Bill Allred - The New York Sessions

Styles: Trombone Jazz
Year: 2010
File: MP3@320K/s
Time: 66:25
Size: 152,9 MB
Art: Front

(5:27)  1. Lullaby Of Broadway
(4:04)  2. Liza (All The Clouds'll Roll Away)
(3:16)  3. Don't Worry 'Bout Me
(3:13)  4. Day By Day
(6:59)  5. Davenport Blues
(3:24)  6. I Want To Be A Sideman
(6:38)  7. Red Top
(5:38)  8. Always
(7:11)  9. This Can't Be Love
(5:12) 10. Angel Eyes
(5:16) 11. Muskrat Ramble
(4:22) 12. Ida! Sweet As Apple Cider
(5:39) 13. Sweet Sue - Just You

Bill Allred is an accomplished veteran trombonist who spent a good part of his career working at Disney World and serving as entertainment director at Rosie O'Grady's, though he has crossed paths with many jazz greats on live dates and record dates. These 2009 sessions feature him with some of his favorite New York-based musicians, several of whom are in constant demand, like guitarist Howard Alden, bassist Nicki Parrott, and cornetist Warren Vaché. Pianist Jeff Phillips, drummer Ed Metz, and Bill's son John Allred (who is also a fine trombonist) round out the excellent personnel. While many of the songs are decades-old warhorses, each is approached with a fresh look. The snappy interplay is a highlight of the brisk reading of George Gershwin's "Liza," while the Latin hook added to "Angel Eyes" and Allred's whimsical muted horn add a nice touch. The two Allreds shine in the bop setting of "Lullaby of Broadway" and the Dixieland favorite, "Ida! Sweet as Apple Cider." The leader shares the vocals with Parrott in Dave Frishberg's humorous "I Want to Be a Sideman." This is an all-around enjoyable disc that will please fans of mainstream jazz. ~ Ken Dryden   http://www.allmusic.com/album/the-new-york-sessions-mw0002026206.

Personnel: Bill Allred (vocals, trombone); Nicki Parrott (vocals); Howard Alden (guitar, banjo); Warren Vaché (cornet); Jeff Phillips (piano, Hammond b-3 organ); Ed Metz, Jr. (drums).

The New York Sessions

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Manhattan Jazz Quintet - Someday My Prince Will Come

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 44:00
Size: 101,4 MB
Art: Front

(4:55)  1. Wheel Of Fortune
(5:20)  2. So What?
(5:36)  3. Someday My Prince Will Come
(5:39)  4. Smoke Gets In Your Eyes
(4:46)  5. The Wind Machine
(6:10)  6. Fly Me To The Moon
(5:11)  7. On the Sunny Side Of The Street
(6:18)  8. A Song For You

The Manhattan Jazz Quintet have been an on-again, off-again collective of New York City-based musicians who primarily record for the Japanese market. Co-founding members David Matthews (piano and arranger) and trumpeter Lew Soloff are still on hand, though the remainder of the group on this occasion consists of tenor saxophonist Andy Snitzer, bassist Charnett Moffett, and drummer Victor Lewis. Matthews' driving post-bop composition "Wheel of Fortune" provides an excellent introduction, though his scoring of "So What" is somewhat disappointing, as it doesn't make good use of Lewis' immense talent with its lazy funk backbeat. "Someday My Prince Will Come" opens with laconic opening statements by Snitzer and Soloff (the latter on muted horn), though it quickly transforms into a breezy waltz setting. 

One can feel the energy of a big band in the brisk arrangement of Sammy Nestico's "The Wind Machine," featuring Snitzer to good effect. The old warhorse "On the Sunny Side of the Street" also benefits from Matthews' scoring, transforming it into a hard bop cooker. Even pop artist Leon Russell's often syrupy "A Song for You" sounds good in the hands of The Manhattan Jazz Quintet. If there is a downside to this CD, it is the stingy 46 minutes of music, which seems rather brief in the 21st century for a jazz release. ~ Ken Dryden   http://www.allmusic.com/album/someday-my-prince-will-come-mw0000485807.

Personnel: Lew Soloff – Trumpet; Andy Snitzer - Tenor Saxophone; David Mathews – Piano; Charnett Moffett – Bass; Victor Lewis - Drums

Someday My Prince Will Come

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Cyrus Chestnut Trio - Moonlight Sonata

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 58:02
Size: 133,4 MB
Art: Front

(5:05)  1. Solfeggietto
(5:47)  2. Swan Lake
(7:20)  3. Prelude In E Minor
(5:26)  4. Siciliano
(4:50)  5. Moonlight Sonata
(5:33)  6. Love's Dream
(6:44)  7. Romance-From-Masquerade
(7:11)  8. Kinderszenen
(5:31)  9. Hungarian Dance No.5
(4:29) 10. Moonlight Sonata - Reprise

Cyrus Chestnut first studied piano with his father at the age of five, with official lessons beginning two years later. By the age of nine, he was enrolled in the prep program at the Peabody Institute. He graduated from Berklee with a degree in jazz composition and arranging. Chestnut took his time, working with a number of top-notch musicians (Jon Hendricks, Betty Carter, Terence Blanchard, and Donald Harrison) before finally recording his first solo CD at the age of 30. Chestnut enjoys mixing styles and resists being typecast in any one niche, though his gospel sound is apparent on a number of his recordings. 

His initial dates as a leader were recorded for the Japanese label Alfa (reissued on Evidence), and he became an Atlantic artist in 1994. A self-titled LP followed in 1998 with Tribute to Duke Ellington following a year later. In subsequent years, Chestnut remained busy, releasing Charlie Brown Christmas in 2000, the all-original Soul Food in 2001, You Are My Sunshine in 2003, Genuine Chestnut in 2006, and Cyrus Plays Elvis in 2007. The following year, he released Black Nile on Japan's M&I label.  https://itunes.apple.com/us/artist/cyrus-chestnut-trio/id395862446#fullText.

Personnel: Cyrus Chestnut – Piano; Dezron Douglas – Bass; Neal Smith - Drums

Moonlight Sonata

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Ron Hockett - Finally Ron

Bitrate: 320K/s
Time: 73:40
Size: 168.6 MB
Styles: Clarinet jazz
Year: 2008
Art: Front

[3:42] 1. Too Close For Comfort
[4:24] 2. Nuages
[4:38] 3. Hindustan
[5:57] 4. My Ideal
[4:13] 5. Everybody Loves My Baby
[5:06] 6. Blues For Jack
[4:32] 7. Just One Of Those Things
[4:23] 8. On The Sunny Side Of The Street
[4:44] 9. Memories Of You
[4:37] 10. If Dreams Come True
[5:00] 11. Gone With The Wind
[5:33] 12. Reverie
[5:54] 13. Beale Street Blues
[5:32] 14. Undecided
[5:17] 15. Strange Blues

Clarinetist Ron Hockett's debut recording as a leader comes later in life at age 60, after hanging out in the Chicago scene studying with Benny Bailey, going to Princeton University, returning to Chi-Town, working in the Washington, D.C. jazz scene and the U.S. Marine Jazz Band for three decades, and enjoying considerable time with the trad band of Jim Cullum. The clear influence of Benny Goodman's smooth and sweet swing sound is noticeable from the start, but you can hear the influence of his hero Peanuts Hucko, Bob Wilber, and even Stan Getz in the lyrical quality Hockett exudes. He's put together an excellent backup band, with the brilliant guitarist James Chirillo and pianist John Sheridan as his main foils. Bassist Phil Flanigan and drummer Jake Hanna are veterans who know all too well the values of the swing rhythm and the tunes that brought it to prominence. You'd be hard pressed to find a better group anywhere that can play standards as well, or support Hockett's sleek and mellow style the way they do. His original "Blues for Jack," the immortal "Beale Street Blues," and Wingy Manone's "Strange Blues" are more about feeling than technical skills, while "Gone with the Wind," "If Dreams Come True," and the stop-start "Too Close for Comfort" display and define the flawless and consistent fluid dynamics the band employs. At their hottest, the group is playful and utterly swinging on the no-frills take of "Hindustan," the slightly extrapolated "Just One of Those Things," and the cute near bopper "Undecided." Chirillo is a marvelous man to have in the starting five, as his witty, clean, and charming guitar riffs fit perfectly with Hockett and Sheridan during "Undecided." He plays off the two, trading phrases for "Nuages," or jumps in rhythmic cohesion à la Freddie Green for "Reverie," the Bob Wilber tune where Hockett switches to soprano sax. Another piece, "My Ideal," has Hockett's soprano in a bossa nova groove, a twist for this type of group, and reflective of the influence of Getz. Admittedly this is a jam session with not much writing or arranging involved, but a document of a thoroughly professional band having fun in support of an old friend finally given an opportunity to show his wares. If you like the clarinet work of other lesser knowns like Kim Cusak, Chuck Hedges, or the truly great Kenny Davern, you'll easily enjoy this long overdue effort from a wonderful lifetime sideman finally making the first team. ~Michael G. Nastos

Finally Ron

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Virginia Mayhew - Sandan Shuffle

Bitrate: 320K/s
Time: 60:50
Size: 139.3 MB
Styles: Post bop, Saxophone jazz
Year: 2006
Art: Front

[4:27] 1. Sandan Shuffle
[5:20] 2. Let's Fall In Love
[5:21] 3. Now I Know
[6:36] 4. Spring Is Not Here
[6:46] 5. Jazz-Like
[7:59] 6. I Thought You Loved Me
[5:14] 7. In Walked Bud
[7:59] 8. Tenderly
[4:36] 9. I Get Along Without You Very Well
[6:28] 10. Monterey Blues

Virginia Mayhew first drew critical praise as a part of the Diva big band reed section. Her fourth CD since going out on her own features the tenor saxophonist leading a potent quartet with guitarist Kenny Wessel, bassist Harvie S, and drummer Victor Jones, a band that interacts beautifully throughout the session. In celebration of her earning a third-degree black belt (or sandan) in karate, she named the funky opener "Sandan Shuffle." It's a slightly off-kilter piece with some superb blowing by the leader. Mayhew switches to soprano sax for the upbeat "Spring Is Not Here," creating a playful mood that contrasts with its title. Harvie S contributed the eerie "Jazz-Like" and the melancholy "Now I Know." Her interpretations of standards and jazz classics also merit strong praise. Mayhew updates the old warhorse "Let's Fall in Love" with a catchy Caribbean flavor that incorporates several styles. She is back on soprano sax for her emotional reworking of "I Get Along Without You Very Well." The funky street beat of Thelonious Monk's "In Walked Bud" also breaks new ground. To top it off, Mayhew's cover photo with her karate teacher is a refreshing change from typical packaging for jazz CDs. Highly recommended. ~Ken Dryden

Sandan Shuffle

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Jason Paul Curtis - Faux Bourgeois Cafe

Bitrate: 320K/s
Time: 44:25
Size: 101.7 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[2:32] 1. Phone
[3:15] 2. American Gypsy
[4:01] 3. Pane e Vino
[5:43] 4. Every Time
[3:17] 5. Back of My Mind
[3:06] 6. Brooklyn July
[5:28] 7. Longest Day
[5:23] 8. Summer Star
[5:25] 9. Speak Softly, Love
[6:09] 10. One More Kiss, Dear

For his eagerly anticipated second album, Faux Bourgeois Café, the outstanding vocalist/songwriter /trumpeter Jason Paul Curtis described his focus in straightforward terms: “I wanted original gypsy-jazz- that moves and makes you move.” It definitely is that – and a good bit more. Following up on his highly acclaimed 2012 debut, "Lovers Holiday", Jason serves up a delightful menu of Django-inspired originals, sumptuous ballads, sublime Brazilian and unfettered swing – an ideal soundtrack to the sultry nights of summer.

Returning from the previous album is the brilliant piano-drum tandem of Ray Mabalot and Woody Hume, both members of Jason’s regular trio – along with the remarkable multi-reedman/flautist Dave Schiff. Joining them for this journey are guitarist John Albertson and bassist Ephriam Wolfolk, Jr., both of whose consummate skills contribute powerfully to this extraordinary album. The vast array of top artists with whom these exemplary musicians have performed are a veritable Who’s Who of jazz and popular music, including Tony Bennett, Natalie Cole, Mel Torme, the Mills Bothers, Buddy Rich, Sonny Stitt, Sir Roland Hanna, Ahmad Jamal, Anita O’Day, Stevie Wonder, Ray Charles and so many more.

Together, they bring a glowing vitality and a spirited synergy to Jason’s musical vision. His background in musical theater and opera in his native Texas, coupled with the influences of Nat ‘King’ Cole, Harry Connick Jr. and the Manhattan Transfer – and with a clear touch of Chet Baker and the Chairman of the Board, Frank Sinatra – has resulted in a beautiful vocal style, marked by flawless intonation and impeccable phrasing. But beyond his talents as a singer, Jason’s songwriting and arranging talents are exceptional, as fully evidenced throughout Faux Bourgeois Café. Comprised of eight original compositions and two unexpected but perfectly complementary songs, the album is an aural delight from beginning to end, further enhanced by his inspired and compelling lyrics. ~Larry Kahn

Faux Bourgeois Cafe

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Jim Kerl's Swing Session Big Band - With Thanks To My Friends

Bitrate: 320K/s
Time: 38:41
Size: 88.6 MB
Styles: Big band, Trumpet jazz, Swing
Year: 2007
Art: Front

[2:05] 1. Undecided
[4:21] 2. Alley Cat
[2:35] 3. Goody Goody
[3:10] 4. Where Or When
[4:27] 5. Caravan
[3:21] 6. Theme Without A Movie
[3:49] 7. Samba De Los Me
[2:23] 8. I Wanna Be Around
[3:47] 9. Skylark
[3:16] 10. Basie
[5:20] 11. Hava Nice Day

When mention is made of the "Big Band Era", people tend to think of the bands of the 1940's that were so popular then. Glenn Miller, Benny Goodman, and Tommy Dorsey were all household names, with new recordings sweeping the airwaves and record players of the nation on a weekly basis. Certainly this was a golden age for the big bands in terms of the number of bands working and the sheer quantity of musicians employed. For me, however, the true "golden age" of big band music started in the 1960's. The bands of Harry James, Count Basie, Stan Kenton, Maynard Ferguson and the like began playing a looser kind of swing, with more emphasis on jazz and more room for individual soloists to express themselves. At the same time, vocalists such as Frank Sinatra, Tony Bennett, Rosemary Clooney, and June Christy were being featured with these bands. This collaboration of voice and big band is nowhere more finely showcased than on the incredible 1966 Reprise recording, "Sinatra at the Sands," with the Count Basie Orchestra.

This is the music that has fueled my passion as a trumpet player and band leader since I first picked up the horn. As the leader of Swing Session, it is immensely satisfying to perform music in the genre of these bands and vocalists that I have enjoyed so much. If you like your big band music to swing hard, featuring vocals with words you can actually understand, and have some great individual soloists as well, then without reservation I recommend With Thanks To My Friends.

Jim KerlSwing Session Big BandAll the way from the drummer to the singers, Swing Session lives up to its name-it can really swing! The arrangements are well written and performed with amazing excitement and energy. The ensemble is tight and the solos are inspired. This is no sleepy "old school" big band album. This band is on fire! With Thanks To My Friends is a great listen and I highly recommend it. ~Bill Gibson

With Thanks To My Friends

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Mary Jenson - Close Your Eyes

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 54:20
Size: 124,7 MB
Art: Front

(3:06)  1. Close Your Eyes
(6:37)  2. It's All Right With Me
(4:53)  3. Cool
(5:13)  4. Fools In Love
(4:58)  5. You're Fine
(4:25)  6. The Hunter Get's Captured By The Game
(4:43)  7. Small Day Tomorrow
(4:16)  8. Dindi
(3:26)  9. Like Someone In Love
(5:19) 10. Besame Mucho
(3:09) 11. Pure Imagination
(4:10) 12. Les Feuilles Mortes

A vibrant vocalist with a love of both jazz and modern music, Mary’s repertoire includes the evolution of popular songs into the jazz context, as well as beautiful renditions of the traditional and familiar.

Mary Jenson's musical tastes were largely influenced by her stint as a radio disc jockey in her early years up on the Mendocino Coast. Exposed to the Bay Area Music scene through the eclectic library of a small market radio station and the left coast culture of Mendocino, those days in a studio lined with LPs had a profound effect on her taste in music. http://www.cdbaby.com/cd/maryjenson

Close Your Eyes

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John Pizzarelli - Rockin' In Rhythm

Styles: Jazz, Swing, Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 49:47
Size: 115,5 MB
Art: Front

(4:11)  1. In A Mellow Tone
(3:41) 2. East St. Louis Toodle-oo/Don't Get Around Much Anymore
(3:38)  3. Satin Doll
(7:59)  4. C Jam Blues
(3:51)  5. In My Solitude
(3:21)  6. Just Squeeze Me
(4:10)  7. Perdido
(3:09)  8. All Too Soon
(4:06)  9. I'm Beginning To See The Light
(3:48) 10. Love Scene
(3:46) 11. I Got It Bad And That Ain't Good
(4:00) 12. Cottontail/Rockin' In Rhythm

John Pizzarelli is a walking, talking embarrassment of riches. He has a great pedigree, as his father, Bucky Pizzarelli), was a prodigious guitar talent (on a seven-string guitar, no less) with a voice like Chet Baker should have had. It is all this charm that Pizzarelli freely shares with us lesser mortals. Rockin' in Rhythm: A Tribute to Duke Ellington is a thematic collection picking up where his 2006 collection, Dear Mr. Sinatra (Telarc), left off. What more can be done with Duke Ellington that has not been done before? Well, quite a lot it turns out. What sets Pizzarelli's Ellington apart from the rest (that is, in addition to his infectious, happy singing) are the arrangements. An artistic discipline unto itself, jazz arrangement often provides the crux upon which a song's success or failure rests. Rockin' in Rhythm sports two of the finest in the business, with the date leader working on the quartet pieces and Don Sebeskyarranging the Swing Seven Horns on seven of the 12 compositions held within. 

Sebesky's genius is exercised in spades on the opening of the disc. "In a Mellow Tone" features tart horn backing to Pizzarelli's uncommonly sweet vocals. Pizzarelli provides an equally tart guitar solo doubled expertly with the guitarist's voice. "East St. Louis Toodle-Do" is overlaid with a sung "I Don't Get Around Much Anymore," with the two tunes attached firmly at the bridge. The effect is startling. Gerald Wilson's arrangement of "Perdido" is given lyrics by Pizzarelli's wife, Jessica Molaskey, who shares vocal duties with Kurt Elling. Other guests include tenor saxophonist Harry Allenand violinist Aaron Weinstein playing Ben Webster and Ray Nance on "C Jam Blues." Pizzarelli takes Ellington for a solo guitar spin on "Just Squeeze Me," giving his father a loving nod in the bargain. Speaking of Bucky, he provides the solo for "Satin Doll." Mainstream jazz is a demanding mistress and Pizzarelli manages her with grace and wit. This recording is an accomplishment of the most rarefied order. ~ C.Michael Bailey   http://www.allaboutjazz.com/rockin-in-rhythm-a-tribute-to-duke-ellington-john-pizzarelli-telarc-records-review-by-c-michael-bailey.php#.U6mlfbG4OSo

Personnel: John Pizzarelli: vocals, guitar; Jessica Molaskey, Kurt Elling: vocals; Bucky Pizzarelli: acoustic guitar, electric guitar; Aaron Weinstein: violin; Andy Fusco: clarinet, alto saxophone; Kenny Berger: bass clarinet, baritone saxophone; Harry Allen: tenor saxophone; Tony Kadleck: trumpet; John Mosca: trombone, alto horn; Larry Fuller: piano; Martin Pizzarelli: double bass; Tony Tedesco: drums.

Rockin In Rhythm

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Walt Weiskopf - See The Pyramid

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 66:14
Size: 176,9 MB
Art: Front

(5:38)  1. See The Pyramid
(9:00)  2. Marcieana
(7:33)  3. Hook Me Up
(9:05)  4. Equality
(5:27)  5. Call Me
(7:53)  6. Little Minor Love Song
(6:07)  7. Double Rainbow
(4:38)  8. A Time For Love
(3:04)  9. Goodbye John
(7:43) 10. Make Someone Happy

Walt Weiskopf's discography for the Criss Cross label has displayed a substantive and well-rounded discipline on the tenor saxophone with many larger ensembles. While peers Donny McCaslin, Chris Potter, Eric Alexander, and Harry Allen have gone into the respective routes of improvised neo-bop, progressive fusion, soul-jazz, and swing, Weiskopf mines the deep well of post-Sonny Rollins/John Coltrane mainstream modern jazz. He's also more composer than interpreter, as evidenced by the original material on this recording, and he also revisits the smaller format of sax with rhythm section, something he hadn't done in nearly 20 years. 

Weiskopf loves to scale hard bop mountain heights on his horn without any abrasion or slippage, as on the modal title track. Also notable is that he does not overuse technique, preferring to evoke the essential spirit of Coltrane on a hip modal "Hook Me Up" or the bossa nova-flavored "Equality," which echoes Trane's "Equinox." There's no real emphasis on rock 'em, sock 'em bebop, but instead an unforced swing and lighter tone. He does venture a bit into pop-jazz with a cover of the Chris Montez Top 40 hit "Call Me" and a bubbling version of "Make Someone Happy." With a piano-bass-drums trio led by Peter Zak on the 88s, Weiskopf has just enough energy to drive these tunes comfortably in mid-gear ratios. It's another sterling example of why he's always one of the more enjoyable tenor players on the current scene solid, unspectacular, logical, and very substantive. ~ Michael G.Nastos   http://www.allmusic.com/album/see-the-pyramid-mw0001987891.

Personnel: Walt Weiskopf (tenor saxophone); Peter Zak (piano); Quincy Davis (drums).

See The Pyramid

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The World's Greatest Jazzband - The World's Greatest Jazzband of Yank Lawson and Bob Haggart

Styles: Jazz
Year: 1969
File: MP3@320K/s
Time: 35:47
Size: 82,4 MB
Art: Front

(2:19)  1. Sunny
(2:23)  2. Panama
(3:21)  3. Baby, Won't You Please Come Home
(2:45)  4. Up, Up &  Away
(3:24)  5. Ode To Billy Joe
(3:44)  6. Honky Tonk Train
(3:04)  7. A Taste Of Honey
(3:56)  8. Limehouse Blues
(2:40)  9. Big Noise From Winnetka
(2:48) 10. This Is All I Ask
(2:57) 11. Mrs. Robinson
(2:20) 12. Bugle Call Rag

The World's Greatest Jazz Band was an all-star jazz ensemble active from 1968 to 1978. Dick Gibson founded the group at his sixth Jazz Party, an annual event. The group performed mostly Dixieland jazz and recorded extensively. It was co-led by Yank Lawson and Bob Haggart, and did early jazz standards alongside contemporaneous pop songs done in a Dixieland style. Though the group disbanded in 1978, the name was revived several times by Lawson and Haggart for limited engagements. 

More..http://en.wikipedia.org/wiki/World%27s_Greatest_Jazz_Band

This all-star group was founded in 1968 by Dick Gibson at his sixth annual Jazz Party. Despite the impossibility of living up to its outrageous name, the band was indeed the finest in Dixieland/classic jazz. Co-led by Yank Lawson and Bob Haggart, and also featuring Billy Butterfield, Bud Freeman, Bob Miller, and Ralph Sutton, the WGJB originally alternated standards with Dixiefied versions of current pop tunes like "Mrs. Robinson," but its finest album (Live on Atlantic) sticks to hot jamming. After the personnel changed a bit (Eddie Miller and Dick Wellstood passed through the band), the group broke up in 1978, although reunions by Lawson and Haggart in later years sometimes revived the name. Their recordings for Project 3, Atlantic, and their own World Jazz label are pretty much all worth getting. Bio ~ Scott Yanow   http://www.allmusic.com/artist/worlds-greatest-jazz-band-mn0000683075/biography.

The World's Greatest Jazzband of Yank Lawson and Bob Haggart

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Butch Miles & Friends - Cookin'

Bitrate: 320K/s
Time: 77:57
Size: 178.4 MB
Styles: Swing
Year: 1995
Art: Front

[6:49] 1. Lady Be Good
[5:03] 2. Did You Call Her Today
[6:53] 3. The Claw
[4:07] 4. Azalea
[4:23] 5. Them There Eyes
[6:57] 6. I Can't Believe That You're In Love With Me
[6:05] 7. Tico Tico
[5:41] 8. Jubilee
[5:01] 9. Barney's Blues
[5:08] 10. What A Little Moonlight Can Do
[6:17] 11. Gone With The Wind
[7:18] 12. Funkallero
[8:10] 13. Tickle Toe

A colorful soloist and an impressive technician in the tradition of Buddy Rich and Gene Krupa, Butch Miles graduated from West Virginia State College in 1966 and worked locally in West Virginia. He toured with Mel Tormé (1972-1974) and made a strong impression propelling Count Basie's Orchestra (1975-1979). After a few months with Dave Brubeck (recording Back Home for Concord in 1979) and a year with Tony Bennett, Miles became a busy freelance musician. He has played at many jazz parties and festivals with a countless number of musicians, including -- most notably -- Gerry Mulligan, Zoot Sims, Woody Herman, Wild Bill Davison, Clark Terry, Scott Hamilton, Warren Vache, and Bob Wilber's Bechet Legacy. Miles led seven fine albums for Famous Door (1977-1982) that feature swing standards and a couple of records for Dreamstreet, including a vocal date. In 1997, Butch Miles toured with the Count Basie Orchestra (under the direction of Grover Mitchell) and showed that he was still a fiery drummer quite skilled at showmanship. ~bio by Scott Tanow

BUTCH MILES - drums; RANDY SANDKE - trumpet; HARRY ALLEN - tenor sax; HOWARD ALDEN - guitar; FRANK TATE - bass; TERRIE RICHARDS - vocals.

Recorded live on November 26, 1995 at the Amerika Haus, Hamburg

Cookin'

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The Irwell Street String Band - 11:60 PM

Bitrate: 320K/s

Time: 41:30

Size: 95.0 MB

Styles: Swing, Contemporary jazz vocals

Year: 2012

Art: Front

[2:43] 1. Zing Went The Strings Of My Heart

[3:43] 2. 11 60pm

[3:21] 3. I Love You But I Don't Like You

[3:13] 4. Funny Funny Funny What A Dime Can Do

[2:29] 5. In A Little Spanish Town

[4:21] 6. Underneath The Arches

[3:33] 7. Elmer's Tune

[2:51] 8. Sing You Sinners

[2:52] 9. Riffin' The Scotch

[4:08] 10. You Came A Long Way From St Louis

[3:43] 11. I Go For That

[4:28] 12. The Bluest Kind Of Blue

The sweetest string band in town.. Irwell Street features two guitars, occasionally some ukulele, and of course swinging double bass, led by the delightfully vintage voiced jazz vocalist Hetty Kate.

We play sparkling, sentimental and sassy songs plucked from the scrapbooks of Tinseltown, the well trodden paths of wartime Britain and the colourful beaches of South America – songs you’ll remember, and songs you may not have heard before. Showcasing a beautiful repertoire from the 1930′s to the 1950′s, curated and arranged to be fresh and original, yet staying true to the memory of those that went before.

Always weaving a special magic when they play together, founding members Hetty Kate and Sam Lemann tip their caps to the popular jazz duo’s of the past.. Peggy Lee and Dave Barbour, Julie London and

Barney Kessell, Mary Ford and Les Paul. With two sell out albums under their belts and having performed all over the country, this band is worth a listen – guaranteed to have you smiling and tapping your feet!

11:60 PM

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Cynthia Holiday - All The Way

Bitrate: 320K/s
Time: 45:39
Size: 104.5 MB
Styles: Jazz-blues vocals
Year: 2008
Art: Front

[4:38] 1. Never Make A Move Too Soon
[5:19] 2. I Like What I See
[4:17] 3. Samba De Amor
[5:05] 4. Knock On Wood
[5:21] 5. My Little Rainbow
[5:07] 6. You've Got A Job To Do
[4:45] 7. I Thought About You
[4:57] 8. All The Way
[6:07] 9. More Today Than Yesterday

She’s not Billie, not Judy, not Jennifer, not Carmen, not Nancy, it’s Cynthia Holiday! Cynthia is a real crowd pleaser and her renditions of straight-ahead jazz, blues and pop standards are full of swing, improvisation and soul. Clearly, singing live before an audience is where she feels most comfortable.

Kevin Mahogany says, “I met Cynthia many years ago when I used to frequent various jam sessions in Harlem clubs. I was struck by her ability to quickly command the stage. Cynthia has fantastic stage presence and it’s time for her music to be heard.”

All The Way

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Rich Perry - Time Was

Bitrate: 320K/s

Time: 58:47

Size: 134.6 MB

Styles: Saxophone jazz

Year: 2012

Art: Front

[8:15] 1. Get Out Of Town

[8:16] 2. Time Was

[7:51] 3. Lonely Town

[7:44] 4. Rouge

[9:38] 5. Summer Night

[7:51] 6. Goodbye

[9:08] 7. Segment

Born in 1955 in Cleveland, Ohio, Perry became interested in jazz in high school, and studied briefly at Bowling Green State University, before moving to New York. In 1977 he joined the Thad Jones /Mel Lewis Orchestra—which at that time included Pepper Adams, Jerry Dodgion, Rufus Reid, and Harold Danko—and spent the next two years touring the U.S. and Europe. After Thad Jones left the band, Perry continued playing with Mel Lewis, recording three LP’s with him, including Live in Montreux, and Naturally. The band, with Perry as a key member, is now known as The Vanguard Jazz Orchestra, and continues to tour and record. Three of their recent cds have been nominated for Grammy awards.

A highlight of Perry’s career has been his association with the gifted composer and arranger Maria Schneider. As a charter member of her orchestra, Perry has been featured on all of her cds including, Allegresse, Coming About, Evanesence , and the Grammy award winning Concert In The Garden. Sky Blue, features Rich’s Piece, a beautiful composition written for him. He has performed with her in Europe, Asia, and throughout the U.S.

Rich Perry is also a member of the George Mraz Quartet, the Matt Panayides Group, the Dave Scott Quintet, and the John Fedchock New York Big Band. He has also played in several groups led by the pianist Fred Hersch.

Time Was

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Adia Ledbetter - Adia First Take

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 40:50
Size: 93,9 MB
Art: Front

(3:43)  1. Route 66
(4:50)  2. You Don't Know Love Is
(7:10)  3. Teardrops On My Letter
(3:24)  4. Al Humduhlah
(2:01)  5. Avalon
(3:43)  6. Bitter Lips
(3:25)  7. My Romance
(3:21)  8. The Lion And The Saint
(5:04)  9. Beautiful Love
(4:05) 10. Moon Child

Be the first on your block to own a copy of this CD featuring the beautiful and talented vocalist, Adia Ledbetter, daughter of my favorite bass violinist. I call him Doc because of his many talents, biochemist, architect, and stellar jazz bassist; I am referring to my main man Freeman Ledbetter. I vividly recall the day we went to TGS studios in Chapel Hill to record. We were blessed to have the best musicians available. On drums we had one of the tastiest percussionist in the world formally from Betty Carters band, Will Terrell, a natural rhythm machine. 

We had master trumpeter and flugelhornist Raymond Codrington. I (Bro Yusuf Salim) arranged and composed about 6 of the tunes and played this beautiful Baby Grand piano. A combination of all of the above-mentioned elements resulted in a session that I was personally well pleased with. This session was truly a labor of love. As a blessed connoisseur of this great American art form called Jazz, I suggest that you put on your kimonos and slippers, sit back, relax, and prepare for the Spiritual experience in store for you. Come along with me on this musical journey. You will not regret the trip; believe me. Peace and Love Always ~ Your Brother Yusuf Salim   http://www.cdbaby.com/cd/adia

Adia First Take

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Agneta Baumann - Comes Love

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 64:58
Size: 149,2 MB
Art: Front

(4:58)  1. That Old Devil Called Love
(4:29)  2. Comes Love
(5:18)  3. Blame It On My Youth
(4:51)  4. I`m Just A Lucky So And So
(5:15)  5. Easy Living
(2:53)  6. Thou Swell
(5:19)  7. Every Time We Say Goodbye
(4:23)  8. Who Cares
(3:05)  9. I Have The Feeling I`ve Been Here Before
(4:57) 10. Get Out Of Town
(5:10) 11. There`s No You
(5:24) 12. It Never Entered My Mind
(3:46) 13. In Love In Vain
(5:04) 14. What's New

A vocalist Sweden can be proud of, Agneta Baumann loves to sing. Her sense of joy is one of her trademarks when listening to her material. Covering standards with style as well as a great group to accompany her, be prepared for over an hour of great listening. Playing with the lyric throughout Baumann is having the time of her life on Comes Love. Always in the moment, her clear delivery, and execution of the note move this number right along. Backenroth’s determined opening sets the pace with Baumann joining in the celebration. Great brush work from Lofcrantz. Teasing piano from Rundqvist chases Lofcrantz to respond with percussive eloquence. One of the most loved ballads in the repertoire, What’s New is presented in a loving way with Baumann’s range and ability to get inside the note reminiscent of Helen Merrill’s style of singing.

Broberg’s beautiful trumpet shines throughout. An up tempo swinging version of Cole Porter’s, Get Out Of Town is just what the doctor ordered. With a relentless opening from Rundqvist, Baumann’s joins in for some fun. Broberg’s characteristic trumpet is right on the money. He makes this a hot number with his rolling cadenza’s, and biting attack. Backenroth and Lofcrantz respond with solid playing, and a suitable call and response. Many Jazz instrumentalists over the years have enjoyed playing the beautiful chord changes in Easy Living. Baumann makes it all her own by carefully executing the lyric in a silky and warm hearted manner. One of the highlights of this recording. Baumann makes it clear that she can sing in nearly any tempo. Comes Love is filled with memories that will last a long time. By carefully crafting the songs with fine arrangements and skillful musicianship, her star continues to rise. ~   Randy Mcelligott  

http://www.jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/comes-love...-by-agneta-baumann.html

Personnel:  Agneta Baumann (Vocals), Bosse Broberg (Trumpet), Gosta Rundqvist (Piano), Hans Backenroth (Bass), Johan Lofcrantz (Drums)

Comes Love

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Nik Payton And Bob Wilber - Swinging The Changes

Styles: Clarinet And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 68:39
Size: 157,7 MB
Art: Front

(6:06)  1. I Won't Dance
(3:56)  2. Swinging the Changes
(4:27)  3. If Only You Knew
(5:47)  4. I Believe in Miracles
(2:49)  5. Jasmine
(5:01)  6. No More Blues
(4:40)  7. You Are Too Beautiful
(4:07)  8. California Here I Come
(4:15)  9. Rabbit Jumped the Frog
(3:51) 10. Ode to Pug
(3:22) 11. Skybloo
(4:07) 12. Dialogue
(4:32) 13. JP's Tee
(3:43) 14. Scuttlebrook Bounce
(3:32) 15. The Sage
(4:16) 16. Circulatin' in C

The teaming of a young protégé and an experienced veteran is a combination rarely seen in other forms of music, but it happens frequently in jazz. Tenor saxophonist Nik Payton (not to be confused with trumpeter Nicholas Payton) is paired with his mentor and legendary saxophonist and clarinetist Bob Wilber for this set of swinging mainstream vintage jazz, standards, and a nice slice of originals written by the two. Recorded in England where Wilber has resided for decades, this program is a delightful document of music that is still as relevant and vibrant as any jazz project in recent years. It is made more vital by the youthful curiosity of the Ben Webster-influenced tenor of Payton, and the chuckling, vibrato-laced reeds of the ever masterful Wilber. 

One aspect of this recording that must be emphasized is that the participants like to change it up frequently, adding further to its listenability. Among the well-known standards, "I Won't Dance" sports a peppy tenor/soprano unison line, counterpoint, second line and pure, natural sound. During the whole of "I Believe in Miracles" you hear the robust trade-offs of the younger player's clarinet and Wilber's toothy and ribald soprano, with nice ideas swirling all around. "California Here I Come" is the hottest number, eschewing corn for hard swing with Payton's tenor opposite Wilber's clarinet. Of the seven pieces penned by Wilber, the title track holds an unusual harmonic motif made simple with his alto and Payton's tenor, "Skybloo" has both on clarinet in a well swing groove, and the similar instrumentation for "Dialogue" contrasts in mysterious and dark blue ways. 

Payton is a decent writer, contributing "J.P.'s Tee" in an homage to his clearly swinging dad in a tenor/soprano tandem, the cute alto/tenor challenge "Rabbit Jumped the Frog" for Johnny Hodges and Webster, and "The Sage," a delightfully sneaky and bouncy twin clarinet tribute to Wilber, the ultimate in pure jazz expressionism. In addition, check out their lone bossa Brazilian number (Payton lives in Brazil) "No More Blues," solo features including Payton's decidedly dry Webster-ish ballad "You Are Too Beautiful," and the wonderful Wilber stretching his legato alto during "Ode to Pug." Credit where credit is due goes to the fine pianist throughout the date Richard Busiakiewicz, a new name who should not remain that way for very long, and the veteran bassist Dave Green. Traditionalists will be hard pressed in resisting the temptations of this finely crafted jazz effort, one that deserves lots of attention and affection. ~ Michael G.Nastos   http://www.allmusic.com/album/swinging-the-changes-mw0000793872.

Personnel: Nik Payton (clarinet, tenor saxophone); Bob Wilber (clarinet, soprano saxophone, alto saxophone); Richard Busiakiewicz (piano); Dave Green (upright bass); Steve Brown (drums).

Swinging The Changes

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Ron Carter - Standard Bearer

Styles: Jazz, Bop
Year: 1988
File: MP3@320K/s
Time: 50:10
Size: 115,4 MB
Art: Front

(5:15)  1. Oleo
(8:22)  2. Stella By Starlight
(4:43)  3. St. Thomas - Live
(2:44)  4. Sometimes I Feel Like A Motherless Child
(6:09)  5. Blue Monk - Live
(4:58)  6. Someday My Prince Will Come
(9:14)  7. Alone Together
(8:42)  8. All Blues

Carter with some first-rate players including Red Garland (p), McCoy Tyner (p), Herbie Hancock (k), and many others, work their way through a program of jazz classics. ~ Ron Wynn   http://www.allmusic.com/album/standard-bearers-mw0000200086
 

Personnel: Ron Carter (bass, piccolo bass); Wade Marcus (conductor); Jon Faddis, Joe Shepley, John Frosk (trumpet, flugelhorn); Urbie Green (trombone); Tom Malone (bass trombone); Jerry Dodgion, Frank Wess (reeds); Kermit Moore, Charles McCracken, John Abramowitz, Richard Locker (cello); Kenny Barron, Red Garland, McCoy Tyner, Herbie Hancock (piano); Jim Hall (guitar); Buster Williams (bass); Ben Riley, John DeJohnette, Philly Joe Jones, Tony Williams (drums); Ralph McDonald (percussion). Producers: Ron Carter, Orrin Keepnews, Dick Katz.

Standard Bearer

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Charles Brown - Honey Dripper

Bitrate: 320K/s

Time: 59:37

Size: 136.5 MB

Styles: West Coast blues, Urban blues

Year: 1996

Art: Front

[7:06] 1. News All Over Town

[4:24] 2. I Cried Last Night

[5:10] 3. When Did You Leave Heaven

[3:21] 4. There Is No Greater Love

[3:48] 5. If I Had You

[3:10] 6. Gee

[5:03] 7. The Very Thought Of You

[4:51] 8. You Won't Let Me Go

[4:25] 9. The Honey Dripper

[4:23] 10. They All Say I'm The Biggest Fool

[5:55] 11. At Your Beck And Call

[3:58] 12. Everyday I Have The Blues

[3:30] 13. Precious Lord

[0:26] 14. Charles Brown's Thank You

"Soothing" is not a word normally associated with blues, but its the word that best captures the experience of listening to Charles Brown, and Honey Dripper is no exception. Listening to it is like sipping a fine bottle of cognac. Seventy-two years old at the time of this recording session, Brown sounds agile, almost ageless. Indeed, time seems to stand still when he plays and sings in that same understated, urbane manner he popularized with Johnny Moore's Three Blazers back in the 1940s. Like his other recordings this decade, Honey Dripper features Brown's regular working combo, led by guitarist Danny Caron and including saxophonist Clifford Solomon. The songs range from straight-ahead blues to jazz ballads, with some straddling the line. ~Steve Hoffman

Honey Dripper

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