John Fedchock New York Big Band - Like It Is

Bitrate: MP3@320K/s
Time: 69:56
Size: 160.1 MB
Styles: Big band
Year: 2015
Art: Front

[7:17] 1. You And The Night And The Music
[6:19] 2. Like It Is
[5:49] 3. Never Let Me Go
[7:04] 4. Just Sayin'
[8:25] 5. Ojos De Rojo
[7:39] 6. Hair Of The Dog
[7:52] 7. (Unknown) -Havana
[5:40] 8. Just Squeeze Me
[5:32] 9. For Heaven's Sake
[8:14] 10. Ten Thirty 30

John Fedchock: trombone; Mark Vinci: alto saxophone, flute; Charles Pillow: alto saxophone, soprano saxophone; Rich Perry: tenor saxophone; Walt Weiskopf: tenor saxophone; Gary Smulyan: baritone saxophone (1, 3, 4, 5, 6, 9); Scott Robinson: baritone saxophone (2, 7, 8, 10); Tony Kadleck: trumpet, flugelhorn; Craig Johnson: trumpet, flugelhorn; Scott Wendholt: trumpet, flugelhorn (2, 3, 5, 6, 7, 8, 20); John Bailey: trumpet, flugelhorn (1, 4, 9); Barry Ries: trumpet, flugelhorn; Keith O'Quinn: trombone; Clark Gayton: trombone; George Flynn: bass trombone; Allen Farnham: piano; Dick Sarpola: bass; Dave Ratajczak: drums; Bobby Sanabria: percussion (2, 5, 7).

Veteran trombonist and big band leader John Fedchock, has had a history of showcasing some of the finest contemporary ensemble music ever presented, and on the audacious Like It Is, keeps that tradition alive on the fifth album from his 16-piece New York Big Band. A group by the way, that has been around and swinging for over two decades boasting a personnel listing of all-stars and jazz luminaries which, have garnished the eventual Grammy nods with the four previous recordings. The inspiration for the album, may have been the desire to present large orchestrations with a respect and feel of the past big band voice augmented by an infusion of the modern approach to ensemble music, offering a terrific, propulsive and engaging big band sound "like it is" now!

Featured here are five Fedchock originals and five new dynamic arrangements of jazz standards from composers Arthur Schwartz and Ray Evans to Duke Ellington and Cedar Walton offering a blast from the past with a new twist, together with a percolating pop from the present essentially, affirming the main theme of the album. Drummer Dave Ratajczak introduces the sizzling opener "You and the Night and the Music," followed by solo moments from the leader, Mark Vinci on alto and Rich Perry on tenor saxophone turning the familiar melody into a challenge to discern but certainly accomplishing the goal of sounding new and vibrant.

The percussive beats of the title track has a Latin-tinge and features the great Charles Pillow on an alto solo accompanied by the hard-blowing trumpet of Barry Ries leading the band. Continuing with the Latin theme, Fedchock introduces a superb arrangement of Walton's classic "Ojos De Rojo" featuring pianist Allen Farnham doing his utmost to sound like a Latin jazz artist of note. Other players featured on this gyrating piece are all-stars Scott Wendholt on trumpet and the legendary baritone master, Gary Smulyan. While not a Latin jazz project, Fedchock does includes one more Latin-styled piece with the Afro-Cuban rhythms of "Havana," showcasing Bobby Sanabria's percussions and Vinci's voice on the flute.

The Evans classic composition "Never Let Me Go," allows Fedchock the opportunity to take center stage on his own recording as he offers a warm and intimate voice on the piece making it a trombone feature and the first soft balladic tune of the album. On the swinging side of the musical ledger you have the original "Just Sayin,'" the powerful-sounding "Just Squeeze Me," and the brassy hard-driving finale tune "Ten Thirty 30."

The Fedchock band has so many top-notch players providing stellar solo moments that it seems all deserve mention such as standouts like alto saxophonist Walt Weiskopf, baritone man Scott Robinson, bassist Dick Sarpola and Tony Kadleck among many others. Trombonist/band leader John Fedchock and his amazing New York Big Band turn in another special performance delivering a muscular sound in a finesse manner and in the finest tradition of big band music just Like It Is and should be. ~Edward Blanco

Like It Is

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Frank Sinatra - Christmas

Bitrate: MP3@320K/s

Time: 29:50

Size: 68.3 MB

Styles: Holiday, Vocal

Year: 2013

Art: Front

[3:57] 1. Have Yourself A Merry Little Christmas

[2:16] 2. Mistletoe And Holly

[3:10] 3. The Christmas Waltz

[3:02] 4. Whatever Happened To Christmas

[1:59] 5. Jingle Bells

[2:35] 6. White Christmas

[3:26] 7. The Christmas Song

[1:39] 8. Santa Claus Is Coming To Town

[3:09] 9. I'll Be Home For Christmas

[2:07] 10. Christmas Memories

[2:26] 11. Silent Night

Sinatra's best holiday tunes in one package.

Christmas

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Cedar Walton Trio & Dale Barlow - Manhattan After Hours

Bitrate: MP3@320K/s
Time: 67:48
Size: 155.2 MB
Styles: Piano jazz
Year: 2003
Art: Front

[8:42] 1. My Heart Stood Still
[6:54] 2. Don't Blame Me
[5:50] 3. Relaxin' At Camarillo
[6:42] 4. Con Alma
[9:01] 5. Darn That Dream
[7:50] 6. Euphoria
[6:36] 7. I Want To Be Happy
[8:25] 8. Harpy
[7:42] 9. Like Someone In Love

Cedar Walton - piano Billy Higgins - drums Dave Williams - bass Dale Barlow - tenor saxophone.

Cool enough to play at your dinner party, yet hot enough for a serious listen, The Cedar Walton’s Trio releases “Manhattan After Dark” featuring Dale Barlow.

Walton is among the elite of jazz history. He has appeared on such legendary recordings as John Coltrane’s “Giant Steps’ and several others by Art Blakey (whose band, The Jazz Messengers, he joined in 1961), Dexter Gordon, Ornette Coleman, Lee Morgan, Freddie Hubbard and many, many others.

True to his reputation, Walton’s playing on ‘Manhattan After Dark’ is a study of amazing piano technique and intense street-wise urban instincts. His interaction with featured guest, tenor saxophonist, Dale Barlow, especially on the tracks ‘My Heart Stood Still’ and ‘Con Alma’ is a wonderful representation on how the greats recorded and interacted with their band. The album was recorded live in the studio and allows for ‘in the moment’ intuitive movements, as well as lyrical subtleties that pass from musician to musician in their solos.

While “Manhattan After Dark” offers little in modern day innovation, it distinguishes itself as a beautifully performed and record piece that can be enjoyed for several years to come. The Cedar Walton Trio offers a lesson in the beauty of music and the elegance of jazz. ~Charlie B. Dahan

Manhattan After Hours

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Akiko - Mood Swings

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 47:26
Size: 111,0 MB
Art: Front

(4:40)  1. Old Devil Moon
(6:05)  2. Mood Swings
(4:43)  3. Overstay
(5:57)  4. Footprints on the Moon
(5:59)  5. Before Dawn
(4:56)  6. The Gift
(1:12)  7. Belgrade
(7:31)  8. Old Fisherman's Daughter
(6:20)  9. Sophisticated Lady

Tokyo born Akiko started playing piano at age of 4. She started to listen to rock / punk music, when she was a junior high school student, & then began to take her interest in various kinds of music, including 70s disco music, 60s oldies, 50s rock + country and western. Above all those music, she was especially inspired by old black music like jive, jump blues & doo wop. At age of 18, she happened to listen to Sarah Vaughan & Ella Fitzgerald  thus, discovering jazz. Afterward, she started to sing as a professional at Jazz Club in Tokyo, when she was a university student.

In 2001, Akiko signed with Universal Jazz. After she had gained highest praises at International Jazz Meeting in New York, she recorded her debut album in Paris. Legendary French Producer, Henri Renaud, produced this album. Her debut album "Girl Talk" was selected as Swing Journal's Gold Disc (Seal of Approval) and ranked at 1 of Jazz Chart in Original Confidence (Japanese Bill Board). Right after the debut, akiko made success with her debut concerts in 4 major cities (Tokyo, Osaka, Nagoya and Fukuoka). And in October, she performed at Blue Note Tokyo with her trio. As the result of these aggressive activities, she won New Star Award of 2001, Swing Journal Jazz Disc Award.

In 2002, Akiko released her 2nd album "Hip Pop Bop" which features 2 songs produced by UK's pop unit, Swing Out Sister. The album also ranked at 1 of Jazz Chart in Original Confidence. In summer, she appeared with her own trio at several jazz festivals in Japan and captured more than 30,000 audiences. In 2003, Akiko released her 3rd album "akiko's holiday" which was recorded in New York. She picked up 12 jazz standards sung by legendary singer, Billie Holiday. On several tunes, she sang modern way in R&B/Hip Hop touch, with several guests like Roy Hargrove. This album was selected as Swing Journal's Gold Disc (Seal of Approval). In October (of 2003), Akiko was awarded "Defining Beauty Award" by world-famous cosmetic company "Estée Lauder". Right after receiving the award, she released her 4th album "Mood Swings". Tatsuo Sunaga, A Japanese famous DJ produced this album. With this album, Akiko has started to appeal to not only jazz fans but also young audience as "The coolest jazz singer in Japan". As the result, she won Jazz Vocal Award of 2003, Swing Journal Jazz Disc Award.

In 2004, Akiko collaborated with Tatsuo Sunaga again and released her 5th album "Mood Indigo". This album was awarded ADLIB magazine’s 2004 Best National Club/Dance Disc Award. In September, she performed at Tai-chung Jazz Festival in Taiwan and captured more than 6,000 audiences. In June 2005, Akiko released her first live album “Simply Blue” which was recorded at jazz club, Motion Blue Yokohama. In November, She released a new studio album produced by Yasuharu Konishi (ex. Pizzicato Five) titled “Little Miss Jazz & Jive Goes Around the World!” which focused on her musical roots; jive music. In connection with “Little Miss…”, she produced a jive compilation CD titled “akiko presents Rockin’ Doo Wop, Jump & Jive.” In April 2006, Akiko released her first best album “Collage.” In July, she made Blue Note tour (Tokyo, Osaka, Nagoya and Fukuoka), and the live performance in Osaka was released as digital album on iTunes Store.

Akiko’s 2007 started in Brazil, for the recording of her new album “Vida” with her co-producer, GIRA MUNDO. The album was supported by famous Brazilian musicians incl. Marcos Suzao and Art Lindsey, which was released in April. She made a Japan tour with this album and also performed at major pop festivals incl. Fuji Rock Festival. Also, during this period, her past albums were released in Korea that she visited Korea for both promotion and performing at jazz festival. In the end of same year (2007), akiko released her first Christmas album “a white album” which was produced by Yasuharu Konishi. Simultaneously, her second jive compilation “akiko presents Rockin’ Doo Wop, Jump & Jive Vol. 2” was released targeting for the party seasons. In 2008, after the successful Billboard Live/Blue Note tour in spring, akiko started to work on two albums simultaneously in studio, by self-producing her albums. Concepts for these albums were to express “What’s Jazz?” from two different points of view. “What’s Jazz? -STYLE-” released in October expressed her love to good old acoustic jazz, whereas “What’s Jazz? -SPIRIT-” released in November was to express her vision as the music should always reflect the trend, collaborating with track makers of club music field incl. Yukihiro Fukutomi and Hajime Yoshizawa.

In June 2009, Akiko released her new album “HIT PARADE” which was a tribute to LONDON NITE, the legendary rock DJ event in Tokyo, where she largely spent her times as a teenager. Having Kensho Onuki, who was the organizer of LONDON NITE as her supervisor, akiko picked various pop/rock hit tunes of 60’s-90’s which were ‘LONDON NITE classics’ and collaborated with LONDON NITE DJs/producers for each track creation In summer of 2009, Akiko visited Oslo, Norway to make her new album with the producer/keyboardist and also the owner of Jazzland label, Bugge Wesseltoft. During her stay in Norway, she performed with Bugge at PUNKT, one of the most cutting-edge music festivals in Norway. The album is scheduled to be released in early December. Akiko has also collaborated for various artists incl. Haime Yoshizawa, STUDIO APARTMENT, Yukihiro Fukutomi, arvin homa aya, Yuji Ohno, , just to name a few. Akiko is one of the few vocalists whose total creation are paid attention; not only her music but also the album covers and her own fashion. http://www.last.fm/music/Akiko/+wiki

Mood Swings

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Michel Petrucciani - So What - Best Of

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 70:37
Size: 162,1 MB
Art: Front

(7:40)  1. Summertime
(3:03)  2. Little Peace In C For U
(9:19)  3. Home
(3:32)  4. J'aurais Tellement Voulu
(6:14)  5. Chloe Meets Gershwin
(3:08)  6. Brazilian Like
(7:03)  7. So What
(6:47)  8. Les Grelots
(3:51)  9. Looking Up
(4:03) 10. Besame Mucho
(5:50) 11. Why
(6:20) 12. Michel's Blues
(3:41) 13. Penny's From Heaven

Bill Evans wrote in the liner notes for his Grammy Award-winning album Alone that "to understand music most profoundly one only has to be listening well." If you listen to an Evans album and follow it with So What, you will understand well that Evans' music lived in the small but profound hands of Michel Petrucciani. So What is a recorded odyssey of Petrucciani's work on Dreyfus Jazz; a compilation that shows a well-seasoned jazz pianist playing beautifully in the style of his influences like Evans, Ellington, Debussy, and Ravel. Throughout the album, Petrucciani's playing is so spirited and disciplined, like his piano predecessors, that a first-time listener would never know that he was afflicted with osteogenesis imperfecta, also known as glass bone disease. The disease ultimately led to Petrucciani's death in 1999 when he was only 36, but it didn't stop him from becoming an accomplished musician who had a joie de vivre, as his French countrymen would say. 

So What opens up with a Gershwin standard, "Summertime," featuring a duet with a long-time companion of Petrucciani, French jazz organist extraordonaire Eddy Louiss. Petrucciani solos on "Summertime" with a light swing, but he cascades across the keyboard very strongly with Tin Pan Alley stride. Louiss plays the warm, mellow tone of the organ in a stop-and-start bebop style while Petrucciani comps aggressively. "Summertime" and "Les Grelots" (also featuring a duet with Louiss) were originally taken from a three-night show at the Paris club Petit Journal Montparnasse. "Home" and "So What," extracted from Petrucciani's Trio In Toyko, feature popular session drummer Steve Gadd and bassist Anthony Jackson. The trio's rendition of "So What" is energetic, even without front line horns. Petrucciani states the famous modal chorus and then breaks into a heavily classical influenced solo that sounds more like the Romantic pianist Debussy than Evans' original solo on Davis's "So What."

The rest of So What features live Petrucciani originals in Germany; a duet with Petrucciani's father, Tony, on guitar; and an all-star quartet featuring fellow French violinist Stephane Grappelli, bebop legend/drummer Roy Haynes, and bassist George Mraz. So What is an outstanding overview of the diverse, but well-grounded musical palette and channeled technique from which Petrucciani created vivid jazz piano improvisations. ~ Aaron Rogers  http://www.allaboutjazz.com/so-what-the-best-of-michel-petrucciani-michel-petrucciani-dreyfus-records-review-by-aaron-rogers.php

Personnel:  Michel Petrucciani,piano;  Eddy Louiss,organ;  Geoge Mraz,Anthony Jackson,bass;  Roy Haynes,Steve Gadd,drums;  Stephane Grappelli,violin;  Tony Petrucciani,guitar;  Bob Brookmeyer,trombone;  Flavio Boltro,trumpet;  Stefano Di Battista,saxophone;   Graffiti String Quartet

So What - Best Of

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Cory Weeds - As of Now

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 52:41
Size: 121,1 MB
Art: Front

(6:54)  1. Rakin' and Scrapin'
(5:37)  2. Art Blakey, Art Blakey
(5:11)  3. Everybody Loves a Lover
(3:48)  4. Have You Met Joan
(5:50)  5. Lost in the Stars
(6:17)  6. Edward Lee
(5:26)  7. Jamaica Plum Jam
(7:11)  8. Pop Goes the Weasel
(6:24)  9. Aon

A tenor saxophonist with an expressive sound rooted in Jazz tradition, a label owner tirelessly documenting unsung Jazz heroes, one of Canada’s most important Jazz impresarios, the hardest–working man in Jazz business Cory Weeds is all of these things, and much more. Weeds may be best known as the founder and owner of Cory Weeds’ Cellar Jazz Club in Vancouver, which he successfully ran for more than 13 years. Weeds built the Cellar to become one of North America’s best Jazz clubs, where masters such as George Coleman, Jeff Hamilton, Louis Hayes, David "Fathead" Newman, Dr. Lonnie Smith, and the finest Jazz musicians from Vancouver and across Canada performed before it closed in February 2014.

But he wasn’t just the club owner. As a saxophonist who studied at the University of North Texas and Capilano College, Weeds spent many nights on the Cellar bandstand as a leader and sideman. He held his own when performing with icons like Joey DeFrancesco and Christian McBride. Weeds has also recorded nine albums as a leader, including: Condition Blue, The Music Of Jackie McLean (with Peter Bernstein, Mike LeDonne, and Joe Farnsworth)., As Of Now(with the Harold Mabern Trio), Let’s Go (with Steve Davis), the Juno nominated Up A Step(Cory Weeds Quartet), With Benefits (with Lewis Nash and Peter Washington), Just Like That(with the Tilden Webb Trio), The Many Deeds of Cory Weeds (with Joey DeFrancesco),Everything’s Coming Up Weeds (with Jim Rotondi), and Big Weeds (with Peter Bernstein, Mike LeDonne, and Joe Farnsworth). In November 2016 Weeds will release his 10th album: Happy Madness was recorded in L.A. in collaboration with The Jeff Hamilton Trio. While the Cellar is now a happy memory, the record label Weeds established in 2001 is alive and well. Cellar Live has put out close to 100 recordings, including many that have spent extensive time on the JazzWeek charts, with many more releases planned. In addition to playing on numerous sessions, Weeds has also served as producer on more than 80 recordings.

On the presentation front, Weeds founded a new non–profit organization: the Cellar Jazz Society. Dedicated to fostering public education, understanding, and appreciation of Jazz by presenting performances at public venues and educational institutions. CJS did exactly that by presenting its inaugural series of Jazz concerts in April 2014 at Pyatt Hall, a state–of–the–art theatre in downtown Vancouver. The society has since been put on hold as it joins forces with Coastal Jazz to present The Cellar Jazz Series.Weeds is also programming Jazz at the renowned Francesco’s Restaurant on Burrard Street and a monthly series at The Italian Cultural Center as well as presenting concerts at various other venues around Vancouver under Cory Weeds Presents.Beyond Vancouver, Weeds has a strong affinity with New York City. He brought so many of the Jazz mecca’s top players to his club, and has performed, toured, and recorded with many of them. Tapping in to his insider knowledge of the New York scene, he has led the New York With Weeds tour to NYC four times. Weeds leads about 40 Jazz lovers on each tour to Jazz clubs off the beaten track and private recording sessions. The sixth tour will happen in March 2016.

Finally, Weeds has also worked as an educator, leading the BC Music Educators Association’s Honour Ensemble, giving clinics, and teaching privately. He has also been a Jazz disc jockey on Vancouver Co-Op Radio.  http://www.turnerentertainmentgroup.com/coryweeds.html
 

Personnel:  Cory Weeds: Tenor Saxophone;  Harold Mabern: Piano;  John Webber: Acoustic Bass;  Joe Farnsworth: Drums

As of Now

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Tito Puente & Phil Woods - Salsa Meets Jazz

Styles: Latin Jazz, Salsa
Year: 1988
File: MP3@320K/s
Time: 43:29
Size: 99,8 MB
Art: Front

(4:28)  1. Corner Pocket
(3:24)  2. Salsa Caliente
(4:13)  3. Consternation
(7:22)  4. Pannonica
(3:58)  5. Carioca
(3:35)  6. Guajira Soul
(5:35)  7. Repetition
(5:00)  8. Carinoso
(5:51)  9. Con Alma

For this particular Tito Puente recording, his exciting three-horn, three-percussion Latin jazz octet (which includes longtime saxophone soloist Mario Rivera) is joined by alto great Phil Woods on three of the eight selections, including Thelonious Monk's "Pannonica" and "Repetition." Such songs as "Corner Pocket," "Carioca" and Dizzy Gillespie's "Con Alma" sound perfectly natural in this Afro-Cuban jazz setting, and Puente (well featured on vibes and timbales) is responsible for two originals and seven of the nine arrangements. The music is danceable, adventurous and quite fun. ~ Scott Yanow  http://www.allmusic.com/album/salsa-meets-jazz-mw0000652604

Personnel: Tito Puente (timbales); Phil Woods (alto saxophone); Mario Rivera (tenor saxophone, flute); Piro Rodriguez, Bill Ortiz (trumpet, flugelhorn); Joe De Jesus (trombone); Sonny Bravo (piano); Rebecca Mauleon (synthesizer); Bobby Rodriguez (bass); Johnny Rodriguez (bongos); Jose Madera (congas); Frank Figueroa, Jose Alexis Diaz (background vocals).

Salsa Meets Jazz

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Max Roach, Clifford Brown - Alone Together: The Best Of The Mercury Years (2-Disc Set)

Verve's two-disc collection of the best recordings from the Clifford Brown-Max Roach Quintet recorded for Mercury/Emarcy between 1954 and 1956 includes a parade of Brown-Roach classics -- "Parisian Throroughfare," "Cherokee," "Jordu," "Daahoud." The second disc, which doesn't include Brown at all, reels through a highlight film of Max Roach's varied quintets of the late '50s after the death of Brown in 1956. Of course, Roach's sessions during that time feature many great recordings -- trumpeter Booker Little is a competent replacement for Brown, and tenors Sonny Rollins, Hank Mobley, and Stanley Turrentine all have great spots -- but record buyers expecting this set to live up to its title might be disappointed. To get the full treatment, get this plus any one or two of the other duet LPs, like Brown and Roach Incorporated. ~John Bush

Album: Alone Together: The Best Of The Mercury Years (Disc 1)

Bitrate: MP3@320K/s

Time: 73:01

Size: 167.2 MB

Styles: Hard bop, Trumpet jazz

Year: 1995

Art: Front

[5:42] 1. Cherokee

[6:50] 2. Joy Spring

[3:24] 3. What's New

[4:34] 4. Mildama

[5:46] 5. September Song

[3:08] 6. What Am I Here For

[4:54] 7. Sandu

[4:01] 8. Daahoud

[5:14] 9. Born To Be Blue

[7:45] 10. Jordu

[4:10] 11. Gertrude's Bounce

[3:23] 12. Stardust

[7:18] 13. Parisian Thoroughfare

[6:46] 14. The Blues Walk

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Album: Alone Together: The Best Of The Mercury Years (Disc 2)

Bitrate: MP3@320K/s

Time: 78:57

Size: 180.8 MB

Styles: Hard bop, Trumpet jazz

Year: 1995

[ 2:07] 1. Dr. Free-Zee

[ 7:20] 2. Just One Of Those Things

[14:28] 3. Valse Hot

[ 7:45] 4. Tune-Up

[ 3:53] 5. Yardbird Suite

[ 8:14] 6. A Night In Tunisia

[ 6:16] 7. La Villa

[ 2:20] 8. Max's Variations

[ 5:07] 9. Prelude

[ 5:42] 10. Juliano

[ 5:37] 11. Lotus Blossom

[ 3:14] 12. The Left Banke

[ 6:48] 13. Never Leave Me

Alone Together-The Best Of The Mercury Years(Disc 1),(Disc 2)

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Kay Starr - Capitol Collectors Series

Bitrate: MP3@320K/s
Time: 65:39
Size: 150.3 MB
Styles: Standards, Traditional pop
Year: 1991/2003
Art: Front

[2:44] 1. I'm The Lonesomest Gal In Town
[2:45] 2. You've Got To See Mamma Ev'ry Night (Or You Can't See Mamma At All)
[3:05] 3. You Were Only Fooling (While I Was Falling In Love)
[2:47] 4. So Tired
[2:06] 5. Hoop-Dee-Doo
[2:25] 6. Bonaparte's Retreat
[2:24] 7. Mississippi
[2:34] 8. I'll Never Be Free
[3:03] 9. Wheel Of Fortune
[3:00] 10. I Waited A Little Too Long
[2:17] 11. Kay's Lament
[2:11] 12. Fool, Fool, Fool
[2:21] 13. Comes A-Long-A-Love
[2:50] 14. Side By Side
[2:52] 15. Half A Photograph
[2:35] 16. Allez-Vous En
[2:16] 17. When My Dreamboat Comes Home
[2:49] 18. Changing Partners
[2:37] 19. The Man Upstairs
[2:45] 20. If You Love Me (Really Love Me)
[2:25] 21. Toy Or Treasure
[2:20] 22. Lazy River
[2:19] 23. Foolin' Around
[3:12] 24. Crazy
[2:44] 25. Rock & Roll Waltz

Mix country, jazz and blues together with one potent personality and you've got Kay Starr! And that combo paid hit-making dividends, as this 25-track CD attests! Everything from Wheel of Fortune to Bonaparte's Retreat to her duet with Tennessee Ernie Ford, I'll Never Be Free .

Capitol Collectors Series  

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Les Baxter - Baxter's Best

Bitrate: MP3@320K/s
Time: 43:42
Size: 100.0 MB
Styles: Easy listening
Year: 1996
Art: Front

[2:24] 1. Poor People Of Paris (Jean's Song)
[2:36] 2. Blue Star (The Medic Theme)
[3:20] 3. I Concentrate On You
[2:52] 4. Ruby
[2:30] 5. Unchained Melody
[2:10] 6. Calcutta
[2:47] 7. Because Of You
[2:42] 8. April In Portugal
[2:59] 9. All The Things You Are
[2:56] 10. Blue Tango
[2:31] 11. Wake The Town And Tell The People
[2:22] 12. The Shrike
[3:07] 13. Never On Sunday
[2:19] 14. I Love Paris
[3:16] 15. Quiet Village
[2:43] 16. The High And The Mighty

This may not be his "best" if you favor his more adventurous and weirder outings; these are the kind of Baxter productions that became building blocks of the easy listening genre. However, these 16 tracks from 1951-1961 are among his most popular successes, including the hits "The Poor People of Paris," "Blue Tango," "Wake the Town and Tell the People," and "Unchained Melody." ~Richie Unterberger

Baxter's Best

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Danny Weis - Sweet Spot

Bitrate: MP3@320K/s

Time: 52:19

Size: 119.8 MB

Styles: Smooth jazz, Guitar jazz

Year: 2005

Art: Front

[4:21] 1. Sweet Spot

[3:28] 2. Turn It Up

[3:45] 3. Cat's Meow

[0:42] 4. Country Licks (Interlude)

[3:57] 5. Angel's Flight

[0:44] 6. Apricot Brandy (Interlude)

[4:49] 7. Graham Street Shuffle

[6:06] 8. What Would It Take

[0:37] 9. Funk Tracks

[2:51] 10. Inglewood

[1:29] 11. East Of The Sun

[4:18] 12. Dinner At Nine

[3:37] 13. It's About Time

[4:45] 14. Gun Slinger

[2:44] 15. Somewhere Over The Rainbow

[3:57] 16. Keep The Faith

The smooth jazz/contemporary instrumental genre proved kind to former rock guitar gods like Craig Chaquico and Neal Schon, and a decade after they first made their mark with solo discs, Iron Butterfly founding member Danny Weis tried his hand at it -- spectacularly as it turned out. Simple research shows that Weis left the Iron Butterfly fold just before they released their classic In-A-Gadda-Da-Vida album, so Toronto's Marshmellow Records wasn't able to bill their new artist as the guy who played one of the biggest solos in rock history. Hopefully, the classic rock connections will still draw people into this very solid and enjoyable 16-track set, which opens with the airplay friendly, midtempo title track featuring the spirited duality of Weis and alto saxman Vern Dorge. There's great stylistic variety the rest of the way, from the crisp, blistering, bluesy funk (think a very hip, 2000s Average White Band) of "Turn It Up" to the Larry Carlton-flavored crying electric ballad "Cat's Meow," the blues-rock, distorted guitar-spiced bar band jams "Graham Street Shuffle" and "Inglewood," and even a tender solo reading of "Over the Rainbow." No doubt the opening track and sweet ballads like "Angel's Flight" put Weis in the smooth jazz world, but the real heart of the disc comes from tracks like "Gunslinger," a simmering, percussive, horn-drenched rocker that transcends the usual light funk of the genre. Two 43-second interludes are probably unnecessary, but the fanciful and organic "Country Licks" and "Apricot Brandy" show yet another side of Weis' deep artistry. Sweet indeed. ~Jonathan Widran

Sweet Spot

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Kenny Drew, Jr. & Larry Coryell - Duality

Styles: Piano And Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 66:12
Size: 151,9 MB
Art: Front

(5:39)  1. Silver's Serenade
(7:43)  2. Farmer's Waltz
(6:56)  3. The Night Has a Thousand Eyes
(4:56)  4. Szabodar
(6:47)  5. A Silent War
(5:53)  6. Nostalgia in Times Square
(6:28)  7. Oil on Water
(7:11)  8. Goodbye Mr. Jones
(5:46)  9. Duality: Nenad's Sonata
(8:48) 10. Moanin'

The jazz duo affords its participants wonderful opportunities to stretch out creatively. Ideas, suggestions and negotiations of all musical kinds percolate back and forth. And, in the best of instances, they birth new nuggets for further development and exploration. At the same time, the duet framework can possibly limit, as competitive natures and stylistic dichotomies might overtake the mutual partnership and pose distraction. Duality, which features the marvelous talents of pianist Kenny Drew, Jr. and guitarist Larry Coryell, epitomizes the absolute best in piano-guitar duo playing. The improvisational banter, the interplay and feeding of ideas throughout this effort is pure listening joy. Drew and Coryell work so well together that interest never wanes, regardless of tempo, tune or musical genre. What emanates from the musical mind-melding of these the two superbly cooperative and inventive artists is jazz elegance, swing, and subtle, creative power.

Horace Silver's "Silver's Serenade" sends the duo mission off on a neat mid-tempo foray. Whether guitar takes the melody, as Coryell's mellow playing does on this cut, or Drew's keyboard elsewhere, the result is a richness, a fullness easily giving an illusion of a larger musical unit. Both these fine players understand and brilliantly display the subtleties of accompanying a soloist. "Farmer's Waltz" lilts lightly, with Drew and Coryell stretching out and never straining. Drew's touch, as his ability to stretch an improvisational idea, is all taste, with technique never dominating musicality. Likewise, Coryell deploys masterful technical wizardry to grab an idea, run with it and share. What makes Duality so much fun is the respect that permeates it; this is no cutting contest. Drew, ever the technician, and Coryell, a true virtuoso, take snippets of ideas, and permutate and volley them back and forth. "The Night Has a Thousand Eyes" puts the duo in a fire-starter, up-tempo environment; both answer the bell, with ideas drawn from their respective, burning technical abilities. 

Each player contributes original compositions as well: Coryell with three; and Drew with two. There's occasional subtle humor and note play, too, with Drew quoting a comped "New York, New York" during Charles Mingus "Nostalgia in Times Square." Coryell's "Oil on Water" broods, and Drew's salute to Hank Jones, "Goodbye, Mr. Jones," swings. "Duality: Nenad's Sonata" sends up Coryell's acoustic and amplified guitars running rapid fragments and comping chords in a stellar multi-movement showcase of strum. Bobby Timmons' classic, "Moanin,'" gets a cool, swinging treatment, with both Drew and Coryell displaying marvelous, soulful statements. Duality is a prime example of first class musicianship and sublime improvisational partnership. Duo albums or that of any sized ensemble simply don't get more enjoyable than this. ~ Nicholas F.Mondello  http://www.allaboutjazz.com/duality-larry-coryell-random-act-records-review-by-nicholas-f-mondello.php
 

Personnel: Kenny Drew, Jr.: piano; Larry Coryell: guitar.

Duality

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Mélanie Dahan - La Princesse Et Les Croque-Notes

Styles: Vocal, Chanson
Year: 2008
File: MP3@320K/s
Time: 55:21
Size: 127,2 MB
Art: Front

(4:58)  1. La Salle Et La Terrasse
(4:29)  2. L'enfant Maquillé
(6:52)  3. La Princesse Et Le Croque-Notes
(6:14)  4. Les Poètes
(4:57)  5. J'aimerais Tant Savoir
(1:44)  6. Rimes
(4:10)  7. Je Hais Les Dimanche
(6:29)  8. Si Tu Me Payes Un Verre
(5:17)  9. A Bicyclette
(3:42) 10. La Mer À Boire
(1:01) 11. Je Me Suis Fait Tout Petit
(5:22) 12. Le Petit Bal Perdu

There is a certain something about La Princesse et les Croque-Notes, and it is the same je ne sais quoi that exists in the first blush of wine and in the beguiling smile of Mona Lisa. It is that mesmerizing something filled with duende and saudades. It is Spanish and African and Brazilian all rolled into French, but above all it is, tantalizing, memorable, chanson and jazz. Melanie Dahan is a vocalist of the highest order and on this record she connects the art of chanson from its earliest times through modern chanson turning the music of Charles Aznavour, Jacques Brel and Leo Ferre into contemporary standards swirling in a powerful vortex of jazz. Blessed with a gymnastic contralto Dahan stretches her lithe voice to leap and dart and soar across a vocal stratosphere as if she were painting a canvas delicately with sound. Whether she is channeling pathos or being heraldic, Dahan appears able to pirouette across space, glide subtly between tones and she can vault from rhythmic precipice to rhythmic precipice, always seeming to recover enough to take flight again.

Her vocals are deliciously dainty on "La Salle et la Terrasse," feminine yet sinewy on "L'enfant Maquille" and majestic on "La Princesse et le Croque Notes," all the while being the model of precision in her interpretations of the inner rhythms and slurring gentility of the chansons of Aznavour and Brassens. On Claude Nougaro and Aldo Romano's "Rimes," she hits the rhythmic center of the music with aplomb and she shows she can skit puckishly on Pierre Bourouh and Francis Lai's "A Bicyclette." On every other song, especially "La mer a Boire," she finds the heart of the piece from the very first notes she begins to sing. This is contemporary chanson at its very best. There are moments though when Dahan steers her song through the heart of the polyphonic song, conjuring up spirits of rondeau, virelai and chanson baladee just a hint though, enough to praise the art and worship at the altar of its high priests and priestesses from Daufay to Piaf.

In a miraculous manner, Dahan the producer has also managed to bring just that perfect musical balance to the instrumentation of each song with the core group of bassist Marc-Michel le Bevillon and drummer Matthieu Chazarenc. But the most magnificent interplay is between vocalist and pianist. On songs like "La Salle..." and the title track, when vocalist and pianist get into the heart of the song, it feels as if medieval sorcery is at work. Not since Chick Corea and Flora Purim on Light As A Feather (Polydor, 1973) and specially on "500 Miles High," has there been such a sublime, symbiotic relationship between singer and pianist. And now Melanie Dahan and Giovanni Mirabassi on La Princesse et les Croque-Notes intertwine in a marvelous relationship of music and lyric poetry. The art of chanson cavorts sensuously with the art of jazz in an unforgettable way. ~ Raul D’Gama Rose  http://www.allaboutjazz.com/la-princesse-et-les-croque-notes-melanie-dahan-sunnyside-records-review-by-raul-dgama-rose.php
 

Personnel: Melanie Dahan: voice; Giovanni Mirabassi; piano; Marc-Michel le Bevillon: contrabass; Matthieu Chazarenc; drums; Pierrick Pedron: alto saxophone (5, 9).

La Princesse Et Les Croque-Notes

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Cootie Williams - Cootie Williams in Hi-Fi

Styles: Trumpet Jazz
Year: 1958
File: MP3@320K/s
Time: 66:09
Size: 152,4 MB
Art: Front

(3:28)  1. Just in Time
(3:17)  2. Summit Ridge Drive
(3:40)  3. Nevertheless, I'm in Love with You
(3:27)  4. On the Street Where You Live
(3:19)  5. I'll See You in My Dreams
(2:54)  6. Contrasts
(3:40)  7. Caravan
(2:37)  8. If I Could Be with You One Hour Tonight
(3:12)  9. Air Mail Special
(3:40) 10. My Old Flame
(3:23) 11. Swingin' Down the Lane
(3:02) 12. New Concerto for Cootie
(2:28) 13. Rinky Dink
(2:28) 14. Please Give Your Love to Me
(2:43) 15. Block Rock
(2:03) 16. Percy Speaks
(2:07) 17. Now That You've Loved Me
(2:29) 18. Blue Sunday
(2:19) 19. Available Lover
(2:21) 20. It's All in Your Mind
(2:34) 21. It Hurts Me
(2:08) 22. Rangoon
(2:39) 23. Boomerang

With the possible exception of cornball trumpeter Clyde McCoy, nobody could impart humanistic sounds to a plunger mute like Cootie Williams. Certainly nobody could make a trumpet growl like he did, full of feral shrieks and blasts and vocal tones galore. As a member of the Duke Ellington Orchestra during its heyday, Williams was big enough potatoes that when he left Ellington to join up with Benny Goodman in the early '40s, it prompted a tune titled "When Cootie Left the Duke." No two ways about it, the man could blow. As part of the 100th birthday celebration of all things Ellington, RCA is reissuing all the solo projects done by his famous sidemen. This 12-song album from 1958 appended with 11 more that appeared as singles from the year before shows that Williams' broad style was still mightily intact some 30 years after joining the Ellington fold. Unlike the other Ellington sidemen projects in this series, Williams performs on Cootie Williams in Hi-Fi with a full-blown big band, turning in swinging readings of such chestnuts as "Just in Time," "Summit Ridge Drive," and "My Old Flame." Oddly, these big-band sides don't honor the Duke musically except when Cootie and the band tackle old favorites like "Caravan." 

The non-album tracks are a varied lot. "Rinky Dink" sounds like a Bill Doggett outtake (and features some uncharacteristically bluesy rock & roll guitar from Kenny Burrell!); other tracks skirt the place where blues and R&B meet jazz, at the end of a dark alley. But just listen to that closing blast from Williams on "New Concerto for Cootie," which officially closed the original LP, and you'll know that Cootie Williams remained a Duke man to the end. ~ Cub Koda  http://www.allmusic.com/album/cootie-williams-in-hi-fi-mw0000644877

Personnel: Cootie Williams (trumpet); Romeo Penque, Elwyn Fraser, Phil Bodner, Boomie Richman, Al Klink, Stanley Webb, Nick Caiazza (saxophone); Lou McGarity, Billy Byers, Bobby Byrne, Chauncey Welsch (trombone); Richard Hixon (bass trombone); Hank Jones, Henry Rowland, Lou Stein (piano); Tony Mottola, Barry Galbraith, George Barnes (guitar); Eddie Safranski (acoustic bass); Osie Johnson, Don Lamond (drums).

Cootie Williams in Hi-Fi

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Anton Schwartz - Flash Mob

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 66:57
Size: 159,0 MB
Art: Front

(6:08)  1. Flash Mob
(5:09)  2. Swamp Thang
(7:47)  3. Cumulonimbus
(6:48)  4. Pangur Ban
(6:33)  5. Alleybird
(7:52)  6. Spurious Causes
(7:19)  7. La Mesha
(4:28)  8. Epistrophy
(6:07)  9. Glass Half Missing
(4:12) 10. The Contender
(4:29) 11. Dawn Song

No matter how sophisticated his writing or wide-ranging his solos, Bay Area tenor saxophonist and composer Anton Schwartz never strays far from the verities of hard-bop blues and roots on his fifth album, Flash Mob. Even his quintet’s cover of Thelonious Monk’s “Epistrophy” rides on a second-line rhythm. “Swamp Thang,” meanwhile, is the sweetest, fastest medium-tempo boogaloo you’d want to hear this side of “Watermelon Man.” The opening, title track at first sounds like a typical minor-mode hard-bop flagwaver. But pianist Taylor Eigsti accelerates his solo to a furious tempo with bassist John Shifflett and drummer Lorca Hart weaving a dense pattern of counter rhythms alongside him. Eigsti lays down a beautiful variety of patterns before Schwartz’s solo takes things down for more spare ruminations.

Schwartz also knows how to leave space in his songs. “Cumulonimbus” changes shapes by alternating a rubato theme with a driving 3/4 bridge, and offers a short, rhapsodic unaccompanied passage from Eigsti. On the slow blues “Alleybird,” trumpeter Dominick Farinacci takes the first solo with just bass accompaniment before Eigsti joins in and the piece assumes a gospel fervor. Just about all of these songs have the kind of shapely themes you can imagine other players wanting to cover. In fact, Schwartz’s tempo-shifting “Spurious Causes” is a good match for “La Mesha,” the Kenny Dorham ballad that follows it. There are other pleasures, such as the complementary styles of Schwartz and Farinacci, the former ardent and gritty, the latter dark-hued and lyrical. But for everybody here, the tune’s the thing. Which is another good lesson from hard-bop. 

~ Jon Garelick  http://antonjazz.com/reviews/downbeat-flash-mob/

Personnel: Anton Schwartz: tenor saxophone; Dominick Farinacci: trumpet & flugelhorn; Taylor Eigsti: piano; John Shiffet: bass; Lorca Hart: drums.

Flash Mob

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Dick Johnson Quartet - Music For Swinging Moderns

Bitrate: MP3@320K/s
Time: 74:53
Size: 171.5 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[3:08] 1. The Lady Is A Tramp
[4:06] 2. The Things We Did
[3:07] 3. The Belle Of The Ball
[3:13] 4. Honey Bun
[3:34] 5. Why Was I Born
[3:06] 6. Poinciana
[4:12] 7. Like Someone In Love
[5:38] 8. Stars Fell On Alabama
[3:34] 9. You've Changed
[6:32] 10. Lee-Antics
[2:30] 11. It's So Peaceful In The Country
[3:05] 12. Aw C'mon Hoss
[4:23] 13. Stella By Starlight
[4:38] 14. Me 'n' Dave
[3:51] 15. It's Bad For Me
[5:13] 16. The End Of A Love Affair
[7:24] 17. Foderol
[3:32] 18. The Loop

Dick Johnson (as), Dave McKenna, Bill Havemann (p), Chuck Sagle, Dave Poskonka, Wilbur Ware (b), Philly Joe Jones, Bob McKee (d). Sessions recorded in Chicago, 1956 and in New York, 1957.

Dick Johnson, was the lead alto sax in Buddy Morrow’s orchestra when he made his recording debut as a leader. Buddy featured Johnson most notably in a jazz quartet unit within the band, which helped him develop a considerable personal following during the band’s frequent college concerts. Johnson also appeared at Newport’s Jazz Festival in 1957. As a soloist, he was striking, apt to plunge from Charlie Parker-like cascades of 16th bars notes into a swing-era style, reminiscent of a modern Jimmy Dorsey. Besides Parker, he also revealed nuances of Art Pepper, Lee Konitz, and Paul Desmond, all distilled into a personal style. This CD compiles for the first time on one set his first two quartet albums from 1956 and 1957, when he surged towards the top ranks of jazz altoists.

Music For Swinging Moderns

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Wardell Gray - Way Out Wardell

Bitrate: MP3@320K/s
Time: 41:24
Size: 94.8 MB
Styles: Bop, Swing, Saxophone jazz
Year: 2014
Art: Front

[ 6:08] 1. Blue Lou, Pt. 1
[10:26] 2. Sweet Georgia Brown
[ 3:00] 3. Tenderly
[10:22] 4. Just You, Just Me (Just Bop)
[11:25] 5. One O'clock Jump

This album was recorded live in Los Angeles in 1948, and finds the great Wardell Gray amidst some of the finest musicians of the time. In the late 1940s, the West Coast jazz scene introduced the big band jazz concert idea to the public. At this time in his short career, Gray was starting his ascent and would achieve lasting fame in tenor sax history. The recorded sound on the album is tinny, given that it was recorded in a hall, and the echo is distracting. However, the compact disc cleaned much of this up, and the dueling between the two tenors shines right through. Vido Musso, the other fine tenor here, was with Stan Kenton for a time. His punchy style plays off the smoother swing of Gray. There's also some strong, bright soloing by Howard McGhee, Ernie Royal, Barney Kessel, and Red Callender. The rhythm section swings hard throughout the session, and Gray knows how to ride the wave with a vengeance. He had that effortless tone of Lester Young, and was full with the fire of bop at the same time. His improvisation was prodigious, and he could translate a landslide of ideas through his horn. The genius Erroll Garner, then only 35, renders a fine solo version of "Tenderly." The compact disc version adds the bonus cut "Sweet Georgia Brown." This is what ignited jazz at the summit sounded like in concert in the late 1940s. Recommended. ~Mark Romano

Way Out Wardell

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Nat King Cole - The Nat King Cole Story (2-Disc Set)

This double CD finds Cole revisiting his earlier hits with new versions. The 36 selections mostly focus on his pop successes of the 1950s, although there are a few wistful looks back at his trio days. Not as essential as the original renditions of these popular recordings, the remakes nevertheless find Cole in peak form and comprise a highly enjoyable retrospective of his vocal career. ~Scott Yanow

Album: The Nat King Cole Story (Disc 1)
Bitrate: MP3@320K/s
Time: 54:51
Size: 125.6 MB
Styles: Vocal
Year: 1991

[2:35] 1. Straighten Up And Fly Right
[3:20] 2. Sweet Lorraine
[2:56] 3. It's Only A Paper Moon
[2:54] 4. Route 66
[3:02] 5. (I Love You) For Sentimental Reasons
[3:09] 6. The Christmas Song
[2:52] 7. Nature Boy
[3:44] 8. Lush Life
[3:22] 9. Calypso Blues
[3:25] 10. Mona Lisa
[2:34] 11. Orange Colored Sky
[3:23] 12. Too Young
[3:25] 13. Unforgettable
[3:00] 14. Somewhere Along The Way
[2:41] 15. Walkin' My Baby Back Home
[2:44] 16. Pretend
[3:03] 17. Blue Gardenia
[2:33] 18. I Am In Love

The Nat King Cole Story (Disc 1)

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Album: The Nat King Cole Story (Disc 2)
Bitrate: MP3@320K/s
Time: 48:30
Size: 111.0 MB
Styles: Vocal
Year: 1991
Art: Front

[2:54] 1. Answer Me, My Love
[2:52] 2. Smile
[2:48] 3. Darling, Je Vous Aime Beaucoup
[2:40] 4. The Sand And The Sea
[2:56] 5. If I May
[2:40] 6. A Blossom Fell
[2:24] 7. To The Ends Of The Earth
[2:48] 8. Night Lights
[2:40] 9. Ballerina
[3:12] 10. Stardust
[2:28] 11. Send For Me
[2:24] 12. St. Louis Blues
[2:24] 13. Looking Back
[3:06] 14. Non Dimenticar
[3:09] 15. Paradise
[1:54] 16. Oh Mary, Don't You Weep
[2:13] 17. Ay, Cosita Linda
[2:47] 18. Wild Is Love

The Nat King Cole Story (Disc 2)

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Dave Mason - Long Lost Friends: The Best Of Dave Mason

Bitrate: MP3@320K/s
Time: 71:58
Size: 164.7 MB
Styles: AOR Rock
Year: 1995
Art: Front

[3:14] 1. Baby... Please
[4:31] 2. Misty Morning Stranger
[3:02] 3. It's Like You Never Left
[3:21] 4. Show Me Some Affection
[3:01] 5. Every Woman
[2:55] 6. Bring It On Home To Me
[4:07] 7. You Can't Take It When You Go
[3:41] 8. Split Coconut
[3:05] 9. You Can Lose It
[4:27] 10. Long Lost Friend
[2:59] 11. We Just Disagree
[4:06] 12. So High (Rock Me Baby And Roll Me Away)
[3:16] 13. Let It Go, Let It Flow
[3:50] 14. Will You Sill Love Me Tomorrow
[3:01] 15. Don't It Make You Wonder
[3:36] 16. Save Me
[6:21] 17. Feelin' Alright
[4:20] 18. Only You Know And I Know
[4:56] 19. All Along The Watchtower

"The Best of Dave Mason at Columbia" would be a more accurate title, as this doesn't include work from his early-'70s LPs for Blue Thumb. The 19 tracks spotlight selections from seven albums that he recorded for Columbia. Including the hits "We Just Disagree," "Let It Go, Let It Flow," and "Will You Still Love Me Tomorrow," it charts his move from easygoing early-'70s FM rock to a more mainstream AOR pop sound. ~Richie Unterberger

Long Lost Friends: The Best Of Dave Mason

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George Masso & Dan Barrett - Let's Be Buddies

Bitrate: MP3@320K/s
Time: 71:23
Size: 163.4 MB
Styles: Dixieland, Trombone jazz
Year: 1993/2006
Art: Front

[5:48] 1. Get Out And Get Under The Moon
[6:18] 2. Am I Blue
[6:27] 3. My Melancholy Baby
[5:19] 4. Indian Summer
[6:12] 5. George's And Dan's Most Excellent Blues
[5:41] 6. Whispering Grass (Don't Tell The Trees)
[5:35] 7. Miss Annabelle Lee
[6:39] 8. Creole Love Call
[5:50] 9. When Lights Are Low
[3:49] 10. Constantly
[4:04] 11. How About Me
[3:46] 12. Linger In My Arms A Little Longer, Baby
[5:49] 13. Let's Be Buddies

George Masso (trombone, piano); Dan Barrett (vocals, cornet, trombone); Frank Vignola (guitar); Benny Aronov (piano); Joe Ascione (drums). Recording information: Skyline Studios, New York, NY (07/14/1993/07/15/1993).

George Masso: Born in Cranston, RI in 1926, jazz trombonist and pianist George Masso has excelled in just about every area of the music business: performer, composer, recording artist, arranger and educator. In 1945-46, he served as first trombonist and arranger for the 314th Army Special Services band in Europe, then spent a year on the road with Jimmy Dorsey. He later taught music in the Cranston public schools for eleven years and another eight at UConn. He returned to the road in the mid 1970s, touring internationally and/or recording with a host of musical giants including Benny Goodman, Bobby Hackett, The World’s Greatest Jazz Band of Yank Lawson & Bob Haggart, Woody Herman and George Shearing. Along the way, he has recorded more than a dozen albums as a leader and co-leader which are considered classics around the world and is also a classical composer and arranger of note with many published works and orchestral performances.

Dan Barrett: A major player in the small-group swing movement of the 1980s and '90s, Dan Barrett's trombone is equally at home in Dixieland and swing settings. He started on trombone in high school and played in California with the South Frisco Jazz Band and the Golden Eagle Jazz Band, two fine trad groups. At the urging of Howard Alden, Barrett moved to New York in 1983 where he worked with the Widespread Depression Orchestra, played at Eddie Condon's club, and in 1985 was with Benny Goodman's Orchestra. Barrett came to fame through his series of recordings (both as a leader and as a sideman) with Concord; among his many projects were co-leading a quintet with Howard Alden that was reminiscent of John Kirby's band of the 1940s, despite having very different instrumentation. Dan Barrett, who also played with Buck Clayton's big band, switched to the Arbors label in the 1990s where he became musical director and recorded frequently.

Let's Be Buddies 

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