Chick Webb - Strictly Jive

Styles: Jazz, Big Band, Swing
Year: 1999
File: MP3@320K/s
Time: 75:16
Size: 174,7 MB
Art: Front + Back

(2:53)  1. Down Home Rag
(2:32)  2. Facts and Figures
(2:21)  3. Go Harlem
(2:33)  4. Sing Me a Swing Song
(2:36)  5. Gee, But You're Swell
(3:05)  6. Rusty Hinge
(2:29)  7. Clap Hands, Here Comes Charlie
(2:59)  8. That Naughty Waltz
(3:16)  9. Strictly Jive
(3:06) 10. Squeeze Me
(2:34) 11. If Dreams Come True
(3:11) 12. Harlem Congo
(4:18) 13. I Want to Be Happy
(2:29) 14. Midnite in a Madhouse
(3:06) 15. Azure
(3:00) 16. Spinnin' the Webb
(2:44) 17. Liza
(3:05) 18. Macpherson Is Rehearsin' (To Swing)
(2:45) 19. Ella
(2:49) 20. Who Ya Hunchin'
(2:58) 21. 'Tain't What You Do
(2:38) 22. In the Groove at the Grove
(2:45) 23. Lindyhopper's Delight
(2:52) 24. Take It from the Top
(3:12) 25. Jubilee Swing
(2:50) 26. Untitled

Strictly Jive is the Hep label's 25-track salute to Chick Webb, a formidable percussionist who led one of the toughest big bands of the 1930s. Strictly Jive concentrates upon the years 1935-1940, a period of time that represents the second half of the ten-year Webb dynasty. The Chick Webb orchestra was a jazz incubator from which emerged seasoned instrumentalists like Taft Jordan, Sandy Williams, Garvin Bushell, Hilton Jefferson, and Eddie Barefield, as well as future bandleaders John Kirby and Louis Jordan, and renowned composer and arranger Edgar Sampson. Saxophonist Wayman Carver, one of the few flutists in jazz during the 1930s, was a featured soloist with Chick Webb and may be heard piping away in front of the band on Wilbur Sweatman's "Down Home Rag." 

Most people who have heard of Webb associate him with his star vocalist Ella Fitzgerald, a dynamic woman who assumed leadership of the band after 30-year-old Chick Webb succumbed to spinal tuberculosis on June 16, 1939 in his hometown of Baltimore, Maryland. ~ arwulf arwulf  http://www.allmusic.com/album/strictly-jive-mw0000245698

Personnel: Chick Webb (drums); Louis Jordan (vocals, alto saxophone); Ella Fitzgerald (vocals); Chauncey Houghton, John Trueheart, Bobby Johnson (guitar); Wayman Carver (flute, tenor saxophone); Garvin Bushell (clarinet, alto saxophone); Pete Clarke, Eddie Barefield, Edgar Sampson, Hilton Jefferson (alto saxophone); Elmer "Skippy" Williams, Sam Simmons, Teddy McRae (tenor saxophone); Irving "Mouse" Randolph, Mario Bauzá, Taft Jordan, Dick Vance, Bobby Stark (trumpet); Nat Story, George Mathews, Sandy Williams , Claude Jones (trombone); Tommy Fulford, Don Kirkatrick (piano); Bill Beason (drums).

Strictly Jive

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Lester Young - The 'Kansas City Sessions'

Styles: Clarinet And Saxophone Jazz

Year: 1997

File: MP3@320K/s

Time: 67:17

Size: 154,6 MB

Art: Front

(3:02)  1. Way Down Yonder in New Orleans (take 2)

(3:00)  2. Way Down Yonder in New Orleans

(3:03)  3. Countless Blues

(3:01)  4. Countless Blues (take 2)

(3:00)  5. Them There Eyes (take 2)

(3:01)  6. Them There Eyes

(2:56)  7. I Want a Little Girl

(2:57)  8. I Want a Little Girl (take 2)

(2:59)  9. Pagin' the Devil

(2:58) 10. Pagin' the Devil (take 2)

(3:22) 11. Three Little Words (take 2)

(2:54) 12. Three Little Words

(3:20) 13. Jo Jo

(3:18) 14. I Got Rhythm (take 3)

(3:18) 15. I Got Rhythm (take 2)

(3:19) 16. I Got Rhythm

(2:53) 17. Four O'Clock Drag

(2:53) 18. Four O'Clock Drag (take 3)

(3:07) 19. Laughing at Life

(2:54) 20. Good Mornin' Blues

(3:06) 21. I Know That You Know

(2:47) 22. Love Me or Leave Me

This is a CD overflowing with classic performances. The great Lester Young is heard with the 1938 version of the Kansas City Six, a group also including trumpeter Buck Clayton (in prime form), Eddie Durham on electric guitar (where he preceded Charlie Christian) and trombone, the rhythm guitar of Freddie Green, bassist Walter Page, and drummer Jo Jones. The four selections (all of which are joined by an alternate take apiece) are most notable for Young's switching to clarinet on some of the pieces. His clarinet solo on "I Want a Little Girl" sounds eerily like Paul Desmond's alto of 15 years later. These classic cool jazz performances have delightful interplay between the two horns. The second part of the reissue features the 1944 Kansas City Six in which Young (sticking to tenor) and trumpeter Bill Coleman are joined by a three-piece rhythm section and trombonist Dickie Wells. Wells, who takes some very colorful and nearly riotous solos, rarely sounded better, and the four selections are highlighted by three equally rewarding versions of "I Got Rhythm" and two of "Three Little Words." The CD concludes with the four titles by 1938's Kansas City Five, which was essentially the early Kansas City Six without Young. Clayton is once again in top form, and Durham's guitar solos were among the first worthwhile examples of the electric guitar on record. This gem is highly recommended for all jazz collections. ~ Scott Yanow http://www.allmusic.com/album/the-kansas-city-sessions-mw0000087654

Personnel: Lester Young (clarinet, tenor saxophone); Freddie Green (vocals, guitar); Eddie Durham (electric guitar, trombone); Bill Coleman , Buck Clayton (trumpet); Dicky Wells (trombone); Joe Bushkin (piano); Jo Jones (drums).

The Kansas City Sessions

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The Gene Harris Quartet - A Little Piece Of Heaven

Bitrate: MP3@320K/s
Time: 70:35
Size: 161.6 MB
Styles: Mainstream jazz, Piano jazz
Year: 1993/2005
Art: Front

[ 6:33] 1. Blues In Baxter's Pad
[ 8:09] 2. Take The A Train
[ 4:30] 3. Blues For Ste. Chapelle
[ 6:49] 4. Ma (He's Making Eyes At Me)
[ 5:58] 5. Pensativa
[ 6:56] 6. How Long Has This Been Going On
[ 6:25] 7. Scotch And Soda
[ 5:48] 8. My Little Suede Shoes
[10:30] 9. Old Dog Blues
[ 8:14] 10. Ode To Billie Joe
[ 0:36] 11. Sentimental Journey

Gene Harris was always predictably excellent, particularly during his final decade. This CD has his quartet of 1993 (with guitarist Ron Eschete, bassist Luther Hughes, and drummer Paul Humphrey) performing such tunes as a soulful "Take the 'A' Train," the sly "Ma (He's Making Eyes at Me)," "My Little Suede Shoes," and even "Ode to Billie Joe." Harris, who is heard playing a concert in his adopted state of Idaho, often sounds in exuberant form talking to his hometown crowd. His fans will have little difficulty enjoying this happy date. ~Scott Yanow

A Little Piece Of Heaven

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João Gilberto - The Warm World Of Joao Gilberto

Bitrate: MP3@320K/s

Time: 78:15

Size: 179.2 MB

Styles: Bossa Nova

Year: 1963/2012

Art: Front

[2:02] 1. Chega De Saudade

[1:14] 2. Bim Bom 2

[2:16] 3. Hô-Bá-Lá-Lá

[1:58] 4. Desafinado

[2:05] 5. Brigas, Nunca Mais

[1:59] 6. Morena Boca De Ouro

[2:22] 7. Maria Ninguem

[1:20] 8. Lobo Lobo

[1:33] 9. Aos Pés Da (Santa) Cruz

[1:56] 10. É Luxo Só

[1:48] 11. Saudade Fez Um Samba

[2:05] 12. Rosa Morena

[2:33] 13. Manha De Carnaval

[3:06] 14. Batuques De Samba Bahia Pegou Licuri Varanda Boa

[1:47] 15. Só Em Teus Braços [only In Your Arms]

[1:44] 16. Se É Tarde Me Perdoa

[1:45] 17. Meditation (Meditação)

[1:57] 18. Corcovado

[1:48] 19. Discussão

[1:52] 20. Amor Cetinho

[1:37] 21. Um Abraço No Bonfá [a Hug For Bonfá]

[1:26] 22. Doralice

[1:38] 23. One Note Samba

[1:58] 24. O Pato

[1:50] 25. Outra Vez

[1:24] 26. Trévo De Quatro Fõlhas

[1:18] 27. Bolinha De Papel

[2:22] 28. Samba De Minha Terra

[2:17] 29. Saudade Da Bahia

[1:49] 30. Trenzinho (Trem De Ferro)

[1:52] 31. Presente De Natal

[2:30] 32. O Barquinho

[2:24] 33. Insensatez

[2:22] 34. O Amor Em Paz

[2:50] 35. Coisa Mais Linda

[2:30] 36. Você E Eu

[1:51] 37. A Primeira Vez

[2:14] 38. Este Seu Olhar

[2:36] 39. Este Seu Olhar

3 original albums + extra tracks in just 1 CD. The most comprehensive compilation of his first recordings, including 20-page booklet with original art work, album liner notes and all the lyrics, presented in a nice Digipack format. Without question, these are the songs who started the Bossa Nova craze worldwide. Tracks #1-12 from "Chega de Saudade" (12" LP), Brasil, Odeon 3073 (1959), USA issue "The Warm World of João Gilberto" Atlantic 8076 (1963). Tracks #13-14 from "João Gilberto" (7" EP, 33rpm), Brasil, Odeon 7BD-1034 (1959), (7" EP, 45rpm) - Brasil, Odeon BWB 1092 (1959). Tracks #15-26 from "O amor, o sorriso e a flor" (12" LP), Brasil, Odeon 3151 (1960), USA issue "Brazil's Brilliant João Gilberto" Capitol T-10280 (1962). Tracks #27-38 from "João Gilberto" (12" LP),Brasil, Odeon 3202 ,USA issue "The Boss of the Bossa Nova" Atlantic 8070 (1962). Track #39 Not issued in the original album

In summer 1958, João Gilberto -an unknown 28 year-old Brazilian guitarist and singer from Bahia- made his recording debut as a singer with two songs "Chega de Saudade" and "Bim Bom." With a new rhythmic feeling, batida, and rich harmonies he laid the basis of the modern Brazilian samba, now known as Bossa Nova. Underpinned by his insouciantly swinging guitar, Joãos seductive, vibratoless vocals caressed both ear and soul in a mesmerizing, highly addictive combination, refreshing and modern. Chega de Saudade was a hit, launching Gilbertos career and the bossa nova craze. Soon, singers and guitarists were trying to imitate him and composers were all on a Desafinado (the second Gilbertos hit) and Chega de Saudade kick. The longawaited renewal of the Brazilian samba was now a fact. Antonio Carlos Jobim said: Gilberto appeared as a light, as a big star in the firmament, in the heavens. He became a focus, because he was pulling the guitar in one way and singing the other way, which created a third thing that was profound. Yes, the guy who brought the Bossa Nova beat to the world was João Gilberto.

The Warm World Of João Gilberto

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Christina Gustafsson - The Law Of The Lady

Bitrate: MP3@320K/s
Time: 50:36
Size: 115.8 MB
Styles: Vocal jazz
Year: 2013
Art: Front

[4:54] 1. You Make It
[6:09] 2. Breathung, Air And Such
[4:01] 3. The Law Of The Lady
[5:42] 4. Close To Here
[5:54] 5. It Might As Well Be Spring
[4:41] 6. Love You Too, My Own Way Out
[5:40] 7. Sometimes
[4:35] 8. Hours Passing By
[5:27] 9. Love You Too
[3:28] 10. I Need Someone

Christina Gustafsson: vocals. Adam Forkelid, Daniel Karlsson: piano; Magnus Lindgren: flute; Erik Söderlind, Max Schultz: guitar; Johan Setterlind, Patrik Skogh: trumpet; Karin Hammar, Lisa Bodelius: trombone; Eva-Tea Lundberg: French horn; Fredrik Jonsson, Kristian Lind: bass; Calle Rasmusson: drums; Sebastian Notini: percussion.

This has nothing to do with the transition to democracy in Burma; instead, it's Swedish jazz singer Christina Gustafsson's third attempt at emerging from under the shadow cast by her much better-known sister, Rigmor. Sadly, it's unlikely to make much of a dent internationally. The principal fault lies in drummer Calle Rasmusson's production; there is far too much of it. Rasmusson has assembled some extremely talented musicians, including two gifted guitarists, Erik Söderlind and Max Schultz, award-winning flautist Magnus Lindgren and pianist Adam Forkelid. They provide some memorable moments, but nothing ever really gels as a whole, the music remaining "on the page," bereft of spontaneity and feeling. A pity, because Gustafsson has obviously made a big effort. She talks of pursuing a vision and wrote the music for eight of these ten songs, although, as on previous outings, the lyrics are credited to others—primarily, in this case, to Stefan Danielsson. Sometimes Danielsson has problems with his English. On "Close To Here," he makes a valiant but doomed bid to rhyme magic wand with wonderland, while "Love You Too" comes up with a somewhat baffling proposition: "You seem to be waking an ongoing dream to ease the pressure on your self-esteem." However, fair's fair; there are fewer linguistic faux pas than on Gustafsson's two previous albums.

"The Law Of The Lady" is quite interesting: a catchy love song in which the female protagonist starts out in pliable, even narcissistic mode, Gustaffson singing "I am the sweetest thing that you will ever know," before changing tack and coming on like a veritable dominatrix with "I'll lay down what you do, I'll lay down what you want." There is one golden oldie. This is Rodgers and Hammerstein's "It Might As Well Be Spring," from the 1945 movie State Fair. It's a regular part of Gustafsson's live act with her trio, but here the singer is upstaged by Lindgren's superb solo. Vocally, Gustafsson is at her best and most self-assured on guitarist Söderlind's "My Own Way Out," a meditation on the end of a love affair with excellent lyrics by Danielsson. Johan Setterlind's trumpet gives a lift to the '70s-ish "Hours Passing By," but no one can do much to save the closer, the nondescript, simpering ballad "I Need Someone," dominated by heavy-handed and wisely unaccredited piano. Here and there light gets through, providing a glimpse of what might have been. Perhaps more will emerge next time around. ~Chris Mosey

The Law Of The Lady

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Poco - The Very Best Of Poco

Bitrate: MP3@320K/s
Time: 61:27
Size: 140.7 MB
Styles: Country rock, Soft rock
Year: 1975/1999
Art: Front

[ 3:19] 1. Pickin' Up The Pieces
[ 2:42] 2. My Kind Of Love
[ 3:19] 3. You Better Think Twice
[ 6:56] 4. Anyway Bye Bye
[ 3:15] 5. C'mon
[10:10] 6. Just In Case It Happens, Yes Indeed Grand Junction Consequently So Long
[ 5:43] 7. Kind Woman
[ 5:02] 8. Bad Weather
[ 3:35] 9. Just For Me And You
[ 3:49] 10. You Are The One
[ 3:52] 11. Good Feelin' To Know
[ 2:47] 12. Go And Say Goodbye
[ 3:41] 13. Faith In The Families
[ 3:11] 14. Whatever Happened To Your Smile

Originally a two-LP set, The Very Best of Poco was a decent compilation in its time, assembling the group's best-known songs from singles and album cuts in a straightforward order with no particular surprises. It was reissued with upgraded sound in 1999, and for the very casual fan with a budget to consider the latter is adequate, showing their evolution as a band from the first flourish of their birth -- as an offshoot of the Buffalo Springfield, with the same sort of vast potential displayed by the latter group (similarly unrealized by constant membership changes) -- into one of the premiere country-rock outfits of the 1970s. Anyone serious about a deep enjoyment of the group, however, will opt for the more extensive and revelatory The Forgotten Trail instead, which contains numerous outtakes and -- no pun -- forgotten tracks. ~Bruce Eder

The Very Best Of Poco

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Sarah Vaughan & Lester Young - One Night Stand: The Town Hall Concert 1947

Styles: Vocal and Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 64:33
Size: 151,2 MB
Art: Front

(3:11)  1. Lester Leaps In
(5:22)  2. Just You, Just Me
(3:50)  3. Jumpin' With Symphony Sid
(6:20)  4. Sunday
(3:47)  5. Don't Blame Me
(1:47)  6. My Kinda Love
(3:36)  7. I Cover The Waterfront
(3:55)  8. A Ghost Of A Chance
(4:53)  9. Lester's Bebop Boogie
(4:56) 10. These Foolish Things
(5:51) 11. Movin' With Lester
(3:33) 12. The Man I Love
(2:52) 13. Time After Time
(2:40) 14. Mean To Me
(4:06) 15. Body And Soul
(3:46) 16. I Cried For You

This 1997 CD has music from a previously unreleased Town Hall concert. The program is split between the Lester Young sextet and Sarah Vaughan with the two principals only coming together on the final song, "I Cried for You." The recording quality is listenable, if not flawless, and it features the two giants at interesting points in their careers. Tenor great Lester Young sounds excellent on his seven features, but his backup group is sometimes a bit shaky, particularly during uncertain moments on "Just You, Just Me" and "Sunday"; bassist Rodney Richardson does not mesh well with the eccentric pianist Sadik Hakim. The young Roy Haynes is fine, although some of his "bombs" are overrecorded, while trumpeter Shorty McConnell comes across as a second-rate Howard McGhee, sincere but streaky. But the reason to acquire this CD is Sarah Vaughan, who at age 23 was already a marvel; what a voice! Very influenced by Dizzy Gillespie and Charlie Parker, Vaughan mostly lays way behind the beat during her ballad-oriented performances, swirling between notes like a first altoist and often settling on very unlikely (and boppish) notes. She gives the impression that she could do anything with her voice, and some of her flights (particularly on "Don't Blame Me," "I Cover the Waterfront" and "Mean to Me") border on the miraculous. ~ Scott Yanow http://www.allmusic.com/album/one-night-stand-the-town-hall-concert-1947-mw0000097698

Personnel: Sarah Vaughan (vocals); Lester Young (tenor saxophone); Shorty McConnell (trumpet); Sadik Hakim, Sammy Benskin (piano); Freddie Lacey (guitar); Rodney Richardson (bass); Roy Haynes (drums).

One Night Stand: The Town Hall Concert 1947

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Bobby Timmons - Working Out

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 77:58
Size: 178,9 MB
Art: Front

(9:05)  1. Lela
(7:57)  2. Trick Hips
(2:40)  3. People
(9:11)  4. Bags' Groove
(8:36)  5. This Is All I Ask
(5:45)  6. Cut Me Loose Charlie
(7:08)  7. Tom Thumb
(7:21)  8. Einbahnstrasse (One Way Street)
(6:31)  9. Damned If I Know
(7:07) 10. Tenaj
(6:33) 11. Little Waltz

This CD reissues the contents of two of pianist Bobby Timmons most advanced recordings of the 1960s. For an example of how the popular pianist had continued to evolve after his early funk hits, listen to his often-bitonal solo on "Bags' Groove" from 1964. That session features Timmons in a quartet with vibraphonist Johnny Lytle, bassist Keter Betts and drummer William "Peppy" Hinnant and is filled with subtle surprises. The second recording is even more interesting for Timmons is teamed with tenor-saxophonist Wayne Shorter, bassist Ron Carter and drummer Jimmy Cobb in 1966. The immediately recognizable Shorter in particular plays very well (this version of his "Tom Thumb" is its earliest recording) and the very modern playing of Carter pushes Timmons to really stretch himself. Both of these generally overlooked sessions (even Shorter's best fans may not know about his collaboration with Timmons) were formerly rare and are quite adventurous, making this a highly recommended acquisition that falls somewhere between hard bop and the early avant-garde. ~ Scott Yanow http://www.allmusic.com/album/workin-out-compilation-mw0000124323

Personnel: Bobby Timmons (piano); Johnny Lytle (vibraphone); Keter Betts (bass); William "Peppy" Hinnant (drums).

Working Out

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Count Basie And His Orchestra - Rock-a-Bye Basie [Live in '38 & '39]

Styles: Jazz, Big Band, Swing
Year: 1991
File: MP3@320K/s
Time: 76:40
Size: 177,1 MB
Art: Front

(0:59)  1. One O'Clock Jump (Opening Theme)
(3:00)  2. King Porter Stomp
(3:59)  3. Nagasaki
(4:06)  4. Indiana
(3:01)  5. Doggin' Around
(0:32)  6. One O'Clock Jump (Closing Theme)
(3:54)  7. Haven't Changed A Thing
(2:27)  8. Out The Window
(4:20)  9. Wo-Ta-Ta
(3:27) 10. Love Of My Life
(3:26) 11. John's Idea
(2:59) 12. Yeah Man!
(2:35) 13. Indiana
(3:10) 14. Jump For Me
(4:22) 15. Moten Swing
(3:35) 16. Rock-A-Bye Basie
(4:11) 17. Swingin' The Blues
(2:57) 18. Time Out
(2:09) 19. Roseland Shuffle
(3:01) 20. Don't Worry 'Bout Me
(3:30) 21. Clap Hands! Here Comes Charlie
(2:25) 22. Lousiana
(2:44) 23. Darktown Strutters Ball
(5:39) 24. One O'Clock Jump

These broadcasts (all but one selection from 1938-39) capture Count Basie's orchestra live from the Famous Door. This CD contains 24 performances, a few of which are incomplete or poorly recorded. However, the enthusiastic solos of Lester Young, fellow tenors Herschel Evans and Buddy Tate, trumpeters Buck Clayton and Harry "Sweets" Edison and Basie himself are fresh and creative, and the ensembles are consistently swinging. These are the best pre-World War II live recordings of the Count Basie Orchestra and well worth acquiring. ~ Scott Yanow http://www.allmusic.com/album/rock-a-bye-basie-live-in-38-39-mw0000677896

Rock-a-Bye Basie [Live in '38 & '39]

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The Fred Hersch Trio - Sunday Night At The Vanguard

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 68:00
Size: 163,0 MB
Art: Front

( 7:29)  1. A Cockeyed Optimist
( 8:37)  2. Serpentine
( 5:14)  3. The Optimum Thing
( 5:11)  4. Calligram
( 6:13)  5. Blackwing Palomino
( 7:05)  6. For No One
( 7:20)  7. Everybody's Song But My Own
(10:14)  8. The Peacocks
( 7:06)  9. We See
( 3:26) 10. Solo Encore: Valentine

Reach up to the CD shelf and pull a handful of Fred Hersch CDS down. You'll find that the pianist has a good thing going with the Village Vanguard. Alive At The Vanguard (Palmetto Records, 2012) a stellar two CD set, and terrific solo set, Alone At the Vanguard (Palmetto Records, 2011), are Hersch's most recent recordings from the legendary venue; and now he and his trio offer up Sunday Night At the Vanguard. Hersch says this is his best trio album. Almost every artist says that about their latest that this one's the best. But he might be right. The vote here would have gone to a studio recording, Whirl (Palmetto Records, 2010), a marvelous in-the-zone effort with this same trio John Hebert on bass, Eric McPherson playing drums until Sunday Night At The Vanguard rolled around. The trio opens with Richard Rodgers' "A Cockeyed Optimist," which is not exactly a familiar tune, in spite of its authorship. But as an opener it works to perfection, with a silvery, raindrop intro that finds a quirky groove that paints an upbeat atmosphere, with a bright melody that sounds like a second cousin to "It Might As Well Be Spring."

"Serpentine," a Hersch original, is a wandering slither of a tune, unpredictable and spooky, lovely in its fluid, abstract way; "The Optimum Thing" sparkles; and "Blackwing Palomino," maybe the only jazz tune ever written for a pencil, has the feel of a new jazz standard. Hersch's output has been consistently excellent, but sometimes as on this special Sunday Night the stars align. The trio, from the opening notes of "The Cockeyed Optimist," is locked into and to a telepathic interplay zone playful and eloquent, elegant and assured. The Lennon and McCartney gem, "For No One," has the forlorn desperation of the song's lyrical content. The Beatles' version a masterpiece in its own right didn't take things to this dark of a place. Kenny Wheeler's "Everybody's Song But My Own" rolls in a restless, jittery mode. "The Peacocks," from the pen of Jimmy Rowles, is pensive, lonely. Hersch explores an almost unmatchable majesty of the tune, with a bit of dissonance, before he jumps into Thelonious Monk, with "We See," an irrepressible jewel, followed as an encore to the show the Fred Hersch-penned "Valentine," one of the more inward tunes in Hersch's songbook, counterpointing a mostly gregarious, effervescent set by one of the jazz world's top piano trios at the top of their game. ~ Dan McClenaghan https://www.allaboutjazz.com/sunday-night-at-the-vanguard-fred-hersch-palmetto-records-review-by-dan-mcclenaghan.php
 

Personnel: Fred Hersch: piano; John Hebert: bass; Eric McPherson: drums.

Sunday Night At The Vanguard

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Chris Cheek - Saturday Songs

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 65:57
Size: 151,6 MB
Art: Front

(5:13)  1. String Finger
(5:31)  2. Ginger Something
(4:52)  3. Eye Factory
(6:16)  4. Bucky's Blues
(6:50)  5. Either Way
(6:58)  6. Slow Ships
(3:59)  7. Saturday Songs
(4:58)  8. Alhambros
(5:37)  9. Forever Green
(4:40) 10. Strawberry Jam
(5:35) 11. While You Sleep
(5:22) 12. Windmill Hill

Sometimes, combining seriousness of intent and high musicianship with pure fun is just the thing one needs, and is exemplified by Saturday Songs from tenor saxophonist Chris Cheek. Cheek does not make a lot records as a leader (see Blues Cruise from 2006), but is on literally scores of albums as a sideman (see Paul Motian's Garden of Eden from 2006 and Chris Lightcap's Epicenter from 2015), or his own discography, which is not completely up to date. In any event, Saturday Songs shares quite a bit of the vibe of Lightcap's latest release. Here, as there we have a sterling band playing the leader's compositions and arrangements (with one exception, Tom Jobim's "Forever Green"), but with perhaps less of an inspirational connection among the tunes than Lightcap. The band is made up of guitarist Steve Cardenas (who played with Cheek on Garden of Eden, David Soler on pedal steel, Jorge Rossy on drums, vibes and marimba (perhaps best know from Brad Mehldau's trio) and Jaume Llombard on bass. Although this is Cheek's records, he allocates plenty of space for the others, and in fact, Soler almost steals the record.

While the tunes as a set do not overtly exhude "Americana," the ubiquitous presence of Soler's pedal steel does locate the record's overall feel within that genre (with the exception of "Saturday Song," which sounds decidedly exotic). On the other hand, "Alhambros" which references the Alhambra's architecture, does not sound either Indian or Islamic. The tracks are very easy to listen to, since the the details of construction and arrangement are so well woven into the texture, but are not "easy listening"; any number of them ought to get quite a bit of airplay. Each track has its own "personality" and the album contains a wide range of moods. Stand out tracks include "Bucky's Blues" which eventually becomes a coolly grooving jazzy blues, the nonchalant drive of "Ginger Something," the very pretty "While You Slept" with its long, unfolding melody, "Strawberry Jam"'s attractive higher energy and open improvisations and the slow and easy Jobim tune, "Forever Green." Picking these tunes out in no way is meant to diminish the others, since Saturday Songs will no doubt get played many times by anyone and everyone. ~ Budd Kopman https://www.allaboutjazz.com/saturday-songs-chris-cheek-sunnyside-records-review-by-budd-kopman.php

Personnel: Chris Cheek: tenor saxophone; Steve Cardenas: guitar; David Soler: pedal steel; Jaume Llombard: bass; Jorge Rossy: drums, vibes, marimba.

Saturday Songs

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The Jonah Jones Quartet - Swingin' Round The World/Jumpin' With A Shuffle

Bitrate: MP3@320K/s

Time: 51:49

Size: 118.6 MB

Styles: Swing, Trumpet jazz

Year: 2014

Art: Front

[1:57] 1. Arrivederci Roma

[1:54] 2. Swingin' 'round The World

[2:28] 3. South Of The Border

[1:59] 4. A Foggy Day

[2:11] 5. April In Paris

[1:53] 6. Brazil

[2:00] 7. Madrid

[1:57] 8. Chicago

[2:23] 9. Manhattan

[2:09] 10. Song Of The Islands

[2:04] 11. Isle Of Capri

[1:47] 12. Shamghai

[2:12] 13. Dream

[2:07] 14. You're Driving Me Crazy

[2:06] 15. Lazy River

[2:19] 16. More Than You Know

[2:10] 17. Nine Twenty Special

[2:13] 18. Entratter's Blues

[2:14] 19. Misty

[1:53] 20. The Great Lie

[2:31] 21. On The Sunny Side Of The Street

[2:24] 22. One For My Baby

[2:10] 23. The Lonesome Road

[2:36] 24. My Monday Date

Jonah Jones, trumpet & vocal on #3,9,15 & 21; Teddy Brannon, piano; John Brown, bass; George 'Pops' Foster, drums. Recorded in New York City, 1958 (#1,4-7 & 9-10), 1959 (#2,3,8,11 & 12); and Las Vegas 1960 (#13-24).

"I'm going to find this album very difficult to remove from my CD player! From the moment Jonah's big buttery sound filled the room I was hooked."

Warm toned and with a lively vibrato Jonah's swinging playing would suit fans of Harry 'Sweets' Edison and Buck Clayton to a tee. Seemingly simple big swinging phrases and fiery dextrous soloing, both open and in a range of very enviable mutes, show just what a star of the trumpet Jonah Jones really is.

This CD features two albums, Swingin 'Round the World and Jumpin with a Shuffle, a total of 24 delicious well-known standard tracks recorded in 1958 and 1960. Although both CDs feature just a trio with Jonah on trumpet and occasional husky-toned vocal, the accompanying trio are toe-tappingly light, swinging and tasteful, with the feel veering more towards jump jive... dare I say 'rock and roll' on tracks 13-24. Each track is no more than two and a half minutes long but this provides ample time for Jonah's infectiously joyful trumpet playing to become something you want to listen to time and again. I'd like the other six CD's now please!" ~Georgina Jackson

Swingin' Round The World/Jumpin' With A Shuffle

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Ruby Braff - As Time Goes By

Bitrate: MP3@320K/s
Time: 73:15
Size: 167.7 MB
Styles: New Orleans jazz
Year: 1991/1997
Art: Front

[6:45] 1. Shoe Shine Boy
[7:13] 2. Lonely Moments
[4:51] 3. This Is All I Ask
[7:12] 4. Love Me Or Leave Me
[6:47] 5. Liza (All The Clouds'll Roll Away)
[6:02] 6. As Long As I Live
[3:21] 7. Jeepers Creepers
[5:36] 8. My Shining Hour
[7:04] 9. Sugar
[4:25] 10. As Time Goes By
[4:46] 11. You're Sensational I Love You, Samantha True Love
[4:06] 12. Basin Street Blues
[5:03] 13. Linger Awhile

Ruby Braff has long been among the most consistent of jazz performers; every note he hits is purposeful. Although playing in an older idiom, the veteran cornetist's enthusiasm and passion makes such songs as "Liza," "Jeepers Creepers" and "Basin Street Blues" sound quite alive and fresh on this live CD from London. Braff is joined by guitarist Howard Alden and bassist Frank Tate. Highlights of the top-notch mainstream performance include "Shoe Shine Boy," Mary Lou Williams' haunting "Lonely Moments," "Linger Awhile," and a three-song medley from the film High Society. ~Scott Yanow

As Time Goes By

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Helen O'Connell - I've Got The World On A String

Bitrate: MP3@320K/s
Time: 31:30
Size: 72.2 MB
Styles: Jazz vocals
Year: 2007
Art: Front

[2:19] 1. Ain't Misbehavin' (I'm Savin' My Love for You)
[1:52] 2. Manhattan
[2:46] 3. I Cried for You
[2:33] 4. Saturday Night (Is the Loneliest Night of the Week)
[1:33] 5. Ten Cents a Dance
[2:12] 6. I Hadn't Anyone Till' You
[1:50] 7. It's a Lonesome Old Town
[2:32] 8. He's Funny That Way
[2:06] 9. You Turned the Tables on Me
[2:42] 10. They Can't Take That Away from Me
[2:13] 11. Boulevard of Broken Dreams
[2:15] 12. I've Got the World on a String
[2:19] 13. Just One More Chance
[2:14] 14. Blue and Broken Hearted

Helen O'Connell, who had a fairly long career, will always be best remembered for her squeals on "Green Eyes" and her work with Jimmy Dorsey. She originally left her native Toledo with Jimmy Richards' nine-piece group, gigging and touring for a year and a half. O'Connell appeared on a regular radio show in St. Louis until she agreed to tour with Larry Funk's band (which was billed as "Band of a Thousand Melodies"). After the outfit started working in New York, she was discovered and quickly signed up by Jimmy Dorsey in 1938. O'Connell soon had a hit rendition of "All of Me," which was followed by popular recordings of "Embraceable You," "Brazil," "Jim." and "When the Sun Comes Out" (which she introduced). However, it was in December 1940, when she started sharing recordings with ballad singer Bob Eberly, that O'Connell for a time became a household name. Eberly generally took a slow chorus, Jimmy Dorsey would have a brief instrumental interlude, and then O'Connell would finish up the record with a swinging chorus. This combination worked very well on hit versions of "Amapola," "Yours," "Green Eyes" and "Tangerine." After appearing in the 1943 movie I Dood It with Dorsey (singing "Star Eyes"), O'Connell retired to get married; she would eventually have four daughters. In 1950 she began a successful solo career, making occasional records, appearing regularly on television (she spent a period as co-host of The Today Show), toured as part of Four Girls Four (which also included Kay Starr, Rosemary Clooney and Rose Marie) and made guest appearances with the Jimmy Dorsey ghost band, singing in an unchanged style. Although her voice was limited, she made her deficiencies into assets and carved out her own place in musical history. Helen O'Connell was active up until shortly before her death from cancer. ~ Scott Yanow

I've Got The World On A String

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Various - Blue Funk

Bitrate: MP3@320K/s

Time: 74:03

Size: 169.5 MB

Styles: Soul-Funk-Jazz

Year: 1992/2001

Art: Front

[2:12] 1. Blue Mitchell - Who Dun It

[7:39] 2. Lou Donaldson - Say It Loud (I'm Black And I'm Proud)

[6:54] 3. Big John Patton - Cissy Strut

[5:44] 4. Grant Green - Ease Back

[6:00] 5. Delegation - Oh Honey

[4:00] 6. Candido - Tic Tac Toe

[4:09] 7. Richard Groove Holmes - Grooving With Mr. G

[5:31] 8. Grant Green - Cantaloupe Woman

[5:51] 9. Grant Green - I Don't Want Nobody To Give Me Nothing

[4:28] 10. Ronnie Foster - Don't Knock My Love

[9:02] 11. Lou Donaldson - If There's Hell Below (We're All Going To Go)

[8:02] 12. Reuben Wilson - Bambu

[4:27] 13. Bobby Hutcherson - Family Affair

This is a very attractively priced sampler by Blue Note, issued in the early '90s on CD highlighting their deep and funky soul-jazz titles for the beat heads and emergent hip-hop nation that was sampling in earnest at the time. (Little did the label know that collectors and DJs wanted wax, not shiny little plastic.) In any case, this attractively priced sampler of BN acts from the '60s and '70s is all killer, no filler; it's heavy on funk and soul. Sure it's got the big B sharp players from the era, like Groove Holmes ("Down Home Funk"), Jack McDuff (the amazing "Hunk O Funk"), Big John Patton (with a killer cover of the Meters' "Cissy Strut"), Reuben Wilson ("Bambu") and Ronnie Foster ("Don't Know My Love"), but there's way more. Lou Donaldson and Grant Green make up the royalty for this period (the producers still hadn't realized just how happening Donald Byrd was to the emerging hip-hop generation so he's not here) and they are well represented by a few cuts each -- Donaldson's read on James Brown's "Say It Loud (I'm Black and I'm Proud)," is a monster; and Green's take on "Cantaloupe Woman" is simply bad ass. But there is some added class to this mix with Candido's smoking drum funk in "Tic Tac Toe," and Blue Mitchell's set-opening "Who Dun It." But the big surprise comes at the very end when Bobby Hutcherson clocks it all out with his uber funky soulful read of Sly Stone's "Family Affair," setting the vibe just right as a cap. A couple of these Blue Note soul-jazz comps would fuel any bash, and would provide an awesome Friday night jump to Sunday afternoon cruise control and leave the listener without a care in the world. ~Thom Jurek

Blue Funk

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Jim Tomlinson - Brazilian Sketches

Bitrate: MP3@320K/s
Time: 50:56
Size: 116.6 MB
Styles: Saxophone jazz
Year: 2001
Art: Front

[5:01] 1. Dreamer
[4:10] 2. Caminhos Cruzados
[4:39] 3. Ligia
[4:32] 4. So Nice
[5:11] 5. Só Danço Samba
[4:27] 6. Once I Loved
[6:30] 7. I Concentrate On You
[3:35] 8. Portrait In Black And White
[3:38] 9. She's A Carioca
[4:21] 10. The Gentle Rain
[4:45] 11. No More Blues (Chega De Saudade)

Perhaps best known for his work as the compelling counter-voice to singer and wife Stacey Kent, saxophonist Jim Tomlinson is recognized as a distinctive saxophone voice in his own right. His new CD demonstrates a huge step forward in technique and interpretation, highlighted by the obvious empathy between the band members - Colin Oxley, John Pearce, Simon Thorpe and Chris Wells. But why Brazil? Jim says: 'I chose these tunes because I love them and I had gotten into the habit of only playing tunes that I love...though Joao and Astrud Gilberto were the definitive performers of the idiom, Antonio Carlos Jobim is the greatest composer of Bossa Novas and his tunes are unavoidable and utterly desirable when compiling such an album. Features Stacey Kent on vocals.

Brazilian Sketches

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Jessica Molaskey - A Kiss to Build a Dream On

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 61:13
Size: 142,2 MB
Art: Front

(3:46)  1. Happy Habit
(4:20)  2. Baby Medley
(3:28)  3. Hello Sunshine Hello
(4:12)  4. A Kiss to Build a Dream On
(3:17)  5. Louis
(4:09)  6. Tea for Two
(3:41)  7. Take Me to You
(4:13)  8. Breezin' Along With the Breeze
(3:48)  9. Isn't He Something
(3:46) 10. Hiding in Plain Sight
(3:07) 11. Four Leaf Clover
(5:51) 12. You're Nobody Till Somebody Loves You
(5:53) 13. Ain't Misbehavin'
(4:49) 14. Bye Bye Blues
(2:48) 15. Heart's Desire

When Broadway actress Jessica Molaskey met jazz guitarist/vocalist John Pizzarelli, an engaging partnership (both musical and marital) was formed. Molaskey enjoyed the musical family she married into, including father and guitarist Bucky and brother-in-law/bassist Martin, all of whom join her on her first CD for a purely jazz label. Rounding out the band is the talented young violinist Aaron Weinstein, a swinging, sensitive player in the Stéphane Grappelli tradition whose maturity on his instrument belies his youth. One of Molaskey's greatest strengths is her effortless ability to convey the emotion of each song without overdoing it, while her vocals are always right on the money. She also chose quite a few pieces that have long fallen into obscurity, including the upbeat "Happy Habit," the brightly swinging "Hello Sunshine Hello" (which interpolates "You Are My Sunshine" and utilizes multi-tracked vocals), and "Breezin' Along with the Breeze." John joins her for an intimate vocal duet of "Tea for Two" that includes the oft-omitted verse, along with their warm original "Hiding in Plain Sight," the latter adding guest Larry Fuller on piano. She also chose a pair of Stephen Sondheim songs, offering a playful rendition of "Everybody Loves Louis" (from Sunday in the Park with George and the sentimental ballad "Isn't He Something" (from Bounce. Jessica Molaskey will warm an audience of any size with this superb release. ~ Ken Dryden http://www.allmusic.com/album/a-kiss-to-build-a-dream-on-mw0000797982

Personnel:  Jessica Molaskey-vocals;  John Pizzarelli-guitar, vocal duets (6, 10);  Bucky Pizzarelli-guitar;  Martin Pizzarelli-bass;  Aaron Weinstein-violin;  Larry Fuller-piano (10)

A Kiss to Build a Dream On

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Caribbean Jazz Project - Here And Now: Live In Concert (Disc 1) And (Disc 2)

Mallet man Dave Samuels' career has ranged from the experimental, ECM-ish vibe of his '70s Double Image group to an artistically questionable association with the commercially viable smooth jazz group Spyro Gyra. And while those who knew just how much Samuels was capable of were more than a little surprised to see him maintain a long-term relationship with such a lightweight group, he managed to remain credible, always being critically singled out, even as Spyro Gyra itself was often dismissed. But, while Samuels' years with Spyro Gyra might have confused his fans, as did a string of equally lightweight solo albums for MCA and GRP, he did succeed in attaining greater visibility than he would have, had he continued with his bolder work of the '70s and '80s. And so, when he formed the Caribbean Jazz Project in '01 with the debut release Paraiso, Samuels appeared to have, in embracing Afro-Cuban music, found the perfect middle ground: accessible enough to appeal to larger audiences, but adventurous enough, in its own way, to help re-establish some credibility with the cognoscenti. Fans of more oblique idioms may still find the Caribbean Jazz Project too lightweight, but the fact is that amongst the captivating rhythms and engaging melodies, there's more than meets the eye.

And while the three previous studio efforts have had charms to recommend, the new double live set, Here and Now - Live in Concert, may be the best of the bunch. Back from '02's The Gathering and '03's Birds of a Feather are pianist Dario Eskenazi and percussionist Roberto Quintero, who, along with Samuels, are beginning to forge a group identity that the more guest-laden studio releases lacked. Rounding out the sextet are percussionist Mark Walker, known for his work with the genre-busting Oregon, but proving to be a highly capable Latin drummer as well; bassist Oscar Stagnaro, who combines unerring groove with fleet-fingered virtuosity; and the outstanding Argentinean ex-pat trumpeter Diego Urcola. And while the playing is universally top notch, it's Urcola who stands out, no surprise to anyone who has heard his remarkable '03 release, Soundances, which blended newfound urban roots in New York City with his folkloric background. It is, in fact, the way that Samuels manages to blend his Afro-Cuban concerns with other styles that makes Caribbean Project so distinctive. While Samuels' own compositions range from the aptly titled 5/4 tribute "Five for Elvin to the more overt cha-cha of "Arthur's Dance, it's his clever arrangements of Oliver Nelson's "Stolen Moments, Coltrane's "Naima, and Monk's "Bemsha Swing that really show the height of his invention, making them fit seamlessly within the overall groove-centricity. And with the excitement of live performance making every track sparkle, Here and Now perfectly combines adventure with accessibility. It's hard not to like. It looks as though Samuels has finally found the perfect middle ground between reaching a wider audience and maintaining greater artistic integrity. ~ John Kelman https://www.allaboutjazz.com/here-and-now-live-in-concert-dave-samuels-concord-picante-review-by-john-kelman.php

Personnel: Dave Samuels (vibes, marimba), Diego Urcola (trumpet, flugelhorn), Dari Eskenazi (piano), Oscar Stagnaro (bass), Mark Walker (drums), Roberto Quintero (congas, percussion).

Album: Here And Now: Live In Concert (Disc 1)

Styles: Latin Jazz
Year: 2005
File: MP3@320K/s
Time: 62:51
Size: 145,9 MB
Art: Front

( 6:55)  1. Rendevouz
( 9:45)  2. Stolen Moments
(10:16)  3. Turnabout
( 8:03)  4. Arthur's Dance
( 8:29)  5. The Gathering
( 9:13)  6. Picture Frame
(10:07)  7. Bemsha Swing

Here And Now: Live In Concert (Disc 1)
Album: Here And Now: Live In Concert (Disc 2)

Year: 2005
File: MP3@320K/s
Time: 69:47
Size: 161,7 MB

(11:18)  1. One Step Ahead
( 7:35)  2. Mariella's Dream
(10:49)  3. On The Road
( 6:26)  4. Five For Elvin
( 9:51)  5. Naima
( 9:52)  6. Night In Tunisia
(13:53)  7. Caravan (bonus track)

Here And Now: Live In Concert (Disc 2)

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Bobby Hutcherson - Cirrus

Styles: Vibraphone Jazz
Year: 1974
File: MP3@320K/s
Time: 39:50
Size: 91,8 MB
Art: Front

(7:41)  1. Rosewood
(9:00)  2. Even Later
(7:26)  3. Wrong Or Right
(8:25)  4. Zuri Dance
(7:16)  5. Cirrus

While it doesn't quite match the heights of their early collaborations, Cirrus finds Bobby Hutcherson resuming his partnership with tenor saxophonist Harold Land, and the results are quite good. The pair work with pianist Bill Henderson, trumpeter Woody Shaw, bassist Ray Drummond, drummer Larry Hancock, saxophonist/flautist Emmanuel Boyd and percussionist Kenneth Nash on this set of originals. The music is a little smoother than their earlier collaborations, but there are enough captivating, provocative moments to make the reunion a success. ~ Stephen Thomas Erlewine http://www.allmusic.com/album/cirrus-mw0000868341

Personnel:  Bobby Hutcherson - vibes, marimba;  Woody Shaw – trumpet;  Emanuel Boyd, Harold Land - tenor saxophone, flute;  William Henderson - piano, electric piano;  Ray Drummond – bass;  Larry Hancock – drums;  Kenneth Nash – percussion.

Cirrus

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Sonny Fortune - Awakening

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 44:00
Size: 100,9 MB
Art: Front

(11:12)  1. Triple Threat
(10:21)  2. Nommo
( 5:43)  3. Sunshower
( 3:15)  4. For Duke and Cannon
(13:27)  5. Awakening

Sonny Fortune's second LP as a leader is an adequate set of mostly straight-ahead jazz, which sets it apart from many of his fusion-venturing peers of the '70s. With a slate of expert, professional sidemen (Billy Hart, John Hicks, Reggie Workman, Charles Sullivan, etc), Awakening never amazes, but it also never disappoints. Fortune, as usual, offers several spirited solos, while his cohorts incessantly swing. Straight-ahead jazz fans will appreciate this yeoman set. ~ Vicent Thomas http://www.allmusic.com/album/awakening-mw0001880928

Personnel:  Sonny Fortune - alto saxophone, flute, cowbell, chimes, claves, shaker, percussion;  Charles Sullivan - trumpet, flugelhorn (tracks 1 & 5);  Kenny Barron - piano, electric piano (tracks 1-3 & 5);  John Hicks - piano (track 4);  Wayne Dockery (track 1 & 3-5), Reggie Workman (track 2) – bass;  Billy Hart (tracks 1-3 & 5), Chip Lyle (track 4) – drums;  Angel Allende - congas, percussion (tracks 2 & 5)

Awakening

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