Wes Montgomery - The Incredible Jazz Guitar Of Wes Montgomery

Styles: Guitar Jazz
Year: 1960
File: MP3@320K/s
Time: 44:03
Size: 101,2 MB
Art: Front

(4:26)  1. Airegin
(5:23)  2. D-Natural Blues
(4:44)  3. Polka Dots And Moonbeams
(6:15)  4. Four On Six
(7:25)  5. West Coast Blues
(4:54)  6. In Your Own Sweet Way
(4:33)  7. Mister Walker
(6:20)  8. Gone With The Wind

Ask a dozen jazz guitar fans for their all-time top guitar albums and The Incredible Jazz Guitar of Wes Montgomery is likely to be high on every list. If it isn't, chances are Montgomery's live set Full House (Riverside, 1962), recorded two years later, will be. With these discs, Indianapolis-born Montgomery (1923-68) gave the guitar its biggest quantum leaps forward, both stylistically and in terms of listener acceptance, since Charlie Christian in the late 1930s/early 1940s and Johnny Smith in the 1950s. Full House got the 24-bit remastering treatment in 2007 as part of Riverside's Keepnews Collection series, supervised and annotated by label founder/producer Orrin Keepnews. Now The Incredible Jazz Guitar joins it.  Almost entirely self-taught (initially by immersing himself in Christian's recordings with clarinetist Benny Goodman's chamber groups), and unable to read a note of music, by 1959 when he was brought to Keepnews' attention by saxophonist Cannonball Adderley, who'd been gigging in Indianapolis Montgomery had developed a revolutionary new approach to the instrument. His style featured three signature elements: he played with his thumb, never a pick, and he improvised entire choruses using either octaves or pianistic block chords. None of these techniques were unique, but until Montgomery came along no other guitarist had mastered them so completely (let alone combined them) or made them so integral to sound and improvisation. An exception is Smith, whose Moonlight in Vermont (Roulette, 1953) and later albums featured extended passages of block chording as beautiful and fluid as Montgomery's.

The Incredible Jazz Guitar burst onto the US scene in 1960 like a benign hurricane, and it still sounds like a gale almost 50 years later. Over four bluesy originals, the standards "Polka Dots And Moonbeams" and "Gone With The Wind," Dave Brubeck's gorgeous "In Your Own Sweet Way" and a fast-paced reading of Sonny Rollins' "Airegin," Montgomery empathetically accompanied by pianist Tommy Flanagan, bassist Percy Heath (then riding high with the Modern Jazz Quartet), and drummer Albert Heath makes the guitar sound like it never had before. It has sounded similar since, of course, thanks to the legion of Montgomery-influenced players, but rarely so close to perfection. In his revealing new extended liner notes, Keepnews, born within a few days of Montgomery and at 85 a fluent anecdotal historian, paints a vivid portrait of Montgomery as a musician and as a private person. He expresses some regret that he was unable to give Montgomery the big mainstream audience he achieved with producer Creed Taylor on Verve and CTI 1964-68 (but is proud that Montgomery's Riverside recordings made no attempt at pop crossover) and some embarrassment over the lack of alternate takes or bonus tracks (the reissued Full House by contrast had both), recalling the many Riverside archive tape boxes he's come across with the original data crossed out and supplanted by something later. 

But he doesn't beat himself up about it, and nor should he. At 43:58 divine minutes, The Incredible Jazz Guitar endures, and will continue to do so.~Chris May http://www.allaboutjazz.com/the-incredible-jazz-guitar-of-wes-montgomery-wes-montgomery-riverside-review-by-chris-may.php

Personnel: Wes Montgomery: guitar; Tommy Flanagan: piano; Percy Heath: bass; Albert Heath: drums.

The Incredible Jazz Guitar Of Wes Montgomery   

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Lils Mackintosh - About Crazy

Styles: Jazz, Vocal
Year: 2008
File: MP3@320K/s
Time: 51:08
Size: 118,3 MB
Art: Front

(4:47)  1. The Way We Were
(4:08)  2. 5-10
(4:30)  3. I've Seen That Face Before
(2:58)  4. Pack Your Memories and Go
(3:11)  5. I Feel Good
(2:55)  6. Some of These Days
(3:39)  7. Stormy Weather
(2:42)  8. About Crazy
(3:29)  9. Ain't No Sunshine
(4:53) 10. You Know I Would
(4:56) 11. This Masquerade
(2:50) 12. Crazy
(4:00) 13. Too Darn Hot
(2:06) 14. Sway

Mackintosh is a Dutch singer, composer, actress and writer, born in Amsterdam, and the daughter of Surinamese singer Max Woiski, Jr. and granddaughter of musician Max Woiski, Sr. At seventeen she was talent scouted by the Dutch actor Jack Monkau and traded a formal education for a career in music. Being the daughter of two parents in the music industry, a career along that road seemed a natural step to take. Mackintosh became a professional singer with the acceptance of a role in the musical Hair. Next she played key roles in the Dutch rock opera Ik, Jan Cremer and the high-profile musical Barnum. Mackintosh then decided to become more experienced as a lead singer and played in different rock and hard rock bands. She also toured on a regular basis. One of the highlights was an extended tour in Sudan, Kuwait and Egypt. This was also the period in her career where she had the honor to perform with jazz legends like Oscar Peterson and B.B. King. In 1977, Mackintosh released her first jazz single, a cover version of the Rodgers and Hart classic "My Funny Valentine". Winning the 1990 'Vocalistenprijs' at the Dutch Jazzconcours in Breda led to a significant career change. Mackintosh then decided to specialize in jazz music. She started to perform extensively in Europe and the United States and was a regular performer at the legendary North Sea Jazz Festival.

In 1993 she released her debut album, It's not perfect to be easy. She received recognition for this album with the nomination for an Edison Jazz Award. Two more albums were released in this period: This is the strangest life I've ever known is released in 1994, followed by Seasons, in 1997. Being an artist with the desire to develop and transform, Mackintosh took a different take on her career when she formed the 'Lils Mackintosh & The Swing Cats' band in 1998. This period also marked the return to the theatre, with the Jazznight theatre tour, together with the Beets Brothers, the Stylus Horns and the Rosenberg Trio. Her fourth studio album, Black girl, produced by the renowned saxophone player Hans Dulfer, is a tribute to the American blues singer and guitar player Huddie Ledbetter. The album was released in 1999 and made a big impression in the jazz scene. This, in turn, led to Mackintosh's first Edison Jazz Award. Published on multi-channel SACD in 2002, Mackintosh's first live endeavor was a recording session at the Bimhuis in Amsterdam, in front of a live audience. The album, named 'In the wee small hours of the morning' was well received by both critics and audiophiles. 

That same year the Beets Brothers released the first-ever Dutch jazz DVD, featuring Mackintosh and Hans Dulfer. A close collaboration with saxophone player Wouter Kiers led to the release of the concept album Comes love in 2005. All of the songs deal with different aspects of love and relationships. After a period of extensive touring in Europe, Mackintosh released the album About crazy. This 2008 album is an intimate portrait of an artist who has seen significant ups and downs in her personal life. Mackintosh also used the classic Hammond organ to create a distinctive moody and melancholic sound. The album coincidentally marked the start of her long term collaboration with the Dutch saxophone player Clous van Mechelen. The release of the 2010 album A fine romance is an audiophile's delight. This was actually a remastering of Mackintosh's debut album. In this version, extra care was taken in finding the right balance between voice and band, and achieving the highest possible sound quality. The album is a classic demo disc for the demonstration of high-end audio systems. Mackintosh learned most of her craft by doing many performances, and has always had the desire to share her knowledge, experience and mostly her passion for singing. 

In 1995 Mackintosh started giving masterclasses and workshops, at jazz festivals and in theatres. In these master classes Mackintosh used her experience to help aspiring singers further develop their voices, to use the stage to their advantage, and above all, to emote. Nowadays, Mackintosh does a monthly masterclass in Amsterdam...More..https://en.wikipedia.org/wiki/Lils_Mackintosh

Personnel:  Lils Mackintosh – vocals;  Rob Mostert- hammond organ;  Clous van Mechelen – tenor;  Chris Strik - drums

About Crazy

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Benny Golson - Groovin' With Golson

Styles: Saxophone Jazz

Year: 1992

File: MP3@320K/s

Time: 34:13

Size: 79,5 MB

Art: Front

(9:29)  1. My Blues House

(4:02)  2. Drum Boogie

(5:26)  3. I Didn't Know What Time It Was

(9:21)  4. The Stroller

(5:54)  5. Yesterdays

This is one of at least four recordings that matched up tenor saxophonist Benny Golson and trombonist Curtis Fuller prior to the formation of the Jazztet; ironically, Fuller only stuck around for one Jazztet record before departing. Reissued on CD, the LP-length program has two lesser-known Golson compositions along with "Drum Boogie," "I Didn't Know What Time It Was," and "Yesterdays." Three of the tunes are blues, and the two ballads are taken at a medium-tempo pace. With pianist Ray Bryant, bassist Paul Chambers, and drummer Art Blakey forming a solid rhythm section, the hard bop music does indeed groove in its own fashion.~Scott Yanow http://www.allmusic.com/album/groovin-with-golson-mw0000093023

Personnel: Benny Golson (tenor saxophone); Curtis Fuller (trombone); Ray Bryant (piano); Paul Chambers (bass); Art Blakey (drums).

Groovin' With Golson

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Sonny Stitt - New York Jazz

Styles: Saxophone Jazz

Year: 2005

File: MP3@320K/s

Time: 46:08

Size: 106,3 MB

Art: Front

(2:43)  1. Norman's Blues

(4:30)  2. I Know That You Know

(6:19)  3. If I Had You

(4:54)  4. Alone Together

(3:34)  5. Twelfth Street Rag

(5:13)  6. Down Home Blues

(5:32)  7. Sonny's Tune

(4:11)  8. Stars Fell On Alabama

(4:31)  9. Body And Soul

(4:37) 10. Between The Devil And The Deep Blue Sea

"Genius" is a misunderstood, overused term. In music there have been only a few geniuses visionaries who have tapped into the original, vital stream that we might consider musical consciousness and changed it Bach, Beethoven, Mozart, Armstrong, Parker, Coltrane. Sonny Stitt was not one of the geniuses, nor one of the innovators. Rather, he took the complex language of Charlie Parker and created a syntax and rhetoric that the rest of us could understand and even employ. The 2003 reissue of New York Jazz (Verve, 1956), one of an estimated 150 sessions recorded under the saxophonist's name, appears to have passed beneath the radar screen of many who follow this music, but it's simply consummate saxophone playing by a musician driven by a need for completeness and perfection.

One of the big myths among even those players who respect Stitt's playing is that his so-called "commercial" recordings the early Roosts and Verves on which he turns in five or six flawless gems on each side of the record can be overlooked in favor of his earlier pairings with Gillespie and Rollins, or his later virtuosic work on Muse and Cobblestone. On the contrary, it's on these miniature performances where Sonny's brilliance is especially apparent. Allowing himself no more than a couple of choruses, he still manages to construct logically complete, emotionally satisfying solos with a beginning, middle and end, time and time again. Just listen to what he does with "Alone Together" first on tenor, then switching horns and taking the tune out with another textbook solo on alto. This studio reissue is also especially welcome because it finds Stitt in the company of an ideal rhythm section. Jo Jones was the prototypical straight-ahead swinging drummer during his Basie tenure; Jimmy Jones was always the self-effacing accompanist for Sarah Vaughan; and Ray Brown could be whatever the occasion demanded. All three merely lay down a harmonic/rhythmic track and stay out of Sonny's way as it should be.~Samuel Chell http://www.allaboutjazz.com/new-york-jazz-sonny-stitt-verve-music-group-review-by-samuel-chell.php

Personnel: Sonny Stitt: alto and tenor saxophones;  Jimmy Jones: piano;  Jo Jones: drums;  Ray Brown: bass.

New York Jazz                

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Pharoah Sanders - Moon Child

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 52:26
Size: 120,8 MB
Art: Front

( 8:10)  1. Moon Child
( 6:15)  2. Moon Rays
(12:19)  3. The Night Has A Thousand Eyes
( 9:25)  4. All Or Nothing At All
( 5:31)  5. Soon
(10:44)  6. Moniebah

By this point in his career, Sanders had largely withdrawn from the kind of screeching avant-gardism on which he at first staked his reputation. The opening "Moon Child," with its attractively spacy vocals, is reminiscent of the days of "The Creator Has a Master Plan," but this version sounds too contrived to rival the classic earlier recording. The mood is subdued throughout and the choice of tunes definitely on the conservative side ("All or Nothing at All" and "The Night Has a Thousand Eyes," among the six tracks). William Henderson is lovely on piano, while the drummer (Eddie Moore) and percussionist (Cheikh Tidiane Fale) keep to the quiet side.

The results may have originally disappointed some of Sanders' fans, but with time the saxophonist clearly reinvented himself as a more traditional improviser capable of thoughtful and pensive deliberations.~Steve Loewy http://www.allmusic.com/album/moonchild-mw0000678343

Personnel: Pharoah Sanders (soprano saxophone, tenor saxophone); William Henderson (piano); Eddie Moore (drums).

Moon Child

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Ira Kaspi - Monrepos In My Heritage

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 42:11
Size: 105,0 MB
Art: Front

(3:43)  1. Monrepos
(4:17)  2. Distant Memories
(5:35)  3. Tears Will Dry In Time
(3:41)  4. Take Me For A Ride
(4:20)  5. Why Call It A Night
(4:24)  6. Angels
(3:18)  7. Soft Whisper
(5:27)  8. My Love
(3:27)  9. Hitch-Hiking Rendez-Vous
(3:54) 10. In Time I'll Fall In Love Again

Ira Kaspi graduated from the prestigious Berklee College of Music in Boston 1990. She spent several years abroad in her childhood (Stockholm and Brussels) during which time she went to the American International School. These years led Ira later to start her studies in the United States. Ira spent four years in Boston after which she spent a few years in London. Jazz vocals became Ira´s way of interpretation at a very young age even though she recorded some pop songs in her young teens. Even then she was already convincing herself as well as everybody aroung her that she was going to be a jazz singer. 

Ira Kasp Jazz Diva Band ´You and the Night and the Music´ is Ira´s 7th album – the first one for the international Prophone Records. Her previous recordings include several duo recordings and a CD with her own popinfluenced jazz songs. You and the Night and the Music features Iras´Jazz Diva quintet as well as the Lohja City Symphonic Orchestra.

In addition to her main bands Ira Kaspi Jazz Diva Band and Ira Kaspi & Peter Engberg Duo Ira has performed with several Big Bands for example UMO Jazz Orchestra and the Danish Odence Big Band. In addition to having sung at most of the Finnish Jazz festivals Ira has performed in amongst others the US, UK, Germany, Czeck Rep, Denmark and Sweden. Ira is a face for the international Dr.Hauschka biodynamic cosmetic brand in Finland.https://www.reverbnation.com/artist_219546/bio

Monrepos In My Heritage

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Bob Dorough - Too Much Coffee Man

Styles: Vocal And Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 53:52
Size: 123,9 MB
Art: Front

(3:57)  1. The Coffee Song
(3:52)  2. Wake Up Sally, It's Saturday
(4:19)  3. There's Never Been a Day
(5:58)  4. I've Got Just About Everything
(2:33)  5. Oklahoma Toad
(2:55)  6. Too Much Coffee Man
(5:14)  7. Fish for Supper
(4:04)  8. Marilyn, Queen of Lies
(4:57)  9. Yesterday, I Made Your Breakfa
(5:54) 10. Where Is the Song?
(5:35) 11. Love (Webster's Definition)
(4:28) 12. Late in the Century

Loaded with songs for the average guy or gal, Bob Dorough’s newest jazz album takes its name from an item we can all relate to readily. Hopefully, that particular medium constitutes only a minor role in our childhood reading development: the comic book. Too Much Coffee Man is the name of a comic book character. There’s a web site at www.tmcm.com . Dorough had written a jingle for Too Much Coffee Man’s creator, intended to serve as music for an animated television series. In a telephone conversation from his home in Eastern Pennsylvania last month, Dorough said, "He loved the jingle, so when I started my second Blue Note album, I told him that I’d be expanding that jingle into a full-length song. And he’s doing the artwork for the album’s cover." Too Much Coffee Man is due to be released early next month. Compared to his last album Right On My Way Home, Dorough says, "This one is more of a songbook, since most of the songs are my own. Some have a blues appeal. I’ve added an old Cootie Williams jazz song called "Fish for Supper." "Marilyn, Queen of Lies" is a re-recording from my first album. I wrote that one with Ann Landisman." Dorough’s first album, Devil May Care was recorded in 1956 and is the same one that a few years later caught the ear of Miles Davis. 

Articulating the lyrics in his usual crisp fashion, Dorough tells stories while ensuring that he’s supported musically. Long overlooked, Dorough’s piano playing makes a world of difference supporting his songs alongside bass and drums. The trio works out for much of the album, but some songs are backed by an expanded ensemble, adding guitar, alto saxophone, brass and/or percussion. "The Coffee Song" (They’ve Got A Lot Of Coffee in Brazil) takes on a big band sound with Phil Woods in the featured spotlight. He and Dorough work hand in glove for the four tracks on which Woods appears, and both share a bright and positive aura throughout. The title track a funky, jive number with two guitars, electric bass and organ – may be aimed at a younger audience, but its wigged-out attitude is one to which we can all relate. Dave Frishberg’s down home country lesson "Oklahoma Toad" serves to remind us that you have to get out once in a while and do some real work if you expect to see your next meal on time. Like Schoolhouse Rock, "Wake Up Sally, It’s Saturday" bounces with a deep tuba and rhythmic ride cymbal on what is clearly a jazz tune timeless and comfortable. Dorough’s piano interlude stands out and the piece serves to remind us that Saturday morning is a time to be at ease. Jamey Haddad’s extended drum solo punctuates Dorough’s romantic and positive "I’ve Got Just About Everything," to emphasize Joe Cohn’s guitar solo and Woods’ upbeat alto solo. Drawing from many styles, Too Much Coffee Man blends the exotic world beat feeling of "Marilyn, Queen of Lies," with the supple Brazilian rhythm of "The Coffee Song," and the romantic tango overtones of "Love." The album’s closing piece, a sweeping waltz, includes a vocal trio harmonizing with Dorough, offering wishes for a better world, without war, without intolerance, and without hate. There’s enough in this world to make us sad. Bob Dorough makes you feel good.~Jim Santella http://www.allaboutjazz.com/too-much-coffee-man-bob-dorough-blue-note-records-review-by-jim-santella.php

Personnel:  Bob Dorough- vocals, piano, electric piano, whistling;  Phil Woods- alto saxophone;  Ray Drummond, Steve Gilmore, Tony Marino- bass;  Billy Hart- drums;  Bill Goodwin- drums, percussion;  Jamey Haddad- drums, Hagimi Drum

Too Much Coffee Man

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Dan Barrett & Tom Baker - In Australia

Styles: Trumpet, Trombone and Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 60:16
Size: 139,0 MB
Art: Front

(4:03)  1. Vignette
(4:16)  2. Fore!
(4:59)  3. Then I'll Tired Of You
(3:46)  4. See If I Don't
(3:31)  5. After I Say I'm Sorry (What Can I Say)
(2:20)  6. It's Like Reaching For The Moon
(3:26)  7. That's A Plenty
(6:31)  8. Nobody Knows
(4:16)  9. Just Ducky
(3:51) 10. Indian Summer
(3:07) 11. Oh Lady Be Good
(4:25) 12. Overtime
(2:38) 13. Jug
(4:05) 14. Dynaflow
(4:55) 15. Through For The Night

Trombonist Dan Barrett teams up with a particularly strong band of Australian mainstream jazzmen on this highly enjoyable release. Co-leader is Tom Baker who mostly plays tenor but also switches to his pretty alto on "Indian Summer" and "Through for the Night." The rhythm section (pianist Chris Tapperell, guitarist Ian Date, bassist Don Heap and drummer Lynn Wallis) is supportive and swinging, and the great Australian cornetist Bob Barnard sits in on three exciting numbers. One of them, "That's a Plenty," finds both Barrett and Baker switching to trumpets and the well-arranged results for the three brassmen is very exciting. Other highlights include "Vignette," "It's Like Reaching for the Moon," "Lady Be Good" (which finds Barrett and Baker reproducing Lester Young's famous solo) and Gene Ammons' "Jug." Highly recommended.

~Scott Yanow http://www.allmusic.com/album/dan-barrett-and-tom-baker-in-australia-mw0000029392

Personnel: Dan Barrett (trumpet, trombone); Ian Date (guitar); Tom Baker (alto saxophone, tenor saxophone, cornet); Bob Barnard (cornet).

In Australia

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Dick Hyman - Face the Music: A Century of Irving Berlin

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 57:04
Size: 131,3 MB
Art: Front

(5:23)  1. Lady of the Evening
(2:25)  2. Let's Face the Music and Dance
(2:51)  3. The Night is Filled With Music
(3:29)  4. Soft Lights and Sweet Music
(4:10)  5. Supper Time
(2:53)  6. Easter Parade
(2:30)  7. Remember
(5:41)  8. The Best Thing for You
(2:26)  9. Always
(5:38) 10. I've Got My Love to Keep Me Warm
(4:48) 11. How About Me?
(6:58) 12. Russian Lullaby
(3:45) 13. Cheek to Cheek
(4:04) 14. I'll See You in C-U-B-A

Dick Hyman certainly had a lot of songs to choose from for this solo piano CD tribute to Irving Berlin (who made it past 100). Hyman is heard expertly mixing together some of Berlin's better-known tunes (such as "Let's Face the Music," "Easter Parade," "Remember" and "Always") with such notable obscurities as "Lady of the Evening," "How About Me?" and "I'll See You In C.U.B.A." Hyman's total control of the piano and his versatile style (which on this date ranges from stride and swing to Art Tatum) makes the set an obvious success.
~Scott Yanow http://www.allmusic.com/album/face-the-music-a-century-of-irving-berlin-mw0000205415

Personnel: Dick Hyman – Piano.

Face the Music: A Century of Irving Berlin

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Dusty Springfield - The Look of Love

Styles: Jazz, Vocal
Year: 1967
File: MP3@320K/s
Time: 39:55
Size: 92,0 MB
Art: Front

(3:36)  1. The Look of Love
(3:07)  2. Give Me Time
(2:29)  3. (They Long to Be) Close to You
(3:53)  4. If You Go Away
(1:55)  5. Sunny
(2:06)  6. Come Back to Me
(2:14)  7. What's It Gonna Be?
(2:41)  8. Welcome Home
(2:08)  9. Small Town Girl
(2:25) 10. Take Me for a Little While
(2:39) 11. Chained to a Memory
(2:53) 12. I've Got a Good Thing
(2:41) 13. I Can't Wait Until I See My Baby's Face
(2:27) 14. I'll Try Anything
(2:35) 15. It's Over

A true mixed bag, from the sensual title track to the melodramatic "If You Go Away," and some fine soul stylings in between, most notably "Small Town Girl" (check out the choruses) and "I've Got a Good Thing." This is the last of Springfield's Philips albums to be released in America (she signed with Atlantic in the U.S. soon after, and the label declined to release most of her Philips' output here).

~Bruce Eder http://www.allmusic.com/album/the-look-of-love-mw0000235702

The Look of Love

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Dan Barrett & Al Jenkins - Reunion With Al

Styles: Cornet And Trombone Jazz
Year: 1996
File: MP3@320K/s
Time: 76:19
Size: 176,8 MB
Art: Front

(4:43)  1. Do You Ever Think Of Me
(3:55)  2. Sugar Blues
(4:15)  3. Love Me Or Leave Me
(4:49)  4. (When It's) Darkness On The Delta
(4:50)  5. Oh, Baby
(6:26)  6. After You've Gone
(4:35)  7. I Can't Give You Anything But Love
(5:20)  8. Bright Eyes
(4:21)  9. I Never Knew
(4:38) 10. You're A Heavenly Thing
(4:50) 11. Bei Mir Bist Du Schoen
(4:21) 12. At Sundown
(5:36) 13. September Song
(4:37) 14. Girl Of My Dreams
(4:12) 15. Rachel's Boogie
(4:45) 16. Isle Of Capri

Trombonist Al Jenkins, who recorded with Doc Evans in the late 1940s and Art Hodes in 1956, spent much of his career playing either in the Midwest or in Los Angeles and never achieved much fame. He was an early influence on Dan Barrett's style, so in 1993, the younger trombonist persuaded Jenkins to join him on his record date. As it turned out, this would be Jenkins' final recording, since he passed away Nov. 15, 1996 at the age of 82. In deference to Jenkins, Barrett sticks to cornet exclusively on this CD (it is a pity they did not both play trombone on a song or two). With pianist Ray Sherman (always a marvelous soloist), bassist David Stone and drummer Jeff Hamilton contributing tasteful and swinging support, Barrett, Jenkins and Rick Fay (who switches between clarinet, soprano and tenor) make for an appealing frontline. Jenkins was 80-90% in his prime at the time, and one excuses the occasional blurry note due to the rare experience of hearing him stretch out. Barrett's crisp cornet solos put him near the top of his field, despite it being his second instrument, while on this set Fay tends to sound at his best on tenor. The repertoire generally sticks to familiar tunes, but even the warhorses, such as "Sugar Blues," "After You've Gone" (a feature for Sherman's sparkling piano) and "I Can't Give You Anything But Love" (sung by Jenkins), sound quite fresh and enthusiastic. A definite highlight is the exuberant playing heard throughout "Do You Ever Think of Me."~Scott Yanow http://www.allmusic.com/album/reunion-with-al-mw0000080227

Personnel: Dan Barrett (cornet); Al Jenkins (vocals, trombone); Ricky Fay (clarinet, soprano & tenor saxophones); Ray Sherman (piano); David Stone (bass); Jeff Hamilton (drums).

Reunion With Al 

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Scott Colley - Empire

Styles: Jazz, Post-Bop
Year: 2010
File: MP3@320K/s
Time: 54:47
Size: 126,2 MB
Art: Front

(4:53)  1. January
(8:24)  2. The Gettin Place
(5:20)  3. For Sophia
(7:23)  4. 5:30 Am
(6:46)  5. Speculation
(3:23)  6. Tomorrowland
(6:14)  7. Now What?
(4:07)  8. Gut
(6:12)  9. Five-Two
(2:01) 10. Five-Two.2

One of jazz's most ubiquitous bassists, Scott Colley has only released a handful of albums as a leader, compared to hundreds of sessions and live dates with artists ranging from Jim Hall and Andrew Hill to Chris Potter and Antonio Sanchez. Architect of the Silent Moment (CamJazz, 2007), was a particularly impressive combination of head and heart, traditional roots and forward thinking, acoustic and electric. One of 2007's best , it was a turning point for Colley a new path that the bassist continues to explore on Empire, a sure contender for one of 2010's top picks. Back from Architect, trumpeter Ralph Alessi and pianist Craig Taborn help make Empire a logical progression, but with drummer Brian Blade replacing Sanchez, and guitarist Bill Frisell fleshing the group out to a quintet, there's plenty of opportunity to explore other avenues, even as they spawn from the primary path defined by Colley's pen, responsible for all of Empire's ten tracks. "For Sophia" could be an outtake from Blade's Season of Changes (Verve, 2008), the four chords of Frisell's tremelo'd guitar and Blade's soft brushwork redolent of "Stoner Hill"'s folkloric Americana vibe, but starker still, with Colley's Charlie Haden-like solo of simple perfection mirrored when the ever-selfless Frisell takes over with equally flawless lyricism.

Beginning in quiet contemplation, the episodic "5:30 am" slowly picks up steam, as Alessi's plangent melody leads to an open-ended piano solo that quickly moves from focused melodism to more extreme expressionism, as Taborn passes the baton to Alessi with a repeated motif echoed by the trumpeter's own thematic start. Alessi solos with characteristic control and effortless virtuosity, bolstered by Colley and Blade, who turn up the heat with empathic support as the trumpeter mines the full range of his instrument, leading to Blade's ostinato-driven solo of lithe dexterity and full-throttled invention. Form turns to freedom on "The Gettin Place," with Colley's staggered, yet still grooving pulse setting a gentle context for Frisell, whose inherent idiosyncrasy expands to contrapuntal orbit with Alessi, and a solo shifting from quirky to quintessential, as the guitarist creates layers of soaring distortion and jagged, processed harmonics. Coalescing into a series of shifting voicings, Alessi winds in and around Frisell's changes, his lightning-fast, cascading lines driven by Blade's own turbulence, rallying suddenly to bring down the dynamics for a slowly spreading coda that ultimately dissolves into the ether. Whether it's the cerebral balladry of the dark-hued "Speculation," the angular, ambient lyricism of the bassist's rubato duo with Frisell on "Tomorrowland," his ambiguous, bass riff-driven duet with Alessi on "Gut," the oblique swing-meets-surreal of the quintet-driven "Five-two" or the abstruse but, amidst all this, more accessible "Now What?," Colley's writing acts like a lightning rod, encouraging a remarkable degree of free-thinking exploration amidst a group of charts ranging from detailed to sketch-like. More challenging than Architect, Empire may have been a long time coming, but arrives with an even more definitive sense of purpose and, given the chameleon-like demands on Colley as a sideman, a clear, cohesive and cogent conceptual voice.~JohnKelman
http://www.allaboutjazz.com/empire-scott-colley-cam-jazz-review-by-john-kelman.php

Personnel: Scott Colley: bass; Ralph Alessi: trumpet; Brian Blade: drums; Bill Frisell: guitar; Craig Taborn: piano.

Empire

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Nancy Harrow - Anything Goes

Size: 106,1 MB
Time: 44:54
File: MP3 @ 320K/s
Released: 1979/1991
Styles: Jazz Vocals
Art: Front

01. Anything Goes (2:25)
02. Prelude To A Kiss (2:47)
03. See See Rider (4:19)
04. A Woman's Intuition (2:32)
05. I Wished On The Moon (2:18)
06. Come Rain Or Come Shine (2:51)
07. He's Funny That Way (2:22)
08. Them There Eyes (2:22)
09. My Old Flame (2:07)
10. A Fine Romance (2:22)
11. Foolin' Myself (3:14)
12. I've Got A Crush On You (3:10)
13. A Little Blue (3:44)
14. Memories Of You (3:00)
15. I'll Get By (2:42)
16. Puttin' On The Ritz (2:30)

Nancy Harrow's first record in 16 years features the fine jazz singer accompanied by a sympathetic trio consisting of guitarist Jack Wilkins, bassist Rufus Reid and drummer Billy Hart. For this CD reissue, Harrow recorded four additional songs in 1990 with the same group. The renditions (mostly arranged by Bob Brookmeyer) are generally quite concise -- many are under three minutes long -- but full of honest emotion and subtle creativity. Highlights include "A Woman's Intuition," "I Wished On the Moon," "Them There Eyes" and "Foolin' Myself."

Anything Goes

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Rod Harris Jr. - The Counsel Of Elders

Size: 106,6 MB
Time: 45:41
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Jazz Funk, Hammond Organ
Art: Front

01. Jimmy Speaks (Feat. Russell Gunn) (5:14)
02. Up And At It (5:57)
03. Counselor #1 Mr. Montgomery (1:11)
04. S.O.S (Feat. Mike Walton) (6:23)
05. Goodbye, Again (Ms. Collins) (Feat. Lester Walker) (5:57)
06. Counselor #2 Mr. Benson & Mr. Green (0:33)
07. Jean De Fleur (5:43)
08. Clockwise (3:29)
09. Counselor #3 Mr. Burrell (1:07)
10. Midnight Blue (4:46)
11. The Counsel Of Elders (5:18)

Rod Harris Jr. is a native of Jacksonville, Florida. Rod was exposed to music at a young age by his singer/songwriter father. When Rod was 14, his father decided to relocate the family to Atlanta, GA. On his 17th birthday, his father gave him $150 dollars, and he decided to take the money and purchase an acoustic guitar. "...I don't know what provoked me to get a guitar...It had to be God...because I could've partied that money away...quickly.." he says. Once he began learning the instrument he fell in love with it and was determined to be a great player. " ...I think my senior year, my classmates thought I was crazy...I didn't party...I literally locked myself in my room and practiced for hours..."he says. After graduating and just a year of studying guitar, he applied for the Georgia State University School of Music, and was accepted.

It was at Georgia State University where his musical journey began. "...My early college years were pretty influential for me...it put alot into perspective for me...I was really naive..." he adds. Rod credits much of his musical growth during these years to two local Atlanta horn players (Lester Walker and Clyde Jones (deceased) ). "...These two cats were ridiculous...". Also during his freshman year in college Rod performed in the prestigious Atlanta Jazz Festival and also the following year. During these years Rod began to enlist in many local bands not just jazz music but soul and gospel bands. "...I used to wonder if I would ever graduate...the music was takin' over...other stuff was becoming secondary...there were many times I would skip class to go to the practice rooms...".
But Rod did graduate with surprisingly a B.B.A in Management and a Minor degree in Music. "...me and my dad used to get in real heated arguments about me pursuing a degree in music performance...he would also say that I don't need a degree to play music..." "...guess he was right to some degree..."

After college, Rod continued playing at night and worked corporate America during the day. "I felt like Clark Kent...living two lives...I used to go out to my car during my lunch breaks and shed (practice)...I had to get it in"...In 2006, Rod traveled to Nagoya, Japan to do a stint with a cover band at Gary's Motown Sound. "...this is when I knew...the corporate america junk had to go...Japan helped me make that decision..." In 2008, he was called to do a summer tour with Atlantic Records recording artist Musiq Soulchild. Rod would go on to become the resident guitarist for Musiq (2008-present). "This was another pivotal moment for me not just musically but life...I've learned alot about myself during my years in the Soulchild camp...I've definitely grown spiritually, mentally and musically..." Also in 2008, Rod made an appearance in the motion picture film "Cadillac Records", starring Beyonce Knowles and Adrian Brody. "...yeah..2008 was a good year for me..."he laughs.

Over his time as a guitarist, Rod has performed and recorded with countless artists and the list continues to grow. Artists such as songstress Regina Belle, J. Holiday, Miki Howard, jazz trumpeter Russell Gunn, Eightball and MJG, Musiq Soulchild, Jagged Edge, Donell Jones, Lloyd, saxophonist Warren Hill and Paul Taylor, smooth jazz pianist Marcus Johnson, the legendary Fred Wesley, jazz organist Doug Carn, Red Holloway (deceased), Ernie Andrews, Howard Hewitt of Shalamar , Malcolm-Jamal Warner, Maysa, jazz trombonist Wycliffe Gordon, Joi, R&B Diva Syleena Johnson, Bishop Paul S. Morton, Grammy award winning singers Monica, Jennifer Holliday, Dionne Farris, and many others.

The Counsel Of Elders

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Johnny Hall - Classic Swing

Size: 108,3 MB
Time: 41:56
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Big Band
Art: Front

01. You Make Me Feel So Young (3:03)
02. Melancholy Baby (3:27)
03. You Are The Sunshine Of My Life (2:32)
04. The Way You Look Tonight (4:35)
05. The Wind Beneath My Wings (3:32)
06. On The Street Where You Live (3:39)
07. If Ever I Would Leave You (3:14)
08. Call Me Irresponsible (3:13)
09. The Shadow Of Your Smile (4:35)
10. You've Got A Friend In Me (3:24)
11. Young At Heart (3:41)
12. Pennies From Heaven (2:56)

After months in the making, Johnny Hall's 10th recording is ready to bring you back to the days when swing was king and the brass was loud and shiny. "Classic Swing" is a celebration of the jazz era and features recordings of Johnny performing his favorites from back when to right now.

"My parents grew up in the era of the big bands and ballroom dancing. I have fond memories of watching the Lawrence Welk Show and seeing Mom and Dad dance around the living room to some favorite tune. The love of the jazz/swing sound transferred to me, and as I grew up, my music collection began to fill with the voices of Sinatra, Bennet and Darin. I have wanted to do a recording of swing tunes for a long time and finally got around to doing it."

If you've ever been to one of Johnny's live concerts, you may recall his story about hearing Robert Goulet's perfomance in Hallmark Hall of Fame's Brigadoon and being gobsmacked by his rendition of "If Ever I Would Leave You". Now, with "Classic Swing", you'll be able to hear Johnny perform that classic show tune.

Classic Swing

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Eileen Howard - Big City Love

Size: 106,2 MB
Time: 45:27
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues Vocals
Art: Front

01. Big City (2:48)
02. Home Is You (4:52)
03. New York New York (5:03)
04. Till Now (4:12)
05. Sunday In New York (3:04)
06. I'll Take It All (3:57)
07. Love Can Change (4:58)
08. Manhattan (4:36)
09. Absent Without Leave (3:47)
10. In Tune (3:01)
11. But Beautiful (5:05)

Critically acclaimed jazz and blues singer/composer Eileen Howard will release her fifth CD, Big City Love, an eclectic musical tribute to love in, and for, the city.

This intensely personal collection of jazz, funk and blues includes four originals composed and arranged by Howard, each a reflection on her 37 year journey of love with her husband, George Howard. Originally a transplant from Ohio, who has lived all over the world, she selected songs on the album to celebrate her adopted city of New York. Howard conceived and arranged a funky version of the classic Kander and Ebb standard, “New York, New York." Her unique arrangement of Roger and Hart’s “Manhattan," using translations of some of its words, is a tribute to the waves of immigrants who wanted to ‘take Manhattan’. Other songs include, “I’ll Take it All," a musical theater composition by up-and-coming New York composers Sam Carner and Derek Gregor. Till Now is a world premier by Nashville composer Thomas O’Connell. “Big City" and “Sunday in New York" were arranged by internationally recognized music director, composer and artist, Michael Raye, who also plays keyboard on the album and was the recording and mixing engineer.

Other talented personnel on the album include Nat Janoff on guitar, Eddy Khaimovich on bass, Darrell Smith on drums, Daniel Bennett on flute and sax, and Matthew Owens on trumpet.

Jazz Journalist, Marcia Hillman, wrote about Big City Love, “With this latest offering, Eileen Howard continues to reach her listening audience with her storytelling ability by singing from the heart with her powerful, melodious voice.” Scott Yanow, L.A. Jazz Scene, called Howard a “very appealing singer with a powerful voice and a joyful personality” and “a singer well worth discovering.” Edward Blanco said, “This lady can definitely sing up a storm with a voice that allows her to reach and hit the high notes with effortless ease...lush velvet voice. A very impressive vocal performance.” Blues Music said: “She harnesses the genre as one of those rare entertainers with the sensitivity and witty flair to deeply evoke the human sensibility.” Deejay Fritz “The Night Owl” called her “One of the most creative and swingin’ singers ever to vocalize on the local jazz scene.” And music review blog, “Wildys World” said, “Eileen Howard sings like a Diva, vamps like a Rat-Pack veteran and generally entertains like few others can...” Her 25-year career as an actress and singer has been studded with awards for musical performance and acting.

Howard previously released a live recording of her sold out “Blues Cabaret” called Blues in the Green Room, which has been praised by music reviewers, two critically acclaimed jazz CD’s, and an eclectic CD of spiritual tunes of her own composition.

Big City Love

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Randy Napoleon - Soon

Size: 163,1 MB
Time: 70:10
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Guitar Jazz
Art: Front

01. Be My Love (7:18)
02. Soon (4:32)
03. Grew's Tune (5:33)
04. The Second Star To The Right (5:58)
05. First Love, Only Love (5:46)
06. Moon River (7:37)
07. Isfahan (3:59)
08. So In Love (6:39)
09. Cannonball (3:44)
10. More Than You Know (5:56)
11. Everything I Love (4:11)
12. CC Rider (5:22)
13. Body And Soul (3:28)

Known as a forward-thinking musician with a passion for the jazz tradition, guitarist Randy Napoleon tours with the legendary singer/pianist Freddy Cole and leads his own trios, quartet, and three-horn sextet. He is an assistant professor at Michigan State University, where he teaches jazz guitar.

Napoleon is a composer and an arranger for singers, big bands, and small combos. He arranged as well as performed on Cole’s 2010 Grammy-nominated release from High Note, Freddy Cole Sings Mr. B. He is the guitarist on Cole’s Live at Dizzy’s Club: The Dreamer in Me, Talk to Me, This and That, and Freddy Cole Sings The Blues. He has performed with artists across the jazz spectrum such as Bill Charlap, Natalie Cole, Monty Alexander, Houston Person, Rodney Whitaker, Melissa Morgan, Aaron Diehl, Josh Brown, Dmitry Baevsky, Jared Gold, Etienne Charles, Mike Dease, Sara Gazarek, Brianna Thomas, Bootsie Barnes, Mike Karn, Eric Comstock. Will and Pete Anderson, and Vince Giordano and the Nighthawks.

Prior to joining Freddy Cole, Napoleon toured with the Clayton-Hamilton Jazz Orchestra and appears on the recording, The Clayton Hamilton Orchestra: Live at MCG. He has toured extensively with Benny Green and crooner Michael Buble. Napoleon is featured on Buble’s Grammy-nominated CD Caught in the Act.

Napoleon has performed on The Tonight Show, Late Night With David Letterman, The View, The Today Show, and The Ellen DeGeneres show as well as TV shows in South America, Europe and Asia. Napoleon has played or arranged on over seventy records.

Guitarist George Benson calls Napoleon “sensational.” Detroit Free Press critic Mark Stryker says Napoleon “plays with a gentle, purring tone that makes you lean in close to hear its range of color and articulation.” Washington Post critic Mike Joyce praises his “exceptionally nimble finger-style technique.” Comparing him to Wes Montgomery, music critic Michael G. Nastos says, “he displays an even balance of swing, soul, and single-line or chord elements that mark an emerging voice dedicated to tradition and universally accessible jazz values.”

Napoleon has four records out as a leader, including his newest release – Soon. Soon features Napoleon in the classic guitar trio format with bassist Rodney Whitaker and drummer Gregory Hutchinson. Also featured on the album are two duets with trumpeter Etienne Charles.

Soon

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Miss Sophie Lee & The Parish Suites - Traverse This Universe

Size: 100,9 MB
Time: 38:49
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, New Orleans Jazz
Art: Front

01. You And Me (The Universe) (4:16)
02. That's When Your Heartache Begins (4:20)
03. Someday (3:26)
04. A Safe Place (2:58)
05. Undecided (4:35)
06. Under The Moon (2:53)
07. The Way That Love Can Be (3:09)
08. Ain't Misbehaving (3:24)
09. It Don't Mean A Thing (If It Ain't Got That Swing) (3:28)
10. Mean To Me (3:31)
11. Lovely In That Dress (2:44)

The rich, romantic, and sweet voice of Miss Sophie Lee shines on her latest with group the Parish Suites, Traverse This Universe. Shades of Billie Holiday peek up from Lee's voice throughout, and she does it right. Joining her for this latest release are producers/songwriters Luke Winslow King, Earl J. Scioneaux III, and Ben Polcer. Lee is well-versed in trad jazz but reaches beyond that background for an album with more original tunes than covers, though Traverse still includes classically lovely versions of Fats Waller's 'Ain't Misbehavin'' and Duke Ellington's 'It Don't Mean A Thing (If It Ain't Got That Swing).'

The band takes on a Caribbean beat on 'Under the Moon,' and a Latin tinge on 'Someday.' The porch sitting atmosphere of New Orleans pushes through on 'That's When Your Heartaches Begin,' contrasted by the sweet and innocent sounds of 'A Safe Place.' Also noteworthy are the romantic saxophone undertones on 'You and Me (The Universe)' and 'The Way That Love Can Be.'

Other featured musicians on Traverse This Universe include more than a dozen of the most talented regular musicians on the New Orleans club circuit today, including Aurora Nealand, Helen Gillet, Charlie Halloran, and Khris Royal.

Lee certainly stays busy--in the fifteen years since moving to New Orleans in search of its culinary and musical culture, Ms. Sophie Lee has released four albums, opened the jazz club Three Muses in 2010, and is set to open Seoul Shack this summer. She also has two daughters, ages 8 and 6, who designed the cover art for the album.

Traverse This Universe

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Dick Hyman - In Recital

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 63:15
Size: 145,1 MB
Art: Front

( 5:50)  1. The Way You Look Tonight
( 6:01)  2. Lost in the Stars
( 5:13)  3. Just You, Just Me
(10:01) 4. Tea for Two
( 3:11)  5. Odeon
( 5:25)  6. The Song Is You
( 7:37)  7. Lover
( 2:45)  8. Thinking About Bix
( 4:40)  9. Shenandoah
( 8:45) 10. All the Things You Are
( 3:44) 11. Carolina Shout

This is the type of recording opportunity that many jazz pianists dream of: a perfectly tuned superior sounding nine-foot grand in an acoustically exceptional performance hall (The Maestro Foundation, which is actually within an elegant private home!) with an attentive and extremely quiet audience. Dick Hyman takes advantage of all these factors, adding his wide ranging taste in jazz and impeccable playing technique to produce a very memorable CD of solo piano. His stunning opener is a fabulous interpretation of "The Way You Look Tonight," and the program also includes stride ("Carolina Shout"), playful takes of "Just You, Just Me" and "Tea for Two," an elegant waltzing "Lover," and the obscure "Odeon" from the early days of the 20th century. Hyman also adds his jaunty tribute to Bix Beiderbecke ("Thinking About Bix") and delivers a breathtaking treatment of "Shenandoah," a piece of Americana that has retained universal appeal over its long history. Although Dick Hyman has made superb CDs and LPs over his decades-long career, this masterpiece should be considered essential, too, by fans of jazz piano.~Ken Dryden http://www.allmusic.com/album/in-recital-mw0000044362

Personnel: Dick Hyman (piano).

In Recital 

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Dianne Reeves - Never Too Far

Styles: Vocal, R&B
Year: 1990
File: MP3@320K/s
Time: 47:48
Size: 109,8 MB
Art: Front

(3:45)  1. Hello (Haven't I Seen You Before)
(5:20)  2. Never Too Far
(6:56)  3. Come In
(5:05)  4. How Long
(4:37)  5. Eyes On The Prize
(1:13)  6. Bring Me Joy
(5:32)  7. Fumilayo
(4:09)  8. More To Love
(5:40)  9. We Belong Together
(5:27) 10. Company

Any vocalist whose album release parties are held at Le Dome on Sunset Strip has got to be a class act, and R&B/jazz song stylist Reeves is certainly that. Helped along by the marvelous texturing skills of producer George Duke and the rhythms of such jazz heavies as Kirk Whalum, Luis Conte, Abe Laboriel, and Stanley Clarke, Reeves shows a grand affinity for a wide range of stylings. Her gospel side is brought out by a choir featuring Phil Perry and Philip Bailey on the feel good title cut, while Conte's snazzy percussion brings out the South African rhythms on the brassy "Fumilayo" and "Eyes on the Prize," on which Duke shows considerable aplomb with the synclavier horns. Duke also infuses some funk in the danceable "Hello (Haven't I Seen You Before)," which features backing vocals by Take 6. Best tunes are the safest ones, though the sweet torch ballads "More to Love," "We Belong Together," and the tearjerker "Company," which was co-written by Rickie Lee Jones. Tasty stuff, but how does Reeves sing? Powerfuly, with an emotional voice that commands your attention but doesn't feel the need to overpower. Never Too Far may be classified as an R&B album, but Reeves has the voice and soul of a true jazz diva.~Jonathan Widran http://www.allmusic.com/album/never-too-far-mw0000654241

Never Too Far

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