Floyd Smith - Relaxin' With Floyd

Bitrate: MP3@320K/s
Time: 40:32
Size: 92.8 MB
Styles: Guitar jazz
Year: 1996/2007
Art: Front

[2:29] 1. Petite Mademoiselle
[3:53] 2. Mama Talks Soft
[3:42] 3. Relaxin' With Floyd
[3:15] 4. Floyd's Guitar Blues
[4:01] 5. Satin Doll
[2:58] 6. Take It Easy Blues
[5:24] 7. Red Top
[4:01] 8. Without You (A Tribute To Wes Montgomery)
[3:17] 9. Merci
[2:58] 10. Something For Baby
[4:28] 11. Invitation

Wild Bill Davis - organ; Chris Columbus - drums; Floyd Smith - guitar. Recording information: Pathe Studio, Paris, France (05/09/1972-07/28/1972); Seed Studio, Vallauris, France (05/09/1972-07/28/1972).

Floyd Smith wasn't the first to play electric guitar on record, but his "Floyd's Guitar Blues" is usually recognized as the first hit electric guitar record. On that tune, recorded with the Andy Kirk band, Smith played Hawaiian (lap steel) guitar, but he was also an early adapter of electric Spanish guitar.

John Hammond thought FGB was "corny," but apparently Benny Goodman liked it enough that he tried to recruit Smith for his band, but Smith had signed a five-year contract with Kirk and, so, recommended Charlie Christian. FGB has been covered many times since. Smith did it several times including with his combo around 1946 on lap steel, with Bill Doggett on electric guitar, and on a 1972 album. Contemporary bluesman Bob Margolin has covered it and Chuck Berry copied it (without crediting Smith) for his "Blues for Hawiians."

After serving in WWII, Smith played with Bill Doggett, Wild Bill Davis, Hank Marr, and Johnny "Hammond" Smith. He recorded one album "Relaxin' with Floyd" in 1972 for the French Black and Blue label which has been reissued on CD.

Relaxin' With Floyd

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Zoe Francis - The Very Thought Of You

Bitrate: MP3@320K/s
Time: 66:51
Size: 153.0 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[5:16] 1. Social Call
[7:01] 2. The Very Thought Of You
[6:45] 3. There's A Lull In My Life
[7:47] 4. A Sleepin' Bee
[4:04] 5. My Man
[5:48] 6. Out Of This World
[7:42] 7. Prelude To A Kiss
[6:15] 8. The Things We Did Last Summer
[6:54] 9. I Was Doing All Right
[9:14] 10. Born To Be Blue

Zoe Francis ( vocals ) Jim Mullen ( gtr ) Stan Salzmann ( pno ) Gareth Williams ( pno ) Mick Hutton ( bass ) Enzo Zirilli ( drs ). Recorded live at the 606 Club, London 2014.

Although Zoe Francis was born in the U.K. she kick started her singing career in New York by sitting in with illustrious company including Harry Allen and Warren Vache at the Greenwich Village club “Arturo’s”. She also attended workshops run by pianist Barry Harris which inspied her to take up singing. She now resides in the U.K. with her partner guitarist Jim Mullen who is also featured on this release. This album was recorded at a live session from London’s 606 Club and is accompanied by an all-star group of jazz musicians. This is her second album her first “Looking for a Boy” was released on her own label on which she was accompanied by pianist David Newton with whom she had worked gigs in the Bristol area.

The Very Thought Of You 

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Duke Ellington - Piano In The Foreground

Bitrate: MP3@320K/s
Time: 63:36
Size: 145.6 MB
Styles: Swing, Standards
Year: 1960/2014
Art: Front

[2:59] 1. Happy Go Lucky Local
[4:06] 2. What Am I Here For
[5:50] 3. Medley: Kinda Dukish Rockin' In Rhythm
[6:46] 4. Perdido
[2:03] 5. I'm Beginning To See The Light
[4:26] 6. Midriff
[4:31] 7. It Don't Mean A Thing (If It Ain't Got That Swing)
[4:13] 8. Main Stem
[5:31] 9. Satin Doll
[5:21] 10. Lullaby Of Birdland
[4:23] 11. The Wailer
[3:54] 12. Dreamy Sort Of Thing
[5:25] 13. Lullaby Of Birdland
[4:02] 14. Harlem Air Shaft

One of Ellington's rarer studio sessions and last out on this French CD, the main plot behind this runthrough of his standards is that the leader's piano is featured at some point in every song. His sidemen are also heard from and everyone is in fine form. Ellington's solo abilities were always a bit underrated due to his brilliance in other areas, but this set shows just how modern he remained through the years as a player. ~Scott Yanow

Piano In The Foreground

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Kenny Burrell - Blue Muse

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 67:49
Size: 155,6 MB
Art: Front

(5:44)  1. Mark I
(5:30)  2. My Friend Ray
(4:58)  3. On Wings of the Spirit
(7:00)  4. Then I Met You
(6:03)  5. It's No Time to Be Blue
(5:33)  6. Blue in Green
(5:06)  7. Blue Muse
(4:29)  8. Solitude
(6:23)  9. 3/4 of the House
(7:36) 10. 'Round Midnight
(5:59) 11. Habiba
(3:21) 12. Blue Guitar Blues

Since the '50s, Kenny Burrell has contributed crucial titles to some of the most important jazz labels, including Blue Note, Verve, Columbia, and Muse. For his 96th album, Burrell sticks to what's worked well for him over the past fifty years: some blues, some Ellington, some swing, and several ballads, all played with beautiful tone and exquisite taste. To keep things fresh, Burrell adds some unusual flavors to the stew: acoustic guitar and voice. At the dawn of his lengthy career, Burrell sang solo on Detroit TV. He also sang on Weaver of Dreams (Columbia 1960) and the recent Lucky So and So (Concord 2001). While George Benson can continue to sleep undisturbed, Burrell generally acquits himself as a straightforward reader of lyrics on four of these tunes.
With drummer Sherman Ferguson and especially bassist Roberto Miranda lighting a fire under the swinging groove of "Mark I," the set begins with classic Burrell, his effortless technical prowess and often-imitated tone intact. The ballad "My Friend Ray" pays tribute to the late Ray Brown, pianist Gerald Wiggins treating Burrell's chords, octaves, and solos as another voice to showcase, sensitively dressing each measure to the sweet sounding guitar's advantage. Miranda deftly dances through the arrangement without adding clutter. "On the Wings of Spirit," finds Herman Riley joining the proceedings on flute and Burrell playing a steel string acoustic in a Brazilian mode. "Then I Met You" returns Riley to breathy flute as Burrell sings a self-penned ode to his wife. While it can be argued that the sentiment and the vocal (and the synth string section) were better left at home, Burrell's solo offers a glimpse of what could have been a more evocative instrumental.

"It's No Time to be Blue," a version of Kenny Dorham's "Blue Bossa" with lyrics, works better. The emphasis remains on Burrell's acoustic guitar, with the vocals basically stating the theme. "3/4 of the House" recalls Miles' "All Blues" and happily steers the program away from a sentimental rut. Riley slathers soulful tenor all over the tune, pushing Burrell into familiar blues territory. Monk's "'Round Midnight" brings the tempo back down, but features Burrell's best vocal of the collection, although the tune's angularity is all ironed out. Now celebrating his fruitful twenty-five year association with UCLA, his reputation untouchable, his place in jazz history assured (he was, afterall, Duke Ellington's favorite guitarist), and with over two hundred album appearances in addition to his nearly hundred as leader, Burrell will hardly live or die by Blue Muse. But this self-produced effort seems to argue in favor of an objective sympathetic hand to help steer number ninety-seven. ~ Rex Butters  http://www.allaboutjazz.com/blue-muse-kenny-burrell-concord-music-group-review-by-rex-butters.php

Personnel: Kenny Burrell- acoustic and electric guitar, vocals; Tom Ranier- piano and keyboards; Gerald Wiggins- piano; Herman Riley- saxophone and flute; Roberto Miranda- bass; Sherman Ferguson- drums

Blue Muse

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Sarah Vaughan - Récital à Paris, 1985 Disc 1 And Disc 2

Disc 1
Styles: Jazz, Vocal
Year: 1985
File: MP3@320K/s
Time: 54:40
Size: 125,7 MB
Art: Front

(8:25)  1. Instrumental. High Fly (R. Weston)
(2:17)  2. Summertime (G. & I. Gershwin)

(2:37)  3. Just Friends (J. Klenner - S. M. Lewis)
(8:34)  4. Waves (A. C. Jobim)
(1:51)  5. On a clear day (A. J. Lerner - B. Lane)
(6:18)  6. If you could see me now (C. Sigman - T. Dameron)
(3:27)  7. I've got the world on a string (H. Arlen - T. Koehler)
(3:31)  8. Fascinating rythm (G. & I. Gershwin)
(9:41)  9. Medley: But not for me/ Our love is here to stay/ Embraceable you/ Someone To Watch Over Me
(1:38) 10. There will never be another you (H. Warren - M. Gordon)
(6:17) 11. Misty (E. Garner - J. Burke)

Disc 2
Time: 36:38
Size: 84,2 MB
Art: Front

(8:16)  1. My funny valentine (R. Rodgers - L. Hart)
(3:52)  2. From this moment on (C. Porter)
(6:10)  3. Send in the clowns (S. Sondheim)
(4:18)  4. Sassy's blues (Q. Jones - S. Vaughan)
(3:33)  5. Tenderly (W. Gross - J. Lawrence)
(6:17)  6. Scat chase
(4:09)  7. Once in a while (B. Green - M. Edwards)

Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future.

Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theater, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians' recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstine's orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie.

Other than a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although she looked a bit awkward in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her incredible voice. She made several early sessions for Continental: a December 31, 1944 date highlighted by her vocal version of "A Night in Tunisia," which was called "Interlude," and a May 25, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included "If You Could See Me Now," "Tenderly" and "It's Magic") that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, "Sassy" continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones' band during May 18-19, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best.

During the 1950s, Vaughan recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including Sarah Vaughan, a memorable collaboration with Clifford Brown) for the label's subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). Through the years, Vaughan's voice deepened a bit, but never lost its power, flexibility or range. She was a masterful scat singer and was able to out-swing nearly everyone (except for Ella). Vaughan was with Norman Granz's Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. However, up until near the end, Vaughan remained a world traveler, singing and partying into all hours of the night with her miraculous voice staying in prime form. The majority of her recordings are currently available, including complete sets of the Mercury/Emarcy years, and Sarah Vaughan is as famous today as she was during her most active years.~ Scott Yanow  http://www.allmusic.com/artist/sarah-vaughan-mn0000204901/biography

Récital à Paris, 1985 Disc 1
Récital à Paris, 1985 Disc 2

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Louisiana Jazz Band - 20 Years Anniversary

Styles: Jazz, Big Band
Year: 2001
File: MP3@320K/s
Time: 50:27
Size: 116,2 MB
Art: Front

(4:22)  1. Beginning the Blues
(3:40)  2. Why Don't You Go Down to New Orleans
(3:31)  3. Dream a Little Dream of Me
(3:07)  4. I Ain't Gonna Give Nobody None of My Jelly Roll
(4:01)  5. My Blue Heaven
(3:37)  6. I Surrender Dear
(3:52)  7. Rent Party Blues
(4:21)  8. Yes Sir, That's My Baby
(3:01)  9. Jeg Er Vistnok Lidt Gammeldags
(3:05) 10. Should I Reveal
(2:55) 11. Savoy Blues
(3:34) 12. Oh, Lady Be Good
(3:30) 13. Bill Bailey
(3:43) 14. Amapola

Louisiana Jazz Band (established in 1980) is a Norwegian dixieland group, known from numerous recordings and performances. It consists of the two initiators Tormod Isachsen trumpet and Søren Bøgelund vocal and saxophone. In addition you will find Jan Kristiansen / Paul Frank bass, Hans Christian Frank / Børre Frydenlund banjo and Jon Moslet drums.  They made ??records (1980 and 1992), and A la carte (single- CD, 1998) and 20- years anniversary (Hot Club Records, 2001). With Majken Christiansen and Elith Nykjær Jørgensen published Absolutely Louisiana Jazz Band (SME Records, 2005).  Moreover, it has been a good selling jazz band with the same name in Denmark.  https://no.wikipedia.org/wiki/Louisiana_Jazzband

20 Years Anniversary

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Milton Mezz Mezzrow And Frankie Newton - The Big Apple

Styles: Clarinet Jazz
Year: 2010
File: MP3@320K/s
Time: 46:31
Size: 106,8 MB
Art: Front

(3:02)  1. Old Fashioned Love
(3:24)  2. Apologies
(2:59)  3. Sendin' The Vipers
(2:52)  4. Thirty Fifth And Calumet
(3:14)  5. Blues In Disguise
(2:33)  6. That's How I Feel Today
(2:34)  7. Hot Club Stomp
(2:21)  8. The Swing Session's Called To Order
(2:55)  9. A Melody From The Sky
(2:27) 10. Lost
(3:00) 11. Mutiny In The Parlor
(2:39) 12. The Panic Is On
(3:30) 13. I've A Muggin'
(3:06) 14. The Minor Jive
(3:12) 15. The Blues My Baby Gave To Me
(2:35) 16. Rompin' At Victor

Mezz Mezzrow occupies an odd and unique place in jazz history. Although an enthusiastic clarinetist, he was never much of a player, sounding best on the blues. A passionate propagandist for Chicago and New Orleans jazz and the rights of blacks (he meant well, but tended to overstate his case), Mezzrow was actually most significant for writing his colorful and somewhat fanciful memoirs, Really the Blues, and for being a reliable supplier of marijuana in the 1930s and '40s. In the 1920s, he was part of the Chicago jazz scene, at first helping the young white players and then annoying them with his inflexible musical opinions. Mezzrow recorded with the Jungle Kings, the Chicago Rhythm Kings, and Eddie Condon during 1927-1928, often on tenor. In the 1930s, he led a few swing-oriented dates that featured all-star integrated bands in 1933-1934 and 1936-1937. The French critic Hugues Panassie was always a big supporter of Mezzrow's playing and Mezz was well-featured on sessions in 1938 with Tommy Ladnier and Sidney Bechet; "Really the Blues" is a near-classic. Mezzrow had his own King Jazz label during 1945-1947, mostly documenting ensemble-oriented blues jams with Bechet and occasionally Hot Lips Page. After appearing at the 1948 Nice Jazz Festival, Mezzrow eventually moved to France, where he recorded fairly regularly during 1951-1955 (including with Lee Collins and Buck Clayton), along with a final album in 1959. ~ Scott Yanow  http://www.allmusic.com/artist/mezz-mezzrow-mn0000383696/biography

The Big Apple

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Maria Muldaur - Jazzabelle

Bitrate: MP3@320K/s
Time: 52:36
Size: 120.4 MB
Styles: Jazz-blues vocals
Year: 1993/2006
Art: Front

[2:56] 1. Your Molecular Structure
[4:32] 2. Weeping Willow Blues
[4:48] 3. Everybody Cryin' Mercy
[3:43] 4. Rio De Janeiro Blue
[3:22] 5. You're My Thrill
[2:57] 6. Long As You're Living
[5:45] 7. Elona
[3:32] 8. Do Your Duty
[4:18] 9. Don't You Feel My Leg (Don't You Get Me High)
[6:30] 10. September Rain
[4:57] 11. Southern Music
[5:12] 12. Where

Bass – Al Obudinsky (tracks: 1, 3, 7, 10), Chris Severin (tracks: 4, 5, 9), Roly Salley* (tracks: 2, 6, 8); Drums – Billy Kilson (tracks: 4, 5, 9), Mike Hyman (tracks: 1 to 3, 6 to 8, 10 to 12); Piano – David Matthews (tracks: 1, 6, 10), David Torkanowsky (tracks: 4, 5, 9), John R. Burr (tracks: 2, 3, 7, 8, 11, 12); Producer, Vocals – Maria Muldaur; Saxophone – Jim Rothermel.

Maria Muldaur's Jazzabelle is a set of jazz and blues material recorded with piano trios, which are fronted by David Torkanowsky, Dave Matthews, and John R. Burr. ~Stephen Thomas Erlewine

Jazzabelle

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Dave Newman - Fathead Comes On

Bitrate: MP3@320K/s

Time: 70:29

Size: 161.4 MB

Styles: Soul jazz, Saxophone jazz

Year: 1962/2013

Art: Front

[3:05] 1. Unchain My Heart

[5:37] 2. Cellar Groove

[3:39] 3. Alto Sauce (Feat. Hank Crawford)

[4:27] 4. Hello There

[5:13] 5. Scufflin' (Feat. Hank Crawford)

[4:01] 6. Esther's Melody (Feat. Hank Crawford)

[6:35] 7. Lady Day

[7:22] 8. Batista's Groove

[4:36] 9. Skylark

[7:55] 10. Night Of Nisan

[7:04] 11. Cousin Slim

[6:31] 12. Summertime

[4:19] 13. Congo Chant

Alto Saxophone – Dave "Fathead" Newman (tracks: A3, B2); Bass – Edgar Willis (tracks: A1, A3, B1, B2), Jimmy Jefferson (tracks: A2, A4, B3); Drums – Bruno Carr (tracks: A1, A3, B1, B2), Charlie Persip (tracks: A2, A4, B3); Flute – Dave "Fathead" Newman* (tracks: A1); Piano – Hank Crawford (tracks: A1, A3, B1, B2), Norris Austin (tracks: A2, A4, B3); Tenor Saxophone – Dave "Fathead" Newman (tracks: A2, A4, B1, B3); Trumpet – Marcus Belgrave (tracks: A2, A4, B3).

This 1962 David "Fathead" Newman album picks up where 1961's STRAIGHT AHEAD left off. However, this release is slightly less bebop-oriented. Instead, Newman blends together hard bop with his own R&B roots. (He was a key member of Ray Charles's band for many years.)

FATHEAD COMES ON is a very bluesy album, but also contains its share of tricky melodies and ambitious arrangements. Highlights include "Unchain My Heart," which is the funkiest tune on the disc, and "Cellar-Groove," which begins with a clever train rhythm; here the locomotive sound is simulated by the repetitive hi-hat work of Charlie Persip and the boogie-woogie playing of pianist Norris Austin. The disc ends with "Lady Day," a tribute to Billie Holiday, which is, not surprisingly, a somber ballad. Hard-bop records from this era typically lean on the influence of Art Blakey and the Jazz Messengers, but FATHEAD COMES ON is a statement unto itself, and therefore, a very compelling listen. ~AllMusic

Fathead Comes On

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Jimmy McGriff - The Best Of The Sue Years 1962-1965

Bitrate: MP3@320K/s
Time: 74:26
Size: 170.4 MB
Styles: B3 Organ blues/jazz
Year: 2006
Art: Front

[2:32] 1. I've Got a Woman
[3:54] 2. All About My Girl
[4:55] 3. M.G. Blues
[4:15] 4. The Last Minute
[4:35] 5. One of Mine
[4:56] 6. Spindletop
[6:52] 7. The Deacon
[5:47] 8. Frame for the Blues
[5:36] 9. A Thing for Jug
[3:25] 10. Kiko
[3:51] 11. All Day Long
[4:55] 12. Helly Betty
[3:21] 13. Discotheque U.S.A
[4:55] 14. Blues for Mr. Jimmy
[3:53] 15. Sho' Nuff
[3:00] 16. Blues for Joe
[3:37] 17. Cash Box

One of the all-time giants of the Hammond B-3, Jimmy McGriff sometimes gets lost amid all the great soul-jazz organists from his hometown of Philadelphia. He was almost certainly the bluesiest of the major soul-jazz pioneers, and indeed, he often insisted that he was more of a blues musician than a jazz artist; nonetheless, he remained eclectic enough to blur the lines of classification. His sound- deep, down-to-earth grooves drenched in blues and gospel feeling made him quite popular with R&B audiences, even more so than some of his peers; what was more, he was able to condense those charms into concise, funky, jukebox-ready singles that often did surprisingly well on the R&B charts. His rearrangement of Ray Charles' "I Got a Woman" was a Top Five R&B hit in 1962, and further hits like "All About My Girl," "Kiko," and "The Worm" followed over the course of the '60s. McGriff spent much of the '70s trying to keep pace with the fusion movement, switching to various electric keyboards and adopting an increasingly smooth, polished style. As the '80s dawned, McGriff gave up trying to sound contemporary and returned to his classic organ-trio sound; as luck would have it, vintage soul-jazz soon came back into vogue with a devoted cult of fans and critics, and McGriff was able to recover his creative vitality and take his place as one of the genre's elder statesmen. ~bio by Steve Huey

The Best Of The Sue Years 1962-1965 

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Jeremy Pelt - Identity

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 73:46
Size: 169,1 MB
Art: Front

( 6:42)  1. Re-Invention
( 8:54)  2. Eddie's Story
( 5:11)  3. Seek
( 7:38)  4. Suspicion
( 7:40)  5. Eye of the Beholder
( 5:29)  6. Celestial
( 4:42)  7. Angular
( 6:31)  8. Haiku
(11:41)  9. Scorpio
( 9:14) 10. Dusk

Most of the best composers, like Ellington and Shorter, have also been great players. The two processes are mutually reinforcing. Jeremy Pelt's Identity shows him to be on this two-fold path. It's all original material performed with Frank LoCrasto on keyboards, Vicente Archer on bass, and Eric McPherson on drums all on a par of excellence with Pelt in their playing. This particular group formed just recently, yet it already has sharp rapport. If it stays together, it'll likely become one of the better groups out there. Pelt pulls off the difficult trick of being simultaneously cerebral and inviting. His tone strikes a warm balance between brightness and suffusion. The more aggressive tunes comprise the stronger material on Identity, and Pelt doesn't bury the lead, opening with his strongest track, "Re-Invention." The tune is bothcontrapuntal and harmonic, yet without traditional comping from LoCrasto. The introspective, darkly enigmatic melody is made of simple gestures taking on cumulative meanings throughout the sixteen-bar form. The writing recalls '60s-period Wayne Shorter. Yet, as with Shorter, the music follows its own internal logic. It also strikes a balance between a "free" feeling and closed form, which may be the highest level of craft for the modern improviser. LoCrasto's counterpoint acts like an oblique, reluctant shadow with a mind of its own. Both Pelt and LoCrasto use ideas from the melody, and each other, to inform their solos with mindfully small gestures and build larger concepts.

"Seek," "Suspicion," and "Angular" are the other relatively aggressive tunes. While they don't push boundaries, they share a spirit with many current artists exploring rhythmic complexity and form while maintaining swing and drive. The musicians incorporate occasional odd structures and rhythmic displacements into the blowing sections instead of discarding them as compositional quirks.Despite the appearance of some special guests on Identity, the quartet is central. Archer's turn on "Celestial" is a highlight, as is McPherson's blowing over the vamp at the end of "Suspicion." As for the relaxed, slower material on Identity, it's often beautiful but occasionally so introspective as to implode under its own weight. An exception is the engaging "Haiku," where Pelt and LoCrasto both make deeply personal statements while recalling two of the greatest ballad interpreters on their instruments.

The media affair regarding Pelt is well underway. Identity may lead some critics to celebrate the arrival of the "future of jazz," or cause others to feel compelled to refute such claims. But the reality is not so black and white. Those who are preoccupied with finding an artist to label the "future of jazz" can't see the trees for the forest. Innovation is sometimes incremental and often not easy to detect. It's all a continuum. We need faith that the pursuit of excellence supplies the energy to keep jazz moving forward. Innovation need not always be a "change of the century." It often hides in the shadows, tucked into a brilliant corner like a precocious child smiling to himself with a secret. There may well be such a child tucked into Identity. ~ John Dworkin http://www.allaboutjazz.com/identity-jeremy-pelt-maxjazz-review-by-john-dworkin.php

Personnel: Jeremy Pelt: trumpet and flugelhorn; Frank LoCrasto: keyboards; Vicente Archer: bass; Eric McPherson: drums. Special guests: Myron Walden: saxophone and bass clarinet; Warren Wolf: vibes; Mike Moreno: guitar.

Identity

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Lisa Kirchner - Something To Sing About

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 70:02
Size: 163,5 MB
Art: Front

(3:12)  1. In Autumn
(4:20)  2. Prince Of The City
(1:48)  3. Fort Tryon Park
(2:30)  4. Sigh No More Ladies
(5:11)  5. Suicide In C Monor
(3:47)  6. Early In The Morning
(4:15)  7. Leila's Song
(5:26)  8. Crazy Love, Crazy Heart
(2:35)  9. The Little Horses
(4:26) 10. Acrostic Song
(3:50) 11. Barefoot
(3:05) 12. Lily
(6:35) 13. Strange
(3:45) 14. Photograph Song
(3:21) 15. Night Make My Day
(4:07) 16. Sophie Rose-Rosalee
(2:56) 17. Under The Willow Tree
(4:45) 18. Long Time Ago

Lisa Kirchner's album Something to Sing About on first (and even second) glance has all the look of a straightforward collection of songs by American composers, including Ives, Corigliano, Adams, Rorem, Del Tredici, Harbison, Bolcom, Barber, and Leon Kirchner (the singer's father, a Pulitzer Prize-winning composer, but in fact, all the composers in that list also won the prize), as well as some from more of a pop tradition like Robert Telson and Wynton Marsalis. Closer inspection of the credits, though, offers a clue that something is up; the accompanying instruments include piano, alto sax, accordion, bass, guitar, and drums. But you really have to hear the songs to get a handle on the album's uniqueness. Kirchner is a jazz singer whose voice has the character of a cabaret chanteuse, so her style is not at all like that of the kind of bel canto-trained singer for whom most of these songs were written. Although her vocal quality is jazz-inflected, she sings the songs basically straight-on (except for some improvised riffs thrown in during transitions and sometimes adding repeats), just as they were originally written. 

Her accompanying ensemble, however, may or may not reflect composers' original version, so the overall effect is definitively more jazz than classical. In these performances, the songs sound not like crossover  classical music dressed up as jazz but like they were written as jazzy pop tunes, even though, paradoxically the tunes are presented essentially unaltered, just as the composers wrote them. It's initially disconcerting, particularly in familiar songs like Barber's "Under the Willow Tree," where Barber has one truly weird modulation in the transition but this version has a dizzying string of truly weird modulations before settling down. But, it works. As odd as the premise sounds and as surprising as the initial impressions are, these performances sound like persuasive, frequently beguiling, renditions of jazz standards. Kirchner's dusky voice is seductive and wears well, and she sings with easy spontaneity and intuitive musicality. Much credit goes to the band for the inventiveness of its accompaniment. The sound is clear, immediate, and very clean. The voice is foregrounded in a style more characteristic of pop than classical. The album should interest fans of cabaret singing and crossover, as well as adventurous fans of classical vocal music. ~ Stephen Eddins  http://www.allmusic.com/album/something-to-sing-about-mw0002143047

Personnel: Lisa Kirchner: vocals; William Schimmel: accordion; Xavier Davis: piano; Vicente Archer: bass; Ron Jackson: guitar; Willie Jones,III: drums; Sherman Irby: alto saxophone.

Something To Sing About

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Scott Colley - This Place

Styles: Contemporary Jazz
Year: 2000
File: MP3@256K/s
Time: 58:11
Size: 106,8 MB
Art: Front

(8:02)  1. Mr. Day
(7:16)  2. Long Lake
(5:42)  3. Aurora
(8:38)  4. This Place
(4:58)  5. Ugly Beauty
(3:52)  6. Airegin
(9:00)  7. The Peacocks
(5:11)  8. The Blessing
(5:28)  9. Simultaneity

The subliminal empathy shared by bassist Scott Colley, saxophonist Chris Potter, and drummer Bill Stewart is masterfully illustrated on Colley's latest album, This Place. Colley's tutelage with Charlie Haden clearly informs his knack for developing warm, simpatico lines that are nearly always melodically astute yet never showy. On originals like his hypnotic title track, Colley can create a simple bass figure that grounds and propels the gorgeous melodies of Potter and the textural and rhythmic splendor of Stewart. Colley's most sensual performance on this date, however, is his haunting "Long Lake," where he delivers a heartfelt counter melody beneath Potter's raspy tenor and Stewart's shimmering brushes.

Much of This Place gently nudges toward the avant-garde without giving way to the noisy antics associated with it. The stark arrangement of Thelonious Monk's "Ugly Beauty" features Potter's bass clarinet and Colley's ghostly improvising on the melody, which he does with an obliqueness that suggests '70s loft jazz. Colley's rambling original "Simultaneity" provides the record's most suspenseful moments, as Potter's twisting tenor zigzags against Colley's prowling bass lines. Devoid of any grandiose ambition or ego-driven solos, This Place succeeds at illustrating Colley's remarkable talents as a bassist and composer. ~ John Murph  http://jazztimes.com/articles/11559-this-place-scott-colley-trio

Personnel:  Chris Potter - Tenor Saxophone & Bass Clarinet;  Scott Colley - Acoustic Bass;  Bill Stewart - Drums

This Place

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Van Morrison - Pay The Devil

Bitrate: MP3@320K/s

Time: 45:34

Size: 104.3 MB

Styles: Country, Country-jazz

Year: 2006

Art: Front

[2:12] 1. There Stands The Glass

[2:36] 2. Half As Much

[3:07] 3. Things Have Gone To Pieces

[2:52] 4. Big Blue Diamonds

[4:10] 5. Playhouse

[2:28] 6. Your Cheatin' Heart

[2:19] 7. My Bucket's Got A Hole In It

[2:45] 8. Back Street Affair

[3:00] 9. Pay The Devil

[3:53] 10. What Am I Living For

[4:40] 11. This Has Got To Stop

[2:48] 12. Once A Day

[2:42] 13. More And More

[5:56] 14. Till I Gain Control Again

With stunning album-length explorations of jazz and 1950s acoustic skiffle and a country-rockabilly collaboration with Linda Gail Lewis behind him, Van Morrison continues exploring classic country with compelling reinterpretations of standards from the 1950s to the 1970s. He reaches back over half a century for Hank Williams Sr.'s "Half As Much," "Your Cheatin' Heart," and "My Bucket's Got a Hole in It" and Webb Pierce's landmark honky-tonk hits "Back Street Affair," "There Stands the Glass," and "More and More." Moving to the mid-'60s, he capably explores George Jones's "Things Have Gone to Pieces" and Connie Smith's "Once a Day." The 1970s are his limit, however, as he probes Rodney Crowell's "'Til I Gain Control Again." Three Morrison originals blend nicely into this mix, as do two non-country favorites: Chuck Willis's "What Am I Living For" and a gleeful spin on Blue Lu Barker's 1938 jazzy, single-entendre favorite "Don't You Make Me High." Recorded in Ireland with uncluttered hard-country backing, Pay the Devil reiterates Morrison's own musical diversity and flair for making any song his own. ~Rich Kienzle

Pay the Devil      

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Renee Rosnes Trio - A Time For Love

Bitrate: MP3@320K/s
Time: 53:11
Size: 121.7 MB
Styles: Post bop, Piano jazz
Year: 2005
Art: Front

[6:44] 1. A Time For Love
[4:55] 2. Suddenly It's Spring
[5:04] 3. Lush Life
[4:37] 4. Lullaby Petite
[5:44] 5. I Was Doing All Right
[5:39] 6. Invitation
[4:12] 7. Wait Till You See Her
[4:35] 8. Ballad To The East
[4:33] 9. Dizzy Spells
[2:30] 10. The Bad And The Beautiful
[4:33] 11. The Duke

Renee Rosnes - piano; Peter Washington - bass; Lewis Nash - drums.

A classic trio outing featuring the exquisite rhythm team of Peter Washington and Lewis Nash. Ms. Rosnes explores a variety of rich material. From such masterpieces as "Lush Life" and "A Time For Love" to music penned by legendary pianists Oscar Peterson, Ray Bryant and Dave Brubeck, this recording spans the emotional palette. Ms. Rosnes' solo performance of film composer David Raksin's "The Bad and The Beautiful" is simply haunting. Another standout is the pianist's own "Dizzy Spells," a cascading, memorable melody based on Dizzy Gillespie's "Con Alma."

A Time For Love

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Stan Getz, Kenny Barron - People Time (2-Disc Set)

This album, a series of duets laying the wondrously inquisitive piano of Kenny Barron next to the breathy, half-lit tenor of Stan Getz, was both the last public appearance and the final recording in the life of Getz. Recorded with astonishing clarity live at Copenhagen's Montmartre Café, People Time serves as a passionate coda to the life of this great saxophonist. Many of the tunes seem chosen for their emotional content, as if Getz were aware this might be his swan song. Speculation aside, this is a remarkably gorgeous, exquisitely paced recording. Throughout, Getz and Barron exhibit both a deep understanding of the material as well as sympathetic, truly harmonious playing. Never rushed, never brash, People Time lingers over melodies, fleshing them out and extracting every ounce of feeling. A must-have for fans of both artists. ~S. Duda

Album: People Time (Disc 1)

itrate: MP3@320K/s

Time: 56:17

Size: 128.9 MB

Styles: Contemporary jazz

Year: 1992

[9:25] 1. East Of The Sun (And West Of The Moon)

[8:19] 2. Night And Day

[5:24] 3. I'm Okay

[7:59] 4. Like Someone In Love

[8:48] 5. Stablemates

[9:08] 6. I Remember Clifford

[7:11] 7. Gone With The Wind

People Time (Disc 1)

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Album: People Time (Disc 2)

Bitrate: MP3@320K/s

Time: 59:09

Size: 135.4 MB

Styles: Contemporary jazz

Year: 1992

Art: Front

[9:54] 1. First Song (For Ruth)

[8:35] 2. There Is No Greater Love

[9:19] 3. The Surrey With The Fringe On Top

[6:21] 4. People Time

[7:54] 5. Softly, As In A Morning Sunrise

[9:31] 6. Hush-A-Bye

[7:33] 7. Soul Eyes

People Time (Disc 2)

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Antonio Faraò - Next Stories

Bitrate: MP3@320K/s
Time: 49:16
Size: 112.8 MB
Styles: Piano jazz
Year: 2002
Art: Front

[5:10] 1. I'm Waiting
[9:39] 2. Theme For Bond [dedicated To My Wonderful Dog]
[4:29] 3. Creole
[4:03] 4. Sweet
[7:28] 5. Next Stories
[4:40] 6. I Could Have Done More
[4:01] 7. What Is This Thing Called Love
[6:38] 8. Few Days
[3:04] 9. Sabrina And Joseph

Extraordinary Italian pianist Antonio Faraó was born in Rome in 1965. He attended the Giuseppe Verdi Conservatory in Milan in the '80s, where he refined his musical gifts. Faraó began cultivating his profound love of jazz at clubs when he was only in his teens. Even then, those around him didn't miss the natural talent for piano the young man had been blessed with. Faraó started touring at an early age, playing festivals like Lugano, Merano, Lyon, Umbria Jazz, Palermo, and many others. In 1987, at only 22, he won the New Talent Prize at the X1 Music Review. Four years later, he was voted Pianist of the Year, winning the Four Roses Prize. In 1998, he was invited to enter into the international competition for the Concours Martial Solal. Faraó came away as the winner. In 1999, he saw the release of his debut album, Black Inside, on the Enja Records label. Bassist Ira Coleman and drummer Jeff "Tain" Watts accompanied Faraó's piano work. With post-bop tracks like "Latin Dance," "Sweet," and "My One and Only Love," the album combined a Mediterranean touch with the African-American jazz styling that Faraó became known for. A sophomore effort titled Thorn followed in early 2001. As Faraó's reputation grew he was able to attract several jazz heavy-hitters to the studio, resulting in albums with saxophonist Bob Berg (2002's Far Out), bassist Miroslav Vitous (2005's Takes on Pasolini), and drummer Andre Ceccarelli (2008's Woman's Perfume and 2011s Domi). He then paired with saxophonist Joe Lovano, bassist Ira Coleman, and drummer Jack DeJohnette for 2014's Evan. In 2015, Faraó made his Verve label debut with Boundaries, which featured several of his longtime Italian collaborators including saxophonist/drummer Mauro Negri and bassist Martin Gjakonovski.

Next Stories

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The Mills Brothers - The Best Of The Mills Brothers

Bitrate: MP3@320K/s
Time: 33:52
Size: 77.5 MB
Styles: Vocal harmony group
Year: 2000
Art: Front

[2:36] 1. Paper Doll
[2:44] 2. Lazy River
[3:06] 3. You Always Hurt The One You Love
[2:35] 4. Till Then
[2:27] 5. Across The Alley From The Alamo
[3:12] 6. I've Got My Love To Keep Me Warm
[2:54] 7. Someday (You'll Want Me To Want You)
[2:45] 8. Nevertheless (I'm In Love With You)
[3:11] 9. Be My Life's Companion
[2:38] 10. The Glow Worm
[2:44] 11. Standing On The Corner
[2:53] 12. Cab Driver

It might not strike one listening to the music on this collection--smoothly crafted, perfectly harmonized pop often set to gently loping swing rhythms--that the Mills Brothers were actually outstanding pioneers of black music. Their close harmony work, based on the barbershop quartets of a previous era, were an innovation in '30s popular music, arguably laying the groundwork for '50s doo-wop and by extension even the music of the Backstreet Boys and 'N Sync (but don't hold that against them!). This collection serves as a good introduction to the Mills Brothers' legacy, serving up a dozen of their infectious hits, a few of which ("Lazy River," "You Always Hurt the One You Love") still stand among the definitive renditions of the classic American songbook. And what other band has had a seven-decade career (their sons, nephews, and grandsons now filling the ranks), scoring Top 40 hits ("Paper Doll" and "Cab Driver") 46 years apart? ~Jerry McCulley

The Best Of The Mills Brothers

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Hank Jones - I Remember You

Styles: Piano Jazz
Year: 1977
File: MP3@320K/s
Time: 70:55
Size: 163,0 MB
Art: Front

(6:02)  1. I Remember You
(5:51)  2. Young No More
(3:12)  3. You Took Advantage of Me
(4:59)  4. Love Walked In
(5:05)  5. Dat Dere
(4:50)  6. I'll Be Around
(2:45)  7. Let's Fall In Love
(5:22)  8. Like Someone In Love
(7:28)  9. Theme for Jobim
(3:15) 10. It's the Talk of the Town
(6:09) 11. I Remember You (take 3)
(5:23) 12. Young No More (take 2)
(5:06) 13. Love Walked In (take 1)
(5:21) 14. Like Someone In Love (take 1)

Made for the French Black & Blue label and released in the U.S. on a Classic Jazz LP, this outing features pianist Hank Jones emphasizing the swing side of his flexible musical personality. Teamed up with bassist George Duvivier and drummer Oliver Jackson, Jones adds beauty and melodic ideas to such veteran numbers as "You Took Advantage of Me," "Love Walked In," "Like Someone In Love" and (easily the most recent tune) Bobby Timmons' "Dat Dere." A fine set that will be difficult to find. ~ Scott Yanow  http://www.allmusic.com/album/i-remember-you-mw0000271609

I Remember You

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Horace Silver - Music For Lovers

Styles: Hard bop, Piano jazz
Year: 2005
File: MP3@320K/s
Time: 52:47
Size: 121,2 MB
Art: Front

(2:47)  1. Prelude To a Kiss
(5:58)  2. Peace
(3:52)  3. I Remember You
(5:05)  4. For Heaven's Sake
(5:17)  5. Next Time I Fall In Love
(6:57)  6. Lonely Woman
(4:13)  7. Shirl
(5:28)  8. Sweet Stuff
(6:09)  9. Cherry Blossom
(6:57) 10. My One and Only Love

Here are ten tracks showcasing the utter beauty of Horace Silver's playing and in some cases, composing jazz ballads. These tunes are lushly romantic and utterly soulful. Recorded between 1952 and 1968, this collection features such notable Silver compositions as "Peace," "Shirl," "Sweet Stuff," "Lonely Woman," and the gorgeous "Next Time I Fall in Love." The rest is choice as well especially for a budget-priced set  and includes Silver's read of Duke Ellington's masterpiece "Prelude to a Kiss," accompanied by Art Blakey and Curly Russell from 1952, and Guy Wood and Robert Mellin's "My One and Only Love," with Art Farmer, Hank Mobley, Louis Hayes, and Teddy Kotick. This isn't the funky, soul-jazzin' Silver, but the romantic, poetic balladeer whispering to lovers. ~ Thom Jurek  http://www.allmusic.com/album/music-for-lovers-mw0000673174

Music For Lovers

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