her own voice right away with a playful approach to "Bemsha Swing," playing part of the introduction while muting the piano's strings with one hand, making use of the full range of the keyboard in the body of the piece. She throws Monk-like twists into her interpretation of one of his favorite standards, "Just a Gigolo."

Not satisfied with just covering Monk's best-known works and songs by others that he enjoyed playing, she delves into the pianist's less-frequently played compositions, such as the discordant "San Francisco Holiday" and his loping "Blues at the Five Spot," while also dedicating pieces of her own to Monk (the reflective ballad "I Remember Monk") and his longest-serving sideman, tenor saxophonist Charlie Rouse (the alternately tricky and jaunty "The House That Rouse Built"). Highly recommended. ~ Ken Drydenhttp://www.allmusic.com/album/in-the-key-of-monk-mw0000058695

Personnel: Jessica Williams (piano); Jeanette Williams (piano).

In the Key of Monk

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Eric Reed - From My Heart

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 52:09
Size: 119,7 MB
Art: Front

(6:19) 1. Yesterday
(4:45) 2. Goodbye
(4:04) 3. I Should Care
(4:53) 4. Prelude in E minor
(5:39) 5. I Got It Bad and That Ain't Good
(4:20) 6. How Deep Is the Ocean?
(5:46) 7. I'll Never Stop Loving You
(6:31) 8. Flamenco Sketches
(5:21) 9. 'Round Midnight
(4:27) 10. I Fall in Love Too Easily

Reed is an expert at building tension (his formative years with Wynton Marsalis taught him well), and here he works some amazing technical runs up to a delicious release. An intriguing version of Chopin's "Prelude in E Minor" follows, with Reed gently easing Chopin's melody into a rich, increasingly dense solo. Reed gets back to basics with Duke Ellington's 1941 masterpiece "I Got It Bad (And That Ain't Good)," taking several playful choruses in the upper registers even hinting at Donaldson and Kahn's "Makin' Whoopee" at one point. Burno comes in for a nice melodic solo to take the tune out. Reed's take on the Irving Berlin classic "How Deep Is the Ocean" is equally playful, finding the pianist taking his time with the opening melody, using every little bit of space available for embellishment. Reed follows with a moving version of Cahn and Brodszky's "I'll Never Stop Loving You." From My Heart ends with odes to Miles Davis and Monk, with Reed covering Davis' "Flamenco Sketches" and Monk's "'Round Midnight" w with equal luster.

Of particular note is how Reed takes full advantage of the modal basis of "Flamenco Sketches," building lush chord structures, trills, and tremolo effects on top of each other for a heavy six and a half minutes. Reed does a stretching, gorgeous interpretation of "'Round Midnight," combining his own blazing technical prowess with an ode to Monk's quirky style. Brooks and Burno even go into a bossa nova on one of the last choruses. Reed finishes the album with a gentle, intimate version of Cahn and Styne's "I Fall in Love Too Easily," gracefully and subtly easing the melody in and out of his solo, until finally breaking into several more fine, melodic runs and upper structures to take the song out. From My Heart works as both an ode to several great composers and a fabulous exposition of Reed's ability to make even the most demanding ballads his own. While From My Heart may not have the usual Reed lineup of blazing horn players and original songs (Reed is a fine composer by any standard), it gives this talented pianist a chance to show that he is finally coming into his own as a stylist. ~ Alex Arcone http://www.allmusic.com/album/from-my-heart-mw0000214543

Personnel: Eric Reed (piano); Cecil Brooks III (drums).

From My Heart

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Bob Scobey's Frisco Band - Rompin' And Stompin'

Styles: Trumpet Jazz, Big Band
Year: 1959
File: MP3@320K/s
Time: 42:25
Size: 97,7 MB
Art: Front

(2:33) 1. Colonel Bogey March
(3:13) 2. The Pearls
(3:00) 3. Kansas City Stomp
(3:28) 4. Buddy Bolden's Blues
(3:58) 5. Skit-Dat-De-Dat
(3:49) 6. The Chant
(2:38) 7. Shake It And Break It
(3:45) 8. Canal Street Blues
(3:49) 9. Fidgety Feet
(4:40) 10. Dallas Blues
(3:52) 11. London Blues
(3:36) 12. Black Bottom Stomp

Trumpeter Bob Scobey still had a spirited Dixieland group in 1959, but the addition of pianist Art Hodes for this date clearly uplifted the band. Scobey performs six songs associated with Jelly Roll Morton (including "The Pearls," "Kansas City Stomp" and "The Chant"), plus six other songs dating mostly from the 1920s. A strictly instrumental date (although Clancy Hayes helps out the rhythm section on banjo), clarinetist Brian Shanley, trombonist Jim Beebe and the tuba of Rich Matteson are strong assets, along with Hodes and Scobey. Well worth searching for by Dixieland collectors. https://itunes.apple.com/us/album/rompin-stompin/id453951910

Rompin'And Stompin'

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Dear friends and followers,

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Nellie McKay - Normal As Blueberry Pie: A Tribute To Doris Day

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 43:54
Size: 101,2 MB
Art: Front

(2:10) 1. The Very Thought Of You
(3:13) 2. Do Do Do
(3:11) 3. Wonderful Guy
(4:01) 4. Meditation
(2:42) 5. Mean to Me
(2:54) 6. Crazy Rhythm
(2:47) 7. Sentimental Journey
(3:48) 8. If I Ever Had a Dream
(4:02) 9. Black Hills Of Dakota
(2:52) 10. Dig It
(3:21) 11. Send Me No Flowers
(4:23) 12. Close Your Eyes
(4:24) 13. I Remember You

If vocal fans were forced to predict the honoree for a Nellie McKay tribute album, most would have gone far down the list before eventually happening upon the winner, Doris Day. (Granted, McKay had penned her praise of Day two years earlier in an article for the New York Times Review of Books.) But even though her lyrics and attitude are another story (or another era), McKay has a pure but nuanced voice that was always a good match for Day's, and her concern for animal rights is even closer (just check the liner notes for evidence). It's clear to see also that she truly honors her subject; she arranged and selected nearly all of the songs on the album, and even plays all the instruments on the opener, "The Very Thought of You" (that would be vocals, piano, organ, and bells). The selection choices shy away from Day's hits; only "Sentimental Journey" appears from a list of Doris Day's biggest, while "Secret Love," "Day by Day," "Come to Baby, Do," and "Que Sera, Sera (Whatever Will Be, Will Be)" are left behind. Many of the songs play up Doris Day the coquette, with "Do Do Do" and "Mean to Me" coming across just as sweet as the originals (actually, sweeter).

The arrangements are strictly small-group, which is slightly surprising granted that the originals were either big-band swingers or highly orchestrated pop, but McKay shines here too, posing most of the charts halfway between cabaret and Broadway. Actually, when the professionals Bob Holderbaum and Bob Dorough reveal their orchestrations, the charts are a little too Broadway, a little too bland compared to McKay's although "Wonderful Guy" is rescued by the most subtle vocal of McKay's career and wonderful accompaniment from Charles Pillow (channeling John Coltrane) on tenor sax. Fans of her subject may doubt her sincerity when, on "Crazy Rhythm," she revels in a series of corny asides "Absolutely pip!" and "That's jazz!" while Cenovia Cummins takes a hot violin solo. So, the question becomes: Does she revere all the lyrics she sings, as must any artist born past 1950? Of course not, but neither did Day herself. The long tradition of stagecraft (as well as songcraft) honors the fact that a performer can inhabit any character she wishes. The success of the project obviously hinges on McKay herself, and she brings it off thanks to one of the most affecting voices in modern music, a bewitching way of humanizing her songs, and her ability to echo Day's sincerity and joi de vivre (even if it is a performance). ~ John Bush https://www.allmusic.com/album/normal-as-blueberry-pie-a-tribute-to-doris-day-mw0000829710

Normal As Blueberry Pie: A Tribute To Doris Day

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Manhattan Jazz Quintet - Face to Face

Styles: Jazz, Post Bop
Year: 1989
File: MP3@320K/s
v Time: 65:41
Size: 150,5 MB
Art: Front

( 8:36) 1. Face to Face
( 9:59) 2. Take Five
( 8:01) 3. Work Song
(15:26) 4. Summertime
(17:26) 5. Moanin'
( 6:11) 6. Rosario

The Manhattan Jazz Quintet are an unusual group in that they very rarely perform as a unit in the United States (much less Manhattan) but have been a major hit in Japan, both for their recordings and occasional tours. Originally comprised of leader/pianist David Matthews, trumpeter Lew Soloff, tenor saxophonist George Young, bassist Eddie Gomez, and drummer Steve Gadd, the band (which emphasizes straight-ahead hard bop swinging) first came together in 1983 at the suggestion of the King label and the top Japanese jazz magazine Swing Journal. To everyone's surprise, its first recording (simply called Manhattan Jazz Quintet) became such a big seller that it was awarded Swing Journal's annual 1984 Gold Disk Award as the number one album in Japan. Several years later the group broke up when Gomez and Gadd needed more time to pursue their individual projects and all of the quintet members later became quite successful in their own careers but this edition of the MJQ recorded reunions in 1990 (which found John Scofield guesting on a few selections) and in 1993. Victor Lewis replaced Gadd that year, and subsequently Young was replaced by Andy Snitzer and Gomez by Charnett Moffett. The Manhattan Jazz Quintet recorded primarily for King in Japan (those dates were mostly made available in the U.S. by Projazz) during the 1980s, although they cut some later recordings among the comparative very few that actually took place in Manhattan! for the Sweet Basil label. During the new millennium the Manhattan Jazz Quintet have recorded regularly for Video Arts. ~ Scott Yanow https://www.allmusic.com/artist/manhattan-jazz-quintet-mn0000674690/biography

Personnel: Piano - David Matthew; Bass – John Patitucci ; Drums – Dave Weckl ; Piano; Saxophone – George Young ; Trumpet – Lew Soloff

Face to Face

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Bob Scobey's Frisco Jazz Band - Swingin' On The Golden Gate

Styles: Trumpet Jazz, Swing
Year: 1957
File: MP3@320K/s
Time: 38:31
Size: 89,3 MB
Art: Front

(2:48) 1. Sunny Disposish
(3:11) 2. Carolina In The Morning
(3:48) 3. Feet Draggin' Blues
(2:22) 4. It Happened In Sun valley
(4:07) 5. I Can't Get Started With You
(3:19) 6. Come Back Sweet Papa
(2:48) 7. Wabash Cannonball
(2:48) 8. New Orleans
(3:15) 9. Ain't-Cha Glad?
(3:19) 10. Let's Dance The Ragtime, Darlin'
(4:24) 11. Snag It
(2:18) 12. Waiting For The Robert E. Lee

Trumpeter Bob Scobey used an expanded version of his Frisco Jazz Band for this fine effort, last available as a now out-of-print LP. Matty Matlock's arrangements for the six horns (including three trombones), four-piece rhythm section and banjoist Clancy Hayes (who takes five vocals) are colorful and swinging. Some of the song choices are a bit off the wall (including "It Happened In Sun Valley," "Wabash Cannonball" and the recent "Let's Dance The Ragtime Darlin'"), but this brand of Dixieland avoids corn in favor of sincere swinging. In addition to Scobey (who is in fine form), the supporting cast has such strong players as trumpeter Dick Cathcart, clarinetist Matlock and pianist Ralph Sutton. ~ Scott Yanow https://www.allmusic.com/album/swingin-on-the-golden-gate-mw0000896219

Personnel: Bob Scobey - leader, trumpet; Clancy Hayes - banjo, guitar, vocals; Matty Matlock - clarinet, arranger; Abe Lincoln - trombone; Warren Smith - trombone; Jack Buck - trombone; Ralph Sutton - piano; Bob Short - tuba; Sammy Goldstein - drums.

Swingin' On The Golden Gate

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Joe Temperley - The Sinatra Songbook

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 67:07
Size: 155,9 MB
Art: Front

(6:21) 1. Come Fly With Me
(4:30) 2. Everything Happens To Me
(6:52) 3. Moontune
(6:16) 4. P.S. I Love You
(6:06) 5. Day By Day
(5:13) 6. Nancy (With The Laughing Face)
(6:48) 7. All The Way
(5:18) 8. I've Got The World On A String
(7:35) 9. I'll Never Smile Again
(2:48) 10. In The Wee Small Hours
(5:37) 11. I've Got You Under My Skin
(1:51) 12. Put Your Dreams Away
(1:45) 13. Goodbye

Add Joe Temperley to the list of artists who have recorded worthy tributes to Sinatra, including Tony Bennett, Carol Sloane, Joe Lovano and even Biréli Lagrène (vocalizing!). Then again, with the Great American Songbook as the repertoire, how can you go wrong? Temperley’s salute comes 10 years after Sinatra’s death, and features heartfelt theme readings, passionate solos and rousing arrangements by Andy Farber and James Chirillo on the selections for octet. You can practically hear Sinatra singing along as Temperley croons the melodies on baritone and soprano sax. His sound on bari is sometimes cavernous yet tender, as on “Nancy (With the Laughing Face),” and at other times breathily insinuating like Ben Webster’s. His glowing soprano sax often evokes Sidney Bechet’s fervent edginess, especially on “Day by Day.” The two lovely miniature ballad interpretations by Temperley-the 2:49 quartet version of “In the Wee Small Hours,” and his 1:46 duet with guitarist Chirillo on “Goodbye”-say all you need to know about the leader’s appreciation of, and love for, Sinatra.

Farber’s clever, swinging arrangements of “Come Fly With Me,” “All the Way,” “I’ll Never Smile Again” and “I’ve Got You Under My Skin” are particularly noteworthy, capturing in their rich voicings elements of Nelson Riddle or the Count Basie Orchestra. Farber’s fine solo work on both tenor and alto (on the latter sounding very much like Benny Carter) should also be mentioned. All the other players get plenty of solo space as well, and all excel, namely trumpeter Ryan Kisor, trombonist John Allred, pianist Dan Nimmer, bassist John Webber and Chirillo. Leroy Williams’ drum work is impeccably tasteful throughout. The young Nimmer is a pianist to watch for, with an assured style on this date that exhibits flashes of Oscar Peterson, Erroll Garner and Red Garland.  

https://jazztimes.com/reviews/albums/joe-temperley-the-sinatra-songbook/

The Sinatra Songbook

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Catherine Russell - Alone Together

Styles: Vocal, Swing 
Year: 2019
File: MP3@320K/s
Time: 51:34
Size: 119,5 MB
Art: Front

(4:10)  1. Alone Together
(3:40)  2. You Turned The Tables On Me
(5:05)  3. When Did You Leave Heaven
(4:12)  4. Early In The Morning
(5:08)  5. Is You Or Is You Ain't My Baby
(2:38)  6. You Can't Pull The Wool Over My Eyes
(3:44)  7. Shake Down The Stars
(4:53)  8. I Wonder
(4:08)  9. He May Be Your Dog But He's Wearing My Collar
(2:47) 10. Errand Girl For Rhythm
(3:30) 11. How Deep Is The Ocean
(3:43) 12. I Only Have Eyes For You
(3:50) 13. You're Not The Only Oyster In The Stew

Alone Together is vocalist Catherine Russell’s seventh album, and with each release she seems to inhabit more fully a liminal space between past and present. Without indulging in sentimentality, she captures the spirit of the era out of which the pieces she sings emerged.Part of the timeless yet vintage quality of her music flows from her fine-grained voice and a blues sensibility reminiscent of Dinah Washington and Helen Humes. And part of it is the company she keeps. On Alone Together she’s again joined by a nonpareil band featuring guitarist Matt Munisteri, pianist Mark Shane, bassist Tal Ronen, and drummer Mark McLean, essentially the same core of players who’ve been with her for the past decade. About half the tracks include tenor saxophonist Evan Arntzen, trumpeter Jon-Erik Kellso, and trombonist John Allred, who provide more texture and melodic counterpoint than propulsion. What’s most striking about the album is its restraint, as if Russell is keeping a Ferrari in second gear. Opening with a magnificent version of the title track, she brings the same sense of discovery to familiar tunes like “Is You Is or Is You Ain’t My Baby” and “How Deep Is the Ocean?” as she does to lesser-known fare such as the Jimmy Van Heusen/Eddie De Lange gem “Shake Down the Stars” and the hoary blues “He May Be Your Dog But He’s Wearing My Collar.” Sometimes it’s hard to remember that Russell jumped ship from her thriving career as a rock & roll backup singer only 15 years ago. Alone Together offers a welcome reminder that there’s no one else in jazz doing what she does, and that the scene would be immeasurably poorer without her. https://jazztimes.com/reviews/albums/catherine-russell-alone-together-dot-time/

Personnel:  Vocals – Catherine Russell; Bass – Tal Ronen; Guitar – Matt Munisteri; Piano – Mark Shane; Tenor Saxophone – Evan Arntzen; Trombone – John Allred; Trumpet – Jon-Erik Kellso 

Alone Together

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Manhattan Jazz Quintet - Still Crazy

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 51:27
Size: 118,1 MB
Art: Front

(6:40) 1. Tell Her About It
(6:13) 2. Grampa
(5:25) 3. One Note Samba
(5:03) 4. It's Only a Paper Moon
(8:20) 5. Theme from Good King Bad
(6:30) 6. Nica's Dream
(5:29) 7. S'Wonderful
(7:43) 8. Still Crazy After All These Years

The Manhattan Jazz Quintet, led by David Matthews, celebrates its 30th anniversary with a new recording in New York! Arrangements by David Matthews, the "magician of arrangement", that touches the hearts of Japanese jazz fans, and the front lines of New York. Explosive performances by top-notch musicians!

So far, he has worked on numerous arrangements in the pop music field, and has won the Grammy Award for Arrangements twice. The songs of Paul Simon and Billy Joel are also arranged in jazz this time. Also included is a specially written tribute song to James Brown, for which Matthews has worked on many arrangements. Of course, MJQ's 30-year career includes jazz standards that have not yet been recorded!

Personnel: David Matthews (p,arr); Michael Rodriguez (tp); Chris Hunter (sax); Jon Burr (b); Jimmy Madison (ds)

Still Crazy

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One For All - Upward And Onward

Styles: Jazz, Post-Bop
Year: 2009
File: MP3@320K/s
Time: 65:16
Size: 150,1 MB
Art: Front

( 7:23) 1. D's Blues
( 7:05) 2. Perspective
(11:06) 3. We All Love Eddie Harris
( 5:55) 4. Epitome
( 4:39) 5. Just By Myself
(11:37) 6. John Coltrane
( 8:41) 7. Blues For Joe Don
( 8:47) 8. Upward And Onward

ONE FOR ALL, a cooperative sextet of some of the hot young players on the New York scene, present a swinging and soulfull performance in the hardbop tradition, but with evolving contemporary explorations that are indeed 'Upward and Onward'.

The group features crisp ensemble work and dynamic solo thrusts from young lions Eric Alexander, Jim Rotondi, Steve Davis and David Hazeltine backed by bassist Peter Washington and drummer Joe Farnsworth. All musicians of this group have recorded as leaders for Criss Cross on several occasions.

Personnel: Trumpet, Flugelhorn – Jim Rotondi; Trombone – Steve Davis; Tenor Saxophone – Eric Alexander; Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth

Upward And Onward

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Marion Brown - Live in Japan

Styles: Jazz
Year: 1979
Time: 71:09
File: MP3 @ 320K/s
Size: 163,4 MB
Art: Front

(15:36) 1. November Cotton Flower
(17:51) 2. La Placita
(11:10) 3. Angel Eyes ~ Hurry Sundown
(13:09) 4. Sunshine Road
(13:21) 5. Africa

Alto saxophonist Marion Brown was an underappreciated hero of the jazz avant-garde. Committed to discovering the far-flung reaches of improvisational expression, Brown nonetheless possessed a truly lyrical voice but was largely ignored in discussions of free jazz of the '60s and '70s. Brown came to New York from Atlanta in 1965. His first session was playing on John Coltrane's essential Ascension album. He made two records for the ESP label in 1965 and 1966 Marion Brown Quartet and Why Not? and also played on two Bill Dixon soundtracks. It wasn't until his defining Three for Shepp (including Grachan Moncur III and Kenny Burrell) on the Impulse! label in 1966 that critics took real notice. This set, lauded as one of the best recordings of that year, opened doors for Brown (temporarily) to tour. He didn't record for another two years because of extensive European engagements, and in 1968 issued Porto Novo (with Leo Smith) on the Black Lion label. In 1970, Brown recorded Afternoon of a Georgia Faun for the ECM label, his second classic. This date featured Anthony Braxton, Andrew Cyrille, Bennie Maupin, Jeanne Lee, and Chick Corea, among others. In 1973, he cut his second Impulse! session, Geechee Recollections, with Leo Smith. Brown registered at Wesleyan University in the mid-'70s, studying ethnic instruments and black fife-and-drum corps music and maintained a regular recording schedule. He also recorded with Gunter Hampel in the late '70s and '80s, as well as composer Harold Budd on his Pavilion of Dreams album (issued on Brian Eno's Obscure label), Steve Lacy in 1985, Mal Waldron in 1988, and many others. There are numerous duet and solo recordings that may or may not be sanctioned. Due to health problems, Brown didn't record after 1992. After the turn of the millennium he lived for a while at a New York nursing home before moving to an assisted living facility in Florida. Marion Brown died in October of 2010. ~ Thom Jurek

Live in Japan

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Boilermaker Jazz Band - Nice Work If You Can Get It

Styles: Jazz
Year: 2011
Time: 66:23
File: MP3 @ 320K/s
Size: 153,6 MB
Art: Front

(3:16) 1. Nice Work If You Can Get It
(3:11) 2. My Baby Just Cares For Me
(3:31) 3. If I Love Again
(3:05) 4. Rosetta
(4:23) 5. That Old Feeling
(3:03) 6. S'wonderful
(3:40) 7. Something To Remember You By
(4:12) 8. I Can Dream Can't I
(3:05) 9. I May Be Wrong
(3:33) 10. I Hadn't Anyone Til You
(3:00) 11. Little White Lies
(2:48) 12. What Is This Thing Called Love
(2:56) 13. Falling In Love With Love
(3:54) 14. Under A Blanket Of Blue
(3:51) 15. Til There Was You
(2:57) 16. Dancing On The Ceiling
(4:39) 17. Don't Blame Me
(2:35) 18. Get Happy
(4:36) 19. Pure Imagination

The hot sounds of the jazz age come alive with the Boilermaker Jazz Band! Led by Paul Cosentino on clarinet, this acclaimed group serves up swinging renditions of jazz classics and rarities through superb instrumentals and heartfelt vocals. With their unique brand of musical Americana and hot jazz revelry, the Boilermakers bring the party to you! This fun, professional band has been making music and memories for more than 25 years! The Boilermaker Jazz Band is joined by 3 guest artists: Joe Negri on guitar, Jon Erik Kellso on Cornet and Michael Hashim on Alto Sax for a great collection of swinging tunes!

Nice Work If You Can Get It

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Laura Anglade - I've Got Just about Everything

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 47:49
Size: 110,5 MB
Art: Front

(3:58) 1. A Beautiful Friendship
(3:43) 2. Change Partners
(4:37) 3. Easy Way Out
(5:20) 4. Spring Can Really Hang You up the Most
(4:07) 5. Imagination
(4:23) 6. I've got just about everything
(4:38) 7. June's a word
(5:25) 8. I'm glad there is you
(3:03) 9. Dearly beloved
(4:20) 10. Exactly like you
(4:09) 11. Three little words

The Laura Anglade Quintet’s debut recording is entitled ‘I’ve Got Just About Everything’. “This record is a collective effort,” explains Anglade, “We are always setting new goals as a band and challenging and learning from each other. I think the key is a shared level of humility and desire to do this music justice. With the exception of Easy Way Out, this record is our take on lesser-known standards outlining the tradition. Branching out from the quintet’s combined influences, on top of the carefully thought out melodies, I truly believe that these tunes offer themes and experiences that are indeed timeless.Music creates a safe space for self-digging by freeing the listener to approach it without constraints.I find truth in every lyric,and I think that every generation can too.
https://lauraanglade.bandcamp.com/album/ive-got-just-about-everything

I've got just about everything

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