Rune Gustafsson - Standards

Bitrate: MP3@320K/s
Time: 42:37
Size: 97.6 MB
Styles: Guitar & vocal jazz
Year: 1995
Art: Front

[3:39] 1. Black And Blue
[3:01] 2. That Old Feeling
[4:32] 3. I Surrender Dear
[3:11] 4. Don't Be That Way
[3:14] 5. Taking A Chance On Love
[3:28] 6. No Regrets
[3:55] 7. Love Is A Many Splendored Thing
[3:38] 8. Don't Get Around Much Anymore
[2:20] 9. Home
[3:19] 10. I'm In The Mood For Love
[3:39] 11. For All We Know
[4:36] 12. You're A Sweetheart

Heavily inspired by generations of blurry-toned jazz guitar maestros such as Jimmy Raney, Jim Hall, and Tal Farlow, this Swedish artist went on to compose critically acclaimed film soundtracks as well as pick and strum. The Swedish music scene in general is where documentation of Rune Gustafsson is most prevalent, his discography on Sonet, Metronome, and other labels even including a tribute to soul genius Stevie Wonder. The guitarist began performing folk music as a young teen, apparently under considerable prodding from an uncle who was already engaged in the same kind of activity. Gustafsson had evolved to playing jazz on stages in the early '50s, his bandleaders including Bert Dahlander, Putte Wickman, Hacke Bjorksten, and Lars Gullin. When profiled in Leonard Feather's Encyclopedia of Jazz in the '70s, Gustafsson talked about his ambitions in composing and arranging concert music, a promise he certainly made good on in the ensuing years. He also expanded his instrumental arsenal for some of these projects, recording on the banjo and the celeste, among other unusual axes. His film credits include the 1992 Ingmar Bergman release with the English title of Sunday's Children. ~bio by Eugene Chadbourne

Standards

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Mildred Bailey - The Great American Songbook

Bitrate: MP3@320K/s

Time: 58:29

Size: 133.9 MB

Styles: Vocal jazz

Year: 2012

Art: Front

[3:10] 1. Rockin' Chair

[3:25] 2. Georgia On My Mind

[3:04] 3. Lazy Bones

[2:47] 4. Heat Wave

[2:58] 5. Honeysuckle Rose

[3:13] 6. More Than You Know

[2:53] 7. I've Got My Love To Keep Me Warm

[3:01] 8. Trust In Me

[3:12] 9. Where Are You

[2:33] 10. Thanks For The Memory

[3:14] 11. Lover, Come Back To Me

[2:33] 12. Please Be Kind

[2:55] 13. I Let A Song Go Out Of My Heart

[2:46] 14. My Melancholy Baby

[2:46] 15. The Lonesome Road

[2:42] 16. St. Louis Blues

[2:45] 17. Begin The Beguine

[2:36] 18. 'tain't What You Do (It's The Way That You Do It)

[2:47] 19. Prisoner Of Love

[3:01] 20. All Of Me

An early jazz singer with a sweet voice, Mildred Bailey balanced a good deal of popular success with a hot jazz-slanted career that saw her billed as Mrs. Swing (her husband, Red Norvo, was Mr. Swing). Born Mildred Rinker in Washington state in 1907, Bailey began performing at an early age, playing piano and singing in movie theaters during the early '20s. By 1925, she was the headlining act at a club in Hollywood, doing a mixture of pop, early jazz tunes, and vaudeville standards. Influenced by Ethel Waters, Bessie Smith, and Connie Boswell, she developed a soft, swinging delivery that pleased all kinds of nightclub audiences in the area. After sending a demonstration disc in to Paul Whiteman in 1929, she gained a spot with one of the most popular dance orchestras of the day.

The added exposure with Whiteman soon gave Bailey her own radio program. She had already debuted on a recording date with guitarist Eddie Lang in 1929, but in 1932 she gained fame by recording what became her signature song, "Rockin' Chair" -- written especially for her by Hoagie Carmichael -- with a Whiteman small group. While recording for Vocalion during the 1930s, Bailey often utilized her husband, xylophonist/vibraphonist Red Norvo. She also appeared on his recordings of the late '30s, and the arrangements of Eddie Sauter proved a perfect accompaniment to her vocals.

Though she and Norvo later divorced, Bailey continued to perform and record during the 1940s. She appeared on Benny Goodman's Camel Caravan radio program, and gained her own series again during the mid-'40s. Hampered by health problems during the late '40s, she spent time in the hospital suffering from diabetes and died of a heart attack in 1951. ~bio by John Bush

The Great American Songbook  

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The Hep Chaps - Swingin' On Nothing

Bitrate: MP3@320K/s
Time: 49:07
Size: 112.5 MB
Styles: Retro Swing
Year: 2008
Art: Front

[3:39] 1. Swingin' On Nothing
[2:45] 2. Tickle Toe
[4:17] 3. Cherokee
[3:13] 4. S'wonderful
[3:29] 5. The Lady Is A Tramp
[3:23] 6. One For Press
[3:01] 7. Easy To Dance With
[3:35] 8. The D.I.Y. Song
[3:59] 9. Summertime
[3:45] 10. Cape Cod
[3:29] 11. Into It
[3:31] 12. Lady Be Good
[2:55] 13. Spook's Holiday
[4:00] 14. Hit That Jive Jack

In incredible six-piece band formed by David Howarth and John Wallace, delivering punchy Swing Rhythms via original songs with zany lyrics and reworking favorites from the original Swing era. Rock'n'Roll fans will know John Wallace as a member of The Stargazers, and David Howarth from his roles in the stage musicals "Buddy" and "Good Rockin' Tonight". The Hep Chaps line-up also features guitar-ace Zac Zdravkovic, leader of British Rock'n'Roll favorites The Jive Romeros.

A fantastic album with boasts catchy swinging tunes, both new and old performed by the finest musicians the Swing Scene has to offer - and great vocals too!

Swingin' On Nothing

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Viktoria Tolstoy - Blame It On My Youth

Bitrate: MP3@320K/s
Time: 47:55
Size: 109.7 MB
Styles: Vocal jazz
Year: 2001
Art: Front

[4:46] 1. We'll Be Together Again
[4:34] 2. Midnight Sun
[6:02] 3. Laura
[3:40] 4. Baby Plays Around
[4:57] 5. The Saga Of Harrison Crabfeathers
[4:04] 6. Blame It On My Youth
[4:12] 7. Destiny
[5:56] 8. Peace
[4:44] 9. Summer Night
[4:56] 10. Angel Eyes

Drums, Timpani, Percussion – Rasmus Kihlberg; Electric Bass, Acoustic Bass – Mattias Svensson; Piano, Organ, Vibraphone, Marimba – Jacob Karlzon; Viola – Christopher Öhman (tracks: 2, 4, 10), Henrik Frendin (tracks: 2, 4, 10); Violin – David Björkman Celhag* (tracks: 2, 4, 10); Vocals – Viktoria Tolstoy.

The great-great-granddaughter of the Russian writer, Leo Tolstoy, singer Viktoria developed a small but dedicated following in Sweden in the early 90s. Her mid-90s recording debut, Smile, Love And Spice, for which she was praised by Swedish jazz musicians such as Arne Domnérus, Svante Thuresson and Putte Wickman, began attracting attention further afield. She gained even more attention and greater commercial success with 1996’s För Älskad, a pop album that hinted strongly at star potential. Signed to Blue Note Records, she released White Russian in 1997, most of the songs on which were written by Tolstoy in collaboration with pianist Esbjörn Svensson. Following on the release of this CD, Tolstoy toured Germany, accompanied by Svensson’s trio. The weight of the Blue Note contract helped her gain entry to the inner circles of jazz and she performed with Ray Brown, singing with him in 2000 in Geneva, Switzerland, McCoy Tyner, and others. Nevertheless, she concentrated for a while on strengthening her base in Sweden. Subsequent albums, especially those following a shift to ACT Records, demonstrate her development as a strong singer and how much she has learned from her association with able jazz musicians. In 1999 she appeared in London at the Swedish Jazz Extravaganza. The release of Shining On You early in 2004 was concurrent with a Rising Stars tour of Germany, Denmark, Austria and Switzerland. In addition to Scandinavian and northern European countries, Tolstoy has also appeared in Italy and Malaysia.

Blame It On My Youth

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Gerald Albright - Sax For Stax

Bitrate: MP3@320K/s
Time: 51:01
Size: 116.8 MB
Styles: Crossover jazz, Saxophone jazz
Year: 2008
Art: Front

[5:05] 1. Theme From The Men
[4:05] 2. Knock On Wood
[4:14] 3. Never Can Say Goodbye
[4:53] 4. Memphis Passion
[5:03] 5. Respect Yourself
[5:08] 6. I Stand Accused
[4:20] 7. Cheaper To Keep Her
[4:30] 8. Walkin' Down Beale Street
[4:48] 9. What You See Is What You Get
[4:14] 10. Who's Making Love
[4:36] 11. W.C. Handy Hop

Sax for Stax by Gerald Albright features Will Downing, Ledisi, Kirk Whalum, and Philip Bailey. Gerald Albright has been serving up "Sweet Pain" on his soulful saxophone for an ever-growing audience that spans across R&B, "Quiet Storm," traditional jazz and smooth jazz lines. Albright once again demonstrates his unique soulful sound while paying homage to one of the greatest eras of american music history.

Sax For Stax

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Stuff Smith With The Henri Chaix Trio - Late Woman Blues

Bitrate: MP3@320K/s
Time: 62:03
Size: 142.1 MB
Styles: Violin jazz
Year: 2001
Art: Front

[5:31] 1. C Jam Blues
[6:47] 2. Perdido
[6:06] 3. Late Woman Blues [blues In B Flat]
[6:35] 4. How High The Moon
[5:36] 5. On The Sunny Side Of The Street
[8:05] 6. Take The A Train
[4:39] 7. Body And Soul
[7:19] 8. After You've Gone
[6:22] 9. Oh, Lady Be Good
[4:59] 10. Rosetta

Stuff Smith spent the final two years of his life performing in Europe; this previously unreleased Swiss concert from 1965 was finally released some 36 years later. The violinist is accompanied by stride pianist Henri Chaix, young bassist Michel Guillemin, and fellow American expatriate Wallace Bishop (who had resided in Europe since 1950) on drums. Smith is in top form, though the inexperience of the bassist is rather obvious during the awkward introduction to "Perdido"; fortunately, things improve rapidly afterwards. In addition to his swinging fiddle, Smith's hoarse vocals are a riot in his "Late Woman Blues" (also known as "Blues in B Flat"), while he breaks up one of his sidemen with his singing of "On the Sunny Side of the Street." The instrumentals are mostly familiar to Smith's fans, including "Take the 'A' Train" and "How High the Moon," though it is the adventurous and occasionally dissonant take of "Body and Soul," a standard rarely played by the violinist, that takes top honors. The sound is very good for such a vintage recording. Swing fans will consider this long-hidden treasure to be an essential CD. ~Ken Dryden

Late Woman Blues

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The Animals - Retrospective

Bitrate: MP3@320K/s
Time: 76:44
Size: 175.7 MB
Styles: Rock, British Invasion, AM Pop
Year: 2005
Art: Front

[4:29] 1. The House Of The Rising Sun
[2:47] 2. I'm Crying
[2:19] 3. Baby Let Me Take You Home
[2:27] 4. Gonna Send You Back To Walker
[3:17] 5. Boom Boom
[2:27] 6. Don't Let Me Be Misunderstood
[2:41] 7. Bring It On Home To Me
[3:12] 8. We Gotta Get Out Of This Place
[3:05] 9. It's My Life
[3:15] 10. Don't Bring Me Down
[3:59] 11. See See Rider
[3:47] 12. Inside Looking Out
[3:46] 13. Hey Gyp
[2:39] 14. Help Me Girl
[2:59] 15. When I Was Young
[3:04] 16. A Girl Named Sandoz
[3:20] 17. San Franciscan Nights
[4:18] 18. Monterey
[3:21] 19. Anything
[7:28] 20. Sky Pilot
[3:50] 21. White Houses
[4:02] 22. Spill The Wine

Back in 1964, unless you were living in a cave or covered with fur, you would have heard the hit songs of 'The Animals. Forty years later, you can do it again. 22 tracks including the long unavailable 'We Gotta Get Out Of This Place' (U.S.).

The 22 tracks on Retrospective deftly chronicle the best years of the Animals, who were far and away the grittiest band in the British Invasion of the mid-1960s. Eric Burdon's magnificently raw vocals and the stabbing chords of Alan Price's Vox Continental organ gave their covers of American blues and R&B classic such as Sam Cooke's "Bring it on Home" and John Lee Hooker's "Boom Boom" an authenticity that no other British groups could match. Their rough sound also gave songs like "Please Don't Let Me Be Misunderstood" and "We've Got to Get of This Place" a real sense of rage and menace. By 1967 Burdon was the only remaining original member and he formed a new band that eschewed the blues and R&B of his early years in Newcastle in favor of a psychedelic, San Francisco-influenced sound. Songs like "When I Was Young" showed he had a real gift for the type of personal songwriting that was becoming popular in the late 1960s while the lyrically obscure "San Franciscan Nights" and "Sky Pilot" suggested he spent too much time hanging out with hippies. Even when they stumbled, the Animals were interesting, and when they hit the mark, they were as good as any band from the British Invasion. ~Michael John Simmons

Retrospective

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Bobby Troup - Bobby Swings Tenderly

Bitrate: MP3@320K/s
Time: 31:25
Size: 71.9 MB
Styles: Easy Listening, Cool
Year: 1957/2000
Art: Front

[5:43] 1. Tenderly
[2:13] 2. My Ship
[4:51] 3. These Foolish Things
[2:53] 4. Perdido
[2:44] 5. Always
[3:26] 6. Stella By Starlight
[4:15] 7. Makin' Whoopee
[3:00] 8. It Never Entered My Mind
[2:16] 9. I See Your Bass Before Me

This is one of pianist/vocalist/composer Bobby Troup's few (and possibly only) all-instrumental dates. Accompanied by cool-toned horns (valve trombonist Bob Enevoldsen, trumpeter Stu Williamson, tenor saxophonist Ted Nash and baritonist Ronnie Lang) along with bassist Buddy Clark and drummer Mel Lewis, Troup explores eight familiar standards plus his own "I See Your Bass Before Me." The easy-listening music that is heard on this V.S.O.P. LP is fine if not overly stimulating. The emphasis is on ballads and mellow playing. ~Scott Yanow

Bobby Swings Tenderly

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Mike Magnelli - Mike Magnelli & Friends

Bitrate: MP3@320K/s
Time: 63:48
Size: 146.1 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[2:44] 1. Sweet Georgia Brown
[3:53] 2. The Shadow Of Your Smile
[1:20] 3. Flight Of The Bumble Bee
[6:31] 4. In A Mellow Tone
[2:19] 5. 21 Hungarian Dances
[5:26] 6. Easy Living
[3:39] 7. Lester Leaps In
[4:03] 8. Recuardos De La Alhambra
[2:18] 9. Chicken A La Swing
[3:04] 10. (You Are) Always In My Heart
[1:38] 11. The Turkish March
[4:20] 12. Lover Man (Oh Where Can You Be )
[3:32] 13. Strike Up The Band
[4:05] 14. Czardas
[3:55] 15. Lover
[2:42] 16. Minute Waltz [opus 64 No. 1]
[2:55] 17. Guitar Boogie Blues
[3:05] 18. Nuages
[2:11] 19. Hora Stacatto

After receiving a BME degree from the Boston Conservatory of Music, Mike worked as a guitarist on Broadway for such hit shows as Promises Promises, Fiddler On The Roof, as well as numerous off Broadway productions. Following many years of touring with the national company of "Grease" (with a then unknown John Travolta in the cast,) with vocalists such as Frank Sinatra, Jr. and his Orchestra and others, Mike returned to NY.

He started working as a booking agent for the Willard Alexander Agency, and office then well known for it's representation of famous big-bands. While working as an agent he continued to work as a guitarist and occasional trumpet doubler for NY society dance orchestras such as Lester Lanin, Ray Bloch as well as with various jaz groups.

He started his own agency in 1988 which continues today, booking and managing many well known touring big-bands. Mike also managed the legendary jazz guitarist Joe Pass for many years until his untimely passing. In addition to running the agency he performs at jazz clubs, festivals and clinics. His hobbies include deep sea fishing (watch out for those hooks!) cooking, (specializing in Italian seafood dishes) and draughts (checkers) of which he has been the winner of many tournaments.

Mike Magnelli & Friends

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Caribbean Jazz Project - Paraíso

Styles: Latin Jazz
Year: 2001
File: MP3@320K/s
Time: 69:09
Size: 163,3 MB
Art: Front

(9:11)  1. One Step Ahead
(7:10)  2. Naima
(7:03)  3. Maluco
(9:34)  4. Caravan
(7:24)  5. El Tacaño
(6:52)  6. Five For Elvin
(5:23)  7. Second Opinion
(6:10)  8. Jamboree
(6:23)  9. Cá-Ni-Mo!
(3:56) 10. Obaricoso / Ritmos, Colores, Y Sentidos

This is possibly the most intricate, intellectual, and compositionally advanced Latin jazz that's been made to date. Certainly the tri-leaders of the group - vibraphonist Dave Samuels, flautist Dave Valentin, and guitarist Steve Khan - are in the top echelon of performers on their respective instruments, and all have played in a unusually broad range of musical settings throughout their performing careers, and they bring all these resources to this release. The three principals contribute well-thought-out, technically advanced jazz solos - lovers of all flavors of jazz will find a lot to marvel at and digest here. They also call in a couple technical whizes for guest spots: trombonist Conrad Herwig on "Caravan" and "Naima" and Ray Vega on flugelhorn on "Naima." 

But there's another factor at work here behind the prodigious talent of the front line. The team of percussionists keep the proceedings solidly in the groove with equally intricate, constantly percolating congas and timbales. In fact, a drum set is used only occasionally. The players are so perfectly coordinated and interconnected, not just with each other, but with the requirements of the melodies or the soloists. There is no repetition, no "push Play and let it go" here at all. The rhythmic complexity is astonishing. And when they step forward for the occasional percussion break, it's breathtaking. The percussion on the finale, a medley of Mongo Santamaria's "Obaricoso and Richie Flores' "Ritmos, Colores, y Sentidos" is simply stunning. They're also recorded very well. If there is a fault to be found with this CD, it might be that it's almost too perfect. It's so intellectual, so polished, so studied and so intricate that it borders on losing the raw energy that so much Latin music has to offer. But overall, this CD is tremendously rewarding. It raises the bar on several levels: the compositions (most by Samuels or Khan) and arrangements, the depth of the solos, the state-of-the-art percussion. This is heavy stuff. It merits multiple listenings in order to focus on different instruments each time around. ~ Dave Hughes https://www.allaboutjazz.com/paraiso-dave-samuels-concord-music-group-review-by-dave-hughes.php

Personnel: Dave Samuels - vibes and marimba; Dave Valentin - flute; Steve Khan - guitar and guiro; Ruben Rodriguez- bass; Richie Flores - congas, shakere; Luisito Quintero - timbal kit, percussion; Dafnis Prieto - timbal kit, drums; Poncho Sanchez - congas; Conrad Herwig - trombone; Ray Vega - flugelhorn.

Paraíso

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Charles McPherson - Bebop Revisited

Styles: Saxophone Jazz 
Year: 1964
File: MP3@320K/s
Time: 46:10
Size: 107,2 MB
Art: Front

(7:45)  1. Hot House
(5:25)  2. Nostalgia
(6:58)  3. Variations On A Blues By Bird
(6:07)  4. Wail
(7:41)  5. Embraceable You
(5:53)  6. Si Si
(6:18)  7. If I Loved You (Bonus)

Bebop is the thing on this excellent outing as altoist Charles McPherson and pianist Barry Harris do their interpretations of Charlie Parker and Bud Powell. With trumpeter Carmell Jones, bassist Nelson Boyd and drummer Al "Tootie" Heath completing the quintet, the band romps through such bop classics as "Hot House," "Nostalgia," "Wail" and "Si Si" along with an original blues and "Embraceable You." A previously unissued "If I Love You" is added to the CD reissue. McPherson and Jones make for a potent frontline on these spirited performances, easily recommended to fans of straightahead jazz. ~ Scott Yanow http://www.allmusic.com/album/be-bop-revisited-mw0000276269

Personnel:  Charles McPherson - alto saxophone;  Carmell Jones – trumpet;  Barry Harris – piano;  Nelson Boyd – bass;  Albert Heath - drums

Bebop Revisited

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Chris Cheek - A Girl Named Joe

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 67:01
Size: 153,8 MB
Art: Front

(7:28)  1. Slide
(6:16)  2. September
(5:57)  3. Arctic Barbeque
(5:42)  4. Lowered
(7:37)  5. Late Green
(4:46)  6. Plant Dance
(6:28)  7. A Girl Named Joe
(7:15)  8. Then
(5:52)  9. Siege
(9:35) 10. Water Mile

Chris Cheek takes a bold step forward with this all-original date. With two tenors (Cheek and Mark Turner) and two drummers (Jordi Rossy and Dan Rieser), the instrumentation is somewhat unusual. Guitarist Ben Monder and bassist Marc Johnson complete the lineup. Johnson is an excellent choice, given the rock leanings of "Arctic Barbecue" and "Plant Dance," the dark folk elements of "Lowered," and even the country traces of the title track. 

With his own groups, Johnson has flirted with precisely this sort of eclecticism. Cheek's compositions, like Johnson's, are tuneful and surprising, full of moves you wouldn't expect from a jazz player. Perhaps it's his middle-American upbringing coming to the surface. On the jazzier side are Cheek's waltzes "September" and "Siege" and his closing 6/4 chart "Water Mile," which features probing solos from the two tenors. Monder's playing on every number is strong, as usual, not least on his own "Late Green," the album's most radical track and the only one not written by Cheek. ~ David R.Adler http://www.allmusic.com/album/a-girl-named-joe-mw0000046604

Personnel:  Chris Cheek, Mark Turner (tenor sax),  Ben Monder (guitar),  Marc Johnson (bass),  Jorge Rossy, Dan Rieser (drums).

A Girl Named Joe

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Keiko Matsui - A Drop of Water

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 44:19
Size: 102,4 MB
Art: Front

(6:19)  1. Ancient Wind
(4:49)  2. Light Above the Trees
(5:39)  3. Harbor Wind
(4:20)  4. Mediterranean Sand
(5:27)  5. A Drop of Water
(5:11)  6. From My Window
(3:07)  7. Only Way Home
(4:34)  8. Fairy
(4:50)  9. Paper Spirit

This auspicious introduction to the many aspects of the composer's skills finds her surrounded by a slew of L.A.'s top players, some of whom had yet to begin their own solo careers at this point: Grant Geissman, Brandon Fields, Robben Ford, Nathan East, Vinnie Colaiuta, and Jimmy Johnson. Matsui balances a mystic Eastern edge with a lighthearted new agey pop appeal. "Ancient Wind" and the Geissman co-composition "Mediterranean Sand" are the best cuts, building from pastoral ideas into an explosive ensemble hook. Matsui also showed her penchant for soulful vocal pieces, using Abu Khalil and Marva King to varying effectiveness. The emotional vocal title cut was inspired by Challenger astronaut Ron McNair. ~ Jonathan Widran http://www.allmusic.com/album/a-drop-of-water-mw0000192185

Personnel: Keiko Matsui (shakuhachi, piano, synthesizer); Carl Anderson (vocals, background vocals); Marva King, Maxi Anderson, Nathan East, Marlena Jeter, Molly Pasutti (vocals); Grant Geissman, Grant Geisman, Robben Ford (guitar); Suzie Kattayama, Suzie Katayama (cello); Kazu Matsui (shakuhachi); Brandon Fields (saxophone); Walt Fowler (flugelhorn); David Garfield (piano, synthesizer); Derek Nakamoto (synthesizer); Gregg Bissonette, Bernie Dresel, Vinnie Colaiuta (drums); Luis Conte, Michael Fisher (percussion).

A Drop of Water

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Joe Henderson - Big Band

Bitrate: MP3@320K/s
Time: 59:58
Size: 137.3 MB
Styles: Bop, Saxophone jazz
Year: 1996
Art: Front

[5:23] 1. Without A Song
[5:21] 2. Isotope
[9:00] 3. Inner Urge
[6:52] 4. Black Narcissus
[8:22] 5. A Shade Of Jade
[7:19] 6. Step Lightly
[5:49] 7. Serenity
[4:26] 8. Chelsea Bridge
[7:22] 9. Recorda Me

Alto Saxophone – Bob Porcelli, Pete Yellin, Steve Wilson; Alto Saxophone, Soprano Saxophone – Dick Oatts; Baritone Saxophone – Gary Smulyan, Joe Temperley; Bass – Christian McBride, Nilson Matta; Bass Trombone – Dave Taylor, Douglas Purviance; Drums – Al Foster, Joe Chambers, Lewis Nash, Paulo Braga; Piano – Chick Corea, Helio Alves, Ronnie Mathews; Tenor Saxophone – Charlie Pillow, Craig Handy, Rich Perry, Tim Ries; Trombone – Conrad Herwig, Jimmy Knepper, Keith O'Quinn, Kiane Zawadi, Larry Farrell, Robin Eubanks; Trumpet – Byron Stripling, Earl Gardner, Idrees Sulieman, Jimmy Owens, Marcus Belgrave, Michael Philip Mossman, Ray Vega, Tony Kadleck, Virgil Jones; Trumpet [Lead] – Jon Faddis, Lew Soloff; Trumpet [Soloist] – Freddie Hubbard, Nicholas Payton.

On this 1996 recording, improbably the first to ever feature him leading a big band, the inimitable Joe Henderson assembled nine compositions (seven of which were self-penned) and a topnotch band for a very interesting record. Volumes have been written about Henderson as a soloist but, on Big Band, even the longest-term Henderson fan gets to hear his prodigious skills as a big band arranger for the first time. Influenced by Bill Holman and Bill Russo as much as by classical composers Igor Stravinsky and Bela Bartok, his charts are cool and sophisticated. Of course, Henderson's cause is helped by the absolutely unquestioned majesty of the core material, as well as a fine batch of co-soloists, including Chick Corea, Christian McBride, and Freddie Hubbard. The Slide Hampton-arranged "Isotope" is one of the finest moments on the record, with an almost amusingly dramatic introduction that evokes a film noir score before it accelerates into the famous theme. Corea's solo is absolutely masterful, a headlong rush into nothingness that somehow manages to land on its feet. When laid side by side, his solos often outstrip the leader's in their inventiveness and capability to draw the listener into the song. This is not, however, to downplay the contributions of the leader as a soloist; Henderson's tenor is as lovely as ever. Fantastic solos notwithstanding, it is the wonderful arrangements of these deservedly classic songs that make this album so valuable. Listen to the Robin Eubanks-led trombone section in "A Shade of Jade" for a quick taste of what it sounds like when everything about a big band comes together just so. There is not a lot to dislike about Joe Henderson's first recorded foray into big-band arranging. Recommended. ~Daniel Gioffre

Big Band

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Emilie-Claire Barlow - 2 albums: Happy Feet / Like A Lover

Album: Happy Feet
Bitrate: MP3@320K/s
Time: 68:33
Size: 156.9 MB
Styles: Jazz vocals
Year: 2003
Art: Front

[6:08] 1. Gentle Rain
[7:36] 2. Freddie Freeloader
[4:08] 3. Bem Bom
[5:25] 4. I'll Be Around
[6:37] 5. Joy Spring
[7:43] 6. Bye Bye Blackbird
[4:12] 7. I'm Old Fashioned
[5:24] 8. Paper Moon
[5:59] 9. Stompin' At The Savoy
[5:19] 10. Smoke Gets In Your Eyes
[7:49] 11. Broadway
[2:06] 12. Zabumba No Mar

Because Emilie-Claire Barlow is a female jazz singer from Canada, some American jazz enthusiasts have inevitably compared her to Canada's most famous jazz export: Diana Krall. But truth be told, Barlow doesn't sound anything like Krall. While Krall's performances have a sultry, dusky, very nocturnal quality, Barlow's singing has favored a youthful, girlish sweetness. That isn't to say that Barlow's bop-oriented work is unswinging -- in fact, she has no problem tackling complex arrangements, high-speed scat singing, and vocalese. Besides, Barlow is from Toronto, not western Canada (where Krall grew up). Barlow has spent her entire life in Toronto, where she was born on June 6, 1976. Her father is jazz drummer Brian Barlow, who has also gone by Brian Leonard and is best-known for his work with the Boss Brass (a Canadian big band led by trombonist Rob McConnell). Not surprisingly, the drummer instilled an appreciation of jazz in his daughter and encouraged her to sing. Brian Barlow also encouraged her to study several instruments, including piano, violin, cello, and clarinet. By the time she was seven, Emilie-Claire Barlow was singing for television and radio commercials. She went on to become quite active on Toronto's jazz scene, and in 1997, Emilie-Claire Barlow and her father formed the Barlow Group -- an acoustic-oriented octet whose soloists have included trombonist Russ Little and saxman John Johnson. The singer co-produced her first album, Emilie-Claire Barlow Sings, with her father in 1998 before recording Tribute (also co-produced with Brian Barlow) in 2000 (when she turned 24). Both albums were released independently in Canada on the Rhythm Tracks label. ~ bio by Alex Henderson

Happy Feet

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Album: Like A Lover
Bitrate: MP3@320K/s
Time: 50:15
Size: 115.0 MB
Styles: Jazz vocals
Year: 2005
Art: Front

[5:27] 1. Like A Lover
[6:44] 2. On The Sunny Side Of The Street
[4:51] 3. Someone To Watch Over Me
[5:12] 4. A Time For Love
[4:44] 5. So Danço Samba
[5:01] 6. The Things We Did Last Summer
[4:18] 7. (I've Got) Just About Everything I Need
[5:11] 8. Retrato Em Branco E Preto
[4:56] 9. Love Is Here To Stay
[3:47] 10. Blame It On My Youth

When one is analyzing jazz or jazz-influenced pop, it is important to know the difference between sweet and saccharine. Lester Young, Jo Stafford, Stan Getz, Chet Baker, Nat King Cole, the Ink Spots, and Glenn Miller were quite capable of sweetness; Kenny G, Najee, and Dave Koz, on the other hand, have often epitomized saccharine -- they are masters of artificial sweetness. So where does Emilie-Claire Barlow fit in? The Canadian jazz vocalist is definitely sweet -- very sweet -- but there isn't a trace of saccharine on Like a Lover. Barlow brings an enjoyably girlish charm to this self-produced bop CD, although she isn't a girl. Born in 1976, she was in her late twenties when Like a Lover came out in 2005 -- and for Barlow, girlish doesn't mean wimpy, thin-voiced, or unswinging. Barlow has an impressive vocal range, and she definitely swings -- she swings whether she is favoring high-speed exuberance on Bob Dorough's "(I've Got) Just About Everything I Need" or getting into ballad mode on "Blame It on My Youth" and George Gershwin's "Someone to Watch Over Me." She swings whether she is singing in English (her primary language) or detouring into Portuguese on Antonio Carlos Jobim's "So Danço Samba." If Like a Lover has any real weakness, it is the fact that Barlow is much too standards-minded; she picks too many warhorses that have been beaten to death over the years. That isn't to say that Barlow should avoid standards altogether -- only that she needs to find more great songs that haven't been recorded so often. The more Barlow broadens her repertoire, the more she will stand out in the crowded field of jazz singing. But while Like a Lover could have been more adventurous in its choice of material, it's still a likable and pleasing effort from the Toronto-born improviser. ~Alex Henderson

Like A Lover

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Torsten Goods - Thank You Baby!

Bitrate: MP3@320K/s
Time: 51:09
Size: 117.1 MB
Styles: Guitar jazz
Year: 2015
Art: Front

[3:24] 1. Work Song
[4:19] 2. Brother Where Are You
[3:28] 3. Midst Of Your Love
[3:47] 4. How Sweet It Is
[4:49] 5. Lord I Need A Woman
[3:42] 6. Kyrie
[4:33] 7. Nobody Knows The Trouble I've Seen
[3:11] 8. Hallelujah I Love Her So
[4:06] 9. Angel
[3:30] 10. Sing Hallelujah
[4:43] 11. Afro Blue
[3:25] 12. Where Did You Sleep Last Night
[4:08] 13. Everything Must Change

Torsten Goods / vocals & guitar; Roberto Di Gioia / Fender Rhodes & piano; Tim Lefebvre / Fender Jazz Bass & double bass; Wolfgang Haffner / drums.

Since the release of his last album “Love Comes To Town“, word has it that Torsten Goods “is a master of groove“ (Süddeutsche Zeitung), “pop jazz hasn't felt this good since George Benson“ (Kulturnews), because he “plays the guitar like George Benson, sings like Frank Sinatra and composes like Joe Sample“ (Süddeutsche Zeitung). However this 34- year -old is not one to rest on his laurels. Following an early breakthrough in his mid - twenties, he set himself new goals: a move from Nuremberg to Berlin was followed by performances with great jazz musicians like Till Brönner and further establishing his musical identity, among other things by working with pop stars such as Sarah Connor.Spirituals, blues and roots music form the creative foundation for “Thank You Baby!“

Thank You Baby!

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Chubby Checker - The Best Of Chubby Checker

Bitrate: MP3@320K/s
Time: 56:58
Size: 130.4 MB
Styles: R&B, Rock N Roll
Year: 2005
Art: Front

[2:04] 1. Dancin' Party
[2:33] 2. The Twist
[2:19] 3. Toot
[2:14] 4. The Class
[2:30] 5. Twistin' U.S.A
[2:29] 6. The Hucklebuck
[2:30] 7. Whole Lotta Shakin' Going On
[2:27] 8. Pony Time
[2:13] 9. Dance The Mess Around
[2:22] 10. Good, Good Lovin'
[2:16] 11. Let's Twist Again
[2:28] 12. The Fly
[2:29] 13. Slow Twistin'
[2:23] 14. Popeye The Hitchhiker
[2:21] 15. Limbo Rock
[2:12] 16. Let's Limbo Some More
[2:11] 17. Hooka Tooka
[2:07] 18. Loddy Lo
[2:16] 19. Hey, Bobba Needle
[2:18] 20. Birdland
[2:29] 21. Surf Party
[2:34] 22. Twist It Up
[2:33] 23. Twistin' Round The World
[2:29] 24. Jingle Bell Rock

For a variety of reasons, all of the recordings for Cameo Parkway remained out of circulation until 2005, when Abkco finally unveiled the catalog, first as a box set called Cameo Parkway 1957-1967 in the spring, then as a series of individual artist compilations in the fall. Of those, the most eagerly-awaited collection was the one spotlighting Chubby Checker, since he was the biggest star on the label and the guy that got America twisting in the early '60s. Checker might have had big hits, but his compilation, The Best of Chubby Checker: Cameo Parkway 1959-1963, is musically the thinnest of all the Cameo Parkway titles released in 2005. Checker wasn't much of a vocalist -- he got his break because he was an excellent mimic, capable of imitating such early rock & rollers as Fats Domino quite expertly (born Ernest Evans, the singer even played off Domino's name when he came up with an alias for the stage). His first big break was "The Class," where he did impressions of Fats, Elvis and, bizarrely, the Chipmunks, but his big hit came when he did a song-length impression of Hank Ballard doing "The Twist" in 1960. As Jeff Tamarkin points out in his good liner notes to this compilation, Chubby's version of "The Twist" was "virtually identical to Ballard's," but Checker and Cameo Parkway were based in Philadelphia, the home of Dick Clark's American Bandstand, where the singer and the song got enormous exposure. After it became a huge national hit, Checker and Cameo Parkway went back to the well numerous times -- "Twistin' USA," "Let's Twist Again," a version of "Whole Lotta Shakin' Going On" that contains all of Jerry Lee Lewis' ad-libs, yet Chubby sings "whole lotta twistin' goin' on" -- before the craze died down a bit. Once that happened, there were other dances to do -- "The Hucklebuck," "Pony Time" -- which also produced several sound-alike records from Checker himself before "The Twist" came back, prompting another round of twist songs, like "Slow Twistin'." Then, Checker had another dance craze with "Limbo Rock" (predictably followed by "Let's Limbo Some More"), before he had a brief phase as a folk-pop singer pitched halfway between Harry Belafonte and the Rooftop Singers. When that ran dry, it was back to the Twist ("Twist It Up," "Twistin' Round the World"), before he parted ways with the label and slowly receded to the oldies circuit.

What ties all this music together, even the folk excursion, was that it was lightweight dance music and, when taken together as a full album, it gets to be a little bit much. Checker sings each song the same way, the beats are all the same, and often the songs recycle the same chords, sometimes even the word and hooks. This was music that was meant to exist in the moment and decades later, it sounds trapped in that moment -- it hasn't aged as well as the best rock & roll of the early '60s, not even the novelties. Checker doesn't have forgotten classics -- even some of hits wear out their welcome quickly -- so this will wear out its welcome quickly for all but those that have a high tolerance for his work, or have a great nostalgia for this time. For those listeners, this is a good compilation -- the sound is good, the notes are good and at 24 tracks, this is quite generous -- but all other listeners will find that Checker's hits are better heard on the Cameo Parkway set, where they're balanced by other, better singles in the same vein. ~Stephen Thomas Erlewine

The Best Of Chubby Checker

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Lou Donaldson - Pretty Things

Styles: Saxophone Jazz
Year: 1970
File: MP3@320K/s
Time: 38:45
Size: 89,0 MB
Art: Front

(6:39)  1. Tennessee Waltz
(5:47)  2. Curtis' Song
(6:34)  3. Sassie Lassie
(5:28)  4. Just for a Thrill
(8:11)  5. Pot Belly
(6:03)  6. Love

Lou Donaldson has recorded many strong sessions throughout his career but this CD reissue brings back one of the less-significant ones. Organist Leon Spencer dominates the ensembles, the material is a bit trivial and the altoist/leader uses a baritone sax on some of the selections which makes him sound much less individual than usual. Trumpeter Blue Mitchell's solos and a fine closing jam on "Love" help upgrade the music a bit but there are many better Donaldson recordings to acquire first. ~ Scott Yanow http://www.allmusic.com/album/pretty-things-mw0000103323

Personnel: Lou Donaldson (alto saxophone); Blue Mitchell (trumpet); Leon Spencer Jr., Lonnie Smith (organ); Ted Dunbar, Melvin Sparks (guitar); Jimmy Lewis (bass); Idris Muhammad (drums).

Pretty Things

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Karen Mason - When The Sun Comes Out

Styles: Vocal, Cabaret, Stage & Screen
Year: 2001
File: MP3@320K/s
Time: 52:44
Size: 121,5 MB
Art: Front

(3:04)  1. Downtown - I Know A Place
(3:51)  2. How Long Has This Been Going On?
(4:14)  3. We Never Ran Out Of Love (We Just Ran Out Of Time)
(3:25)  4. Taking A Chance On Love
(3:07)  5. Up On The Roof
(4:35)  6. It Had To Be You
(3:22)  7. When In Rome
(4:22)  8. Shoot For The Moon
(4:20)  9. Stormy Weather - When The Sun Comes Out
(3:26) 10. I'm Happy Just To Dance With You
(3:09) 11. Maybe This Time
(3:47) 12. I Wanna Be Around
(4:20) 13. I Promise You A Happy Ending - Hey There Good Times
(3:35) 14. I Have A Dream

Karen Mason is a veteran of the New York cabaret scene as well as the musical stage, appearing in such vehicles as Sunset Boulevard and Play Me a Country Song. The play list is a combination of staples combined with more contemporary material. Irrespective of musical lineage, all the songs have a tale to tell fitting for telling by a cabaret performer. A bevy of arrangers and orchestrators have shaped the music so as to give it a fresh look as well as attuning it to the vocal strengths of Mason, which are considerable. With a powerful voice that she skillfully uses to express the emotions of the lyrics she sings, she easily moves from the intense to the tender, sometimes in the same song, as on "We Never Ran out of Love (We Just Ran out of Time)." "I Wanna Be Around" is given a whole new look, starting off almost conversational, then building up to full crescendo, reaching almost operatic, aria heights, coming to a coda. Johnny Mercer would have approved. Matters lighten up with Mason's cover of Petula Clark's big hit, "Downtown," which is done with a jazzy beat behind Mason's high-stepping delivery. Mason also uses her slight vibrato as a punctuation mark to emphasize dramatic points in her interpretations, such as on "How Long Has This Been Going On." Another factor making this album attractive is the use of real musicians rather than electronically created instrumentation, which is regrettably becoming the vogue with Mason's contemporaries. While the main support comes from pianists Christopher Denny and Dick Gallagher, the horn players get some licks on the happily raucous medley of "I Promise You a Happy Ending"/"Hey There, Good Times." This album is another winner for cabaret fans. ~ Dave Nathan http://www.allmusic.com/album/when-the-sun-comes-out-mw0000656963

When The Sun Comes Out

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Duke Jordan - Flight To Denmark

Styles: Piano Jazz 
Year: 1973
File: MP3@320K/s
Time: 71:47
Size: 181,5 MB
Art: Front

(6:47)  1. No Problem
(7:23)  2. Here's That Rainy Day
(5:43)  3. Everything Happens To Me
(5:05)  4. Glad I Met Pat (take 3)
(5:27)  5. Glad I Met Pat (take 4)
(7:26)  6. How Deep is the Ocean
(8:23)  7. On Green Dolphin Street
(3:44)  8. If I Did - Would You (take 1)
(3:52)  9. If I Did - Would You (take 2)
(5:48) 10. Flight to Denmark
(7:11) 11. No Problem (take 2)
(4:55) 12. Jordu (take 1)

Upon Duke Jordan's initial visit to Copenhagen, Denmark, followed by his decision to make the move as an expatriate permanent, he was tempted to stay by playing with some extraordinary Scandinavian rhythm sections. Bassist Mads Vinding, one of many skilled Danish jazz bassists, is here on the date performing in fine style. Drummer Ed Thigpen, who left the U.S. to take up permanent residence in Europe, was an even bigger influence in making Jordan's decision a good one, and is an equally skillful musical partner on this date. This is an expanded edition from the previous original issue on the Steeplechase label; a Japanese import with several alternate takes. It's an understated session for the most part, equal parts melancholy and hopeful, as one might expect with the trepidation of leaving home for new, unknown horizons to be discovered in a foreign land. The upbeat songs, as the modal, popping, tom-tom driven "No Problem" (from the movie soundtrack Les Liason Dangereuses) and the famous bop flag-waver "Jordu," bookend the CD. The bulk of the recording showcases the softer side of Jordan, with takes of the somber ballad "Here's That Rainy Day," the slightly brighter "Everything Happens to Me," and two versions of the polite waltz "Glad I Met Pat," dedicated to a nine-year-old girl Jordan knew in New York City prior to her being kidnapped. The pianist employs chiming piano chords for "How Deep Is the Ocean?," is lighthearted in his slight interpretation of the well worn "On Green Dolphin Street," does two takes on the light, bluesy swinger "If I Did, Would You?," and ramps up to midtempo the bluesy original "Flight to Denmark," reflective of the insecurity and consequential optimism that followed his leaving the States. This is Duke Jordan at his most magnificent, with the ever-able Vinding and expert Thigpen playing their professional roles perfectly, producing perhaps the second best effort (next to Flight to Jordan from 13 years hence) from the famed bop pianist. [Originally released in 1973, Flight to Denmark was reissued as an import-only Japanese CD in 2002.] ~ Michael G.Nastos http://www.allmusic.com/album/flight-to-denmark-mw0000725952

Personnel:  Duke Jordan – piano;  Mads Vinding – bass;  Ed Thigpen - drums

Flight To Denmark

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