Donald Byrd - The Cat Walk

Bitrate: MP3@320K/s
Time: 40:21
Size: 92.4 MB
Styles: Bop, Trumpet jazz
Year: 1961/2007
Art: Front

[7:18] 1. Say You're Mine
[7:00] 2. Duke's Mixture
[5:34] 3. Each Time I Think Of You
[6:40] 4. The Cat Walk
[6:16] 5. Cute
[7:30] 6. Hello Bright Sunflower

Trumpeter Donald Byrd and baritone saxophonist Pepper Adams worked together on several recordings between 1958 and 1961, and The Cat Walk (released on LP in 1962) is among the best. A quintet setting, with pianist Duke Pearson (another longtime Byrd collaborator), bassist Laymon Jackson, and a lively Philly Joe Jones on drums joining the front line of Byrd and Adams, the sessions for The Cat Walk benefited from the writing and arrangement skills of Pearson, who contributes three compositions here, the impressive opener "Say You're Mine," "Duke's Mixture," and "Hello Bright Sunflower," which borrows its melodic structure from the opening bars of "Lullaby of Broadway" and features Byrd using a muted trumpet. Byrd contributed the title track, which attempts to capture the coiled, taut, but somehow still relaxed and assured gait of a tomcat, thanks in no small part to Jones' inspired drumming which hits the mark with stops and turns and smooth run-outs that are indeed very feline in nature. Byrd's playing throughout is typically sleek and lyrical, and Adams' sturdy, husky baritone sound is the perfect counterbalance, making The Cat Walk an essential Byrd purchase. ~Steve Leggett

The Cat Walk

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Jill Barber - Jill Barber Sings The Standards EP

Bitrate: MP3@320K/s

Time: 14:14

Size: 32.6 MB

Styles: Vocal

Year: 2015

Art: Front

[3:58] 1. Ev'ry Time We Say Goodbye

[3:44] 2. A Kiss To Build A Dream On

[2:41] 3. Lullaby Of Birdland

[3:50] 4. Sukiyaki

2 time Juno Award nominee Jill Barber, is one of Canada’s brightest stars – selling out theatres coast to coast and headlining the country’s most prestigious festivals. Her albums have sold over 100,000 copies and her album Mischievous Moon spent 13 straight weeks at #1 on the Canadian Jazz Charts and debuted at #12 on the US Billboard Jazz charts. Her song “Chances” was also featured on the soundtrack for the hit series “Orange is the New Black.” She has fans in Josh Ritter, Kathleen Edwards, Kris Kristofferson (who hails Jill as a “real songwriter, a damn good songwriter”) and collaborator Ron Sexsmith.

Having earned over twenty award nominations and with two top-selling albums in English, in 2013 Jill released the french language album “Chansons,” after a celebrated performance at the prestigious Montreal Jazz Festival where she sang (for the first time ever) a French translation of one of her songs, “Tous Mes Rêves” (“All My Dreams”). Chansons has firmly established Jill as an artist to watch in both French and English.

Jill Barber Sings the Standards

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Stan Getz - The Complete Roost Recordings (3-Disc BoxSet)

The Complete Roost Recordings is a three-disc, 59-track box set that contains all of the recordings Stan Getz made for the Roost record label in the '50s. The set includes all of his officially released sessions- including the date led by guitarist Johnny Smith, the live performances with Count Basie, and a full disc of live performances with his quintet - as well as many unreleased and alternate takes. Roost was the first label Getz recorded for as a leader, and what's surprising about these sessions is how mature he sounds here. He had already arrived at his full, rich tone and was able to improvise with skill and grace. That's what makes this box set so rewarding -- it's not only historically important, but it offers a wealth of excellent music. ~Leo Stanley

Album: The Complete Roost Recordings (Disc 1)

Bitrate: MP3@320K/s

Time: 66:43

Size: 152.8 MB

Styles: Saxohone jazz

Year: 1997

[2:42] 1. On The Alamo (Alt Take)

[2:43] 2. On The Alamo

[2:53] 3. Gone With The Wind

[2:45] 4. Yesterdays

[2:28] 5. Sweetie Pie

[2:58] 6. You Go To My Head

[2:34] 7. Hershey Bar

[2:07] 8. Tootsie Roll

[2:28] 9. Strike Up The Band

[2:31] 10. Imagination (Alt Take)

[2:21] 11. Imagination

[2:48] 12. For Stompers Only

[2:41] 13. Navy Blue (Alt Take)

[2:25] 14. Out Of Nowhere

[2:52] 15. 's Wonderful

[2:48] 16. Penny

[3:08] 17. Split Kick (Alt Take)

[2:51] 18. Split Kick

[2:44] 19. It Might As Well Be Spring (Alt Take)

[2:51] 20. It Might As Well Be Spring

[2:41] 21. The Best Thing For You

[5:34] 22. Signal (Alt Take)

[4:38] 23. Budo (Alt Take)

The Complete Roost Recordings (Disc 1)

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Album: The Complete Roost Recordings (Disc 2)

Bitrate: MP3@320K/s

Time: 71:43

Size: 164.2 MB

Styles: Saxophone Jazz

Year: 1997

[4:23] 1. Thou Swell

[7:08] 2. The Song Is You

[5:21] 3. Mosquito Knees

[5:06] 4. Pennies From Heaven

[6:02] 5. Move

[6:06] 6. Parker 51

[3:30] 7. Hershey Bar

[4:24] 8. Rubberneck

[5:50] 9. Signal

[3:20] 10. Everything Happens To Me

[7:23] 11. Jumpin' With Symphony Sid

[2:57] 12. Yesterdays

[5:10] 13. Budo

[4:56] 14. Wildwood

The Complete Roost Recordings (Disc 2)

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Album: The Complete Roost Recordings (Disc 3)

Bitrate: MP3@320K/s

Time: 63:09

Size: 144.6 MB

Styles: Saxophone Jazz

Year: 1997

Art: Front

[2:44] 1. Melody Express

[2:55] 2. Yvette

[2:38] 3. Potter's Luck

[2:45] 4. The Song Is You

[3:03] 5. Wildwood

[2:22] 6. Lullaby Of Birdland

[2:58] 7. Autumn Leaves (Alt Take)

[3:04] 8. Autumn Leaves

[2:24] 9. Fools Rush In (Alt Take)

[2:29] 10. Fools Rush In

[2:59] 11. These Foolish Things

[2:23] 12. Where Or When

[2:39] 13. Tabú

[3:12] 14. Moonlight Is Vermont

[2:31] 15. Jaguar

[2:17] 16. Sometimes I'm Happy

[3:02] 17. Stars Fell On Alabama

[2:23] 18. Nice Work If You Can Get It

[3:23] 19. Tenderly

[2:36] 20. Little Pony

[4:20] 21. Easy Living

[3:52] 22. Nails

The Complete Roost Recordings (Disc 3)

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Gary Smulyan - Smul's Paradise

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 52:41
Size: 121,4 MB
Art: Front

(9:01)  1. Sunny
(6:42)  2. Up In Betty's Room
(4:43)  3. Pistaccio
(8:27)  4. Smul's Paradise
(4:53)  5. Little Miss Halfsteps
(8:15)  6. Aires
(6:36)  7. Blues for DP
(4:01)  8. Heavenly Hours

While the tenor saxophone is no stranger to organ group gatherings, its big brother rarely comes to the party. It's hard to say whether a lack of interest amongst baritone saxophonists, insufficient opportunities for such combinations, or a paucity of players capable of pulling it off is responsible for this issue, but Gary Smulyan won't stand for it any longer. Smulyan, best known for his work with the legendary Vanguard Jazz Orchestra, has never been one to shy away from an opportunity to explore new surroundings. While he initially put his alto away and took on the mantle of a baritone saxophonist for the opportunity to join Woody Herman's band in the late '70s, it proved to be a career-altering experience and he's been one of the busiest baritones in the business ever since. He has blended his instrumental voice into the fabric of big bands, piano-less trios and various other ensembles both big and small, but Smul's Paradise marks the first time that he fronts an organ group on record.

His capable comrades on this mission are some of his closest friends, who also happen to be the cream of the crop on the New York scene. While this marks the first time that Smulyan, guitarist Peter Bernstein, organist Mike LeDonne and drummer Kenny Washington - Drums have teamed up to form a quartet, shared experiences between some of these musicians on and off the bandstand make this a comfortable fit from the get-go. The entire album may have been recorded in one day, with no rehearsal time and minimal retakes, but the finished product never betrays these facts. The eight tracks on the album hit on all of the stylistic touchstones to be expected in this setting. 

Balladry ("Aires"), bop-ish saxophone lines ("Smul's Paradise"), Brazilian-flavored fare ("Pistaccio"), swaggering, hard bop-based music ("Up In Betty's Room") and more come into play, as Smulyan explores the possibilities that live within this format. He also toys with preexisting material, as he re-imagines Bobby Hebb's "Sunny" as a waltz and creates a hybrid of "Seven Steps To Heaven" and "My Shining Hour" on the album-ending "Heavenly Hours." Along the way, Smulyan also pays tribute to a pair of oft-overlooked organists. Don Patterson gets his due with performances of two of his songs ("Up In Betty's Room" and "Aires") and an original written in his honor ("Blues For D.P."), while Rhoda Scott gets a nod with "Pistaccio." Smul's Paradise features some first-rate music, while showing off another facet of Smulyan's musicianship and filling a musical void left open by many baritone saxophone bearers of the past and present. Smulyan and company succeed on all fronts here, making this a sequel-worthy session. ~ Dan Bilawsky  http://www.allaboutjazz.com/smuls-paradise-gary-smulyan-capri-records-review-by-dan-bilawsky.php

Personnel:  Gary Smulyan: baritone saxophone;  Mike LeDonne: Hammond B3 organ;  Peter Bernstein: guitar;  Kenny Washington: drums.

Smul's Paradise

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Stephanie Nakasian - Thrush Hour: A Study Of The Great Ladies Of Jazz

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 67:10
Size: 154,8 MB
Art: Front

(3:41)  1. A Good Man Is Hard to Find
(2:50)  2. Guess Who's in Town
(3:27)  3. Rockin' Chair
(3:49)  4. A Hundred Years From Today
(3:05)  5. It Don't Mean A Thing
(3:20)  6. Lullaby Of The Leaves
(2:25)  7. Goody Goody
(2:25)  8. All Of Me
(2:52)  9. What Is This Thing Called Love
(3:40) 10. Moments Like This
(2:42) 11. Take The 'A' Train
(3:47) 12. Million Dollar Secret
(4:47) 13. Day Dream
(2:21) 14. I Cried For You
(2:53) 15. Maybe
(4:18) 16. Too Late Now
(2:35) 17. Peel Me A Grape
(4:46) 18. Blue Gardenia
(3:57) 19. Street Of Dreams
(3:23) 20. All That Jazz

Stephanie Nakasian is a great gift to jazz buffs and especially to those who love singers. Not just for her exuberant performances but for her ability to articulate in layman's terms what it is to be a jazz singer. Her latest recording on V.S.O.P. Records, Thrush Hour, combines masterful singing, top-notch musicianship, and an educator's expertise to deliver a comprehensive "study of the great ladies of jazz, as the subtitle reads. On this release Nakasian approaches a generous number of vocal jazz classics in the style of the original recording artist, from Bessie Smith and Ethel Waters to Abbey Lincoln and Ella Fitzgerald. Along with each track is an informative biographical sketch of the original artist that places the music in its era and details its significance in jazz history. Few singers can tell you as much about where their sound comes from.

Without resorting to imitation Nakasian synthesizes each of these singers' unique vocal abilities with her own estimable talent, and the result is both educational and entertaining. Nakasian shifts from one color and feel to the next quite deftly, moving from Connee Boswell's throaty version of "Lullaby of the Leaves , say, to Helen Ward's light and swinging up-tempo "Goody Goody, to Billie Holiday's high, subtly back-phrased "All of Me, to Anita O'Day's fast-paced, scatting bop in "What Is This Thing Called Love. These tunes are just a small sample of the stylistic leaps Nakasian displays on this 20-track CD. (You will be left to figure out how Nakasian can sound so convincing on a rendering of a Sarah Vaughn tune and then on one by Blossom Dearie, but there it is.) The CD, recorded in two days (that's ten tunes a day), shows off the considerable chops of Nakasian's rhythm section: her husband Hod O'Brien on piano, Steve Gillmore on bass, Bill Goodwin on drums, and Howie Collins on rhythm guitar; and of her horn players, Randy Sandke (trumpet), Tod Hamilton (tenor sax), and John Jensen (trombone). The team borrows the arrangements from the original recordings, one assumes from reading the liner notes, but the presentation is fresh. ~ Suzanne Lorge  http://www.allaboutjazz.com/thrush-hour-stephanie-nakasian-vsop-records-review-by-suzanne-lorge.php

Personnel: Stephanie Nakasian: vocals;  Hod O’Brien: piano;  Steve Gillmore: bass;  Bill Goodwin: drums;  Howie Collins: rhythm guitar;  Randy Sandke: trumpet;  Tod Hamilton: tenor sax;  John Jensen: trombone.

Thrush Hour: A Study Of The Great Ladies Of Jazz

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Teddy Wilson - Blues For Thomas Waller

Styles: Piano Jazz, Swing
Year: 1974
File: MP3@320K/s
Time: 54:37
Size: 125,9 MB
Art: Front

(2:37)  1. Honeysuckle Rose (Take 1)
(2:42)  2. My Fate Is In Your Hands
(3:15)  3. Ain't Cha Glad?
(2:39)  4. I've Got A Feeling I'm Falling
(2:38)  5. Stealin' Apples
(5:43)  6. Blues For Thomas Waller
(2:18)  7. Handful Of Keys
(3:00)  8. Striding After Fats
(2:52)  9. Squeeze Me (Take 1)
(2:42) 10. Zonky
(4:14) 11. Blue Turning Grey Over You
(3:20) 12. Ain't Misbehavin'
(3:06) 13. Black And Blue
(2:51) 14. Honeysuckle Rose (Take 2)
(2:18) 15. Keepin' Out Of Mischief Now
(2:46) 16. Handful Of Keys (Take 2)
(2:43) 17. Squeeze Me (Take 2)
(2:46) 18. Honeysuckle Rose (Take 3)

Teddy Wilson, the definitive swing pianist, never really sounded like Fats Waller, although his style was complementary. This solo session finds him swinging his way through 11 of Waller's compositions, including two versions of "Honeysuckle Rose," along with two tributes "Blues for Thomas Waller" and "Striding After Fats." Wilson's style was unchanged from 40 years earlier, but he still infused his solos with enthusiasm and melodic creativity, and this set is a pretty inspired effort. ~ Scott Yanow  http://www.allmusic.com/album/blues-for-thomas-waller-mw0000613742

Personnel: Teddy Wilson (piano).

Blues For Thomas Waller

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Benny Golson - New York Scene

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 44:02
Size: 101,2 MB
Art: Front

(6:05)  1. Something In B Flat
(6:01)  2. Whisper Not
(6:54)  3. Step Lightly
(4:12)  4. Just By Myself
(6:52)  5. Blues  It
(4:22)  6. You're Mine You
(3:59)  7. Capri
(5:34)  8. B.G.'s  Holiday

Benny Golson's debut as a leader was recorded at a time when he was better known as a composer than a tenor saxophonist. This album, reissued during the CD era with "B.G.'s Holiday" added to the original LP program as a bonus track, features Golson in a quintet with fellow future Jazztet co-leader Art Farmer on trumpet, pianist Wynton Kelly, bassist Paul Chambers, and drummer Charlie Persip on five selections, and with the same group plus four horns on three other songs. The set is most significant for including an early version of Golson's "Whisper Not" (which soon became a jazz standard) along with "Step Lightly," as well as for the leader's inventive and swinging arrangements; plus, there are some excellent solos from Golson and Farmer. Overall, this underrated gem served as a strong start to Benny Golson's influential solo career. ~ Scott Yanow  http://www.allmusic.com/album/new-york-scene-mw0000202937

Personnel: Benny Golson (tenor saxophone); Gigi Gryce (alto saxophone); Sahib Shihab (baritone saxophone); Art Farmer (trumpet); Julius Watkins (French horn); James Cleveland (trombone); Wynton Kelly (piano); Paul Chambers (bass); Charlie Persip (drums).

New York Scene

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Eddie Vinson, Jay McShann - Jumpin' The Blues

Bitrate: MP3@320K/s

Time: 62:33

Size: 143.2 MB

Styles: West Coast blues, Mainstream jazz

Year: 2003

Art: Front

[3:19] 1. Confessin' The Blues

[3:42] 2. Yardbird Waltz

[3:42] 3. My Chile

[5:16] 4. Satin Doll

[4:05] 5. Kansas City

[4:05] 6. Jumpin' The Blues

[4:15] 7. Mr. Cleanhead Blues

[4:18] 8. Wait A Minute Baby

[5:01] 9. Juice Head Baby

[8:23] 10. Kidney Stew Blues

[3:03] 11. Cherry Red

[4:54] 12. Red Top

[6:15] 13. Roll 'em C Jam Blues

[2:09] 14. C Jam Again

As part of The Definitive Black & Blue Sessions series, alto saxophonist Eddie "Cleanhead" Vinson is spotlighted on 14 digitally remastered tracks, recorded at Cargo Studio in Paris on March 9, 1969. This straight-ahead session pairs Cleanhead with pianist Jay McShann, Gene Ramey on bass, and McShann's drummer at the time, Paul Gunther. While this disc doesn't contain any unreleased tracks, it does feature several first-rate renditions of Vinson's signature tunes, including "Mr. Cleanhead Blues," "Kidney Stew," and "Juice Head Baby. ~Al Campbell

Jumpin' The Blues   

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Ann Richards - Ann, Man!

Bitrate: MP3@320K/s

Time: 39:56

Size: 91.4 MB

Styles: Vocal jazz

Year: 1961/2005

Art: Front

[3:21] 1. Yes Sir, That's My Baby

[2:55] 2. An Occasional Man

[3:51] 3. There's A Lull In My Life

[2:19] 4. The Masquerade Is Over

[5:48] 5. You Go To My Head

[2:39] 6. Is You Is Or Is You Ain't My Baby

[2:53] 7. And That's All

[4:01] 8. Bewitched, Bothered And Bewildered

[4:09] 9. Evil Gal Blues

[1:58] 10. Love Is A Word For The Blues

[2:55] 11. How Do I Look In Blue

[3:02] 12. I Couldn't Sleep A Wink Last Night

Ann Richards, an excellent singer who was married to Stan Kenton for a few years, only recorded a few solo albums before slipping away into obscurity. Ann, Man! is her most intimate date, a quartet set with trumpeter Jack Sheldon, guitarist Barney Kessel, bassist Red Callender, and drummer Larry Bunker. Four of the songs (including "There's a Lull in My Life" and "You Go to My Head") are duets with Kessel. Richards shows off her versatility and sensitivity on this well-rounded set, swinging lightly and singing with restrained emotions. It is a pity that she did not have a prosperous career, for the talent was definitely there. ~Scott Yanow

Ann, Man!   

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Pepper Adams, Jimmy Knepper - The Pepper-Knepper Quintet

Bitrate: MP3@320K/s
Time: 39:49
Size: 91.2 MB
Styles: Bop, Saxophone jazz
Year: 1958/2010
Art: Front

[6:02] 1. Minor Castastrophe
[5:52] 2. All Too Soon
[6:22] 3. Beaubien
[4:48] 4. Adams In The Apple
[5:12] 5. Riverside Drive
[4:26] 6. I Didn't Know About You
[7:03] 7. Primrose Path

Although Leonard Feather, in the original liner notes that are reproduced for this reissue, says that it is an oversimplification to call the music on this 1958 session "hard bop," the performances are actually pretty definitive of the idiom. Baritonist Pepper Adams, freshly arrived in New York from Detroit, co-leads a quintet with the up-and-coming trombonist Jimmy Knepper that also includes such young notables as pianist Wynton Kelly, bassist Doug Watkins and drummer Elvin Jones. They perform an obscure Jon Hendricks song, a lyrical version of "All Too Soon," the straight-ahead bebop blues "Beaubien," a couple obscure originals, Duke Ellington's "I Didn't Know About You" (which has Kelly switching to a spooky-sounding organ) and Knepper's "Primrose Path." The blend between baritone and trombone is quite effective, the musicians all take consistently excellent solos and the music is state-of-the-art 1958 modern mainstream jazz; in other words, hard bop. ~Scott Yanow

The Pepper-Knepper Quintet

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Niels-Henning Ørsted Pedersen Feat. Renee Rosnes - Friends Forever: In Memory of Kenny Drew

Styles: Jazz, Hard Bop
Year: 1995
File: MP3@320K/s
Time: 53:08
Size: 122,7 MB
Art: Front

(8:22)  1. Hushaby
(6:26)  2. Kenny
(4:01)  3. Someday My Prince will Come
(3:59)  4. Theme from Elvira Madigan
(4:15)  5. Lullaby of the Leaves
(5:37)  6. The Shadow of Your Smile
(5:20)  7. Sometime Ago
(5:45)  8. Days of Wine and Roses
(9:20)  9. Future Child - Friends Forever

Niels Pedersen made many rewarding recordings over several decades as a sideman with the late pianist Kenny Drew, so his making of a CD in tribute to him shouldn't come as a surprise. Joined by pianist Renee Rosnes and drummer Jonas Johansen, Friends Forever: In Memory of Kenny Drew primarily include selections which Drew loved to play. The Danish folk lullaby "Hushaby" is a bit unusual, as it includes a drum solo, as well as Rosnes' dirge-like piano. Pedersen's pulsing bass helps to disguise the introduction to "Someday My Prince Will Come," a lovely waltz recorded by numerous jazz greats. A lively post-bop workout of "Lullaby of the Leaves" swings like mad; while an initially funky introduction to "The Shadow of Your Smile" quickly gives way to a more traditional samba treatment. Pedersen's originals also merit attention. The medley "Future Child-Friends Forever" begins with the leader's intricate pizzicato solo, then adds his partners for the second song, which spotlights Pedersen's flawless arco bass. His special tribute "Kenny" reflects Pedersen's sense of loss without getting overly maudlin. This brilliant date adds to the already considerable recorded accomplishments of Niels Pedersen.
~ Ken Dryden http://www.allmusic.com/album/friends-forever-in-memory-of-kenny-drew-mw0000020648

Personnel : Niels-Henning Orsted Pedersen (bass); Renee Rosnes (piano); Jonas Johansen (drums).

Friends Forever:  In Memory of Kenny Drew

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Morgana King - A Taste of Honey

Styles: Jazz, Vocal
Year: 1964
File: MP3@320K/s
Time: 44:25
Size: 102,0 MB
Art: Front

(5:15)  1. A Taste of Honey
(2:37)  2. Fascinating Rhythm
(3:42)  3. Prelude to a Kiss
(3:38)  4. Easy Living
(3:41)  5. All Blues
(2:45)  6. Bluesette
(2:43)  7. Easy to Love
(3:05)  8. The Night Has a Thousand Eyes
(2:20)  9. The Lady Is a Tramp
(2:40) 10. Try to Remember
(3:51) 11. Meditation
(4:41) 12. I'll Follow You
(3:22) 13. Sometimes I Feel Like a Motherless Child

None of the more than 30 albums recorded by singer Morgana King since the mid-'50s have been embraced by the size of the audience that bought tickets to see the first two chapters of The Godfather film trilogy, in which King acted in the role of Mama Corleone. But it would be wrong to assume she has had more impact as an actress than as a vocalist. Her acting roles, few and far between, are chosen with care, but do not have the resonance of some of her finest recordings. Millions saw her onscreen in The Godfather films, but her performance was certainly overshadowed by performers such as Robert DeNiro and Al Pacino, not to mention the famous turn by Marlon Brando as her husband. Another role of King's was in the 1997 film A Brooklyn State of Mind; she has also appeared in several television productions. It is possible that there are actors and actresses who have named Morgana King as a great inspiration. Yet, the results of a simple Internet search under her name only yielded dozens of quotes from vocalists and other musicians about the great influence of her recordings and singing style, not her work before the camera. It might not be a surprise when a young female singer gushes about King's albums, but these fans also include deeper thinkers such as classical bass virtuoso Gary Karr. References to her music also show up regularly in fiction as a kind of mood-setting device, such as: "It was a beautiful day in Malibu. He got up, made a coffee and put on a Morgana King record."

Some record collectors might be surprised to realize that a complete set of King sides might eliminate any elbow room for, say, the discography of one of the prolific blues guitarists with this regal surname. Morgana King sides can be divided into several periods. It took her almost eight years to peak at whatever commercial success she was going to have with the 1964 A Taste of Honey album, thus ending the early years. She then was absorbed into the Atlantic and Reprise corporation and an exemplary series of releases by singers such as Big Joe Turner, Ruth Brown, Lavern Baker, and Ray Charles. The label's greatest producers stared the oncoming rock & roll in the eye, never forgetting their basic R&B orientation. Within a few years, a sub-category developed, seen through paisley glasses. The material became more philosophical, the increasing intellectual depth not surprisingly accompanied by the audience stampeding in the opposite direction. This might make sense, though; while 1965's The Winter of My Discontent is a masterpiece, 1968's Gemini Changes is laughably pretentious. By the early '70s she was anxious to get into films, the music business pushing away any and all veteran talent. Later in the decade she launched the mature period of her career, though, once again recording as more of a jazz-flavored artist for Muse, a label which in itself indicates a disinterest in pop culture. 

The label was loyal to her, regularly recording her through the following decade. This material was reissued in the late '90s by the 32 Jazz label, whose honcho, Joel Dorn, also presided over the reissue of her Reprise sides. If a special sort of bittersweet feeling pervades her later performances, perhaps it has something to do with this return to her jazz singing roots. Her father had been a performer of folk and popular music on voice and guitar, and she had begun singing in nightclubs such as Basin Street in New York City when she was in her mid-twenties. Only a few years earlier, she had been immersed in classical studies at the Metropolitan School of Music. Basin Street may have been in the same city, but it must have seemed like a completely different musical world. The formal training undoubtedly filled in aspects of her musical walk where some of her peers might have had to limp. For this reason alone, some listeners find her efforts the most swinging of the '60s generation of pop singers. It meant much critical acclaim during her career, if not great commercial success. At many stages, King seems to have been making other plans. For the 1960 Encyclopedia of Jazz by Leonard Feather, she lists this ambition: "To become a dramatic actress." ~ Eugene Chadbourne  http://www.allmusic.com/artist/morgana-king-mn0000501436/biography

A Taste of Honey

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Tord Gustavsen - What Was Said

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 59:56
Size: 138,6 MB
Art: Front

(2:45)  1. Your Grief
(5:09)  2. I See You
(6:23)  3. Imagine The Fog Disappearing
(4:46)  4. A Castle In Heaven
(7:26)  5. Journey Of Life
(5:42)  6. I Refuse
(5:35)  7. What Was Said To The Rose-O Sacred Head
(3:03)  8. The Way You Play My Heart
(3:08)  9. Rull
(4:25) 10. The Source Of Now
(3:23) 11. Sweet Melting
(4:26) 12. Longing To Praise Thee
(3:39) 13. Sweet Melting Afterglow

What was said introduces a new trio from Norwegian pianist Tord Gustavsen, featuring German-Afghan vocalist Simin Tander, with the support of longtime collaborator drummer Jarle Vespestad (who has played on all of Gustavsen's previous ECM recordings). The inspiration for the program was the tradition of Norwegian church music, but it is explored in a most untraditional way. The most obvious difference is the polyglot approach to the sung languages. Gustavson's interest in Sufi poetry and enjoyment of the sound of the Pashto language led to the decision to translate Norwegian hymns into Pashto. Lyrics adapted from the great Persian poet Rumi get the reverse treatment, and are sung in English. One song sets a poem by U.S. poet Kenneth Rexroth (who counted Rumi among his influences), which stays in the original language (English). Gustavsen saw this as a way to make connections between these poets, establishing a dialog across centuries. However unorthodox all this cross-translation seems, Tander makes it sound completely natural. Her intimate, lyrical voice is equally at home in both languages, as well as singing wordless vocalise and improvising. Gustavson still plays the piano as his main instrument, but has augmented it with discreet electronics and occasional synthesizer bass, while Vespestad provides percussive textures or timekeeping as required. So the group is a true trio, not just a vocalist with accompanists.

They take these roles in different ways throughout the program. The opener "Your Grief" (an English Rumi translation) sounds like a voice/piano duet at first, but ends with a gentle percussion solo. "Imagine The Fog Disappearing" is the first track to use a full band sound, with drums, prominent electronics, and bass synthesizer. "Journey Of Life" (a Norwegian traditional sung in Pashto) uses toms and vocalese, and one section has a lovely sustained synthesizer pad with melodic piano on top. There is a brief instrumental interlude just past the halfway mark, two lyrical Gustavson originals played without vocals, sounding more like his previous ECM releases. "The Way You Play My Heart" has a Gospel feel, while "Rull" shows an almost martial side to Vespestad's drumming. "Longing To Praise Thee" is another Norwegian traditional tune, but this time Tander sings it without words. Closing "Sweet Melting Afterglow" begins with a collective improvisation, then fittingly ends the album with a Norwegian tune sung in Pashto. What was said presents a quietly surprising vision of a new kind of musical fusion. It's subtle, and may take a couple of listens before the beauty takes hold. ~ Mark Sullivan  http://www.allaboutjazz.com/what-was-said-tord-gustavsen-ecm-records-review-by-mark-sullivan.php

Personnel: Tord Gustavsen: piano, electronics, synth bass;  Simin Tander: voice;  Jarle Vespestad: drums.

What Was Said

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The Housemartins - The People Who Grinned Themselves To Death

Styles: Vocal, Pop/Rock
Year: 1987
File: MP3@320K/s
Time: 38:06
Size: 87,7 MB
Art: Front

(3:34)  1. The People Who Grinned Themselves To Death
(2:28)  2. I Can't Put My Finger On It
(3:59)  3. The Light Is Always Green
(3:19)  4. The World's On Fire
(1:52)  5. Pirate Aggro
(2:54)  6. We're Not Going Back
(2:53)  7. Me And The Farmer
(2:44)  8. Five Get Over Excited
(3:55)  9. Johannesburg
(3:04) 10. Bow Down
(2:32) 11. You Better Be Doubtful
(4:47) 12. Build

Comparisons to the Smiths are essentially irrelevant by the point of the Housemartins' underrated sophomore effort  the melodies and arrangements move away from the upbeat guitar pop shimmer of London 0, Hull 4 to further explore the group's fascination with Motown and gospel, while P.D. Heaton's lyrics articulate a leftist anger and scathing social commentary the likes of which Morrissey's insularly personal lyrics only hint at. (Equally noteworthy is the defiantly British outlook of Heaton's songs it's virtually impossible from an American standpoint to fully comprehend the sheer vitriol against the Queen espoused on the title cut, and lyrical snippets like "How come you wear Rupert Check when you think you're so hard?" and "Welcome to the new Scalextric's breed" are likely impenetrable to all but the hardiest Anglophiles.)

There's some filler here "We're Not Going Back" and "You Better Be Doubtful" simply go through the motions, and the instrumental "Pirate Aggro" seems at best an afterthought but the peaks of The People Who Grinned Themselves to Death are glorious. In hindsight, however, it's obvious that the Housemartins had already run their course with its alternating lead vocals from Heaton and drummer Dave Hemingway, the achingly lovely piano ballad closer "Build" forecasts the twosome's continued collaboration in the Beautiful South, while the subtle yet soulful bass work of Norman Cook throughout the record anticipates the funk direction of his subsequent Beats International project. ~ Jason Ankeny  http://www.allmusic.com/album/the-people-who-grinned-themselves-to-death-mw0000193522

Personnel:  Norman Cook – bass, vocals;  Dave Hemingway – drums, vocals;  P.d. Heaton – vocals, guitar, trombone;  Stan Cullimore – guitar, vocals;  Guy Barker – trumpet;  Sandy Blair – tuba;  St. Winifred's School Choir – backing vocals;  Pete Wingfield – piano, keyboards;  John Williams – producer; The Housemartins – producer;  Phil Bodger – engineer;  David Storey – sleeve design;  John Sims – sleeve design;  Phil Rainey – front cover photography;  Derek Ridgers – band photography.

The People Who Grinned Themselves To Death

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Ralph Bowen - Power Play

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 54:53
Size: 126,0 MB
Art: Front

(4:40)  1. K. D.'s Blues
(6:19)  2. Drumheller Valley
(5:05)  3. Two-Line Pass
(5:27)  4. My One And Only Love
(6:26)  5. The Good Shepherd
(8:22)  6. Bella Firenze
(6:28)  7. Jessica
(5:31)  8. Walleye Jigging
(6:31)  9. A Solar Romance

With over 20 years experience as a recording artist and composer, saxophonist Ralph Bowen has a mastery of straight-ahead jazz that is immediately apparent on Power Play, his third album for the Posi-Tone label. Bowen's first two Posi-Tone releases, 2009's Dedicated and 2010's Due Reverence were quintet recordings. For Power Play, he trims down to an all-new quartet lineup, but it still swings. On the album's opener, "K. D.'s Blues," Bowen jumps straight in with a hard-edged tenor riff that soon develops into a powerful and melodic solo. Drummer Donald Edwards and bassist Kenny Davis, who was Bowen's band mate for a few years in the '80s group Out Of The Blue, also impress from the off, creating a driving rhythm that characterizes much of the recording.

Pianist Orrin Evans matches Bowen solo for solo across Power Play. On the snaky "Drumheller Valley," Evans delivers the opening riff with confidence, while his beautifully varied solo has a soulful vibe which contrasts well with Bowen's more bop-ish approach. He's equally stylish when he joins Davis and Edwards to underpin Bowen's lead playing. It's Bowen's warm and lyrical playing that's to the fore on Guy Wood's standard, "My One And Only Love" but the performance is a genuine quartet affair, with the rhythm players' relaxed, and relaxing, approach central to the mood of the song.  While Bowen's tenor saxophone might be the most prominent instrument on the album it's also the instrument of choice for both of the CD's cover photos he delivers some of his finest playing, with soprano, on his lovely ballads "Jessica" and "A Solar Romance." Power Play is an apposite title: for saxophonist Ralph Bowen is certainly one of the most powerful players in contemporary jazz.

But power alone is seldom, if ever, enough, and Bowen combines power with exceptional control, feeling and tone. The rest of the quartet shares Bowen's characteristics, ensuring that this collection of tunes is constantly rewarding. ~ Bruce Lindsay  http://www.allaboutjazz.com/power-play-ralph-bowen-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Ralph Bowen: saxophones; Orrin Evans: piano; Kenny Davis: bass; Donald Edwards: drums.

Power Play

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Polly Bergen - Polly Bergen's Four Seasons Of Love

Styles: Jazz, Vocal
Year: 1960
File: MP3@320K/s
Time: 35:38
Size: 84,2 MB
Art: Front

(2:51)  1. Four Seasons
(2:37)  2. Canadian Sunset
(2:53)  3. Spring Will Be A Little Late This Year
(3:14)  4. Lazy Afternoon
(2:31)  5. September In The Rain
(2:46)  6. June In January
(3:01)  7. It Might As Well Be Spring
(3:25)  8. Moonlight In Vermont
(2:50)  9. Autumn In New York
(3:14) 10. The Things We Did Last Summer
(3:05) 11. Autumn Leaves
(3:06) 12. April In Paris

Actress/singer Polly Bergen was born July 14, 1930 in Knoxville, TN, making her radio debut at the age of 14 and honing her craft on the summer stock circuit before journeying to Hollywood in 1949. She soon made her feature debut in Across the Rio Grande, quickly followed by roles in no less than three Dean Martin/Jerry Lewis comedies At War with the Army, That's My Boy and The Stooge. Increasing dissatisfaction with the roles coming her way prompted Bergen to walk away from a lucrative movie contract in 1953, however, and she soon made her Broadway debut in the revue John Murray Anderson's Almanac; upon recovering from throat surgery, two years later she also recorded her self-titled debut LP for Jubilee, followed later that year by Little Girl Blue. She jumped to Columbia for 1957's Bergen Sings Morgan, and continued recording for the label until the early 1960s; in the meantime she also maintained her stage career, additionally finding success in the business world through a series of ventures including Polly Bergen Cosmetics, Polly Bergen Jewelry and Polly Bergen Shoes.

In 1960, she also authored the first of three books, Fashion and Charm. Bergen returned to film in the 1961 noir classic Cape Fear, although in the decades she was perhaps best known for her many television appearances, including a starring role in the 1983 miniseries The Winds of War and its 1988 sequel War and Remembrance. ~ Jason Ankeny  http://www.allmusic.com/artist/polly-bergen-mn0000350025/biography

Polly Bergen's Four Seasons Of Love

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Kate And Anna McGarrigle - Heartbeats Accelerating

Styles: Vocal, Folk
Year: 1990
File: MP3@320K/s
Time: 42:50
Size: 98,5 MB
Art: Front

(3:40)  1. Heartbeats Accelerating
(4:56)  2. I Eat Dinner
(4:37)  3. Rainbow Ride
(4:21)  4. Mother Mother
(4:47)  5. Love Is
(4:13)  6. D.J. Serenade
(3:47)  7. I'm Losing You
(4:11)  8. Hit And Run Love
(5:16)  9. Leave Me Be
(2:58) 10. St. James Hospital

The sister's 7th album was released on former Tangerine Dream keyboardist Peter Baumann's Private Music label. Their sound was remarkably different from their earlier work with the addition of synthesizers and a more electronic background cushioning their tales of love, loss and life. The title track was covered by Linda Ronstadt on her "Winter Light" album. Critics took particular note of "I Eat Dinner", a haunting masterpiece reflecting the loneliness of a failed relationship. 

Their previous album, the fine but underappreciated Love Over and Over, had found the McGarrigles nodding cautiously toward more explicit pop and rock accents, but their cult-sized audience was likely hoping for a return to the more acoustic atmosphere of earlier records. At first listen, then, Heartbeats Accelerating is a modest shock, laced with coproducer Pierre Marchand's (Sarah McLachlan) moody synthesizers and a slightly chillier feel to the album's overall sound. Yet those modern elements ultimately work, underlining the songs' more fatalistic perspective, especially on the set's bittersweet zenith, "I Eat Dinner." In her inventory of a divorced mother's solitary meal, Kate McGarrigle captures no less than the death of romance, her very restraint making its dry-eyed contemplation of life after love quietly devastating. ~ Sam Sutherland - Editorial Reviews http://www.amazon.com/Heartbeats-Accelerating-Kate-Anna-McGarrigle/dp/B0000000JY

Personnel:  Anna McGarrigle - Vocals, Keyboards, Drum (5);  Kate McGarrigle - Vocals, Accordion, Piano, Guitar, Banjo, Keyboards;  Yves Gigon - Drums (1,3,9), Percussion (3,5);  Daniel Gigon - Bass (1,3);  Michael Breen - Guitar (1,2,7);  Joel Zifkin - Violin (1,7,9);  Pierre Marchand - Keyboards, Accordion, Vocals (7);  Bill Dillon - Guitars (2,3,4,5,6,9);  Michel Dupire - Percussion (3,9);  Jason Lang - Guitars (4,8);  Marc Langis - Bass (3,6);  Norman Barsalo - Bass (5);  Richard Mischook - Guitar (6,8);  Rufus Wainwright - Vocals (7);  Pat Donaldson - Bass and Guitar (9).

Heartbeats Accelerating

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Roland Hanna - Glove

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 30:24
Size: 69,8 MB
Art: Front

(8:10)  1. Love for Sale
(3:23)  2. I Love You
(3:44)  3. Love Walked In
(4:54)  4. There Is No Greater Love
(5:57)  5. My One And Only Love
(4:16)  6. Lover

Pianist Sir Roland Hanna tears through this live trio studio session, recorded in Japan, without seeming to work up a sweat. He covers six standards on this CD that have "love" in their titles. The opener, "Love for Sale," includes a slow but beautiful, almost Oriental, chimelike introduction that rapidly gives way to an uptempo arrangement. 

Bassist George Mraz has worked with Hanna regularly and provides solid support and several top-notch solos. The choice of drummer is a mystery, Motohiko Hino, whose enthusiastic but often heavy-handed drumming makes it sound as if he were in competition with the pianist instead of supporting him. ~ Ken Dryden  http://www.allmusic.com/album/glove-mw0000311039

Personnel:  Bass – George Mraz;  Drums – Motohiko Hino;  Piano – Roland Hanna

Glove

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Jenny Evans - Gonna Go Fishin'

Styles: Jazz, Vocal
Year: 2001
File: MP3@320K/s
Time: 57:29
Size: 146,5 MB
Art: Front

(4:13)  1. I'm Gonna Go Fishin'
(6:28)  2. Hope
(4:43)  3. Love is the answer
(6:04)  4. The Man I Love
(5:31)  5. Stolen moments
(5:47)  6. Für eine Nacht voller Seligkeit
(3:36)  7. In a natural way
(5:40)  8. Still She Dances
(6:00)  9. Black coffee
(5:39) 10. I'm gonna live till I die
(3:44) 11. Angel Eyes

English singer Jenny Evans covers a wide range of material in this live recording made at Munich's Jazzclub Unterfahrt. The rich-voiced alto conveys her emotions with powerful renditions of "The Man I Love," "Black Coffee," and "Angel Eyes." 

She has a lot of fun with the Duke Ellington-Peggy Lee collaboration "I'm Gonna Go Fishin'" and scats up a storm in Oliver Nelson's "Stolen Moments." She contributed the lyrics to Dusko Goykovich's "Love Is the Answer" and arranged it with an Afro-Cuban flavor while just as easily switching gears to the exotic Middle Eastern sound of Rabih Abou-Khalil's "Still She Dances," with some more fine scatting, along with sensational drumming by Guido May and additional percussion by Biboul Darouiche. Evans' adventurous spirit and clear diction add to the value of this very enjoyable CD. ~ Ken Dryden  http://www.allmusic.com/album/gonna-go-fishin-mw0000007110

Personnel:  Jenny Evans (vocals); Peter O'Mara (guitar); Walter Lang (piano); Biboul Darouiche (percussion).

Gonna Go Fishin'

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J.J.Johnson - Concepts In Blue

Styles: Trombone Jazz

Year: 1980

File: MP3@320K/s

Time: 43:52

Size: 100,7 MB

Art: Front

(5:07)  1. Blue Nun

(6:14)  2. Nermus

(5:09)  3. Villlage Blues

(6:03)  4. Azure

(7:14)  5. Coming Home

(8:00)  6. Concepts In Blue

(6:01)  7. Mohawk

This is a fun set of straightahead jazz. The colorful frontline (trombonist J.J. Johnson, flugelhornist Clark Terry, and Ernie Watts on tenor and alto) obviously enjoyed playing the blues-oriented repertoire and the solos are consistently rewarding. Nothing all that innovative occurs but the results are pleasing. ~ Scott Yanow  http://www.allmusic.com/album/concepts-in-blue-mw0000615288

Personnel:  Producer, Trombone, Liner Notes – J.J. Johnson;   Bass – Ray Brown, Tony Dumas;  Drums – Kevin Johnson;  Keyboards – Billy Childs, Pete Jolly;  Tenor Saxophone, Alto Saxophone – Ernie Watts;  Trumpet, Flugelhorn – Clark Terry;  Vibraphone, Keyboards – Vic Feldman

Concepts In Blue

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