Alex Sipiagin - Moments Captured

Styles: Trumpet Jazz
Year: 2017
Time: 65:38
File: MP3 @ 320K/s
Size: 151,0 MB
Art: Front

(11:09) 1. Evija Bridge
(10:02) 2. Moments from the Past
(10:07) 3. Unexpected Reversal
(11:00) 4. Blues for Mike
( 5:16) 5. Breeze
( 8:39) 6. Bergen Road
( 9:22) 7. Dream

Trumpeter Alex Sipiagin's 12th outing as a leader for the esteemed Criss Cross label finds him returning to the three-horn front line format that he previously explored on the masterful "Destinations Unknown" (Criss Cross, 2011). Returning from that date are tenor giant Chris Potter and the unrelentingly groovy Eric Harland on drums. David Binney is Sipiagin's usual choice of alto players, (having appeared on three of his previous releases,) however this time around Will Vinson completes the horn section on alto sax. The remaining rhythm section roles are filled by keyboardist John Escreet and bassist Matt Brewer, both of whom are heard on electric and acoustic instruments and previously appeared on Sipiagin's 2015 release, "Balance 38-58."

This new music once again reinforces Sipiagin's status as one of jazz's top small group composers, with his distinctive style of intricate, knotty counterpoint, but with this release he explores new sounds within his compositional concept through Escreet's use of the Prophet 6 synthesizer. The instrument's importance in the music is immediately apparent on the opening track, "Evija Bridge." Beneath the complex and rhythmically-shifting horn line, Escreet adds further motion to the piece with wobbling chords from the synth and an extra layer of sound when the composition eventually gives way to a brief, but chaotic improvised section. After nuanced solos by Sipiagin and Vinson a written interlude leads into an astonishing solo from Potter. The solo is notable not only for Potter's signature crafty melodic playing, (which fans of his have come to expect,) but also for the fact Escreet doubles Potter's solo on synth via overdub. As David Adler points out in the excellent liner notes, this choice turns the improvised solo almost into a part of the composition itself, functioning rather like a soli in a big band chart.

Sipiagin adds another new element to his music in the form of Russian vocalist Alina Engibaryan, who contributes and performs the lyrics to the delicate and beautiful title track. The piece is a surprisingly simple ballad and once again features an interesting array of sounds from Escreet's synths. Engibaryan also appears on "Breeze," this time with wordless vocals reinforcing the main melody. The track is yet another interesting departure for Sipiagin in that there are no solos. Instead, the through-composed piece slowly builds with intricately woven horn lines that intersect with the tight, but restrained groove of the rhythm section, forming a subtly shifting and carefully balanced arc.

Many of the compositions mark an interesting step forward for Sipiagin, but there are still firm ties to his post-bop roots. "Bergen Road" finds the sextet on all acoustic instruments for the duration, and most recalls the intense post-bop compositional style and thrilling interplay of "Destinations Unknown." "Mike's Blues," is perhaps the best mix of old and new, with Escreet sounding off on acoustic piano and synthesizers. Sipiagin notes that the only real relation the tune has to a blues is its 12 bar form, and explains that the melody was built around a single phrase from one of Michael Brecker's solos. It is fitting then, that Potter is the first to solo, as he is considered by many to be the spiritual successor to Brecker, and he certainly lives up to that consideration with one of his finest solos on the record.

Overall the album is an interesting and largely very successful step forward for one of jazz's premier composers and improvisers. The Prophet 6 synthesizer offers a limitless range of new textures and colors that Sipiagin seamlessly incorporates into his established compositional palette and further augments the music with occasional vocals. The inclusion of lyrics in only one track feels slightly out of place in the context of the mostly instrumental and conceptually abstract nature of the rest of the music, but as a whole the album is an interesting new perspective on Sipiagin's distinctive compositional style.By Andrew Luhn
https://www.allaboutjazz.com/moments-captured-alex-sipiagin-criss-cross-review-by-andrew-luhn

Personnel: Alex Sipiagin: trumpet, flugelhorn; Will Vinson: alto sax, soprano sax; Chris Potter: tenor sax; John Escreet: Prophet 6 synth, Fender rhodes, piano; Matt Brewer: bass, electric bass; Eric Harland: drums; Alina Engibaryan: vocals

Moments Captured

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Diane Reeves - New Morning

Styles: Vocal Jazz
Year: 1997
Time: 74:36
File: MP3 @ 320K/s
Size: 172,0 MB
Art: Front

( 2:41) 1. Endangered Species
( 5:26) 2. Old Souls
( 8:38) 3. Body And Soul
( 7:45) 4. Yesterdays
( 5:57) 5. Love For Sale
( 5:58) 6. Nine
( 8:48) 7. Comes Love
( 7:49) 8. Both Sides Now
(11:22) 9. Nothing Will Be As It Was
(10:08) 10. Summertime

Five-time Grammy winner DIANNE REEVES is the pre-eminent jazz vocalist in the world. As a result of her breathtaking virtuosity, improvisational prowess, and unique jazz and R&B stylings, Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings a Grammy first in any vocal category.

Featured in George Clooney’s six-time Academy Award nominated Good Night, and Good Luck, Reeves won the Best Jazz Vocal Grammy for the film's soundtrack.

Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los Angeles Philharmonic and the first vocalist to ever perform at the famed Walt Disney Concert Hall.

Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy winning A Little Moonlight, an intimate collection of standards featuring her touring trio. When Reeves’ holiday collection Christmas Time is Here was released, Ben Ratliff of The New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CD's I've heard.”

In recent years Reeves has toured the world in a variety of contexts including “Sing the Truth,” a musical celebration of Nina Simone which also featured Lizz Wright and Angelique Kidjo. She performed at the White House on multiple occasions including President Obama's State Dinner for the President of China as well as the Governors’ Ball.

Reeves’ most recent release Beautiful Life, features Gregory Porter, Robert Glasper, Lalah Hathaway and Esperanza Spalding. Produced by Terri Lyne Carrington, Beautiful Life won the 2015 Grammy for Best Jazz Vocal Performance. Reeves is the recipient of honorary doctorates from the Berklee College of Music and the Juilliard School.In 2018 the National Endowment for the Arts designated Reeves a Jazz Master the highest honor the United States bestows on jazz artists.
https://www.allaboutjazz.com/musicians/dianne-reeves

New Morning

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Cory Weeds - Home Cookin'

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 39:19
Size: 90,7 MB
Art: Front

(5:35) 1. Home Cookin'
(5:00) 2. Corner Kisses
(6:02) 3. Blossoms In May
(5:06) 4. Power Station
(5:03) 5. Thedia
(5:36) 6. Lullaby Of The Leaves
(6:54) 7. Metamorphosis

Cory Weeds a prominent figure in the contemporary jazz scene, has made a remarkable statement with his Little Big Band's latest album Home Cookin'. The session showcases a vibrant collection of compositions/arrangements carefully curated to resonate with his personal journey, including those by Horace Silver, Thad Jones and Oliver Nelson, which are essential to him for a variety of reasons. The band comprises ten of his favorite world-class Vancouver, BC-based musicians.

These previously mentioned influential tracks have been ingeniously adapted to harmonize flawlessly within the intimate framework of the little big band format, beginning with Horace Silver's composition and title track, "Home Cookin." This stylish swinger arranged by Jill Townsend touches all the bases with subtly illustrated music driven by tight ensemble playing interspersed with solid solos from Weeds on tenor sax and Steve Kaldestad alto sax. The other Silver original is "Metamorphosis," on which Townsend has again developed an engaging harmonic chart that shows an understanding of the intricacies of Silver's style, propelled by the drumming of Jesse Cahill. Weeds and Kaldestad are the principal go-to soloists, with baritone saxophonist Dave Say coming along, stuffing his notes with weight and force.

Bill Weeds (Cory's father) wrote the composition "Corner Kisses," and it is a burner with the chart by Bill Coon. Weeds again shows he is an audacious saxophonist, with pianist Chris Gestrin exhibiting resourcefulness in his solo. "Power Station," composed and arranged by pianist Micheal Weiss, is a bouncy number that seems to fit perfectly with a small band as it has an engaging contemporary flair. Both Weeds and Gestrin fill the solo space with new angles of engagement. Thad Jones' composition is entitled "Thedia," and it comes to life with a chart by Bill Coons and Jill Townsend, adding extra depth to the album. Weeds uses the occasion to demonstrate his versatility and his ability to integrate his tenor voice into the little big band sound.

The closer is "Lullaby of the Leaves," arranged initially by Oliver Nelson but adapted and transcribed for the band by Fred Stride. In this wonderfully crafted arrangement, Weeds is out front, flexing his powers and a bustling declaratory spirit. Gestrin's interjection shows he is a compatible and estimable pianist. The album is a testament to the talent of Cory Weeds and his Little Big Band.
By Pierre Girou https://www.allaboutjazz.com/home-cookin-cory-weeds-cellar-music-group

Personnel: Cory Weeds - tenor saxophone; Chris Gestrin - piano; John Lee - bass; Jesse Cahill - drums; Steve Kaldestad - lead alto; James Danderer - tenor saxophone; Dave Say - baritone saxophone; Brian Harding - trombone; Jim Hopson - trombone; Brad Turner - trumpet; Chris Davis - trumpet

Home Cookin'

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Cory Weeds - What is There to Say?

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 48:51
Size: 113,2 MB
Art: Front

(5:43) 1. At Dawning
(6:12) 2. The Phantom In The In Crowd
(5:58) 3. What Is There To Say
(6:06) 4. Love Is Wild
(4:46) 5. Waltz For Someone Special
(6:33) 6. Alana Marie
(6:35) 7. I Wish You Love
(6:54) 8. There's A Boat Leavin' Soon For New York

Tenor saxophonist Cory Weeds continues to search for new ways to explore and expand his personal musical horizons. In the release What Is There To Say?, Weeds looks to the expression "everything old is new again" and delivers an album backed by a fulsome string section reminiscent of sessions that both Charlie Parker and Bobby Hackett undertook in the 1950s. With sumptuous arrangements from pianist Phil Dwyer, Weeds is provided with a framework with which to explore the four corners of the compositions that were chosen for the recording.

To start this session, Weeds reaches back to the early part of the 20th Century(1906) for a little known song "At Dawning." This lovely winsome ballad is taken in a straight ahead fashion with Weeds keeping close to the melody to focus on the intimacy of the composition. Of the eight compositions recorded, three are originals by Weeds; "Waltz For Someone Special," "Alana Marie"and "Love Is Wild." Each is a diversified tasty morsel of style, substance, and mood, that provides a musical relationship between the strings and Weeds' horn.

An interesting double header is the coupling of Duke Pearson's "The Phantom" with "The In Crowd," a number that was made popular by pianist Ramsay Lewis. The tie that binds these numbers is the intricate rhythmic beat laid down by drummer Jesse Cahill and bassist John Lee. Weeds dances between the two themes with ease while picking up the layers of nuance that exist between them. Dwyer's piano sparkles with characteristic embellishments on the tonal associations with the compositions. To wrap things up, Weeds offers "There's A Boat (Dat's) Leavin' Soon For New York" written by George Gershwin and Ira Gershwin for their ground breaking folk opera "Porgy & Bess." The number swings along gaily with Weeds offering straight melody playing but making every note count. Dwyer takes his solo opportunity to indicate that he is a wellspring of improvisation. This is an attractive addition to the Cory Weeds discography.By Pierre Giroux https://www.allaboutjazz.com/what-is-there-to-say-cory-weeds-with-strings-cellar-music

Personnel: Cory Weeds: saxophone, alto; Phil Dwyer: saxophone, tenor; John Lee: bass; Jesse Cahill: drums.

What is There to Say?

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Jo Stafford & Dick Haymes - That's Love

Styles: Vocal, Swing
Year: 2024
Time: 26:34
File: MP3 @ 320K/s
Size: 61,9 MB
Art: Front

(1:52) 1. Play A Simple Melody
(2:02) 2. Those Old Piano Roll Blues
(3:08) 3. That Old Black Magic
(2:16) 4. A Little Bit Independent
(2:56) 5. No Other Love (Alternative Version)
(2:10) 6. Driftin' Down The Dreamy Ol' Ohio
(2:18) 7. I've Got You Under My Skin
(1:20) 8. We'll Build A Bungalow
(2:11) 9. Mississippi
(2:20) 10. On The Sunny Side Of The Street
(3:56) 11. Begin The Beguine

Jo Elizabeth Stafford, the third of four sisters, was born November 12, 1917 on a tract of land known as "Lease 35" in Coalinga,California. Her mother, Anna York Stafford,a distant cousin of World War I hero Alvin York was known as one of the finest five-string banjoists in Gainsboro, Tennessee. Her father, Grover Cleveland Stafford, had come West to work in the California oil fields.

Jo's professional debut was with the Stafford Sisters, a trio in which Jo, upon graduation from Long Beach Poly High, joined her sisters Christine and Pauline. They had their own weekly radio show on KHJ radio, were regular performers on David Broekman's California Melodies, the Crockett Family of Kentucky shows, and performed both solo and group vocal work for all the major motion picture studios.

After marriage broke up the Stafford Sisters trio , Jo joined a group called the Pied Pipers, and along with her seven other group members was hired by Tommy Dorsey for the Raleigh-Kool radio program in 1938. After ten weeks with Dorsey the group dissolved, but Jo was hired back with three others once again as the Pied Pipers who sang with Dorsey for three years, recorded "I'll Never Smile Again" with Frank Sinatra, and provided Jo with the opportunity of making her own solo recordings with the Dorsey band. Her first solo recording was "Little Man with a Candy Cigar."

When Johnny Mercer assembled the artists to form Capitol Records in 1943, Jo began a recording career that was to culminate in Columbia Records giving her a Diamond Award as the first recording artist to sell 25,000,000 Records.

After guesting on all the major radio shows, Jo started her own series with the Chesterfield Supper Club, to which was added the Jo Stafford Show for Revere Camera, followed by featured roles on the Carnation and Club 15 Shows.

In 1950, Jo began a series of broadcasts that brought her international recognition. In Hollywood she recorded a weekly fifteen minute Youth Program for the Voice of America to internationally promote the cause of democracy.

Soon she added another weekly half-hour musical show, also recorded in Hollywood, for broadcast over 200,000 watt Radio Luxembourg; Europe's most powerful station. During this period Frank Lee , then British director of Radio Luxembourg said: "In her own quiet way Stafford is selling America to Europe."

In 1952, coinciding with her marriage to arranger/conductor/composer Paul Weston, European demand (and a honeymoon) took them to London, where she headlined the bill at the Palladium and made appearances for the Voice of America in the British Isles and on the continent.

With the advent of television , Jo Stafford guested on all the major variety shows, and in 1954 hosted her own JO STAFFORD SHOW on CBS-TV. Thus when Hollywood decided to commemorate its stars with plaques in the sidewalks of Hollywood Boulevard and Vine Street Jo Stafford was one of the few stars to have three separate plaques, one for records, one for radio, and one for television.

In the late fifties she cut down her activities sharply in order to devote her time to her family, and aside from a few trips to New York to appear on the Garry Moore and Firestone Hour Variety Shows, she did only recordings and TV shows based in Hollywood.

In 1961 the family moved to London for the summer so that Jo could host her final JO STAFFORD SHOW, a syndicated series for the ATV British Network. These shows were seen in this country, Australia, New Zealand and Canada, as well as in the British Isles, and her guests included Bob Hope, Peggy Lee, Ella Fitzgerald and Peter Sellers.

While family commitments precluded her public appearances, Jo did continue to record for Capitol, Dot , and Reader's Digest Records, as well as making religious albums for Corinthian and the World Library of Sacred Music.

Her Hits include: "You Belong to Me", "Timtayshun" , "Whispering Hope" ( with Gordon MacRae ), "Shrimp Boats", "Make Love to Me", "Jambalaya", her album of "American Folk Songs", and the comedy albums made under the name of Darlene Edwards. One of these, "Jonathan and Darlene in Paris", won a Grammy Award in 1960 for Best Comedy Recording. Most of her best known recordings including "The Columbia Hits Collection", are currently in release on the Corinthian Records label.

She is a past-president of SHARE, one of Hollywood's best known charitable organizations, which concerns itself with aiding mentally handicapped children. One of her last public appearances was at SHARE's 25th Anniversary Show, along with Frank Sinatra, Dean Martin, Sammy Davis,Jr., Johnny Carson and Milton Berle.

Her final public vocal performance was with the Hi Los as part of a Society Of Singers tribute to Frank Sinatra. Her Corinthian recordings continue to enjoy sales throughout the world.
https://www.allaboutjazz.com/musicians/jo-stafford/

That's Love

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Eddie Higgins Featuring Scott Hamilton & Ken Peplowski - A Handful of Stars

Styles: Piano And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 71:40
Size: 164,4 MB
Art: Front

(6:16)  1. In  Love In Vain
(6:04)  2. You Leave Me Breathless
(8:20)  3. A Handful Of Stars
(6:42)  4. Come Rain Or Come Shine
(6:14)  5. April In Torino
(8:16)  6. Night Has A Thousand Eyes
(5:39)  7. Flamingo
(6:01)  8. Breezin' Along With The Breeze
(7:17)  9. A Portrait Of Jenny
(5:28) 10. Softly As In A Morning Sunrise
(5:17) 11. All Too Soon

A solid bop-based pianist, Eddie Higgins has never become a major name, but he has been well-respected by his fellow musicians for decades. After growing up in New England, he moved to Chicago, where he played in all types of situations before settling in to a long stint as the leader of the house trio at the London House (1957-1969). Higgins moved back to Massachusetts in 1970 and went on to freelance, often accompanying his wife, vocalist Meredith D'Ambrosio, and appearing at jazz parties and festivals. Eddie Higgins has led sessions of his own for Replica (1958), Vee-Jay (1960), Atlantic, and Sunnyside; back in 1960, he recorded as a sideman for Vee-Jay with Lee Morgan and Wayne Shorter.
By Scott Yanow https://itunes.apple.com/us/artist/eddie-higgins/id80690717#fullText


Personnel: Eddie Higgins – piano; Scott Hamilton - tenor sax; Ken Peplowski - tenor sax; clarinet; Jay Leonhart – bass; Joe Ascione - drums

A Handful of Stars

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Masha Ray - Electro Swing

Styles: Swing
Year: 2021
Time: 43:25
File: MP3 @ 320K/s
Size: 100,9 MB
Art: Front

(3:14) 1. Hasta La Vista
(3:09) 2. Eye Candy
(3:18) 3. Grannies
(3:01) 4. Like Me
(3:48) 5. All the World's a Stage
(3:21) 6. Keep Falling
(3:44) 7. Ring Ring Ring
(3:08) 8. Drip Drop
(2:59) 9. Let It Go
(3:27) 10. Break the Spell
(3:39) 11. Lucky You
(3:39) 12. Get Lost
(2:52) 13. Hasta La Vista (ROMZN Remix)

The Berlin based singer/producer duo consisting of Masha and Roman Andor met during a Songwriter Camp in Rotterdam.

Combining the singers’ Ukrainian roots and eastern influenced musical education with Roman Andor’s lush trumpet sounds and rich beats, their Vintage Dance sound was born.

Until now Masha Ray collected a decent range of originals and covers that can easily fill a night, ranging from Electro-Swing, Dancehall, Pop to Balkan-Beats and Klezmer referring to Masha’s jewish roots. The instrumentation varies from a performance as a duo with her producer and DJ Roman Andor to an ensemble with drums, bass, wind section and strings.

The mix of the seductively sweet sound of Masha’s siren voice, the snappy-ironic lyrics and the decadent retro production make up the project Masha Ray.https://www.masharaymusic.com/

Electro Swing

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Milton Nascimento & Jobim Trio - Novas Bossas

Bitrate: MP3@320K/s
Time: 54:23
Size: 124.5 MB
Styles: Bossa Nova, Latin jazz
Year: 2008
Art: Front

[3:44] 1. Tudo Que Você Podia Ser
[4:09] 2. Dias Azuis
[3:27] 3. Cais
[3:50] 4. O Vento
[4:38] 5. Tarde
[2:03] 6. Brigas Nunca Mais
[4:54] 7. Caminhos Cruzados
[3:32] 8. Inutil Paisagem
[3:29] 9. Chega De Saudade
[3:50] 10. Medo De Amar
[2:40] 11. Velho Riacho
[6:05] 12. Esperanca Perdida
[3:59] 13. Trem De Ferro
[3:58] 14. Samba Do Aviao

Milton Nascimento: vocals; Daniel Jobim: piano; Paulo Braga: drums; Paulo Jobim: guitar; Rodrigo Villa: bass.

Tom Jobim was the originator of the new Bossa Nova beat in Brazil in the late 50's and it was Joao Gilberto that first mastered the guitar technique to introduce it to the world in 58. They both said that Milton Nascimento was the only singer that could reach the original pitch of the compositions and so it is entirely fitting that he has teamed up here with Tom's son Paulo and grandson Daniel for a recording session to celebrate both Tom Jobim and the anniversary of his invention of the Bossa Nova. Mixing songs by Tom Jobim, Milton Nascimento and Daniel Jobim, this is a true master class in the art of the Bossa and a new milestone in Brazilian music. An important, as well as a sublime release.

Novas Bossas

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Madeleine Peyroux - Let's Walk

Styles: Vocal
Year: 2024
Time: 42:13
File: MP3 @ 320K/s
Size: 97,3 MB
Art: Front

(4:01) 1. Find True Love
(4:14) 2. How I Wish
(4:52) 3. Let's Walk
(4:52) 4. Please Come On Inside
(4:17) 5. Blues for Heaven
(4:02) 6. Et Puis
(3:35) 7. Me and the Mosquito
(4:12) 8. Nothing Personal
(4:01) 9. Showman Dan
(4:03) 10. Take Care

My focus on albums is to review the music, performance & production. So as far as topics & themes chosen I avoid editorializing since I’m not preoccupied with the artist’s thrust or influence. However, tender subjects can be difficult to navigate since hypocrisy can taint the well-intentioned singer-songwriter. Fortunately, that’s not evident here. These plaintive, lively, well-recorded & deftly handled creative fingertips that touch the surface water seldom venture into dark depths. Madeleine Peyroux cruises through each piece diplomatically, honestly & with beauty & sensibility.

Ms. Peyroux, who I’d seen at The Bottom Line in NYC years ago after hearing her “Dreamland” CD has always been an artist who was a curiosity. Yes, she sometimes has that obvious Billie Holiday with singing lessons tone, but it’s also how she conveys an Edith Piaf classiness. There’s no energetic Joan Armatrading approach, deep tonality of a bluesy-jazz chanteuse like Cassandra Wilson, or sultry deep timbre of Bird York

But what is brought out is the full blossom of 10 unadorned beauties on Let’s Walk (Drops June 28/Just One/Thirty Tigers/42:13) produced by Elliot Scheiner, Jon Herington (guitars/mandolin/marimba sample/synth/vocals/bass) & Ms. Peyroux (vocals/acoustic guitar)

Here, it’s the silkiness of the voice through English ballads, French & Spanish easy listening & melodically solid tunes conveyed with care taken to create something well beyond the mainstream frame. There’s just a marvelous musical sway Madeleine manages to penetrate the seams of a deep ear & travel directly into the heart as well as the soul.

She even has the coolness of a Rickie Lee Jones (“Showman Dan”) with all the old-world spiritual menagerie & finger-popping jive of 52nd Street NYC jazz clubs circa 1945. Madeleine is a study in Style that was hip decades ago but makes you wonder if it ever really left. She doesn’t sound nostalgic at all. She brings the déjà vu.

This is Madeleine’s first album in 6 years & while some may think she’s spread herself thin with all the genres she touches upon the expertise she displays warrants it. She’s daring, diversified & in some spots dare I say, humorous. She’s one of the few artists I’d see again & she doesn’t use laser beams, smoke machines, or 100 dancing girls in flimsy outfits behind her.
https://alleyesmedia.com/lets-walk-madeleine-peyrouxs-most-eclectic-and-courageous-album-to-date-set-for-june-28th-release/

Highlights: “Let’s Walk,” “Please Come On Inside,” “Blues For Heaven,” “Et Puis,” “Me & the Mosquito,” “Nothing Personal” & “Showman Dan.

Musicians: Paul Frazier (bass), Graham Hawthrone (drums/percussion), Andy Ezrin (Hammond organ/vox continental/harmonium/piano/Rhodes/Wurlitzer/orchestral bells), Stan Harrison (clarinets), Catherine Russell, Cindy Mizelle & Keith Fluitt (vocals).

Let's Walk

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Swiss Dixie Stompers - A Tribute to Louis Armstrong

Styles: Jazz
Year: 2024
Time: 67:15
File: MP3 @ 320K/s
Size: 155,3 MB
Art: Front

(3:17) 1. Mabel's Dream
(2:08) 2. Just Gone
(2:58) 3. Potato Head Blues
(2:51) 4. That's My Home
(4:05) 5. St. Louis Blues
(5:13) 6. Black and Blue
(2:47) 7. Cornet Shop Suey
(4:37) 8. Twelfth Street Rag
(4:10) 9. On the Sunny Side of the Street
(5:52) 10. I Can't Belive That You're in Love with Me
(4:27) 11. Basin Street Blues
(4:27) 12. Mack the Knife
(7:32) 13. Tin Roof Blues
(6:01) 14. Bourbon Street Parade
(6:42) 15. I Surrender Dear

The Biel band is undoubtedly one of the most successful Swiss Trad Jazz orchestras. Here, the Stompers are reinforced by the French trumpeter Irakli and the Bernese pianist Mike Goetz, in the footsteps of the largest jazz musician. The repertoire ranges from the pieces in the early 1920s – King Oliver or the Hot Five and Seven to the show tunes towards the end of Louis’ career. https://downtownrecords.ch/produkt/swiss-dixie-stompers-a-tribute-to-louis-armstrong/

Collective personnel: Irakli de Davrichevy tp, Andre Racine tp, Randy Wirz cl, Willy Gasser tb, Mike Goetz p, Marcel Lack bj, g, Martin Albrecht b, David Elias dr, Kurt Gasser bj, g, Tom “Spats” Langham g, voc.

A Tribute to Louis Armstrong

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Angela Bofill - Something About You

Styles: Vocal, Soul
Year: 1981
File: MP3@320K/s
Time: 58:25
Size: 133,9 MB
Art: Front

(4:02)  1. Something About You
(3:54)  2. Break It To Me Gently
(3:22)  3. On And On
(5:57)  4. Tropical Love
(3:27)  5. You Should Know By Now
(4:28)  6. Only Love
(3:22)  7. Holdin' Out For Love
(4:30)  8. Stop Look Listen
(4:32)  9. I Do Love You
(0:18) 10. Three Blind Mice
(5:17) 11. Time To Say Goodbye
(3:56) 12. Never Wanna Be Without Your Love
(3:46) 13. Esperando Al Amor
(3:56) 14. Love Light
(3:29) 15. Rhythm Of Your Mind

Angela Bofill enjoyed surprising commercial success with her first two albums, Angie and Angel of the Night, produced by contemporary jazz executives Dave Grusin and Larry Rosen for their GRP label, distributed by Arista. She then jumped to Arista proper (causing some bad blood with GRP) to try for a deliberate jazz-pop crossover on her third album, which was produced by Narada Michael Walden and shepherded by Arista president Clive Davis, who took an executive producer credit. Davis canvassed the publishing world for likely hit songs, then Walden put together a studio team to create a smooth, sophisticated sound that would, it was hoped, work for pop, R&B, and adult contemporary radio as well as setting feet moving in the discos. In practice, it didn't work out that way. 

The title track, with a lush disco arrangement, arrived as a single after disco had faded, though it, like second single "Holdin' Out for Love," a professional song by professional songwriters Cynthia Weil and Tom Snow, managed to peak in the R&B Top 40. With those calling cards, the album was able to register only a Top 20 R&B/Top 100 pop showing, not as high as Angel of the Night, as Bofill's contemporary jazz fans deserted her in droves for her commercial sellout. This is a shame, since, however compromised its goals, much of Something About You is effective early-'80s jazz-pop, and Bofill sings powerfully throughout. Particularly impressive are the ballads "Break It to Me Gently" and "Time to Say Goodbye." ~ William Ruhlmann http://www.allmusic.com/album/something-about-you-mw0000225004

Personnel: Corrado Rustici, Joaquin Lievano (guitar); Earl Klugh (acoustic guitar, nylon-string guitar); Larry Schneider (flute); Marc Russo (saxophone); Greg Adams, Mic Gillette (trumpet, flugelhorn); Wayne Wallace (trombone); Tower of Power (horns); Narada Michael Walden (piano, drums); Patrick Cowley (synthesizer, sound effects); Greg Levias (synthesizer); Andy Narell (steel drum); Paulinho Da Costa (percussion); Jim Gilstrap, John Lehman, Scherrie Payne, Vicki Randle, Myrna Matthews (background vocals).

Something About You

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Willie Smith With Harry James And His Orchestra - Snooty Fruity

Styles: Swing, Big Band
Year: 1990
Time: 75:49
File: MP3 @ 128K/s
Size: 69,4 MB
Art: Front

(3:25) 1. I'm Confessin' That I Love You
(3:19) 2. Ain't She Sweet-
(3:32) 3. Who's Sorry Now-
(3:22) 4. Keb-Lah
(6:22) 5. Moten Swing
(3:17) 6. East Coast Blues
(3:00) 7. Blue, Turning Grey Over You
(2:51) 8. Cotton Tail
(6:42) 9. Tuxedo Junction
(3:04) 10. Snooty Fruity
(6:05) 11. Poppin' Off
(5:43) 12. Forgotten
(5:19) 13. New Two O'Clock Jump
(2:58) 14. Deep Purple
(3:08) 15. The Great Lie
(3:24) 16. Three For The Show
(3:19) 17. Perdido
(6:50) 18. Stompin' At The Savoy

Although altoist Willie Smith is strangely enough given top billing, all 18 selections in this CD actually feature the great swing trumpeter Harry James and his popular bands (of which Smith was a key sideman).

Many of James' most exciting jazz performances are on this set, including the extended "Tuxedo Junction," "Moten Swing," the "New Two O' Clock Jump," "The Great Lie," and "Stompin' at the Savoy." This essential CD is especially recommended to detractors who think that Harry James was overrated. By Scott Yanow https://www.allmusic.com/album/snooty-fruity-mw0000203636#review

Personnel: Alto Saxophone – Ed Rosa (tracks: 2 to 7, 10, 11), James Cook* (tracks: 12 to 14), Mascagni Ruffo* (tracks: 13, 14), Willie Smith (2); Baritone Saxophone – Robert Poland (tracks: 6, 7, 10 to 18); Bass – Artie Bernstein (tracks: 12), Robert Stone* (tracks: 13, 14), Theodore Hayes (tracks: 15 to 17), Ed Mihelich (tracks: 1 to 11); Clarinet – Corky Corcoran (tracks: 2, 3, 9 to 11, 13, 14), Ed Rosa (tracks: 2 to 11), Francis Polifroni (tracks: 6, 7), James Cook* (tracks: 12, 13), Mascagni Ruffo* (tracks: 13, 14), Sam Sachelle (tracks: 6, 7, 10, 11), Willie Smith (2) (tracks: 2 to 7, 10 to 18); Congas – Gordon Polk (tracks: 15, 16); Drums – Macklin Combine* (tracks: 6 to 11), Carl Maus (tracks: 1), Gene Estes (tracks: 17), Jackie Mills (tracks: 13 to 16), Lou Fromm (tracks: 4, 5), Nick Fatool (tracks: 2, 3, 12); Guitar – Allan Reuss (tracks: 1, 12), Hayden Causey (tracks: 2 to 5), Sam Herman (tracks: 13 to 17), Hilmer Timbrell* (tracks: 6 to 11); Leader – Harry James (2); Orchestra – Harry James & His Orchestra* (tracks: 2 to 18); Piano – Arnold Ross (tracks: 1 to 5), Bruce MacDonald (tracks: 9 to 16, 18), Larry Kinnamon (tracks: 17), Stan Wrightsman (tracks: 6 to 8); Reeds – George Davis (9) (tracks: 2 to 5), Herbert Lorden, Jr* (tracks: 15 to 17), Pat Chartrand (tracks: 15 to 17), Stewart Bruner (tracks: 2 to 5), William Massingill (tracks: 15 to 17); Tenor Saxophone – Corky Corcoran (tracks: 2 to 5, 9 to 14), Ed Rosa (tracks: 12), Francis Polifroni (tracks: 6, 7), Sam Sachelle (tracks: 6, 7, 10, 11, 18); Trombone – Carl "Ziggy" Elmer* (tracks: 6 to 18), Charles Preble* (tracks: 2 to 7, 10, 11, 18), Dalton Rizzotto (tracks: 4, 5), David Robbins* (tracks: 12 to 14), Lee O'Conner* (tracks: 12 to 14), Louis McCreary* (tracks: 15 to 17), Vic Hamann (tracks: 2 to 7, 10, 11, 18); Trumpet – Arthur DePew* (tracks: 13 to 16), Carl Berg (tracks: 4, 5), Everett McDonald (tracks: 13 to 17), Eugene Komer* (tracks: 6, 7, 10 to 12), George Seaberg (tracks: 12), Harold Moe (tracks: 4, 5), Harry James (2), Irwin Berken (tracks: 2 to 7), James Grimes (2) (tracks: 2, 3), James Troutman (tracks: 2, 3), James Campbell* (tracks: 2 to 5), Dominick Buono* (tracks: 6, 7, 10 to 18), Philip Cook* (tracks: 17), Pincus Savitt* (tracks: 6, 7, 10 to 12, 18), Ralph Osborn* (tracks: 10 to 12, 18), Stanley Fishelson* (tracks: 13, 14); Valve Trombone – Juan Tizol (tracks: 2 to 7, 10 to 18).

Snooty Fruity

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Hendrik Meurkens - Manhattan Samba

Styles: Brazilian Jazz, Harmonica Jazz
Year: 2020
File: MP3@320K/s
Time: 41:36
Size: 96,4 MB
Art: Front

(5:44) 1. Clear of Clouds
(6:24) 2. Manhattan Samba
(5:19) 3. One for Manfredo
(6:47) 4. Dona Palmeira
(5:04) 5. The Fropple
(4:43) 6. Bonita
(2:21) 7. Frenzelosa (Choro No. 2)
(5:11) 8. Aquelas Coisas Todas

Composer, virtuoso on both the vibraphone and harmonica, German-born New York-based Hendrik Meurkens presents yet another colorful and tantalizing taste of Brazilian music on the exquisite Manhattan Samba. A proponent of the samba and bossa nova styles of music after a full immersion while living in Rio de Janeiro in the early 1980s, Meurkens continues documenting his passion for the music, this time offering new compositions, includes previously recorded tunes and features the music of Brazilian/jazz masters Ivan Lins, Toninho Horta and Antonio Carlos Jobim.

Recognized as perhaps the most important harmonica voice since Toots Thielmans, for this album, Meurkens performs only on the harmonica and surrounds himself with a core quartet featuring Brazilian pianist Helio Alves, Brazilian bassist Gustavo Amarante and Brazilian percussionist/drummer Portinho. Argentinian bassist Fernando Huergo also participates on three tracks.

Recorded in Augsburg, Germany in 2020, the eight-piece collection of Brazilian jazz begins with the samba-tinged "Clear of Clouds," followed by the fast-tempo title track highlighting the leader on many solo moments throughout. Offering a lighter side of the music on the tribute for the late pianist Manfredo Fest, "One for Manfredo" showcases the talents of pianist Alves along with powerful drumming from Portinho.

The Lins classic "Dona Palmeira" is the first of a couple of very soft and beautiful tunes performed on this album. Speaking of classics, the Jobim staple "Bonita" is the closest to a tender ballad you will encounter here, striking and warm in every way, performed as duet between Meurkens and Alves. The brief choro-styled "Frenzelosa (Choro No. 2)" is a spicy, fast-played, shoulder-moving, Carnival-styled number sure to energize anyone.

Closing out the session is another wonderful genre staple from the great Brazilian guitarist Toninho Horta, "Aquelas Coisas Todas," as the harmonica master and distinguished band mates put a cap on one of the finest musical experiences of Brazilian/jazz on the 2021 jazz landscape.By Edward Blanco
https://www.allaboutjazz.com/manhattan-samba-hendrik-meurkens-self-produced

Personnel: Hendrik Meurkens: harmonica; Helio Alves: piano; Fernando Huergo: bass; Portinho: drums; Gustavo Amarante: bass

Manhattan Samba

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Angela Bofill - Let Me Be The One

Styles: Vocal, Soul
Year: 1984
File: MP3@320K/s
Time: 34:38
Size: 79,8 MB
Art: Front

(5:01)  1. Can't Slow Down
(3:24)  2. Let Me Be The One
(3:33)  3. Who Knows You Better
(5:21)  4. You're Always There
(4:43)  5. Getting Into Love
(3:26)  6. No Love In Sight
(4:25)  7. Love Me For Today
(4:42)  8. This Is The Start

Bronx native Angela Bofill sang with Ricardo Morrero & the Group and the Dance Theater of Harlem chorus before her 1978 debut. With her strong, distinctive alto, she has carved a niche as an outstanding interpreter of soul ballads. Between 1978 and 1984, Bofill had consistent success on the R&B charts, with six albums making the Top 40 (five of which made the Top 100 on the pop charts as well), including two, Angel of the Night (1979) and Too Tough (1983), that made the Top Ten. During this period, she also placed seven singles in the R&B Top 40, with "Too Tough" making the Top Ten. Bofill's career cooled off after 1984, but she returned to the R&B charts with Intuition (1988), I Wanna Love Somebody (1993), and Love in Slow Motion (1996). ~ Bill Carpenter http://www.allmusic.com/artist/angela-bofill-mn0000755570/biography

Personnel:  Angela Bofill – vocals;  Alan Palanker – keyboards;  Mickey Leonard – guitar;  Paul Pesco - guitar, drum programming;  William "Doc" Powell – Guitar;  David Frank - keyboards, producer, drum programming;  Sandy Bofill - background vocals;  Cindy Mizelle - background vocals;  Lisa Fischer - background vocals;  Michelle Cobbs - background vocals;  Mic Murphy - background vocals, producer;  Marc Russo – saxophone;  Eluriel Tinker Barfield - bass guitar; Yogi Horton - drums

Let Me Be The One

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The Tubby Hayes - The Orchestra (Remastered 2019)

Styles: Saxophone And Flute Jazz
Year: 1970/2019
Time: 33:19
File: MP3 @ 320K/s
Size: 76,6 MB
Art: Front

(1:53) 1. Up, Up And Away
(2:56) 2. The Other Man’s Grass Is Always Greener
(2:53) 3. Emily
(2:22) 4. These Boots Are Made For Walking
(2:17) 5. Free Again
(2:52) 6. Here, There And Everywhere
(4:03) 7. Song For A Sad Lady
(2:25) 8. Mas Que Nada
(2:32) 9. The Gentle Rain
(3:32) 10. Hey Jude
(2:15) 11. The Windows Of The World
(3:14) 12. This Guy’s In Love With You

Hayes, Tubby (Edward Brian), tenor saxophone, flute, vibes, arranger (b. London, January 30, 1935, d. June 8, 1973, London). Perhaps Britain’s most beloved jazz musician, Tubby Hayes was a prodigy who seemed to master nearly every musical task he attempted. Already a technical marvel on the saxophone when he first appeared on the London jazz scene at age 16, Tubby worked with several big bands before starting his own band in the mid-1950s. Before long, he was writing many of the arrangements for the group.

From 1957 to 1959 he joined Ronnie Scott in co-leading a quintet, The Jazz Couriers, perhaps the most fondly remembered of British Modern Jazz groups. Subsequently, Hayes reformed his quartet, and toured Germany with Kurt Edelhagen. Then in 1961 he was invited to play at the Half Note Club in New York City; a new transatlantic Musicians’ Union agreement meant that, in exchange, Zoot Sims played at Ronnie Scott’s. While in America, Hayes recorded (Tubbs in NY) with Clark Terry, Eddie Costa, and Horace Parlan, and in 1962 he returned for another visit, this time recording Return Visit with James Moody, Roland Kirk, Walter Bishop Jr, Sam Jones, and Louis Hayes. He played at the Half Note again in 1964, and at the Boston Jazz Workshop the same year, and at Shelly Manne’s Manne-Hole in Los Angeles in 1965.

Back in London, Hayes formed his own big band, working in television, film, and radio, and even having his own television series (1961–1962, and 1963). He stood in for Paul Gonsalves in February 1964 (with whom he also recorded twice in 1965 (Just Friends and Change of Setting)) when the Ellington orchestra played at the Royal Festival Hall.

As well as leading his own bands and recording under his own name, Hayes also appears on recordings by other UK jazz musicians, such as the Harry South Big Band, the Ian Hamer Sextet and later studio sessions by Ted Heath’s Orchestra. Hayes was also a prolific session musician in many genres. Among his many credits, Hayes led the brass section on the sessions for Music in a Doll’s House, the acclaimed 1967 debut album by rock band Family, on which the young Mike Batt arranged the strings and brass. Batt credits Hayes with saving his brass arrangement on the track “Old Songs for New Songs”, which was his first major recording session as an arranger on the first take, he discovered he had inadvertently notated the parts in the wrong key but Hayes and his colleagues, realizing his mistake, discreetly transposed their parts by ear so that they would match the backing track.

Hayes appeared in a number of films, including All Night Long (1961) with Charles Mingus and Dave Brubeck, and (with his group) in A King in New York, by Charles Chaplin (1957), The Beauty Jungle (1964) and Dr Terror’s House of Horrors (1965). He also played at a wide range of jazz festivals, including Reading, Windsor, Antibes, Lugano, Vienna, and Berlin.

Despite all this, regular gigs were hard to come by for jazz musicians, and especially for his big band; first rock and roll and then the Beatles had pushed most jazz out of Britain by the late 1960s. Matters were made worse for Hayes by his drug addiction, which badly affected his health. In the late 1960s, he underwent open-heart surgery; he was able to start performing again in 1971 , and in 1972 toured Norway and Sweden. In 1973, he died during another heart operation at Hammersmith, at the age of thirty-eight. He was cremated and the ashes interred at the Golders Green Crematorium, where there is a white stone memorial plaque affixed to one of the walls. The epitaph reads “Long live his memory and his music”
http://tubbyhayes.jazzgiants.net/biography/

Personnel: Tubby Hayes : Tenor Sax Flute ; Derek Watkins, Greg Bowen, Tony Fisher, Ian Hamer : Trumpet ; Keith Christie, David Horler, Bill Geldard : Trombone ; Roy Willox : Alto sax; Bob Efford : Tenor , Woodwinds ; Alan Branscombe : Piano , Vibes Percussion ; Louis Stewart : Guitar ; Ron Mathewson : Bass ; Spike Wells : Drums ; Plus Harp, 8 violins, 2 violas, 2 cellos

The Orchestra (Remastered 2019)

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Eliane Elias - Time And Again

Styles: Vocal And Piano Jazz
Year: 2024
Time: 38:17
File: MP3 @ 320K/s
Size: 90,3 MB
Art: Front

(5:24) 1. At First Sight
(3:58) 2. Falo Do Amor
(3:56) 3. It's Time
(5:27) 4. How Many Times
(4:24) 5. Sempre
(4:50) 6. A Volta
(5:25) 7. Making Honey
(4:48) 8. Too Late

Eliane Elias, the internationally renowned Brazilian pianist, composer, and vocalist, continues to reach new heights with her latest album, “TIME AND AGAIN.” Building upon her recent GRAMMY® and Latin GRAMMY Award-winning success, this album showcases Elias’ unique blend of her Brazilian roots, jazz mastery, and a fusion of R&B and popular song influences.

Produced by her long-standing collaborators Marc Johnson and Steve Rodby, “TIME AND AGAIN” features eight original compositions that highlight Elias’ exceptional songwriting abilities. The album boasts an impressive lineup of musicians, including guitarists Conrado Goys, Marcus Teixeira, Daniel Santiago, and the legendary Bill Frisell, as well as guest appearances by vibraphonist Mike Mainieri, drummer Peter Erskine, and the background vocals of Mark Kibble. Notably, the legendary Brazilian composer and pop star Djavan graces the first single release, “Sempre.”

Elias reimagines three of her previous instrumental compositions, infusing them with new lyrics, tempos, and arrangements, revealing an emotional depth influenced by her collaboration with the poet Vinícius de Moraes. The album’s tracks, sung in both English and Portuguese, explore themes of love, joy, and life’s transitions, with standouts like “At First Sight,” “It’s Time,” and “How Many Times.”

With “TIME AND AGAIN,” Eliane Elias once again demonstrates her artistic ingenuity and ability to surprise listeners with her creative prowess. Her alluring vocals, masterful musicianship, and songwriting skills cement her status as the reigning queen of Brazilian jazz, delivering a landmark recording that affirms the beauty of life and invites listeners to experience her brilliant musical journey time and again.
https://www.birdland.com.au/eliane-elias-time-and-again

Time And Again

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Ann Hampton Callaway - Blues In The Night

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 55:35
Size: 130,6 MB
Art: Front

(3:31) 1. Swingin' Away The Blues
(5:40) 2. Blue Moon
(6:22) 3. Spring Can Really Hang You Up The Most
(3:24)  4. Lover Come Back To Me
(5:14)  5. Stormy WeatherWhen The Sun Comes Out
(3:43)  6. The I'm-Too-White-To-Sing-The-Blues Blues
(6:21)  7. Willow Weep For Me
(2:45)  8. Hip To Be Happy
(5:55)  9. It's All Right With Me
(4:35) 10. No One Is Alone
(4:51) 11. Blues In The Night
(3:08) 12. The Glory Of Love

Ann Hampton Callaway shows off her persuasive pipes on this memorable program of familiar songs and originals. Backed by pianist Ted Rosenthal, bassist Christian McBride and drummer Lewis Nash, she explores the kind of songs that drive Broadway wild. Sherrie Maricle's Diva big band appears on four tracks, while band members Anat Cohen (tenor saxophone) and Jami Dauber (trumpet) fill in on three additional selections with a moving spirit. With a blues theme running through her album, Callaway aims for the dramatic. You can pick up traces of expressive singers in her presentation; singers who have made an impact on her interpretation of this material, such as Lena Horne, Sarah Vaughan, Peggy Lee and Ella Fitzgerald. Callaway's "Hip to be Happy differs from most of the program. Here, she has put on her "Annie Ross thinking cap and has come up with a highly original song that feels as hip as Lambert, Hendricks Ross. She sings it with her sister, Liz, in a cool and comfortable posture. 

Blues in the Night fills the room with big band sounds as Callaway turns on the charm. She enjoys playing the role with authority. Her big voice belts the blues strong enough, and this band turns on the power for emphasis. Quieter interpretations such as "It's All Right with Me, "Spring Can Really Hang You Up the Most and "Willow Weep for Me demonstrate the singer's heartfelt sincerity. Stephen Sondheim's "No One is Alone, from Into the Woods, brings a beautiful passion to the forum, magnified by Anat Cohen's sultry tenor statements. Tender ballads such as this one reveal the true blue side of Callaway's stage presence, while her program holds plenty of other surprises for her audience. Blues in the Night has all the right ingredients for a true jazz celebration.~ Jim Santella https://www.allaboutjazz.com/blues-in-the-night-ann-hampton-callaway-telarc-records-review-by-jim-santella.php

Personnel: Ann Hampton Callaway: vocals; Ted Rosenthal: piano; Christian McBride: double bass; Lewis Nash: drums; Liz Callaway: vocals; David Gilmore: guitar. Sherrie Maricle and the Diva Jazz Orchestra (1, 4, 6, 11): Sherrie Maricle: drums, leader; Noriko Ueda: double bass; Kristy Norter: alto saxophone, flute; Erica von Kleist: alto saxophone, clarinet, flute; Anat Cohen, Scheila Gonzalez: tenor saxophone, clarinet; Lisa Parrott: baritone saxophone; Tanya Darby, Jami Dauber, Nadje Noordhuis, Alicia Rau: trumpet; Deborah Weisz, Jennifer Krupa: trombone; Leslie Havens: bass trombone.

Blues In The Night

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Doc Severinsen And His Orchestra - Tempestuous Trumpet & The Big Band's Back in Town

Styles: Trumpet Jazz, Big Band
Year: 2013
File: MP3@320K/s
Time: 76:31
Size: 176,1 MB
Art: Front

(2:40)  1. After You've Gone
(3:40)  2. When It's Sleepy Time Down South
(3:16)  3. Night in Tunisia
(3:35)  4. Tenderly
(3:23)  5. I Can't Get Started
(3:17)  6. And the Angels Sing
(2:41)  7. Baubles, Bangles and Beads
(4:10)  8. Stardust
(2:55)  9. Mack the Knife
(2:40) 10. You Made Me Love You
(2:16) 11. Sleepy Lagoon
(3:10) 12. Sugar Blues
(2:31) 13. Love for Sale
(2:58) 14. Flamingo
(4:11) 15. Blues in the Night
(2:49) 16. Granada
(4:00) 17. When Your Lover Has Gone
(2:41) 18. Johnny One Note
(3:07) 19. Lonesome Road
(2:51) 20. My Funny Valentine
(3:26) 21. St. Louis Blues
(3:16) 22. The Look of Love
(3:04) 23. I Cried for You
(3:42) 24. Poor Butterfly

Heeeeere’s Johnny!” That lead-in, followed by a big band trumpet blast, was the landmark of late night television for three decades. The ‘Johnny’ was Johnny Carson, the announcer was Ed McMahon and the bandleader was Doc Severinsen. Beginning in October 1962, The Tonight Show with Johnny Carson ruled the night air for thirty years. On May 22, 1992, it came to an end… Within a week of the final telecast, Doc Severinsen and His Big Band were on the road, and to this day, audiences across America love and respect Doc and his big band, not just because he shared their living room with them for so many years, but because of Doc’s love of the Big Band repertoire.  His musicianship keeps this iconic American music fresh to this day. Their repertoire includes Ellington and Basie standards, pop, jazz, ballads, big band classics and, of course, The Tonight Show theme.  Severinsen can still blow hard with his horn, and hit the high notes, a result of his continued commitment to the practice studio and the refinement of his craft.

But as a band leader, Doc continues to surround himself with the best in the business, and he’s only too happy to give them a turn in the spotlight.

A Grammy award winner, Doc has made more than 30 albums–from big band to jazz-fusion to classical. Two critically acclaimed Telarc CDs with the Cincinnati Pops Orchestra showcase his multifaceted talents from Bach to ballads.  The Very Best of Doc Severinsen reprises fifteen of Doc’s signature pieces. His other recordings include Unforgettably Doc with the Cincinnati Pops on Telarc, and the Grammy nominated Once More With Feeling on Amherst. He received a Grammy Award for “Best Jazz instrumental Performance Big Band” for his recording of Doc Severinsen and The Tonight Show Band-Volume I. In 2006, Doc moved to San Miguel de Allende, in Mexico, ostensibly to retire from performance. Within weeks, he was jamming with the magnificent guitarist Gil Gutierrez.  He now tours regularly with Gil in a quintet called The San Miguel Five, performing a mix of Latin and Gypsy jazz and standards, to exceptional acclaim. They just released their most current CD, Oblivion, in January 2014.

Severinsen’s accomplishments began in his hometown of Arlington, Oregon, population: 600. Carl H Severinsen was born on July 7th, 1927, and was nicknamed “Little Doc” after his father, Dr. Carl Severinsen a dentist. Little Doc had originally wanted to play the trombone. But Doc Sr., a gifted amateur violinist, urged him to follow in his father’s footsteps. The Doc Jr. insisted on the trombone, which turned out to be unavailable in tiny Arlington’s music store.  And so, a trumpet it would be. A week later, with the help of his father and a manual of instructions, the seven-year-old was so good that he was invited to join the high school band. At the age of twelve, Little Doc won the Music Educator’s National Contest and, while still in high school, was hired to go on the road with the famous Ted Fio Rito Orchestra.  However, his stay with the group was cut short by the draft. He served in the Army during World War II and following his discharge, landed a spot with the Charlie Barnett Band.

When this band broke up, Severinsen toured with the Tommy Dorsey, then, the Benny Goodman bands in the late 40's. After his days with Barnett and Dorsey, Doc arrived in New York City in 1949 to become a staff musician for NBC. After years of playing with NBC’s many studio bands, Doc was invited to play a gig in the highly respected Tonight Show Band.  The band leader at the time, Skitch Henderson, asked him to join that band in 1962 in the first trumpet chair. Five years later, Doc became the Music Director for The Tonight Show and the rest is history.  His loyalty to Johnny Carson and Ed McMahon never faltered, and the warm camaraderie between the three was an enormous part of the show’s success.  When Johnny decided to retire from The Tonight Show, Doc and Ed said their goodbyes as well. Of course, free from the nightly grind of the TV studio, Doc Severinsen had far more time to expand his musical horizons and continues to keep an extensive touring schedule.

In addition to his San Miguel 5 appearances, Doc tours regularly with his own Big Band and continues to perform with symphony orchestras all over the country.  Over the years has been Principal Pops Conductor with the Phoenix Symphony, the Milwaukee Symphony, the Minnesota Orchestra, the Colorado Symphony, the Pacific Symphony and the Buffalo Philharmonic.

Doc performs on a S.E. Shires Severinsen Destino III, a trumpet he developed with Steve Shires and the S.E. Shires Company in Massachusetts.  The factory has 25 craftsmen who are professional, working brass players and totally understand what is involved in making great brass instruments.  The S.E. Shires Company features a line of trumpets that includes the S.E. Shires Severinsen Destino III which was developed through Doc’s supervision until his exacting standards of quality and sound were achieved.  Doc continues to make regular visits to the factory. Today, Doc has not lost his flair for the outrageous fashion statement or his trademark wit. But his gregarious nature has never interfered with the fact that he has been one of the greatest trumpeters and musicians of the last 60 years, respected in the worlds of classical music, jazz, big band, and now even world music.  In the end, Doc Severinsen has transcended his celebrity, and rejoiced in his remarkable ability to simply play his trumpet as well as he can.  Which has proven to be good enough for the millions of people who count themselves his fans. http://www.docseverinsen.com/about/

Tempestuous Trumpet; The Big Band's Back in Town

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The Tonight Show Band With Doc Severinsen - The Tonight Show Band, Vol. II

Styles: Jazz, Big Band
Year: 1978
File: MP3@320K/s
Time: 42:20
Size: 99,4 MB
Art: Front

(3:35) 1. In the Mood
(4:09) 2. The Jersey Bounce
(4:01) 3. Georgia on My Mind
(2:58) 4. The World Is Waiting for Sunrise
(2:37) 5. Airmail Special
(3:33) 6. April in Paris
(5:23) 7. Stardust
(3:09) 8. Take the "A" Train
(2:48) 9. Do Nothing 'Till You Hear from Me
(2:39) 10. Serenade in Blue
(3:38) 11. Hamp's Boogie Woogie
(3:43) 12. Jumpin' at the Woodside

The second of two long-overdue recordings by the Tonight Show Band has its moments, but its reliance on swing-era warhorses and the generally predictable arrangements (Bill Holman's reworkings of "The World Is Waiting for the Sunrise," "Take the 'A' Train," and "Serenade in Blue" are exceptions) are disappointments.

However, there is some excellent solo space for trumpeters Doc Severinsen, Snooky Young, and Conte Candoli; tenors Pete Christlieb and Ernie Watts; and pianist Ross Tompkins. Since this legendary big band recorded so little (just three albums for Amherst), all are worth picking up. By Scott Yanow
https://www.allmusic.com/album/the-tonight-show-band-vol-2-mw0000188827

Personnel: Trumpet, Flugelhorn, Conductor – Doc Severinsen; Alto Saxophone [Lead], Flute, Clarinet – Tommy Newsom; Alto Saxophone, Flute, Clarinet – Bill Perkins, John Bambridge; Baritone Saxophone, Soprano Saxophone, Flute, Clarinet – Don Ashwort; Bass – Joel DiBartolo; Bass Trombone – Ernie Tack; Drums – Ed Shaughnessy; Guitar – Bob Bain, Peter Woodford; Piano – Ross Tompkins; Tenor Saxophone, Flute, Clarinet – Ernie Watts, Pete Christlie; Trombone – Bruce Paulson; Trombone [Lead] – Gil Falco; Trumpet [Lead], Flugelhorn – John Audin; Trumpet, Flugelhorn – Allen Vizzutti, Conte Candoli, Maurey Harris, Snooky Young

The Tonight Show Band, Vol. II

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Randy Weston & Billy Harper - Roots of the Blues

Styles: Piano And Saxophone Jazz

Year: 2013

File: MP3@320K/s

Time: 54:42

Size: 126,5 MB

Art: Front

(4:09)  1. Carnival

(4:31)  2. Blues to Senegal

(5:45)  3. Berkshire Blues

(3:24)  4. Body And Soul

(2:38)  5. Congolese Children Song

(3:23)  6. If One Could Only See

(4:42)  7. Blues to Africa

(3:57)  8. How High The Moon

(2:37)  9. Cleanhead Blues

(2:08) 10. Timbuktu

(2:34) 11. Roots of the Nile

(4:32) 12. Take the A Train

(7:35) 13. The Healers

(2:40) 14. African Lady (Bonus Track)

Randy Weston and Billy Harper‘s long partnership has culminated in their first duo recording, The Roots of the Blues, recorded by French producer Jean-Phillippe Allard for Universal and recently released stateside by the Sunnyside label. Ace producer Allard has been at the console for such Weston record dates as Spirit! The Power of Music Verve/Gitanes 1999), Earth Birth (Verve/Gitanes 1995), Khepera (Verve/Gitanes 1998), Saga (Verve/Gitanes 1995), Volcano Blues (Verve/Gitanes 1993), Marrakech in the Cool of the Evening (Verve/Gitanes 1992), The Splendid Master Gnawa Musicians (Verve 1992), and the classic The Spirits of Our Ancestors (Verve 1991). The latter featured three distinctive, spiritually adept tenor men Pharoah Sanders, Dewey Redman (the tenor exchange between those two on an extended version of “African Cookbook” is worth the price of the CD alone), and Harper. But the Weston/Harper hook-up goes back further than that auspicious record date.

In 1971, as part of his overall plan to develop an African cultural beachhead in Tangier, Morocco that would serve as a hub for African and African Diaspora culture, while continuing to operate his African Rhythms Club in the northernmost African city, Weston began planning a grand festival which would eventually become the first primarily jazz festival in Africa. As part of his planning he recruited his boyhood friend Max Roach and arts activist Mary Jo Johnson as his US-based liaisons to secure and arrange travel for the US artists Randy planned to bring to the festival. The idea was to produce a festival that would find US and African artists collaborating creatively. The US artists who committed to playing the festival, which commenced September 1-3, 1972, included Mandrill, Pucho & the Latin Soul Brothers, Odetta, Hubert Laws, Ahmed Abdul-Malik, and Max Roach’s Quartet, with Cecil Bridgewater on trumpet, Juney Booth on bass, and Billy Harper. However for some then-unexplained reason Max was not on the flight! Additionally, Dexter Gordon and trumpeter Richard “Notes” Williams joined the lineup from Europe.

Randy puzzled over Max’s absence for years, not learning until after Roach’s passing that the reason he didn’t make the flight was to maintain marital bliss, Max’s wife being very much pregnant at the time. Come festival time – at a grand outdoor venue that was actually a converted bull ring stadium, a setting Weston described as fraught with the usual logistical nightmares of a short-funded start-up (the Moroccan government fell short of its promised financial support), Max’s band soldiered on without him, Harper even taking to the traps for part of the performance, which he also did handily for Hubert Laws set. Though clearly an artistic success, the festival dug such a deep hole for Weston that he was forced to padlock his African Rhythms Club and return home to Brooklyn to recoup. Obviously Billy Harper left a major impression on Weston, such that in recent years whenever a performance calls for or affords him the option of having a tenor player in his band, Weston calls on Harper.In preparing the liner notes for The Roots of The Blues, I interviewed both Weston and Harper on the project, starting with Weston, with whom I had the advantage of a 10-year head start from writing his autobiography African Rhythms. More..http://www.openskyjazz.com/2013/11/randy-weston-billy-harper-on-the-roots-of-the-blues/

Personnel:Piano – Randy Weston (tracks: 1 to 5, 7 to 14); Tenor Saxophone – Billy Harper (tracks: 1 to 10, 12 to 14)

Roots of the Blues

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