Zoot Sims, Lambert Hendricks & Ross - Zoot Sims Meets Lambert, Hendricks & Ross (2-Disc Set)

Zoot Sims, Bill Perkins (ts), Russ Freeman (p), Freddie Green, Jim Hall, Billy Bean (g), Eddie Jones, Monty Budwig (b), Sonny Payne, Mel Lewis, Frank Capp (d), Dave Lambert, Jon Hendricks, Annie Ross (vcl).

Although Zoot Sims was born in Inglewood, in southwest downtown Los Angeles, he is always regarded as one of the great talents of the New York scene, to which he had moved in 1955, tired of the jazz they played on the West Coast and looking for fresh excitement. A follower of Lester Young, he became one of the most innovative tenor saxophonists of his generation. In March 1959 he went back to Los Angeles for a month. The first night, he was offered a spot in the Terry Gibbs band.

Highly regarded by the musicians, he was much in demand in clubs around the L.A. area. And, significantly, he also joined as a featured tenor soloist in two remarkable albums for the World Pacific Jazz Records label. The first was The Swingers!, by Lambert, Hendricks & Ross, who added vocals to famous instrumentals and had become the hottest singing group in the country. The second, A Gasser! featured the talented voice of Annie Ross, with Zoot booting her along, and swinging superbly in his own solos. During these sessions, Zoot and the rhythm sections which included Russ Freeman on piano, and guitarists Freddie Green, Jim Hall, and Billy Bean also recorded some instrumental sides that were issued on several LP compilations later on.

All the recordings from these two albums are gathered here for the first time in chronological order, including two tracks recorded after Zoot had returned to New York, on which he would be replaced by Bill Perkins. It had been a memorable visit, as these recordings amply prove.

Album: Zoot Sims Meets Lambert, Hendricks & Ross (Disc 1)
Bitrate: MP3@320K/s
Time: 41:23
Size: 94.8 MB
Styles: Saxophone jazz, Contemporary jazz vocals
Year: 2011

[3:27] 1. Little Niles
[2:01] 2. Jackie
[4:11] 3. Four
[5:05] 4. Swingin' Till The Girls Come Home
[2:54] 5. Where
[3:14] 6. Babe's Blues
[3:29] 7. Airegin
[2:56] 8. Now's The Time
[3:30] 9. Dark Cloud
[3:43] 10. Love Makes The World Go 'round
[6:48] 11. Clap Hands, Here Comes Charlie

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Album: Zoot Sims Meets Lambert, Hendricks & Ross (Disc 2)
Bitrate: MP3@320K/s
Time: 59:06
Size: 135.3 MB
Styles: Saxophone jazz, Contemporary jazz vocals
Year: 2011
Art: Front

[2:53] 1. Everything I've Got
[5:29] 2. I Didn't Know About You
[2:34] 3. I Was Doin' All Right
[3:51] 4. You Took Advantage Of Me
[5:59] 5. I Don't Want To Cry Any More
[5:38] 6. Brushes
[4:21] 7. Bones For Zoot
[2:12] 8. Lucky Day
[4:09] 9. Invitation To The Blues
[4:49] 10. You're Driving Me Crazy
[2:52] 11. Nobody's Baby
[4:24] 12. Choice Blues
[5:02] 13. You're Nearer
[4:46] 14. Lucky So And So


Zoot Sims Meets Lambert, Hendricks & Ross(Disc 1),(Disc 2)

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Frances Faye - Swingin' All The Way

Bitrate: MP3@320K/s
Time: 37:59
Size: 87.0 MB
Styles: Jazz vocals
Year: 1962/2013
Art: Front

[3:12] 1. Do Nothin' Till You Hear From Me
[3:40] 2. It's All Right With Me
[3:15] 3. Love For Sale
[3:13] 4. So In Love
[2:27] 5. Should I
[2:39] 6. Them Who Has Gets
[2:20] 7. There Will Never Be Another You
[2:27] 8. Miss Otis Regrets (She's Unable To Lunch Today)
[3:53] 9. Everything Hapens To Me
[3:53] 10. More Than You Know
[3:53] 11. That's All
[3:03] 12. Don't Worry 'bout Me

Alto Saxophone – Bud Shank; Arranged By – Marty Paich; Guitar – Al Hendrickson; Trumpet – Stu Williamson.

Fans of female vocalists of the '50s inevitably bemoan the lack of respect given to one of the true greats. Frances Faye, like Peggy Lee, was a dishy, somewhat off-kilter blonde who could scribble out a mean tune when the mood hit her. She was actually a recording presence in the decades prior, writing and co-writing songs that were recorded by herself and other artists such as the Andrews Sisters all through the late '30s and '40s. Faye started her professional career at 16, filling in for a local pianist on an amateur show when some misfortune befell him. She made her first stage appearance in Brooklyn two years later, and spent the next few years on the vaudeville and nightclub circuit, as an accompanist for singers. When one of these singers was canned by a nightclub owner right before the downbeat, Faye took over. An extensive career as a nightclub performer followed and, by 1934, her schedule had her working 11 months a year, much of that out on the road. In 1936, she had her first hit record, the thoughtful "No Regrets," in 1936. "Well, All Right" primed the jukeboxes across the nation after the Andrews Sisters cut the song. She made her last major recordings in 1964, but continued club gigs all the way into the '80s. Well into the 1970s, she was still headlining in New York, Los Angeles, Las Vegas, Chicago, Miami, as well as England and Australia. In 1977, Frances Faye played a wise-cracking madam in the French film director Louis Malle's controversial film Pretty Baby, which, in the words, of Faye, "opens with me in bed smoking an opium pipe with a wig half off my head." After a series of strokes, perhaps brought on by so much excitement, she died in the early '90s. It was only near the end of that decade that any of her previously out of print material began to see the light of day in reissue form. Bethlehem led the charge with Frances Faye Sings Folk Songs, which manages to be simultaneously marvelous and a completely misleading example of her style. Fans surely sang their own chorus of "Well, All Right" when the artist's two volumes of live recordings were repackaged on a single CD, entitled Frances Faye: Caught in the Act. Her career was one of the subjects of the interesting documentary film Chop Suey, directed by Bruce Weber. ~Excerpts from bio by Eugene Chadbourne

Swingin' All The Way

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Art Farmer - Central Avenue Reunion

Styles: Trumpet, Hard Bop
Year: 1989
File: MP3@320K/s
Time: 61:49
Size: 141,9 MB
Art: Front

(8:50)  1. Star Eyes
(7:17)  2. Farmer's Market
(7:04)  3. Embraceable You
(7:18)  4. Blue Minor
(9:15)  5. I Remember You
(5:59)  6. Don't Blame Me
(9:33)  7. Cool Struttin'
(6:30)  8. Donna Lee

Three of the five musicians on this quintet date (flügelhornist Art Farmer, altoist Frank Morgan, and pianist Lou Levy) had played on Central Avenue in Los Angeles of the late '40s. Not all of the eight songs that they perform with bassist Eric Von Essen and drummer Albert "Tootie" Heath are from the era ("Blue Minor" and "Cool Struttin'" were written by Sonny Clark several years later), but the outing is very much in the bop style of the period. Their live set is highlighted by spirited versions of "Star Eyes," "Farmer's Market," "I Remember You," and "Donna Lee." This CD is filled with high-quality bebop that is easily recommended to straight-ahead jazz fans. ~ Scott Yanow  http://www.allmusic.com/album/central-avenue-reunion-mw0000207356

Personnel: Art Farmer (trumpet, flugelhorn); Frank Morgan (alto saxophone); Lou Levy (piano); Eric Von Essen (acoustic bass); Albert "Tootie" Heath (drums).

Central Avenue Reunion

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Bobby Timmons - From The Bottom

Styles: Piano Jazz, Soul Jazz
Year: 1964
File: MP3@320K/s
Time: 33:08
Size: 76,0 MB
Art: Front

(4:59)  1. From The Bottom
(4:17)  2. Corcovado (Quiet Nights Of Quiet Stars)
(3:37)  3. Medley: You're Blase/Bewitched
(4:51)  4. If I Should Lose You
(3:20)  5. Samba Triste
(6:31)  6. Someone To Watch Over Me
(5:31)  7. Moanin'

The cover offers a hint: a silhouette of Bobby Timmons in all colors, but just a pinch of blue. No one can explain it, but the music Timmons wrote has always been more famous than the music he played. A father of soul-jazz, he was a sparkplug with Blakey and Cannonball, his times there magic. But here could do more, as he shows here. He turns wistful on ballads, highlights his partners (Sam Jones gets a lot of space) and even gives the vibes a charming go-round. There are many styles here, many flavors. And blues; there’s some of that too. We begin "From the Bottom". It’s nearly a duet; Jones is submerged in the fury of piano and drums. Jimmy Cobb is pure insistence; Timmons blisters it good, a line simply dripping with soul. (The note says the song’s here "to keep his soul franchise" it does that and more.) The keys go pouncing, and the cymbals float upward like smoke. The real deal, you bet.

The night grows calmer: Jones plucks high, while Cobb sets the samba with wonderful echo. Bobby starts "Corcovado" with ease, some notes more thought than played. He leaves, and Jones has another go at that riff. Now come the stars: Timmons, on vibes, has light touch and heavy vibrato. He makes it sound like a celeste, which is a wonderful choice: it sounds like pixie dust, scattered on an open field. Quiet, yet how it speaks! The piano medley goes solo, with two sides: the lush sophisticate on "You’re Blase", brittle rhythm on "Bewitched". It’s a deconstruction, with unexpected turns, tempo shifts then back to the lush "Blase". No one can hear this and say he can’t do ballads. And yet they did I am bothered (bewildered, too.)

"If I Should Lose You" scampers wild: hear Bobby rush and Jimmy match him blow for blow. There’s big voicing, bits of blues, frantic little patterns what doesn’t it have? "Samba Triste" takes gentle steps, then punctuated by loud chords – reminds me a bit of Wynton Kelly. A light effort, simple and charming. And "Someone" has another surprise: starting as a Big Ballad, the vibes come out. Brushes march on, the sustain rings forever; with less vibrato, Bobby sounds cool, his notes made of glass. The chords at the end do the trick, as does his note-rolling; this is no novelty. Timmons’ vibe skills are real, and I’m glad he had the opportunity to show them. This "Someone" is certainly worth watching.

This is the third time Bobby taped "Moanin’"; he premiered it with the Messengers, and a piano version appeared on This Here is Bobby Timmons. He returns to the organ, which he played in his uncle’s church; this sounds like a big model, with pipes. The sound is reedy, perhaps too thick on the theme but wonderfully spooky on the solo. Notes snake around, twist around corners, all before a big beat  thrilling. Jones gets practically his only solo (he has a short turn on "Bottom"), and swoops low as the organ goes spectral. A different sound, and your ears should get acquainted. Same with this album; if you need proof Timmons is more than soul, here ‘tis. ~ AAJ Staff  http://www.allaboutjazz.com/from-the-bottom-bobby-timmons-fantasy-jazz-review-by-aaj-staff.php

Personnel:  Bobby Timmons (piano, organ, vibes); Sam Jones (bass); Jimmy Cobb (drums).

From The Bottom

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Jeff Lorber And Chuck Loeb - BOP

Styles: Jazz Fusion
Year: 2015
File: MP3@320K/s
Time: 49:23
Size: 114,1 MB
Art: Front

(3:32)  1. Straight No Chaser
(7:38)  2. A Night In Tunisia
(4:32)  3. Donna Lee
(6:22)  4. Round Midnight
(6:09)  5. St. Thomas
(6:11)  6. Confirmation
(5:28)  7. Now's the Time
(5:48)  8. All the Things You Are
(3:39)  9. Giant Steps

It’s an all-star cast, although it falls under the heading of two leaders: Jeff Lorber and Chuck Loeb. Bop (2015) is the junction of vintage jazz, a popular festival and charity. The core group consists of Lorber, Rhodes; Loeb, guitar; Everette Harp, tenor saxophone; Harvey Mason, drums; Brian Bromberg, bass; Rick Braun, trumpet and flugelhorn; and Till Broenner, trumpet. Special guests appear on selected tracks.

The ensemble goes for the jugular on the opening track, a thrilling arrangement of Thelonius Monk’s “Straight No Chaser.” After the horns bring us into the mood of the piece, Loeb takes off on a jaunt worthy of Wes Montgomery. Braun and Bronner take their turns and engage in a brief call-and-response sequence, followed by Lorber. The track ends with Braun’s signature throaty wail.  Monk’s “’Round Midnight” is also on the playlist. Eric Marienthal steps in for “Confirmation,” playing the alto saxophone. It’s one of two Charlie Parker compositions to make the session.

The other is “Now’s the Time,” a sassy, swinging tune. The horns and guitar blend beautiful on the opening. After that sequence, Loeb stretches out, his fingers deftly hopping among the strings. Harp goes old school on the tenor, Lorber puts his mark on the track as well. The finale, “Giant Steps,” brings in John Patitucci, bass; Brian Dunne, drums; and Randy Brecker, trumpet. Most of the musicians on Bop are normally associated with smooth jazz or some variant: R&B, pop instrumental, etc. To hear them play straight jazz is a treat. Lorber says it grew out of a tradition over the last six years to dedicate one night of the Berks Jazz Festival to bop, music that was popular in the late 1940s and 1950s. Over the years, Lorber and Loeb discussed using this music to raise awareness and funds for polycystic kidney disease, or PKD. It’s an ailment that has affected Lorber and his family. The musicians donated their time and resources to the project.  http://www.smooth-jazz.de/Woodrow/Lorber/Bop.htm

BOP

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David 'Fathead' Newman - Blue Head

Bitrate: MP3@320K/s
Time: 73:27
Size: 168.1 MB
Styles: Soul-jazz, Saxophone jazz
Year: 1990/2008
Art: Front

[11:09] 1. Strike Up The Band
[14:10] 2. Blue Head
[12:58] 3. Willow Weep For Me
[12:04] 4. Blues For David
[11:48] 5. What's New
[11:15] 6. Eye Witness Blues

The distinctive tenors David Newman and Clifford Jordan make for a potent team on this live jam session set which finds Jordan sitting in with Newman's quartet (which includes guitarist Ted Dunbar, pianist Buddy Montgomery, bassist Todd Coolman and drummer Marvin "Smitty" Smith). The six performances each clock in between 11 and 15 minutes with plenty of stretching out for the two veteran saxophonists, guitarist Dunbar and pianist Montgomery. "Fathead" mostly alternates between tenor and alto while Jordan switches to his rarely heard soprano on "Blues For David." The good-natured tenor tradeoffs on "Strike Up The Band" are in the tradition of Sonny Stitt and Gene Ammons, Newman's "Blue Head" is strongly reminiscent of "Goodbye Pork Pie Hat" and his alto playing on a medium-tempo "Willow Weep For Me" takes solo honors. Of the other cuts, "What's New" is a tasteful feature for Dunbar's guitar and Jordan's "Eyewitness Blues" wraps up the fine performance with a 32-bar romp. Easily recommended to straightahead jazz fans. ~Scott Yanow

Blue Head

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Kai Hoffman - Do It While You Can

Bitrate: MP3@320K/s
Time: 43:50
Size: 100.3 MB
Styles: Swing
Year: 2013
Art: Front

[3:22] 1. Some Boys
[3:22] 2. History Repeating
[3:58] 3. Pure Imagination
[5:00] 4. Do It While You Can
[4:30] 5. Long Daddy Green
[2:57] 6. I've Never Met A Guy Who's Perfect
[3:24] 7. Make Someone Happy
[2:32] 8. Sweet Georgia Brown
[3:53] 9. People Will Say We're In Love
[3:37] 10. Time In A Bottle
[3:09] 11. What A Little Moonlight Can Do
[4:00] 12. The Masquerade Is Over

Kai Hoffman: vocals, French horn (3, 4, 9); Gunther Kurmayr: piano; Geoff Gascoyne: double bass; Sebastiaan De Krom: drums; Gavin Broom: trumpet (4); Derek Nash: saxophone (4).

The visual image, the cover design and the positivity of the album title—Do It While You Can—all point in the general direction of a Good Time about to be had. Singer (and French horn player) Kai Hoffman ensures that a good time is exactly what's on offer, crafting a set of songs that makes the most of her personality, her slightly tongue-in-cheek naughtiness and her effortless joie-de-vivre.

Hoffman, an American now resident in the UK, has previously recorded with Ray Gelato's Giants and the well-established Kai's Cats but this is her debut album with her quartet, which she formed in 2012. Hoffman's fellow musicians are top notch—pianist Gunther Kurmayr (Gelato's Giants), double bassist Geoff Gascoyne (Jamie Cullum, Gregory Porter) and drummer Sebastiaan De Krom (Kurt Elling, Cullum) know exactly how to groove and precisely how to bring out the best in a vocalist. The Giants and the Cats concentrate on swing, Louis Jordan being an obvious reference point: Hoffman's quartet takes a wider view of the scene, drawing American Songbook classics and '70s soft rock into its repertoire. The accent is still very much on upbeat, danceable, songs, though there's also space for ballads and romance.

The rolling, New Orleans opening bars of Fran Landesman and Simon Wallace's "Some Boys" seem to herald a vocal from Dr John, but it's Hoffman who enters, singing one of Landesman's more risqué lyrics with a knowing wink. Alex Gifford's "History Repeating" was originally sung, with the Propellerheads, by diva par excellence Dame Shirley Bassey: the band lays down a driving groove akin to Charles Mingus' "Boogie Stop Shuffle" as Hoffman matches Bassey's punchiness and over-the-top glamor. "Do It While You Can," written by Hoffman and Simon Whiteside, gets added sparkle courtesy of trumpeter Gavin Broom, saxophonist Derek Nash and Hoffman's own French horn. Hoffman can also deliver a ballad, as she proves on a seductive version of "Pure Imagination" that seems to promise a different kind of pleasure from the one Willy Wonka was offering. Hoffman adds French horn to this song as well, the instrument's soft tone contrasting well with Kurmayr's bright piano flourishes. Jim Croce's "Time In A Bottle" isn't so suited to Hoffman's style—without Croce's own earthy vocal his soft rock hit becomes a little bland, although Gascoyne's bass solo is beautifully judged. Jazz forgets, all too often, the virtues of the entertaining and the joyful. Hoffman doesn't. Do It While You Can is a joyful 45 minutes, an album on which Hoffman and her band combine swing and soul, set out to entertain, and succeed admirably. ~Bruce Lindsay

Do It While You Can

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The Denny Moss Quartet - Weaver Of Dreams

Bitrate: MP3@320K/s
Time: 71:16
Size: 163.1 MB
Styles: Mainstream jazz, Saxophone jazz
Year: 1994
Art: Front

[5:16] 1. 9:20 Special
[5:23] 2. This Heart Of Mine
[5:01] 3. Then I'll Be Tired Of You
[4:40] 4. Do Nothin' Till You Hear From Me
[4:23] 5. Smoke Gets In Your Eyes
[5:33] 6. A Gal In Calico
[5:03] 7. In A Mellow Tone
[6:00] 8. My Romance
[4:09] 9. Fine And Dandy
[4:42] 10. Weaver Of Dreams
[6:06] 11. I'm Glad There Is You
[3:31] 12. Poor Butterfly
[6:09] 13. There's No You
[5:15] 14. Blue Lou

An excellent English tenor saxophonist, Danny Moss had a rare opportunity to record as a leader for the Nagel-Heyer label during late 1994, in what was his 50th year as a professional musician. Accompanied by pianist Brian Lemon, bassist Len Skeat, and drummer Butch Miles, Moss digs into 14 standards, alternating stomps with ballads. He is a fine player who, due to being based in Europe, tends to get overlooked in the U.S. when one discusses top swing stylists of the 1990s. Moss' quartet outing is easily recommended to fans of straight-ahead mainstream jazz. ~Scott Yanow

Weaver Of Dreams

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Boz Scaggs - Speak Low

Bitrate: MP3@320K/s
Time: 52:19
Size: 119.8 MB
Styles: Adult Contemporary
Year: 2008
Art: Front

[5:25] 1. Invitation
[3:51] 2. She Was Too Good To Me
[5:23] 3. I Wish I Knew
[3:43] 4. Speak Low
[4:03] 5. Do Nothing Till You Hear From Me
[4:03] 6. I'll Remember April
[5:14] 7. Save Your Love For Me
[5:33] 8. Ballad Of The Sad Young Men
[4:01] 9. Skylark
[3:26] 10. Senza Fine
[3:51] 11. Dindi
[3:39] 12. This Time The Dream's On Me

Singer/songwriter Boz Scaggs enjoyed considerable solo success in the 1970's with several Top 20 Hits including "Lowdown" and "Lido Shuffle" along with the top selling Silk Degrees album. Scaggs spent much of the 1980's in retirement, owning and operating the San Francisco nightclub Slim's and limiting his performances primarily to the club's annual black-tie New Year's Eve concerts. SPEAK LOW his 17th studio Album is the follow-up to 2003's BUT BEAUTIFUL. Songs on the album include Chet Baker's "She Was Too Good to Be True," Johnny Mercer's "This Time the Dream's on Me," the often recorded "I Wish I Knew How It Would Feel to Be Free" and the Kurt Weill/Ogden Nash title track.

Speak Low

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The Good Fellas - Kings Of Rockin' Swing: 20th Anniversary

Bitrate: MP3@320K/s
Time: 55:28
Size: 127.0 MB
Styles: Swing, Rock n Roll
Year: 2013
Art: Front

[3:48] 1. Kings Of Rockin' Swing
[4:01] 2. Loveless Love
[2:32] 3. The Whole World Loves Italians
[3:22] 4. Barnyard Boogie
[1:56] 5. Buzz Saw
[3:29] 6. You!
[2:51] 7. Ain't That Just Like A Woman
[2:47] 8. The Boogie Woogie Woman
[3:05] 9. My Girl
[2:31] 10. Stop Beatin' Around The Mulberry Bush
[2:42] 11. South Of The Border
[3:41] 12. The Cat's Dance
[4:03] 13. Reckless Child
[3:21] 14. Come Fly With Me
[3:34] 15. Gunning For The Dog
[2:51] 16. Tiber Twist
[2:39] 17. Non Occupatemi Il Telefono
[2:07] 18. Oh Mama Twist

The Good Fellas are top Italian forties and fifties band, performing what they call "ROCKIN' SWING MUSIC". Celebrating their 20th anniversary in 2013 with this record, containing 18 tracks of which 6 self penned. A mix of swing, rock'n'roll, twist, instrumental, played with an italian flavour and a classic Las Vegas style. Check out the website www.goodfellasitaly.com and the facebook page: The Good Fellas, Italy.

Kings Of Rockin' Swing: 20th Anniversary

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Bobby Hutcherson - Oblique

Bitrate: MP3@320K/s
Time: 40:47
Size: 93.4 MB
Styles: Post bop, Vibraphone jazz
Year: 1967/2005
Art: Front

[4:41] 1. 'til Then
[7:07] 2. My Joy
[8:09] 3. Main Title From Blow-Up
[8:30] 4. Subtle Neptune
[7:16] 5. Oblique
[5:01] 6. Bi-Sectional

Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings, Oblique is often more complex in its post-bop style and more emotionally direct (despite what the title may suggest). The latter is especially true on the two opening Hutcherson pieces, the sweetly lilting "'Til Then" and the innocent, childlike theme of "My Joy," which is reminiscent of "Little B's Poem" (save for its multi-sectioned structure). Meanwhile, Chambers' experiments with counterpoint in the context of group improvisation keep getting more evocative. The title cut is quick and driving, with lots of short, fleeting exchanges between Hutcherson and a surprisingly swinging Hancock; "Bi-Sectional" makes playful use of chromaticism in its first part, after which Hutcherson and Chambers switch between several different percussion instruments for what amounts to an artillery attack. As for the other pieces, Hutcherson's "Subtle Neptune" fuses post-bop with Brazilian rhythms, and Hancock's "Theme From 'Blow Up'" is a spare modal melody over a repeated chordal vamp, somewhat reminiscent of his classic "Maiden Voyage." All the performances are spirited enough to make the sophisticated music sound winning and accessible as well, which means that Oblique is one of the better entries in Hutcherson's Blue Note discography and one worth tracking down. ~Steve Huey

Oblique

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Marlene Verplanck - Meets Saxomania In Paris

Size: 130,7 MB
Time: 55:35
File: MP3 @ 320K/s
Released: 1994
Styles: Jazz Vocals
Art: Front

01. You Turned The Tables On Me (3:43)
02. El Cajon (4:02)
03. Left Bank Blues (3:47)
04. Rain Sometimes (2:57)
05. Close Your Eyes (3:25)
06. Sooner Or Later (2:53)
07. I Got The Sun In The Morning (3:10)
08. Here's To Life (4:13)
09. Speak Low (2:34)
10. Namely You (3:07)
11. Medley What's The Rush - Five Brothers (6:00)
12. Something To Live For (3:35)
13. Everything But You (4:22)
14. I Ain't Got Nothin' But The Blues (4:42)
15. I'm Just A Lucky So And So (2:58)

Marlene Ver Planck possesses one of the world's great voices; every note she hits is perfectly in tune. Despite this talent, she is a subtle improviser who goes out of her way to bring out the beauty of the lyrics she interprets. Occasionally she will throw in a high note (as if to remind listeners of her wide range), but it is all in the service of uplifting the song. Her husband/arranger, Billy Ver Planck, wrote colorful charts on this CD for the French seven-piece, four-reed unit called Saxomania to accompany her. He left plenty of room for solos and gave the ensembles the feel of a big band despite the absence of any brass instruments. Marlene Ver Planck is in peak form, and even if a few of the newer songs ("Sooner or Later" from the Dick Tracy film and the overrated "Here's to Life") are not worthy of her, she is particularly delightful on "You Turned the Tables on Me," "Close Your Eyes," "Speak Low," and a quartet of Ellington and Strayhorn tunes. ~Scott Yanow

Meets Saxomania In Paris

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Pat Halcox - Remembering Pat Halcox

Size: 184,1+174,5 MB
Time: 78:55+75:14
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

CD 1:
01. New Orelans Hop Scop Blues (2:56)
02. Who's Sorry Now (2:45)
03. I Love My Baby (2:18)
04. Old Stackolee (3:23)
05. Blue Turning Grey Over You (3:45)
06. The Mountains Of Mourne (3:33)
07. Do Right Baby (5:43)
08. Shine (2:40)
09. Georgia On My Mind (9:07)
10. Rent Party Blues (6:38)
11. Somewhere Over The Rainbow (4:24)
12. Buddy Bolden's Blues (4:37)
13. Some Of These Days (Version 1) (7:23)
14. Blues On Trumpet (3:49)
15. Oh Baby (6:45)
16. Working Man Blues (5:24)
17. Isle Of Capri (3:36)

CD 2:
01. Give Me Your Telephone Number (4:39)
02. Wabash Blues (9:35)
03. Rosetta (6:57)
04. Confessin' (7:00)
05. Tin Roof Blues (8:07)
06. I Found A New Baby (6:03)
07. Undecided (8:01)
08. Blues For Humph (8:34)
09. Blue Orchid (6:14)
10. Apple Honey (6:23)
11. I Let A Song Go Out Of My Heart (3:37)

Pat Halcox was the trumpet player in Chris Barber's band for 54 years. That alone produced the longest serving partnership in Jazz anywhere in the world. A self-effacing man whose playing was described as "fiery, creative and with an impressive range". Quite simply he was one of the finest Jazz trumpeters the UK has ever produced.

The first CD in this double CD collection takes a few tracks from each decade with Chris Barber's band. Making appearances are Ottilie Patterson, Lonnie Donegan, Kenny Ball and Alex Welsh.

The second CD has tracks of Pat with other musicians and bands including leading American pianists Art Hodes and Don Ewell. There are also tracks by Pat's own All Stars. All the tracks are previously unreleased.

Remembering Pat Halcox CD 1
Remembering Pat Halcox CD 2

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Matthieu Bore - Doo-Wop

Size: 95,8 MB
Time: 41:06
File: MP3 @ 320K/s
Released: 2003
Styles: Pop Rock
Art: Front

01. Three Cool Cats (3:04)
02. I Gotta Know (2:42)
03. I Don't Deny It (2:28)
04. Sh-Boom (2:46)
05. Bad Boy (3:03)
06. Blue Moon (3:05)
07. Come Go With Me (2:36)
08. Sentimental Journey (3:32)
09. Teddy Bear (1:51)
10. By My Side (2:33)
11. Love Me Tender (3:54)
12. Singing The Blues (2:29)
13. Stuck On You (3:59)
14. A Little Talk With Thee (2:57)

French pianist, jazz vocalist and songwriter Matthieu Boré grew up surrounded by music and the arts, going as far back as an opera singing great grand-father. At age 7, Boré took his first piano lessons, and sang in various punk and trip hop outfits during the 1990s, before pursuing his love of vintage jazz music. In early 2000, the young pianist started playing the Parisian jazz club circuit and a year later, released an entire album of Fats Domino covers. In keeping with his fascination for 1950s R&B and R&B music, he issued Doo Wop (2003) and Sometimes on My Own (2007), the latter inspired by his idols Irvin Berlin, Hoagy Carmichael and Gershwin. 2009 saw the release of FriZZante!, an album featuring a mixture of covers and Boré originals, with full orchestra.

Doo-Wop

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Jim Viner's Incredible B3 Band - Comango!

Size: 60,9 MB
Time: 25:32
File: MP3 @ 320K/s
Released: 2015
Styles: Soul Jazz, R&B
Art: Front

01. Comango! (2:11)
02. Forty Twenty (1:42)
03. Saint-Paul (2:46)
04. El Kabong (1:47)
05. Chicken Tickin' (2:43)
06. Borracho No-No (2:24)
07. Jabo's Time (2:57)
08. Cutlass Supreme (2:38)
09. Smokey Johnson (1:59)
10. Azucar Blanco (2:23)
11. California Don (1:57)

In the spirit of the Meters and Booker T and the MG’s comes COMANGO!, the debut long-player from Jim Viner’s Incredible B3 Band. Comprising veterans of session work and touring acts, the B3 Band trades in the sonics of mid-’60s Memphis, offering here 11 delightful numbers that fill the gap between the dance-floor mover “Chicken Tickin” and the lovely, delicate jazz-fest homage “Saint-Paul.”

Drummer/composer Jim Viner is fronting his own outfit for the first time. A member of The Diplomats of Solid Sound, Brother Trucker, High and Lonesome and Head Candy, Jim has played on stage and in the studio with such artists as Andre Williams, Pieta Brown and Kevin Gordon. His compositions and playing can be heard on myriad film and television soundtracks, including Lionsgate’s “Madea’s Big Happy Family” and Showtime’s hit series “Weeds.” Taking the melodic leads are Hammond B-3 players Nate Basinger and Radoslav Lorkovic, who enjoy empathetic backing by guitarists Mike Fitzpatrick and Doug Roberson, saxophonist Eddie McKinley and percussionist Paul Cunliffe.

Personnel:
Jim Viner: Drums
Nate Basinger: Hammond Organ
Radoslav Lorkovic: Hammond Organ
Doug Roberson: Guitar
Mike Fitzpatrick: Guitar
Eddie McKinley: Saxophone
Paul Cunliffe: Percussion
Pete Whitfield: Strings

Comango!

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Charles Aznavour - Aznavour Live: Palais Des Sports 2015

Size: 182,4 MB
Time: 78:32
File: MP3 @ 320K/s
Released: 2015
Styles: Chanson
Art: Front

01. Les Emigrants (Live) (3:55)
02. Paris Au Mois D’aout (Live) (3:27)
03. A Ma Femme (Live) (4:40)
04. Vous Et Tu (Live) (3:46)
05. Mourir D'aimer (Live) (3:27)
06. Je Voyage (Live) (4:22)
07. Sa Jeunesse (Live) (4:17)
08. Ils Sont Tombes (Live) (4:09)
09. Je Bois (Live) (3:21)
10. Avec Un Brin De Nostalgie (Live) (3:00)
11. Mes Emmerdes (Live) (3:09)
12. Il Faut Savoir (Live) (3:37)
13. Desormais (Live) (2:51)
14. Hier Encore (Live) (3:12)
15. Les Plaisirs Demodes (Live) (4:18)
16. Comme Ils Disent (Live) (4:27)
17. Les Deux Guitares (Live) (3:52)
18. La Boheme (Live) (4:09)
19. Je M'voyais Deja (Live) (4:34)
20. Emmenez-Moi (Live) (5:47)

Charles Aznavour has recently made a comeback on the Parisian scene: 6 Sports Palace sold out after a world tour that took him to the biggest cities in Europe, North America, Russia and of course Yerevan, Armenia.

Tireless, Aznavour has released a new album "Encores" during a "pause" after this memorable tour. Proving once again that the desire to sing has no age, he offered the public a new collection of songs, all performed by Marc Di Domenico.

It is therefore very natural that it is now at the helm of this live, both in the realization of its audio version of the film picked up at the Sports Palace in September.

Always with great honesty and emotion, Di Domenico restores the truth of Aznavour, artist both phenomenal and unfathomable, free and determined, detours of a selection of his greatest songs, his greatest victorie

Aznavour Live

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Ellyn Rucker & Spike Robinson - Nice Work!

Styles: Vocal, Piano and Saxophone Jazz

Year: 1995

File: MP3@320K/s

Time: 58:47

Size: 135,0 MB

Art: Front

(3:27)  1. El Cajon

(8:16)  2. Ev'rything I Love

(7:39)  3. Lover Man

(5:15)  4. Nobody Else But Me

(6:14)  5. I Won't Believe My Eyes

(7:13)  6. Easy To Love

(4:43)  7. You Took Advantage Of Me

(5:20)  8. Gravy Waltz

(3:51)  9. As Long As I Live

(5:06) 10. I Fall In Love Too Easily

(1:37) 11. Nice Work If You Can Get It

Although she shares the billing on this session with tenor saxophonist Spike Robinson, this is very much an Ellyn Rucker album. A bop-based pianist so talented that she really does not have to sing, and a highly appealing jazz vocalist who would be quite notable if she did not play an instrument, Ellyn Rucker has long deserved to be famous in the jazz world. Based in Denver, Rucker combines her two skills at a level that has not been heard since Nat King Cole; when she accompanies her vocals, the piano playing is so stimulating that one would swear that there were two people involved. Spike Robinson, one of the last practitioners of the Four Brothers cool-toned Lester Young sound, is in excellent form and has swinging solos on most of the 11 standards. But it is for the playing and singing of Ellyn Rucker (heard at her best on such songs as "El Cajon," "Nobody Else but Me," "You Took Advantage of Me," and "As Long as I Live") that this CD (released in 1995 and also featuring the late bassist Monty Budwig and drummer Ralph Penland) is most highly recommended. ~ Scott Yanow  http://www.allmusic.com/album/nice-work!-mw0000434983

Personnel: Spike Robinson (tenor saxophone); Ellyn Rucker (vocals, piano); Ralph Penland (drums).

Nice Work!

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The Art Farmer Quintet - Blame It on My Youth

Styles: Jazz, Mainstream Jazz

Year: 1988

File: MP3@320K/s

Time: 47:34

Size: 109,2 MB

Art: Front

(7:09)  1. Blame It on My Youth

(9:53)  2. Fairytale Countryside

(6:03)  3. The Smile of The Snake

(8:21)  4. Third Avenue

(6:21)  5. Summer Serenade

(4:35)  6. Progress Report

(5:09)  7. I'll Be Around

This is one of the better Art Farmer recordings of the 1980s, which is saying a great deal, for the flugelhornist is among the most consistent of all jazz musicians. The two ballads that open and close this set ("Blame It on My Youth" and "I'll Be Around") give Farmer an opportunity to display his warm and attractive sound (with fine support from pianist James Williams, bassist Rufus Reid and drummer Victor Lewis), while the other five pieces (Benny Carter's "Summer Serenade" and more obscure material) add the great tenor saxophonist (and so-so soprano player) Clifford Jordan to the group. It's an enjoyable and very successful outing. ~ Scott Yanow  http://www.allmusic.com/album/blame-it-on-my-youth-mw0000198252

Personnel: Art Farmer (flugelhorn); Clifford Jordan (tenor, soprano saxophone, tenor saxophone); Jack Williams, James Williams (piano); Rufus Reid (acoustic bass); Victor Lewis (drums).

Blame It on My Youth

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Gail Jhonson - New Beginnings

Styles: Piano Jazz, Smooth Jazz
Year: 2015
File: MP3@320K/s
Time: 47:21
Size: 110,6 MB
Art: Front

(4:10)  1. New Beginnings
(4:08)  2. Uptown Philly
(4:12)  3. Soulful Strut
(4:33)  4. To Tamina
(3:38)  5. Here We Go Again
(4:40)  6. Gail's Groove
(4:20)  7. Magical Mystery
(4:45)  8. Hands Up
(4:33)  9. Vibe
(4:18) 10. And I Love Her
(3:58) 11. Mr. Calloway

Philadelphia native Gail Jhonson is the heart of the all star female ensemble, Jazz in Pink, and produced their debut CD, 1st Collection in 2014. She started her solo career with the album Keep The Music Playing (2004), followed by Pearls (2008) on nuGroove Records, HerStory on 111 East Music (2011) and this year New Beginnings on Philly the Kid Records. After the loss of her son, her daughter off to Berklee College of Music, an unexpected surgery the recordings of her new album were like a deeply liberating breath. Gail is supported by prolific musicians like multi­instrumentalist Hamilton Hardin, saxophonists  Marion Meadows and Mike Parlett, bassist Jimmy Haslip and many more. The album introduces into Gail's new creation with the title song. Tailored to win, this elegant tune is the ideal platform for Gail's keyboard talent extraordinaire. Uptown Philly is the first single of the album and Gail's tribute to her birth town. She touches our ears easily and fluffy with her divine style.

Soulful Strut is certainly the secret hymn of smooth jazz. Covered by a legion of musicians like George Benson (1977), Nick Colionne (1994), Grover Washington Jr. (1996), Paul Jackson Jr. (1996) or Rocco Ventrella (2006) the song hasn't lost its magic in Gail's hands. To Tamina is dedicated to Gail's lovely daughter Tamina, who is meanwhile 21 years old. The mellow peaceful ballad Here We Go Again is really soothing to the soul. This catchy song showcases Gail's vocal talent. Gail's Groove is tagged as tribute to Lonnie Liston Smith, the legendary funk, soul and jazz musician. Gail discreetly incorporates jazz elements into her piano playing. Magical Mystery takes us on a journey into the land of dreams with gentle sounds of vocals, sax and piano. The funky Hands Up is a critical contribution to the current tense situation of police violence.

Bassist Jimmy Haslip is shining on Vibe with the well­intoned sound of his fretless bass. Most of the elders will know the song by the Beatles And I Love Her, written mainly by Paul McCartney. Falsetto singer Rob MacDonald and pianist Jhonson have filtered out of this simple song its substantial essence and rebuilt it to a meaningful love ballad full of emotions. Mr. Calloway is inspired by Cabell "Cab" Calloway III, the late American jazz singer and bandleader. Best known by his appearance and his song Minnie the Moocher in the movie Blues Brothers. Gail comments: “If Big Band music would be Pop music now....it might sound like this! I like all the instruments and I see dancers swingin' away!!? Now imagine Fred Astaire dancing to funk music and you can follow her idea! With New Beginnings we experience Gail Jhonson 2.0. Composer and keyboardist in the best form of her life. http://www.smooth-jazz.de/firstview/Jhonson/NewBeginnings.htm

New Beginnings

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The World's Greatest JazzBand Of Yank Lawson & Bob Haggart - What's New

Bitrate: MP3@320K/s
Time: 40:06
Size: 91.8 MB
Styles: Dixieland
Year: 1970/2007
Art: Front

[4:37] 1. Bourbon Street Parade
[3:17] 2. Smile
[2:58] 3. The Eel
[3:28] 4. What's New
[3:17] 5. Mercy, Mercy, Mercy
[3:24] 6. Root Dog
[3:51] 7. Walk Him Up The Stairs
[3:19] 8. Girl On The Beach
[4:25] 9. Dogtown Blues
[4:09] 10. Doodle Doo Doo
[3:17] 11. My Inspiration

This is one of the World's Greatest Jazz Band's better studio albums. The repertoire has standbys ("Bourbon Street Parade," "The Eel" and "What's New"), "Mercy Mercy Mercy" and some newer and lesser-known material. The all-star lineup (trumpeters Yank Lawson and Billy Butterfield, trombonists Vic Dickenson and Eddie Hubble, tenor saxophonist Bud Freeman, Bob Wilber on clarinet and soprano, pianist Ralph Sutton, bassist Bob Haggart and drummer Gus Johnson) is particularly strong and most of the players get features. Best are a Lawson-Haggart duet on "Smile," Freeman's "The Eel" and Butterfield's warm sound and lyrical style on "What's New." ~Scott Yanow

What's New

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