Cecil Payne - Cecil Payne-Duke Jordan 1956-1962 Sessions

Bitrate: 320K/s
Time: 64:18
Size: 147.2 MB
Styles: Hard bop, Saxophone jazz
Year: 2008
Art: Front

[3:46] 1. This Time The Dream's On Me
[7:47] 2. How Deep Is The Ocean
[5:27] 3. Chessman's Delight
[3:37] 4. Arnetta
[6:38] 5. Saucer Eyes
[5:32] 6. Man Of Moods
[6:19] 7. Bringing Up Father
[4:21] 8. Groovin' High
[3:48] 9. Yes, He's Gone
[3:58] 10. Dexterity
[4:45] 11. I'm Gonna Learn Your Style
[4:58] 12. Like Church
[3:17] 13. Tall Grass

In his early days as a great jazz baritone saxophonist, quintessential sideman Cecil Payne played much more sweet and refined music than the rough and tumble bopper Pepper Adams or the more sophisticated Gerry Mulligan. These sessions as a leader, in tandem with the underrated pianist Duke Jordan, show a more sweet and innocent player on a horn known for brusque and burly tones. It might be misleading in modern times to call Payne a smooth player, but all potential coarse edges in his sound were filed away, and he displayed fluency and an even-keeled discipline one has to admire. The bulk of these recordings are from 1956, originally on the Signal label LP Cecil Payne and the Savoy release Patterns of Jazz, in a quartet or quintet setting, the latter complemented by trumpeter Kenny Dorham. A lilting -- yes lilting -- baritone sax sound for "This Time the Dream's on Me" sets the tone from the outset, but Payne goes right to the heart with the ballad "How Deep Is the Ocean?" A member of fellow Brooklynite Randy Weston's band, Payne pays homage with the lyrical midtempo swinger "Chessman's Delight," and with the perfectly paired Dorham on classic dotted eighth-note phrasings during "Saucer Eyes." At heart a bopper, Payne and Jordan, with the trumpeter, hit up their original "Man of Moods," Payne's fleet Charlie Parker-ish "Bringing Up Father," and the Dizzy Gillespie classic "Groovin' High." Five tracks from 1962, which include trumpeter Johnny Coles, sound different, and display the developing irregular fringes of Payne's bari. Coles uses a muted trumpet on the ballad "Yes, He's Gone" playing the second chorus of the melody after Payne's deeper inflections, and Payne lays out for the muffled horn of Coles to take center stage on Jordan's slow, wispy "Tall Grass." The quintet again adopts Parker's fervor on the perfectly played "Dexterity," while the leader's composition "Like Church" echoes the era's signature sound à la Art Blakey's Jazz Messengers, the Miles Davis group with John Coltrane, or Coles/Dorham peer Donald Byrd. Too few Cecil Payne recordings are available in this world, and though this is a transitional period for him, it is essential listening if you are a student of the big-bad horn. ~Michael G. Nastos

Cecil Payne-Duke Jordan 1956-1962 Sessions

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Sunday Wilde - He Digs Me

Bitrate: 320K/s
Time: 51:46
Size: 118.5 MB
Styles: Roots, Blues vocals
Year: 2014
Art: Front

[2:23] 1. He Digs Me
[5:08] 2. Sunday's Midnight Blues
[3:49] 3. Handle Me
[6:02] 4. Show Me Mercy
[2:38] 5. Nobody's Fault
[3:25] 6. Destitution Blues
[4:12] 7. Fall To Pieces
[2:50] 8. I Can't Believe
[3:26] 9. Gimmie One More
[4:39] 10. Black Mountain Blues
[5:40] 11. Sit Around Waiting
[5:17] 12. Crying Shame
[2:10] 13. Walk With Me

Sunday Wilde acclaimed for her powerful primal and intense vocals and unique self taught piano style brings you her fifth recording with subjects that range from loneliness, love, anger, blame and more.

This selection of 13 songs range from dirty blues, blues country, blues ballad, a bit of electric, a bit of acoustic and even some pop. The album is Sunday’s first recording with drums throughout. But no matter which genre you prefer, it is Sunday’s unique vocals and lyrical delivery that make it come together as an emotional story from start to finish.

She is a powerful and intense vocalist, a rare voice that speaks from the primal soul. Sunday is a songwriter who explores the subjects of grief, addiction, love and the torment of family dysfunction. Her lyrics and delivery make it abundantly clear that she speaks from experience and authority. She is a vocalist and piano player and is often joined at shows by upright bass, to make her live performances raw and intense.

He Digs Me

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Kevin Mahogany - Pussy Cat Dues: The Music of Charles Mingus

Bitrate: 320K/s
Time: 55:56
Size: 128.1 MB
Styles: Straight ahead jazz, Mainstream
Year: 2000
Art: Front

[ 5:05] 1. Eclipse
[ 8:04] 2. Pussy Cat Dues
[ 5:09] 3. Portrait
[ 8:35] 4. Reincarnation Of A Love Bird
[20:26] 5. Jelly Roll - Good-Bye Pork Pie Hat - Better Git Hit In Your Soul
[ 8:35] 6. Tonight At Noon

Not since the 1979 effort of Joni Mitchell has a top vocalist taken on the daunting task of recording the music of Charles Mingus. In 1995, Kevin Mahogany was invited by the Cologne-based Bill Dobbins-directed WDR big band (Westdeutscher Rundfunk) to participate in live concert of Mingus music. For this important musical event, Mahogany is joined by ex-Mingus compatriots, alto saxophonist Charles McPherson and trombonist Jimmy Knepper, as well as the big band. Although the concert took place in 1995, it wasn't until July of 2000 that the album was released. After a listen, it's a shame the moguls of the record industry took their time in releasing it.

Listening to Mingus allows one to sample just about everything on the jazz menu. Mingus looked everywhere for his inspiration as he composed some of the most multifaceted music in jazz. It incorporates the blues, free jazz, swing, bop and, of course, reflects the influence of his idol Duke Ellington. Mahogany's command of vocal techniques combined with his visceral feel for the music makes this album the vocalist's best effort to date The task is eased considerably by the way Dobbin crafted his orchestrations to complement Mahogany's approach this music. Despite the presence of this high powered, well-oiled big band, at no time is Mahogany drowned out - quite an achievement. Knepper's smoothed and sometimes clipped toned trombone is heard to excellent advantage on Eclipse as he and McPherson trade choruses on Reincarnation of a Love Bird. Knepper worked with Mingus from 1957 to 1962 and McPherson played for him in 1965. So they are no strangers to the idiosyncracies of Mingus music.

For me the highlight of the session is the four song medley which shows off the distinct flavor of the bassist's compositions. Boogie Stop Shuffle, featuring McPherson's alto, is a swinging tribute to bop. Jelly Roll honors the genius of Jelly Roll Morton while perhaps his most famous piece of music, Goodbye Pork Pie Hat, remains a fervent musical eulogy to Lester Young. While Kevin Mahogany does a couple of choruses on that tune along with some wordless vocalizing on Better Git Hit in Your Soul, the medley is pretty much the property of MacPherson, Knepper and the big band. WDR bassist and American expatriate John Goldsby puts on the mantle of Charles Mingus as he plays a lengthy, intricate and compelling bass solo. ~Dave Nathan

Kevin Mahogany - Vocals; Charles McPherson - Alto Saxophone; Jimmy Knepper - Trombone; Dennis Mackrel - Drums; WDR Big Band: Bill Dobbins - Director; Andy Haderer, Rob Bruynen, Klaus Osterloh, Rick Kiefer, John Marshall - Trumpet; Dave Horfer, George Maus, Bernt Laukamp, Peter Feil - Trombone; Heiner Wiberny, Harald Rosenstein - Alto Saxophone; Olivier Peters, Rolf R

Pussy Cat Dues

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Julia Rich - Moonshine in Nashville

Styles: Jazz, Vocal
Year: 2009
File: MP3@320K/s
Time: 51:12
Size: 118,0 MB
Art: Front

(2:45)  1. I'm Putting All My Eggs in One Basket
(2:39)  2. No Love, No Nothin'
(4:09)  3. Moonshine in Nashville
(3:49)  4. The End of the World
(3:07)  5. Wave
(2:02)  6. I Hear Music
(5:10)  7. These Foolish Things
(2:15)  8. Halloween Birthday
(2:56)  9. I'm Happy Just to Dance with You
(4:01) 10. Faraway Places
(2:25) 11. Good Things to Eat
(4:14) 12. At Last
(3:10) 13. You Turned the Tables on Me
(3:08) 14. Til There Was You
(1:40) 15. When My Sugar Walks Down the Street
(3:33) 16. Over the Rainbow

Moonshine in Nasville is Julia Rich's fifth full-length album for Cardinal Records, released March 14, 2009. Longtime girl singer for the Glenn Miller Orchestra, Rich included Miller's 1941 hit At Last on the recording, along with its seldom-heard verse. The album contains several standards from the '20s, '30s, and '40s; a couple from the '60s; and three Rich originals: Moonshine in Nashville, Halloween Birthday, and Good Things to Eat. Tony Migliore's ever-fresh arrangements come off the page in the creative hands of Tony on piano, Jim Ferguson on bass, Bob Mater on drums and percussion, Denis Solee on clarinet, George Tidwell on trumpet and flugelhorn, Pat Bergeson on guitar and harmonica, and Rickey Woodard on saxophone. The closing track, Over the Rainbow, was recorded in 2002 by Julia with Gary Weaver on piano and was rediscovered especially for this collection. Moonshine in Nasville is a straight ahead recording featuring ace musicians and Julia doing what she does best...old-style! ~ Editorial Reviews  http://www.amazon.com/Moonshine-Nashville-Julia-Rich/dp/B001Z0SW0E

Moonshine in Nashville

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Jim Hurst - A Box Of Chocolates

Styles: Country
Year: 2007
File: MP3@320K/s
Time: 57:40
Size: 132,7 MB
Art: Front

(3:11)  1. Chocolate Chaise Loungue
(4:17)  2. Little Baby Child
(4:12)  3. Unlucky Seven
(5:43)  4. Mary Of The Wild Moor
(3:39)  5. Susie Q
(2:49)  6. 'Til There Was You
(3:38)  7. Young At Heart
(4:04)  8. Look Down Hannah
(4:31)  9. Mando Bounce
(2:36) 10. I Ain't Gonna Cry For You
(3:03) 11. Wildcatter
(4:48) 12. Nine Pound Hammer
(3:39) 13. Kentucky Sunrise Waltz
(3:55) 14. Darlin' Tell Me Why
(3:28) 15. C5 A La Mode

A multiple-IBMA award winner and long time member of Claire Lynch's touring band, Jim Hurst is one of the most versatile acoustic guitar players on the contemporary bluegrass circuit. Hurst augments his flatpicking with hints of Merle Travis, and Jerry Reed, bending and sliding until his notes take on an almost vocal quality. As the title implies, A Box Of Chocolates is a sampler, the perfect showcase for Hurst's versatility. There's newgrass Chocolate Chaise Lounge, gypsy swing Mando Bounce, and swampy funk C5 A La Mode. In addition to those solid originals, Hurst scats his way through Nine Pound Hammer and shows delicate restraint on the traditional Mary Of The Wild Moor. Hurst's list of guests is long and impressive Sam Bush, Mark Schatz, Scott Vestal, Michael Cleveland, Viktor Krauss and that barely scratches the surface. Still, the most powerful moments on this album simply involve Hurst alone with his guitar. ~ D. Baxter / No Depression

Jim Hurst is a great bluegrass guitar player, as attested by his multiple wins at IBMA, but he s also very gifted in other styles of music. On his latest CD, A Box Of Chocolates, you get a little taste of the various style s Jim likes to sample from time to time. The songs range from solo guitar instrumentals, to full band pieces with harmony vocals. Some are bluegrass in nature, while others have more of a blues feel, swing approach, or finger-picking style. There are uptempo instrumentals, and slow ballads. A lot of variety, just as you'd expect from A Box Of Chocolates. A Box Of Chocolates contains a lot of different musical tastes, but they are all good. Jim is aware of the difficulty of selling such a product though, as reflected in this comment from the liner notes: Well I ain t ever been a commercially viable produt anyway, so why not record a CD that makes at least one person happy? ME! So, this is it...A Box Of Chocolates. That may be stating it a little strongly, as I m sure Jim will find that many people will find a smile on their face while listening to this latest recording of his. (edited from full review) ~ B. Gillihan / The Bluegrass Blog

Jim Hurst's new CD entitled A Box of Chocolates is, at the risk of using an overused and bombastic cliché, a must-listen for fans of acoustic guitar mastery. As the title of the CD indicates, listening to the CD is like opening an assortment of chocolates, each piece of which has a unique texture and flavor. Hurst's song selection cuts a wide swath and includes everything from standard flat-picking classics such as Nine Pound Hammer, bluesy funk trips like Chocolate Chaise Lounge, remorseful ballads such as Look Down Hannah and Mary of the Wild Moor, and even rock classics re-cast Jim Hurst style like Til There Was You and Suzie Q. The liner notes included with A Box of Chocolates detail some of Hurst's musical influences and include Merle Travis, Django Reinhart, Glenn Miller, Bob Wills, Pete Fountain, and even Jimmy Durante. Yes, Jimmy Durante! 

Hurst handles the guitar duties, of course, and also plays mandolin on several tracks. He carries the lead vocals as well, except on Young at Heart on which he gives up the microphone to Claire Lynch with whom he's previously recorded and toured as a member of the Claire Lynch Band. Special guests on the CD include Lexington's string-master Daniel Carwile who has this to say about Hurst and the CD: Jim Hurst is one of the most versatile guitarists I have ever worked with. If you love the guitar you'll love this CD. Way to go Jim! Best of luck Jim! For me I'll be playing A Box of Chocolates for friends tonight and taking delight in watching feet tap, eyebrows raise, and listeners scramble for the liner notes. (edited from full review) ~ B. Scrivener / MySpace blog 

~ Editorial Reviews  

http://www.amazon.com/Box-Of-Chocolates-Jim-Hurst/dp/B000WW1W1M

A Box Of Chocolates

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Count Basie - The Complete Atomic Basie

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 56:47
Size: 130,8 MB
Art: Front

(2:41)  1. The Kid From Red Bank
(4:12)  2. Duet
(3:26)  3. After Supper
(3:23)  4. Flight Of The Foo Birds
(2:46)  5. Double-O
(3:19)  6. Teddy The Toad
(3:51)  7. Whirly-Bird
(4:28)  8. Midnite Blue
(3:36)  9. Splanky
(2:56) 10. Fantail
(4:50) 11. Li'l Darlin'
(4:05) 12. Silks And Satins
(3:36) 13. Sleepwalker's Serenade
(3:38) 14. Sleepwalker's Serenade (Bonustrack)
(2:51) 15. The Late Late Show (Bonustrack)
(3:02) 16. The Late Late Show (Vocal Version) Bonustrack

One of the reasons that some major labels love to license big chunks of their catalogs to smaller independent outfits for box set reissues is that they never know that those licensees will turn up in putting those sets together, and it all becomes fair game for the parent company. Thus, in 1994, a year after Mosaic unearthed five previously unissued tracks from the October 1957 sessions that yielded The Atomic Mr. Basie on Roulette, Capitol Records (which had acquired the Roulette library) issued this expanded version of the original album. The original 11 songs are here, remastered into proper mono (there was an impossible to listen to duophonic stereo master made at the time of release that was in circulation on LP for a time), along with five outtakes consisting of material written and arranged by Jimmy Mundy: the instrumentals "Silks and Satins," "Sleepwalker's Serenade" (two different takes), and "The Late Late Show" and a vocal version of the latter featuring Joe Williams. 

These were apparently part of a proposed Jimmy Mundy album that never got completed, and were forgotten; they fit in surprisingly well with the Neal Hefti arrangements comprised the original recording, and Joe Williams turns in some of the best work of his career on the vocal version of "The Late Late Show," a sultry, richly intoned performance that positively seduces the listener, with the band blowing beautifully behind him. ~ Bruce Eder  http://www.allmusic.com/album/the-complete-atomic-basie-mw0000187806

Personnel: Count Basie (piano); Joe Williams (vocals); Wendell Culley, Snooky Young, Thad Jones, Joe Newman (trumpet); Henry Coker, Al Grey, Benny Powell (trombone); Marshall Royal, Frank Wess, Eddie "Lockjaw" Davis, Frank Foster, Charles Fowlkes (reeds); Freddie Green (guitar); Eddie Jones (bass); Sonny Payne (drums).

The Complete Atomic Basie

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Kenny Garrett - Seeds From The Underground

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 70:04
Size: 190,0 MB
Art: Front

(9:03)  1. Boogety Boogety
(6:26)  2. J. Mac
(7:37)  3. Wiggins
(7:27)  4. Haynes Here
(4:21)  5. Detroit
(8:08)  6. Seeds From The Underground
(8:16)  7. Du-Wo-Mo
(8:43)  8. Welcome Earth Song
(6:22)  9. Ballad Jarrett
(3:38) 10. Laviso, I Bon?

Kenny Garrett is one of the most respected and frequently imitated saxophonists in the jazz world, but he might not have reached his full potential if not for those who guided him and showed him the way. While some musicians try to rewrite history when they make it big, turning their backs on the nurturing forces and influential individuals that kept them on the righteous path, Garrett doesn't fall into that category. He gives credit where credit is due, and Seeds From The Underground is the proof. Garrett wrote ten musical "thank you" notes for this project, which honors his family, friends, mentors and musical influences. While the songs run the gamut from subdued to explosive, the most impressive material is the edgy, late '60s-influenced fare. Garrett's pianist the underexposed Benito Gonzalez puts a Latin-inflected, postmodern slant on the McCoy Tyner sound, and drummer Ronald Bruner Jr. is relentless, driving the music with punchy fills and on-top-of-the-beat cymbal work. This pairing proves to be potent, and both men can be seen as the combinatorial impetus behind Garrett's most aggressive and outspoken playing. 

Two prime examples come in the form of a hard hitting nod to saxophone maverick Jackie McLean ("J. Mac") and a waltzing tribute to drummer Roy Haynes ("Haynes Here"), but others are scattered throughout. While these men, along with the balancing force, bassist Nat Reeves, paint vivid pictures, two other individuals add extra splashes of color. Nedelka Prescod's wordless vocals help to magnify the emotional intensity in the music ("Detroit"), and percussionist Rudy Bird adds some spice to the Latin-inflected numbers and pan-global performances. While all of these diverse personalities come together in fine fashion, it's Garrett's saxophone that garners the most attention. He can be sunny and playful ("Boogety Boogety"), brash and bold ("J. Mac") or wistful and pensive ("Ballad Jarrett"), but he always displays a melodic bent in his playing, regardless of the mood. That, more than anything else, will likely draw attention toward this record. ~ Dan Bilaswsky  http://www.allaboutjazz.com/seeds-from-the-underground-kenny-garrett-mack-avenue-records-review-by-dan-bilawsky.php#.U_iy82MfLP8
 

Personnel: Kenny Garrett: alto saxophone, soprano saxophone, piano; Nat Reeves: bass; Ronald Bruner: drums; Rudy Bird: bata, percussion; Nedelka Prescod: vocals.

Seeds From The Underground

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Al Grey - The New Al Grey Quintet

Bitrate: 320K/s
Time: 61:27
Size: 140.7 MB
Styles: Bop, Trombone jazz
Year: 1988/1995
Art: Front

[4:59] 1. Bluish Grey
[4:57] 2. Sonny's Tune
[6:04] 3. Don't Blame Me
[5:44] 4. Syrup And Bisquits
[5:16] 5. Taint No Use
[3:05] 6. Al's Rose
[2:19] 7. Night And Day
[5:41] 8. Call It Whatchawanna
[5:45] 9. Underdog
[3:21] 10. Stompin' At The Savoy
[4:14] 11. Al's Blues
[6:32] 12. Rue Prevail
[3:24] 13. Soap Gets In Your Eyes

Veteran trombonist Al Grey leads an unusual quintet on this set from 1988 that, in addition to drummer Bobby Durham, features the sons of Al Cohn (guitarist Joe Cohn), Gerald Wiggins (bassist J.J. Wiggins), and his own Mike Grey on second trombone. The two trombonists have similar sounds, with the elder Grey getting the bulk of the solos. The repertoire mixes together swing standards with lesser-known jazz tunes by Thad Jones, Sonny Stitt, Hank Mobley, Al Cohn, Johnny Griffin, Art Farmer, and Al Grey himself. The relaxed straight-ahead music flows nicely and all of the musicians (other than Durham) have their opportunities to be featured. Worth searching for. ~Scott Yanow

The New Al Grey Quintet

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Terri Krul - In The Still Of The Night

Bitrate: 320K/s
Time: 41:22
Size: 94.7 MB
Styles: Vocal jazz, Easy Listening
Year: 2014.
Art: Front

[2:40] 1. In The Still Of The Night
[4:13] 2. Come Rain Or Come Shine
[3:42] 3. Fly Me To The Moon
[3:38] 4. I'll Be Seeing You
[3:55] 5. Night And Day
[3:17] 6. The Nearness Of You
[2:55] 7. Misty
[3:02] 8. A Sailboat In The Moonlight
[3:31] 9. I Don't Know Enough About You
[2:33] 10. Why Don't You Do Right
[4:41] 11. You Don't Know Me
[3:09] 12. All Right, Okay (You Win)

Terri Krul is a professional jazz and blues vocalist. If the event you’re planning needs music and style to make it memorable, don't settle for any other. Big band jazz will NEVER be out style and is perfect for any occasion. A talented song stylist with an unforgettable voice, Ms. Krul performs some of the greatest songs of all time -- in the great tradition of jazz.

Terri has completed here new album, In the Still of the NIght, which will include original arrangements by producer/pianist, Tad Sisler and musician Andrew Fraga, Jr, and instrumentals by Michael Higgins (guitar) and grammy-award-winning Glen Myerscough (flute/saxophone). Add to the mix the expertise of the multi-talented arranger/guitarist, Peter Sprague, producer Marti Amado, and fabulous engineer, Mike Harris, and the outcome is a jazz hit! The album features favorites such as "Come Rain or Shine" and "In the Still of the Night."

In The Still Of The Night

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Erroll Garner - Mambo Moves Garner

Bitrate: 320K/s
Time: 51:47
Size: 118.5 MB
Styles: Swing, Piano jazz
Year: 1954/1991
Art: Front

[6:29] 1. Mambo Garner
[4:03] 2. Night And Day
[4:53] 3. Mambo Blues
[5:20] 4. That Old Black Magic
[3:51] 5. Cherokee
[3:53] 6. Sweet And Lovely
[3:23] 7. Russian Lullaby
[4:39] 8. Begin The Beguine
[4:09] 9. Mambo Nights
[7:29] 10. Sweet Sue
[3:34] 11. Imagination

For this lengthy session, pianist Erroll Garner added a conga player (Candido) to his trio (which includes bassist Wyatt Ruther and drummer Eugene Heard) for the first time. Throughout the remainder of his career he would occasionally play in the Latin idiom. This CD reissue (which adds two songs from the same session to the original LP program) finds the pianist in typically enthusiastic form and the highlights include "Mambo Garner," "Night and Day," "Cherokee" and "Sweet Sue." ~Scott Yanow

Mambo Moves Garner

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Gary Peterson - Squeeze Me: Ragtime Guitar And Other Oldies

Bitrate: 320K/s
Time: 30:56
Size: 70.8 MB
Styles: Folk-blues guitar, Ragtime
Year: 2010
Art: Front

[2:25] 1. Maple Leaf Rag (Version 1)
[1:58] 2. Deep River Blues
[3:40] 3. Stagolee
[1:49] 4. Cincinnati Flow Rag
[2:01] 5. Mable's Dream
[3:14] 6. Nobody Knows You When You're Down And Out
[2:00] 7. Squeeze Me
[1:59] 8. Maple Leaf Rag [Version 2]
[4:09] 9. Frankie And Johnny
[2:03] 10. Devil's Dream
[2:32] 11. Happy Meeting In Glory
[3:01] 12. I Could Walk A Mile

This was my first solo guitar album after being a musician in London for five years, prior to my move to Paris. My highly coordinated and speedy fingers made me a natural for the finger-picking style on this

album. This CD includes one original composition, "I Could Walk a Mile," as well as ragtime, blues, folk, and other oldies like, "When You're Down and Out."

Squeeze Me: Ragtime Guitar And Other Oldies

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Jane Harvey - All For You

Styles: Jazz, Vocal
Year: 2012
File: MP3@320K/s
Time: 36:49
Size: 84,7 MB
Art: Front

(4:01)  1. Ticket To Ride
(3:37)  2. Cabaret
(3:10)  3. Sway
(3:34)  4. Bring Him Home
(3:37)  5. Perfect
(3:13)  6. Use Somebody
(3:04)  7. Can't Take My Eyes Off You
(5:05)  8. Over The Rainbow
(3:50)  9. Summer Of 69
(3:33) 10. Make You Feel My Love

All For You

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Jeff Hamilton - If Dreams Come True

Styles: Jazz, Mainstream Jazz
Year: 2007
File: MP3@320K/s
Time: 75:54
Size: 180,1 MB
Art: Front

(3:04)  1. Rosetta
(4:29)  2. I Surrender Dear
(3:24)  3. If I Were You
(3:47)  4. Moon Country
(4:07)  5. I Wished On The Moon
(4:54)  6. No One Can Take Your Place
(3:14)  7. Liza
(3:14)  8. My Ideal
(3:49)  9. Don't Be That Way
(4:38) 10. Here's That Rainy Day
(4:10) 11. What Is This Thing Called Love?
(4:04) 12. Charmaine
(5:11) 13. B.C. Blues
(5:11) 14. If Dreams Come True
(5:03) 15. Till There Was You
(4:12) 16. My Silent Love
(4:04) 17. Exactly Like You
(5:11) 18. Isle Of Capri

One evening at Chautauqua, after the musical festivities had concluded, I found Hamilton and Barrett chatting around a piano. After the usual banter, Hamilton sat down on the bench, played a good chunk of an up-tempo rag and then turned to some expert, subtle classical playing. Both performances were light-hearted, but they revealed him as a highly accomplished pianist. His quirky sense of humor is best displayed on the second CD's cover picture, which I won't attempt to describe, and its subtitle: Jazz piano exclusively for solo synchronized swimming, an idea whose time may not have come.) I was greatly impressed with Hamilton's pianistic skills that night, but I had no opportunity to hear him improvise in a jazz context until now. Happily for all of us, If Dreams Come True would prove to anyone that he is as fine a jazz pianist as he is a drummer, and that's saying something. 

His solo showpieces, Liza, and Rosetta, both pieces close to Teddy Wilson's heart, reveal an irrepressible swing, wonderfully steady tempos (solo piano is difficult for all but the finest players to keep their compass), a light touch, and an ability to invent dancing alternative melodies that make familiar material seem fresh. Hamilton's stride playing has a powerful onward momentum, but he isn't ever overbearing. He isn't copying the records, but improvising on the tradition and bringing his own flavorings to it. Fittingly, the notes to this CD are by that satisfyingly idiosyncratic pianist Ray Skjelbred. Perhaps the finest testimony to Hamilton's mastery is how he plays well with others: how his playing offers a feeling commentary on Becky Kilgore's creamy, melting My Ideal, creating one of those lovely miniatures that I wanted to play several times before moving on to the next track. His CD presents one stirring, understated but compelling performance after another, primarily duets between Hamilton and a horn player, as well as three trio outings. On one, Eddie Erickson, Dan Barrett and Jeff Hamilton do Till There Was You, with Erickson superbly wistful, crooning his heart out. It is more evidence that Erickson is our Sinatra; I wait for someone to record him with a string quartet. Barrett, Kilgore, and Hamilton create a jaunty If I Were You, with the true 1938 Vocalion spirit. Kilgore, Bobby Gordon and Hamilton take off on the title track, which perhaps should be called When, not If, because this CD succeeds so well. Special mention should go to Hamilton's stepfather, the clarinetist Bill Carter: on his blues, Carter creates a questing, worrying, sometimes querulous castle of sound -- not an imitation of Pee Wee Russell but worthy of him. 

And, in the same breath, Bobby Gordon's walking Charmaine is a superb matching of materials and musician. (On this track and on My Silent Love, Hamilton's rubato opening chorus so tenderly defines the melodic line, something not easy to do.) RAG readers have had two decades to appreciate Dan Barrett's gifts, so I will say only that this CD finds him in plush form, with just the right emotional depth for each performance: a dark, melancholy Here's That Rainy Day, a clipped, witty cornet exploration of Don't Be That Way, and a version of No One Else Can Take Your Place, deep and simple at once. Both Hamilton CDs are delicious auditory evidence of the way the finest jazz musicians play when in front of small, sympathetic audiences. Or, perhaps this is the way they play for themselves: subtle, knowing, enthusiastic, and full of feeling. These discs contain extraordinarily gratifying examples of jazz that is rarely, if ever, captured in recording studios. . I hope Jeff Hamilton gets many more opportunities to make discs like this, on whatever instruments he chooses. 

~ Mississippi Rag March 2008 by Michael Steinman ~ Editorial Reviews  http://www.amazon.com/Dreams-Come-True-Jeff-Hamilton/dp/B000R9RIUE

If Dreams Come True

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Joshua Redman - Trios Live

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 58:03
Size: 133,2 MB
Art: Front

(12:02)  1. Mack the Knife
( 6:38)  2. Never Let Me Go
( 6:43)  3. Soul Dance
(12:25)  4. Act Natural
( 7:37)  5. Mantra #5
( 5:58)  6. Trinkle, Tinkle
( 6:36)  7. The Ocean

Upholding the legacy of his namesake, saxophonist Joshua Redman son of the great Dewey Redman has continued to develop as a leader in jazz since the 1990's. He's created a name as a consummate artist through rigorous work that's involved a previous directorship of SFJAZZ, constant tours and over a dozen recordings. At times criticized for not emulating his father's passion, recordings such as his 2013 jazz-with-strings project Walking Shadows (Nonesuch) resulted in a beautiful studio release that was at times unengaging. But make no mistake because Redman's definitely got the fire and burns hot as coals in Trios Live which captures the essence of his unbridled abilities as musician and performer. It was recorded at two venues with different trios Redman and drummer Gregory Hutchinson with bassist Matt Penman at New York City's Jazz Standard and bassist Reuben Rogers at Washington, DC's Blues Alley. Dedicated to the fans that've come out to hear Redman play over the years, these live performances in 2009 and 2013 possess a spirit that surpass many of his studio dates with its spontaneous urgency. Four originals and three covers including a persuasive interpretation of Led Zeppelin's "The Ocean." 

Redman is in his element. The standard "Mack the Knife" bops, skips and twists as saxophone opens with a gorgeous solo full of breath and nuance. He engages the audience with talented showmanship who respond appreciatively to feverish runs, soft lines, playful banter and the music's improvised dialog. Yet this is not just about Redman as the other trio members more than hold their own with flawless timing, flexibility, and moments such as Hutchinson's gentle brush of cymbals in "Never Let Me Go" and synchronous fireworks with Redman in the 12 minute burner "Act Natural" as Reuben Rogers holds the line. While Thelonious Monk's "Trinkle, Tinkle" is done justice it's the trio's cover by an iconic English rock band that steals the show when Led Zeppelin's "The Ocean" is transformed from power rock to hard groove. Redman improvises the guitar riff with punctuated spurts and runs fueled by Hutchinson's beats and Matt Penman's funky bass line. The musicians jam freely and the crowd at the Jazz Standard react with wild applause dispelling the myth that you can't party to jazz music.             

~ Mark F.Turner  http://www.allaboutjazz.com/trios-live-joshua-redman-nonesuch-records-review-by-mark-f-turner.php#.U_ddLmMfLP8
 

Personnel: Joshua Redman: tenor saxophone (1, 2, 4, 6, 7), soprano saxophone (3, 5); Matt Penman: bass (1, 5–7); Reuben Rogers: bass (2–4); Gregory Hutchinson: drums.

Trios Live

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Jack Jezzro - Western Swing

Styles: Country, Swing

Year: 1996
File: MP3@320K/s
Time: 41:09
Size: 95,0 MB
Art: Front

(2:51)  1. San Antonio Rose
(2:15)  2. Across The Alley From The Alamo
(3:14)  3. Blues For Dixie
(3:14)  4. Red Wing
(2:46)  5. Westphalia Waltz
(2:42)  6. Oklahoma Hills
(3:40)  7. South Of The Border
(3:35)  8. Deep In The Heart Of Texas
(3:32)  9. Back In The Saddle Again
(2:32) 10. Roly Poly
(3:00) 11. La Golandrina
(2:25) 12. Under The Double Eagle
(5:15) 13. Faded Love/ Maiden's Prayer

Inspired by the timeless music of Bob Wills, this recording highlights the Western Swing genre with musical perfection. Some describe Western Swing as being somewhere between Country-Western and Big Band Swing. Diversity best describes the artistry of guitarist, bassist, and producer Jack Jezzro. His recordings and productions have sold well into the millions, and he surely ranks high in formal education, knowledge of his instrument, and sheer musicality. But even more than that, Jezzro has a style and taste that are all his own qualities that are a breath of fresh air to the music of today and qualities that breathe new life into the music of yesterday. 

The Early Years Jazz is a natural expression for this West Virginia native, who seems to have been born musical. Jack Jezzro grew up in the small town of Rivesville, starting on piano and accordion when he was very young. "I would go to the piano and start banging out tunes when I was four or five," he recalls. His remarkable skill at simultaneously fingering melody and chord changes came naturally to him as a young listener. "I had a stack of Chet Atkins records, and that’s how I learned to play," Jezzro reports. "As a kid, I’d want to play all the parts. I’d listen to a tune by James Taylor, The Doobie Brothers, Simon & Garfunkel, or whomever. 

I’d play the bass part, the piano, the vocal and I’d want to do it all right there on the guitar."  Education For his bass-playing skills, Jezzro earned a scholarship to West Virginia University in nearby Morgantown. "I still kept playing guitar, but they didn't have a guitar program," he says. "I wanted to go to school there because it was close by, so I picked the bass and really got into it." The year was 1976. "That fall, the Pittsburgh Symphony Orchestra came to Morgantown, and I got to meet the principal bass player, Sam Hollingsworth. We immediately hit it off." Hollingsworth took Jezzro under his wings, preparing him for a professional career. More.....http://www.cdbaby.com/cd/jezzrojack

Personnel: Jack Jezzro (guitar); Gregg Galbraith (guitar); Paul Franklin , Buddy Emmons (steel guitar); Buddy Spicher (fiddle); Kristin Wilkinson, Pamela Sixfin, David Davidson (strings); Beegie Adair, Hargus "Pig" Robbins (piano); Larry Paxton (bass instrument); Bob Mater (drums).

Western Swing

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João Donato - So Danco Samba

Bitrate: 320K/s
Time: 46:20
Size: 106.1 MB
Styles: Latin jazz
Year: 2006
Art: Front

[2:34] 1. So Danco Samba
[3:40] 2. Corcovado
[3:15] 3. Samba De Uma Nota So
[4:05] 4. Caminhos Cruzados
[2:39] 5. Garota De Ipanema
[3:02] 6. Vivo Sonhando
[4:02] 7. Meditacao
[2:53] 8. Fotografia
[3:50] 9. Amor Em Paz
[3:13] 10. Ela E Carioca
[3:54] 11. Outra Vez
[3:03] 12. Brigas Nunca Mais
[3:14] 13. Triste
[2:49] 14. Wave

João Donato de Oliveira Neto is a Brazilian jazz and bossa nova pianist from Brazil, probably best known for his numerous albums as bandleader in the idiom. He first worked with Altamiro Carrilho, and went on to perform with other masters of the idiom such as Tom Jobim, Astrud Gilberto, as well as a host of others.

João Donato de Oliveira Neto was born in Rio Branco, the capital of the state of Acre, Brazil, on August 17, 1934. His father, also called João Donato, was a pilot and in his leisure hours liked to play the mandolin at home. His mother sang and the eldest sister, Eneyda, turned out to be a pianist. The youngest, Lysias, was more inclined to letters and became the main partner in his brother’s compositions.

So Danco Samba

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Eilen Jewell - 2 albums: Sea Of Tears / Queen Of The Minor Key

Eilen Jewell is the queen of the minor key. Sad songs are her wealth and finery. The Idaho native’s unique originals feature a blend of influences from early blues, rockabilly and surf-noir, to 1960s era rock and roll. The Los Angeles Daily News wrote, “Sometimes as darkly damaged as Lucinda Williams, at others as defiant and teasing as prime Peggy Lee and always authentically Americana in the Gillian Welch tradition…. She’s mighty good.” The Word in the UK described Jewell as “A voice of real distinction [that] manages to transcend some powerful influences and pierce the fog long enough for her own point of view to emerge.”

She and her band tour relentlessly, regularly selling out venues around the world. Jewell’s tour dates span from North America to Western Europe, New Zealand and Australia. She has shared the stage with Lucinda Williams, Mavis Staples, George Jones, Emmylou Harris, Blind Boys of Alabama, Chris Smither, and Junior Brown. Eilen’s music has been heard on NPR, XM-Sirius, and the BBC. She has also received airplay in Canada, Australia, Spain, Holland, and Germany. TV shows Sons of Anarchy and True Blood have featured Eilen’s music as well as commercials such as T-Mobile’s Fast Songs national TV campaign. Hollywood stars (Tom Hanks in Entertainment Weekly) to heads of state (British Prime Minister David Cameron in Britain’s Telegraph) have praised Eilen’s music in the press.

Jewell is currently recording her fifth, full-length, solo album with her long-time road band of Jerry G. Miller (named instrumentalist of the year the past two years in a row), husband and drummer Jason Beek, and slapping upright bass player Johnny Sciascia.

Album: Sea Of Tears

Bitrate: 320K/s

Time: 38:12

Size: 87.5 MB

Styles: Blues, Pop, Jazz, Roots

Year: 2009

Art: Front

[2:46] 1. Rain Roll In

[3:07] 2. Sweet Rose

[3:00] 3. Shakin' All Over

[2:42] 4. Sea Of Tears

[3:39] 5. Fading Memory

[3:05] 6. Nowhere In No Time

[3:59] 7. I'm Gonna Dress In Black

[3:53] 8. One Of Those Days

[2:57] 9. Final Hour

[2:28] 10. The Darkest Day

[2:53] 11. Everywhere I Go

[3:36] 12. Codeine Arms

Sea Of Tears 

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Album: Queen Of The Minor Key

Bitrate: 320K/s

Time: 37:47

Size: 86.5 MB

Styles: Blues, Pop, Jazz, Roots

Year: 2011

Art: Front

[1:35] 1. Radio City

[3:50] 2. I Remember You

[2:02] 3. Queen Of The Minor Key

[2:13] 4. That's Where I'm Going

[4:30] 5. Santa Fe

[2:29] 6. Warning Signs

[2:07] 7. Reckless

[3:59] 8. Over Again (Feat. Zoe Muth)

[1:43] 9. Bang Bang Bang

[2:26] 10. Hooked

[3:42] 11. Only One

[2:51] 12. Long Road

[2:55] 13. Home To Me (Feat. Big Sandy)

[1:18] 14. Kalimotxo

Queen Of The Minor Key  

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Mark Levine Trio - One Notch Up

Bitrate: 320K/s
Time: 66:28
Size: 152.2 MB
Styles: Piano jazz
Year: 1999
Art: Front

[6:52] 1. I Didn't Know What Time It Was
[7:49] 2. Up Jumped Spring
[4:50] 3. If There Is Someone Lovelier Than You
[7:41] 4. Ask Me Now
[6:35] 5. Pensativa
[6:21] 6. Low Key Lightly
[5:58] 7. Linda Chicana
[6:59] 8. One Notch Up
[7:53] 9. You Know I Care
[5:25] 10. After You

Veteran pianist Mark Levine has recorded infrequently, so this trio session is well worth the long wait. His varied program includes a rollicking "Up Jumped Spring," a jaunty version of Duke Ellington's infrequently played "Low Key Lightly," and a luscious "Ask Me Now." The tense title track, written by Mulgrew Miller, will keep listeners transfixed. Levine is also an accomplished composer, with his laid-back Latin-flavored "Linda Chicana" and constantly shifting "After You." ~Ken Dryden

One Notch Up

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Jacqui Naylor - Jacqui Naylor

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 51:06
Size: 118,8 MB
Art: Front

(3:36)  1. Lazybones
(4:54)  2. Nocturne
(3:11)  3. What A Little Moonlight Can Do
(3:01)  4. I Love You So
(6:07)  5. Tell Me More & More & Then Some
(4:05)  6. May I Come In?
(2:49)  7. The Way You Look Tonight
(5:47)  8. I Cover The Waterfront
(4:30)  9. Something Cool
(3:26) 10. Embraceable You
(3:01) 11. Can't Help Singing
(3:44) 12. In The Wee Small Hours Of The Morning
(2:54) 13. Two Sleepy People

Another new bright entry in the vocal galaxy that covers the San Francisco Bay Area is Jacqui Naylor as she so ably demonstrates on her first album. Naylor immediately brings to mind the great Billie Holiday, whom she unabashedly admires. You can hear that poignancy of a wounded doe on such cuts as "I Cover the Waterfront" and "I Love You So." Her voice assumes light timbre on medium to up-tempo tunes such as "Two Sleepy People." This singer also has an unerring sense of rhythm, pitch and feel for the meaning of what she sings. She sways along on lilting, bouncing number as "Can't Help Singing" and "The Way You Look Tonight" and becomes innocently absorbing on "Something Cool." But what proves Naylor's singing so delightful and engaging is her understanding that the best way to put over a song is to sing it simply and straightforwardly. No swoops, hollers, grunts and other extraneous Babel on this CD. 

While this is Naylor's show, she gets outstanding help from her musicians who seem very tuned in to the mannerisms of the singer's style. Bob Johnson's smoky tenor helps set the stage for several of the tunes and adds an appropriate coda on others such as on a very pretty, world-weary "Nocturne." Other times his sax weaves in and around Naylor's voice, recalling the way Holiday and Lester Young meshed. Equally important contributions are made by steady pianist Andrew Ostwald, John Wiitala on bass and Tony Kaye's guitar. This is a fine first effort or second or third for that matter from this talented singer who showers special magic over a play list of familiar entries in the Great American Songbook as well on some less familiar material. Recommended. ~ Dave Nathan  http://www.allmusic.com/album/jacqui-naylor-mw0000597763

Jacqui Naylor

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Hans Theessink - Call Me

Styles: Blues Folk
Year: 2003
File: MP3@320K/s
Time: 49:48
Size: 116,7 MB
Art: Front

(3:31)  1. Late Last Night
(3:41)  2. Call Me
(2:55)  3. Mabellene
(3:28)  4. Lonely Days & Lonely Nights
(5:29)  5. Soul Of Song
(4:34)  6. Ain't Go No Home
(3:21)  7. Rock The Boat
(4:07)  8. New Orleans
(4:52)  9. The Planet
(3:40) 10. Bluesdoctor
(5:01) 11. Cuckoo
(5:08) 12. Sail On

For Call Me I invited Canadian producer Colin Linden as a co-producer. I had been playing a lot at festivals in N.America and wanted to invite some of the musicians and singers that I'd met on my travels. Most of the backing vocals were sung by the fantastic Bobby King & Terry Evans (wellknown from their work with Ry Cooder). With Maceo Parker, Pee Wee Ellis and Fred Wesley we had one of the funkiest horn sections in the universe. In addition we had Garth Hudson, Richard Bell and Rick Danko of "The Band", and South African sax-and pennywhistle wizzard Morris Goldberg on board. We worked at studios in Munich, Woodstock and Los Angeles, hauling the big old tapes around. The work on CALL ME was a beautiful experience and a few of my most requested songs are included on the album: My own "Call Me", "Rock The boat" and Chuck Berry's "Mabellene".  http://www.cdbaby.com/cd/hanstheessink

Call Me

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