Silky Denims

Monday, June 9, 2025

HAPPY WEEK AHEAD

Sunday, June 8, 2025

Ronny Whyte - Whyte Witchcraft

Styles: Vocal Jazz
Year: 2019
Time: 60:43
File: MP3 @ 320K/s
Size: 140,2 MB
Art: Front

(2:24) 1. Too Good to Talk About
(4:57) 2. It Amazes Me
(4:01) 3. The Best is yet to Come
(3:13) 4. I'm Watching You
(3:55) 5. Sometime When You're Lonely
(4:37) 6. Witchcraft
(3:22) 7. Sweet Talk
(3:37) 8. On Second Thought
(4:16) 9. Why Try to Change Me Now
(3:36) 10. I've Got Your Number
(3:14) 11. I'm in Love Again
(3:36) 12. Rules of the Road
(3:16) 13. I Walk a Little Faster
(3:51) 14. You Fascinate Me So
(2:21) 15. Don't Ask a Lady
(4:04) 16. Here I Go Again
(2:19) 17. All Right I Love You

Cy Coleman (1929-2004), the jazz pianist turned theater composer, is best remembered for his string of golden Broadway scores—Little Me, Wildcat, Sweet Charity, Seesaw, I Love My Wife. But to cabaret-goers of the 1950s, Coleman was a nightclub mainstay whose songs formed a smart soundtrack to big-city life. His music, with its syncopated, conversational bounce, has a distinctly New York pulse; the lyrics of his key collaborators, Joseph McCarthy, Jr., Carolyn Leigh, and Dorothy Fields, are dazzlingly nimble and worldly-wise. In “You Fascinate Me So,” Leigh’s words have a swing all their own: “I feel like Christopher Columbus when I’m near enough to contemplate/The sweet geography descending from your eyebrow to your toe.”

It’s a lost language of songwriting, and most of its great interpreters—Blossom Dearie, Sylvia Syms, Mabel Mercer, Bobby Short—are gone. But their urbanity and musicianship live on in Ronny Whyte, a sixty-year member of a grand tradition of New York singer-pianists. Suave but eternally boyish, with jazz chops and a breezy air, Whyte was Coleman’s friend; the composer gave him copies of many of his songs. From these Whyte has assembled his latest album, which focuses mainly on Coleman’s partnership with Leigh.

Thousands of nights in saloons haven’t dulled the satin sheen of Whyte’s voice. On half the tracks, Cecilia Coleman (no relation), the Los Angeles-based bandleader and pianist, backs Whyte with a sixteen-piece orchestra that is strong on instrumental color but never competitive. Elsewhere Whyte performs in a trio that includes accordionist Eddie Monteiro. Singing the best of early Cy—“Why Try to Change Me Now?,” “Witchcraft,” “I Walk a Little Faster,” “The Rules of the Road”—Whyte captures the wit and the lilt in every phrase.

Whyte Witchcraft

Chet Baker & Bud Shank - Theme Music From "The James Dean Story"

Styles: Cool Jazz
Year: 2016
Time: 42:17
File: MP3 @ 320K/s
Size: 98,1 MB
Art: Front

(2:53) 1. Jimmy's Theme
(4:45) 2. The Search
(3:38) 3. Lost Love
(3:35) 4. People
(3:35) 5. The Movie Star
(4:33) 6. Fairmont, Indiana
(3:43) 7. Rebel at Work
(4:11) 8. Let Me Be Loved
(3:58) 9. Success and Then What?
(5:05) 10. Hollywood
(2:15) 11. Let Me Be Loved (Vocal Version)

Theme Music from the James Dean Story

Presented here for the first time on CD in full Stereo sound, with detailed recording dates and complete, accurate personnel data, the splendidly varied contributions of soloists and arrangers give the album the jazz qualities that help to make it such a satisfying experience.

The famous television host, actor and jazz pianist, Steve Allen, once said that Chet Baker was, because of his general air, looks and attitude, “the James Dean of Jazz.” Since Chet also shared with Dean a similar reputation as a rebel, it seems fitting that he was chosen as co-leader on this album with Bud Shank. Originally written by Leith Stevens for “The James Dean Story” the music for the film contains that background quality, meant to amplify visual action, which gives it a cohesiveness that, in lesser hands, has the potential to make one track sound a great deal like another. However, the Johnny Mandel and Bill Holman orchestrations here simultaneously reflect the James Dean spirit, while providing a rich instrumental framework for the solo work of Baker and Shank. And if Chet plays with consistent force and lyrical warmth throughout, and sings with emotional involvement on the James Dean theme, Let Me Be Loved, it is Bud who steals the show overall with the authoritative vitality and soulfulness of his alto and flute work.

Music composed by Leith Stevens, except “Let Me Be Loved” by Jay Livingston-Ray Evans

Tracks #1-10, originally issued on the Mono 12” album

“The James Dean Story” (World Pacific P-2005)

Tracks #11 from the 7” single World Pacific X-641

Tracks #1,2,4,5,6,8,9 & 10 issued in Stereo on the

12” album “Swinging Soundtrack” (Kimberly 11016)

Personnel includes:

Chet Baker, trumpet & vocals; Ray Linn, Don Fagerquist, trumpets; Milt Bernhart, trombone; Bud Shank, Charlie Mariano, Bill Holman, Richie Kamuca, Herbie Steward, Pepper Adams, reeds & woodwinds; Claude Williamson, piano; Monty Budwig, bass; Mel Lewis, drums; Mike Pacheco, bongos.

All sessions recorded at Radio Recorders, in Hollywood, August 1957

Charlie Mariano: Plays / Plays Alto and Tenor

Charlie Mariano Plays

Styles: Easy Listening, Cool Jazz, Contemporary Jazz
Year: 2005
Time: 63:49
File: MP3 @ 320K/s
Size: 148,0 MB
Art: Front

(4:11) 1. S Nice
(4:07) 2. Clho - E
(4:41) 3. Three Little Words
(3:25) 4. Green Walls
(5:10) 5. My Melancholy Baby
(2:39) 6. You Go to My Head
(3:18) 7. Slugger
(3:09) 8. There Will Never Be Another You
(3:15) 9. Sunday
(3:21) 10. Sapphire
(3:29) 11. Don't Get Around Much More
(3:52) 12. Strike Up the Band
(3:40) 13. Just Max
(2:52) 14. Sweet Georgia Brown
(3:16) 15. I'll Never Smile Again
(3:25) 16. T. K.
(2:25) 17. Rubberneck
(3:26) 18. Jeppers Creepers

Altoist Charlie Mariano, active since the late Forties playing around his native Boston, became much better known through his stay at Stan Kenton's orchestra (1953-1955). He managed to assert his own individual quality and his own musical importance while keeping a deep-seated devotion to Charlie Parker. On these early sides, recorded in Los Angeles, Mariano blows with a great deal of emotion, authority, bite and consistency, showing why he became one of the most demanded studio sidemen in the West Coast (1953-1957) as well as one of the most important altoists in modern jazz since Charlie Parker.

Charlie Mariano Plays

Charlie Mariano Plays Alto and Tenor

Styles: Bop
Year: 2005
Time: 54:01
File: MP3 @ 320K/s
Size: 125,0 MB
Art: Front

(5:32) 1. Johnny One Note
(4:00) 2. The Very Thought of You
(3:11) 3. Smoke Gets in Your Eyes
(5:24) 4. King for a Day
(4:21) 5. Darn That Dream
(4:33) 6. Floormat
(6:43) 7. Blues
(4:12) 8. I Heard You Cried Last Night
(3:29) 9. Manteca
(4:35) 10. It's You or No One
(2:56) 11. I Should Care
(5:00) 12. Give a Little Whistle

On these 1955 quartet sessions, whether on alto or tenor saxophone, we hear Charlie Mariano play some of the strongest and most impressive sides he had recorded until then. He was backed by a solid rhythm section, featuring the stabbing and leanly imaginative pianist John Williams, the striding beat of Max Bennett, and the always tasteful drumming of Mel Lewis. All the tracks are marked by a pulse and a flow and deftness which demand satisfactory attention.

Charlie Mariano Plays Alto and Tenor

Warren Wolf - Wolfgang

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 61:09
Size: 141,0 MB
Art: Front

(7:55) 1. Sunrise
(7:18) 2. Frankie and Johnny
(7:25) 3. Grand Central
(6:05) 4. Wolfgang
(5:34) 5. Annoyance
(5:34) 6. Lake Nerraw Flow
(6:07) 7. Things Were Done Yesterday
(6:27) 8. Setembro
(8:41) 9. Variations sur "Le carnaval de Venise"

In a succession of vibraphonists that began with Lionel Hampton and Red Norvo, Wolf has come into his own. His new album finds him with one rhythm section of veterans pianist Benny Green, bassist Christian McBride and drummer Lewis Nash and another of young musicians from his own quartet. He and the increasingly impressive pianist Aaron Diehl play duets on two pieces. With Wolf on marimba, the two defy categories in variations on the 19th century trumpet chops buster “The Carnival of Venice.” In “Wolfgang” and “Grand Central” (unrelated to the John Coltrane piece of that name) Wolf the composer writes straightforward melodic invention that is also a hallmark of his soloing. His improvisation on “Frankie and Johnny” is a bluesy joy. ~ Doug Ramsey http://www.artsjournal.com/rifftides/2013/09/cd-warren-wolf.html

Wolfgang

Ramsey Lewis - Them Changes

Styles: Piano Jazz
Year: 1970
File: MP3@320K/s
Time: 44:59
Size: 104,9 MB
Art: Front

(6:43) 1. Them Changes
(6:30) 2. Drown In My Own Tears
(8:18) 3. Oh Happy Day
(8:00) 4. Do Whatever Sets You Free
(5:12) 5. Something
(6:19) 6. See The End From The Beginning, Look Afar
(3:54) 7. The Unsilent Minority

Pianist and composer Ramsey Lewis has been a major figure in contemporary jazz since the late 1950s, playing music with a warm, open personality that's allowed him to cross over to the pop and R&B charts. Lewis was born in Chicago, Illinois on May 27, 1935, and was introduced to music by his father, who directed the choir at a local church and enjoyed the music of Duke Ellington and Art Tatum. Lewis began studying the piano when he was four years old, and was soon accompanying the choir at Sunday services. At the age of 15, he joined a jazz combo called the Cleffs, who played at parties and dances. Lewis was interested in a leaner, more bebop-oriented sound, and when the group splintered after several members joined the military, he formed the Ramsey Lewis Trio with two other former Cleffs, bassist Eldee Young, and percussionist Redd Holt. The trio became a fixture on the Chicago jazz scene, and they were signed to a deal with Chess Records, releasing their first album, Ramsey Lewis & His Gentlemen of Jazz, in 1956. Lewis and his trio continued to record and tour steadily over the years, building a sizable audience among jazz fans, but their career received a serious boost in 1965, when they recorded a swinging version of Dobie Gray's hit "The In Crowd" at a gig in Washington, D.C.

Chess released the track as a single, and it became a sizable pop hit, earning Lewis his first gold record, as well as a Grammy award for Best Jazz Performance. As Lewis' star rose, he returned to the pop charts in 1966 with versions of "Hang on Sloopy" and "Wade in the Water." Meanwhile, Young and Holt left Lewis' trio to form their own group, Young-Holt Unlimited, and the pianist hired a new rhythm section, Cleveland Eaton on bass and Maurice White on drums. In 1970, White resigned to form his own group, and Morris Jennings signed on as the trio's new percussionist. Lewis continued to record for Chess until 1972, when he moved to Columbia Records, and as his music developed a more contemporary groove, White's group, Earth, Wind & Fire (also on Columbia), was beginning to enjoy considerable success on the R&B charts. White produced Lewis' 1974 album Sun Goddess, in which he experimented with electronic keyboards for the first time, and several members of EWF played on the sessions; it became a major crossover hit and took Lewis to the upper ranks of the smooth jazz/fusion scene. Lewis would continue to record R&B-influenced material through the '70s, but continued to explore his roots in more traditional jazz sounds as well as Latin rhythms. In 1983, he went into the studio with Eldee Young and Redd Holt again for the album Reunion; in 1984, he collaborated with Nancy Wilson on The Two of Us; in 1988, he recorded with London's Philharmonia Orchestra for the album A Classic Encounter, and in 1989, Lewis and Dr. Billy Taylor cut a set of piano duets, We Meet Again.

In 1992, Lewis signed with the successful jazz label GRP Records, and in 1995, he launched the side project Urban Knights, in which he collaborated with a handful of successful crossover jazz stars, including Grover Washington, Jr., Earl Klugh, and Dave Koz. In 1997, Lewis added disc jockey to his résumé, hosting a popular show on Chicago's WNUA-FM that ran until 2009; the show went into syndication in 2006 under the name Legends of Jazz with Ramsey Lewis, and is still on the air. In 2005, Lewis looked back on his roots in gospel music with the album With One Voice, which earned him the Stellar Gospel Music Award for Best Gospel Instrumental Album. In 2007, he was commissioned to write a jazz ballet for the Joffrey Ballet Company, and "To Know Her …" debuted at Highland Park, Illinois' Ravina Music Festival, where Lewis is artistic director of the festival's jazz series, and helped found their Jazz Mentor Program. Lewis has also written several pieces for string ensemble and orchestra that have premiered at Ravina; highlights were featured on the 2009 album Songs from the Heart: Ramsey Plays Ramsey, his first release from Concord Records. In addition to his work as a performer, composer, educator, and disc jockey, Lewis has received five honorary doctorate degrees, won the National Endowment for the Arts' Jazz Master Award in 2007, and is one of the few noted jazz artists to carry the Olympic Torch, having briefly escorted the flame as it passed through Chicago en route to the 2002 Winter Games. Bio ~ Mark Deming http://www.allmusic.com/artist/ramsey-lewis-mn0000334770/biography

Personnel: Ramsey Lewis – piano, el. piano (Fender Rhodes),Phil Upchurch – el. guitar (Fender),Cleveland Eaton – el. bass (Fender), Morris Jennings - drums

Them Changes

Saturday, June 7, 2025

Deborah Silver - Glitter & Grits

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 43:24
Size: 104,5 MB
Art: Front

(3:26) 1. I got rhythm
(3:27) 2. That old black magic
(4:40) 3. I'm gonna sit right down and write myself a letter
(3:44) 4. After you've gone
(3:06) 5. Ballin' the jack
(2:34) 6. Almost like being in love
(3:19) 7. Get happy
(2:57) 8. Ac-cent-tchu-ate the positive
(3:44) 9. Embraceable you
(3:18) 10. Bill Bailey, won't you please come home
(2:44) 11. Don't get around much anymore
(3:17) 12. Fly me to the moon
(3:02) 13. Deep in the heart of Texas

I love a good surprise (except for being scared, a favorite pastime of my spouse) and the new Deborah Silver album GLITTER AND GRITS is one of the most pleasant and unexpected of surprises I've had in awhile. I guess the title should have given it away, but I truly wasn't prepared for the rock-a-billy vibe to the CD when you think about standards and Silver, you have your mind pretty much set on something a little more traditional. This is traditional alright traditional Texas swing, man! Oh my GOSH, is it refreshing! From Deborah's opening Gershwin tune, you'll have your fingers snapping and your toes tapping, and if you're not dancing within the first 90 seconds, then you're missing out on something that can only be described as pure fun. And, kids, I WAS dancing and I was at the gym, so put that picture in your head, why don't you? Do yourself the favor of allowing yourself to dance... even if you're at the gym.

Glitter and Grits is a totally appropriate title for the CD because Deborah Silver is rarely seen (in a professional capacity) in anything less than seamlessly crafted glamor, and there is no doubt that the woman has grit. An individual as a person and as a talent, Silver is also a warrior who survived a 58-day isolation with Covid-19, emerging to release the Ray Benson-produced CD. Mr. Benson, famed for an impressive artistic legacy in which he and his band ASLEEP AT THE WHEEL have earned ten Grammy Awards, has created arrangements and orchestrations to which jazz diva Silver takes as though she was born and raised in the land of cowboy boots, Mums, and grits N gravy. Without sacrificing one iota of the jazz efficacy for which she is famous, Deborah gets right down into the Southern sound, no hesitation, no tentative tendencies, she gets into it, and she gets down with it, and (I cannot stress this enough) it is incredible. It would not be a far reach to think that the team on Glitter And Grits might join forces for another album in the future, because, although they might not have dreamed of a partnership of this nature, what they have here is too special to leave at just one album.

The canon of standards that people call The Great American Songbook (a distinction that grows more, and grows more vague, with each passing year) holds specific and personal connections in the hearts and minds of every person who listens to songs like "Embraceable You" and "That Old Black Magic"; whatever their age, whatever the reason they first found this brand of music, everybody loves it for a reason that is all their own. What about the people who don't usually listen to Judy Garland and don't know the song "Get Happy"? There are country music fans who probably never heard "Almost Like Being In Love" before. Well, this CD is a perfect way to introduce those people to incredible works of art from the history of songwriting, just like there are jazz listeners and Deborah Silver fans who are going to be introduced to Texas Swing and this dude Ray Benson, who they never heard of before, and, as a result, have their own musical tastes altered. I'll be doggoned if Deborah Silver isn't only delivering to the public some damn fine music, she is providing a service by bridging a gap for lovers of different genres of music, educating folks a little, and expanding peoples' level of experience. I can't think of a sweeter way to broaden your mind and your artistic tastes.

Benson and co. are doing work on this CD that is beyond reproach; you could actually take out all of Deborah's vocal tracks and you would have a heck of an enjoyable album. Take my word for it: removing Deborah's voice from the tracks would be a mistake of epic proportion. Golly Gee Moses, is this lady special. You know how sometimes you can listen to a singer who has a gorgeous voice but you're not really sure what emotion is being conveyed, IF any emotion is being conveyed? That's not Deborah Silver. The quality of the voice is exquisite: you can tell that, even without training, this would be a pretty voice - I mean, if you were standing next to her at a party singing Happy Birthday, you would think "What a pretty voice." The thing is, though, pretty voice aside, not only has Silver had training, she has an innate instinct for styling and performance, a showomanship that serves the audience, and she has a kinship that serves the music, whether it's a cheeky "I'm Gonna Sit Right Down And Write Myself a Letter" or a down home "Bill Bailey, Won't You Please Come Home" (come on, Mama!). Then she layers in the emotion, and even though the upbeat Southern nature of the cd doesn't leave a lot of room for ballads with all the moony romantic feels, every single track here still touches the place in your heart where you can tell that Deborah Silver was smiling while recording. She was having fun. She was enjoying life.~ Stephen Mosher https://www.broadwayworld.com/cabaret/article/BWW-CD-Review-Deborah-Silver-GLITTER-AND-GRITS-Swings-Sings-and-Shines-Like-Stars-In-a-Texas-Sky-20201023

Glitter & Grits

Mike Ledonne - Wonderful

Styles: Jazz
Year: 2024
Time: 56:01
File: MP3 @ 320K/s
Size: 129,3 MB
Art: Front

(8:45) 1. Let Us Go
(8:30) 2. Lonnie's Lament
(7:19) 3. Twinkies Organ Prelude / Wonderful
(6:26) 4. Put It Back
(6:05) 5. Bridge Over Troubled Water
(5:59) 6. Ain't Nothing Like The Real Thing
(5:48) 7. Make Someone Happy
(7:06) 8. Genesis

In jazz's rich tapestry, where tradition meets innovations, there emerged a convergence exemplified by the present release Wonderful! with the virtuosic Mike LeDonne's Groover Quartet + Gospel Choir, who embark on a transcendent journey into the heart of gospel- infused jazz. The project is informed by LeDonne's desire to offer a heartfelt tribute to his wife Margaret and daughter Mary to showcase the spirited and varied nature of the disability community. Participating in this harmonious affair are the long-time members of the Quartet, including tenor saxophonist Eric Alexander, guitarist Peter Bernstein and drummer Joe Farnsworth, with special guests Daniel Sadownick on percussion and Vincent Herring on alto saxophone plus an eleven-voice gospel choir.

The session opens with the gospel song "Let Us Go," and it is a barn burner from the opening notes. Filled with an uplifting, joyful spirit emanating from the choir's voices, the quartet, enhanced by Sadownick and Herring, picks up a fiery groove that elevates with a sense of spiritual resonance. The John Coltrane composition "Lonnie's Lament" was recorded in 1964 with his Quartet for an album entitled Crescent at the same Van Gelder Recording Studio as this release. With his clear-eyed approach, the expressive tenor player Alexander is at the forefront of this chart. LeDonne and Bernstein play their part in bringing this broad-based canvas to life.

The title track, "Wonderful," is paired with "Twinkies Organ Prelude," which brings the meditative choir and the meticulously flowing sound of the quartet together in the pleasure of the music. The gospel choir continues their assertive and open-minded approach with two popular songs: Paul Simon's "Bridge Over Troubled Water" and the Ashford & Simpson number "Ain't Nothing Like The Real Thing." Farnsworth's intense shuffle drumming sets up the former as Bernstein, LeDonne and Alexander each show a head-long but intelligent approach to improvisation. The latter swings along at a striking clip, with LeDonne and the quartet showing they are a briskly assertive ensemble.

The album closes with a LeDonne original "Genesis," a slashing number with Farnsworth's propulsive drumming leading the way. Alexander, Bernstein and LeDonne are drawn into this irresistible rhythmic inquiry, responding with vital, scintillating work. The band and the gospel choir have a mission to touch all who listen.By Pierre Giroux
https://www.allaboutjazz.com/wonderful-mike-ledonne-cellar-music-group/

Personnel: Mike LeDonne - Hammond B3 organ; Eric Alexander - tenor saxophone; Peter Bernstein - guitar; Joe Farnsworth - drums; Daniel Sadownick - percussion (Let Us Go & Put It Back); Vincent Herring - alto saxophone (Let Us Go)

Wonderful

David 'Fathead' Newman - The Blessing

Styles: Saxophone And Flute Jazz
Year: 2009
File: MP3@320K/s
Time: 55:10
Size: 138,7 MB
Art: Front

(6:23) 1. SKJ
(5:47) 2. Someone To Watch Over Me
(4:55) 3. As Time Goes By
(5:27) 4. Manha De Carnival
(6:33) 5. Smile
(7:31) 6. Romantic Night
(5:59) 7. Chelsea Bridge
(5:24) 8. Whispers Of Contentment
(7:07) 9. The Blessing

What an apt name The Blessing is for David Newman's final recording before his death ended a long career last January (2009). He played for more than a decade with Ray Charles and alongside Herbie Mann, Aretha Franklin and Roy Ayers, among many others. For this last studio session he was in fine form. A Milt Jackson gem, "SKJ," is the set's opener, Steve Nelson's vibes providing glowing cascades before Newman swings in with a solo as brief in its measured warmth as it is satisfying. Here too and throughout the set Peter Bernstein's guitar is vigorous in a style that is direct as it mixes blues and bebop. In Newman's blues-drenched take on Gershwin's "Someone To Watch Over Me" (which in moments has echoes of Duke Ellington's "In A Sentimental Mood"), again there is a dazzling display of colors and tones. He begins with a statement of the original tune, albeit with little turns, pauses and a warm, floating, utterly romantic sound.

Nelson is always there with just the subtlest echoes of the melody. Newman's tenor saxophone is as gentle as it is full-bodied, with nary a superfluous embellishment. David Leonhardt's piano solo leads perfectly into Newman's bridge and the final bars. It must be noted that Newman's brand of romanticism is never mushy or sentimental. His version of "As Times Goes By" is abetted by the brisk, crystal warmth of Nelson's vibes on the bridge. Newman is authoritative and yet relaxed and it segues into "Manha de Carnival," on which his sax, Nelson's vibes and Leonhardt's piano effect a subtle tension by both anticipating and playing after the beat. It is Leonhardt's own composition, "Romantic Night," that showcases Newman at a peak on the recording and brings out the best from all hands.

Shifting between major and minor modes, it's a beautifully structured performance. Newman gives a textbook example of a veteran player who swings easily as he makes it feel so good, yet without ever allowing things to get too cozy. The closer is the title track, Newman's own tune, this time with him on flute. It's a gospel-tinged piece that closes the set on a funky, upbeat note. As with all of Newman's music, this piece could as aptly have been called "a gift."~ Andrew Velez https://www.allaboutjazz.com/the-blessing-david-fathead-newman-highnote-records-review-by-andrew-velez.php

Personnel: David "Fathead" Newman: tenor saxophone, flute; Steve Nelson: vibes; David Leonhardt: piano; Peter Bernstein: guitar; John Menegon: bass; Yoron Israel: drums.

The Blessing

Simon Spillett - Up In Town

Styles: Saxophone Jazz
Year: 2025
Time: 13:37
File: MP3 @ 320K/s
Size: 32,3 MB
Art: Front

(2:09) 1. For Members Only
(2:34) 2. A Pint Of Bitter
(2:06) 3. Opus Ocean
(2:21) 4. Grits, Beans & Greens
(2:22) 5. Souriya
(2:02) 6. Don't Fall Off The Bridge

Mister PC is Cater’s own label; its debut release featured Spillett’s big band with Cater at the batterie. Now comes this pared-down follow-on and yes, it’s the big band’s rhythm section re-purposed as the Simon Spillett Quartet and recorded live at Pizza Express Soho. And very resonantly too.

Spillett opens with a blistering, blow-torch evaluation of his hero Tubby Hayes’ ‘For Members Only’, Barron similarly charged, the whole effect like an onslaught. The crowd loved its ‘headlong excitement’ in the words of note-writer Alan Barnes. It’s an augury for what ensued for the rest of the session too. All six tracks have Hayes associations, for that is Spillett’s preferred repertoire, with four penned by TH and two by Clark Terry, and taken from their memorable 1961 New York session.

The latter’s ‘A Pint of Bitter’ is a medium-tempo groover, bass and drums in the pocket as they used to say, over its 13-minute duration, with Barron’s lengthy solo showing his bebop facility, his lines and bluesy edge yet another pointer to his class. Spillett follows, his assertive, detailed style certainly echoing that of Hayes himself yet recognisably his own. ‘Opus Ocean’ (also by Terry) kicks off at a near-frantic tempo, Spillett strong-toned in his attack, punching its riff shape home and exposing the harmonies to a searching examination, Cater breaking up the beat in clamorous fashion ahead of Barron’s Powell-like entry, the invention unflagging as tenor and drums joust to the finish.

Dankworth’s solo opens ‘Grits, Beans and Greens’, Barron and Spillett following in equally inventive form ahead of Cater’s lusty solo. ‘Souriya’ is milder, tenor banked down and mellow, Barron similarly thoughtful. So, a confident display by all four, Spillett in full command, the group as one and greatly to the taste of this crowd.By Peter Vacher
https://www.jazzwise.com/review/the-simon-spillett-quartet-up-in-town

Personnel: Simon Spillet (Saxophone), Rob Barron (piano), Alec Dankworth (double bass) and Pete Cater (drums).

Up In Town

Thursday, June 5, 2025

Charlie Parker & Chet Baker - Inglewood Jam / Live at the Trade Winds 1952 (Remastered)

Styles: Bop
Year: 2010
Time: 41:56
File: MP3 @ 320K/s
Size: 96,3 MB
Art: Front

(14:43) 1. The Squirrel
( 6:14) 2. They Didn't Believe Me
(11:06) 3. Indiana (Donna Lee)
( 9:53) 4. Liza

Bird & Chet: Live at the Trade Winds, 1952

The music here comes from one of Monday night sessions at the Trade Winds, on June 16, 1952, a time when Charlie Parker was touring the West Coast. It was not good time for Bird, who appeared tired and overweight, but played as magnificently as ever.

[...] In a sense jazz had become 'underground' music regardless of the type of jazz actually being played. The smaller places seem to produce 'better' jazz from the very same musicians than when they played large auditoriums. What the trend clearly denoted was that although the general jazz influence was at its lowest in years with respect to comercial dance bands, radio and records, more and better jazz was being played in the area!

Order of soloists: Bird, Chet, Sonny, Al, Harry, Bird, Chet, Sonny, Bird, Chet, Al

Previously released as 12-inch album (FSR-407 LP)

Personnel: Charlie Parker (alto sax), Chet Baker (trumpet), Sonny Criss (alto sax), Al Haig (piano), Harry Babasin (b), Lawrence Marable (d). Russ Freeman, replaces Haig on #3. Recorded live at the Trade Winds Club in Inglewood, California, June 16, 1952

"In June of 1952 someone with a tape recorder hijacked a performance of Charlie Parker's quintet at the Trade Winds in Inglewood, California. The tape discloses the 22-year-old Chet Baker about a month before he joined the Gerry Mulligan Quartet. The trumpeter is lyrical and swift, with good range and tone. He is bursting with original ideas, most of which he is able to execute. In short, young Baker on the verge of international celebrity was a worthy foil for the premier jazz musician of the day." (Doug Ramsey)

_________________________________________________________________________________

"This CD's historic value. Trumpeter Chet Baker is heard shortly before he joined Gerry Mulligan's quartet participating on a jam session with altos Charlie Parker and Sonny Criss. They play lengthy versions of four songs and there are plenty of heated moments on this bop set." Scott Yanow -All Music Guide

Dena DeRose - Mellow Tones

Styles: Vocal, Ballad, Swing
Year: 2025
Time: 49:00
File: MP3 @ 320K/s
Size: 112,6 MB
Art: Front

(7:40) 1. In a Mellow Tone
(4:09) 2. Autumn in New York
(4:31) 3. Two for the Road
(3:40) 4. Stairway to the Stars
(5:35) 5. Only Trust Your Heart
(6:55) 6. Hold Fast to Your Dreams
(5:55) 7. Thank You for Everything
(4:59) 8. Maybe September
(5:30) 9. My Frame for the Blues

Jazz vocalist and pianist Dena DeRose is back with a stunning new recording that solidifies her place among the most communicative and sophisticated artists in jazz today. DeRose has captivated audiences with acclaimed albums like Ode to the Road (HCD 7323) and United (HCD 7279) and here she unveils her latest project, featuring her musical compadres of choice, bassist Martin Wind and drummer Matt Wilson. Also appearing on two tracks is special guest, the remarkable trombonist Ed Neumeister. This new release showcases DeRose's signature blend of swing and heartfelt balladry, underlining her reputation as "a supremely elegant pianist and singer who exudes an effortless sense of swing" (DownBeat). The album is also notable for the first recording of DeRose's own compelling composition, "Hold Fast to Your Dreams," based on the poetry of Langston Hughes. Throughout the session, she performs her music with the warmth and insight that have made her a favorite among the jazz cognoscenti. https://www.amazon.com/Mellow-Tones-Dena-DeRose/dp/B0F2GRMVG9

Mellow Tones

Dave Pell - The Complete TREND & KAPP Recordings 1953-1956 (3 LP on 2 CD) + Bonus Tracks

The Complete Trend & Kapp Recordings 1953-1956 CD 1

Styles: Cool Jazz
Year: 2017
Time: 73:47
File: MP3 @ 320K/s
Size: 171,4 MB
Art: Front

(3:34) 1. I'm Putting All My Eggs In One Basket
(2:37) 2. Change Partners
(3:17) 3. Love And The Weather
(2:52) 4. Russian Lullaby
(3:05) 5. Kate
(2:13) 6. Say It With Music
(3:06) 7. I Used To Be Color Blind
(3:07) 8. Let's Have Another Cup Of Coffee
(3:20) 9. Better Luck Next Time
(3:16) 10. They Say It's Wonderful
(3:10) 11. This Year's Kisses
(2:59) 12. He Ain't Got Rhythm
(2:55) 13. Why Do You Suppose?
(2:53) 14. Have You Met Miss Jones?
(3:50) 15. You Are Too Beautiful
(2:49) 16. Mountain Greenery
(3:07) 17. A Ship Without A Sail
(2:39) 18. The Blue Room
(2:48) 19. I've Got Five Dollars
(2:34) 20. Sing For Your Supper
(3:51) 21. It Never Entered My Mind
(4:02) 22. The Lady Is A Tramp
(3:03) 23. Spring Is Here
(2:30) 24. Ten Cents A Dance

The Complete Trend & Kapp Recordings 1953-1956 CD 2

Styles: Cool Jazz
Year: 2017
Time: 46:08
File: MP3 @ 320K/s
Size: 107,3 MB
Art: Front

(2:16) 1. But Beautiful
(2:36) 2. My Heart Is A Hobo
(3:29) 3. Like Someone In Love
(2:33) 4. Swinging On A Star
(3:35) 5. Suddenly It's Spring
(2:27) 6. It's Always You
(3:28) 7. What Does It Take
(2:08) 8. Aren't You Glad You're You
(4:29) 9. All This And Heaven Too
(2:17) 10. It Could Happen To You
(3:10) 11. Just My Luck
(2:39) 12. Imagination
(2:30) 13. When Is Sometime
(2:46) 14. Darn That Dream
(3:11) 15. Humpty Dumpty Heart
(2:27) 16. Polka Dots And Moonbeams

The Complete Trend & Kapp Recordings 1953-1956 CD 1 & 2

The success of the Dave Pell Octet was one of the fairy-tale stories of the West Coast jazz of the Fifties. Founded by Pell in 1953, this small jazz group, drawn from the nucleus of Les Brown’s orchestra, was among the most popular jazz outfits in Southern California within months. The Octet’s first library had the stimulating and ingeniously voiced arrangements of Shorty Rogers and Wes Hensel, which gave this group the feel of a big band. “We used the guitar as a voice in unison with trumpet,” Pell explained, “and so the Octet sound had a successful formula which allowed us to play a tempo that was danceable and yet still had a jazz feel.”

Bill Brown, Daily News jazz columnist wrote: “Pell and his group have flipped fans everywhere they’ve appeared. It’s a skilled and interesting group and one you should hear.” The Octet’s cohesion was remarkable, and additional scores by such talented arrangers as Marty Paich, Johnny Mandel, and Bill Holman, helped establish its sound and personality.

This 2 CD-set covers all of the Octet’s recordings for the labels Trend (1953-1954) and Kapp (1956), which epitomize its smooth sophistication; with their tightly scored ensembles, the deft styling concealed some excellent musicianship, and they all contain highly individualistic contributions by its stellar soloists, Don Fagerquist, Ray Sims, Ronny Lang, and the airy, swinging tenor of Dave Pell, who said, simply: “We play jazz for dancing. That’s our forte.”

This CD release is dedicated to the memory of Dave Pell (1925-2017)

Personnel on CD 1 #1-12: Don Fagerquist, trumpet; Ray Sims, trombone, vocals (#10); Ronny Lang, baritone & alto (#6 & 11) sax, flute (#4); Dave Pell, tenor sax & English horn (#4); Jeff Clarkson, piano; Tony Rizzi, guitar; Rolly Bundock, bass; Jack Sperling, drums. Recorded at Radio Recorders, Hollywood, April 22 & May 28, 1953 (#3-6 & 8-11); May 14, 1956 (#1,2,7 & 12)

Personnel on CD 1 #13-24: Don Fagerquist, trumpet; Ray Sims, trombone; Ronny Lang, baritone sax, flute (#21); Dave Pell, tenor sax & bass clarinet (#23); Donn Trenner, piano, celeste (#15); Tony Rizzi, guitar; Rolly Bundock, bass; Bill Richmond, drums. Recorded at Capitol Studios, Hollywood, June 11, 21 & 24, 1954

Personnel on CD 2 #1-16: Don Fagerquist, trumpet; Ray Sims, trombone; Ronny Lang, baritone sax, flute (#6,14 & 16); Dave Pell, tenor sax & English horn (#6,14 & 16); Claude Williamson, piano & celeste (#14 & 16); Tony Rizzi, guitar; Rolly Bundock, bass; Jack Sperling, drums; Lucy Ann Polk, vocals (#1,4,6,8,10,12,14 & 16).Recorded at Radio Recorders, Hollywood, December 18 & 28, 1953 (#1,4, 6,8,10,12,14 & 16); May 7 & 21, 1956 (#2,3,5,7,9,11,13 & 15)