Bill Evans - Conversations with Myself

Styles: Piano Jazz
Year: 1963
File: MP3@320K/s
Time: 43:58
Size: 100,9 MB
Art: Front

(6:33)  1. 'Round Midnight
(2:50)  2. How About You?
(5:11)  3. Spartacus Love Theme
(4:34)  4. Blue Monk
(4:54)  5. Stella by Starlight
(4:30)  6. Hey, There
(5:35)  7. N.Y.C.'s No Lark
(2:37)  8. Just You, Just Me
(2:58)  9. Bemsha Swing
(4:12) 10. A Sleepin' Bee

Technology and art have always had a tumultuous relationship at best. Advancements in technology have often been greeted by the artistic community by a split response: Some embrace the new technology and experiment with it, reaching out for new forms of expression that were impossible before; others shun the advances, dismissing them and those that use them as poor synthetic substitutions for "real" artistic struggle and creativity. Today, a great deal of this controversy centers around the use of computers in both the visual and audio arts. Sampling, digital replication, and plagiarism are all issues debated regularly. However, in 1963, the topic of debate was overdubbing, a practice that we regularly take for granted today. And at the center of the debate about this "new" technology was Bill Evans.

Universally considered as one of the top jazz pianists in history today, in 1963 Bill Evans was yet to experience huge commercial success. Drugs, non-focused career management, and bad luck had all conspired to place Bill Evans on tenuous ground, career wise, in 1963. An idea, however, the an album of Bill Evans playing with Bill Evans was hatched, and Evans was game. The rest, as they say, is history....or rather the album Conversations With Myself. Conversations With Myself was a major undertaking, and perhaps, an even greater risk. 

Overdubbing was sneered at by most jazz people, looked at as "gimmicky" and "synthetic". But Evans, one of the most lyrical musicians the jazz world has ever known, was intrigued with taking the "conversational" approach his trio had been practicing to the next logical level. If three musicians could practice and play together long enough to be able to carry on musical conversations during a song, then wouldn't the musical ideas expressed and explored by multiple tracks of the same musician be even closer to an "idealized" perfection? In 1963, the answer was unclear. In 1997 though, the answer is clear, and Conversations With Myself 's inclusion in Verve Master Edition set exemplifies the positive response.Garnering a 5 star review from Downbeat in 1963, and a Grammy, Conversations With Myself was an instant classic for the jazz community. Evans work on the ten tunes included here is truly inspired and amazing to behold. In each song, it is as if three distinctive "sides" or "personalities" of Bill Evans are playing together...each keenly aware of what the others are doing, and perhaps more importantly, will do. Evans' amazing musical comprehension is given center stage while running through classic jazz sides like "'Round Midnight," "Stella By Starlight" and "Just You, Just Me." "Blue Monk" showcases a muscularity to Evans' playing that he rarely displayed, while the "Love Theme From Spartacus" showcases Evans' signature use of space, time and inference.

Overall, this album is rather unique for Evans. Known as one of jazz's "prettiest" pianists, the extensive use of overdubbing here adds so much substance to these tracks that it is somewhat difficult for the uninitiated to keep up with everything that is going on. For the fan of Evans though, this glimpse of the artist at a heightened level of expression is very rewarding indeed. However, for the casual fan, I would not suggest this disc. The musical vocabulary is complex enough that the simple beauty of the songs, and Evans playing, is at times lost. Better to start with some of Evans' Riverside albums, or any of Verve's trio albums first, allowing the listener to "build up" a sense of Evans and his ideas...then come back to this album. And prepare to be impressed. ~ AAJ Staff https://www.allaboutjazz.com/conversations-with-myself-bill-evans-verve-music-group-review-by-aaj-staff.php

Personnel: Bill Evans - Piano.

Conversations with Myself

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Shorty Rogers & His Giants - Bossa Nova

Styles: Trumpet Jazz 
Year: 1962
File: MP3@320K/s
Time: 32:36
Size: 76,1 MB
Art: Front

(2:07)  1. Samba Do Lorinho
(2:17)  2. Chega De Saudade
(2:55)  3. Samba Triste
(2:55)  4. Samba De Uma Nota Só (One Note Samba)
(5:03)  5. Pão De Açucar (Sugar Loaf)
(4:05)  6. Samba Do Empashgi (Empashgi's Samba)
(3:04)  7. O Amore E A Rosa (Love Is A Rose)
(2:31)  8. Só Você (Only You)
(3:23)  9. Chora Tua Tristeza (Cry Your Sadness)
(1:48) 10. Só Um Amor (Only One Love)
(2:24) 11. O Menino Desce Do Morro (Little Brown Boy)

A fine middle-register trumpeter whose style seemed to practically define "cool jazz," Shorty Rogers was actually more significant for his arranging, both in jazz and in the movie studios. After gaining early experience with Will Bradley and Red Norvo and serving in the military, Rogers rose to fame as a member of Woody Herman's First and Second Herds (1945-1946 and 1947-1949), and somehow he managed to bring some swing to the Stan Kenton Innovations Orchestra (1950-1951), clearly enjoying writing for the stratospheric flights of Maynard Ferguson. After that association ran its course, Rogers settled in Los Angeles where he led his Giants (which ranged from a quintet to a nonet and a big band) on a series of rewarding West Coast jazz-styled recordings and wrote for the studios, helping greatly to bring jazz into the movies; his scores for The Wild One and The Man With the Golden Arm are particularly memorable. After 1962, Rogers stuck almost exclusively to writing for television and films, but in 1982 he began a comeback in jazz. Rogers reorganized and headed the Lighthouse All-Stars and, although his own playing was not quite as strong as previously, he remained a welcome presence both in clubs and recordings. ~ Scott Yanow http://www.allmusic.com/artist/shorty-rogers-mn0000028646/biography

Personnel: Shorty Rogers - trumpet and his Giants.

Bossa Nova

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Steve Turre - Right There

Styles: Trombone And flute Jazz
Year: 1991
File: MP3@320K/s
Time: 57:47
Size: 132,6 MB
Art: Front

(6:46)  1. Ginseng People
(8:12)  2. Woody & Bu
(6:03)  3. Unfinished Rooms
(4:19)  4. Echoes of Harlem
(8:53)  5. Right There
(7:41)  6. Duke's Mountain
(7:58)  7. Sanya's
(7:53)  8. Descarga De Turre

Right There is primarily a straight-ahead set featuring Steve Turre on trombone and shells in a sextet with violinist John Blake, cellist Akua Dixon Turre, pianist Benny Green, bassist Buster Williams, and drummer Billy Higgins. Wynton Marslis pops up on two of the seven selections, and tenor saxophonist Benny Golson is on one. Highlights include "Woody & Bu," Duke Ellington's "Echoes of Harlem," "Duke's Mountain," and "Descarga De Turre," which has the leader at the helm of a Latin band that includes flutist Dave Valentin and several percussionists. Excellent and spirited music. ~ Scott Yanow http://www.allmusic.com/album/right-there-mw0000265786

Personnel includes: Steve Turre (trombone, flute, conch shells); Herman Olivera (vocals, clave, guiro); Dave Valentin (flute); John Blake (violin); Akua Dixon Turre (cello, vocals); Benny Green, Willie Rodriguez (piano); Buster Williams, Andy Gonzalez (bass); Manny Oqendo (timbales, guiro); George Delgado (congas); Billy Higgins (drums).

Right There

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Kenny Drew - By Request

Styles: Piano Jazz

Year: 1985

File: MP3@320K/s

Time: 49:02

Size: 112,6 MB

Art: Front

(5:35)  1. Softly, as in a Morning Sunrise

(5:01)  2. Misty

(3:57)  3. On Green Dolphin Street

(4:55)  4. Smoke Gets in Your Eyes

(3:59)  5. You'd Be So Nice to Come Home To

(6:53)  6. My Funny Valentine

(5:10)  7. Lover Come Back to Me

(3:45)  8. As Time Goes By

(5:46)  9. Fly Me to the Moon (In Other Words)

(3:58) 10. 'Round Midnight

Kenny Drew was born in New York City in August of 1928. At the age of 5, he began studying classical piano with a private teacher and at 8, gave a recital. This early background is similar to that of Bud Powell, the man who later became his main inspiration as a jazz pianist. After digging Fats Waller, at 12, and then Art Tatum and Teddy Wilson, Drew attended the High School of Music and Art. He was known as a hot boogie woogie player but passed through this phase before graduation. Kenny's first professional job was as accompanist at Pearl Primus' dance school. At the same time, he was alternating with Walter Bishop Jr. in a neighborhood band that included Sonny Rollins, Jackie McLean and Art Taylor. In this period, he used to hang-out on 52nd Street to listen to Charlie Parker and Powell and began sitting in at various jam sessions around town. In January of 1950, Drew made his first appearance on record, with Blue Note. Howard McGhee was the leader and the other featured soloists were Brew Moore and J.J. Johnson. One of the six sides released was “I'll Remember April.” The label, in addition to stating “Howard McGhee's All Stars”, further read, “Introducing Kenny Drew.”

Later, in 1953, Kenny made his first album as a leader. Again it was Blue Note who recorded him, this time in a trio with Curly Russell and Art Blakey. But Kenny opted to settle in Los Angeles for the next few years. There in 1955, he formed a quartet with the late Joe Maini, Leroy Vinnegar and Lawrence Marable. The quartet first recorded together in 1955 for Pacific Jazz. In December, Jazz West, a subsidiary of Aladdin Records, brought the quartet as is into Capitol's recording studios for “Talkin' & Walkin'.” In February of '56, Kenny's band and arrangements were used for another Jazz West release, this one by vocalist Jane Fielding. A month later, Drew, Paul Chambers, John Coltrane and Philly Joe Jones made the great “Chambers' Music” for the same label, which is now reissued on Blue Note. In early 1957 Kenny made his way back to New York as accompanist for Dinah Washington. That September, he participated in John Coltrane's monumental masterpiece “Blue Train,” but his association with Blue Note did not heat up again until 1960 when he made his own “Undercurrent” as well as Jackie McLean's “Bluesnik,” and “Jackie's Bag,” Kenny Dorham's “Whistle Stop,” Dexter Godon's “Dexter Calling,” Grant Green's “Sunday Mornin'” and a couple of Tina Brooks dates all within the space of a year.

Although Kenny was active on the recording and club scenes in New York and even subbed for Freddie Redd for a while in the successful Off-Broadway run of The Connection, he eventually chose to migrate to Europe. But he again popped up on a classic Blue Note date, Dexter Godon's “One Flight Up,” done in Paris in 1964. Kenny became a major star in Europe and Japan although his music was sadly neglected at home. He settled in Copenhagen where he ran a publishing company and was the house pianist at the Café Montmartre. He was also the pianist for the Steeplechase label, where he was on countless sessions backing visiting musicians. He left an impressive legacy of recordings both as sideman and leader. Kenny Drew died on Aug. 4, 1993. https://musicians.allaboutjazz.com/kennydrewsr

By Request

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Dina Blade - Bossa Amazônica

Styles: Brazilian Jazz, Bossa Nova
Year: 2016
File: MP3@320K/s
Time: 41:56
Size: 97,2 MB
Art: Front

(2:33)  1. Só Danço Samba
(4:05)  2. Garota de Ipanema
(4:09)  3. Não Foi Amor
(3:24)  4. Ilu Ayê
(4:37)  5. Corcovado
(4:00)  6. Pra Que Discutir Com Madame
(5:28)  7. Carinhoso
(2:15)  8. O Pato
(3:28)  9. Rosa Morena
(5:13) 10. Ave Maria no Morro
(2:39) 11. Adeus Acre Querido

Here is a review from the August 2016 issue of Earshot Jazz Magazine. (Note: the adjective "ataractic" means state of serene calmness). "Summer is finally upon us, and Dina Blade has given listeners a soundtrack to which they can enjoy the warmer months. As listeners journey through the ataractic tracks, a few surprises pop up along the way - one of which is a sensational cover of "The Girl From Ipanema." The album showcases a large group of talented musicians consisting of Dario Quintana on drums, Sandoval França on soprano and tenor sax, Pedro Cruz on violin, André Dantas on a medley of instruments, Alexandre Anselmo on batería and jeff Busch on cuica. At the forefront of the listening experience are Blade's controlled and powerful vocals. Smoother subgenres of jazz can at times be difficult to capture dynamically, yet Blade pulls this off flawlessly. Blade, who is no stranger to the culture of South America, sports a palpable understanding and a creative approach to bossa nova. The captivating soundscapes created by the ensemble seem to lull listeners into entrancement. But, as soon as you find yourself drifting away, Blade's voice guides you back in. Grab yourself a smooth cocktail, set up some speakers outside, and dive into the enticing tones of Dina Blade's "Bossa Amazonica"." ~CC

My fascination with Brazilian bossa nova began the moment I heard singer/guitarist João Gilberto playing “Só Danço Samba” (“I Only Dance Samba”). I was enthralled with the combination of the alluring rhythm and marvelous melody that made me feel calm but definitely alive. I was also amazed to hear so much music coming out of just one person! By mid-song I was smitten and vowed right then to begin learning the rhythms of bossa nova guitar and Brazilian Portuguese. So began my journey. First I travelled to Salvador, the country’s original capital in the northeastern state of Bahia, where drum schools prevail and African rhythms permeate every genre of local music. Five years passed before I returned to Brazil, this time to Rio de Janeiro, and in that marvelous city at a rooftop party overlooking Ipanema beach, I discovered how much Brazilians love to sing and was thrilled to accompany them on my guitar. Everyone joined in enthusiastically and I received several delicious caipirinhas for my efforts. Soon after, on a side trip to Campinas near São Paulo, I was invited to give a concert of American jazz and bossa nova with an excellent local quartet, and performed some tap dancing, trading rhythms with the drummer! Another high point. In recent years I have visited the Amazonian city of Rio Branco, where this CD project was recorded, and have had many incredible experiences playing with musicians in that beautiful place in the Amazon forest, communicating through our common language of music: jazz, folk, bossa nova and samba. The people of Rio Branco are extremely kind, generous, and warmly accepting of me, the “cantora americana,” for which I am grateful. This project is dedicated to them, my wonderful friends in Acre state. Thank you all for the inspiration and unforgettable memories. You have made my life richer and I will keep you in my heart forever. https://www.cdbaby.com/cd/dinablade6

Bossa Amazônica

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Steve Turre - Woody's Delight

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 67:29
Size: 155,0 MB
Art: Front

( 6:45)  1. Woody's Delight
( 7:07)  2. Something For Sweets
( 8:01)  3. In Retrospect
( 4:06)  4. Luna
( 6:25)  5. Annette's For Sure
( 8:37)  6. Adios Mi Amigo
( 7:20)  7. Manny's Mambo
( 8:16)  8. 3 For Woody
(10:47)  9. Brother Bob

Trombonist and master of musical shells Steve Turre has been playing professionally since he was 13, working with a variety of bandleaders including Rahsaan Roland Kirk, Ray Charles, and Chico Hamilton, although he credits his musical maturity to his eight-year tenure with trumpeter Woody Shaw (which began when he was in his thirties). Turre recorded 14 albums with Shaw and it is to Shaw's influence and memory that the album's title refers. Turre wrote eight of the nine compositions here. The wildly diverse program includes five trumpeters Claudio Roditi, Jon Faddis, Wallace Roney, Chocolate Armenteros, and Freddie Hendrix three keyboard players, four bass players (including Buster Williams), two drummers, and three bongo, timbales, and conga percussionists. Faddis' fiery acrobatics are heard on the title track a skittering, jaunty blues in G-minor and on "Something for Sweets" (for Harry "Sweets" Edison), a strolling Basie-esque blues where both Faddis and Turre use mutes. Roney is showcased on "In Retrospect," a shimmering, mysterious, ethereal ballad that Turre wrote for him, reflecting the influence of Miles Davis on the trumpeter. Roney also appears on "Luna," which reflects the influence of Shaw's ambitious compositional style and use of extreme harmonic intervals on Turre. Perhaps the most beautiful entry on the set is Roditi's jazz-samba "Annette's for Sure," with bassist Nilson Matta and drummer Duduka Da Fonseca (who also plays berimbau). 

Together the band creates an authentic samba atmosphere that is underscored by Venezuelan pianist Luis Perdomo and Turre's shells. There is a killer Latin number here too in "Manny's Mambo," dedicated to Oquendo Turre also spent time in Conjunto Libre. The trumpeter here is 83-year-old legend Chocolate Armenteros. Both men and pianist Perdomo play moñas like the house is burning down, as percussionists and drummer underscore the joyous dance feel. "Adios Mi Amigo" is a Latin ballad written for Turre's late colleague and friend, pianist Hilton Ruiz. Roditi's solo is achingly beautiful and is underscored by Turre's use of the plunger mute and Andy Gonzalez's bassline. Youthful up-and-comer Hendrix is showcased on the final two cuts here, the modal "3 for Woody," and the deep, bluesy swing of "Brother Bob." Woody's Delight is not a mere tribute to Shaw's influence on Turre (though that would be enough); it displays the trombonist's wide angle and ambitious compositional and arranging skills with true flourish. The music here is all soulfully articulated and expertly performed, the album some of Turre's finest work. ~ Thom Jurek http://www.allmusic.com/album/woodys-delight-mw0002280215

Personnel: Steve Turre: trombone and shells; John Faddis: trumpet (1, 2); Wallace Roney: trumpet (3, 4); Claudio Roditi: trumpet (5, 6); Chocolate Armenteros: trumpet (7);  Freddie Hendrix: trumpet (8, 9);  Xavier Davis: piano (1 – 4, 8, 9);  Luis Perdomo: piano (5, 6, 7);  Aruan Ortiz: Fender Rhodes (4); Buster Williams: bass (1 – 4); Andy Gonzalez: bass (6, 7); Corcoran Holt: bass (8, 9); Nilson Matta: bass (5); Dion Parson: drums (1 – 4, 8, 9); Duduka Da Fonseca: drums and percussion (5, 6); Jimmy Delgado: timbales and conga (6, 7); Pedro Martinez: bongos and campana; George Delgado: conga (7).

Woody's Delight

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Monty Alexander - Monty Meets Sly And Robbie

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 51:24
Size: 120,9 MB
Art: Front

(5:08)  1. Chameleon
(5:25)  2. Monty's groove
(5:21)  3. Soulful strut
(5:14)  4. The in crowd
(5:01)  5. Sidewinder
(5:12)  6. People make the world go 'round
(4:28)  7. (Do the) kool step
(5:06)  8. Moanin'
(4:36)  9. Mercy, mercy, mercy
(5:49) 10. Hot milk

Jazz purists may turn up the nose at this jazz-reggae summit meeting, but that's their loss. It's not that they wouldn't have the right to be suspicious experiments in jazz-reggae fusion do not have a distinguished history. But the combination of Jamaican-born jazz pianist Monty Alexander and reggae godfathers Sly Dunbar and Robbie Shakespeare works beautifully here for a number of reasons: first of all, Alexander is a gifted melodist with an unerring sense of groove (not always a given with jazz players), and second of all, Sly and Robbie emancipated themselves long ago from reggae's rhythmic strictures, so there's lots of variety on this album. The grooves are never less than bone deep: on "Monty's Groove," Shakespeare's minimalist bassline and Dunbar's funky drumming propel Alexander into inspired (if a bit restrained) flights of improvisation, and "People Make the World Go 'Round" is a slow, dark dancehall workout that gives Alexander's piano lots of open space to work with. "Hot Milk," the album's closer, is a touching tribute to the late reggae organist Jackie Mittoo, on which Alexander plays mournful melodica over a modified rocksteady beat. There are times when you might wish Alexander would cut loose and wail a bit more, but this album is a delight from beginning to end. ~ Rick Anderson http://www.allmusic.com/album/monty-meets-sly-robbie-mw0000060577

Personnel: Monty Alexander (piano, melodica); Jay Davidson (saxophone); Steve Jankowski (trumpet); Handel Tucker (keyboards); Robbie Shakespeare (bass); Sly Dunbar (drums, programming); Desmond Jones (drums).

Monty Meets Sly And Robbie

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Mildred Bailey - The Rockin' Chair Lady (1931-1950)

Styles: Vocal
Year: 1994
File: MP3@320K/s
Time: 62:11
Size: 144,8 MB
Art: Front

(3:19)  1. Willow Tree
(2:56)  2. Honeysuckle Rose
(3:02)  3. Squeeze Me
(3:22)  4. Down-Hearted Blues
(3:09)  5. Blues In My Heart
(3:08)  6. You Call It Madness (But I Call It Love)
(3:02)  7. When It's Sleepy Time Down South
(3:08)  8. Wrap Your Troubles In Dreams
(2:42)  9. When That Man Is Dead And Gone
(3:17) 10. Jenny
(3:22) 11. Georgia On My Mind
(2:37) 12. Rockin' Chair
(3:11) 13. Sometimes I'm Happy
(3:14) 14. Ev'rything Depends On You
(3:02) 15. Lover, Come Back To Me
(3:28) 16. All Too Soon
(3:17) 17. It's So Peaceful In The Country
(2:36) 18. More Than You Know
(3:03) 19. Cry, Cry, Cry
(3:06) 20. Blue Prelude

One of at least six Mildred Bailey compilation albums with the phrase "Rockin' Chair Lady" in the title, this 20-track overview issued by GRP in 1994 spans virtually her entire recording career from her Paul Whiteman days (1931) to one of her very last sessions (1950). Possessed of a lovely and at times delicate voice, Mildred Bailey specialized in Tin Pan Alley pop tunes, mostly songs of love and heartbreak. Married for a while to xylophonist and bandleader Red Norvo, she achieved fame during the 1930s but gradually receded from the limelight after 1940. This collection of vintage recordings, which were originally released on Decca phonograph records, includes sublime interpretations of songs by Fats Waller, Benny Carter, Lovie Austin, Hoagy Carmichael, and Duke Ellington. ~ arwulf arwulf http://www.allmusic.com/album/the-rockin-chair-lady-1931-1950-mw0000121548

Personnel: Mildred Bailey (vocals); Dave Barbour, Gene Gifford, Al Hendrickson, Carmen Mastren (guitar); Mel Jenssen (violin); Jimmy Lytell (clarinet); Clarence Hutchenrider, Glen Gray, John Rotella, Kenny Sargent, Ted Nash, Wilbur Schwartz (reeds); Johnny Hodges (alto saxophone); Bo Ashford, John Best , Bobby Lee Jones, Jack Jenney, Joe Hostetter, Billy Butterfield, Bunny Berigan (trumpet); Billy Rauch, Eddie Kusby, Murray McEachern, Pee Wee Hunt, Si Zentner (trombone); Joe Hall , Herman Chittison, Teddy Wilson, Billy Kyle (piano); O'Neill Spencer, Jimmie Hoskins, Tony Briglia, Irving Cottler (drums).

The Rockin' Chair Lady (1931-1950)

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Branford Marsalis Trio - Bloomington

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 77:01
Size: 177,3 MB
Art: Front

(15:12)  1. Xavier's Lair
( 7:53)  2. Everything Happens To Me
(19:02)  3. The Beautyful Ones
(16:18)  4. Citizen Tain
(11:12)  5. Friday The 13th
( 7:21)  6. Roused About

This live set (part of which was included in the performance film The Music Tells You) features Branford Marsalis and his longtime trio (bassist Robert Hurst and drummer Jeff "Tain" Watts) really stretching out on six pieces. Most of the playing is unfortunately very long-winded and rather dull. Marsalis seems content to play the part of a chameleon, doing his impressions of late-period Coltrane, Sonny Rollins and (when he switches to soprano) Ornette Coleman. Also, the music lacks variety and Marsalis is off-mic part of the time. Although the final two selections give this set a much needed dose of humor, it is too little too late. ~ Scott Yanow http://www.allmusic.com/album/bloomington-mw0000098933

Personnel: Branford Marsalis (soprano & tenor saxophones); Robert Hurst (acoustic bass); Jeff "Tain" Watts (drums).

Bloomington

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Art Farmer Quintet - Manhattan

Styles: Trumpet Jazz
Year: 1982
File: MP3@320K/s
Time: 39:14
Size: 90,3 MB
Art: Front

(6:56)  1. Context
(5:11)  2. Blue Wail
(6:57)  3. Manhattan
(6:53)  4. Passport
(6:56)  5. Arrival
(6:19)  6. Back Door Beauty

Art Farmer added a bit of a different twist for these 1981 studio sessions, including baritone saxophonist Sahib Shihab with him in the front line, along with fellow expatriate Americans Kenny Drew (piano) and Ed Thigpen (drums), plus bassist Mads Vinding. Drew contributed the first two songs, including the boisterous mid-tempo opener "Context" and the brisk blues "Blue Wail," both top-notch features for Farmer and Shihab. The intricate take of Charlie Parker's "Passport" and Bennie Wallace's inventive "Back Door Beauty" find Shihab switching to soprano sax. 

The only standard is a lush take of "Manhattan," showcasing the leader's lyrical flugelhorn. This release is a little short by CD standards, clocking under 40 minutes, but it will be of great interest to fans of Art Farmer. ~ Ken Dryden http://www.allmusic.com/album/manhattan-mw0000188125

Personnel: Art Farmer (trumpet, flugelhorn); Sahib Shihab (soprano saxophone, baritone saxophone); Kenny Drew (piano); Ed Thigpen (drums).

Manhattan

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Ken Peplowski - A Good Reed

Styles: Clarinet And Saxophone Jazz 
Year: 1997
File: MP3@320K/s
Time: 59:37
Size: 137,5 MB
Art: Front

( 7:46)  1. Luck Be A Lady
( 7:07)  2. Dream Theme
(17:25)  3. Homage Concerto For Clarinet
( 7:08)  4. Deep
( 6:14)  5. I've Never Been In Love Before
( 7:53)  6. Purple Gazelle
( 6:00)  7. Royal Garden Blues

Featuring the seventeen-minute "Homage Concerto For Clarinet And Jazz Orchestra" with Loren Schoenberg's big band backing clarinetist Ken Peplowski, this session is well-balanced, with four numbers by the leader's small group and four with the large ensemble. Peplowski plays clarinet on three tracks; tenor saxophone on the other four. His experience with the Tommy Dorsey ghost orchestra under Buddy Morrow's direction, working some with Benny Goodman, and more recently with Rosemary Clooney, Mel Torme, and as a duo with Howard Alden, has gained the clarinetist considerable exposure; this is his fourteenth Concord Records album as a leader. On tenor saxophone, Peplowski maintains a quiet posture on "Luck Be A Lady" and "I've Never Been In Love Before." The latter is arranged by guitarist James Chirillo, includes Schoenberg's big band, and features a delightful bass clarinet solo by Danny Bank. 

Bassist Greg Cohen composed "Dream Theme" with the random qualities of a stereotypical dream in mind; it features Peplowski's dreamy tenor, the composer's lyrical bass solo, and pianist Ben Aronov's dreamy keyboard work as well. The "Homage Concerto for Clarinet and Jazz Orchestra" in three movements was written by Chirillo and naturally infuses a classical bent. The names of each movement, "Swing," "Elegy," and "Driving," give one a feel for what is being accomplished. It is Peplowski's strong point, and the big band backs him capably. Duke Ellington's "Purple Gazelle" finds guest tenorist Loren Schoenberg beside the quartet of clarinetist Peplowski, pianist Aronov, bassist Cohen, and drummer Chuck Redd. With a Latin rhythm and a unique Monkish piano outing, the clarinet and tenor saxophone trade phrases and work very well together. The full orchestra returns for the final track, Duke Ellington's arrangement of "Royal Garden Blues." Up-tempo, yet relaxed with a swing, the big band works out behind the confident and imaginative clarinet solos by Ken Peplowski. ~ Jim Santella https://www.allaboutjazz.com/a-good-reed-ken-peplowski-concord-music-group-review-by-jim-santella.php?width=1920

Personnel: Ken Peplowski (clarinet, tenor saxophone); James Chirillo, Paul Meyers (guitar); Jon Gordon , Steve Wilson (flute, alto saxophone); Doug Lawrence, Mark Lopeman (clarinet, tenor saxophone); Danny Bank (bass clarinet, baritone saxophone); Loren Schoenberg (tenor saxophone); John Edkert, Greg Gisbert, Tony Kadleck, Bob Millikan (trumpet); Eddie Bert, Bobby Pring, Mike Christianson (trombone); Tim Newman (bass trombone); Dick Katz, Benny Aronov (piano); Chuck Redd (drums)

A Good Reed

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Linda Pettersson - Who Are You?

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 56:56
Size: 130,8 MB
Art: Front

(4:57)  1. Who Are You?
(7:53)  2. Detour Ahead
(5:24)  3. The Ballad Of The Sad Young Men
(4:59)  4. In Your Eyes
(2:44)  5. Skylark
(4:54)  6. All I Want
(6:43)  7. The Folks Who Live On The Hill
(4:12)  8. From Ton To Tom
(3:59)  9. Up From The Skies
(5:39) 10. Winther Sweet
(5:27) 11. I Still Haven't Found What I'm Looking For

Linda was born on the island of Alnö just off the east coast of Sweden and near the town of Sundsvall. She comes from a musical family and since 1994 she has worked as a freelance singer. She performs often in duo format, with her own group and is popular as guest soloist in other diverse musical constellations. Linda has made a considerable name for herself in a relatively short time. She is an unusually versatile singer with jazz as her favourite form of expression. She possesses a wide vocal range and a sensitive gift for giving lyrics rich and meaningful interpretations that communicate easily and directly with her listeners. Even though it is in jazz and it's near-related genres that Linda has found her musical heartland, she has also had a large degree of success in other musical styles. As one of Sweden's field artists in Bosnia and Kosova she received a great response and acclaim from the soldiers for her vocal talents in rock and pop concerts there. Over the years Linda has worked with, among others: Toots Thieleman's, Georg Riedel, Putte Wickman, Charlie Norman, Mikael Råberg, Peter Gullin, Claes Janson, Kenny Wheeler, Krister Jonsson, Mathias Algotsson, Lars Jansson, Ewan Svensson, Morten Kargaard Group, Pan Trio, Jerker Lindström & Radio Jazz Group Nouveau, Tim Hagens & Norrbotten Big Band, Sandviken Big Band, Bohuslän Big Band, Stockholm Wind Symphony, Stockholm Jazz Orchestra.

In December 2000 Linda performed on her own one-hour TV programme from Nalen in Stockholm, together with the Mathias Algotsson Quartet. Together with Mikael Råberg, Kenny Wheeler with Bohuslän Big Band, and Morton Kargaard Group, Linda has sung specially written parts without words as in the role of an instrument. Linda has made international tours and performed in Japan, France, Scotland, South Africa and Denmark. In 2006 she made a record-long "Pulslag" tour of Sweden together with "Up from the Skies" (Ulf Adåker, Anders Persson, Christian Spering and Magnus Gran). Linda can be heard on many recordings including her first CD in her own name "Who Are You?" (released 2004) and on "Some Really Nice Songs We Really Like" together with guitarist Krister Jonsson (released 2007). She is also guest soloist on other CDs with, among others, Ewan Svensson, Mikael Råberg and Peter Gullin Trio. Linda is a singer that leaves no one unmoved. With a voice that speaks directly to the receiver, and with a subtle intensive presence she transforms lyrics into rich stories. ~ Editorial Reviews https://www.amazon.com/Who-Are-You-Linda-Pettersson/dp/B000RP2KH4

Who Are You?

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Shorty Rogers and His Giants - Jazz Waltz

Styles: Trumpet Jazz
Year: 1962
File: MP3@320K/s
Time: 40:13
Size: 93,6 MB
Art: Front

(4:33)  1. I'm Gonna Go Fishin'
(5:27)  2. Greensleeves
(4:17)  3. Walk On The Wild Side
(2:57)  4. Witchcraft
(3:35)  5. Be As Children
(4:06)  6. Jazz Waltz
(4:41)  7. Echoes Of Harlem
(2:52)  8. A Taste Of Honey
(3:34)  9. Terrence's Farewell
(4:06) 10. The Streets Of Laredo

Shorty Rogers' Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk's long-running television series. Rogers kicks off with a swinging number ("I'm Gonna Go Fishin'") written by Duke Ellington for the soundtrack to the film Anatomy of a Murder and featuring the leader's rich flügelhorn. The lyrical take of the centuries-old folk melody "Greensleeves" alternates between the tense rhythm section and Bud Shank's gorgeous flute solo. Rogers' delightful "Be as Children" almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington's "Echoes of Harlem," featuring Paul Horn on flute, is refreshing. Only Bobby Scott's "A Taste of Honey" is the least bit disappointing, simply because this arrangement isn't quite as adventurous as the rest of the album. Originally issued by Reprise in 1962 and out of print for decades, this album was finally reissued by Collectables in a compilation with another LP by Rogers, Bossa Nova. https://itunes.apple.com/us/album/jazz-waltz/id205750825

Personnel: Shorty Rogers-trumpet and his Giants.

Jazz Waltz

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Bill Evans & Eddie Gomez - Intuition

Styles: Piano Jazz
Year: 1974
File: MP3@320K/s
Time: 41:45
Size: 96,3 MB
Art: Front

(6:32)  1. Invitation
(5:08)  2. Blue Serge
(4:07)  3. Show-Type Tune
(3:26)  4. The Nature Of Things
(5:01)  5. Are You All The Things
(5:39)  6. A Face Without A Name
(4:31)  7. Falling Grace
(7:18)  8. Hi Lili, Hi Lo (For Ellaine)

After having played together on a regular basis for eight years, it is not surprising that this set of duets by pianist Bill Evans and bassist Eddie Gomez is intuitive and bordering on the telepathic. The material is quite fresh. Evans might have recorded "Invitation" and "Show-Type Tune" previously, but the other six songs were getting their debut in his hands. Whether it be "Hi Lili, Hi Lo," Claus Ogerman's "A Face Without a Name," Steve Swallow's "Falling Grace" or "Blue Serge," the sensitive and generally introspective playing on this LP definitely holds one's interest. ~ Scott Yanow http://www.allmusic.com/album/intuition-mw0000316646

Personnel: Bill Evans (piano); Eddie Gomez (bass).

Intuition

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Eartha Kitt - 'Miss Kitt', To You

Bitrate: MP3@320K/s
Time: 44:27
Size: 101.8 MB
Styles: Jazz vocals
Year: 1992
Art: Front

[2:47] 1. Je Cherche Un Homme (I Want A Man)
[2:51] 2. Just An Old Fashioned Girl
[2:20] 3. Lazy Afternoon
[2:44] 4. St. Louis Blues
[3:01] 5. Smoke Gets In Your Eyes
[3:00] 6. My Heart Belongs To Daddy
[3:24] 7. Avril Au Portugal (The Whisp'ring Serenade)
[2:56] 8. C'est Si Bon (It's So Good)
[2:36] 9. Hey Jacque
[2:29] 10. Mademoiselle Kitt
[3:11] 11. Beale Street Blues
[3:05] 12. Let's Do It (Let's Fall In Love)
[2:07] 13. I'm A Funny Dame
[1:59] 14. A Woman Wouldn't Be A Woman
[2:07] 15. Toujour Gai
[3:43] 16. Monotonous

On this smoky 16-track compilation of classics, legendary temptress Eartha Kitt tells it like it is on "Je Cherche Un Homme (I Want a Man)," and W.C. Handy's "St. Louis Blues," Cole Porter's "My Heart Belongs to Daddy" and "Let's Do It," and a dozen others. ~AllMusic

'Miss Kitt', To You mc
'Miss Kitt', To You zippy

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Jonathan Stout & His Campus Five - Moppin' And Boppin'

Bitrate: MP3@320K/s
Time: 67:30
Size: 154.6 MB
Styles: Swing, Big band
Year: 2007
Art: Front

[3:27] 1. Wholly Cats
[3:11] 2. Royal Family
[2:48] 3. As Long As I Live
[3:16] 4. C.V. Jam
[2:29] 5. I Don't Know Enough About You
[3:54] 6. Bei Mir Bist Du Schoen
[3:10] 7. Judy
[4:11] 8. Moppin' And Boppin'
[2:41] 9. Bli-Blip
[2:36] 10. 9:20 Special
[3:09] 11. Gone With 'what' Wind
[2:44] 12. Just A Little Bit South Of North Carolina
[2:49] 13. S'wonderful
[2:57] 14. Swing Brother Swing
[4:03] 15. On The Sunny Side Of The Street
[3:24] 16. Illinois Goes To Chicago
[2:42] 17. It Don't Mean A Thing (If It Ain't Got That Swing)
[3:46] 18. I Can't Believe You're In Love With Me
[2:57] 19. I'm Beginning To See The Light
[3:09] 20. Rhythm Itch
[3:57] 21. Bugle Call Rag

Another platter of superbly danceable, rare and unique small group swing gems. Starting again with the classic small group sounds of the Benny Goodman Sextet, the album begins with “Wholly Cats” and also features the Basie-Goodman composition “Gone with ‘What’ Wind.” The album also features tunes from lesser-known small groups of the 30’s and 40’s – Lionel Hampton’s “Royal Family”, Charlie Ventura’s “C.V. Jam”, and Sir Charles Thompson’s “Rhythm Itch.” Hilary sings on Peggy Lee’s "I Don’t Know Enough About You" and Anita O'Day’s "As Long As I Live" and “Just a Little Bit South of North Carolina”, as well as our versions of “On the Sunny Side of the Street” and “Swing, Brother, Swing.” Jim Ziegler lends his voice to Lionel Hampton’s "Judy". The title track, Fats Waller’s 1943 classic “Moppin’ and Boppin’” features vintage drumming master Josh Collazo. The Campus Five goes to town on our versions of "It Don’t Mean a Thing" (a one-take jam session) and "Bugle Call Rag" (inspired by the 1944 Jazz at the Philharmonic Version).

As on our previous records, the album was recorded by vintage-jazz extraordinaire Dick Hamilton at his studio, the Doing, using vintage RCA 44 microphones to capture the traditional sound of classic small group swing. "Moppin’ and Boppin’" features Los Angeles' best swing musicians, including Tenor Saxophonist and Clarinetist Albert Alva, Trumpeter and Vocalist Jim Ziegler, Pianist Christopher Dawson, Bassist Wally Hersom, and Vintage-Jazz drumming phoneme Josh Collazo.

Moppin'And Boppin 

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Carl Perkins - The Original Sun Recordings

Bitrate: MP3@320K/s
Time: 49:48
Size: 114.0 MB
Styles: Rockabilly, Rock n Roll
Year: 2012
Art: Front

[2:08] 1. Movie Magg
[2:55] 2. Boppin' The Blues
[2:50] 3. Let The Jukebox Keep On Playing
[2:37] 4. Gone, Gone, Gone
[2:14] 5. Blue Suede Shoes
[2:51] 6. Honey, Don't!
[2:50] 7. Boppin' The Blues
[2:05] 8. All Mama's Children
[2:25] 9. I'm Sorry I'm Not Sorry
[2:39] 10. Dixie Fried
[2:07] 11. Matchbox
[2:48] 12. Your True Love
[2:35] 13. Forever Yours
[2:47] 14. That's Right
[2:31] 15. Sure To Fall
[3:18] 16. Only You
[3:06] 17. All Mama's Children
[2:39] 18. Tennessee
[2:15] 19. Everybody's Trying To Be My Baby

While Carl Perkins recorded many fine records and enjoyed a long and successful career after he left Sun Records, there's no arguing that the sides cut during his tenure with Sam Phillips are his best-known and most influential work; it's all but impossible to imagine the rockabilly revolution of the 1950s happening without hits like "Blue Suede Shoes" and "Boppin' the Blues," and literally thousands of rock guitarists from George Harrison to Lou Reed first had their heads turned around by his trademark licks. The Original Sun Recordings compiles 19 of Perkins' best and best-known recordings for Sun, and you could hardly ask for a better introduction to the man's music. ~Mark Deming

The Original Sun Recordings

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Robin McKelle & The Flytones - Heart of Memphis

Styles: Vocal, Soul

Year: 2014
File: MP3@320K/s
Time: 49:39
Size: 115,2 MB
Art: Front

(4:22)  1. About to Be Your Baby
(2:45)  2. Good Time
(4:10)  3. Please Don't Let Me Be Misunderstood
(3:52)  4. Control Yourself
(3:32)  5. Forgetting You
(4:43)  6. Heart of Memphis
(4:14)  7. Like a River
(4:16)  8. Easier That Way
(4:10)  9. What You Want
(3:09) 10. Good & Plenty
(3:07) 11. Baby You're the Best
(4:02) 12. Down with the Ship
(3:11) 13. It's over This Time

It certainly is rare to read about a soul/blues singer who once finished third in the Thelonious Monk International Jazz Vocal competition.  Originally from Rochester, NY, vocalist Robin McKelle migrated to France, where two recordings of big band swing material made her a star. Five years ago she began a transformation that took her through songs from composers like Willie Dixon and Doc Pomus to this latest recording that celebrates the musical legacy of the city of Memphis. McKelle’s  band, the Flytones, quickly serve notice that they have an innate understanding of  sweet soul music with Al Street on guitar, Ben Stivers on a multitude of keyboards, Derek Nievergelt on bass and Adrian Harpham on drums 7 percussion. Producer Scott Bomar certainly brings a wealth of experience to the project. He is the bass player for the Bo-Keys and learned how to work a studio alongside the legendary Willie Mitchell, leading to Bomar engineering two Al Green recordings. Two other members of the Bo-Keys add their considerable talents to the mix – Mark Franklin on trumpet & flugelhorn and Kirk Smothers on saxophones & flute. Sounding like a modern-day version of Dusty Springfield, McKelle possesses a rich, resonant voice that is used to tell stories, minus most of the vocal gyrations that infect many current vocal performances. She is a singer’s singer with a voice that can break your heart on “Easier That Way,” which borrows a horn riff from Rev. Green, or breathe fire into the dance-floor stomper, “Good Time”. On the title track, McKelle offers a reverential tribute to the people and magical sounds of the famed city over an easy-rolling rhythm punctuated by horn accents.

“About To Be Your Baby” sounds like it was borrowed from one of Ann Peebles classic recordings on Hi Records.  The full scope of the singer’s voice is revealed on “It’s Over This Time,” which starts out simmering at a slow boil as it builds to the climatic coda. The addition of a string section give tracks like “Control Yourself” and “Down With The Ship” a more contemporary R&B feel.  McKelle’s powerful voice cuts loose on “What You Want” as she demands some answers from a reluctant lover. Two covers head in opposite directions. O.B. McClinton’s “Forgetting You” adds a soulful country flavor while the Animal’s hit, “Don’t Let Me Be Misunderstood,”  gets an updating complete with Stivers on Farfisa organ injecting an eerie feel to the proceedings.  

The band is hitting on all cylinders on the up-tempo romp “Good & Plenty” while “Like A River” sports a stone-cold, seductive Memphis groove for more of McKelle’s forthright testimony on love and happiness. This project validates McKelle’s decision to move on from her jazz roots and embrace a new career course. Her gorgeous voice and spirited delivery combined with an exceptional brew of original material puts this one in the “Highly Recommended “category!  http://www.bluesblastmagazine.com/robin-mckelle-the-flytones-heart-of-memphis-album-review/

Heart of Memphis

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Hubert Laws - The Rite Of Spring

Styles: Flute Jazz
Year: 1971
File: MP3@320K/s
Time: 30:50
Size: 70,8 MB
Art: Front

(7:43)  1. Pavane
(9:03)  2. Rite Of Spring
(3:34)  3. Syrinx
(6:01)  4. Brandenburg Concerto No 3, First Movement
(4:27)  5. Brandenburg Concerto No 3, Second Movement

Long before Wynton decided he could play classical chops as well as the real long-haired interpreters, even though he was a jazz musician, Hubert Laws and his partners at CTI gave it a run with a jazz twist, and for the most part with a far more adventurous repertoire. Unfortunately, the results were just about as thrilling as Wynton's, with a few notable exceptions. For whatever reason, flutist Hubert Laws, known for his soul-jazz deftness, decided to take on handful of classical texts with the help of Bob James on piano, harpsichord, and electric piano; bassist Ron Carter, who doubles on cello; and drummer Jack DeJohnette, along with percussionists Airto and David Friedman, a pair of classical guitarists, and a trio of bassoonists. The program ranges from Debussy's lovely "Syrinx" and Faure's "Pavane," to Stravinsky on the title cut and two movements of the third Brandberg Concerto by Bach. The problem with so much variation and ambition is that it's bound to get caught up somewhere. That catching place is in the articulation of the actual transcriptions. They are stiff, rigid, oddly intoned, and lackluster except in Debussy's "Syrinx," which is gorgeous throughout with its strange meter and lilting cadence. On the rest, the only place the tunes work is in the sections where the players engage in jazz improvisation upon the score, which is a swirling, engaging free-for-all of color, texture, and nuance. But since this happens so irregularly, the pieces just seem to grate on the listener. This is a brave but ultimately failed experiment. ~ Thom Jurek http://www.allmusic.com/album/the-rite-of-spring-mw0000649611

Personnel : Hubert Laws (flute); Walter Kane, Jane Taylor, Wally Kane (bassoon); Ron Carter (cello, bass); David Friedman (vibraphone, percussion); Bob James (piano, electric piano, harpsichord); Gene Bertoncini, Stuart Scharf (guitar); Jack DeJohnette (drums); Airto Moreira (percussion).

The Rite Of Spring

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George Colligan - Isolation

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 61:31
Size: 141,7 MB
Art: Front

(6:04)  1. Song For Sinne
(5:40)  2. Lonely Wind
(5:33)  3. Dead Of Winter
(5:38)  4. Flint Michigan
(7:04)  5. The Wrong Stuff
(4:51)  6. Isolation
(5:27)  7. The Secret Of Andreas' Beard
(5:27)  8. Simple Pleasures
(6:05)  9. The Old Danish Castle
(6:21) 10. The Road Back
(3:16) 11. Regret

If the word “isolation” strikes you as a less than enticing title for a CD devoted to solo piano performances, some of the original pieces George Colligan has chosen for this collection “Dead of Winter,” “Lonely Wind,” “Regret,” for starters don’t exactly promise a sunny day in the park, either. Still, on his 20th recording as a leader, Colligan creates a series of absorbing and multi-faceted vignettes. More often than not they possess a meditative quality. Melodies are introduced (and often sustained) in free time, resonating chords and chromatic flashes punctuate harmonically ambiguous passages, and spacious designs allow plenty of opportunities for Colligan to display his contemplative side, improvisatory prowess and beautifully honed technique. There are, however, bright and charming moments amid the soulful musings; Exhibit A being the quirky waltz “Simple Pleasures.” By contrast, “The Wrong Stuff” is a haunting, noirish portrait.

In the album’s liner notes, Colligan credits solo recordings by pianists Cedar Walton and Tete Montoliu for inspiring his appreciation of artists who have distinguished themselves in unaccompanied settings. Yes, risk-taking clearly appeals to Colligan. Several of the album’s highlights, whether newly composed or recently dusted off, illustrate how adept he is at moving beyond familiar harmonic schemes without losing his footing or his audience. He may not have been prepared for solo performances when he was a struggling musician in Baltimore years ago, as he confesses in the liner notes, but what a difference two decades and countless gigs make. ~ Mike Joyce http://jazztimes.com/articles/27157-isolation-george-colligan

Isolation

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