Various Artists - Colin Curtis Presents Jazz Dance Fusion Volume 2

Styles: Fusion, Latin Jazz
Year: 2020
File: MP3@320K/s
Time: 76:42
Size: 176,7 MB
Art: Front

1. Paoli Mejias - Revelation (5:16)
2. Leslie Lewis And Gerard Hagen Trio - Keeper Of The Flame (5:24)
3. Curtis Lundy - Never Gonna Let You Go (4:21)
4. 8VB - Gengis (6:37)
5. Marita Albán Juárez Quartet - Upa Neguinho (4:37)
6. JD Walter - Golden Lady (5:51)
7. Steven Kroon - Tombo 7/4 (5:52)
8. Hajime Yoshizawa Feat. Navasha Daya - Celebration (5:14)
9. Raffaela Renzulli Ensemble - Brasilia (6:31)
10. Carmen Lundy - So This Is Love (3:36)
11. Tino Gonzales - Latin Gypsy (7:23)
12. Grady Tate - Little Black Samba (9:14)
13. Jam Session Goes Latino - Manteca (6:39)

“Welcome to the second instalment of my ‘Jazz Dance Fusion’ compilation series for Dave Lee’s Z Records. I continue to look back into the story & history of the UK jazz dance and jazz music scene; a movement that started for me back in the 70’s. The sounds of funk & soul mixed with jazz, influences from Brazil, Africa, Europe and all over the globe, textures of instrumental sounds & voices, fuse to create the much-loved ‘jazz fusion’ sound that we love.

Here we are in 2020 when interest in all forms of Jazz is growing fast as DJ pioneers such as Gilles Peterson, Patrick Forge, Perry Louis, Snowboy, Nick Hosier, Alan Mckinnon, Jim Bernardi, Kev Beadle, Harv Nagi, Shuya Okino and David Patterson continue to push all aspects of Jazz to converted and new audiences. So, to this compilation where I am showcasing unreleased material and offering tracks up for the first time ever on vinyl and CD. The track listing covers my addiction to dance-floor jazz, coupled with my passion for vocal and percussive jazz, with my usual trademark latin touches.
https://www.zrecords.ltd.uk/product/colin-curtis-presents-jazz-dance-fusion-volume-2/

Jazz Dance Fusion Volume 2

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Steve Davis & Larry Willis - Alone Together

Styles: Trombone And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 68:42
Size: 157,7 MB
Art: Front

(6:32) 1. Milestones
(4:13) 2. My Foolish Heart
(9:50) 3. Surrey with the Fringe on Top
(8:54) 4. Alone Together
(5:24) 5. The Day You Said Goodbye
(8:22) 6. United
(8:30) 7. We'll Be Together Again
(7:44) 8. UMMG
(9:10) 9. Short Cake

Trombonist Steve Davis has been a veteran of the New York scene for many years. Hailing from Binghamton, New York, he quickly established a presence as one of the best trombonists in the area as a teenager. Upon his arrival in New York City in the mid-1980s, Davis' talents were noticed by such luminaries as drummer Art Blakey and saxophonist Jackie McLean. Davis' quartet release on Mapleshade, Alone Together , is a tip of the hat to his former boss a wonderful quartet featuring pianist Larry Willis, bassist Nat Reeves and drummer Eric McPherson, all McLean alumni.

The fact that all these men are veterans of McLean's combo gives this session the feeling of a working band, and everyone plays at a high level. Davis and Willis have a great rapport together, with Willis' voicings adding depth to Davis' lines. Larry Willis may perhaps be best known as the pianist in trumpeter Woody Shaw's classic group, and as one of the most sensitive and nuanced disciples of Herbie Hancock.

Willis begins the quartet's take on "Milestones with a lovely introduction before Davis enters with the familiar Miles Davis (by way of John Lewis) melody. The rhythmic feel throughout the piece is refreshingly buoyant as McPherson molds and shapes the time at the bridge, a la a young Tony Williams, allowing for strong statements from Willis and Davis. Willis also creates rhythmic interest behind the trombone solo by often going against the time for tension and release.

The next cut, the classic standard "My Foolish Heart, is taken as a duet. Willis' warm chords frame Davis' dark, burnished tone as he stays close to the melody. The title track is taken with a quasi-Latin/boogaloo eighth note feel. Davis bleeds soul out of his horn with Curtis Fuller-like intensity, while McPherson provides strong commentary on the skins throughout. Fuller's influence is further felt on "United, taken from Art Blakey's book. Davis provides slashing phrasing reminiscent of the elder trombonist on classic Blakey albums such as Free For All (Blue Note, 1964), as McPherson keeps a strong swinging pulse on this fairly straightforward Wayne Shorter composition.

As fine as the music is, the recording quality of this release, which is superb, deserves to be mentioned. The sound is dynamic and very much like a session at Rudy Van Gelder's original Hackensack living room studio combined with the intimacy of the many studio dates on Pablo. The recording is direct to two-track analog tape and minimally miked, capturing the nuances of Willis' piano, the woodiness of the bass, and all of the air control flowing through the trombone. Free of compression and other tweaks, this is how every new acoustic jazz album should sound. Overall, Steve Davis and his quartet have made an excellent album that is creative and soulful, sure to delight fans of the hard bop tradition. By CJ Shearn
https://www.allaboutjazz.com/alone-together-steve-davis-mapleshade-recordings-review-by-cj-shearn

Personnel: Steve Davis: trombone; Larry Willis: piano; Nat Reeves: bass; Eric McPherson: drums.

Alone Together

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Marion Montgomery & Mart Rodger Manchester Jazz - Makin' Whoopee

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 74:19
Size: 171,1 MB
Art: Front

(3:29) 1. Way Down Yonder in New Orleans
(4:35) 2. You Took Advantage Of Me
(4:50) 3. Mean to Me
(3:51) 4. Shake It & Break It
(3:37) 5. Kansas City Man Blues
(2:48) 6. If I Ever Cease To Love
(4:26) 7. I Get the Blues When It Rains
(5:50) 8. Sobbin' Blues
(3:54) 9. Dinah
(3:11) 10. After You've Gone
(4:10) 11. Then It Changed
(3:16) 12. Canal Street Blues
(4:52) 13. My Meloncholy Baby
(4:25) 14. I'm Crazy About My Baby
(4:42) 15. Makin' Whoopee
(3:53) 16. Froggie Moorev
(3:48) 17. Love Me Or Leave Me
(4:31) 18. Riverboat Shuffle

Marion Montgomery (November 17, 1934 – July 22, 2002) was an American jazz singer, who lived for the majority of her life in the United Kingdom.

Born Marian Maud Runnells (she later changed the spelling of Marian to Marion) in Natchez, Mississippi, she began her career in Atlanta working clubs, and then in Chicago, where singer Peggy Lee heard her on an audition tape and suggested she should be signed up by Capitol Records, releasing three albums for them in the early and mid-1960s. During this early part of her career, she became Marian Montgomery, having previously gone by the nickname of Pepe. In 1963, she released the original version of the song "That's Life", made famous after its 1966 release by Frank Sinatra.

In 1965, she came to Britain to play a season with John Dankworth, and met and married English pianist and musical director Laurie Holloway, thus beginning a long and productive association in which they both became well known to British jazz, cabaret and television audiences. She numbered amongst her admirers Nat King Cole, Frank Sinatra and British chat show host Michael Parkinson, on whose show she became resident singer in the 1970s. In 1976, she sang in a comedy musical sketch with Morecambe & Wise. She also famously collaborated with composer and conductor Richard Rodney Bennett for a series of concerts and albums in the 1980s and early 1990s.

In the late 1960s and early 1970s, her recording of the song "Maybe the Morning" (contained on her 1972 album Marion in the Morning) was used by Radio Luxembourg each evening to close the station, and again as the final song to be heard on the station when it closed in 1992.[citation needed] Her final studio recording was That Lady from Natchez, released in 1999. She continued to perform until just before her death, including a sell-out three week season at London's "Pizza on the Park" in April 2002.
https://www.wikiwand.com/en/Marion_Montgomery

Personnel: Marion Montgomery - Vocals; Mart Roger - Clarinet; Allan Dent - Trumpet; Terry Brunt - Trombone; Alec Collins - Piano; Tim Roberts - Banjo; Colin Smith - Bass; Pete Staples - Drums

Makin' Whoopee

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Maria Schneider Orchestra - Sky Blue

Styles: Big Band
Year: 2007
File: MP3@320K/s
Time: 63:09
Size: 144,8 MB
Art: Front

(13:28) 1. The 'Pretty' Road
(10:00) 2. Aires de Lando
( 9:34) 3. Rich's Place
(21:57) 4. Cerulean Skies
( 8:08) 5. Sky Blue

There's a reason that composer/bandleader Maria Schneider calls her large ensemble an orchestra. The term "big band suggests a number of inherent expectations relating to historical tradition. Schneider's group may be configured like a big band five reeds, four trumpets, four trombones with an expanded rhythm section but the music she writes delves into territories considerably farther afield. Sky Blue is a logical follow-up to her Grammy Award-winning Concert in the Garden (ArtistShare, 2004), but there's been significant evolution as well.

Even more ambitious than its predecessor, Sky Blue doesn't completely leave behind the South American influences heard on Concert. The Peruvian-informed "Aires de Landro manages to mask its rhythmic complexity beneath a lush lyricism that's explored fully by clarinetist Scott Robinson. Robinson may be the primary soloist, but here as on the rest of Sky Blue the ensemble players manage to interpret Schneider's detailed arrangements while bringing their own personalities to every chart.

That's an important differentiator for Schneider's orchestra, made all the more significant considering that only seven members of an ensemble ranging from seventeen to twenty-one pieces are afforded delineated solos. Guitarist Ben Monder's subtle presence is often something more felt than heard, but it adds unmistakably to the ambience of pieces like the Americana-rich "The 'Pretty' Road, the closest thing to a conventional song form that Schneider's written, yet possessed of an orchestral depth made all the more vivid by Ingrid Jensen's remarkable trumpet and flugelhorn solo.

"Rich's Piece is, not surprisingly, a solo vehicle for tenor saxophonist Rich Perry, but this nine-minute tone poem is bolstered by pianist Frank Kimbrough's intuitive colors and Jay Anderson's fluid and sensitive bass work. Schneider's voicings and her choice of instruments to layer them seamlessly ebb and flow alongside Perry, sometimes becoming dramatically dominant, elsewhere underpinning Perry with sublime understatement.

But it's the episodic, 22-minute centerpiece "Cerulean Skies that elevates Blue Sky to masterpiece. Awash with complex colors and shifting ambiences, it begins in rich abstraction with a variety of bird sounds almost all created by members of the orchestrabefore settling into a sumptuous mix of counterpoint, polyrhythm and evocative melodism, setting the stage for a lengthy tenor solo from Donny McCaslin, who builds to near fever-pitch. Dissolving again into the ethereal, Gary Versace's accordion solo is as much texture as it is melody, with Kimbrough gradually shifting towards another folkloric Americana section initially rubato but finally propulsive for altoist Charles Pillow's vivid closing solo.

Like Vince Mendoza quite possibly the only other artist writing for large ensembles today with as distinctive a voice Schneider's not without precedent. But while past innovators like Gil Evans and Bob Brookmeyer figure in who Schneider is, she's long since transcended those and other influences. Sky Blue is an album of remarkable depth and beauty an expansive, imagery laden experience, from an artist who's ready to be considered in the same breath as those who've been so important to her own development. By John Kelman
https://www.allaboutjazz.com/sky-blue-maria-schneider-artistshare-review-by-john-kelman

Personnel: Steve Wilson, Charles Pillow, Rich Perry, Donny McCaslin, Scott Robinson (sax, flauti e clarinetti); Tony Kadleck, Jason Carder, Laurie Frink, Ingrid Jensen (trombe e flicorni); Keith O'Quinn, Ryan Keberle, Marshall Gilkes (trombone); George Flynn (trombone basso); Ben Monder (chitarra); Frank Kimbrough (piano); Jay Anderson (basso); Clarence Penn (batteria); Gonzalo Grau, Jon Wikan (cajon e percussioni); Gary Versace (fisarmonica); Luciana Sousa (voce).

Sky Blue

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Stanley Clarke - Time Exposure (Expanded Edition)

Size: 136,6 MB
Time: 59:02
File: MP3 @ 320K/s
Released: 1984/2014
Styles: Jazz: Contemporary Jazz
Art: Front

01. Play The Bass 10 (0:45)
02. Are You Ready (For The Future) (3:15)
03. Speedball (3:09)
04. Heaven Sent You (5:56)
05. Time Exposure (4:45)
06. Future Shock (4:31)
07. Future (4:03)
08. Spacerunner (3:14)
09. I Know Just How You Feel (5:55)
10. Heaven Sent You (12'' Mix) (5:59)
11. Heaven Sent You (7'' Mix) (3:28)
12. Are You Ready (For The Future) (12'' Mix) (4:28)
13. Speedball (12'' Mix) (3:13)
14. Future (12'' Mix) (6:14)

While still deeply into the R&B/funk thing, Clarke's Time Exposure is a cut or two above its immediate neighbors in quality, thanks mostly to some superior tunesmithing on Clarke's part. The title track is the prize of the set and one of the best funk numbers of Clarke's career, an ingratiating fusion of a riff and a tune that won't quit the memory, set to a vigorous groove and hammered out by rock guitarist Jeff Beck. Even the obviously radio-minded ballad "Heaven Sent You" (a number 21 R&B hit) is a better-than-average bit of R&B writing -- and here and elsewhere, Clarke wisely leaves the lead vocals mostly to others. The sheer speed and power of Clarke's electric and piccolo bass work is astonishing throughout the album, and the CD as a whole has a techno sound and edge reflecting a period of time just before analog synthesizers were swept away by digital instruments. Ernie Watts and perennial co-conspirator George Duke make cameo appearances on one track apiece. ~Review by Richard S. Ginell

Time Exposure

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Mike Gibbs With The NDR Big Band Feat. Norma Winstone - Here's A Song For You

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 49:23
Size: 113,4 MB
Art: Front


(4:12) 1. Blue
(3:33) 2. So In Love
(3:01) 3. Soldier’s Things
(5:31) 4. Riverman
(3:03) 5. I Think It’s Going To Rain Today
(3:33) 6. Jitterbug Waltz
(6:04) 7. A Thousand Years
(4:47) 8. Caravan
(4:04) 9. Daydream
(3:04) 10. Here Comes The Honeyman
(4:39) 11. Some Shadows
(3:47) 12. You Go To My Head

The great British jazz singer Norma Winstone has just passed her 70th. Having spent much of her career working with composers who've used her range and precision as a texture, she has blossomed in recent years, with the superb Grammy-nominated 2008 album Distances. Winstone takes on classic pop songs here – including Joni Mitchell's Blue, Tom Waits's Soldier's Things, and Nick Drake's Riverman – with arrangements by Mike Gibbs for Hamburg's NDR Big Band, and Mark Mondesir on drums. Gibbs's low brass parts, riffy sideswipes and Latin grooves transform Cole Porter's So in Love. Soldier's Things has a film noir feel, and Winstone is quietly soulful against the musicians' roar on Riverman. She doesn't quite manage to be playful, raunchy and emotional all at once on Jitterbug Waltz, but Sting's A Thousand Years is perfect for her. A spooky, echo-laden Caravan is startling, and Here Comes the Honeyman balefully bluesy. The reworking of Gibbs's 1970s theme Some Shadows – with a brass/reeds arrangement of Kenny Wheeler's original improvised solo is a bonus.By John Fordham
http://www.theguardian.com/music/2011/oct/27/mike-gibbs-norma-winstone-review


Personnel: Arranged By, Directed By [Musical Director], Conductor – Mike Gibbs; Bass – Dave Whitford; Cello – Vytantas Sondeckis (tracks: 11); Drums [Drum] – Mark Mondesir; Guitar – Stephan Diez Percussion – Marcio Doctor; Piano – Mischa Schumann (tracks: 10), Vladislav Sendecki; Saxophone [Saxophones], Woodwind – Christof Lauer, Fiete Felsch, Frank Delle, Lutz Büchner, Matthias Erlewein (tracks: 10), Peter Bolte; Trombone – Dan Gottshall, Klaus Heidenreich, Steve Trop; Trombone [Bass Trombone], Tuba – Ingo Lahme; Trumpet – Claus Stötter, Ingolf Burkhardt, Michael Leuschner, Reiner Winterschladen, Thorsten Benkenstein; Voice – Norma Winstone

Here's A Song For You

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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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