Tal Farlow - The Complete Verve Sessions (Discs 6 & 7 of 7)

Album: The Complete Verve Sessions (Disc 6)
Bitrate: MP3@320K/s
Time: 59:50
Size: 137.0 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[4:10] 1. Lean On Me
[4:51] 2. Wonder Why
[4:20] 3. Night And Day
[3:31] 4. Stella By Starlight
[4:48] 5. The More I See You
[4:21] 6. All The Things You Are
[4:11] 7. How Long Has This Been Going On
[3:36] 8. Topsy
[3:27] 9. 'deed I Do
[3:23] 10. We'll Be Together Again (Take 3)
[4:29] 11. We'll Be Together Again (Take 1)
[3:17] 12. We'll Be Together Again (Take 2)
[3:52] 13. The More I See You
[5:24] 14. 'deed I Do
[2:03] 15. We'll Be Together Again

The Complete Verve Sessions (Disc 6)

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Album: The Complete Verve Sessions (Disc 7)

Bitrate: MP3@320K/s
Time: 74:05
Size: 169.6 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[3:20] 1. A Foggy Day
[4:45] 2. The Man In My Life
[5:25] 3. Sweet Lorraine
[4:36] 4. Wess Side
[6:26] 5. Telefunky
[7:39] 6. Blue Funk
[5:12] 7. Saratoga
[6:47] 8. Blues In The Night
[4:54] 9. Hit The Road To Dreamland
[4:22] 10. For Every Man There's A Woman
[6:31] 11. As Long As I Live
[3:04] 12. Between The Devil And The Deep Blue Sea
[4:38] 13. Petticoat High
[3:09] 14. One Step-Two Step
[3:11] 15. Lessons In Love

The Complete Verve Sessions (Disc 7)

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Glaucia Nahsser - Vambora

Bitrate: MP3@320K/s
Time: 52:47
Size: 120.9 MB
Styles: Latin jazz vocals
Year: 2010
Art: Front

[4:03] 1. Cento, Logo Existo
[4:28] 2. Malandra
[4:08] 3. Olhar De Prata (Libano)
[3:42] 4. Quebradeira
[3:44] 5. Pensando Em Voce
[3:55] 6. Vambora
[4:34] 7. Daquifra Frente
[3:37] 8. Roda
[4:12] 9. Le Le O
[4:22] 10. O Comeco Do Infinito
[3:52] 11. Quem Falou
[3:50] 12. Mais Uma Vez
[4:15] 13. Malandra

Vejam aqui a crítica de Kiko Ferreira, no Caderno de Cultura do Estado de Minas, sobre o novo CD de Glaucia Nasser, Vambora. A artista chegou com uma proposta diferente de pop popular brasileiro que tem sido reconhecida como "um caminho certo".

Vambora

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Gary Burton, Paul Bley - Right Time, Right Place

Bitrate: MP3@320K/s
Time: 67:30
Size: 154.5 MB
Styles: Post bop, Vibraphone jazz, Piano jazz
Year: 1990
Art: Front

[9:08] 1. Ida Lupino
[5:59] 2. Isn't It Romantic
[6:56] 3. Laura's Dream
[5:12] 4. Carla
[9:19] 5. Olhos De Gato
[3:32] 6. Alcazar
[3:30] 7. Rightly So
[3:14] 8. Nothing To Declare
[8:44] 9. You Don't Know What Love Is
[5:28] 10. Eidertown
[6:24] 11. Turn Out The Stars

Although they have utilized the talents of some of the same musicians through the years (most notably Steve Swallow) and both recorded for ECM, vibraphonist Gary Burton and pianist Paul Bley had not recorded before this 1990 Copenhagen session. The combination generally works, with some of Burton's romanticism and melodic approach rubbing off on Bley during the date (the usually somber pianist actually sounds a little lighthearted during "Isn't It Romantic") while the vibist sometimes emulates Bley's emphasis on space. On their six duets, Burton and Bley do not take turns soloing per se as much as alternate being the lead voice. Their unaccompanied features (three apiece) are generally in the same introspective but exploratory mood, making this a quiet program of thought-provoking if occasionally sleepy music. ~Scott Yanow

Right Time, Right Place

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Temple Of Soul - Brothers In Arms

Bitrate: MP3@320K/s
Time: 54:37
Size: 125.1 MB
Styles: R&B, Funk, Pop/Rock/Jazz
Year: 2008
Art: Front

[ 4:50] 1. Anna
[ 4:27] 2. Seeking Further
[ 4:40] 3. Diamond Girl
[ 4:57] 4. Temple Of Soul
[ 6:32] 5. Ode To China
[ 4:34] 6. Sunshine In Your Smile
[ 3:48] 7. Purple Haze
[ 3:41] 8. Salty!
[ 4:11] 9. Love Me Tonight
[12:53] 10. Jazzy Outtake

Temple of Soul is a sort of American equivalent of Tackhead, featuring top session players stretching out in search of their own thang – or rather, James Brown's, Jimi Hendrix's and Herbie Hancock's thangs, judging by the jazz-funk indulgence that is Brothers in Arms.

There's no doubting the pedigrees of drummer (and producer of 56 No 1 hits) Narada Michael Walden, E Street Band saxist Clarence Clemons, former JBs bassist TM Stevens and Vernon Ice Black, veteran guitarist with Aretha, Whitney, Mariah and Stevie; but – as ever when musos get together – the results tend to sound like themes from American cop series.

The lack of a proper vocalist dulls the edge, with limp Barry White pastiches and Family Stone-style line-swapping failing to disguise their shortcomings. Black, who has played with Mitch Mitchell and Noel Redding, essays a suitably heavy, FX-drenched "Purple Haze". The most interesting piece is "Ode to China", on which Clemons adopts a raspy tone akin to Gato Barbieri for a collaboration involving Chinese violin and harp; there are more sensitive cross-cultural experiments around, but in these surroundings it sounds positively alien. ~Andy Gill

Brothers In Arms

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Roy Haynes - When It Haynes It Roars

Bitrate: MP3@320K/s
Time: 54:28
Size: 124.7 MB
Styles: Bop, Straight ahead jazz
Year: 1995
Art: Front

[7:34] 1. Brown Skin Girl
[7:14] 2. Steps
[6:33] 3. Easy Living, Never Let Me Go
[6:47] 4. Summer Nights
[8:15] 5. Sippin' At Bells
[5:26] 6. Bye-Ya
[5:27] 7. I Thought About You
[7:09] 8. Anniversary Song

This is undoubtedly one of the best straightahead jazz records of the 1990s. It is a crowning achievement for drum legend Roy Haynes, who emerged as a bandleader relatively late in his career. Together with tenor saxophonist Craig Handy, pianist David Kikoski, and bassist Ed Howard, Haynes explores time-honored standards as well as bop and post-bop classics. The truly outstanding tracks are Chick Corea's awe-inspiring "Steps," Thelonious Monk's catchy "Bye Ya," the Miles Davis bop vehicle "Sippin' at Bells," and a greasy, in-the-pocket reading of "I Thought About You."

Bookending the album are two traditional tunes: "Brown Skin Girl," made famous by Harry Belafonte, and "Anniversary," a traditional melody associated with Al Jolson. Both tracks feature Kikoski on electric piano, an unexpected touch that makes for delicious icing on the cake. An unforgettable record. ~David R. Adler

When It Haynes It Roars

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Bud Shank - This Bud's For You

Styles: Saxophone Jazz
Year: 1984
File: MP3@320K/s
Time: 33:33
Size: 77,7 MB
Art: Front

(4:57)  1. I'll Be Seeing You
(5:04)  2. Nica's Dream
(5:38)  3. Never Never Land
(3:30)  4. Space Maker
(5:28)  5. Visa
(4:44)  6. Cotton Blossom
(4:10)  7. Bouncing With Bud

Originally known as a cool-toned altoist and occasional flutist, Bud Shank's playing from this recording forward surprised many listeners. There was a forcefulness and a passion to his alto solos (he had given up the flute) that had not been heard that much from him previously. Assisted by pianist Kenny Barron, bassist Ron Carter, and drummer Al Foster, Shank rips into five bop standards, his own "Cotton Blossom," and Walter Norris' "Space Maker" with plenty of intensity, stretching himself and inspiring his sidemen. Highly recommended. ~ Scott Yanow http://www.allmusic.com/album/this-buds-for-you-mw0000078385

Personnel:  Bud Shank - Alto saxophone;  Kenny Barron – Piano;  Ron Carter – Bass;  Al Foster - Drums

This Bud's For You

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Melinda Whitaker - The Touch Of Your Lips

Styles: Vocal Jazz

Year: 2005

File: MP3@320K/s

Time: 49:46

Size: 114,4 MB

Art: Front

(2:54)  1. I'm Old Fashioned

(2:28)  2. The Touch of Your Lips

(4:33)  3. The Way You Look Tonight

(3:55)  4. Someone to Watch Over Me

(5:09)  5. Save Your Love for Me

(3:42)  6. As Long As I Live

(4:01)  7. What a Diff'rence a Day Makes

(3:18)  8. There Will Never Be Another You

(3:32)  9. I Remember Clifford

(4:38) 10. Besame Mucho

(3:40) 11. I Didn't Know What Time It Was

(3:09) 12. It Could Happen to You

(4:40) 13. We'll Be Together Again

“The first time I saw Melinda Whitaker I was knocked off my feet by the sheer warmth of her personality and presence. Anyone who has heard Melinda’s voice knows its smoky brilliance, the seductive, electrical charge that this wonderful performer can bring to a song.” ~ Dr. Peter Gouzouasis, Music Director, Jazz90/Wrti (1983-1988)

With a lush, rich voice that shifts effortlessly from smoke to silk, Melinda will captivate you from the very first song. ‘The Touch of Your Lips’ features fresh, joyful, swinging standards drawn from the classic American songbook. Inspired and infused by the magic of the spanish language during her sojourn in Costa Rica, Melinda’s lyrical ballads “Besame Mucho” and “What A Diff’rence A Day Makes” will transport you to a world of breezy palm trees and velvet warm nights.

Melinda is accompanied on this recording by a formidable Canadian trio featuring Miles Black on piano, Tommy Doran on drums, and Rick Kilburn on bass. Together, their musical chemistry is pure, smooth and magical. “The Touch of Your Lips” will resonate with you long after the last note has sounded. http://vancouverjazz.com/2005/02/melinda-whitaker.html

Personnel:  Melinda Whitaker – vocals;  Miles Black – piano;  Tommy Doran – drums;  Rick Kilburn – bass

The Touch Of Your Lips

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Houston Person - The Melody Lingers On

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 56:59
Size: 130,8 MB
Art: Front

(6:24)  1. My Funny Valentine
(4:42)  2. Gone Again
(4:31)  3. You're Nearer
(4:35)  4. Minton's
(6:00)  5. Bewitched
(7:21)  6. Only Trust Your Heart
(4:39)  7. They All Laughed
(5:47)  8. Try A Little Tenderness
(5:14)  9. The Song Is Ended
(7:43) 10. You Can't Lose With The Blues

Houston Person's 2014 effort, The Melody Lingers On, is a romantic, laid-back set of songs showcasing the septuagenarian saxophonist. A journeyman artist with a bent toward swinging soul-jazz, Person has developed into something of an American treasure over the past 30 years. Since the '90s, Person has released a steady stream of standards albums, heavy on lyrical and blues-based songs that perfectly exploit his distinctive, burnished tenor drawl. The Melody Lingers On is no exception, featuring a set of songs heavily weighted toward an intimate, afterglow vibe centered on the warm sound of Person's saxophone. Backing the South Carolina-born tenor man this time is an equally superb handful of artists, including vibraphonist Steve Nelson, pianist Lafayette Harris, bassist Ray Drummond, and drummer Lewis Nash. 

Included here are such standards as "My Funny Valentine," "Gone Again," "Bewitched," and "They All Laughed." Person also digs deep into the R&B end of his career with a slow, vibrant take on the Otis Redding classic "Try a Little Tenderness." At 79 years young, with The Melody Lingers On Person continues his reign as one of the titans of the lush jazz tenor sound.~ Matt Collar http://www.allmusic.com/album/the-melody-lingers-on-mw0002734295

Personnel: Houston Person (tenor saxophone); Lafayette Harris (piano); Steve Nelson (vibraphone); Lewis Nash (drums).

 

The Melody Lingers On

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Mary Cleere Haran, Richard Rodney Bennett - The Memory Of All That: Gershwin On Broadway & In Hollywood

Styles: Vocal, Cabaret
Year: 1999
File: MP3@256K/s
Time: 49:42
Size: 91,1 MB
Art: Front

(2:39)  1. The Real American Folk Song
(2:55)  2. 'S Wonderful
(4:05)  3. Do It Again
(2:35)  4. Nashville Nightingale
(4:07)  5. The Man I Love
(2:16)  6. I'll Build A Stairway To Paradise
(2:00)  7. I'd Rather Charleston
(3:08)  8. Funny Face
(4:03)  9. Sweet & Low Down / Fidgety Feet / Fascinatin' Rhythm
(5:34) 10. Someone To Watch Over Me
(4:06) 11. Boy, What Love Has Done To Me
(2:15) 12. They All Laughed
(3:28) 13. Love Walked In
(3:35) 14. Who Cares?
(2:49) 15. Lady, Be Good / Somebody Loves Me

The Memory of All That: Gershwin on Broadways and in Hollywood showcases timeless Gershwin classics such as 'S Wonderful, Funny Face, Fascinatin'Rhythm, and Lady, Be Good, as well as rarely performed material from the rich Gershwin songbook. The result is pure Gershwin and it's Haran and Bennett at their best, from their saucy rendition of I'd Rather Charleston and the delightfully whimsical They All Laughed to the soulful yearning of The Man I Love and the ragtime-inspired The Real American Folk Song. This studio recording captures the magic of Mary Cleere Haran and Sir Richard Rodney Bennett's critically acclaimed Gershwin Centenary Celebration performance at New York's legendary Algonquin Hotel.

Mary Cleere Haran has built a well-deserved reputation as a top-notch interpreter of the classic American songbook, a minimalist stylist wonderfully in tune with her material. On this Gershwin collection, she and pianist Bennett balance classics ("The Man I Love", "Someone to Watch over Me") and obscure nuggets such as "Nashville Nightingale" and especially "I'd Rather Charleston," on which Haran wickedly mimicks Adele Astaire's no-nonsense nasal tones. While it's hard to single out any particular number, "Funny Face" might represent the singer at her best, her voice a silken thread delicately, lovingly wrapped around each word. Unfortunately the recording doesn't include Haran's funny, erudite between-songs patter, which those lucky enough to attend one of her shows delight in almost as much as in her flawless interpretations. ~ Elisabeth Vincentelli -  Editorial Reviews http://www.amazon.com/The-Memory-All-That-Hollywood/dp/B00000JI71

Personnel: Mary Cleere Haran (vocals); Richard Rodney Bennett (vocals, piano); Linc Milliman (bass).

The Memory Of All That: Gershwin On Broadway...

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Cory Weeds Quartet - Big Weeds

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 67:30
Size: 154,8 MB
Art: Front

( 7:35)  1. Darben the redd foxx
( 8:31)  2. Corrupted Mango
( 9:29)  3. For Fathead
( 6:29)  4. Blossoms In May
( 7:55)  5. It's Only a Paper Moon
( 9:07)  6. Simply Said
(10:41)  7. No Bull
( 7:39)  8. Modal Issue

Big Weeds could well herald the return of the big, bad saxophone. Its protagonist, Cory Weeds, blazes his masterful way through a monstrous set, alternating on tenor and alto. And in one fell swoop, Weeds joins the ranks of the instrument's great storytellers. On tenor he is as bold and dramatic as Dexter Gordon and Sonny Rollins. On the smaller and more sensuous alto, he is a younger version of (when he is racy) David "Fathead" Newman or, at times, as wry and ironic as Lee Konitz even puckish like Paul Desmond. And so, in acquitting himself with aplomb on tenor and alto, Weeds gives notice that he has a soulful understanding of both horns no mean achievement, by any saxophonist's standards.

Now here is another thing: Not only does Weeds play two horns so subtly different from each other unlike, say, tenor and soprano but he can make each horn bend to his will. So if he is playing a ballad, as he does so memorably on this record, or if he is roaring through a racy straight-ahead bop-ish tune, he simply 'becomes' the horn he is playing. His innate ability to inhabit the soul of a song is near perfect and this leads him to an exquisite sense of phrasing and pace. For instance Ol' Blue Eyes, Frank Sinatra, can almost be heard as Weeds 'sings' his way through "Blossoms in May," a tender chart dedicated to his wife. On "For Fathead," a more obvious tribute to Newman, he is shy and respectful as he dances around his homage; it's almost possible to see the saxophonist approach an idol with great diffidence.

That Weeds wrote both the above charts is a testament to his prowess as a songwriter as well. It is not, after all, about form, but more so about subtlety and nuance. And here Weeds is in great company as well. The mighty Mike LeDonne joins Weeds on Hammond B3, Peter Bernstein is added on guitar and Joe Farnsworth holds down the drum chair. Together this is a band that locks tight on James Moody's relatively little-known classic, "Darben the Redd Foxx." And their interpretation of "It's Only a Paper Moon" is wonderfully exhilarating. LeDonne, better known for his piano work for Benny Golson, is often spare yet wholesome on B3 especially on "Corrupted Mango," that oblique reference to the chord changes on Sonny Rollins' "St Thomas," while on "Simply Said," he opens up the organ in heartfelt wails and moans like no other B3 organist does not even the great Joey DeFrancesco. Farnsworth plays with wonderful taste and lyricism throughout.

It is hard to believe that this is Cory Weeds' first record as a leader. This is real old school 'saxophonism' at its very best by a saxophonist about whom much will be heard in the years to come. And it features music that will echo in a room long after the notes of the last bar fades. ~ Raul D’Gama Rose http://www.allaboutjazz.com/big-weeds-cory-weeds-cellar-live-review-by-raul-dgama-rose.php

Personnel: Cory Weeds: alto and tenor saxophone; Mike LeDonne: Hammond B3; Peter Bernstein: guitar; Joe Farnsworth: drums.

Big Weeds

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Benny Carter - In The Mood For Swing

Bitrate: MP3@320K/s
Time: 65:43
Size: 150.4 MB
Styles: Saxophone jazz, East Coast blues
Year: 2005
Art: Front

[6:47] 1. I'm In The Mood For Swing
[6:17] 2. Another Time, Another Place
[4:33] 3. The Courtship
[5:11] 4. Rock Me To Sleep
[5:25] 5. Janel
[5:45] 6. The Romp
[4:55] 7. Summer Serenade
[7:20] 8. Not So Blue
[6:38] 9. You, Only You
[6:06] 10. Blue Moonlight
[6:42] 11. South Side Samba

All 11 of the songs are somewhat obscure and therefore fresh Carter compositions ("Summer Serenade" is perhaps the best-known) and Dizzy Gillespie sits in with the group for three songs. But even with Gillespie, guitarist Howard Alden and pianist Roland Hanna, the solo star throughout is the ageless Benny Carter, who at the age of 80 still seemed to be improving. ~Scott Yanow

In The Mood For Swing

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Tal Farlow - The Complete Verve Sessions (Discs 4 & 5 of 7)

Album: The Complete Verve Sessions (Disc 4)

Bitrate: MP3@320K/s

Time: 61:28

Size: 140.7 MB

Styles: Guitar jazz

Year: 2011

Art: Front

[4:41] 1. Taking A Chance On Love

[5:15] 2. Yardbird Suite

[5:39] 3. You Stepped Out Of A Dream

[5:42] 4. They Can't Take That Away From Me

[6:38] 5. Like Someone In Love

[6:36] 6. Meteor

[5:31] 7. I Love You

[5:19] 8. Gone With The Wind

[4:45] 9. Taking A Chance On Love

[4:48] 10. Yardbird Suite

[5:24] 11. Gone With The Wind

[1:06] 12. Taking A Chance On Love (Breakdown)

The Complete Verve Sessions (Disc 4)

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Album: The Complete Verve Sessions (Disc 5)

Bitrate: MP3@320K/s

Time: 46:35

Size: 106.6 MB

Styles: Guitar jazz

Year: 2011

Art: Front

[10:08] 1. Isn't It Romantic

[ 3:55] 2. There Is No Greater Love

[ 6:00] 3. How About You

[ 5:07] 4. Anything Goes

[ 5:51] 5. Yesterdays

[ 4:19] 6. You Don't Know What Love Is

[ 4:55] 7. Chuckles

[ 6:16] 8. Broadway

The Complete Verve Sessions (Disc 5)

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Lem Winchester - With Feeling... Plus Nocturne And More (2-Disc Set)

Oliver Nelson (as, ts), Lem Winchester (vib), Richard Wyands (p), George Duvivier (b), Roy Haynes (d), Etta Jones (vcl).

Made in October 1960, just a few months before Lem Winchester’s accidental death in early 1961, “With Feeling”, the first of the albums here, was intended to be part of Prestige’s “Moodsville” ballad series. But the results were rather livelier than that suggests, as the vibist, impeccably supported by pianist Richard Wyands, bassist George Duvivier and drummer Roy Haynes, distinguishes himself on an enjoyable date, especially on Why Don’t They Understand, But Beautiful and Skylark.

He joined the same rhythm section that August for “Nocturne”, another Moodsville album, this time led by alto and tenor saxophonist Oliver Nelson, on which all involved contributed warmly evocative music. And in between these albums Winchester was reunited with the same rhythm section in September, along with Oliver Nelson, for another swinging and effective session, this time with Etta Jones. A singer influenced by among others, Billie Holiday, she delivers unforced and persuasively engaging interpretations of a set of superior standards, admirably backed by the quintet.

Album: With Feeling... Plus Nocturne And More (Disc 1)

Bitrate: MP3@320K/s

Time: 58:07

Size: 133.1 MB

Styles: Vibraphone jazz

Year: 2012

[4:32] 1. Why Don't They Understand

[4:33] 2. Butterfly

[4:31] 3. With A Song In My Heart

[4:11] 4. But Beautiful

[6:41] 5. Skylark

[3:50] 6. To Love And Be Loved

[4:00] 7. The Kids

[4:08] 8. My Romance

[3:45] 9. Nocturne

[5:31] 10. Bob's Blues

[6:08] 11. Man With A Horn

[6:12] 12. In A Sentimental Mood

With Feeling... Plus Nocturne And More (Disc 1)

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Album: With Feeling... Plus Nocturne And More (Disc 2)

Bitrate: MP3@320K/s

Time: 53:21

Size: 122.1 MB

Styles: Vibraphone jazz

Year: 2012

Art: Front

[4:49] 1. Early Morning

[5:43] 2. Azur'te

[7:25] 3. Time After Time

[4:12] 4. The More I See You

[3:47] 5. Love Is Here To Stay

[4:55] 6. Easy Living

[2:50] 7. They Can't Take That Away From Me

[2:35] 8. Canadian Sunset

[4:09] 9. I Got It Bad (And That Ain't Good)

[4:00] 10. That's All There Is To That

[3:14] 11. I Only Have Eyes For You

[2:43] 12. Almost Like Being In Love

[2:53] 13. Lady Day

With Feeling... Plus Nocturne And More (Disc 2)

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Connie Francis - Millennium Collection: The Best Of Connie Francis

Bitrate: MP3@320K/s
Time: 31:26
Size: 72.0 MB
Styles: AM pop
Year: 1999
Art: Front

[2:22] 1. Vacation
[3:02] 2. Don't Break The Heart That Loves You
[2:36] 3. Breaking In A Brand New Broken Heart
[2:36] 4. Where The Boys Are
[2:30] 5. My Heart Has A Mind Of Its Own
[2:36] 6. Everybody's Somebody's Fool
[3:54] 7. Mama
[2:30] 8. Among My Souvenirs
[2:18] 9. Lipstick On Your Collar
[2:27] 10. My Happiness
[2:13] 11. Stupid Cupid
[2:15] 12. Who's Sorry Now

MCA's 20th Century Masters: The Millennium Collection is a good, basic collection of Connie Francis' biggest hits -- including "Who's Sorry Now," "Stupid Cupid," "Lipstick on Your Collar," "My Heart Has a Mind of Its Own," "Where the Boys Are," and "Vacation" -- available at a budget price. Although there are a couple of hits and good songs missing, this has enough of the best-known tunes to make it worthwhile for casual listeners on a budget. ~Stephen Thomas Erlewine

Millennium Collection: The Best Of Connie Francis

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Vaughn Wiester's Famous Jazz Orchestra - Playin' The Book!

Styles: Jazz, Post-Bop, Big Band
Year: 2009
File: MP3@320K/s
Time: 63:55
Size: 147,8 MB
Art: Front

(2:42)  1. It Could Happen To You
(4:08)  2. Quick Step
(4:15)  3. Too Close For Comfort
(3:53)  4. Spring Will Be A Little Late This Year
(5:36)  5. Opus In Chartreuse
(3:06)  6. The Party's Over
(6:04)  7. The Meaning Of The Blues
(3:43)  8. Bijou
(2:57)  9. Spring Is Here
(4:26) 10. Jessica's Day
(4:23) 11. Little Girl Blue
(4:27) 12. Jersey Bounce
(3:15) 13. People
(3:08) 14. Walkin' Shoes
(4:08) 15. A Swinging Serenade
(3:35) 16. Summertime

You have to admire Vaughn Wiester’s sense of humor. Nowadays, labeling one’s band the “Famous Jazz Orchestra” is about as amusing a turn of phrase as can be envisioned. You have to admire Wiester’s sidemen too a group of gentlemen (and four ladies) who keep on Playin’ the Book for love, certainly not for money, at their friendly oasis, the Columbus (OH) Music Hall. Last, and perhaps most important, you have to admire how they play that book, with more proficiency and passion than one should reasonably expect from musicians who often find it hard simply to get together and rehearse (hence the title of the band’s earlier album, Sight Readin’, Baby! ). Speaking of “sight readin’,” we should point out that there are only four holdovers from that album on Playin‘ the Book  trumpeter Erik Gimbel and trombonists Matt Ellis, Bill England and Kie Watkins.

Wiester explains the band’s philosophy this way: The book the FJO plays is weighted toward the Stan Kenton, Count Basie and Woody Herman libraries of the fifties and early sixties. The big bands of [that] period had a wider dynamic and expressive range than [that] of the Swing Era bands... The sweetness and many other stylistic trappings of the earlier music were discarded and the resulting sound was more streamlined and [showed] increased variety, contrast and orchestral potential... It all adds up to a classic style that wears well to this day, some fifty years on.

Indeed it does. The music presented here was written during the period from 1935-64, with “Little Girl Blue” and “Summertime” the earliest works, “People” (from the musical Funny Girl ) the most recent.

In keeping with the album’s theme, Wiester lists next to each song its number in the book, opening smartly with #214, “It Could Happen to You,” one of three selections on which Wiester solos (the others are Ralph Burns’ classic opus for trombonist Bill Harris, “Bijou,” and Rodgers and Hart’s “Spring Is Here”). The rest of the program consists of four standards strewn among superb compositions by Bill Holman (“Quick Step”), Gene Roland (“Opus in Chartreuse”), Bobby Troup (“The Meaning of the Blues”), Quincy Jones (“Jessica’s Day”), Tiny Bradshaw / Bobby Plater (“Jersey Bounce”), Gerry Mulligan (“Walkin’ Shoes”) and Ernie Wilkins (“A Swinging Serenade”). The captain gives almost everyone on the team at least one chance to score, and no one lets him down. There are a number of engaging solos, especially by tenor saxophonist Bryan Olsheski and trumpeters Jim Powell and Ed Morrison.

The fly in the ointment, as with so many in-concert recordings, is the overall sound, which lacks balance, clarity and separation, is far more harsh and heavy than harmonious, and lends drummer Steve Schaar more prominence than is warranted. But such are the perils of live recording dates, particularly when currency is at a premium (even though, for reasons unknown, the sound on Sight Readin‘ is noticeably better). But no matter the shortcomings, we listeners should be thankful that orchestras such as Wiester’s, famous or unknown, keep on skirmishing in the trenches and lend them our unqualified support, as the alternative is too gruesome to contemplate. ~ Jack Bowers http://www.allaboutjazz.com/playin-the-book-review-by-jack-bowers.php

Personnel:  Saxes: John Vermeulen, Tom Ryan, altos; Bryan Olsheski, Kevin O’Neill, tenors; Bob LeBeau; Trumpets: Erik Gimbel, Ed Morrison, Ansyn Banks, Jim Powell, Phil Winnard;  Trombones: Linda Landis, Matt Ellis, Ryan Hamilton, Bill England (bass trombone);  Tuba: Kie Watkins;  French horns: Natalie Adams, Heidi Wick;  Guitar: Colin Lazarski;  Bass: Tisha Simeral;  Piano: Jim Luellen;  Drums: Steve Schaar;  Guest conductor: Herb Harrison

Playin' The Book!

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The Satchmo Legacy Band - Salute To Pops Vol 2

Styles: Jazz, Hard Bop
Year: 1989
File: MP3@320K/s
Time: 45:21
Size: 104,4 MB
Art: Front

( 4:59)  1. Muskrat Ramble
( 4:59)  2. Blueberry Hill
( 6:32)  3. 12th Street Rag
( 6:19)  4. West End Blues
(11:49)  5. Blues For Duane
( 6:50)  6. That Old Devil Called Love
( 3:51)  7. Potato Head Blues

Louis Armstrong is definitely in fashion. Not only has Wynton Marsalis shifted his affection Satchmo's way. Take a look at who's in the "Satchmo Legacy Band"-Kirk Lightsey, Freddie Hubbard and Curtis Fuller (those last two were part of one of Art Blakey's hardest bopping bands, for heaven's sake). The work of this group is not as interesting as Marsalis', because it has no pretensions to be. 

It is simply a group of mostly modern jazz men doing their impressions of what a great, late predecessor did. ~Jack Fuller http://articles.chicagotribune.com/1993-02-28/entertainment/9303185772_1_freddie-hubbard-curtis-fuller-art-blakey

Personnel:  Al Casey ( Vocal );  Alan Dawson ( Vocal );  Curtis Fuller ( Trombone );  Freddie Hubbard ( Flugelhorn );  Red Callender ( Vocal );  Satchmo Legacy Band ( Band );  Kirk Lightsey ( Piano ); Alvin Batiste ( Clarinet )

Salute To Pops Vol 2

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Victor Goines - Pastels Of Ballads & Blues

Styles: Clarinet Jazz
Year: 2007
File: MP3@320K/s
Time: 60:32
Size: 139,3 MB
Art: Front

(7:11)  1. Midnight
(3:11)  2. The Mystique of Romance
(6:47)  3. Waltz Beneath the Weeping Willow
(7:48)  4. Journey Across the Atlantic
(6:28)  5. A Stroll Through Paradise
(6:26)  6. To Those We Love So Dearly
(4:44)  7. Forever Lost
(7:31)  8. Morning
(8:26)  9. Ballad for Beanie
(1:55) 10. Merci Beaucoup, Mes Amis

This is a compilation of pieces from Victor Goines' earlier releases on Rosemary Joseph Records. It showcases him with an extraordinary collection of sidemen including Eric Reed, Herlin Riley, Wycliffe Gordon and Peter Martin to name a few. http://www.cdbaby.com/cd/victorgoines13

Personnel:  Victor Goines: clarinet;   Nicholas Payton: Trumpet;  Wycliffe Gordon: Trombone;  Eric Reed: Piano;  Peter Martin: Piano;  Rodney Whitaker: BassRoland Guerin: Bass;  Reginald Veal: Bass;  Leon Anderson, Jr.: Drums;  Herlin Riley, Jr.: Drums

Pastels Of Ballads & Blues

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Lorna Luft - Songs My Mother Taught Me

Size: 131,5 MB
Time: 56:39
File: MP3 @ 320K/s
Released: 2007
Styles: Broadway/Pop Vocals
Art: Front

01. Lorna Minstrel Girl ( 2:52)
02. I Feel A Song Comin' On ( 5:05)
03. Rock-A-Bye Your Baby (With A Dixie Melody) ( 2:41)
04. Mother Daughter Medley/You're Nearer/I Can't Give You Anything But Love/Through The Years ( 7:13)
05. Chicago ( 2:43)
06. The Man That Got Away ( 4:41)
07. Come Rain Or Come Shine ( 3:29)
08. Born In A Trunk/26-Song Medley (19:19)
09. Shining Star/(Somewhere) Over The Rainbow/The Man That Got Away ( 4:57)
10. Hello Bluebird (Bonus Track) ( 3:33)

Lorna Luft, daughter of Judy Garland, appeared in her first Broadway musical, Promises, Promises, in 1971. She made several guest appearances on such shows as Love American Style and The Love Boat and made her film debut with Grease 2 (1982). Luft had success on Broadway before and after a stint in drug and alcohol rehab.

Deciding to share her experiences as the daughter of a musical legend, Luft wrote her autobiography, Me and My Shadows: A Family Memoir, which was published in 1998. The book led to a falling out between Lorna and her father Sid Luft. And the father-daughter conflict only heightened in 2001 when the miniseries Me and My Shadows: My Life with Judy Garland aired. Lorna was very pleased by the adaptation of her book and by Judy Davis’s portrayal of her mother, but her father was incensed, claiming that the miniseries was filled with lies.

Her relationship with her half-sister Liza has been volatile as well. They were close for many years, even singing together at the 1993 Tony Awards in New York. But Luft told People magazine in 1998 that the two have become estranged over Minnelli’s “self-destructive behavior.”

In 2004, Luft premiered her one-woman show, Songs My Mother Taught Me, in London. She has since toured several times with the production, which is meant to be a celebration of her mother’s most famous songs. Luft puts her own spin on such Garland standards as “The Man That Got Away” and “Chicago.” An album of the music from the show, Songs My Mother Taught Me, was released in 2007.

Songs My Mother Taught Me

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Shirley Scott - Jazz For A Lazy Day

Size: 182,0 MB
Time: 77:28
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Bridge Blue (5:33)
02. Sposin' (4:20)
03. The Scott (3:10)
04. Miles' Theme (3:30)
05. Bye Bye Blackbird (6:37)
06. Goodbye (4:59)
07. Slaughter On 10th Avenue (3:38)
08. It Could Happen To You (4:33)
09. All Of You (3:22)
10. Autumn Leaves (5:49)
11. Brazil (2:26)
12. Baby Won't You Please Come Home (4:01)
13. Four (3:52)
14. I Can't See For Lookin' (4:10)
15. Cherokee (5:20)
16. There Will Never Be Another You (3:21)
17. Summertime (3:57)
18. Nothing Ever Changes My Love For You (4:40)

An admirer of the seminal Jimmy Smith, Shirley Scott has been one of the organ's most appealing representatives since the late '50s. Scott, a very melodic and accessible player, started out on piano and played trumpet in high school before taking up the Hammond B-3 and enjoying national recognition in the late '50s with her superb Prestige dates with tenor sax great Eddie "Lockjaw" Davis. Especially popular was their 1958 hit "In the Kitchen." Her reputation was cemented during the '60s on several superb, soulful organ/soul-jazz dates where she demonstrated an aggressive, highly rhythmic attack blending intricate bebop harmonies with bluesy melodies and a gospel influence, punctuating everything with great use of the bass pedals. Scott married soul-jazz tenor man Stanley Turrentine, with whom she often recorded in the '60s. The Scott/Turrentine union lasted until the early '70s, and their musical collaborations in the '60s were among the finest in the field. Scott wasn't as visible the following decade, when the popularity of organ combos decreased and labels were more interested in fusion and pop-jazz (though she did record some albums for Chess/Cadet and Strata East). But organists regained their popularity in the late '80s, which found her recording for Muse. Though known primarily for her organ playing, Scott is also a superb pianist -- in the 1990s, she played piano exclusively on some trio recordings for Candid, and embraced the instrument consistently in Philly jazz venues in the early part of the decade. At the end of the '90s, Scott's heart was damaged by the diet drug combination, fen-phen, leading to her declining health. In 2000 she was awarded $8 million in a lawsuit against the manufacturers of the drug. On March 10, 2002 she died of heart failure at Presbyterian Hospital in Philadelphia. ~ Alex Henderson and Ron Wynn

Jazz For A Lazy Day

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Kim Nalley - Blues People

Size: 163,7 MB

Time: 70:46

File: MP3 @ 320K/s

Released: 2015

Styles: Blues/Jazz/Soul Vocals

Art: Front

01. Summertime (5:55)

02. Big Hooded Black Man (2:19)

03. Trouble Of The World (Acoustic Version) (3:55)

04. Listen Here!/Cold Duck/Compared To What (6:23)

05. Movin' On Up (6:59)

06. Never Make Your Move Too Soon (4:46)

07. Sugar In My Bowl (4:12)

08. Trombone Song (Big Long Sliding Thing) (5:55)

09. Ferguson Blues (4:46)

10. Trouble Of The World (Organ Version) (4:05)

11. The Chair Song (If I Can't Sell It) (9:06)

12. Sunday Kind Of Love (3:29)

13. Amazing Grace (4:04)

14. I Shall Be Released (4:46)

In looks, Kim Nalley exudes the aura of Billie Holiday. Vocally, she has pipes to burn, packing a 3 1/2 octave range that can go from operatic to gritty blues on a dime, projection that can whisper a ballad yet is capable of filling a room with no microphone, and the ability to scat blistering solos without ever losing the crowd's interest or the intense swing. Her song selection at times harkens back to Empress of the Blues, Bessie Smith, but it is delivered with the brass sauciness and R&B sensibilites of Ruth Brown. Kim Nalley's orginal songs are gutsy, bold and political with the earthiness of Mavis Staples. A consummate stage woman with a penchant for story-telling ala BB King, Nalley's concerts are always an interactive experience between the band and audience.

Her brand new CD, "Blues People," captures an extraordinary singer at the height of her amazing vocal and artistic powers. The mood and substance throughout — indeed the album in its entirety — reveal a singer who can not only sing awesomely, but also, a singer who can “really sang,” as those in the know like to say For Nalley, like Amiri Baraka, the blues range across the full continuum of human experience: sacred and secular; love and hate; joy and sadness; success and failure; highs and lows, and, the infinite crossings and mixes of these human fundamentals. Equally important, the blues are about struggle, endurance, survival, all too often “making a way where there is no way,” and transcendence. The sighs, shouts, moans, groans, and shrieks as well as the exciting call-and-response with her outstanding band not only give the album a gritty, downhome feel, these elements also reveal a searching exploration of both the distinctive and universal qualities of the worlds of Blues People.

Awarded "Most Influential African American in the Bay Area" in 2005 and "Best Jazz Group" in 2013, vocalist Kim Nalley is already being called "legendary" and "San Francisco institution." No trip to San Francisco is complete without seeing Kim Nalley perform. With an international reputation as one of world's best jazz & blues vocalists, she has graced concert halls from Moscow to Lincoln Center. A true Renaissance woman, Kim Nalley has also been a featured writer for JazzWest and SF Chronicle's City Brights, shortlisted for a Grammy nomination, a produced playwright, a former jazz club owner, an accomplished stage actress, a Ph.D. candidate in history at UC Berkeley, and an avid lindy hop & blues dancer. Her many philanthropic endeavors include founding the Kim Nalley Black Youth Jazz Scholarship.

"GOD, CAN THIS WOMAN SING! It's as if a vocalist from the great post-war blues and jazz combos had been transported to the end of the century." Blues Access Magazine

"Kim Nalley has pipes to burn and works the stage like she means it." San Francisco Chronicle

"Sultry voiced Kim Nalley brings an irresistibly sexy sense of swing, rhythmic dexterity and beautiful sound to the classic, with her crisp diction and playful delivery of earthy lines." Down Beat

Blues People

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