Giacomo Gates - You

Styles: Vocal
File: MP3@320K/s
Time: 50:22
Size: 126,7 MB
Art: Front

(2:33) 1. Exactly Like You
(2:30) 2. I Can't Give You Anything But Love
(1:46) 3. With Plenty of Money and You
(2:21) 4. I Didn't Know About You
(3:15) 5. The Nearness of You
(1:52) 6. It Had to Be You
(1:52) 7. I Thought About You
(2:37) 8. I Want to Talk About You
(2:12) 9. I Mean You
(3:11) 10. P.S. I Love You
(2:16) 11. Are You Havin' Fun Yet?
(3:25) 12. I Remember You
(4:40) 13. You're Blasé
(2:31) 14. Everything But You
(2:29) 15. You've Changed
(4:34) 16. Since I Fell for You
(3:40) 17. I've Got News for You
(2:28) 18. You Never Miss the Water 'Till the Well Runs Dry

It is an interesting linguistic and grammatical fact that the word "I," capitalized and without its lower case pal's head-dot, appears only in the English language. It is also the most frequently seen word residing in popular song titles. With You the high priest of hip, Giacomo Gates, turns the tables on that not-so-lonely letter and salutes I's near-runner up, "You" with a "book" of 18 genuinely swinging "Yous."

As a jazz singer, Gates has historically been in a sumptuous love affair with words. On over a dozen albums he's demonstrated that he's a "vocalese" vizier and scat-singing jongleur. On this album arguably his best effort to date he and a very involved rhythm section run through "You" tunes in an experience that brings to mind a time when lyrics had a more poetic aspect and pungency; when a vocalist fronting a rhythm trio was a most common format, and when track lengths were produced within strict time limits.

Gates launches the session with an up-tempo take on "Exactly Like You" with surprise contrafacts and scat. His rhythmic play with melody parlayed with his shrewdly toying with a lyric's presentation is at the forefront on "How Could I Know About You" and "It Had to Be You." His takes on "I Want to Talk About You," "P.S. I Love You" demo the vocalist's dynamic range and ability to wring emotional juice from a ballad's lyric. Thelonious Monk's jazz classic "I Mean You" offers a feisty piano solo by Tim Ray following Gates' pointing the finger. A verbal prologue prefaces a very soulful take on the Lenny Welch 60's hit, "Since I Fell for You."

While there are well-known GAS workhorses here, additional gems emanate from You that haven't been heard in ages, i.e., "Are You Havin' Any Fun?" and Ray Charles' "I've Got News for You," (both with scatted solos) and the Mills Brothers hit, "You Never Miss the Water 'Till the Well Runs Dry." All are performed with superior style, subtle humor, and soul. Those unique selections also point to brilliant production savvy.

The dynamic rhythm section is completely tied into Gates' energies and buys in whole hoagie. They're obviously having a ball. Pianist Tim Ray is outstanding, ghosting Gates and slyly answering and feeding the leader with great taste and flair. Bassist John Lockwood is rock- solidly swinging throughout. Drummer James Lattini is hands-down the perfect trio presence. When Gates, as he frequently does, toys with the time or throws in melody-altered triplets, the entire section embraces and joins the parade.

Rest assured this effort is no novelty. There's everything here that ultimately results in a most enjoyable experience. Simply put: You is an ideal way to cure your cabin fever, COVID Blues, or whatever ails you.~ Nicholas F. Mondello https://www.allaboutjazz.com/you-giacomo-gates-savant-records

Personnel: Giacomo Gates: voice / vocals; Tim Ray: piano; John Lockwood: bass; James Lattini: drums.

You

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Manhattan Jazz Quintet - 25-Tribute to Art Blakey

Styles: Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 54:06
Size: 123,9 MB
Art: Front

(5:51) 1. Les Liaisons Dangereuses
(9:15) 2. Moanin'
(6:00) 3. Mosaic
(7:09) 4. Blues for Buhaina
(6:17) 5. Quick Silver
(5:33) 6. Split Kick
(7:30) 7. Come Rain or Come Shine
(6:28) 8. Blues March

Manhattan Jazz Quintet, an all-star band led by pianist and arranger David Matthews and a brainchild of Japanese producer Shigeyuki Kawashima, celebrates its 25th anniversary with this strong tribute album to Art Blakey. This is also the super-group's second release from the Birds Records label, following the extremely successful V.S.O.P. which not only became Swing Journal Gold Disc but also won the prestigious magazine's 2008 Jazz Disc Silver Award. In addition to Matthews, the current edition of band features trumpeter Lew Soloff, tenor saxophonist Andy Snitzer, bassist Charnett Moffett and drummer Victor Lewis. They perform the quintessential tunes associated with Art Blakey and his Jazz Messengers, including "Moanin'", "Mosaic" and "Blues March," all arranged by Matthews with a few modern twists. According to the MJQ's tradition, Matthews also wrote an original tune "Blues For Buhaina," a funky blues dedicated to the legendary drummer. The all-star band sounds terrific here. The rhythm section provides kinetic grooves and pushes the entire group. The horn players' performances are inspired and intensely hot! The sound quality of the recording is also quite good. Recommended for fans of hard bop jazz! Produced by Shigeyuki Kawashima. Recorded at Sear Sound Studio, New York, February 27 & 28, 2009.~Swing Journal Gold Disc http://www.eastwindimport.com/product info.asp?ProductId=1186

Personnel: David Matthews (piano); Lew Soloff (trumpet); Andy Snitzer (tenor sax); Charnett Moffett (bass); Victor Lewis (drums)

25-Tribute to Art Blakey

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Lauren Bush - Dream Away

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 55:49
Size: 128,3 MB
Art: Front

(5:04) 1. You stepped out of a dream
(6:08) 2. Dream away
(6:11) 3. If this isn't love
(5:35) 4. The shadow of your smile
(5:06) 5. Keep it to yourself
(5:28) 6. Blackfriars
(4:42) 7. You're everything
(6:12) 8. In a mellow tone
(5:34) 9. Spring can really hang you up the most
(5:44) 10. Hopelessly devoted to you

There's no "i" in "team," or so the motivational speakers of the world will have us believe, but as far as music is concerned every effective team needs an ear or two. The team responsible for Dream Away from vocalist and lead artist Lauren Bush to the instrumentalists and producers is well-served by ears and uses them to excellent effect. Throughout this album of standards and contemporary songs it's clear that everyone listens to the words, the music and each other crafting a collection that is very much an ensemble work, albeit with Bush's vocals to the fore.

This is the second album from Canadian-born and London-based Bush, following, at something of a distance, 2016's self-released All My Treasures. It maintains the high standard set by that debut. Bush is joined once again by pianist Liam Dunachie, drummer David Ingamells and trumpeter Miguel Gorodi, with Conor Chaplin replacing Andrew Robb on bass.

The producers pianist Dunachie and Ian Shaw, a fine singer and performer in his own right and engineer John Prestage have together ensured that the album benefits from superb sound, ensuring crystal clear vocals and instrumentation. Bush is an excellent interpretive singer, whether she's giving an edge to the lyrics of "You Stepped Out of a Dream," bringing a laid-back and mellow approach to "In a Mellow Tone," adding a dewy-eyed torch-song quality to the Olivia Newton-John hit "Hopelessly Devoted to You," or engaging in some lively scatting. Throughout the album, the instrumentalists offer sympathetic backing as well as contributing engaging solos.

Dream Away is a consistently fine album, but one or two tracks deserve special mention for the quality of the performances. "Spring Can Really Hang You Up the Most," a voice and piano duet between Bush and Dunachie, is a delightful take on this well-known number. "If This Isn't Love" warms up the coldest day, Bush's cheerily upbeat vocal driven by Chaplin and Ingamells' bouncy bass and drums (which also underpin Dunachie's equally upbeat solo).

"Keep it to Yourself" music by Geoff Gascoyne, lyrics by Bob Dorough is a gently swinging song, with a burst of scat from Bush, a Dunachie piano solo and some considered trumpet phrases from Gorodi. On "Blackfriars," a new song written by Bush and saxophonist Fliss Gorst about events on a bridge over the river Thames, Bush and Gorst channel the ghosts of musical stars of the 1930s, invoking romantic scenes in a Hollywood version of London that would suit Fred and Ginger just fine.~Bruce Lindsayhttps://www.allaboutjazz.com/dream-away-lauren-bush-self-produced

Personnel: Lauren Bush: voice / vocals; Liam Dunachie: piano; Conor Chaplin: bass, acoustic; David Ingamells: drums; Miguel Gorodi: trumpet; Fliss Gorst: saxophone, tenor.

Dream Away

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Chris Byars - The Music Of Duke Jordan

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 66:46
Size: 154,7 MB
Art: Front

(6:07) 1. Jordanish
(7:15) 2. Undecided Lady
(6:54) 3. There's A Star For You
(5:22) 4. If I Did - Would You
(5:24) 5. The Bullet (Shinkansen)
(3:05) 6. Gabrielle's Wish
(4:07) 7. Lesson In Love
(6:32) 8. Paula
(9:07) 9. Glad I Met Pat
(6:41) 10. Sultry Eve
(6:07) 11. Table Chess

Award-winning saxophonist, composer, bandleader and educator Chris Byars, explores the music of another bebop great, this time pianist Duke Jordan.

Apart from his focus on composing his own music, Chris Bryars has been highly interested in studying the vast repertoire of jazz composers of the 20th century. His endeavour has so far culminated in 'Blue Lights - The Music of Gigi Gryce' (SCCD31662), 'Lucky Strikes Again - The Chris Bryars Octet Plays the Music of Lucky Thompson' (SCCD31713) and his exploration of the music of Freddie Redd on 'Music Forever' (SCCD 31743). Now to add to this impressive list Chris Byars compiled eleven gems from the book of Duke Jordan (1922 - 2006), who was one of the early and most original bebop pianists. Israeli-born singer Yaala Ballin wrote lyrics and sang two of the Jordan melodies ("Sultry Eve" and "Lesson in Love").

Personnel: Chris Byars (alto saxophone), Stefano Doglioni (bass clarinet), John Mosca (trombone), Pasquale Grasso (guitar), Ari Roland (bass), Stefan Schatz (drums), Yaala Ballin (vocal - 4 & 7) and others

The Music Of Duke Jordan

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McCoy Tyner & Freddie Hubbard Quartet - Live at Fabrik Hamburg 1986

Styles: Piano And Trumpet Jazz
File: MP3@320K/s
Time: 127:08
Size: 291,9 MB
Art: Front

(11:15) 1. Inner Glimpse
( 0:42) 2. Announcemet
(14:36) 3. Latino Suite
(14:53) 4. Body and Soul
(25:47) 5. Nero-Terra
(17:44) 6. Island Birdie
(14:43) 7. Round Midnight
(17:10) 8. Blues For Basie
(10:13) 9. What Is The Thing Called Love

Warning! Highly Flammable Material! This superb album, recorded in Hamburg in 1986 and never previously released, ought to come with a caution, so incendiary is it.

Strictly speaking, Live At Fabrik presents pianist McCoy Tyner's trio with bassist Avery Sharpe and drummer Louis Hayes and guest artist Freddie Hubbard on trumpet and flugelhorn. In actuality, Hubbard's power-packed presence transforms the unit into a co-led quartet, as the cover art acknowledges. The 2 x CD album is, in effect, the chronicle of a summit meeting between two giants of post-bop jazz one of them, Hubbard, on the rebound from a fall from grace occasioned by his embrace of fusion in the 1970s, the other, Tyner, a bandleader who had never let his standards drop.

Hubbard exploded on to the scene at the start of the 1960s with a series of Blue Note albums under his own name and that of tenor saxophonist Tina Brooks and lest we forget, Tyner was the pianist on Hubbard's 1960 own-name debut, Open Sesame. Sideman dates followed for the likes of tenor saxophonist John Coltrane, pianist Herbie Hancock, drummer Art Blakey and reed player Eric Dolphy. The 1970s, by contrast, were for the most part a wasteland, as Hubbard hitched his wagon to fusion and the pursuit of big bucks.

Tyner, on the other hand, after spending the first half of the 1960s as a member of Coltrane's classic quartet, kept the faith, metaphorically and literally (he had changed his name to Suleiman Saud in 1955), unencumbered, unlike Hubbard, by the need to maintain an expensive lifestyle which included a heavy late-1970s cocaine habit. But by the mid-1980s, Hubbard was back on the same page as Tyner and keen to prove it. The opening track on Live At Fabrik is a fiery performance of Tyner's propulsive "Inner Glimpse," on which Hubbard matches Tyner's intensity lightning flash by lightning flash, and the temperature rarely drops for the next two hours.

In a 2001 interview with All About Jazz's Craig Jolley, Hubbard said that, back in the 1960s, "Lee Morgan was the only young cat that scared me when he played. He had so much fire and natural feeling. I had more technique, but he had that feeling." Many listeners, including hardcore Morgan fans, would dispute the "natural feeling" part of that judgement, both as regards high-octane material such as "Inner Glimpse" and ballads such as John Green's "Body And Soul" and Thelonious Monk's "Round Midnight," both of which are given emotionally charged readings by Hubbard (and Tyner).

Disc one concludes with a twenty-six minute performance of Hubbard's "Neo-Terra," previously heard on his ghastly Bob James-produced 1976 Columbia album, Windjammer. This time out it makes for exhilarating rather than infuriating listening (although to nitpick, Hubbard's pyrotechnics do at times touch on flash rather than substance).

And so the party continues. Side two highlights include Tyner's high spirited "Island Birdie" and raucous "Blues For Basie." The sound is perhaps a little boomy at times, but that may have been unavoidable in the cavernous converted-factory space of Fabrik which appropriately, the liner notes tell us, at one period manufactured explosives. Tyner and his trio are high impact throughout Live At Fabrik, but perhaps the biggest cause for celebration is Hubbard, back with a bang.
~Chris May https://www.allaboutjazz.com/live-at-fabrik-mccoy-tyner-freddie-hubbard-quartet-jazzline-classics

Personnel: Freddie Hubbard: trumpet; McCoy Tyner: piano; Avery Sharpe: bass; Louis Hayes: drums.

Live at Fabrik Hamburg 1986

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Wesla Whitfield - Let's Get Lost

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 60:48
Size: 139,8 MB
Art: Front

(3:40) 1. Let's Get Lost
(5:29) 2. Don't Blame Me
(4:58) 3. I Can't Believe That You're in Love with Me
(5:12) 4. Too Young to Go Steady
(3:07) 5. I Just Found out About Love
(2:28) 6. It's Me Remember?
(4:41) 7. You're a Sweetheart
(4:51) 8. They Really Don't Know You
(3:25) 9. I've Got My Fingers Crossed
(5:19) 10. On the Sunny Side of the Street
(3:40) 11. Hoory for Love
(3:23) 12. You're the One for Me
(5:25) 13. Where Are You
(2:32) 14. I'm Shooting High
(2:36) 15. Warm and Willing

Although not in the same class as innovators like Jerome Kern, Irving Berlin, George Gershwin, Cole Porter or Harold Arlen, the composer Jimmy McHugh (1894-1969) achieved, by any standard, the songwriting trifecta. His songs were of exceeding musical merit, they enjoyed huge commercial success, and they have endured the test of time. In his seminal book, American Popular Song, Alec Wilder observed that Mr. McHugh “wrote a great many songs, among them some of the best pop songs ever written.” In The Unsung Songwriters, his survey of Tin Pan Alley songwriters published last year, Warren W. Vaché noted that Mr. McHugh’s songs “have become fixtures in the jazz catalog . . . and will probably remain an integral segment of our musical heritage.” Yet, for all that, Mr. McHugh’s songs are rarely associated with him. The singer Wesla Whitfield seeks to remedy that situation on her latest recording, Let’s Get Lost: The Songs of Jimmy McHugh.

At the beginning of the new century, Wesla Whitfield has emerged as one of the finest living interpreters of songs from the beginning of the last century. Like Rosemary Clooney and Sylvia Syms, Ms. Whitfield is a jazz-influenced storyteller rather than an improviser. Her dry, acidic voice has a way of sharpening the edges of a song. Never content to simply define a song by its tempo, Ms. Whitfield extracts meaning from every word. She focuses the listener’s attention on lyrics in a way that can make you think you are hearing the words to a warhorse like “I Can’t Believe That You’re In Love With Me” for the first time.

She mines all the wit from Johnny Mercer’s lyric for “You’re the One for Me” without ever sounding like she is trying to be witty. Ms. Whitfield also has the gift of taking antiquated expressions like “You’re a Sweetheart” or “that doggone moon above” (from “Don’t Blame Me”) and making them sound natural and even poignant. With her tendency to hold long, sustained notes with no vibrato and her clear-eyed approach to lyrics, Ms. Whitfield’s ballad singing strongly recalls the late Irene Kral.

As always, anchoring this collection is Ms. Whitfield’s pianist, arranger and husband, Mike Greensill. Both as an accompanist and an arranger, Mr. Greensill seems to have a deep understanding of exactly the kind of support his wife requires. He plays with a light touch and an attentive ear. His smart, superbly crafted arrangements make good use of not only the reeds but also the rest of the excellent rhythm section. Mr. Greensill also explores the many gradations of tempo that exist between slow and fast on this generally well-paced CD.

Like all of Ms. Whitfield’s recordings, Let’s Get Lost is a mixture of the familiar and the forgotten. Even veteran song hounds will be surprised by the three beautiful and obscure ballads unearthed here: “Warm and Willing,” “They Really Don’t Know You” and “It’s Me, Remember.” There are also a number of rarely heard verses reunited with their more often encountered choruses. Throughout his long career, Mr. McHugh wrote with some very talented lyricists including Frank Loesser, Ted Koehler, Harold Adamson, and his most prominent partner, Dorothy Fields. The album allows the composer’s unique “voice” to be heard by not drawing too heavily from any one of these collaborations.

Let’s Get Lost is not by any means ground breaking or revelatory. However, it is a thoughtful and satisfying examination of the music of a songwriter whose best work surprisingly reflects Tin Pan Alley’s vision of itself: bright, optimistic and, most importantly, hummable.
~Mattheu Bahlhttps://www.allaboutjazz.com/lets-get-lost-the-songs-of-jimmy-mchugh-wesla-whitfield-review-by-mathew-bahl

Personnel: Wesla Whitfield: vocals; Mike Greensill: piano; Ken Peplowski: clarinet, tenor sax; Gary Foster: alto flute, clarinet, bass clarinet, tenor sax; Michael Moore: bass; Joe LaBarbera: drums.

Let's Get Lost

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Stephen Riley - My Romance

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 66:28
Size: 152,8 MB
Art: Front

(7:41) 1. Paul's Pal
(9:01) 2. Jitterbug Waltz
(8:06) 3. My Romance
(6:35) 4. My Little Suede Shoes
(5:05) 5. Steeplechase
(5:49) 6. Gentle Rain
(4:23) 7. Fall
(8:30) 8. Shiny Stockings
(5:27) 9. Rain Check
(5:46) 10. Recorda Me

"No matter what group Riley puts together for a record date, he merits top marks every time" Ken Dryden (The New York City Jazz Record) attested on Riley's Hold'em Joe, here saxophonist Riley put together his first-ever organ trio with Brian Charlette, one of the hottest B-3 players today.

The organ trio setting propels Riley's unique sound to a new dimension.

"Riley continues to surprise listeners with his creative settings of familiar jazz."~Ken Dryden on 'Friday The 13th'https://www.propermusic.com/sccd31932-my-romance.html

Personnel: Stephen Riley: tenor saxophone; Brian Charette: B-3 Hamond organ; Billy Drummond: drums

My Romance

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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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Sorry...

 

Dear friends and followers,

Silky Denims has been undergoing some dramatic changes in its CSS/html codes, as you may have noticed. It is being redesigned and, as a result, some functions are temporarily not visible like in the old format.

We apologize for the inconvenience this may have caused to our communications and we hope that the blog will look the same as before soon!

Here is the address of our cbox for your eventual requests:

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P.S. Dear Old Friend, if you read this, please send me an email. I need your help...

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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