Greta Matassa - Portrait

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 62:46
Size: 145,6 MB
Art: Front

(5:03)  1. Pieces of Dreams
(3:38)  2. To Make You Feel My Love
(4:43)  3. The Shining Sea
(5:11)  4. Prelude to a Kiss
(4:06)  5. If You Never Fall in Love with Me
(5:01)  6. Down Here on the Ground
(4:18)  7. That Day (From "Cinema Paradiso")
(3:43)  8. The Beat of My Heart
(4:29)  9. The One Who Loves the Most / Softly as I Leave You
(4:33) 10. Gone with the Wind
(5:27) 11. Just for a Thrill
(4:43) 12. Baubles Bangles and Beads
(7:46) 13. Lush Life

Greta Matassa has made choices in her career that have sacrificed some visibility in exchange for lifestyle. Yet the Seattle based vocal artist has established herself firmly as one of America's finest singers, and one of the best that jazz has to offer in the new century. To this point, the jazz public at large had not heard from Matassa in 11 years, since her last solo Origin release, The Smiling Hour (Origin, 2008). With Portrait (Origin, 2019), Matassa explores the best music she has performed in the past decade with her working quintet that includes pianist Darin Clendenin, bassist Clipper Anderson, saxophonist Alexey Nikolaev and drummer Mark Ivester.

The entire album plays like a set they might perform one evening in an intimate setting. There is a beautiful chemistry illustrated broadly in the intricacies of the musical interaction, and effortless sense of swing from piece to piece. Opening with Michel LeGrand's "Pieces of Dreams," the listener hears immediate impressions of a long tenured band, with the scorching solo of Nikolaev weaving its way through the elegant comping of Clendenin, and the one mind tamdem of Anderson and Ivester. It is a melody perfect to highlight the cadence of Matassa's innovative approach, her amazing sense of tonality and range, and deep connection with the blues. Innocently sequestered between melodies composed by the likes of Ellington and LeGrand is a Bob Dylan jewel, "To Make You Feel My Love." Matassa switches gears to present this soulful rendition, giving the impression that this tune's intimate setting may well be in Detroit. In short, the opening two numbers clearly establish not only Matassa's versatile skill set, but her willingness to go deep into a melody with a musician's mind.

Her instrument has always been unquestionably top tier, her ability to interpret within the mood and emotive qualities of a tune second to none. Why shouldn't one of the finest voices in jazz perform one of the genre's most beautiful and memorable melodies? With "Prelude to a Kiss" Matassa reveals her perfect pitch, the enabler that allows her to journey outside of a melody with the insight of a composer in spontaneous motion. Pianist Clendenin delivers an elegant solo, and the perfect phrasing to allow Matassa's impeccable articulation of the lyrics tell the story, and establish the vibe of the Ellington classic.

"If You Never Fall In Love With Me," features Matassa and Nikolaev in a lively exchange with voice playing counterpoint to tenor in horn-like fashion. Matassa's abilities to solo without words is more akin to a fine horn player than a practitioner of more traditional scat. "Beat of My Heart" is a playful tune lyrically delivered in rapid fire articulation. Matassa delivers a scintillating, hard-swinging solo. Her work on this tune is representative of her artistry, of the immaculate musicianship she employs, that which has been a constant on stage and in the studio over her career that now spans more than a quarter century. "Gone With The Wind" begins with Matassa and bassist Anderson in tandem. The band enters the fray swinging gently with Clendenin's tasteful harmony setting things in motion. Choosing to record this album with her standard quintet that she has mainly performed with over the past decade shows its true colors on this piece. The chemistry and comfort level achieved is that which is achieved over time, over countless hours on stage and in rehearsal. In this sense, Portrait is the truest recording Matassa has made in her career in terms of being representative of her time as a working musician, as part of a working band. 

The cover of the CD features a portrait of Matassa's mother, painted by her late father. Matassa alludes to conversations about jazz and art around the kitchen table at 3 AM, about learning to understand the parallels between jazz improvisation and abstract expressionism. This album bears the imprint of familial love, whether it be that of her father, or that of the kinship that has bonded her band together over a significant stretch of time. Either way, Portrait is a gathering point for Matassa's sheer artistry. 

By Paul Rauch https://www.allaboutjazz.com/portrait-greta-matassa-origin-records-review-by-paul-rauch.php

Personnel: Greta Matassa: vocals; Darin Clendenin: piano; Clipper Anderson: bass; Mark Ivester: drums; Alexey Nikolaev: saxophones.

Portrait

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Claire Daly & George Garzone - VuVu for Frances

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 59:45
Size: 137,5 MB
Art: Front

(6:22) 1. All the Way
(6:23) 2. Sweet Georgia Bright
(4:51) 3. Fools Rush In
(4:54) 4. People Will Say We're in Love
(4:06) 5. The Lonely Goatherd
(2:22) 6. Mood Indigo
(4:55) 7. Warm Valley / What Am I Here For
(4:43) 8. Hold Out Your Hand
(3:51) 9. Half Nelson
(3:47) 10. Harlem Nocturne (feat. Jon Davis)
(3:15) 11. The Very Thought of You
(4:49) 12. The Saga of Harrison Crabfeathers
(5:22) 13. Manhattan (feat. George Garzone)

Working jazz musicians have long been accustomed to the necessity of playing just about anything, in any setting, and Claire Daly is no exception. The intrepid baritone saxophonist has recorded tributes to Thelonious Monk and Rahsaan Roland Kirk and, in 2016, she even offered a distinctive take on Motown classics with 2468 West Grand Boulevard (Glass Beach Jazz). With the enviable versatility on her formidable horn which has brought her consistent acclaim, she now turns to more conventional jazz fare, uniting with tenor saxophonist George Garzone, a mentor and collaborator who brings his lighter touch to a wide-ranging, enjoyable set of standards and show tunes.

Daly's episodic work with Garzone goes back at least to 1998, when she appeared on his Moodiology (NYC Records), an album characteristic of Garzone's assertive style. Here he is much more subdued—indeed, the "VuVu" in this record's title is a neologism from Garzone which indicates his willingness to focus his contributions in a melodic, understated manner. Daly too stays largely within a restrained, lyrical temperament, suitable for a repertoire which ranges from Duke Ellington's "Mood Indigo" to Rodgers and Hart's "I'll Take Manhattan." Ironically, the one cut in which the two saxophonists turn it loose is the Rodgers & Hammerstein number "Lonely Goatherd," one of two tunes from that songwriting team (the other being "People Will Say We're in Love"). On "Goatherd," Daly's arrangement uses an odd-meter framework to unleash some ferocious playing from both saxophonists, particularly during their mutual improvisation toward the close of the track. In other respects, the two play it straight, hewing closely to the tunes of the classic repertoire.

The rest of the band includes pianist Jon Davis, bassist Dave Hofstra, and drummer David F. Gibson. They provide all the support needed to let Garzone and Daly do their thing and with the delicate touch required on pieces such as Duke Ellington's "Warm Valley," rendered gorgeously before transitioning into the briskly paced "What Am I Here For?" There are a few surprises here, including a brief vocal turn from Daly on Steve Kuhn's "Hold Out Your Hand," and Davis switching to keyboards for a vigorous treatment of Kuhn's modal "Saga of Harrison Crabfeathers." For the most part the quintet refrains from taking too many chances, preferring to let the melodies shine lambently. And there is nothing to fault them for in that regard; when Daly and Garzone generate their tender dialogue on "Fools Rush In," it is easy to appreciate the genuine reverence the two veterans bring to this material.By Troy Dostert
https://www.allaboutjazz.com/vuvu-for-frances-clare-daly-with-george-garzone-daly-bread

Personnel: Claire Daly: saxophone, baritone; George Garzone: saxophone, tenor; Jon Davis: piano; Dave Hofstra: bass; David F. Gibson: drums.

Additional Instrumentation: Daly: vocals (8); Davis: keyboards (12).

VuVu for Frances

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Dutch Swing College Band - Digital Dixie

Styles: Swing
Year: 1981
File: MP3@320K/s
Time: 51:46
Size: 119,8 MB
Art: Front

(1:39) 1. Way Down Yonder in New Orleans
(4:48) 2. Knee Drops
(4:20) 3. West End Blues
(4:42) 4. At A Georgia Camp Meeting
(5:25) 5. I Want a Little Girl
(4:04) 6. China Boy
(4:48) 7. Creole Belles
(3:28) 8. Sugar
(5:57) 9. The Kazoos
(3:29) 10. Down Home Rag
(5:11) 11. On Green Dolphin Street
(3:49) 12. Everybody Loves My Baby

The Dutch Swing College Band "DSCB" is a traditional dixieland band founded on 5 May 1945 by bandleader and clarinettist/saxophonist Peter Schilperoort.

Highly successful in their native home of The Netherlands, the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Jan Morks (clarinet), Wout Steenhuis (guitar), Arie Ligthart (banjo/guitar), Jaap van Kempen (banjo/guitar), Oscar Klein (trumpet), Dick Kaart (trombone), Ray Kaart (trumpet), Bert de Kort (cornet), Bert Boeren (trombone), Rod Mason, Rob Agerbeek (piano) among many others.

The band provided the interval act for the Eurovision Song Contest 1976 presented live from Den Haag.

The band continues to tour extensively, mainly in Europe and Scandinavia, and record directed by Bob Kaper, himself a member since 1967, following the former leader, Peter Schilperoort's death on 17 November 1990. Schilperoort had led the band for more than 45 years, albeit with a five-year sabbatical from 13 September 1955, when he left to pursue an engineering career before returning to lead the band again officially on 1 January 1960.
https://en.wikipedia.org/wiki/Dutch_Swing_College_Band

Digital Dixie

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Chris Connor - Chris Connor (Hd Remastered)

Styles: Vocal
Year: 1956/2018
File: MP3@320K/s
Time: 40:46
Size: 94,9 MB
Art: Front

(1:54)  1. I Get a Kick out of You
(3:17)  2. Something to Live For
(3:11)  3. Get out of Town
(3:51)  4. Where Are You?
(2:18)  5. Anything Goes
(3:28)  6. When the Wind Was Green
(3:47)  7. He Was Too Good to Me
(2:51)  8. You Make Me Feel so Young
(3:50)  9. Everytime
(2:32) 10. Way out There
(2:47) 11. My April Heart
(2:14) 12. Almost Like Being in Love
(2:04) 13. Circus (Bonus Track)
(2:35) 14. Flying Home (Bonus Track)

Stunningly repackaged, remastered, and featuring new liner notes by leading jazz writers, the Warner Jazz Masters Series includes best sellers as well as rare, sought-after gems. The first jazz vocal LP ever released on Atlantic Records, Chris Connor's self-titled album is one of her best (among considerable competition). Connor's coarse, throaty tone, sweet phrasing, and unerring rhythm were peaking during the late '50s, and the results are delightful tweaks of the standards "Anything Goes" and "Almost Like Being in Love." With similarly excellent results, Connor also transforms a couple of Sinatra's evergreens: "I Get a Kick Out of You," taken at breakneck pace with a small group including pianist John Lewis, bassist Oscar Pettiford, and drummer Connie Kay; "Where Are You"; and "You Make Me Feel So Young," with a ten-piece featuring tenor Zoot Sims and bassist Milt Hinton.
By Editorial Reviews https://www.amazon.com/Connor-Chris/dp/B0009QQ6I0

Chris Connor (Hd Remastered)

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Karen Oberlin - Live at the Algonquin: The Songs of Frank Loesser

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 47:31
Size: 109,8 MB
Art: Front

(3:08)  1. If I Were a Bell
(2:40)  2. Lovelier Than Ever
(3:12)  3. Why Fight the Feeling?
(2:31)  4. My Time of Day
(3:18)  5. Love Isn't Born (It's Made)
(5:20)  6. Heart and Soul / I Wish I Didn't Love You So
(5:19)  7. Traveling Light / Wanting to Be Wanted
(3:09)  8. Hamlet
(2:57)  9. What Are You Doing New Year's Eve?
(0:17) 10. Spoken Intro: Animals
(5:42) 11. The Inch Worm / Snug As a Bug in a Rug
(2:40) 12. Spring Will Be a Little Late This Year
(0:29) 13. Spoken Intro: I Believe in You
(3:34) 14. I Believe in You
(3:08) 15. More I Cannot Wish You

Multi award-winning Oberlin received these raves, among others, for her three-week engagement at the legendary Oak Room at the Algonquin, when this CD was recorded: “Karen Oberlin is a demure pop-jazz singer who radiates a subdued glamour… Beyond having a pretty voice, poise and interpretive insight, Ms. Oberlin is a thorough researcher who placed many of the songs in a historical or personal context… A smart, polished show.”~Stephen Holden, The New York Times “A Christmas tree angel named Karen Oberlin is lighting up the Algonquin’s Oak Room with a show that sends you out humming. I loved the bebop jawbreakers, and she excels on the love songs. Subtle, elegant and musically spot on, the lovely Ms. Oberlin is such a welcome addition to the often noisy and pointless cabaret scene that one can even imagine her accompanied by a celesta without causing the slightest hint of boredom. She’s a keeper.”~Rex Reed, New York Observer

“How would you like your own private one-to-one performance by a sophisticated singer? All right, so there are other people with you in the Oak Room of the Algonquin Hotel. But everyone seems to fade away as Karen Oberlin has a love affair with the music and lyrics she has chosen and sings so intimately that it’s as if her songs are meant only for you. She sets the bar for her purity of tone and interpretation at the outset with “If I Were a Bell” from “Guys and Dolls,” sung with utmost clarity and attention to detail. She liltingly sings such ballads as “I Don’t Want to Walk Without You” (music in this case by Jule Styne), “I’ve Never Been in Love Before” from “Guys and Dolls,” and “I Wish I Didn’t Love You So” from the 1947 film “Perils of Pauline.” Honoring the prolific composer and lyricist could not be in better hands.”~William Wolf, William Wolf’s Entertainment Guide

"Her voice warms like melting butter to infuse her love songs with emotion and passion. With shades of the whispery Doris Day intimacy, she luxuriates over the long lines and romantic intent of "Wanting to Be Wanted", an intense song cut from Most Happy Fella just before its New York opening... With her warmth and introspection, Frank Loesser's songs come to us as fresh and contemporary as the annual question, "What Are You Doing New Year's Eve?". Karen Oberlin has followed a straight upward path since she began her career. In a three-week engagement in the Oak Room, she proves her audiences were right and her critical acclaim is well-deserved."~Elizabeth Ahlfors, Curtainup.com

“Like a breath of spring, Karen Oberlin’s lush vocal renditions of the songs of one of America’s foremost writers of the American theater filled the air of the historic Oak Room. Oberlin, always in control, cleverly weaves lyrical wonders whether it’s a sensitive and plaintive “I Don’t Want to Walk Without You” (music by Jule Styne) or a meticulously sung novelty, “Hamlet” (1949 film: Red, Hot and Blue). Musical Director Jon Weber, skillful in his accompaniment and arranging, added vocal counterpoint to a sultry “Baby, It’s Cold Outside.” From Pulitzer Prize winner How to Succeed in Business Without Really Trying (slated for a Broadway revival in 2011), Oberlin showed off flawless styling on “I Believe in You.” A mix of pop and jazz with an easy delivery, it feels as if she hugs each lyric, Oberlin is joyous to behold.”~Sandi Durell, Cabaret Scenes Magazine http://www.cdbaby.com/cd/karenoberlin

Live at the Algonquin: The Songs of Frank Loesser

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Roni Ben-Hur - Signature

Bitrate: MP3@320K/s
Time: 62:07
Size: 142.2 MB
Styles: Bop, Guitar jazz
Year: 2005
Art: Front

[4:17] 1. Mama Bee
[9:28] 2. Bacchianas Brasileiras, No. 2 Aria
[8:22] 3. Blues In The Night
[8:01] 4. Eretz
[6:32] 5. Slowly But Surely
[6:33] 6. Choro, No. 1
[5:54] 7. Time On My Hands
[6:19] 8. Luiza
[6:35] 9. So In Love

Bass – Rufus Reid; Drums – Leroy Williams; Guitar – Roni Ben-Hur; Percussion – Steve Kroon (tracks: 2, 6, 8, 9); Piano – John Hicks. Recorded September 12, 2004 at Avatar Studios, NYC.

The person and musician who is Roni Ben-Hur comes shining through on Signature. The record so full of joy that it is easy to just sit back, relax and enjoy a hour's worth of fine music—and it's much more than just good playing. The late pianist John Hicks, a pro's pro if there ever was one, is in sync with Ben-Hur every step of the way through the varying emotions and styles of these tunes.

Ben-Hur is clearly out of the Wes Montgomery mold (at least) and is extremely secure in his technique—so much so, in fact, that it fades into the background, allowing his musical ideas to come to the fore. He uses a clear tone and his playing is very clean and precise. Indeed, partly what makes the album so enjoyable is that Ben-Hur is never predictable. He manages to surprise time after time in an extremely satisfying way. The material comprises an interesting mix of immediately recognizable standards ("Blues In The Night," "Time On My Hands" and "So In Love") and originals ("Mama Bee" and "Eretz" by Ben-Hur, "Slowly But Surely" by Hicks), plus three unusual choices: "Bachiana Brasileiras No. 2, Aria" and "Choro No. 1" by Heitor Villa-Lobos and the relatively lesser-known "Luiza" by Antonio Carlos Jobim.

My interest in Signature was piqued by the South American tunes and Ben-Hur's "Eretz." Villa-Lobos, whose compositions form part of the core repertoire of classic guitar players, is a master of understatement, producing beautiful melodies and harmonies from seeming simplicity. His music is very direct, straightforward and highly emotional. The Aria played here was originally composed for eight cellos and soprano voice, so the first task was to arrange it for the band, allowing some room for soloing in a composition that changes meters often. Ben-Hur makes the second task seem natural: he fills every note with the passion and emotion that the composer put into the piece. The Choro will be familiar to any classic guitarist, and this arrangement is very true to the spirit of the original. Jobim's "Luiza" might not be recognized by most people who know his other, more popular tunes. Nevertheless, it is far from a lesser work, and Ben-Hur sings it through his guitar in a simple arrangement that lets the music speak for itself. Finally, Ben-Hur's own "Eretz" speaks directly from the heart of someone with a love of his homeland, in this case Israel. The tune's emotions, as complex as Israel's history, deliver "... a prayer, my prayer for peace." ~Budd Kopman

Signature

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Chris Connor - New Again

Styles: Vocal 
Year: 1987
File: MP3@320K/s
Time: 43:02
Size: 99,8 MB
Art: Front

(3:07)  1. Dearly Beloved
(4:12)  2. Down In Brazil
(3:49)  3. I Never Meant To Hurt You
(3:18)  4. Love Locked Out
(5:42)  5. Astaire Medley
(3:08)  6. Mad About The Boy
(4:19)  7. Antonio's Song
(4:14)  8. I Wish I'd Met You
(5:03)  9. My Foolish Heart
(6:04) 10. Jukebox Medley

The follow-up album to Chris Connor's Classic is similar in the moods it covers, the style of music and the instrumentation. Michael Abene and Richard Rodney Bennett split the keyboard duties, trumpeter Claudio Roditi and Bill Kirchner (on various reeds) have some short solos, and flutist Dave Valentin makes a couple of guest appearances. Connor, at 59, still had a powerful and haunting voice, as she shows on "Dearly Beloved," "My Foolish Heart," and even on a couple of medleys (one of Fred Astaire tunes and the other a "Jukebox Medley"). Listeners should acquire a good sampling of Chris Connor's 1950s recordings first, but her two Contemporary CDs have their value too. ~ Scott Yanow https://www.allmusic.com/album/new-again-mw0000200370

Personnel:  Vocals – Chris Connor;  Acoustic Bass – Michael Moore;  Drums – Buddy Williams; Flute – Dave Valentin; Keyboards – Michael Abene, Richard Rodney Bennett; Percussion – Sammy Figueroa; Tenor Saxophone, Alto Saxophone, Soprano Saxophone, Flute, Clarinet – Bill Kirschner; Trumpet, Flugelhorn – Claudio Roditi

New Again

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Lee Wiley - Music of Manhattan, 1951

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 67:06
Size: 155,6 MB
Art: Front

(3:36) 1. Street of Dreams
(3:11) 2. Oh, Look at Me Now
(1:49) 3. Hallelujah
(4:38) 4. Manhattan
(2:58) 5. Manhattan
(4:18) 6. Ghost of a Chance
(3:02) 7. Sugar
(3:07) 8. I've Got a Crush on You
(3:48) 9. Sugar
(2:23) 10. Anytime, Anyday, Anywhere
(3:04) 11. Oh, Look at Me Now
(2:26) 12. Deed I Do
(3:24) 13. That's for Sure
(1:42) 14. 'S Wonderful
(2:08) 15. I've Got a Crush on You
(1:26) 16. Anytime, Anyday, Anywhere
(2:30) 17. Street of Dreams
(2:52) 18. Manhattan
(1:48) 19. Deed I Do
(3:13) 20. I've Got a Crush on You
(4:02) 21. I'm Comin' Virginia
(3:47) 22. Down to Steamboat Tennessee
(1:45) 23. Baby, Won't You Please Come Home

These 1951 selections come from transcription discs and live appearances at Storyville, a Town Hall Concert, and the Rustic Lodge. Wiley was a great vocalist, often associated with Chicago Dixieland musicians. Her primary influence was Ethel Waters, and she had much in common with Billie Holiday as well.

Both had rather raw, “whiskey soaked” timbres and laid-back attacks, and made up for limited ranges and power with excellent taste, sensitivity and the ability to freshen melodies by improvising on them. She was known for her sensitive ballad performances, but sang blues convincingly as well. Her accompanists here include some fine trumpeters, Billy Butterfield, Buck Clayton, Muggsy Spanier, and Red Allen, and pianist Joe Bushkin.

She’s very relaxed and sure of herself. And she’s wonderfully unpretentious. Pianist Stan Freeman, who worked with her, said Wiley “didn’t know what she was singing half the time.” Maybe, but she interprets lyrics meaningfully, accenting words and syllables astutely. Though her vocals have a weary quality, she never gets maudlin, and there are times when she’s buoyant. By Harvey Pekar
https://jazztimes.com/archives/lee-wiley-music-of-manhattan-1951/

Personnel: Vocals – Lee Wiley; Bass – John Field (tracks: 7 to 13), Milt Hinton (tracks: 16 to 20), Mort Stuhlmaker (tracks: 1 to 5); Cornet – Jack Honeywell (tracks: 21 to 23), Muggsy Spanier (tracks: 7 to 13); Drums – Barrett Deems (tracks: 7 to 13), George Wettling (tracks: 1 to 5), Jo Jones (tracks: 16 to 20); Orchestra – Ray Bloch And His Orchestra (tracks: 15); Piano – Dave Bowman (tracks: 6), George Wein (tracks: 7 to 13), Joe Bushkin (tracks: 1 to 5 16 to 20); Trumpet – Billy Butterfield (tracks: 1 to 6), Buck Clayton (tracks: 16 to 20), Henry "Red" Allen (tracks: 21 to 23)

Music of Manhattan, 1951

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Sophia Tomelleri With Massimo Faraò - Sweet And Lovely

Styles: Saxophone And Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 57:16
Size: 131,9 MB
Art: Front

(5:10) 1. Sweet And Lovely
(7:34) 2. I Couldn’t Live Without You
(4:30) 3. Barbados
(4:55) 4. How About You
(5:10) 5. The Shadow Of Your Smile
(8:02) 6. Reflections
(5:50) 7. I Want To Be Happy
(9:12) 8. Ask Me Now
(6:49) 9. Love For Sale

Sophia Tomelleri, born in 1992, graduated in 2013 in classical saxophone at the “G. Verdi” in Milan,then moved to Bavaria and obtained a three-year degree in Jazz saxophone at the “Hochschule für Musik und Theater München” in Munich in 2018.

During this period, he obtained a scholarship to spend a year at the CMDL, a Parisian institute under the guidance of violinist Didier Lockwood. In Paris you have the opportunity to play with John Betsch, Emmanuel Bex, Sava Medan.

Based in Milan, she is a versatile musician and in demand in various formations and musical projects, ranging from the most traditional to contemporary Jazz. In 2020 she won first place for young Jazz soloists in two competitions: the "Luciano Zorzella" award and the "Massimo Urbani" award.
https://www-emmerecordlabel-it.translate.goog/artist/sophia-tomelleri/?_x_tr_sl=it&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc

Sweet And Lovely

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Russ Johnson Quartet - Reveal

Styles: Post Bop
Year: 2023
File: MP3@320K/s
Time: 51:42
Size: 119,3 MB
Art: Front

(6:57) 1. Skips
(9:06) 2. The Slow Reveal
(7:53) 3. Long Branch
(3:08) 4. R.E.M. Unit
(7:17) 5. Agnomen
(6:22) 6. Veiled Invitation
(1:42) 7. T.R.M.
(5:54) 8. Dog Gone It
(3:20) 9. Coda

While he has appeared on seemingly countless releases as a sideman, trumpeter Russ Johnson remains chronically under-recorded as a leader. It thus comes as a cause for rejoicing whenever one sees his name at the top of a release. Thankfully, Calligram Records has helped redress that problem with Reveal, Johnson's latest offering featuring a quartet with violinist Mark Feldman, bassist Ethan Philion and drummer Timothy Daisy. Geof Bradfield and Chad McCullough started Calligram with an eye toward showcasing some of the best talent in Chicago's ever-thriving jazz scene, and Reveal certainly qualifies. With a wide gamut of expression and a true spirit of mutuality, the disc is a terrific representation of Johnson and his colleagues' many talents.

Feldman's appearance on an all-Chicago recording is not a mistake, as the longtime New York city denizen has become a Chicago transplant, following the path that Johnson himself took in the early 2010s. He is an unfailingly dynamic and imaginative improviser, but also supremely responsive, as he darts through and alongside Johnson's lines on the crackling opening track, "Skips."

With an irrepressible groove created by Philion and Daisy, the tune is propelled forward by the obvious rapport shared by the trumpeter and violinist, who have an uncanny ability to anticipate and echo each other's moves. Their deep conversation continues in a very different vein on "The Slow Reveal," a nine-minute patient excavation which puts a premium on close and subtle interactions, as Philion's arco generates an enticing alchemy with Feldman before Johnson enters the mix to tease out his own carefully measured statements. But with this group there is always energy in reserve, and this track eventually finds it, with an intensity fueled by Daisy's restless vortex.

Reveal's nine tracks, all penned by Johnson, work their magic by oscillating between vigor and reflection. "Long Branch," the group's tribute to trumpeter Jamie Branch, is a case in point, with Johnson and Feldman taking the opportunity to delve into the kind of quiet lyricism Branch could herself explore with aplomb but with a seething intensity building underneath as the track unfolds. Fittingly, "REM Unit" possesses a dream-like power, with Philion's wide-ranging technique pivotal in shaping the track's trajectory with Johnson and Feldman.

And "Veiled Invitation" is another moment in which the quartet moves from a pensive to a demonstrative register, as the track commences in a reticent vein but eventually finds its way toward a surging vitality. "Dog Gone It," on the other hand, allows the quartet to let loose from the outset, as its nod to Julius Hemphill's "Dogon A.D." sizzles with menace. Philion's brooding bass and Daisy's relentless rock rhythm push Feldman into a frenzy, but Johnson also thrives on the track's propulsive thrust, with lines that dance and weave through the piece's closing minute.

After the cathartic force of "Dog Gone It," the album concludes with a welcome reverie the beautiful "Coda," with Feldman's delicate upper-register playing almost reaching the ether, while Johnson's mournful trumpet announces the end of a terrific recording.By Troy Dostert
https://www.allaboutjazz.com/reveal-russ-johnson-quartet-calligram-records

Personnel: Russ Johnson: trumpet; Mark Feldman: violin; Ethan Philion: bass; Tim Daisy: drums.

Reveal

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Ruby Braff, George Barnes Quartet - Live At The New School

Bitrate: MP3@320K/s
Time: 79:24
Size: 181.8 MB
Styles: Mainstream jazz
Year: 1974/1994
Art: Front

[5:19] 1. This Can't Be Love
[4:51] 2. With Time For Love
[4:15] 3. There Will Never Be Another You
[3:10] 4. Solitude
[3:55] 5. Struttin' With Some Barbeque
[3:08] 6. On The Sunny Side Of The Street
[4:47] 7. Thou Swell
[4:26] 8. Body And Soul
[4:04] 9. Squeeze Me
[3:56] 10. It Don't Mean A Thing If It Ain't Got That Swing
[2:36] 11. Rockin' In Rhythm
[4:53] 12. Sugar
[4:05] 13. Liza
[3:52] 14. You're A Lucky Guy
[3:10] 15. Don't Blame Me
[2:49] 16. Cheek To Cheek
[4:14] 17. Mean To Me
[2:17] 18. Here There And Everywhere
[4:23] 19. Goose Pimples
[5:03] 20. Nobody Else But You

Bass – Michael Moore; Cornet – Ruby Braff; Lead Guitar – George Barnes; Rhythm Guitar – Wayne Wright. Concert recorded 22 April 1974 in New York City.

This is the best album by far that the Braff/Barnes quartet ever made,which is not to say that their other records are bad, they weren't, but this one is an absolute treasure, made better by including all the music recorded that night, unlike the original LP. Ruby Braff must be the best cornet player in jazz, and George Barnes amongst the best swing guitarists of his time. They play so wonderfully together that it is difficult to single out any tracks as being the best, but my favourite numbers are "There will never be another you","Solitude", "Rockin' in rhythm" ,"Struttin' with some barbecue", and "It don't mean a thing".

But really the whole record is great, with the highest standards of musicianship from both the principals and Michael Moore and Wayne Wright on bass and rhythm guitar. Interestingly, the lack of a drummer doesn't stop the group swinging like crazy! The recording is excellent too, it does a great job in capturing the beautiful tone that both Ruby and George coax from their instruments. This is the most enjoyable jazz album I bought during 2000, and in my opinion the Braff/Barnes quartet was one of the outstanding groups of the seventies. Anyone with an appreciation for good music making cannot fail to be inspired and uplifted by this tasteful, humourous and sublime recording. ~William J. Churchman

Live At The New School

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Oscar Peterson - Tracks

Styles: Piano Jazz
Year: 1970
File: MP3@320K/s
Time: 42:48
Size: 98,8 MB
Art: Front

(4:03) 1. Give Me The Simple Life
(4:19) 2. Basin Street Blues
(3:10) 3. Honeysuckle Rose
(5:11) 4. Dancing On The Ceiling
(2:41) 5. Child Is Born
(5:23) 6. If I Should Lose You
(2:47) 7. Little Jazz Exercise
(5:20) 8. Django
(4:21) 9. Ja Da
(5:27) 10. Just A Gigolo

Pianist Oscar Peterson is frequently astounding on this solo set. After nearly 20 years of mostly performing with trios, Peterson sounds quite liberated in this setting, throwing in some hot stride, unexpected changes in tempos and keys, and surprises whenever he thinks of them. "Give Me the Simple Life," "Honeysuckle Rose," and the ironically titled "A Little Jazz Exercise" are quite remarkable, yet Peterson also leaves space for some sensitive ballads. By Scott Yanow
https://www.allmusic.com/album/tracks-mw0000319509

Tracks

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Girl Talk - Talkin' Jazz

Styles: Soul Jazz, Hard Bop
Year: 1996
File: MP3@320K/s
Time: 51:15
Size: 118,1 MB
Art: Front

(2:50) 1. Girl Talk
(3:06) 2. Blue And Sentimental
(4:03) 3. O Grande Amor
(5:33) 4. Polkadots And Moonbeams
(3:43) 5. September In The Rain
(6:36) 6. It's Easy To Remember
(5:15) 7. Estate
(3:56) 8. Let's Cool One
(5:08) 9. Blame It On My Youth
(4:23) 10. Beautiful Love
(6:37) 11. I Fall In Love To Easily

Kurt Rosenwinkel - Undercover: Live at the Village Vanguard

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 53:12
Size: 122,2 MB
Art: Front

( 8:16) 1. Cycle Five
( 7:03) 2. The Past Intact
( 7:58) 3. Solé
( 7:19) 4. Our Secret World
( 9:37) 5. Music
(12:57) 6. Undercover

Legendary guitarist and composer Kurt Rosenwinkel's latest quartet with visionary jazz musicians Aaron Parks (Piano & Fender Rhodes), Eric Revis (Acoustic Bass) and Greg Hutchinson (Drums). The group's exhilarating recording Undercover: Live At The Village Vanguard is a selection of seven of Rosenwinkel's original compositions, captured over three nights of their week-long run at the historic Village Vanguard, the legendary New York jazz club that has been host to the defining artists in jazz, including Bill Evans, John Coltrane, Sonny Rollins, Joe Henderson, and countless others.

Undercover: Live At The Village Vanguard captures the joyous, visceral energy of Rosenwinkel's masterful quartet, and easily finds its place in the continuum of historic recordings made there. Editorial Reviews
https://www.amazon.com/Undercover-Live-at-Village-Vanguard/dp/B0C4FPMY2Y

Personnel: Kurt Rosenwinkel – guitar; Aaron Parks – piano, keys; Eric Revis – bass; Greg Hutchinson – drums

Undercover: Live at the Village Vanguard

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Ella Fitzgerald - The War Years (1941-1947) [2-Disc Set]

Covering an important six-year period in Ella Fitzgerald's career, this two-CD set contains some of the highlights of the period as she develops from a top big-band singer into a masterful jazz improviser. Although one wishes that this survey were "complete," the 43 selections do feature Fitzgerald in a wide variety of settings, including with small groups, collaborating with The Ink Spots, the Delta Rhythm Boys Louis Jordan, Louis Armstrong and fronting various studio groups. Most of her hits from the period are here along with previously unissued alternate takes of "It's Only a Paper Moon," "Flying Home" and two of "How High the Moon," making this a strong introduction to her early years.

Album: The War Years (1941-1947) [Disc 1]
Bitrate: 320K/s
Time: 63:48
Size: 146.1 MB
Label: GRP
Styles: Vocal Jazz, Swing, Easy Listening
Year: 1994

[2:58] 1. Jim
[2:51] 2. This Love Of Mine
[3:11] 3. Somebody Nobody Loves
[3:24] 4. You Don't Know What Love Is
[2:50] 5. Make Love To Me
[2:42] 6. Mama, Come Home
[3:00] 7. My Heart And I Decided
[3:19] 8. He's My Guy
[2:51] 9. Cow Cow Boogie
[3:04] 10. Time Alone Will Tell
[2:54] 11. Once Too Often
[3:06] 12. Into Each Life Some Rain Must Fall
[3:09] 13. I'm Making Believe
[3:12] 14. And Her Tears Flowed Like Wine
[3:21] 15. I'm Confessin' (That I Love You)
[2:41] 16. I'm Beginning To See The Light
[3:14] 17. That's The Way It Is
[2:39] 18. It's Only A Paper Moon
[2:44] 19. Cry You Out Of My Heart
[3:04] 20. A Kiss Goodnight
[3:22] 21. Benny's Coming Home On Saturday

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Album: The War Years (1941-1947) [Disc 2]
Bitrate: 320K/s
Time: 63:46
Size: 146.0 MB
Label: GRP
Styles: Vocal jazz, Easy Listening, Swing
Year: 1994
Art: Front

[2:25] 1. Flying Home
[2:37] 2. Stone Cold Dead In The Market (He Had It Coming)
[2:34] 3. Petootie Pie
[2:51] 4. You Won't Be Satisfied (Until You Break My Heart)
[3:10] 5. The Frim Fram Sauce
[2:52] 6. I'm Just A Lucky So And So
[3:15] 7. I Didn't Mean A Word I Said
[3:07] 8. (I Love You) For Sentimental Reasons
[2:36] 9. It's A Pity To Say Goodnight
[3:09] 10. Guilty
[3:14] 11. Sentimental Journey
[3:12] 12. A Sunday Kind Of Love
[2:58] 13. That's My Desire
[3:13] 14. Oh, Lady Be Good
[3:05] 15. Don't You Think I Ought To Know
[2:25] 16. You're Breakin' In A New Heart
[2:22] 17. I Want To Learn About Love
[2:25] 18. That Old Feeling
[2:38] 19. My Baby Likes To Be-Bop
[2:55] 20. No Sense
[3:18] 21. How High The Moon
[3:12] 22. How High The Moon 2

The War Years (1941-1947)(Disc 1) (Disc 2)

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Bob Crosby - His Orchestra & The Bob Cats 1937-1939

Styles: Swing
Year: 1991
File: MP3@320K/s
Time: 69:10
Size: 159,5 MB
Art: Front

(3:25) 1. Gin Mill Blues
(3:15) 2. Squeeze Me
(2:32) 3. Little Rock Getaway
(2:40) 4. Fidgety Feet
(2:52) 5. You're Drving Me Crazy
(3:04) 6. Coquette
(2:56) 7. Who's Sorry Now
(4:13) 8. Dogtown Blues
(3:35) 9. South Rampart Street Parade
(2:56) 10. Wolverine Blues
(3:18) 11. Yancey Special
(2:34) 12. March Of The Bob Cats
(2:44) 13. The Big Crash From China
(2:38) 14. Big Foot Jump
(3:03) 15. Five Point Blues
(2:28) 16. I Hear You Talking
(2:37) 17. The Big Noise From Winnetka
(3:14) 18. Honky Tonk Train Blues
(3:09) 19. Swingin' At The Sugar Bowl
(5:38) 20. Diga Diga Doo
(2:57) 21. Skaters' Waltz in Swingtime
(3:11) 22. Stomp Off And Let's Go

Released in 1996, this is a superb collection of vintage swing played by the Bob Crosby Orchestra and his scaled-down Dixieland group, the Bobcats. Crosby's players were well versed in both traditional jazz and pop music suitable for jitterbugging; the recordings assembled here paint a vivid group portrait of a swinging sodality of musicians who bent over backwards to please their listeners.

The stars of this group as featured here include pianists Joe Sullivan ("Gin Mill Blues" and "Little Rock Getaway") and Bob Zurke ("Big Foot Jump"), string bassist and famously adept whistler Bob Haggart ("Dogtown Blues" and "Big Noise from Winnetka"), saxophonist Eddie Miller ("I Hear You Talking"), trumpeter Yank Lawson ("Five Point Blues"), and drummer Ray Bauduc ("The Big Crash from China"). This music was designed for partying, relaxing, and fooling around. By Arwulf Arwulf
https://www.allmusic.com/album/his-orchestra-bob-cats-1937-1939-mw0000050739

His Orchestra & The Bob Cats 1937-1939

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Mark Colby Quartet - All or Nothing at All

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 66:00
Size: 152,1 MB
Art: Front

(9:15) 1. All or Nothing at All
(5:58) 2. Angelica
(7:07) 3. Somewhere
(7:24) 4. Monk's Dream
(6:55) 5. Daydream
(6:00) 6. Double Rainbow
(8:28) 7. Get out of Town
(7:56) 8. Cinema Paradiso
(6:53) 9. It Was a Very Good Year

Born in Brooklyn, New York in 1949, Mark comes from a musical background, as his father was a professional musician (drummer) who played with Benny Goodman for a time in the ‘40’s. At the age of eight, Mark was given a clarinet and lessons with a wonderful teacher by the name of Bill Schlagel, who emphasized the importance of proper technique and sound. At age eleven, Mark took the next step in his evolution, saxophone, and thus began his life-long love affair. Immersed in the sounds of the big bands enjoyed by his father, intrigued by the more modern sounds of bebop, cool and hard-bop records his sister played around the house, his dedication to pursuing a life in music was cemented.

In 1962, his family moved to Miami, Florida, where he began playing professionally at age 14. On Miami Beach, he had the opportunity to play shows with popular acts, including Tony Bennett, Sonny and Cher, Bill Cosby, Ann-Margret and Sammy Davis, Jr., with seasoned musicians. He was for many years the youngest guy on the bandstand, all the while pursuing his desire to play all styles of jazz. As a high school student, he studied with James Casale (co-author of Patterns for Jazz with Jerry Coker.) After high school, Mark attended the University of Miami, enrolling in Jerry Coker’s Jazz Studies program. Studying with Jerry and pianist Vince Maggio had a profound effect on him, as did sitting in with Ira Sullivan since the age of 16. These master musicians provided him inspiration and encouragement, as well as invaluable education in the jazz idiom.

Mark was fortunate to have had the incredible experience of working with legendary baritone sax player Gerry Mulligan while he was artist in residence. While in college, he recorded with the likes of Dr. John, Wilson Pickett, Bill Wyman of the Rolling Stones, and the Bee Gees. After graduating with a Master’s Degree in Jazz Studies, he received a call from Maynard Ferguson inviting him to join his band in New York. After three albums and three years touring as featured soloist and musical director with Maynard, Bob James beckoned, and he became of member of the “James gang.” Bob signed Mark to Columbia Records, beginning his solo recording career. “Serpentine Fire” and “One Good Turn” both sold very well, while he toured for the next six years as a featured member of Bob James’ band. Mark’s tours with Maynard and Bob found him playing jazz festivals and concert halls around the world.

In 1980, Mark moved to Chicago, with its very active music scene. Mark was immediately participating in a recording market that was exploding. Jingles, record dates, and jazz gigs were plentiful. In 1983, he was approached by DePaul University to assume a teaching position as jazz saxophone instructor. He’s still there, and in 1998 joined the faculty at Elmhurst College.

In the ensuing years, he has played and in some cases toured with such varied luminaries as Frank Sinatra, Jaco Pastorius, Mose Allison, Joe Williams and Charlie Haden. Currently he is performing as a guest soloist and clinician/adjudicator at middle schools, high schools and colleges throughout the United States and Europe, representing Selmer Paris Saxophones and Vandoren reeds. In 2001, he performed Duke Ellington’s version of “The Nutcracker Suite” with the Chicago Symphony Orchestra, and in 2008 performed Leonard Bernstein’s “Prelude, Fugue and Riffs.” In 1999, Hallway Records released “Reunion” (with Vince Maggio) followed by “Tenor Reference” in 2002, to glowing reviews and appreciative audiences.

His last release on Hallway Records was a tribute to Stan Getz entitled Speaking of Stan, which was released in 2006 and went to #3 on the jazz radio charts. During 2007-2010, he appeared at the Chicago, Paradise Valley Arizona Jazz Festival, Evanston, Naperville and Glen Ellyn Jazz Festivals. In 2010 Mark was the artist in residence at the Three Rivers Saxaphone Symposium in PA. Mark appeared in a cameo with Diana Krall in the Johnny Depp movie “Public Enemies,” released in July 2009. His CD on Origin Records, “Reflections” was released in November 2008. In 2010 Mark was one of the people interviewed with his own chapter in Cicily Janus’s new book entitled “The New Faces of Jazz” published by Billboard Press. Currently he has completed a new recording, All or Nothing at All, to be released on his own RCI label in 2016.
https://www.allaboutjazz.com/musicians/mark-colby/

All or Nothing at All

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The Peggy Lee Band - A Giving Way

Styles: Jazz
Year: 2023
File: MP3@320K/s
Time: 47:03
Size: 108,4 MB
Art: Front

(2:29) 1. It's Simple
(7:11) 2. Internal Structures
(4:38) 3. Promise
(4:50) 4. Boat Ride Into Go Home Bay
(7:16) 5. Justice / Honour
(3:52) 6. A Giving Way
(6:28) 7. Whispering Pines
(3:38) 8. To the Point
(3:58) 9. Walk Over Walk
(2:43) 10. Pirates

The Peggy Lee Band releases its sixth album A Giving Way this Friday, June 9, 2023 on the local independent record label Songlines. The ensemble led by esteemed improvising cellist and composer Peggy Lee will celebrate at the Fox Cabaret on Saturday, June 10th, presented by the Vancouver Independent Music Centre Society.

Listening to the new title track, Peggy's cello delicately earns your attention at the beginning before Jon Bentley enters on tenor saxophone. Cello and brass play backgrounds behind Jon for the rest of the relatively brief track, while drums and bass paint away unobtrusively behind them. Guitar plays a subtle role here.

The lineup of musicians on A Giving Way and at the show this Saturday has been together for almost 20 years. The three previous Peggy Lee Band albums 2012's Invitation, 2008's New Code, and 2004's Worlds Apart all feature the eight-piece ensemble.

On Invitation, the opening track welcomes you in with a hearty greeting. Among many enjoyable moments, hearing an André Lachance electric bass solo on "Path of a Smile" and Jon Bentley's opening followed by the guitar playing on "Little Pieces" were highlights for me. "Warming", at the end, is a party.

For New Code, I like the experimental "Offshoot 1" and "Scribble Town": two tracks which show another side of the band beyond the cuts I mentioned above. For Worlds Apart, check out the 12-string acoustic guitar strumming on "Spells" and enjoy Brad Turner's trumpet playing featured throughout the record.

And more than two decades ago, the band released two albums 2002's Sounds From The Big House and 1999's self-titled debut as a six-piece, with Chris Tarry in on bass and neither Ron Samworth nor Jon Bentley in the picture yet. (Though on Sounds From The Big House, Robin Reid on marimba and François Houle on clarinet are also featured guests.)

Peggy's previous release on Songlines is Echo Painting, released in 2018 and featuring an even bigger ensemble. It has all the Peggy Lee Band instruments and more, and those instruments are played by some different people to boot.

VIM's concert at the Fox this weekend is a worthy release event for a band that has made a home in the creative scene for a whole generation. They've left a bounty of recordings for us along the way and now another.
https://www.rhythmchanges.ca/peggy-lee-band-a-giving-way/

Personnel: Peggy Lee on cello; Brad Turner on trumpet & flugelhorn; Jon Bentley on tenor saxophone; Jeremy Berkman on trombone; Ron Samworth on electric & acoustic guitars; Tony Wilson on electric guitar; André Lachance on electric bass; Dylan van der Schyff on drums & percussion.

A Giving Way

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Greg Lewis - Organ Monk

Styles: Jazz Funk
Year: 2010
File: MP3@128K/s
Time: 67:21
Size: 66,6 MB
Art: Front

(4:15) 1. Trinkle Tinkle
(3:59) 2. Jackie-ing
(5:09) 3. Criss Cross
(4:25) 4. Light Blue
(4:56) 5. Played Twice
(5:11) 6. Boo Boo's Birthday
(3:46) 7. Coming in the Hudson
(4:36) 8. Four in One
(5:17) 9. Locomotive
(4:18) 10. We See
(3:44) 11. Monk's Mood
(5:37) 12. Think of One
(3:54) 13. Work
(3:44) 14. Introspection
(4:29) 15. Kohl's Here

Reinventing the music of Thelonious Monk is no easy task, but organist Greg Lewis does precisely that on Organ Monk. Backed solely by drummer Cindy Blackman and guitarist Ron Jackson, Lewis goes through fifteen of Monk's timeless classics, adapting them to the feel of an organ trio.

Kicking off with an up-tempo take on "Tinkle Tinkle," the disc starts with a drum/organ duet that gives way to a flawless guitar solo from Jackson, before quickly closing with the outro. Lewis is at the forefront of "Jacking," with a few accents from Blackman, who enhances the bandleader's solos with precise touches on the cymbals. Jackson is featured on "Light Blue," where a simple blues structure gives the musicians plenty of space to improvise. Other guitarists would have used the opportunity to overplay, but Jackson plays suitable solos, while adding clever chords during Lewis' improvised moments.

"Coming to The Hudson" is one of the disc's best moments, as the musicians sound perfectly in sync. Jackson takes the first solo, which evolves from a simpler sequence to a flurry of notes at the end, when Lewis takes over and closes with his own improvisation. Unfortunately, Blackman fans will not hear many of her usual pyrotechnics here, as she competently adds to the music without ever stealing the spotlight. Organ Monkis a highly enjoyable disc with that reveals more with repeated spins.
Anyone willing to play such complex bass lines with their feet deserves praise. What might Lewis' follow-up be: maybe a selection of Mingus'canon for the B-3? By Ernest Barteldes
https://www.allaboutjazz.com/organ-monk-greg-lewis-self-produced-review-by-ernest-barteldes

Personnel: Greg Lewis: Organ; Cindy Blackman: drums; Ron Jackson: guitar.

Organ Monk

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Bob Crosby & His Orchestra - South Rampart Street Parade

Styles: Swing, Big Band
Year: 1992
File: MP3@256K/s
Time: 62:26
Size: 116,8 MB
Art: Front

(3:10) 1. Dixieland Shuffle
(3:07) 2. Royal Garden Blues
(2:54) 3. The Old Spinning Wheel
(3:13) 4. Between The Devil And The Deep Blue Sea
(2:32) 5. Little Rock Getaway
(3:34) 6. South Rampart Street Parade
(4:09) 7. Dogtown Blues
(2:39) 8. Panama
(2:56) 9. Wolverine Blues
(2:34) 10. Big Noise From Winnetka
(3:05) 11. Swingin' At The Sugar Bowl
(3:08) 12. I'm Prayin' Humble
(2:53) 13. I'm Free (What's New?)
(2:58) 14. My Inspiration
(2:51) 15. The Skaters' Waltz (In Swingtime)
(3:11) 16. Air Mail Stomp
(2:49) 17. Complainin'
(3:05) 18. Jimtown Blues
(3:14) 19. Milenberg Joys
(4:15) 20. Chain Gang

Bob Crodby led one of the hottest big bands of the 1930s, a unit that although filled with swing stylists could play Dixieland with the joy and spontaneity of a small group. In time, Bob Crosby's Bobcats would overshadow the big band, but this definitive CD shows how enjoyable the orchestra could be.

With such soloists as trumpeters Yank Lawson and Billy Butterfield, clarinetists Matty Matlock and Irving Fazola, Eddie Miller (on tenor and clarinet), and pianists Bob Zurke, Joe Sullivan, and Jess Stacy, among others, the Crosby aggregation could hold its own with any other band of the time.

On their CD, 20 of Bob Crosby's finest performances (17 of which are from 1936-1939) are included, with the high points being "Little Rock Getaway" (Zurke's classic interpretation of Sullivan's most famous song), "South Rampart Street Parade," "Big Noise From Winnetka," the original version of "What's New" (known at the time as "I'm Free"), "My Inspiration," "Jimtown Blues," and several heated Dixieland standards. Essential music for any serious jazz collection. By Scott Yanow
https://www.allmusic.com/album/south-rampart-street-parade-mw0000613711

South Rampart Street Parade

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