Phineas Newborn Jr.Trio - Piano Portraits

Bitrate: MP3@320K/s
Time: 70:47
Size: 162.1 MB
Styles: Piano jazz
Year: 2011
Art: Front

[2:57] 1. Star Eyes
[3:20] 2. Golden Earrings
[3:56] 3. It's All Right With Me
[3:55] 4. I Can't Get Started
[3:33] 5. Sweet And Lovely
[2:24] 6. Just In Time
[3:41] 7. Caravan
[4:14] 8. For All We Know
[4:04] 9. Blues Theme, For Left Hand Only
[3:44] 10. Passion Flower
[2:40] 11. Take The A Train
[3:03] 12. Gee Baby, Ain't I Good To You
[3:54] 13. Ain't Misbehavin'
[3:26] 14. I've Got The World On A String
[4:02] 15. The Midnight Sun Will Never Set
[2:11] 16. Real Gone Guy
[3:39] 17. Undecided
[3:45] 18. Ivy League Blues
[4:00] 19. Love And Marriage
[4:11] 20. Give Me The Simple Life

Phineas Newborn Jr. (p), John Simmons (b), Roy Haynes (d). Tracks #1-10 originally issued on the LP "Piano Portraits by Phineas Newborn Trio" (Roulette SR-52031). Tracks #11-20 originally issued on the LP "I Love A Piano" (Roulette SR-52043). Recorded in New York City, June 17 (#1-10), and October 26-29 (#11-20), 1959.

Phineas Newborn’s warm, sensitive and impressionist playing is at its perceptive best in these outstanding examples of jazz piano. Uncluttered and supported by his remarkable technical ability, his ideas are in full flow, developing in sustained melodic lines, rather than relying on simple rhythmic patterns for their impact. Consistently subtle and full of emotional depth, the combination makes for a swinging collection of gripping performances by a piano virtuoso. Backed by John Simmons and Roy Haynes, he breathes new excitement into these familiar portraits.

Piano Portraits

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Sacha Boutros - Sacha: New York After Dark

Bitrate: MP3@320K/s

Time: 50:32

Size: 115.7 MB

Styles: Jazz vocals

Year: 2013

Art: Front

[5:38] 1. Devil May Care

[4:10] 2. The Best Is Yet To Come

[6:26] 3. Love Won't Let Me Wait

[3:41] 4. I Believe In You

[4:17] 5. Sa.Cha.Cha

[3:17] 6. I Have Thought Of You

[4:07] 7. I Didn't Know What Time It Was

[3:47] 8. Gee Baby Ain't I Good To You

[5:57] 9. A Nightingale Sang In Berkley Square

[4:10] 10. Autumn Serenade

[4:57] 11. Fragile

A major part of Boutros’ appeal is her natural charm, sensual beauty, and an effortless versatility with standards, covers, and originals, opera, jazz, crossing generations. She can sing just about anything, make it a work of art, and reach audiences of all ages. She sings in 10 languages, speaking five of these languages fluently. Trained in classical music and Bel Canto opera, yet at ease in the world of pop, jazz, and Latin jazz, her voice is at once innocent and otherworldly, capable of wrapping itself around the heart of any tune and lingering well after a show has wrapped. She has an effortless, bountiful energy that’s especially fetching with the younger generation, who’ve discovered and embraced jazz through her engaging, fresh, crossover renditions.

2007 brought Boutros to Bruxelles, Belgium for the Young Jazz Singers competition, as a U.S. representative-finalist. Her September 2008 breakthrough album, “Simply Sacha”  a mix of standards and originals touching on jazz, Latin jazz, bossa nova, swing, and pop, and sung in five languages (English, Spanish, Italian, Portuguese, and French) showcased the singer’s incredible musical and linguistic range, as well as compositional skills. She wrote half of the songs on this debut album, including one with four-time Grammy winner, Afro-Cuban pianist Chuchito Valdés. In addition to Valdés, the album featured plenty of other top-notch musicians, including Geoffrey Keezer, Red Holloway, Bob Magnusson, Mike Wofford – Sarah Vaughan’s pianist, Peter Sprague and was honored to have Concord Recording Artist and Grammy-nominated Karrin Allyson providing the liner notes. Boutros would return the favor for Holloway by appearing as a special guest on the saxophonist’s album, “Something Old Something New: Introducing Sacha Boutros,” in 2009, which resulted in a 2009 tour of Japan, winning even more fans. “Simply Sacha” would become the vocalist’s calling card to the world. It was the most downloaded Latin jazz release on emusic.com, was nominated for two Los Angeles Music Awards as “Best Latin Vocal” for her original song, “Amor Imposible,” and “Best Vocal,” hit number seven on the Japanese music charts, enjoyed heavy airplay at Japanese Airlines, and earned a Grammy nod as best new jazz album. To this day, the album’s considered among the top 10 jazz and Latin jazz albums of 2008 in the U.S. and Japan.

In 2013 “Sacha: NY After Dark,” Sacha Boutros’ long awaited third Album was released. Featuring and recorded in New York with Jazz greats Lewis Nash, Peter Washington, Terell Stafford, John di Martino and mixed by the legendary Al Schmitt at Capitol Records with a book to follow entitled, “NY After Dark.”

Sacha New York After Dark 

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Gene Ammons - Late Hour Special

Bitrate: MP3@320K/s
Time: 34:58
Size: 80.1 MB
Styles: Soul jazz, Saxophone jazz
Year: 1964/1998
Art: Front

[5:42] 1. The Party's Over
[3:56] 2. I Want To Be Loved (But By Only You)
[4:27] 3. Things Ain't What They Used To Be
[4:28] 4. Lascivious
[5:00] 5. Makin' Whoopee
[5:47] 6. Soft Winds
[5:35] 7. Lullaby Of The Leaves

Originally released by Prestige while tenor saxophonist Gene Ammons was serving a long prison sentence for possession of drugs (the label effectively kept Ammons' name alive by regularly coming out with "new" material), this album was reissued on CD in 1997. The distinctive tenor is heard on three numbers with a quartet/quintet also including pianist Patti Bown, bassist George Duvivier, drummer Walter Perkins, and sometimes Ray Barretto on conga, and on four cuts as part of a ten-piece group arranged by Oliver Nelson. Flugelhornist Clark Terry gets a couple of choruses on "Things Ain't What They Used to Be," and Bown has several solos, but Ammons is the main star throughout. In addition to performing his own "Lascivious" (a blues), he sticks to standards, infusing each tune with soul and swing. A fine outing, although with brief playing time. ~Scott Yanow

Late Hour Special

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Art Pepper - The Capitol Vaults Jazz Series (Disc 2 of 3)

Bitrate: MP3@320K/s
Time: 73:26
Size: 168.1 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[5:59] 1. Blues In
[4:24] 2. Bewitched, Bothered And Bewildered
[5:03] 3. Stompin' At The Savoy
[6:02] 4. What Is This Thing Called Love
[4:44] 5. Blues Out
[3:46] 6. Diane's Dilemma
[4:49] 7. When You're Smiling
[4:11] 8. Cool Bunny
[7:16] 9. Summertime
[4:53] 10. Diane's Dilemma
[5:29] 11. What Is This Thing Called Love
[3:53] 12. A Foggy Day
[4:00] 13. Diane-A-Flow
[5:13] 14. Zenobia
[3:37] 15. Angel Eyes


The Capitol Vaults Jazz Series (Disc 2)                

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Carmen McRae - Bittersweet

Styles: Jazz, Vocal
Year: 2005
File: MP3@320K/s
Time: 42:34
Size: 97,9 MB
Art: Front

(3:46)  1. When Sunny Gets Blue
(3:05)  2. How Did He Look?
(3:32)  3. Guess I'll Hang My Tears Out To Dry
(2:46)  4. Meaning of the Blues
(2:05)  5. If You Could Love Me
(6:18)  6. Spring Can Really Hang You Up the Most
(3:35)  7. Second Chance
(2:48)  8. If You Could See Me Now
(2:41)  9. Here's That Rainy Day
(3:19) 10. I'm Gonna Laugh You Right Out of My Life
(3:05) 11. Ghost of Yesterday
(2:50) 12. I'm Lost
(2:38) 13. Come Sunday

Carmen McRae made many worthwhile albums during her long career, but this session of mostly melancholy ballads never received the exposure it deserved, possibly because it was done for Mort Fega's small independent label, Focus. But the singer, who is in top form throughout the date, responds beautifully to pianist Norman Simmons' well-crafted charts; the rest of the cast includes drummer Curtis Boyd; bassist Victor Sproles; and a last minute but valuable substitute, guitarist Mundell Lowe. 

Her dramatic lagging behind the beat in "The Meaning of the Blues" adds to its appeal. "Spring Can Really Hang You Up the Most" is the only extended piece and was already a regular part of her repertoire by the time of this recording, so her effortless take is no surprise. McRae was an excellent pianist and accompanies herself on the defiant "I'm Gonna Laugh You Right Out of My Life." Duke Ellington's meditative "Come Sunday" provides a ray of hope among the otherwise bittersweet songs on this CD. Fortunately, Koch had the wisdom to reissue this lost treasure, and it easily ranks among Carmen McRae's best recordings. ~ Ken Dryden  http://www.allmusic.com/album/bittersweet-mw0000215902

Personnel:  Curtis Boyd - Drums;  Mundell Lowe - Guitar;  Carmen McRae - Piano, Vocals;  Norman Simmons - Piano;  Victor Sproles - Bass

Bittersweet

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Buddy DeFranco - Cooking The Books

Styles: Clarinet Jazz
Year: 2006
File: MP3@320K/s
Time: 64:10
Size: 147,5 MB
Art: Front

(7:34)  1. Softly, As In a Morning Sunrise
(3:48)  2. Prisoner Of Love
(4:32)  3. What Is This Thing Called Love?
(6:32)  4. Cookin' the Books
(7:47)  5. I Lost The Blues
(8:30)  6. East of the Sun (And West of the Moon)
(6:07)  7. Dancing in the Dark
(5:27)  8. Poor Butterfly
(8:11)  9. Gone With The Wind
(5:37) 10. Scrapple From the Apple

While one finds the clarinet less often in the new millennium, than say, the tenor sax, it no longer seems in danger of becoming extinct, thanks to practitioners like Buddy DeFranco. From "Softly, As in a Morning Sunrise," to the closing intensity of Charlie Parker's "Scrapple From the Apple," DeFranco, guitarist John Pizzarelli, bassist Martin Pizzarelli, pianist Ray Kennedy, and drummer Butch Miles show that even though the clarinet may be rooted in jazz past, it's far from old-fashioned. 

The set list includes lots of standards "Dancing in the Dark," "Poor Butterfly," and "Gone With the Wind" and two super upbeat pieces by DeFranco "I Lost the Blues," and the title cut. Lengthy cuts like "East of the Sun (And West of the Moon)" allow the clarinet, guitar, and piano plenty of solo time, while bassist Martin Pizzarelli and drummer Miles keep this outfit in a steady groove. The album also includes two nice vocals by John Pizzarelli on "Prisoner of Love" and "What Is This Thing Called Love?" It's easy to forget that clarinet practitioners like Tony Scott and DeFranco took the clarinet far beyond the swing familiarized by Benny Goodman and others. Cookin' the Books, however, will serve to freshen the memory in the most enjoyable way. ~ Ronnie D.Lankford, Jr http://www.allmusic.com/album/cookin-the-books-mw0000325590

Personnel: Buddy DeFranco (clarinet);  John Pizzarelli (vocals, guitar);  Ray Kennedy (piano);  Martin Pizzarelli (bass instrument);  Butch Miles (drums);  John Pizzarelli Trio.

Cooking The Books

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Bobby Gordon - Bobby Gordon Plays Joe Marsala

Styles: Clarinet Jazz
Year: 2007
File: MP3@320K/s
Time: 62:23
Size: 143,7 MB
Art: Front

(3:28)  1. Woo-Woo
(4:20)  2. Southern Comfort
(2:27)  3. Don't Cry Joe
(4:08)  4. Little Sir Echo
(3:40)  5. Say When
(3:38)  6. Morning Star
(4:07)  7. Hot String Beans
(3:45)  8. Jim-Jam Stomp
(3:34)  9. And So To Sleep Again
(3:00) 10. I Don't Have To Dream Any More
(4:11) 11. Angelique
(4:21) 12. Bird Man Blues
(3:36) 13. Village Blues
(4:47) 14. Like Never Before
(3:50) 15. Lower Register
(2:49) 16. You Can Never Give Me Back My Heart
(2:33) 17. I Must Be Dreaming

The first impression one gets when listening to this well-crafted tribute to the 100th birthday of Joe Marsala (and available now, thirty years after his death) is the feeling of having been transported to the past, albeit with clear digital technology. The CD is traditional jazz at its best with none of the hiss so common in remastered recordings of the 1930s era after all, the disc was recorded in 2007.  During the sessions, clarinetist Bobby Gordon made no attempt to write arrangements that modernized the tunes; all of them are played in their original swinging big band era style, of which Marsala is a direct product. To recreate the selections, much of the sheet music was obtained from publishers who still carried them, while others came from collectors' files and even auction sites like eBay.

On the never-before-recorded "Angelique," violinist Russell George obviously channels Stephane Grappelli in one of his solos; "Village Blues swings hard while George, trumpeter Randy Reinhart and Gordon trade solos until they all come together, improvising New Orleans-style until the end. The same happens with "Southern Comfort and "Little Sir Echo," the latter being the most enjoyable (and upbeat) of the three. The title track has a bluesy feel on which Gordon stretches and the brilliant "I Don't Have To Dream Anymore opens with a syncopated bass line by Vince Giordano and has another fine Reinhart solo. 

Another previously unrecorded tune, "Say When," begin with notes resembling the theme from the film An Affair to Remember but soon evolves through each musician's lead turns, one of the most beautiful coming from pianist Keith Ingham. This disc brings listeners back to a bygone era ripe for discovery by younger jazz fans. ~ Ernest Barteldes http://www.allaboutjazz.com/bobby-gordon-plays-joe-marsala-lower-register-bobby-gordon-arbors-records-review-by-ernest-barteldes.php
 

Personnel: Bobby Gordon: clarinet; Keith Ingham: celesta; James Chirillo: guitar; Russell George: violin; Randy Reinhart: trumpet; Vince Giordano: bass guitar; Arnie Kinsella: drums; Steve Little: drums.

Bobby Gordon Plays Joe Marsala

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Bob Wilber - Horns A-Plenty

Styles: Clarinet And Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 62:54
Size: 144,7 MB
Art: Front

(2:42)  1. Walking Happy
(4:18)  2. Make Believe
(4:14)  3. Smoke Gets in Your Eyes
(5:23)  4. Come Fly With Me
(5:31)  5. The Maids of Cadiz
(4:24)  6. Just a Rose in a Garden of Weeds
(4:09)  7. Its De-Lovely
(3:25)  8. Softly, As in a Morning Sunrise
(4:02)  9. Was I to Blame for Falling in Love with You?
(3:08) 10. This Can´t Be Love
(4:46) 11. Puerto Penasco
(3:30) 12. Falling in Love with Love
(4:11) 13. Drifting Clouds
(4:12) 14. Valley of the Sun
(4:52) 15. All That I Ask of You Is Love

Throughout his long career, Bob Wilber has done a lot to keep classic jazz alive. A bit misplaced (most jazz players of his generation were much more interested in bop and hard bop), Wilber (along with Kenny Davern, Ralph Sutton, and Dick Wellstood) was one of the few in his age group to stick to pre-bop music. In high school he formed a band that included Wellstood, and as a teenager he sat in at Jimmy Ryan's club in New York. Early on he became Sidney Bechet's protégé and led his own young group, the Wildcats (with whom he made his recording debut). The close association with the dominant Bechet led to a bit of a personality crisis in the 1950s as Wilber sought to find his own voice. 

He studied with Lennie Tristano and formed the Six, a group that tried to modernize early jazz. When that ended, he played Dixieland with Eddie Condon, and in 1957 joined Bobby Hackett's band for a year. Wilber freelanced throughout the 1960s, in 1968 became a founding member of the World's Greatest Jazz Band, and in 1973 he formed Soprano Summit with Kenny Davern, one of the top swing-oriented groups of the decade. 

A few years later the band broke up and Wilber teamed up with his wife, singer Pug Horton, in Bechet Legacy (which also featured either Glenn Zottola or Randy Sandke on trumpet). In addition, Bob Wilber has worked with the New York Jazz Repertory Company, released music on his own Bodeswell label, wrote the authentic soundtrack to the movie The Cotton Club (1984), in 1988 led a band at Carnegie Hall to celebrate the 50th anniversary of Benny Goodman's famous concert, and authored his frank memoirs, Music Was Not Enough. Influenced on soprano, clarinet, and alto by respectively Bechet, Goodman, and Johnny Hodges, Wilber has long had his own sound on each of his instruments. He recorded frequently through the years for many labels, including Arbors in the '90s and 2000s. ~ Scott Yanow  https://itunes.apple.com/us/artist/bob-wilber/id70646967#fullText

Personnel:  Bob Wilber: Clarinet, tenor, alto, curved soprano and straight soprano saxes;  Johnny Varro: Piano;  Phil Flanigan: Bass;  Ed Metz, Jr.: Drums

Horns A-Plenty

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Phil Woods, Lee Konitz - Play Konitz

Bitrate: MP3@320K/s

Time: 67:27

Size: 154.4 MB

Styles: Bop, Saxophone jazz

Year: 2010

Art: Front

[12:17] 1. Thingin'

[ 8:26] 2. Kary's Trance

[ 8:44] 3. Bop Goes To Leesel

[ 9:37] 4. L.T

[ 8:52] 5. Souvenir

[ 8:44] 6. What Is This Thing Called Love Into Hot House Into Subconscious Lee

[ 6:00] 7. Outra Vez

[ 4:43] 8. Voce E Eu

Phil Woods and Lee Konitz have performed together on occasion throughout their long careers, though relatively few have been recorded for commercial release. Fortunately, they played several sets together during the 2003 Umbria Jazz Festival in Perugia, Italy, so this Philology CD is one of four volumes which came from these concerts. The two musicians are easy to tell apart as Konitz's dryer, more dissonant style contrasts with Woods' boisterous, very melodic approach; yet together, they blend beautifully. With an outstanding rhythm section consisting of pianist Franco D'Andrea, bassist Massimo Moriconi, and drummer Massimo Manzi, the two alto saxophonists have a blast exploring Konitz's compositions, starting with the explosive opener, "Thingin'" (based on the standard "All the Tings You Are"). Konitz's late musical partner, tenor saxophonist Warne Marsh, composed the playful "Bop Goes the Leesel," an adventurous takeoff on the childhood nursery rhyme. Although labeled as a medley of three tunes, the sixth track is actually a fascinating and occasionally chaotic blend of two songs based on the chord changes to "What Is This Thing Called Love": Tadd Dameron's "Hot House" and Konitz's "Subconcsious-Lee." Each musician on-stage gets a turn in the solo spotlight to good effect. Singer Barbara Casini joins the two veterans for two effective interpretations of Antonio Carlos Jobim's bossa nova classics, "Outra Vez" and "Voce e Eu." Fans of either saxophonist will consider this CD to be an essential purchase. ~Ken Dryden

 

Play Konitz

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Dusty Springfield - Dusty In London

Bitrate: MP3@320K/s
Time: 75:48
Size: 173.5 MB
Styles: R&B, Blue eyed soul
Year: 1999
Art: Front

[2:35] 1. Take Another Piece Of My Heart
[3:37] 2. This Girl's In Love With You
[2:45] 3. How Can I Be Sure
[3:24] 4. Mixed Up Girl
[3:20] 5. I Will Come To You
[3:06] 6. I Only Wanna Laugh
[3:32] 7. A Song For You
[3:00] 8. Crumbs Off The Table
[3:41] 9. Let Me Down Easy
[3:03] 10. Who (Will Take My Place)
[2:44] 11. Ain't No Sun Since You've Been Gone
[3:39] 12. Yesterday, When I Was Young
[2:59] 13. I Start Counting
[3:27] 14. See All Her Faces
[3:25] 15. Wasn't Born To Follow
[3:29] 16. What Are You Doing The Rest Of Your Life
[2:09] 17. Love Power
[3:13] 18. I Think It's Going To Rain Today
[2:47] 19. Morning
[3:20] 20. Girls It Ain't Easy
[2:13] 21. Another Night
[3:32] 22. Come For A Dream
[3:11] 23. Sweet Inspiration
[3:24] 24. The Second Time Around

In the late 1960s and early 1970s, Springfield had an unusual arrangement whereby Philips released her records everywhere in the world except the United States, where they appeared on Atlantic. Atlantic chose to release only 1968-71 material that was recorded in the U.S., meaning that quite a few tracks she recorded in Britain during this time went unreleased stateside. This collects 24 of those songs Springfield recorded in the U.K. between 1968 and 1971, only a few which had appeared in the U.S. before. Although this is not as soul- and R&B-oriented as the material Atlantic recorded with her in America during this era, in truth it's not always that far removed in sound and spirit from what you'll hear on the Atlantic albums Dusty in Memphis (1969) and A Brand New Me (1970). You can't get much more soulful than "Piece of My Heart," for instance, a good cover of which leads off the collection. Overall, though, it takes in a broader range of pop styles than Springfield did with her American/Atlantic recordings, from covers of the Rascals ("How Can I Be Sure") and Goffin-King ("Wasn't Born to Follow") to Charles Aznavour, Leon Russell, Jimmy Webb, Bacharach-David, and Antonio Carlos Jobim. Most of it's taken from the British albums Dusty Definitely (1968) and See All Her Faces (1972), and it's lower on standout performances than the familiar Atlantic albums are. The singing is almost always involved and committed, but sometimes the material is pedestrian. The highlights are very good, however, including Randy Newman's "I Think It's Going to Rain Today," the beautiful string ballad "Morning," and the bossa nova spiced "See All Her Faces." This is worth hearing if you like Springfield a lot; just don't gear up for an extraordinarily consistent or essential listen. ~Richie Unterberger

Dusty In London

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Gypsy Swing Quintet De Liege - Impulswing

Bitrate: MP3@320K/s
Time: 61:25
Size: 140.6 MB
Styles: Swing Gypsy jazz
Year: 2014
Art: Front

[2:49] 1. Belleville
[2:56] 2. What Kind Of Friend
[4:28] 3. Premiere Bal
[3:35] 4. Charleston
[3:17] 5. Avalon
[2:58] 6. Impulswing
[4:08] 7. Melodie Au Crepuscule
[3:53] 8. Vous Et Moi
[3:03] 9. Ultrafox
[4:56] 10. Shine
[4:08] 11. Lentement Mademoiselle
[3:43] 12. Jumping At Teatime
[3:49] 13. Django's Tiger
[5:13] 14. Oriental Shuffle
[4:01] 15. Menlimontant
[4:20] 16. Chicago

Christophe Lartilleux/Guitar; Joachim Ianello/Violin; Jean-François Foliez/Clarinet; André Klenes/Double bass; Jean-Pierre Boullet/Guitar; Aurélien Goux/Guitar.

La période de l'entre-deux-guerres voit l'émergence en Europe du jazz venu des Etats-Unis. Le phénomène est principalement dû au fait que nombre de soldats noirs américains préfèrent s'installer à Paris, loin de la ségrégation raciale qui les attend chez eux. À Montmartre fleurissent des clubs où l'on peut entendre la même musique qu'à Harlem. C'est dans ce contexte qu'apparaît le "swing", des deux côtés de l'Atlantique. Bien vite, les musiciens français voudront imiter leurs collègues américains, allant jusqu'à obtenir un quota obligatoire de musiciens locaux dans les clubs de jazz parisiens. C'est alors que Django REINHARDT et Stéphane GRAPPELLI créent une véritable nouveauté : un jazz "français", qui plus est, joué uniquement par des instruments à cordes ! En 1932 est fondé le Hot Club de France, dont le secrétaire, Charles Delaunay, fera du quintette l'orchestre résident de l'association, et lui-même en sera un fervent promoteur. Cette sonorité particulière et le phrasé tout à fait original de nos deux solistes les propulsent au devant de la scène, et de très nombreux musiciens américains, de passage ou résidant à Paris, vont jouer et enregistrer avec Django, en qui ils reconnaîtront un de leurs pairs. C’est le répertoire de cette époque, constitué de compositions originales de Django Reinhardt et Stéphane Grappelli, de standards du jazz américain qu’ils arrangèrent et enregistrèrent, augmenté de compositions originales du GYPSY SWING QUINTET de Liège, que le public est invité à (re)découvrir.

Impulswing

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Art Pepper - The Capitol Vaults Jazz Series (Disc 1 of 3)

Bitrate: MP3@320K/s
Time: 68:18
Size: 156.4 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[4:23] 1. Pepper Returns
[4:57] 2. Broadway
[4:15] 3. You Go To My Head
[4:39] 4. Angel Wings
[4:35] 5. Funny Blues
[4:38] 6. Five More
[4:15] 7. Minority
[3:35] 8. Patricia
[4:13] 9. Mambo De La Pinta
[5:52] 10. Walkin' Out Blues
[3:18] 11. Straight Life
[5:42] 12. Yardbird Suite
[3:46] 13. Pepper Steak
[5:05] 14. You're Driving Me Crazy
[4:58] 15. Tenor Blooz

Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting. In the 1950s he was one of the few altoists (along with Lee Konitz and Paul Desmond) that was able to develop his own sound despite the dominant influence of Charlie Parker. During his last years, Pepper seemed to put all of his life's experiences into his music and he played with startling emotional intensity.

After a brief stint with Gus Arnheim, Pepper played with mostly black groups on Central Avenue in Los Angeles. He spent a little time in the Benny Carter and Stan Kenton orchestras before serving time in the military (1944-1946). Some of Pepper's happiest days were during his years with Stan Kenton (1947-1952), although he became a heroin addict in that period. The 1950s found the altoist recording frequently both as a leader and a sideman, resulting in at least two classics (Plays Modern Jazz Classics and Meets the Rhythm Section), but he also spent two periods in jail due to drug offenses during 1953-1956. Pepper was in top form during his Contemporary recordings of 1957-1960, but the first half of his career ended abruptly with long prison sentences that dominated the 1960s. His occasional gigs between jail terms found him adopting a harder tone influenced by John Coltrane that disturbed some of his longtime followers. He recorded with Buddy Rich in 1968 before getting seriously ill and rehabilitating at Synanon (1969-1971). Art Pepper began his serious comeback in 1975 and the unthinkable happened. Under the guidance and inspiration of his wife Laurie, Pepper not only recovered his former form but topped himself with intense solos that were quite unique; he also enjoyed occasionally playing clarinet. His recordings for Contemporary and Galaxy rank with the greatest work of his career. Pepper's autobiography Straight Life (written with his wife) is a brutally honest book that details his sometimes horrifying life. When Art Pepper died at the age of 56, he had attained his goal of becoming the world's great altoist. ~bio by Scott Yanow

The Capitol Vaults Jazz Series (Disc 1)                 

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Bud Shank - By Request: Meets The Rhythm Section

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 70:43
Size: 162,5 MB
Art: Front

(6:24)  1. September Song
(6:24)  2. Besame Mucho
(9:22)  3. Angel Eyes
(5:06)  4. Someday My Prince Will Come
(7:10)  5. Beautiful Love
(6:43)  6. I Remember Clifford
(5:49)  7. Tenderly
(5:48)  8. Here's That Rainy Day
(5:39)  9. I Remember You
(7:01) 10. Night & Day
(5:13) 11. Autumn

Jazz, more than a type of music, encompasses a way of life, an approach towards life, for many people. Bud Shank is one of those people. A man who has spent most of his life with an alto saxophone at least close by, if not in his hands, Shank has traveled and worked as a jazzman, taught and organized jazz schools and festivals, worked as a recording jazz man, and gotten involved with lables and promotion. Currently, Shank lives in the Pacific northwest and applies his effort to his trade with the same fire he has for over 40 years. This album, as the liner notes explain, a project that seemed destined to not happen. However, proving once again that good things seem to happen to good people, Shank did end up getting to make this record, and had some serious fun while making it. And why wouldn't he, getting to work with a rhythm section of Cyrus Chestnut on piano, George Mraz on bass, and Lewis Nash on drums. And on top of his company, the set list for the album was made up from submissions to Swing Journal from fans. What's not to love, here? Certainly nothing Shank could see, and we the fans, are lucky for the results.

From the opening riff of "September Song" the listener is immediately struck by the intimacy Shank shares with his music. As a professional working musician, Shank has played most of these songs a thousand times. Yet throughout the album, Shank pulls the songs into himself, making them part of him as he spreads the good gospel through his horn. "September Song" swings with a jump in its step, and "Someday My Prince Will Come" bops energetically along. "Night And Day" swings at a near break neck pace, yet never neglects the basic melody, and "Tenderly" throws a bit of a Latin rhythm into the mix. Throughout, Shank and his compatriots swing with such verve and style that one can envision the very smiles that must have been on their faces. Shank's talent for ballads is put on full display as well with several cuts on the album. "Angel Eyes" rides in on Chestnut's intro and then soars on Shank's solo. The Benny Golson classic "I Remember Clifford" highlights Shank's exceptional tone and control, while showcasing Mraz's bass work. This particular cut almost didn't make the set list though, as Shank's actual given name is Clifford, and he'd never liked playing the song. But ultimately he was convinced, and the results are as charming as the rest of the record.

Overall, this is the type of album that jazz nuts seem to dig for and special order at record stores....and with good reason. While not the biggest name in the business, Bud Shank probably is the business, at least much more so than many. Paring him up with this outstanding rhythm section is a real treat for the fans, and according to the liner notes, the musicians themselves. Chestnut said it was the most fun he'd ever had at a recording session, which seems evident in his jubilant playing on several of the cuts. Nash keeps the time flawlessly throughout, and shows some outstanding brush work on a few of the ballads. 

Mraz supports during the solos and chorus's, but shines during his own solos, displaying a uniquely deep understanding of the harmonics of each song. Together, the four create a sound that swings with a refined confidence that only comes from mature musicians who know their craft, and know it well. ~ AAJ Staff  http://www.allaboutjazz.com/by-request-bud-shank-meets-the-rhythm-section-bud-shank-fantasy-jazz-review-by-aaj-staff.php

Personel : Bud Shank - alto saxophone; Cyrus Chestnut - piano; George Mraz - bass; Lewis Nash - drums.

By Request: Meets The Rhythm Section

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Lynda Carter - Crazy Little Things

Styles: Vocal

Year: 2011

File: MP3@320K/s

Time: 47:39

Size: 110,1 MB

Art: Front

(4:39)  1. Let's Stay Together

(3:11)  2. Crazy Little Thing Called Love

(4:13)  3. Up On The Roof

(2:57)  4. (Love Is Like A) Heatwave

(3:29)  5. Jessie's Song

(3:34)  6. The Loco-motion

(4:24)  7. Leaving On A Jet Plane

(3:59)  8. Desperado

(3:27)  9. C'est La Vie (You Can Never Tell)

(2:36) 10. Choo Choo

(3:30) 11. Sentimental Journey

(4:27) 12. Let The Good Times Roll

(3:07) 13. I'm So Lonesome I Could Cry

Although 59-year-old actress Lynda Carter remains best known for her starring role on the TV series Wonder Woman in the 1970s, she began her career singing rock & roll in her native Arizona as a teenager. When Wonder Woman was at its height, Epic Records signed her and released Portrait (1978), which was her only album until Potomac Productions issued At Last more than 30 years later. Crazy Little Things is its follow-up, and it demonstrates that Carter has much more than an adequate singing voice. The collection is full of familiar pop/rock songs dating from the 1940s to the ‘70s, and a notable performance is Carter's version of Glenn Frey and Don Henley's Eagles standard "Desperado." Of course, the song is also known for a cover by Linda Ronstadt, another daughter of Arizona, and Carter's alto is in the same register as Ronstadt's, making their voices similar. Ronstadt's reading is much more emotional than Carter's restrained interpretation, however. Her real antecedent is suggested in her version of "Sentimental Journey," the song that made a star out of Doris Day. Carter is much more in Day's camp than Ronstadt's, even though most of her repertoire here dates from the rock era. She certainly can handle a rocker, as she does on "Let the Good Times Roll." But she is better with lighter fare. Carter has made a living in clubs for many years, and this album suggests what audiences are likely to hear if they see her in Las Vegas or Atlantic City, drawn by her TV fame: a good, professional performance. ~ William Ruhlmann  http://www.allmusic.com/album/crazy-little-things-mw0002125147

Personnel: Kerry Marx (acoustic guitar, electric guitar); Viktor Krauss, Bryan Sutton (acoustic guitar); Russ Pahl (steel guitar); "Blue" Lou Marini Jr. (flute, clarinet, saxophone); Tony Harrell (accordion, keyboards); Sam Levine (clarinet, saxophone); John Horn (tenor saxophone, baritone saxophone); Steve Patrick (trumpet); Roy Agee (trombone); Shane Keister (keyboards); Paul Leim (drums); Eric Darken (percussion); Cindy Walker, Tom Flora, Vicki Hampton, Perry Coleman, Tania Hancheroff (background vocals).

Crazy Little Things

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Ruby Braff & Roger Kellaway - Inside & Out

Styles: Cornet And Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 60:13
Size: 138,8 MB
Art: Front

(6:07)  1. Love Walked In
(7:27)  2. Yesterdays
(6:03)  3. Memories Of You
(3:59)  4. I Want To Be Happy
(8:53)  5. I Got Rhythm
(6:47)  6. Always
(5:20)  7. Between The Devil And The Deep Blue Sea
(5:54)  8. Basin Street Blues
(9:40)  9. Exactly Like You

Kellaway's next sparring partner was an old hand at stripped-down duets, cornetist Ruby Braff he of the Ellis Larkins and Dick Hyman connection and Braff seems to encourage Kellaway's out-there side more frequently on this all-standards CD. Terse and to the point, almost offhand in his penchant for placing odd notes in the strangest places, Braff's cornet opens holes in the texture for Kellaway to explore his freely eclectic muse. A highly unorthodox "I Got Rhythm" gives vent to a spectacular near Tatum-esque outburst from Roger, and there are streaks of Romantic, Impressionistic, and contemporary classical pianism, boogie-woogie, and of course, stride. 

Yet Braff has his sweet moments too, as on "Memories of You," where he sets Kellaway off in his nostalgic All in the Family mode. The cover photo speaks volumes about the music within this package a pensive, dour, laconic Braff and a jaunty-hatted, inviting, perhaps slightly mischievous Kellaway. ~ Richard S.Ginell  http://www.allmusic.com/album/inside-out-mw0000181036

Personnel: Ruby Braff (trumpet, cornet); Roger Kellaway (piano).

Inside & Out

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Jon Irabagon - The Observer

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 61:50
Size: 142,0 MB
Art: Front

(6:17)  1. January Dream
(6:56)  2. Joy's Secret
(6:54)  3. The Infant's Song
(6:09)  4. Cup Bearers
(7:45)  5. The Observer
(5:20)  6. Acceptance
(4:55)  7. Makai & Tacoma
(6:36)  8. Big Jim's Twins
(5:01)  9. Bar Fly
(5:52) 10. Closing Arguments

Best known as the volatile saxophonist in bassist Moppa Elliott's self proclaimed terrorist be-bop band Mostly Other People Do the Killing, Jon Irabagon has only just begun his career as a solo artist. His bristling duet with drummer Mike Pride, I Don't Hear Nothin' But The Blues (Loyal Label, 2009) was preceded by Outright! (Innova, 2008), the self-titled debut of his own vivaciously eclectic quartet. The Observer is Irabagon's first release for Concord Records, which awarded him a recording contract after he won last year's Thelonious Monk International Jazz Saxophone Competition. On this surprisingly straight-ahead session (expertly recorded by Rudy Van Gelder), Irabagon is supported by a trio of longstanding veterans; pianist Kenny Barron, bassist Rufus Reid, and drummer Victor Lewis Stan Getz's touring rhythm section of the 1980s. Years of shared experience elevates Barron, Reid, and Lewis' congenial interplay beyond mere professionalism, lending this date a timeless appeal.

Seven of the ten selections are originals, demonstrating Irabagon's flair for composing accessible jazz tunes that fit comfortably in the mainstream tradition. A dynamic soloist, Irabagon plays alto for most of the date, his tortuous cadences recalling Charlie Parker's blistering dexterity, Wayne Shorter's cerebral precision, and Julian "Cannonball" Adderley's soulful poise. Showing great reserve, he reins in his more vociferous tendencies, using subtle expressionistic accents (altissimo, chromatics, multiphonics) sparingly. The heavily syncopated "January Dream" opens the set with lush harmonies from Barron and stalwart support from Reid and Lewis. Tom McIntosh's "Cup Bearers" is a brisk bop number, while the sultry title track is a lilting mid-tempo swinger featuring Irabagon's effusive tenor. Infused with simmering post-bop energy, "Joy's Secret" reveals a subtle complexity, underpinned by Lewis' Latin accents and Barron's prismatic flourishes, spotlighting a mellifluous trumpet solo from guest artist Nicholas Payton, who also contributes pithy salvos to the scorching hard bop burner "Big Jim's Twins."

Alternating vibrant up-tempo tunes with more introspective fare, Irabagon unveils a rarely heard sensitive side. His velvety tone is highlighted on Gigi Gryce's melancholy "Infant Song," while his lyrical phrasing dominates "Acceptance," the breezy bossa nova "Makai and Tacoma" and the earthy "Closing Arguments." His intimate duet with guest pianist Bertha Hope on her late husband Elmo Hope's somber ballad "Barfly" reveals depths of emotional maturity.  A solid and eminently likeable mainstream affair, The Observer scarcely hints at Irabagon's avant-garde credentials, focusing instead on his tastefully virtuosic capabilities as a straight-ahead stylist yet another facet of his wide-ranging artistry. ~ Troy Collins  http://www.allaboutjazz.com/the-observer-jon-irabagon-concord-music-group-review-by-troy-collins.php
 

Personnel: Jon Irabagon: alto saxophone, tenor saxophone (5, 7); Kenny Barron: piano (1-8, 10); Rufus Reid: bass; Victor Lewis: drums; Nicholas Payton: trumpet (2, 8); Bertha Hope: piano (9).

The Observer

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Coleman Hawkins - The Hawk In Hi-Fi

Bitrate: MP3@320K/s
Time: 68:11
Size: 156.1 MB
Styles: Bop, Saxophone jazz
Year: 1956/1999
Art: Front

[4:57] 1. Body And Soul
[3:02] 2. Little Girl Blue
[3:05] 3. I Never Knew
[3:09] 4. Dinner For One Please, James
[3:22] 5. The Bean Stalks Again
[2:59] 6. His Very Own Blues
[4:07] 7. The Day You Came Along
[3:03] 8. Jumping For Jane
[3:28] 9. Essence Of Jazz
[2:58] 10. There Will Never Be Another You
[2:34] 11. I'm Shooting High
[2:40] 12. Bean And The Boys (39- 25- 39)
[3:09] 13. There Will Never Be Another You (2)
[3:26] 14. There Will Never Be Another You (3)
[3:10] 15. Little Girl Blue
[3:17] 16. Dinner For One Please, James
[3:12] 17. I Never Knew
[3:13] 18. Have You Met Miss Jones (Alt 1)
[3:14] 19. Have You Met Miss Jones
[2:26] 20. Have You Met Miss Jones
[3:32] 21. The Day You Came Along

In January 1956, veteran tenor saxophonist Coleman Hawkins recorded a dozen songs, eight with a string orchestra and four accompanied by a big band, all arranged by Billy Byers. Hawkins is the main soloist throughout the CD reissue, and he was still very much in his prime 33 years after he first joined Fletcher Henderson's orchestra; in fact, the upcoming 1957 would be one of his finest years. However, Byers' arrangements are more functional than inspired, and some of these selections are more easy listening than they are swinging. Still, there are some strong moments (particularly on "The Bean Stalks Again" and "His Very Own Blues") and, although not classic, this is a pleasing release, augmented by nine previously unreleased alternate takes, all but one of which are complete. ~Scott Yanow

The Hawk In Hi-Fi

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Various - Adios Amigo: A Tribute To Arthur Alexander

Bitrate: MP3@320K/s

Time: 52:53

Size: 121.1 MB

Styles: R&B, Country, Rock

Year: 1994

Art: Front

[3:05] 1. Roger McGuinn - Anna

[2:14] 2. Elvis Costello - Sally Sue Brown

[3:59] 3. Robert Plant - If It's Really Got To Be This Way

[3:10] 4. Graham Parker - Every Day I Have To Cry

[3:40] 5. Chuck Jackson & Mark Knopfler - You Better Move On

[2:22] 6. Frank Black - Old John Amos

[2:30] 7. Marshall Crenshaw - Adios Amigo

[3:34] 8. Sir Mac Rice, Michael Hill - Let's Think About It

[3:05] 9. John Prine - Lonely Just Like Me

[2:52] 10. Corey Glover - Johnny Heartbreak

[3:01] 11. Nick Lowe - In The Middle Of It All

[3:58] 12. Zucchero - From Now On

[2:57] 13. Frank Black, Gary U.S. Bonds - Go Home Girl

[3:01] 14. Felix Cavalieri - I Love You So

[4:18] 15. James Hudson - Baby Can't You Wait

[2:34] 16. Gary U.S. Bonds - Genie In The Jug

[2:25] 17. Dann Penn, Donnie Fritts - Adios Amigo

Among musicians, Arthur Alexander was always considered one of the greatest R&B songwriters. Both the Beatles and the Rolling Stones covered his songs, "Anna (Go to Him)" and "You Better Move On," respectively, early in their careers. But they weren't the only ones -- throughout the years, his work was rich source material for many blues, soul, rock, and country artists. He may have earned the recognition of his peers, but he remained relatively unknown to the general public, right up to his death in 1993. In order to raise his profile, Razor & Tie released Adios Amigo: A Tribute to Arthur Alexander in 1994, assembling a stellar and diverse lineup to record new versions of his songs. The diversity and the fresh arrangements illustrates the depth of Alexander's songs and how well they lent themselves to new readings. Like any tribute album, Adios Amigo is uneven, with a few tracks falling flat, but the best moments Elvis Costello's "Sally Sue Brown," Robert Plant's "If It's Really Got to Be This Way," Chuck Jackson's "You Better Move On," Frank Black's "Old John Amos," John Prine's "Lonely Just Like Me," Gary U.S. Bonds' "Genie in the Jug," Graham Parker's "Every Day I Have to Cry" and Nick Lowe's "In the Middle of It All" are affectionate salutes to a departed master, and they're damn enjoyable in their own right as well. ~Stephen Thomas Erlewine

Adios Amigo: A Tribute To Arthur Alexander

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Christina Gustafsson - My Move

Bitrate: MP3@320K/s
Time: 44:00
Size: 100.7 MB
Styles: Jazz vocals
Year: 2009
Art: Front

[3:10] 1. Your Smiling Face
[5:06] 2. Take A Fall
[4:12] 3. My Move
[2:57] 4. I've Got The World On A String
[4:59] 5. Standing Where The Changes Begin
[4:27] 6. Winter Has Gone
[2:55] 7. Smile
[1:03] 8. Happy Talk
[5:15] 9. Stormy Weather
[4:49] 10. In The Light Of New York
[5:03] 11. Smiling Hour

Christina Gustafsson is sister of the better known Swedish jazz vocalist Rigmor Gustafsson. This is her second album, a follow-up to Moments Free (Prophone, 2007). Gustafsson feels herself to be part of the singer/songwriter tradition but employs a team of three text writers—Cecilia Åse, Helena Davidsson and Stefan Danielsson—who, she says, "have worked close together and talked about me (sic) thoughts of life right now and what the contents of the lyrics should be. That's the reason why the lyrics became very personal and intimate." The obvious question is: "Wouldn't they be still more personal and intimate if you wrote them yourself?"

There is the nasty suspicion that—having worked the trick with Rigmor—Svengalian forces are now trying to make the same formula succeed all over again with her sister. Not that Christina Gustafsson doesn't have some vocal and, perhaps, musical talent. It's just that she hasn't developed it a great deal. Maybe this is the fault of her homeland. Swedes often refer to it derisorily as ankdammen, "the duckpond." And the impression here is of a small coterie of people doing their thing, then telling each other they've achieved a great result. Had a little more thought and care been taken, and had an outside, more cynical eye been allowed to focus on the proceedings, who knows; perhaps Gustafsson could have been prodded into coming up with something truly original. As it is, there is really nothing here that you haven't heard before, many times over.

The feeling of déja vu sets in right from the start with James Taylor's "Your Smiling Face," and continues through three of Gustafsson's "personal and intimate" collaborations with Åse and Davidsson ("Take A Fall," "My Move," "Winter Has Gone" and "In the Light of New York") and one with Danielsson ("Standing Where The Changes Begin"). The impression is of bits and pieces taken from various popular musical forms and stitched together. To this are added English lyrics that are almost but not totally there ("Look at her—she's moving in New York"... "The road is about to wind"). Guitarists Max Schultz and Erik Söderlind are both gifted but are rarely given a chance to cut loose. There are the obligatory standards: Harold Arlen's "I've Got The World On A String" and a rather edgy 5/4 version of "Stormy Weather," and Charlie Chaplin's "Smile," which Gustafsson does as a sometimes out-of-sync duet with bassist Martin Höper. Then there is a surprisingly good version of "Happy Talk" from South Pacific (1949), also performed as a duet with Höper, who this time wisely restricts himself to a purely instrumental role. Everything climaxes with a rather shy sing-along—with sister Rigmor and vocalists Sofia Pettersson and Lina Nyberg—of "Smiling Hour," taken from Sarah Vaughan's album, Copacabana (Pablo, 1979). ~Chris Mosey

Christina Gustafsson: vocals; Max Schultz, Erik Söderlind: guitars; Martin Höper, bass; Calle Rasmusson, drums.

My Move

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Jose James & Jef Neve - For All We Know

Bitrate: MP3@320K/s
Time: 50:44
Size: 116.1 MB
Styles: Piano jazz, Contemporary jazz vocals
Year: 2010
Art: Front

[3:18] 1. Autumn In New York
[6:13] 2. Embraceable You
[5:18] 3. Gee Baby, Ain't I Good To You
[6:24] 4. Body And Soul
[5:12] 5. When I Fall In Love
[7:24] 6. Tenderly
[4:13] 7. Just Squeeze Me
[7:26] 8. Lush Life
[5:11] 9. For All We Know

Fans of vocalist José James have hardly had time to catch their breath in 2010. His new-school R&B album Blackmagic (a sophomore effort released in March 2010 on Gilles Peterson's Brownswood imprint) was still being fired by DJs in clubs and on European and Japanese radio, while garnering acclaim globally. Barely two months later, James popped this set out in May. For All We Know is a duet recording with Belgian jazz pianist Jef Neve. It's James' first album to be released in the United States -- his home country -- and the first of newly recorded material on Impulse! Records in six years. Musically, this set couldn’t be more different from his two preceding offerings. There are no star productions by Flying Lotus, Nicola Conte, Moodymann, or Jazzanova this time out. This intimate nine-track collection of standards from the Great American Songbook was produced by the duo who made it. All but one cut was recorded in a single six-hour session, and the majority of these performances are first takes. This is a “pure” jazz recording. James and Neve pull out heavy hitters from the repertoire, "Autumn in New York," the Gershwins' "Embraceable You," "Body and Soul," and Duke Ellington's "Just Squeeze Me" among them. James -- who studied and played with jazz greats Chico Hamilton and Junior Mance -- is not overly reverent, but he is disciplined as well as innovative. Neve’s pianism pushes that envelope a little further still. His light touch, elegant harmonics, and subtly innovative fills and solos give James all the support and room he needs. Listen to this version of Billy Strayhorn's "Lush Life." At over seven minutes, its graceful melody is taken deeply inside his rich, warm, sometimes arid baritone (the same way John Coltrane took it inside his horn -- this tune is a tribute to him) and brought out again as a compact universe of mystery, imagination, and marvelously diverse ethereal textures with Neve creating enough intuitive space around it to make it possible. The duo’s reading of "When I Fall in Love" is downright moving. It holds no trace of the nostalgia usually associated with its many interpretations. James is able to express the deep yearning in the lyric and melody without over-emoting. For jazz fans who’ve not heard him, this album is a very new turn on some well-worn music by a major talent. For James' fans -- who all knew he could sing like this -- For All We Know adds a different kind of depth and dimension to his established recorded oeuvre thus far. ~Thom Jurek

For All We Know

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