Radka Toneff - Live in Hamburg

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 65:36
Size: 151,6 MB
Art: Front

(8:06) 1. Spring Can Really Hang You Up the Most
(5:20) 2. Never Letting Go
(7:32) 3. Lonely Woman
(6:01) 4. A Certain Peace
(5:00) 5. Antonio's Song
(4:33) 6. Set It Free
(5:28) 7. Just Like a Woman
(5:12) 8. Rest Enough
(9:35) 9. Bulgarian Folksong - Fire
(3:33) 10. Havana Candy
(5:11) 11. We'll Be Together

'Live in Hamburg' by vocalist/composer Radka Toneff (alongside ECM legend Arild Andersen) must be one of the finest Norwegian concert albums ever made - regardless of genre. Now this classic is being released on vinyl for the first time, in a 180g 2LP edition with a gatefold cover.

At the same time a new CD edition with an updated cover is being released. 'Live in Hamburg' was released over ten years after Radka Toneff passed away, and shows a side of her that had never before been documented on a recording. The album won a Spellemannspris, the Norwegian Grammy award, in 1993. The material on the album comes from a concert the Radka Toneff Quartet held at the legendary jazz club Onkel Pös Carnegie Hall in Hamburg on 10 March 1981.

The German radio station NDR broadcast an hour of the concert live, and an edited version of the recording became this album, a modern classic. Arild Andersen and sound technician Jan Erik Kongshaug went through the tapes from NDR and edited the record, which was released in 1993 as the fourth recording released under Radka Toneff's name. The album provides a welcome and unsentimental snapshot of a unique artist's voice that became silent too soon, but that had a profound impact on Norwegian music history.
https://www.amazon.com.au/Live-Hamburg-Radka-Toneff/dp/B01EWZ0WQK

Personnel: Vocals [Vocal] – Radka Toneff; Piano – Steve Dobrogosz; Drums – Alex Riel; Bass – Arild Andersen

Live in Hamburg

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Sant Andreu Jazz Band, Joan Chamorro - Jazzing 8 Vol. 2

Styles: Jazz, Big Band
Year: 2018
File: MP3@320K/s
Time: 76:54
Size: 177,2 MB
Art: Front

(2:50) 1. Portrait of Louis Amstrong
(4:41) 2. Mood Indigo
(5:40) 3. I've Never Been In Love Before
(3:55) 4. Que Reste Till De Nos Amours
(5:11) 5. After You've Gone
(5:12) 6. Vivo Sonhando
(4:15) 7. Bunny
(4:30) 8. One More Once
(4:53) 9. Egyptian Fantasy
(5:24) 10. Lover Come Back To Me
(2:37) 11. If I Had You
(4:49) 12. Jazz Goes to Siwash
(4:49) 13. Embraceable You
(4:00) 14. Theme from Picnic
(5:32) 15. Nap's Dream
(8:27) 16. Blues Generation

Sant Andreu Jazz Band is a project arising from a music class. Conducted by Joan Chamorro, the big band brings together children between 6 and 18 years old, around a classic jazz repertoire with lots of swing, which gained the public and sold-out some of the most important music auditoriums in Spain.
http://www.jazzmusicarchives.com/artist/sant-andreu-jazz-band

Jazzing 8 Vol. 2

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Lee Konitz meets Antonio Zambrini Trio - Comencini

Styles: Saxophone And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 59:02
Size: 135,5 MB
Art: Front

(5:17) 1. Substitutions
(7:23) 2. Small Ballad
(5:44) 3. Bluesness
(3:00) 4. Giovedì
(5:12) 5. Minor Sequence
(7:06) 6. Arrivederci
(7:31) 7. Melampo
(4:56) 8. Antonia
(5:56) 9. Ritorno
(2:34) 10. Comencini intro
(4:17) 11. Bluesness (Duo Version)

Konitz is sometimes regarded as the preeminent cool jazz saxophonist, because he performed and recorded with Claude Thornhill, Lennie Tristano (both often cited as important cool jazz proponents of the mid 1940s), and with Miles Davis on his epochal Birth of the Cool, which gave the form its name.

Konitz has also been repeatedly noted as one of the few jazz saxophonists of the late 1940s and 1950s who did not seem imitative of the massively influential Charlie Parker. In the early 1950s, Konitz recorded and toured with Stan Kenton's orchestra.

In 1961, he recorded Motion with Elvin Jones on drums and Sonny Dallas on bass. This spontaneous session, widely regarded as a classic in the cool genre, consisted entirely of standards. The loose trio format aptly featured Konitz's unorthodox phrasing and chromaticism.

In 1967, Konitz recorded The Lee Konitz Duets, a series of duets with various musicians. The duo configurations were often unusual for the period (saxophone and trombone, two saxophones). The recordings drew on very nearly the entire history of jazz, from a Louis Armstrong dixieland number with valve trombonist Marshall Brown to two completely free duos: one with a Duke Ellington associate, violinist Ray Nance, and one with guitarist Jim Hall.

Konitz has been quite prolific, recording dozens of albums as a band leader. He has also recorded or performed with Dave Brubeck, Ornette Coleman, Charles Mingus, Gerry Mulligan, Elvin Jones and others.
https://www.allaboutjazz.com/musicians/lee-konitz

Personnel: Lee Konitz - Alto Saxophone; Antonio Zambrini - Piano; Ares Tavolazzi - Double Bass (1-9); Massimo Manzi - Drums (1-9)

Comencini

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Ron Blake - Shayari

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 69:21
Size: 159,5 MB
Art: Front

(5:39)  1. Waltz For Gwen
(8:41)  2. Atonement
(6:03)  3. Come Sun
(5:54)  4. Hanuman
(4:30)  5. What Is Your Prayer For?
(6:45)  6. Of Kindred Souls
(6:04)  7. Please Be Kind
(7:15)  8. 76
(2:00)  9. Remember The Rain
(7:23) 10. The Island
(4:52) 11. Teddy
(1:01) 12. Abhaari (Pt. I)
(3:08) 13. Abhaari (Pt. II)

There's an attention to sonic detail and aural space on tenor saxophonist Ron Blake's Shayari that would be more expected from the ECM label than from Detroit's Mack Avenue Records. But Mack Avenue, through Blake and his producer/pianist Michael Cain, has given us a CD strong on tone and mood, intimate and introverted without being lightweight or insubstantial. The intimacy flows from the instrumentation: All the tracks are trios save for three duos, and all but one scant-minute track feature tenor sax and piano. There is a lived-in feel about this record as well, as Blake revisits some of his earlier compositions in a more ruminative frame of mind, such as "Waltz for Gwen," with hand percussion (Jack DeJohnette or Gilmar Gomes) shading the leader's dry, urbane sax tone.

"Of Kindred Souls," originally recorded with Roy Hargrove's band, becomes a conversational trio with Regina Carter's violin joining tenor sax and piano. A heavier spiritual vibe informs "Atonement," tenor soloing over a fraught piano ostinato and DeJohnette's bundled sticks on cymbals, and "Hanuman," where Blake's tenor becomes surprisingly staccato over toms and rumbling piano. But for the most part, Blake's tenor is dry and airy, with a yearning tone akin to polite Coltrane. Emotions here are definitely subdued. Ivan Lins' "The Island," with Gomes punctuating on frame drum, is breezily seductive; Christian McBride's bass brings smooth swing to Bobby Hutcherson's "Teddy and the tenor/piano duet on "Please Be Kind the only American pop standard is a model of easy grace.By George Kanzler
https://www.allaboutjazz.com/shayari-ron-blake-mack-avenue-records-review-by-george-kanzler.php


Personnel: Ron Blake: tenor saxophone; Michael Cain: piano; Regina Carter: violin (6); Jack DeJohnette: drums (2, 4, 8, 12, 13); Gilmar Gomes: percussion (1, 3, 10); Christian McBride: bass (5, 11).

Shayari

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Laura Dickinson - One for My Baby (To Frank Sinatra With Love)

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 55:19
Size: 129,9 MB
Art: Front

(3:33)  1. Come Fly With Me
(3:06)  2. Learnin' the Blues
(2:32)  3. (Love Is) The Tender Trap
(4:33)  4. Guess I'll Hang My Tears Out to Dry
(3:13)  5. You're Getting to Be a Habit With Me
(2:44)  6. Here's to the Losers
(3:35)  7. Indian Summer
(5:07)  8. You Go to My Head
(3:08)  9. How About You
(3:15) 10. The Best Is Yet to Come
(3:56) 11. I Only Have Eyes for You
(5:09) 12. My Funny Valentine
(2:52) 13. I'm Gonna Live 'Til I Die
(4:04) 14. All the Way
(4:27) 15. One for My Baby

Paying homage to the Chairman of the Board is never quite an easy thing to do, but vocalist Laura Dickinson takes on this challenge and delivers one of the best tributes to the crooner on her astonishing debut album One for My Baby, To Frank Sinatra with Love. Influenced by the sound early on in her life as a teenager and falling in love with Sinatra every time her parents played his music, the native Southern California songstress vowed to do her part in keeping his legacy alive. An in-demand performer in Hollywood, her voice is heard in the sound track of the hit movie Pitch Perfect, in various commercials and other Disney Channel projects. On this remarkable debut, Dickinson offers some of Sinatra's favorite songs in a fifteen-piece repertoire performed by many of Los Angeles area's jazz masters presenting the music with classic arrangements by such designers as Sammy Nestico, Gordon Goodwin, Marty Paich and Alan Steinberger. Supported by a big band, the vocalist begins this blast from the past with the Sinatra staple "Come Fly with Me" then, belting the melody with crisp powerful vocals, turns the tables on the familiar "Learnin' the Blues."

The band and singer swing on the delicious "(Love Is) the Tender Trap" providing a rousing rendition of the classic. Bringing the sound down a few notches, Dickinson shows her softer side on the delicate "Guess I'll Hang My Tears Out To Dry" and the beautiful ballad of "Indian Summer." Her impeccable vocals seem the perfect fit on the familiar "You Go to My Head," while Burton Lane's immortal "How About You" is clearly one of the memorable tunes of the disc. The music gets a bit intimate and tender with duets featuring guitarist Danny Jacob on "I Only Have Eyes for You" and electric bassist Neil Stubenhaus on the introspective "My Funny Valentine." The big band sound returns with Dickinson reaching on age old standard Sinatra loved to voice, "I'm Gonna Live Till I Die" and begins to wind down the project with two of the most associated Sinatra songs, "All The Way" and "One for My Baby" featuring pianist Vince di Mura on the piano. 

Laura Dickinson introduces herself in the best way, paying tribute to one of the best singers in the world and surely, putting a smile on Sinatra's face as he fronts that big band in the sky, for One for My Baby, To Frank Sinatra with Love, is one impressive performance by a superior vocalist in one of the finest debut recordings around.By Edward Blanco

http://www.allaboutjazz.com/one-for-my-baby-to-frank-sinatra-with-love-laura-dickinson-blujazz-productions-review-by-edward-blanco.php

Personnel: Laura Dickinson: vocals; Chuck Findley: trumpet; Wayne Bergeron: trumpet; Kye Palmer: trumpet; John Fumo: trumpet; Larry Hall: trumpet; Rob Schaer: trumpet; Dan Higgins, Brian Scanlon, Greg Huckins, Tom Luer, John Yoakum, Vince Trombetta Jr., Doug Webb, John Mitchell, Chad Smith: woodwinds; Bob McChesney: trombone; Ira Nepus: trombone; Steve Holtman: trombone; Steve Trapani: trombone; Danny Jacob: guitar; Andrew Synowiec: guitar; Alan Steinberger: piano, keyboards; Neil Stubenhaus: electric bass; Trey Henry: acoustic bass; Ray Brinker: drums; Robert F. Peterson: violin; Ken Yerke: violin; Kevin Connolly: violin; Gerardo Hilera: violin; Steve Richards: cello; Maurice Grants: cello; Randy Kerber: piano (7); Dan Lutz: bass (7); Bernie Dresel: drums (7); Vince di Mura: piano (15).

One for My Baby (To Frank Sinatra With Love)

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Chaka Khan - Hello Happiness

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 27:13
Size: 62,7 MB
Art: Front

(3:56) 1. Hello Happiness
(4:59) 2. Like A Lady
(3:18) 3. Don't Cha Know
(3:43) 4. Too Hot
(3:59) 5. Like Sugar
(3:31) 6. Isn't That Enough
(3:45) 7. Ladylike

On August 31, 2018, a magenta-haired, fan-carrying Chaka Khan stepped onto the stage of Detroit’s Greater Grace Temple to honor her friend and mentor Aretha Franklin. I’ve watched the video of her performance a good 20 times, mainly because of how remarkable Chaka Khan’s transformation is, how powerful she grows. She begins with “Good evening” before correcting herself and saying, “Good afternoon”; the music comes in, and her voice famously elastic and raw slips out, warbly and tentative. She glances a few times at the back of her fan, where the lyrics to the hymn she is singing, “Going Up Yonder,” are conspicuously pasted. There’s a good 30 seconds, the first time you see the video, where you begin to silently pray to yourself, Please don’t let this be a disaster. Several bishops sit behind her, nodding respectfully.

Then the choir starts to sway and a smile breaks out on her face. She paces the stage, a bit dazed, but in full control. Around the 2:30 mark, you can tell that Chaka Khan’s got the hang of it she just had to warm up. The choir swells like a tidal wave and the band is locked in. Going into the third chorus, it finally happens: The Chaka Khan cry is unleashed. Pained and piercing, she summons it from somewhere deep in her stomach. It’s the same cry that punctuated the last choruses of “Ain’t Nobody” and “Through the Fire.” The respectful bishops stand up instantly, the choir sings at the top of its lungs, and Chaka Khan has risen. The performance, complete with an encore, lasts over nine minutes. She smiles as she surrenders the mic at the end, as if to remind us: She might not remember all the words or hit all the notes, but, at 65 years old, she remains the undisputed Queen of Funk.

Hello Happiness, Chaka Khan’s first album of new music in 12 years, unfortunately frames her as a novelty past her prime. Released as the first project on Diary Records, the vanity imprint of Switch better known as an original member of Major Lazer and the man half-responsible for “Bubble Butt” it’s an album shockingly devoid of the expert musicianship that has defined Chaka Khan’s career. Instead of emphasizing the live instrumentation, hair-raising harmonies, and goosebump-inducing modulations of Funk This, the 2007 album anchored by longtime collaborators Jimmy Jam and Terry Lewis that maximized her talents, Hello Happiness is a messy, overproduced, anonymous set of hotel-lobby beats that makes woeful use of one of the greatest voices of all time.

Single “Hello Happiness,” featuring deconstructed disco violins and a thumping bassline from Sam Wilkes, could conceivably make for a good time on the dancefloor. But Switch and Ruba Taylor’s mind-numbing, budget-Jamiroquai instrumental is shockingly bland; if anything, the production here, as on the rest of Hello Happiness, makes it feel like Switch and Ruba Taylor in drastic comparison to Jimmy Jam and Terry Lewis’s careful work on Funk This have never before listened to a single Chaka Khan song. Of course, Chaka Khan isn’t free from blame she’s spoken of how inspired she was meeting Switch and Ruba Taylor in the studio, and she has co-writes or production credits on every song. But no matter who's at fault, having Chaka Khan and Switch together on wax feels like washing down a $40 ribeye with a Four Loko.

There’s a moment when Hello Happiness works. On the sensual and affirming closing track, “Ladylike,” Chaka Khan finally breaks free of vocal effects, and, accompanied by feel-good guitar by funk legend Ricky Rouse and backup vocals from her daughter Indira, the contours of her voice, worked like cracked leather, are allowed to emerge. But that’s about it.

If there’s a silver lining, it’s that Chaka Khan is clearly in a better place than she was a few years ago: The album has been touted as marking a new chapter in her life, following a dark moment when she returned to rehab in the aftermath of the death of her close friend and collaborator Prince. If Chaka Khan’s found the happiness she’s so doggedly searched for and deserved over the course of a life plagued with difficulty, then we should celebrate that, despite the album’s soul-starved production. As she sings on the title track, “Love is what I’m here for/So don’t give me no bad news.”

Still, that happiness doesn’t feel truly genuine across the album. In Chaka Khan’s life and music, happiness has always been accompanied by bad news. It’s what’s made her who she is. There’s a reason she chose to sing “Going Up Yonder” at Aretha’s funeral and sang it the way she did. “I can take the pain/The heartaches they bring,” the song goes. “The comfort in knowing/I’ll soon be gone.” Now that sounds like Chaka Khan. And when she sang those words on that church stage in Detroit, the smile she unleashed one of relief, and knowing, and strength said it all.
https://pitchfork.com/reviews/albums/chaka-khan-hello-happiness/

Hello Happiness

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Terry Gibbs, Bob Cooper, Conte Candoli, Lou Levy - Now's the Time to Groove

Styles: Vibraphone Jazz
File: MP3@320K/s
Time: 49:21
Size: 113,6 MB
Art: Front

(7:29) 1. Little Girls - Live
(6:36) 2. Tippe - Live
(6:12) 3. The Austin Mood - Live
(5:22) 4. No name theme - Live
(4:57) 5. The beautiful people - Live
(6:18) 6. Havin fun - Live
(6:24) 7. Now's the time to groove - Live
(5:59) 8. That Chumley feeling - Live

Terry Gibbs is one of the most legendary musicians in the world. He has seen and done it all. He has played with some of the greatest musicians in jazz history such as: Charlie Parker, Dizzy Gillespie, Benny Goodman, Buddy Rich, Woody Herman, Mel Torme, Buddy DeFranco, Tiny Kahn and many more. He also conducted tv shows for Steve Allen and Regis Philbin.

The Dream Sextet features some of the finest musicians from the West Coast. Conte Candoli was one of the best trumpet players and long time member of the Dream Band. He was one of Terry’s top 5 favorite trumpet players. Lou Levy was also a former member of the Dream Band and was one of the most in demand piano players. Bob Cooper was a heavy weight tenor player at the time who was widely regarded in the same league as Al Cohn or Sal Nistico.

The ensemble is backed up by the swinging rhythm section consisting of Bob Magnusson and Jimmie Smith. All these gentlemen were high in demand musicians at the time, so it was the first time that night that they all shared the stage together. The Dream Sextet recordings are all recorded live at Lord Chumley’s on July 30th 1978 in Playa Del Rey, California.

Terry has a talent of bringing out the best from his musicians. A live recording such as this one is the perfect proof of what happened in that moment.

The other aspect that is so special about these recordings is that all of the tunes are originals written by Terry. Terry’s originals are very melodic and lyrical such as Townhouse 3 or Tippie. You can sing along after hearing the tune only once. Terry wrote these tunes in such a way that the chord changes are fun to play over. You can clearly hear this, because of the way how the musicians are digging into these tunes. https://monsrecords.de/en/terry-gibbs-dream-sextet-nows-the-time-to-groove/

Personnel: Terry Gibbs, vibraphone; Bob Cooper, tenor saxophone; Conte Candoli, trumpet; Lou Levy, piano

Now's the Time to Groove

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Conte Candoli & Max Roach - Jazz Structures

Styles: Trumpet, Cool Jazz, Bop
Year: 1960
File: MP3@320K/s
Time: 72:43
Size: 169,0 MB
Art: Front

(4:45) 1. Facts About Max
(4:56) 2. Milano Blues
(3:48) 3. Swingin' The Blues
(4:36) 4. Bread Line Blues
(4:09) 5. Bye Bye Blues
(5:21) 6. Blues In The Night
(3:50) 7. Royal Garden Blues
(5:08) 8. The Count's Blues
(4:08) 9. Genesis, Part 2
(2:12) 10. Architectonics
(5:27) 11. Directional Suite: Impulse
(1:53) 12. Directional Suite: Automatons
(4:40) 13. Directional Suite: Impulsion, Parts 1 & 2
(3:49) 14. Directional Suite: Complexus
(5:11) 15. The Worker: Rain Blues
(2:10) 16. The Worker: In The Morning
(4:20) 17. The Worker: Quittin' Time
(2:11) 18. Edifice

The inclusion of Max Roach's name on the cover of Jazz Structures is somewhat disingenuous. Upon opening the CD insert, we're informed that Max Roach appears on only four out of eighteen tracks. This information was conspicuously absent from the back cover, where a potential buyer would look to see if a disc's worth spending hard-earned cash on.

Jazz Structures is a reissue of two of Howard Rumsey's "Light House All Stars discs. The first, 1957's Drummin' the Blues, featured Roach on four tracks. Stan Levey is the drummer on the other fourteen.

When present, Roach does what he always does: he knocks it out of the park. The Lighthouse All Stars were the kings of West Coast-style bop and Roach had worked with them as early as 1954. In 1956 alone, Roach played on some of the most important records ever made, like Monk's Brilliant Corners and Sonny Rollins' Saxophone Colossus and several sides with Clifford Brown. By 1957, he was worlds beyond Rumsey and Co. and ready to re-shape the music yet again this time with Booker Little.
The second album tacked on here, the original Jazz Structures (1960), has little in common with the upbeat swing of Drummin' the Blues aside from boasting much of the same lineup. This was the soundtrack to a documentary by filmmaker Les Novros about the construction of LA's Union Oil building. And it feels like a building being constructed: in places it's laborious, rigid, tedious. In others, it's decorous and light. Jazz Structures came just three years after Miles Davis had revolutionized the film soundtrack with his work for L'Ascenseur Pour l'Echafaud. Structures doesn't compare, but Bob Cooper, who scored the work, did a good job, considering the subject matter.

There's some interesting work here by Bud Shank (alto and flutes), Conte Candoli (trumpet), and Red Callender (bass). A playful, circuitous riff pops up on "Architectronics and resurfaces again in the "Directional Suite, where it's reconfigured as "Automatons. Refreshingly untampered-with production helps; it sounds a bit like one of those old quarter-inch-think vinyl jobs. The slightly lo-fi analog production adds a stark, concrete edge. Jazz Structures is a good soundtrack, probably better than the film that inspired it but it's not a Max Roach album.
https://www.allaboutjazz.com/jazz-structures-conte-candoli-lonehill-jazz-review-by-rico-cleffi

Personnel: Conte Candoli: trumpet; Howard Rumsey (leader) with Max Roach: drums (four tracks); Bob Cooper: conductor, tenor saxophone; Bud Shank: alto saxophone, flute; Buddy Collette: baritone saxophone, bass clarinet; Frank Rosilino: trombone; Victor Feldman: piano, vibraphone, conga; Monty Budwig: bass; Stan Levey: drums; Joe Castro: piano; Larry Bunker: vibraphone; Red Callender: bass.

Jazz Structures

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Conte Candoli - Modern Sounds From The West

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 60:34
Size: 141,4 MB
Art: Front

(3:29) 1. The Blindfold Test No. 1
(3:42) 2. Culver City
(2:54) 3. Van Nuys Indeed
(3:56) 4. Burbank Bounce
(4:47) 5. Santa Monica
(4:07) 6. The Blindfold Test No. 2
(4:03) 7. Here's Pete
(3:59) 8. No Love, No Nothin'
(3:17) 9. I'm Getting Sentimental Over You
(2:42) 10. Come Love
(2:55) 11. T.N.T.
(3:31) 12. Thank You, Judge
(4:32) 13. Santa Anita
(3:34) 14. Hooray For Hollywood
(4:30) 15. The Blindfold Test No. 3
(4:27) 16. Arcadia

Best-known as the trumpet section leader in Doc Severinsen's Tonight Show Band, Conte Candoli was a fine all-around jazz stylist most at home in the worlds of bop and West Coast cool jazz. Younger by four years than his similarly accomplished trumpet-playing brother Pete, Conte was born Secondo Candoli in Mishawaka, IN, on July 12, 1927. He first patterned himself after players like Harry James, Roy Eldridge, and Dizzy Gillespie, later discovering Miles Davis and Clifford Brown.

His first job came at age 16, when brother Pete recommended him for a summer gig with Woody Herman's Thundering Herd; after graduating high school, he joined full-time. He went on to play with several other bands, including Stan Kenton, whom he left in 1954 to form his own band. After leading some recording dates, he soon found a more comfortable existence, moving to Los Angeles and taking session jobs in between gigs with Howard Rumsey's Lighthouse All-Stars.

After about four years, he left in 1960 to work with drummer Shelly Manne, while he and Pete both enjoyed top-dog status in the L.A. session community. In 1968, Candoli took a part-time gig with the Tonight Show Band and joined permanently in 1972, when the show officially moved to Burbank.

During the '70s, he was also a member of Supersax, among other L.A. all-star outfits, and also continued his periodic collaborations with his brother. Candoli retired from the Tonight Show along with Johnny Carson in 1992, and continued to play until a battle with cancer slowed his activities. Candoli died in a convalescent home on December 14, 2001.By Steve Huey https://www.allmusic.com/artist/conte-candoli-mn0000100990/biography

Personnel: Conte Candoli / trumpet; John Graas / flute; Charlie Mariano / alto sax; Marty Paich / piano; Monty Budwig / bass; Stan Levey / drums; Buddy Collette / alto sax, flute; Jimmy Giuffre / clarinet, tenor sax,bass sax; Gerald Wiggins / piano; Howard Roberts / guitar; Curtis Counce / bass; Hank Jones / piano; Barry Galbraith / guitar; Milt Hinton / bass; Osie Johnson / drums; Harry Edison / trumpet; Herb Geller / alto sax; Bob Enevoldsen / valve trombone, tenor sax; Lorraine Geller / piano; Joe Mondragon / bass

Modern Sounds From The West

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Alex Sipiagin - Returning

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 55:00
Size: 126,2 MB
Art: Front

(10:56)  1. Returning
( 8:32)  2. Extra Chance
( 7:07)  3. Miniature
( 7:47)  4. Pictures
( 7:21)  5. Snova (Choba)
( 6:44)  6. Son of thirteen
( 6:30)  7. Turn Out the Stars

Some artists leap into visibility; others almost insidiously find their way into the public eye. Russian-born, New York-resident trumpeter Alex Sipiagin has made considerable strides in the past decade in establishing his reputation within the New York jazz community. He's been recruited for increasingly high profile gigs with the Mingus Big Band, Michael Brecker and, most notably, Dave Holland's big band touring and appearing on both What Goes Around (ECM, 2002) and Overtime (Dare2, 2005). With his own series of Criss Cross recordings, Spiagin has proven himself an ever-evolving voice in what some are calling "the new mainstream." Returning finds Sipiagin continuing to mine a more modernistic approach to the tradition one that favors original composition over retreads of standards, incorporating a richer compositional palette. Sipiagin doesn't eschew the standards repertoire entirely; each album features one or two compositions from artists like Mingus, Monk, and Evans. But like others of his generation, Sipiagin doesn't place these tunes on a pedestal, instead reinterpreting them with his own contemporary bent. Sipiagin and tenor saxophonist Seamus Blake wind their way in and around the familiar theme to Bill Evans' "Turn Out the Stars," but guitarist Adam Rogers' harmonic backdrop is more open-ended and ambiguous.

Sipiagin's own writing reflects his exposure to the inner workings of artists like Holland and Brecker, but also his own growing comfort level with complex meters and richer orchestration. In fact, the New York crew that includes Sipiagin, Rogers, and alto saxophonist David Binney seems to be reinventing the language of jazz. Sipiagin's title track may be metrically irregular, but it flows with effortless energy, thanks to drummer Antonio Sanchez's delicately tumultuous approach. Dramatic without resorting to obvious devices, Rogers, Blake, and Sipiagin work hard off each other at the core of the oblique "Miniature," where a more communal approach to soloing replaces individual delineation. That these artists are creating their own vernacular is further evidenced by the fact that Spiagin's three compositions feel completely of a kind with Rogers' "Pictures," despite the fact that it's a more complicated piece revolving around contrapuntal melodies from Blake, Sipiagin, and bassist Scott Colley. Even the light bossa of "Snova" and the equally Latin-inflected but more powerful "Son of Thirteen" two compositions written specifically for Sipiagin by Pat Metheny feel part of the same landscape. Metheny's ability to mask deeper complexity under a lyrical and accessible veneer is not lost on Sipiagin or Rogers. In fact, it's something of a litmus test for this new mainstream.

Reaching out to an audience is important, but never at the expense of one's own voice, and everyone on Returning demonstrates an ability to build solos either alone or collectively that are imaginative and innovative without losing sight of fundamentals like melody and construction. Sipiagin, whose warm tone almost renders invisible the difference between his trumpet and flugelhorn, is an evocative player whose avoidance of outspoken virtuosity belies his clearly advanced technique. The ever-compelling Returning is but further evidence of his continued ascension. ~ John Kelman  http://www.allaboutjazz.com/returning-alex-sipiagin-criss-cross-review-by-john-kelman.php

Personnel: Alex Sipiagin: trumpet, flugelhorn; Seamus Blake: tenor saxophone; Adam Rogers: guitar; Scott Colley: bass; Antonio Sanchez: drums.

Returning

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Frank Zappa And The Mothers of Invention - One Size Fits All

Styles: Jazz Fusion
Year: 1975
File: MP3@320K/s
Time: 43:27
Size: 117,5 MB
Art: Front

(8:42) 1. Inca Roads
(2:38) 2. Can't Afford No Shoes
(2:40) 3. Sofa No.1
(7:41) 4. Po-Jama People
(5:27) 5. Florentine Pogen
(1:16) 6. Evelyn, A Modified Dog
(6:07) 7. Andy
(6:05) 8. San Ber'dino
(2:51) 9. Sofa No.2

Released soon after the live Roxy & Elsewhere, One Size Fits All contained more of the material premiered during the 1973-1974 tour, but this time largely re-recorded in the studio. The band remains the same: George Duke, Napoleon Murphy Brock, Chester Thompson, Tom Fowler, and Ruth Underwood. Johnny "Guitar" Watson overdubbed some vocals and Captain Beefheart (credited as Bloodshot Rollin' Red) played some harmonica ("when present," state the liner notes).

The previous album focused on complex music suites. This one is more song-oriented, alternating goofy rock songs with more challenging numbers in an attempt to find a juste milieu between Over-Nite Sensation and Roxy & Elsewhere. "Inca Roads," "Florentine Pogen," "Andy," and "Sofa" all became classic tracks and live favorites. These are as close to progressive rock (a demented, clownish kind) Zappa ever got. The obscurity of their subjects, especially the flying saucer topic of "Inca Roads," seem to spoof prog rock clichés. The high-flying compositions are offset by "Can't Afford No Shoes," "Po-Jama People," and "San Ber'dino," more down-to-earth songs.

Together with Zoot Allures, One Size Fits All can be considered as one of the easiest points of entry into Zappa's discography. The album artwork features a big maroon sofa, a conceptual continuity clue arching back to a then-undocumented live suite (from which "Sofa" was salvaged) and a sky map with dozens of bogus stars and constellations labeled with inside jokes in place of names. An essential third-period Zappa album. By François Couturehttps://www.allmusic.com/album/one-size-fits-all-mw0000202351

Musicians: Frank Zappa – guitar, lead (4, 6, 9) and backing vocals; George Duke – keyboards, lead (1, 8, 9) and backing vocals, synthesizer; Napoleon Murphy Brock – flute, lead (5, 8) and backing vocals, tenor saxophone; Ruth Underwood – marimba, vibraphone, percussion; Chester Thompson – drums, sound effects, voices; Tom Fowler – bass guitar (all but 2); James "Bird Legs" Youman – bass guitar (2); Johnny "Guitar" Watson – vocals (7, 8); Captain Beefheart (credited as 'Bloodshot Rollin' Red') – harmonica (7)

One Size Fits All

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Dutch Swing College Band - Digital Anniversary (40 Years )

Styles: Swing
Year: 1985
File: MP3@320K/s
Time: 60:54
Size: 141,0 MB
Art: Front

(3:19) 1. Bourbon Street Parade
(4:45) 2. Wabash Blues
(4:45) 3. Caribbean Parade
(5:09) 4. Is It True What They Say About Dixie?
(3:20) 5. Clarinet Games
(2:58) 6. Saturday Night Is The Loneliest Night Of The Week
(3:08) 7. Double Bass Hit
(3:31) 8. Coal Black Shine
(5:15) 9. Third Street Blues
(3:13) 10. Gladiolus Rag
(3:23) 11. Columbus Stockade Blues
(4:02) 12. Devil In The Moon
(4:02) 13. Original Dixieland One Step
(2:57) 14. Rose Room
(3:13) 15. Swing 36
(3:43) 16. Sunday

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.

An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson. The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. By Craig Harris
https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Digital Anniversary (40 Years )

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Archie Shepp - Attica Blues Big Band - Live At The Palais Des Glaces Disc1, Disc2

Album: Attica Blues Big Band - Live At The Palais Des Glaces Disc 1
Styles: Fusion, Hard Bop
Year: 1979
File: MP3@320K/s
Time: 45:38
Size: 105,3 MB
Art: Front

(4:39) 1. Attica Blues, Part 1
(7:33) 2. Steam
(5:46) 3. Quiet Dawn
(7:26) 4. Hi-Fly
(7:41) 5. U-Jaama
(2:50) 6. Antes De Andios
(3:35) 7. Star Love
(6:05) 8. Moon Bees

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Album: Attica Blues Big Band - Live At The Palais Des Glaces Disc 2
Time: 50:25
Size: 116,2 MB

(6:10) 1. Strollin'
(5:37) 2. Ballad For A Child
(7:34) 3. Simone
(6:20) 4. Crucificado
(5:35) 5. A Change Has Come Over Me
(5:54) 6. Goodbye Sweet Pops
(4:29) 7. Skippin'
(8:43) 8. Attica Blues,pt.2

From the outset, Archie Shepp's terminally misunderstood Attica Blues on Impulse during the 1970s was an attempt by the saxophonist and composer to bring together the various kinds of African American musics under one heading and have them all express the conscience of the day. His ensemble featured singers, string players, horns, drums, guitars, etc. The sounds were a Gordian knot of jazz, free music, R&B, soul, groove, and even funk. In 1979 Shepp was given the opportunity to realize the project with an ensemble of his choosing at the Palais des Glaces in Paris (New York was already courting Wimpton Marsalis).

Shepp chose 30 musicians and director/conductor Ray Copeland. Among the throng were saxophonists Marion Brown, John Purcell, Patience Higgins, and John Ware. Malachi Thompson led a five-trumpet section, and Steve Turre led the trombones, a young Brandon Ross played guitar, Avery Sharpe was one of two bassists, Clifford Jarvis held down the drum chair, Shepp played all his horns and piano though Art Matthews was the primary pianist on the gig.

There were four vocalists and a string section. None of this would mean anything, of course, if the music weren't bad to the bone. From the opening moments of the "Attica Blues Theme, Pt. One" it becomes obvious that, with its drop-dead funky bassline and wailing soul vocals that create the mood, this will be a celebratory evening of education, protest, and groove. From here, Shepp moves the band into "Steam," with the funk and anger already present. But this track is far more laid-back in its big band arrangement than it was on the Shepp's Inner City version of some years before.

It features a gorgeous vocal by Joe Lee Wilson, who has the chops of Sammy Davis Jr. and the depth of Big Joe Turner. And here is where Attica Blues truly begins, as "Steam" reaches its swinging nadir, and Shepp begins to fold in works by other composer such as Cal Massey ("Quiet Dawn"), Randy Weston ("Hi-Fly"), and Dave Burrell ("Crucificado") in with his own works, and the varying elements of free jazz and Latin music begin to make their presences felt on the R&B and swing accents that Attica Blues opens up for the magical treatise it is.

Shepp's own playing is fell of depth and passion, though he leaves his fire music at home, preferring to work inside traditions and allow the music's freedom to dictate its own expression in places rather than as a whole. The history lesson moves on well into the second set with Frank Foster's "Simone" and Ramsey Lewis' gospel-tinged "Skippin," before coming out on the other end with a majestic resurgence of "Attica Blues" to bring it in.

This is big band arranging and execution at its best; Shepp and Coleman make it all sound so easy, though charts are anything, but when you're fusing together so many different kinds of music. This is the high point of the latter part of Shepp's career, and it's a cultural crime that it's not available on an American label and sold as a work that belongs next to Mingus' Ah Um, Miles' Bitches Brew, Ornette's Science Fiction, and other notable works by the masters.By Thom Jurek
https://www.allmusic.com/album/attica-blues-big-band-mw0000453278

Personnel: Saxophone, Flute – James Ware, John Purcell, Marion Brown, Marvin Blackman, Patience Higgins; Soprano Saxophone, Tenor Saxophone, Piano, Leader – Archie Shepp; Trombone – Charles "Majeed" Greenlee*, Charles Stephens, Dick Griffin, Ray Harris, Steve Turre; Trumpet – Charles McGhee, Eddie Preston, Kamal Alim, Richard "Malachi" Thompson*, Roy Burrowes; Viola – Carl Ector; Violin – Candice Greene; Violin, Vocals – Terry Jenoure; Vocals – Irene Datcher, Joe Lee Wilson

Attica Blues Big Band - Live At The Palais Des Glaces Disc 1, Disc 2

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Alison Moyet - The Essential

Styles: Vocal, Pop/Rock

Year: 2001

File: MP3@320K/s

Time: 72:42

Size: 167,0 MB

Art: Front

(3:04)  1. Don't Go

(4:28)  2. Nobody's Diary

(4:01)  3. Winter Kills

(3:49)  4. Love Resurrection

(3:39)  5. All Cried Out

(4:07)  6. Invisible

(3:03)  7. That Ole Devil Called Love

(4:00)  8. Is This Love

(3:31)  9. Weak In The Presence Of Beauty

(2:48) 10. Love Letters

(4:06) 11. It Won't Be Long

(3:56) 12. Wishing You Were Here

(3:53) 13. This House

(3:37) 14. Falling

(3:25) 15. Whispering Your Name

(4:13) 16. Getting Into Something

(3:28) 17. Our Colander Eyes

(3:18) 18. Blue

(3:42) 19. Ne Me Quitte Pas

(2:27) 20. There Are Worse Things I Could Do

Import-only compilation from the British Pop and Soul vocalist best known for being the singing half of Synthpop duo Yazoo (or Yaz, as they are known in the U.S.). When Yazoo split after their sophomore album, Moyet continued as a solo act, releasing a handful of albums and some extraordinary singles. This collection contains all the tracks originally available on her Singles Collection and adds six more: 'Don't Go', 'Winter Kills', 'Blue', 'Our Colander Eyes', 'Ne Me Quitte Pas' and 'There Are Worse Things I Could Do'. With a Yazoo reunion in 2008, interest in all things Alison Moyet is at an all-time high. 20 tracks in all. Sony.By Editorial Reviews
http://www.amazon.com/Essential-Collection-Alison-Moyet/dp/B00005OM6F

Husky-voiced chanteuse Alison Moyet achieved her greatest success with Vince Clarke under their dance-pop duo, Yaz, but her career as a solo artist didn't maintain such momentum. The Essential looks back on this talented singer with the inclusion of only the most sophisticated tracks from her 20-plus career, regardless of her fluctuating popularity. The Yaz classic "Don't Go" kicks things off; however, Moyet's moody aura carries the collection with songs such as "Love Resurrection," "Wishing You Were Here," and "Weak in the Presence of Beauty." Loyal Alison Moyet fans will most likely own everything featured here, but those wanting a nice introduction to the soulful singer should find The Essential a good place to start.By MacKenzie Wilson http://www.allmusic.com/album/the-essential-mw0000455997

The Essential

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The Dutch Swing College Band - Ministry of Jazz

Styles: Swing
Year: 2023
File: MP3@320K/s
Time: 58:45
Size: 136,0 MB
Art: Front

(4:32) 1. High Society
(4:24) 2. When It's Sleepy Time Down South
(4:59) 3. Avalon
(3:38) 4. Marina
(3:42) 5. Morino Komichi (Path In Forest)
(5:50) 6. When You're Smiling
(3:20) 7. Love In Spring
(2:56) 8. 2020 Rag
(4:14) 9. Honeysuckle Rose
(4:41) 10. What A Wonderful World
(3:04) 11. March Of The Indians
(3:16) 12. Pagoda
(6:11) 13. Buddy Bolden's Blues
(3:52) 14. I'll Fly Away

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.

An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson.

The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group.By Craig Harris
https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Ministry of Jazz

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Mirna Bogdanovic - Awake

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 58:17
Size: 133,9 MB
Art: Front

(3:46) 1. I Love
(6:03) 2. Only Child
(9:34) 3. Clocks
(5:47) 4. Crazy Chords
(5:23) 5. Moving On
(5:41) 6. Wish I Didn t Miss You
(4:18) 7. May
(5:58) 8. On My Own
(7:12) 9. Dancing In The Dark
(1:09) 10. Awake
(3:21) 11. Finding Closure

Mirna Bogdanovic’s new album AWAKE is released by BERTHOLD records on May 12th 2023.

The line-up: Mirna Bogdanovic (vocals, ukulele and composer), Povel Widerstrand (piano, synths), Peter Meyer (guitar, efx), Felix Henkelhausen (double bass, e-bass), Philip Dornbusch (drums, percussion); guests: Asger Nissen (alto saxophone), Paul Santner (ukulele) and the Rothko String Quartet: Majella Münz (cello), Marc Kopitzki (viola), William Overcash (violin), Joosten Ellée (violin).

Supported by a wide cast of musicians, Bogdanovic’s seductive voice and eloquent compositions give AWAKE, her second album, its compelling dramatic curve. Bogdanovic broke up with her boyfriend in 2019. Through her music and lyrics she describes the drama of this and other personal experiences.

The song Clocks deals with her sense of existential crisis, the feeling that time was passing her by and that she was not making the most out of life. “It’s also about my inner conflict of being a freelance musician and not having a nine-to-five job like most people,” she explains. “Sometimes you have a feeling that life is happening and you’re not part of it. You’re in your own little bubble.”

On My Own is about loneliness and reminiscing about the lost relationship. “I was emotionally stuck,” she says. “At first the track shows my sadness. In the end it almost becomes a rock song, exploding into energetic anger and it feels good to play.” Moving On “looks back at the relationship as if it never happened, hurting and still feeling the sadness, but slowly letting go.”

Dancing in the Dark “has less to do with dancing and more about being in the dark about a new romantic relationship,” she explains. “There’s a sense of anxiety when you’re starting with someone and they’re giving you mixed signals. I ended up in a relationship with someone who was emotionally unavailable. Difficult situation dating!” Finding Closure “has ascending vocal lines which reach a resolution, but there’s also a counter-melody. The synth descends, joined by a peculiar groove. It’s a happy song but with a twist of melancholy.”

Bogdanovic’s lyrics, written in English, are beautiful and poetic. She also expresses her feelings through music alone, as in Crazy Chords. “In the first part the chords are changing fast, the harmony is complex and I’m singing a simple melody on top. In the second part there are only four chords, resolving into something open and lyrical. Then back again to the wild opening.”

May, also without lyrics and written in May her favourite month, has musical references to her time as a classical pianist. “I was playing a lot of Debussy and Chopin. The piece is dissonant but with a pretty sounding harmony. Debussy creeps in though not intentionally.”

At the age of seven, Bogdanovic began learning piano in Maribor, Slovenia, where she was born and brought up. Her mother is Slovenian, her father Bosnian. “We had to flee the war when I was two years old,” she recalls. “It affected a lot of things in my life. It was a rough beginning for me. I experienced the war through my parents. We lost everything. They started a company and worked day and night to make it successful. That’s why I have no siblings.” The track Only Child “is an interplay of music and vocals. The voice here, as in my music generally, is not always up front, but has an instrumental role as part of the band.”

She recalls that music was always played at home, though never jazz. Her father performed Balkan rock. Bogdanovic went on to study classical piano and in her own estimation was good, but not a prodigy. She also sang in various pop and rock bands but felt that she needed more complexity in music and slowly moved towards jazz, which she studied in Austria before moving to Berlin where she now lives.

The composer’s inspirations are a “mashed up, mix of different things from classical music to jazz traditional and modern, singer-songwriter, indie, electronic, soul, neo-soul, r&b, and hip-hop.” Drawn to melancholy she likes rich and unusual harmonies. “When I listen to music,” she says “it needs to sound new to me. The perfect combination is something familiar, but original especially harmonically.”

She wants her own music to be “very cross-over and fresh. I don’t want to be limited by anything.” Greg Cohen, the renowned bass player, talks of her: “...sultry tone, expressive phrasing and total musicality… the choice of many musicians ‘in the know’. Comfortable in all walks of musical life, Ms.Bogdanovic is guaranteed to please.”

Awake

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Pete Candoli, Conte Candoli - Girls, Girls, Girls

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 34:23
Size: 79,7 MB
Art: Front

(1:29) 1. There Is Nothing Like a Dame
(3:05) 2. Diane
(2:46) 3. Gigi
(2:37) 4. Dinah
(3:10) 5. Georgia on My Mind
(3:12) 6. Alouette
(2:36) 7. Candy
(3:23) 8. Valentine
(3:08) 9. Mary Lou
(2:41) 10. Ida! Sweet as Apple Cider
(3:22) 11. Margie
(2:49) 12. Anna

It would seem that Pete Candoli has been biding his time in the wings all these years. While Louis Armstrong, Dizzy Gillespie, Freddie Hubbard, Miles Davis, etc. have long enjoyed broad public recognition; Pete has finally attained the level of popular acceptance that the quality of his talents as a jazz trumpeter deserves.

Within the Music World Pete Candoli is regarded as one of the most precise and eloquent interpreters of jazz. He and his trumpet playing brother Conte have what amounts to a cult following among aficionados.

A trumpet player of major importance, Pete's association with top bands reads like a "Who's Who" of jazz. He has been featured with Tommy Dorsey, Glen Miller, Woody Herman, Stan Kenton, Les Brown, Count Basie, Freddy Slack, Charlie Barnet, etc... in fact, he has played with over 27 of the top named bands.

Although Pete Candoli is best known for the jazz trumpet, his musical background and experience is as varied as it can be. He is equally expert with classical music and pop. He has conducted music seminars and concerts at some (30) universities and colleges when he is not playing a jazz festival, concert, or nightclub somewhere. To date he has worked over (5000) record dates.

He has composed and arranged music and conducted for Judy Garland, Ella Fitzgerald, and Peggy Lee among others. Having played first trumpet for Igor Stravinsky’s “Ebony Concerto” written for the Woody Herman Orchestra. Pete has received much acclaim for his versatility as a solo trumpeter.

Pete Candoli has won awards as outstanding trumpet player from Downbeat and Metronome Magazines, the 20 most prestigious publications in the music business. Pete also won the Esquire Magazine and the Look Magazine Awards as one of the (7) all-time outstanding jazz trumpet players. The (6) were Louis Armstrong, Bix Biederbeck, Harry James, Bunny Berigan, Dizzy Gillespie and Bobby Hackert, there is more. Pete and his brother Conte won The International Jazz Hall of Fame award in 1997, and was honored with The Big Band award in 2003.

Pete began playing lead and jazz for Sonny Dunham’s Orchestra in 1941, followed by a long string of other name bands including Woody Herman’s famed “First Herd.” Pete settled into the studio scene in the 50’s after tenures with Herman, Tex Beneke, Jerry Gray and Stan Kenton among others. He and Conte also co-led a band (1957-62). As a preeminent lead trumpeter, Pete played for the Orchestras of Alex Stordahl, Gordon Jenkins, Nelson Riddle, Don Costa, Michel LeGrand, Henry Mancini, as well as Frank Sinatra.

Pete’s exuberant premier lead work and dashing high note specialty is fueled with gratifying surprises always. His sharp, peppered trumpet recalls the brilliance of Louis Armstrong and Roy Eldridge bulking peaks and climaxes. As for jazz, “I’m radical! I never play the same jazz thing twice!” asserts Pete. “I’m like a chameleon and I play what I feel, although I may favor some patterns. Also, I’m a little staccato... on edge of my fiery type of playing.” In summary both bothers define jazz force at it’s best.
https://www.allaboutjazz.com/musicians/pete-candoli

Girls, Girls, Girls

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Etta James - Time After Time

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 64:37
Size: 149,0 MB
Art: Front

(5:02) 1. Don't Go To Strangers
(5:03) 2. Teach Me Tonight
(4:31) 3. Love Is Here To Stay
(6:36) 4. The Nearnes Of You
(4:26) 5. Time After Time
(5:50) 6. My Funny Valentine
(6:55) 7. Imagination
(4:01) 8. Fool That I Am
(6:27) 9. Willow Weep For Me
(5:19) 10. Ev'rybody's Somebody's Fool
(4:19) 11. Night And Day
(6:01) 12. Someone To Watch Over Me

Casual fans of Etta James most often thought of her as a blues singer, and she was, when that was what she wanted to do, but she also sang straight girl group pop, belted out R&B and soul tunes, and she also, when she chose, took herself uptown and sang jazz.

That's the case here, as James elegantly delivers her versions of vocal jazz standards like Sammy Cahn and Jule Styne's "Time After Time" and Hoagy Carmichael's "The Nearness of You," in front of a tight and fluid big band comprised of Josh Sklair (guitar), Eddie Harris and Herman Riley (tenor saxophone), Ronnie Buttacavoli (trumpet, flügelhorn), Kraig Kilby (trombone), Cedar Walton (piano), John Clayton (bass), Paul Humphrey (drums), and Donto Metto James (shakers). It's all graceful and uptown, and James' singing is hauntingly beautiful. By Steve Leggett
https://www.allmusic.com/album/time-after-time-mw0000175382

Personnel: Vocals – Etta James; Bass – John Clayton (tracks: all except 6); Drums – Paul Humphrey (tracks: all except 6); Flugelhorn – Ronnie Buttacavoli (tracks: 6, 7, 8, & 9); Guitar – Josh Sklair; Piano – Cedar Walton (tracks: all except 6); Tenor Saxophone – Eddie Harris (tracks: 2, 3, 5, & 12), Herman Riley (tracks: 4, 7, 9, 10, & 11); Trombone – Kraig Kilby (tracks: 2, 3, 5, 7, 9, 10, & 12)

Time After Time

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John Patitucci - Soul of the Bass

Styles: Jazz fusion, Post-bop
Year: 2019
File: MP3@320K/s
Time: 37:47
Size: 90,3 MB
Art: Front

(2:23) 1. Soul Of The Bass
(2:37) 2. Seeds Of Change
(2:00) 3. Morning Train (Spiritual)
(3:30) 4. The Call
(3:40) 5. Mystery Of The Soul
(1:44) 6. Morocco
(2:27) 7. Elvin
(3:14) 8. Earth Tones
(2:48) 9. Seeds Of Change Reprise
(5:44) 10. Allemande in D minor
(3:51) 11. Sarab
(1:47) 12. Trust
(1:55) 13. Truth

Take a look at the long musical lineage paved by the titans of bass, and invariably there's a point where each turns inward to express themselves with just their hands and their instrument, unaccompanied. ForJohn Patitucci that time is now. Soul of the Bass, Patitucci's 16th solo record, is his most intimate and revealing.

Centered around melodic, concise improvisations on acoustic bass, the sound of wood, skin on string and open air serve to heighten the expressiveness of the melodies. Patitucci explains, "I think as you get older you prioritize the sound and the feel of everything you play, which if rendered with integrity, will result in a clarity that communicates to the listener and draws them in."

Patitucci continues his trailblazing ways on his 6-string electric bass guitar, offering a stirring interpretation of the Allemande from Bach's "Cello Suite No. 5," and exploring new sonic terrain by applying his six as a color to some of his acoustic bass inventions. In the record's most dramatic departure, John throws down an R&B groove with drummer Nate Smith, layering additional bass guitars on top, in a historic nod to the instrument.By Editorial Reviews https://www.amazon.com/Soul-Bass-John-Patitucci/dp/B07NRH6PZJ

Personnel: John Patitucci, six-string electric bass, electric bass, piccolo electric bass, bass; Nate Smith, drums (4, 9); Greisun, vocals (11); Isabella Patitucci, vocals (11); Sachi Patitucci, cello (13).

Soul of the Bass

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Steve Davis - Dig Deep

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 60:30
Size: 140,3 MB
Art: Front

(5:46) 1. One For All
(6:54) 2. Dig Deep
(7:47) 3. Little Boy's Bossa
(6:26) 4. Blues Noble
(5:18) 5. Detour Ahead
(7:06) 6. I Should Care
(7:02) 7. Summertime
(7:04) 8. Payne's Window
(7:02) 9. Trippin'

Steve Davis, currently a member of the Jackie McLean Quintet, is one of the major new voices on the trombone. On this, his 2nd leader date for Criss Cross, he shines in the company of the friends he usually plays with: Eric Alexander, Jim Rotondi, David Hazeltine, Nat Reeves and Joe Farnsworth.
By Editorial Reviews https://www.amazon.com/Dig-Deep-Steve-Davis/dp/B0000020OO

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

Dig Deep

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