Peggy Lee - Basin Street East Proudly Presents Miss Peggy Lee

Bitrate: MP3@320K/s
Time: 31:31
Size: 72.2 MB
Styles: Jazz vocals
Year: 1961/2011
Art: Front

[1:44] 1. Day Out
[2:59] 2. Moments Like This
[2:54] 3. Fever
[3:06] 4. The Second Time Around
[2:55] 5. Medley (One Kiss My Romance The Vagabond King Waltz)
[2:40] 6. I Got A Man
[0:20] 7. Peggy Lee Bow Music
[2:41] 8. Call Me Darling
[2:43] 9. I Love Being Here With You
[2:51] 10. But Beautiful
[1:51] 11. Them There Eyes
[3:19] 12. A Tribute To Ray Charles Just For A Thrill
[1:22] 13. Peggy Lee Bow Music-Exit

Bass – Max Bennett; Bongos – Chino Pozo; Congas – Chino Pozo; Drums – Stan Levey; Flute – Bob Donovan; Guitar – Dennis Budimir; Harp – Abe Rosen; Piano – Joe Harnell; Trombone – Mickey Gravine, Ray Desio; Trumpet – Danny Stiles, Phil Sunkel, Willie Thomas. Recorded live at Basin Street East in an after-hours performance with an invited audience on February 9 and at a New York studio on March 8, 1961.

This is a lesser Peggy Lee release. Originally it was planned that the singer (at the height of her popularity) would record a live set at Basin Street East in New York. Unfortunately, she caught a cold and her voice was a bit hoarse, so some of the numbers were re-recorded in the studio the following month and spliced quite effectively into the set. However, whether in concert or not, the performances here are rather routine with no chances taken (the dozen sidemen do not get a single solo), and everything sounds pretty well planned in advance. Lee, who is best here on the ballads, never wanders at all from the melodies, and these renditions of her usual repertoire have nothing unique or unusual to offer except perhaps an overly rapid version of "Fever." ~Scott Yanow

Basin Street East Proudly Presents Miss Peggy Lee

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Bobby Lyle - Rhythm Stories

Bitrate: MP3@320K/s

Time: 58:55

Size: 134.9 MB

Styles: Piano jazz

Year: 1994

Art: Front

[5:20] 1. Cool Walk

[4:58] 2. Here We Go Again

[5:14] 3. On The Spot

[5:50] 4. B's Mood

[5:14] 5. Junk Street

[5:05] 6. Higher Ground

[5:45] 7. Exotic Love

[5:25] 8. Don't You Know

[5:14] 9. Tonight We Love

[5:25] 10. Anthem

[5:18] 11. Love Suite

Bass – Reggie Hamilton, Marcus Miller; Drums, Programmed By – Sonny Emory; Guitar – Dwight Fills, Carl Burnette, Paul Jackson, Jr.; Keyboards – Bobby Lyle; Percussion – Lenny Castro; Saxophone – Everette Harp; Vocals – Darryl Phinnessy, Dorian Holly, Fred White,Ali Rock, Bobby Lyle, Exhibit, Robin Lyle, Thomas Lyle.

Bobby Lyle's success since the release of 1989's classic Ivory Dreams has been due chiefly to his astonishing ability to combine acoustic piano elegance with relentlessly funky grooves, always on the same album, often on the same cut. That album's juxtaposition of "Lush Life" and "Loco-motion" offers a great case in point. While Lyle draws brightly on tradition, he loves to go wild and urban any time he gets a chance, yet while most of his albums since then have been solid, he has never seemed to measure up to the promise of that auspicious debut. "Pianomagic," a collection of piano solos, in particular missed the mark. No such trouble these days. The subtitle of one of the feistier tracks on Lyle's endlessly electric Rhythm Stories "jazz hip-hop funky bebop, " perfectly summarizes the multi-faceted keyboardist's range and influences. On his most satisfying and eclectic outing to date, he alternates bass-driven soul that won't quit with artsier, romantic musings, fusing synergetic ensemble lightning with quieter reflections. When not limiting himself to his premier weapon, those magical 88s, he enjoys toying with a wide variety of keyboard sounds, most notably the organ effects on two dashing Stevie Wonder covers. "Higher Ground" and "Here We Go Again" offer a flair of familiarity, but are only two of the reasons to buy this genre-transcending collection. A melodic ace, Lyle saves his memorable hooks for slick ballads like "Exotic Love," while leaving ample openings on the jams for each member of his "who's who" ensemble room to expand, grow, whet their chops, etc. Jazz-meets-hip-hop projects usually possess a certain canned, synthetic production sheen about them, so Lyle also merits gold stars for the extraordinarily live sound he achieves blowing with every cat from Kirk Whalum and Gerald Albright to Marcus Miller and Stanley Clarke, among a cast of thousands. OK, why not mention a few more -- Everette Harp, Paul Jackson, Jr., Sonny Emory, and Peter White. ~Jonathan Widran

Rhythm Stories    

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George Colligan - Past-Present-Future

Bitrate: MP3@320K/s
Time: 63:05
Size: 144.4 MB
Styles: Piano jazz
Year: 2005
Art: Front

[9:42] 1. Sophisticated Lady
[7:14] 2. Akatumbo
[6:14] 3. East Of The Sun
[6:36] 4. This Nearly Was Mine
[6:31] 5. Past Present Future
[5:20] 6. Three Views Of A Secret
[7:13] 7. Cinema Paradiso
[4:21] 8. Holiday For Strings
[3:04] 9. Body And Soul
[6:46] 10. Invitation

With a string of recordings for Fresh Sound and Steeplechase, George Colligan established himself as one of the strongest new pianists in jazz. His first Criss Cross outing, Ultimatum (2002), focused exclusively on original material. On the followup, Past-Present-Future, only the title track is original—and a memorable one at that. The slant toward covers is atypical for Colligan (save for 2000's Stomping Ground), but it confirms his ability to make personal statements via standards and not-so-standards. Bassist Vicente Archer and drummer Bill Stewart are new to the Colligan discography but complement one another and know how to stir up trouble. ~David Adler

Past-Present-Future

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Carl Fontana - The Fifties

Bitrate: MP3@320K/s
Time: 65:13
Size: 149.3 MB
Styles: Trombone jazz
Year: 2010
Art: Front

[ 1:06] 1. Intro Blues
[ 3:04] 2. Lester Leaps In
[ 0:17] 3. Where's Charlie Ventura
[ 4:51] 4. Ballad Medley If You Could See Me Now Come Back To Sorrento
[ 3:59] 5. Intermission Riff
[11:44] 6. Daniel's Blues
[ 6:51] 7. Scrapple From The Apple
[ 7:56] 8. Buhaina
[ 9:23] 9. Ballad Medley These Foolish Things You Go To My Head Darn That Dream
[ 3:09] 10. Polka Dots And Moonbeams
[ 2:28] 11. Soon
[ 6:02] 12. Polka Dots And Moonbeams
[ 4:18] 13. Carl

Trombonist Carl Fontana spent the early part of his career playing with a number of different big bands, including groups led by Lionel Hampton, Woody Herman, and Stan Kenton, the latter being the leader with whom he grew his reputation. Tiring of travel, he settled in Las Vegas playing commercial music for several decades (still taking time out for some brief tours with jazz bands), though he started leading jazz gigs and occasionally recording as a leader beginning in the '80s. This compilation comes from several different radio and television broadcasts plus some studio dates. The first set features Fontana leading a quintet with tenorist Vido Musso (a last-minute substitute for an injured Charlie Ventura). Fontana easily outshines Musso with his effortless but brief rapid-fire solo in "Lester Leaps In," while each man takes half of a ballad medley as an individual feature. Several numbers feature Fontana with members of the Kenton band plus pianist Henri Renaud. Fontana's intricate solo in Charlie Parker's "Scrapple from the Apple" is humorous at times, while Horace Silver's soulful "Buhaina" showcases trumpeter Dickie Mills and the trombonist. Fontana is the featured player in two selections with the Jimmy Cook Big Band, playing a powerful solo in "Polka Dots and Moonbeams" buoyed by Bill Holman's richly textured arrangement and adding some pep to an already breezy "Soon." The final two tracks showcase Fontana in concert with Kenton in Berlin playing two Bill Holman charts, including "Polka Dots and Moonbeams" and the arranger's own "Carl.""Polka Dots and Moonbeams" and the arranger's own "Carl." These vintage recordings from 1956 to 1960 are of surprising audio quality, making them essential for fans of the late Carl Fontana, who succumbed to Alzheimer's disease in 2003. ~Ken Dryden

The Fifties

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Branford Marsalis - Requiem

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 69:38
Size: 160,1 MB
Art: Front

( 6:07)  1. Doctone
( 8:24)  2. Trieste
(10:39)  3. A Thousand Autumns
( 9:40)  4. Lykief
( 6:37)  5. Bullworth
( 9:36)  6. Elysium
( 8:49)  7. Cassandra
( 9:43)  8. 16th St. Baptist Church

For ten years or so, since Crazy People Music back in 1990, Branford Marsalis has steered well clear of the definitive in Jazz. He's played sax with Sting, Tina Turner, and Gangstarr, led Jay Leno's Tonight Show band, toured with Dizzy, made movies with Danny De Vito, recorded Blues-based albums starring B B King and Lightnin' Hopkins, hosted an illuminating and influential National Public Radio Jazz programme in the US, even subbed for David Murray in the World Saxophone Quartet. What he has steadfastly refused to do is go back and revisit the piano-and saxophone led quartet that formedhis first solo outfit afetr leaving brother Wynton's band in the mid-Eighties. And now, after reuniting with pianist Kenneth D Kirkland, whose outstanding work on Marsalis' Royal Garden Blues and Renaissance in the eighties fueled the saxophonist's bid for independence from his family's long shadow, we have a glimpse into a future that might have been. Kirkland's untimely death earlier this year came just weeks after these sessions were recorded (at the very end of 1998), and before the mixing process could sweeten or cloud the ideas and passion that drove his playing. As a result, there's an audible directness and unity of purpose in their co-leadership of the Quartet that leaves me yearning for more and then remembering how lucky we are to have these eight tunes.

These are Kirkland's last recorded dates, and they do him proud. Kenny always played like a fountain - throwing gusts and arcs of music up into the wind, defying gravity or melancholy, always singing a kind of musical "ain't this fun" - and from the very first rhythm statement on Requiem his spirit swaggers across the soundstage. Written by Marsalis to elaborate one of Kirkland's signature sounds, his swinging comping behind singers and soloists from pop to classical, "Doctone" also sets out the Quartet's stall - liquid, effortless technique set free over charts that encompass bop, post-bop, fusion, pop and swing. From this seductive beginning the warm, bear-hug muscular tone Kirkland and Marsalis adopt leaves room for bassist Eric Revis to double-time his way into the limelight without ever sounding forced or frantic, and as the band slide into a post-Jarrett interpretation of Paul Motian's Trieste that's redolent of North African sunsets and late-night navy town rumbles, their undoctored versatility shines through. The call to prayer, the call to arms and the call of love for sale are all in here, and Kirkland's sizzling technique in an extended solo tempts drummer Jeff Watts into one of his kitchen sink bravura workouts, as Branford slips smoothly in alongside.

Then a lyrical, complex and spacious reworking of A Thousand Autumns, a tune Marsalis originally wrote for Wayne Shorter, carries enough mood changes to soundtrack a short film, as Kirkland's romanticism is alternately spiked by Tain's evocative percussion, or soaked in dark rum by Marsalis. British ears will then be delighted by the astonishing Lykief - a sly Abdullah Ibrahim-style fusion of Township and Modern Jazz that lets the band's voices chase an irresistible melody around three or four distinct rythyms based on the same tempo. It's a little like strolling down a bush path between tropical villages, each playing its own version of a beloved party tune.This is where Marsalis says he most wants his music to stand - a living, growing fusion style that builds empathy with the audience while challenging and reinventing forms at the same time. Take his rocksteady approach on Bullworth. From a distance listen out for the Joe Sample simple infectiousness of the melody, and a lick or tow of high-style technique over a foursquare fusion groove. It's so kicking that it may take a couple of outings to hear the 7/4 tempo that crops up unannounced, or the jigsaw interplay between Tain's itching drums and Kirkland's barroom, gut-bucket piano. Three more originals from Marsalis flesh out a Spring must-buy. Branford has stepped two back to go three forward, and brother Delfeayo's practised, supportive production has pulled together a fitting last statement from Kirkland. There is no early warning of his death on these tracks, just the sound of a hot, creative musician flourishing in a hot, creative environment, captured largely live on analogue 24-track. The liner notes confess that the bass was nearly (but not) DI'ed, and Dolby SR snuck in on the two most spacious ballads. Tiny compromises that add, not diminish, a fine set that will keep supplying pleasure for years to come. An tribute worth hearing, particularly because it captures so cheerfully the energy, versatility and vitality of a much-missed man. ~ Ian Nicolson https://www.allaboutjazz.com/requiem-branford-marsalis-columbia-records-review-by-ian-nicolson.php

Personnel:  Branford Marsalis – Saxophones;  Eric Revis, bass;  Jeff "Tain" Watts, drums;  Kenny Kirkland, piano (all tracks except "Elysium")

Requiem

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Stacy Sullivan - West On 40

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 44:22
Size: 102,1 MB
Art: Front

(4:20)  1. A Long, Good Night
(3:18)  2. Dreaming
(3:00)  3. Goodbye Don't Get Any Better Than This
(4:00)  4. I Feel The Earth Move
(3:01)  5. Simple Twist Of Fate
(5:12)  6. I Hate To See You Go
(0:51)  7. Why Walk (Intro)
(3:33)  8. Why Walk When You Can Fly
(3:23)  9. Trying To Do The Right Thing
(3:25) 10. Make It Look Easy
(3:58) 11. Night Life
(4:00) 12. How Little We Know
(2:15) 13. Everyday

"West On 40" is a completely original, dynamic recording by one of the most talented singers in America today, Stacy Sullivan. It brings together some of the greatest musicians of our time, including legendary blues guitarist Robben Ford, the incomparable Geroge Doering, Jimmy Zavola and Gary Ferguson. Stacy Sullivan is an American beauty, as lovely on the inside as she is on the outside. Her emotion-filled voice is a window into her compassionate, passionate soul. Discover Stacy Sullivan before she becomes a household name. She is that good…and her live performances are not to be believed! ~ Editorial Reviews https://www.amazon.com/West-40-Stacy-Sullivan/dp/B0002IQNCY

"...Sullivan has a lovely voice - pure and smoky..." ~ All Music Guide

"...one of the Top Ten Recordings Of 2004...not a single track that does not display her stamp..." ~ Sound Advice

"Stacy Sullivan has an engaging approach to lyrics that make every song compelling..." ~ Backstage

West On 40

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Sonny Criss - Up, Up And Away

Styles: Saxophone Jazz

Year: 1998

File: MP3@320K/s

Time: 37:21

Size: 85,7 MB

Art: Front

(5:32)  1. Up, Up And Away

(5:13)  2. Willow Weep For Me

(6:23)  3. This Is For Benny

(5:55)  4. Sunny

(6:46)  5. Scrapple From The Apple

(7:29)  6. Paris Blues

Altoist Sonny Criss' Prestige recordings of the late 1960s generally included a current pop tune or two along with some stronger jazz pieces. This 1998 CD reissue is of particular interest because the intense altoist is teamed with guitarist Tal Farlow (who had recently come out of retirement before slipping back into obscurity for a few more years), pianist Cedar Walton, bassist Bob Cranshaw and drummer Lenny McBrowne. "Up, Up and Away" (the Fifth Dimension hit) has more challenging chord changes than one would think and, although "Sunny" is lightweight, Criss really digs in and uplifts it. In addition, the leader overflows "Willow Weep for Me" with soul, plays a strong solo on Horace Tapscott's "This Is for Benny" and displays his blues roots on "Paris Blues." However the highpoint is a burning rendition of "Scrapple from the Apple" that finds Criss and Farlow engaged in torrid trade-offs. So overall this CD is more rewarding than it might appear at first glance. ~ Scott Yanow http://www.allmusic.com/album/up-up-and-away-mw0000041279

Personnel: Sonny Criss (alto saxophone); Cedar Walton (piano); Tal Farlow (guitar); Bob Cranshaw (bass); Lenny McBrowne (drums).

Up, Up And Away

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Steve Davis - Eloquence

Styles: Trombone Jazz
Year: 2009
File: MP3@320K/s
Time: 69:19
Size: 162,2 MB
Art: Front

(3:56)  1. Yardbird Suite
(7:43)  2. How Deep Is The Ocean
(4:36)  3. Minor Contention
(5:59)  4. T.H.E. Blues
(5:53)  5. It Could Happen To You
(6:15)  6. My Ship
(6:42)  7. Have You Met Miss Jones
(6:54)  8. Django
(6:02)  9. Road Song
(5:39) 10. Peedlum
(4:45) 11. Lament
(4:47) 12. When The Saints Go Marching In

Eloquence, Davis' latest album, finds him in the company of jazz' reigning piano patriarch Hank Jones and the two mesh like velvet and suede. The plush, breathy yet burnished tone of the trombone is particularly eloquent on Kurt Weill's "My Ship," the CD's slowest ballad and one of three tracks with the quartet of Davis, Jones, bassist Nat Reeves and drummer Joe Farnsworth (of One for All). The three other quartet tracks supplant Reeves with producer John Lee's electric bass, including a rocking romp through Wes Montgomery's "Road Song." Roy Hargrove and Steve Nelson add brass and vibes respectively to three tracks, including an original blues with noticeable surprises in all solos, especially Jones,' and mellow interplay between Davis and Hargrove (on flugelhorn) on "It Could Happen to You." Nelson sticks around for two more tracks, including a memorable "Django," both stately and soulful from all (Jones digs really deep), but rendered truly unforgettable with strokes from Farnsworth's impeccable brushes. Fittingly, the album ends with two salutes to JJ Johnson, the father of modern mainstream jazz trombone. ~ George Kanzler https://www.allaboutjazz.com/steve-davis-eloquence-and-jam-session-vol-28-by-george-kanzler.php

Personnel: Steve Davis: trombone; Hank Jones: piano; Nat Reeves: bass; Joe Farnsworth: drums; Roy Hargrove: trumpet or flugelhorn (3 tracks); Steve Nelson: vibes (5 tracks); John Lee: electric bass (3 tracks).

Eloquence

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Hal McKusick - Cross Section - Saxes

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 43:04
Size: 99,7 MB
Art: Front

(3:23)  1. Whisper Not
(4:08)  2. You're My Thrill
(3:53)  3. It Never Entered My Mind
(6:33)  4. Stratusphunk
(3:33)  5. Last Day Of Fall
(6:14)  6. Now's the Time
(3:48)  7. Yesterdays
(4:47)  8. End of a Love Affair
(2:28)  9. Sing Song
(4:13) 10. Rue

Hal McKusick's final recording as a leader mixes three separate sessions with contributions by four great arrangers. The cast of musicians varies from one date to the next, although McKusick and pianist Bill Evans are present on every track, while Art Farmer, Milt Hinton, and Barry Galbraith also make strong impressions. This music has held up extremely well over the decades, especially George Russell's forward-thinking treatment of "You're My Thrill" and his sauntering, somewhat atonal, blues "Stratusphunk." Also valuable are the charts by Jimmy Giuffre, George Handy, and Ernie Wilkins. The blend of the saxophones in Handy's upbeat "The Last Day of Fall" almost sound like an accordion. Most of this music was reissued on the CD Now's the Time (1957-1958), although two brilliant arrangements by Jimmy Giuffre ("Yesterdays" and his own "Sing Song") were, unfortunately, omitted from that compilation, making it worth the effort to search for this elusive Decca LP. ~ Ken Dryden http://www.allmusic.com/album/cross-section-saxes-mw0000471925

Cross Section - Saxes

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Joe Locke / Geoffrey Keezer Group - Signing

Styles: Vibraphone And Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 55:20
Size: 127,5 MB
Art: Front

(7:55)  1. Signing
(6:58)  2. The Lost Lenore
(6:40)  3. Darth Alexis
(7:52)  4. Naima
(5:53)  5. Hide and Seek
(8:25)  6. Her Sanctuary
(6:57)  7. Terraces
(4:37)  8. This Is Just to Say

Signing is only the second release from the co-led Joe Locke / Geoffrey Keezer Group, but both men have traveled plenty of musical miles together, both on record and on stage. They've worked in trio with reed man Tim Garland under the Storms/Nocturnes moniker, produced compelling music for the Japanese marketplace using the New Sound Quartet name and filled venues across the globe to capacity when they take the bandstand together. While six years separate their debut Live In Seattle (Origin, 2006) and this follow-up, they've maintained their musical connection in the interim and their bond has only deepened with time. The music that Locke and Keezer create can be alternately potent and powerful or peaceful and poetic, but it's never less than enthralling. The program contains four Locke originals, two Keezer-penned pieces and a pair of covers that come from vastly different sources saxophonist John Coltrane and the hard-to-define singer/songwriter/musical mutt Imogen Heap. While this group has a signature aural fingerprint that comes through on nearly every track, they don't tread on the same stylistic ground from piece to piece. The title track is a drum 'n' bass-driven journey that has a rave-meets-meets jazz mentality, "Hide And Seek" is a faithful, pop-leaning instrumental facsimile of Heap's work, "Her Sanctuary" is a cascading ride of wonder and ""Darth Alexis" has an occasionally sinister quality and demonstrates the precision of this music. The album contains plenty of first-take recordings, but the performances never betray that fact.

While Locke and Keezer are responsible for shaping the band, the rhythm section deserves credit for bringing a futuristic bent into their sound. Drummer Terreon Gully and bassist Mike Pope push boundaries and bring something distinctly modern to the mix. Pope's electric bass work can serve as a grounding force, melodic instrument, textural element or impressive solo voice ("Terraces"), while Gully is a powerful rhythmic visionary who stokes the flames of this music at every turn ("Signing"). When they mix with Locke and Keezer, the resultant music projects an anything-is-possible policy. 

This music can be explosive, earthy, driven, touching or terrifying, but, most importantly, it's always unpredictable. Signing marks Locke's arrival on the Motéma label, where he has two more projects slated for release in the coming year-and-a-half, and it stands as a testament to the ever-growing connection between the vibraphonist and his piano playing partner-in-crime. ~  Dan Bilawsky https://www.allaboutjazz.com/signing-joe-locke-geoffrey-keezer-group-motema-music-review-by-dan-bilawsky.php
 

Personnel: Joe Locke: vibraphone; Geoffrey Keezer: piano, rhodes, omnisphere; Terreon Gully: drums; Mike Pope: electric bass, acoustic bass.

Signing

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Stevie Holland - Restless Willow

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 39:36
Size: 91,2 MB
Art: Front

(2:31)  1. It Might As Well Be Spring
(3:53)  2. Love Is Strong Far Than We
(3:03)  3. Summertime
(4:16)  4. How Long Has This Been Going On?
(3:43)  5. One Touch
(2:57)  6. Sunny Skies
(4:38)  7. Lush Life
(3:20)  8. Jeg Elsker Dig
(3:31)  9. Here's That Rainy Day
(2:48) 10. Zoot Walks In
(4:51) 11. Stardust

Stevie Holland has a beautiful and flexible voice. Her CD constantly varies the personnel (sometimes featuring pianist George Small and at other times guitarist Sean Harkness) and covers a few different styles. The music includes standards at a variety of tempos, some songs that sound close to show tunes, and heartfelt ballads. There are also guest appearances (one apiece) by Rubén Flores (who sings a duet with Holland on "One Touch"), flutist Joe Mennonna, and tenor saxophonist David "Fathead" Newman (who swings on "Zoot Walks In"). Among the most memorable selections are a happy interpretation of "It Might As Well Be Spring," an uptempo "Summertime," and a wonderful version of "Stardust" in which Holland's voice is backed by just Harkness' guitar. All in all, this is an impressive effort. ~ Scott Yanow http://www.allmusic.com/album/restless-willow-mw0000633409

Personnel: Stevie Holland (vocals); Joe Mennonna (flute); David "Fathead" Newman (saxophone, tenor saxophone); George Small (piano); Sean Harkness (guitar); Kenny Washington (drums); Steve Kroon (percussion).

Restless Willow

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Stu Williamson - Stu Williamson Plays

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 59:16
Size: 136,2 MB
Art: Front

(4:16)  1. The Lady Is a Tramp
(5:41)  2. Stu's Due Blues
(2:52)  3. The Things We Did Last Summer
(3:52)  4. Yardbird Suite
(2:39)  5. Autumn in New York
(4:26)  6. Just Friends
(3:30)  7. Pee Jay
(3:50)  8. Darn That Dream
(6:11)  9. Hongry Child
(4:31) 10. Big Red
(5:07) 11. Red Cross
(3:21) 12. Talk of the Town
(3:59) 13. Oom's Tune
(4:56) 14. Rose Bud

Stu Williamson led relatively few sessions in his career and over half of them are on this excellent Fresh Sound CD. The cool-toned trumpeter is mostly heard in a quintet with altoist Charlie Mariano, pianist Claude Williamson (his brother), either Max Bennett or Leroy Vinnegar on bass, and Stan Levey or Mel Lewis on drums. The remaining four songs (all Bill Holman compositions) feature a sextet with Holman on tenor, baritonist Jimmy Giuffre, Claude, Vinnegar, and Lewis. The music swings lightly but firmly with excellent solos from all concerned, making this CD a prime example of West Coast jazz from the 1950s. Recommended. ~ Scott Yanow http://www.allmusic.com/album/stu-williamson-plays-mw0000875069

Personnel: Stu Williamson (Trumpet) , Charlie Mariano (Saxophone),  Claude Williamson (Piano), Max Bennett (Bass), Stan Levey (Drums).

Stu Williamson Plays

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Joe Lovano Quartet - Classic! Live At Newport

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 57:49
Size: 133,0 MB
Art: Front

( 7:11)  1. Big Ben
(11:05)  2. Bird's Eye View
(10:23)  3. Don't Ever Leave Me
( 9:55)  4. I'm All For You
( 8:09)  5. Kids Are Pretty People
(11:04)  6. Six And Four

It's safe to say that many years from now, when the critics and historians have the benefit of distance to help focus their thoughts, many if not most will continue to hail much of saxophonist Joe Lovano's presently-admired body of work on the Blue Note imprint. But what will stand tallest in said discography? Some may continue to laud the bold, rhythmically charged work of his Us Five quintet; others may celebrate his fascinating Trio Fascination outings; and a different faction may extol the virtues of his commanding quartet dates recorded at the hallowed Village Vanguard. There's no shortage of good options in a portfolio that contains more than two dozen offerings and spans more than a quarter century. For this writer, it will always be the recordings that Lovano created with pianist Hank Jones amaranthine beauties that never seem to lose their luster. I'm All For You (Blue Note, 2004) and Joyous Encounter (Blue Note, 2005) incredibly engaging quartet dates with bassist George Mraz and drummer Paul Motian rounding out the lineup came first, and in quick succession; the pair's lone duo date Kids: Live at Dizzy's Club Coca- Cola (Blue Note, 2007) came a little later. Jones passed away a few years after that third record arrived in 2010, at the ripe young age of ninety-one and Lovano moved on to other musical realms, seemingly closing that incredibly fruitful chapter of his artistic life. But now the story comes alive again with the release of this set that was captured live at the Newport Jazz Festival in 2005.

After recording Joyous Encounter in May of that year, Lovano toured Europe with the quartet from the album, with model-of-class drummer Lewis Nash replacing Motian. That band coalesced into a communicative marvel, a fact that's clear as day here as those four musicians put forth integration and integrity as their collective calling cards. Subtle and artful shifts from flowering ballad territory to solid state swing help to elevate Lovano's "I'm All For You"; bluesy, raucous, cool, and gritty sounds mix perfectly together to make for an easy sell of Oliver Nelson's swinging "Six And Four"; and empathy knows no bounds on the Brazilian-inflected "Don't Ever Leave Me." Oh, to have been in the audience on that summer day. While the magic exhibited here is of a similar sort to what can be heard on the aforementioned quartet recordings, it's obviously not the same. And it should come as no surprise that the change in the drum chair is what altered the chemistry of the group. Motian was a master of percussive shading, allowing airiness into an instrumental realm that it rarely entered, and Nash typically prefers things on the taut and tidier side. The mind was pulled deep into a dream when Motian joined forces with Lovano, Jones, and Mraz, but hearing Nash with the same three is another experience entirely. He pulls the whole body of the listener into the music. If your foot isn't tapping, your body isn't moving, and your head isn't bobbing along in the affirmative during "Kids Are Pretty People," you may be suffering from some form of paralysis. Nash once released an album called Rhythm Is My Business (Evidence, 1993), and he wasn't kidding. Bestowing an album with the "classic" designation upon its release may seem a bit presumptuous, but this appears to be one of those if-the-shoe-fits cases that says otherwise. A classic, by its own definition, is something "of the first or highest quality, class, or rank," and this surely fits the bill. ~ Dan Bilawsky https://www.allaboutjazz.com/classic-live-at-newport-joe-lovano-blue-note-records-review-by-dan-bilawsky.php

Personnel: Joe Lovano: tenor saxophone; Hank Jones: piano; George Mraz: bass; Lewis Nash: drums.

Classic! Live At Newport

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Hal McKusick Octet - In A Twentieth-Century Drawing Room

Styles: Clarinet And Saxophone Jazz
Year: 1955
File: MP3@320K/s
Time: 36:44
Size: 85,6 MB
Art: Front

(4:30)  1. My Inspitarion
(2:46)  2. Gift Of The Magi
(3:09)  3. You're A Lucky Guy
(2:35)  4. Can't We Be Friends
(2:33)  5. Step Lively Osie
(3:28)  6. Minor Seventh Heaven
(3:15)  7. Theme
(5:12)  8. Alto Stratus
(3:15)  9. How Long Has This Been Going On
(3:12) 10. Brother Jack
(2:44) 11. Immortal

A fine cool-toned altoist and an occasional clarinetist, Hal McKusick worked with the big bands of Les Brown, Woody Herman (1943), Boyd Raeburn (1944-1945), Alvino Rey (1946), Buddy Rich, and Claude Thornhill (1948-1949). In the 1950s, in addition to his work with Terry Gibbs and Elliot Lawrence, he was a busy and versatile studio musician. During 1955-1958, McKusick recorded nine albums of material as a leader for Jubilee, Bethlehem, Victor, Coral, New Jazz, Prestige, and Decca. Those small-group recordings, although basically cool bop, sometimes used very advanced arrangements, including charts by George Handy, Manny Albam, Gil Evans, Al Cohn, Jimmy Giuffre, and particularly George Russell. Hal McKusick died in April 2012 at the age of 87. ~ Scott Yanow http://www.allmusic.com/artist/hal-mckusick-mn0000660389/biography

Personnel:  Alto Saxophone, Clarinet – Hal McKusick;  Bass – Milt Hinton;  Cello – Abram Borodkin,  Bernard Greenhouse, Harvey Shapiro, Lucien Schmit, Milton Prinz, Sidney Edwards; Drums – Osie Johnson, Sol Gubin;  Guitar – Barry Galbraith

In A Twentieth-Century Drawing Room

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Branford Marsalis Quartet - Braggtown

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 74:09
Size: 170,0 MB
Art: Front

(14:12)  1. Jack Baker
(11:02)  2. Hope
( 8:24)  3. Fate
(12:39)  4. Blakzilla
( 7:48)  5. O Solitude
( 5:45)  6. Sir Roderick, The Aloof
(14:17)  7. Black Elk Speaks

"Damn the torpedoes, full speed ahead! could be one of the underlying messages of Braggtown. While other jazz groups are experimenting with a variety of artistic freedoms, including odd instruments, spoken word, hip-hop and electronica, Branford Marsalis and his quartet are staunch on the path of hard bopping, straight-ahead acoustic music. The music is in fact a continuation of their past three recordings on the Marsalis Music label Eternal (2004), Romare Bearden Revealed (2003) and Footsteps of Our Fathers (2002) which are cognizant of the heritage of jazz, yet always press forward. Whether you think jazz should be modernized or canonized, when it all said and done, this release documents a quartet at its peak, delivering its strongest recording to date. While there's nothing new stylistically here, Braggtown offers fresh compositions from each member of the quartet, showcasing their collective bond through unique interpretations. The music as a whole is a reflection of the quartet's past and present. On Marsalis' incendiary "Jack Baker, his tenor saxophone wails, sings and digs deep within the pocket while the quartet delivers a relentless performance that would make Coltrane smile.

"Hope is another beautiful ballad penned by Joey Calderazzo, exhibiting contrasting sounds of individual isolation and group unity. The pianist plays quietly with deep emotion, then builds to a feverish pitch accompanying Marsalis' blistering soprano crescendo. "Blackzilla, penned by Jeff "Tain Watts, could be the echoes of Harlem's past or urban streets today, complete with meticulous timing, extended solos and Watts' explosive drum work. Marsalis has always had an interest in classical music, as evidenced on Creation (Sony, 1999), and here he pulls out an obscure gem, "O Solitude, by the 17th Century composer Henry Purcell. Proving that all music can exhibit a "groove, Revis' persistent bass pattern threads the austere melody as the piano and soprano sax articulate soulful and moving solos. With the same chamber-esque essence comes the colorful "Sir Roderick, the Aloof, penned by Marsalis, revealing his penchant for both structure and creativity. The recording closes with the smoking gun of "Black Elk Speaks, written by Revis. This complex piece stirs hard swing and free jazz dialects, and each musician throws his instrument wildly and skillfully onto the canvas. Revis delivers a memorable bass solo spotted with outrageous vocalizations and superb fret work. This level of high musicianship exemplifies Braggtown, which should once again put the quartet on the year's best list. ~ Mark F.Turner https://www.allaboutjazz.com/braggtown-branford-marsalis-marsalis-music-review-by-mark-f-turner.php
 

Personnel: Branford Marsalis: saxophones; Joey Calderazzo: piano; Eric Revis: bass; Jeff "Tain" Watts: drums.

Braggtown

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Jenny Evans - Lunar Tunes

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 56:23
Size: 154,8 MB
Art: Front

(5:13)  1. On The Moon
(4:53)  2. Sister Moon
(7:03)  3. Moonlight Serenade
(4:26)  4. The Moon and Stars
(4:10)  5. Moonlight in Vermont
(4:31)  6. Hymn to Selene
(4:27)  7. Silly boy, 'tis full moon
(4:29)  8. Old Devil Moon
(4:12)  9. Moonlight on the Ganges
(4:57) 10. Song to the Moon
(5:02) 11. Moon River
(2:56) 12. It's Only A Paper Moon

„On her new CD Lunar Tunes jazz vocalist, Jenny Evans, sings us songs about the moon. In her own inimitable, jazzy style the English singer crosses over epoches and genres: from Glen Miller to Dvorak, von Erik Satie to Sting, from the Barock to the Orient. For this CD she has invited very special guests: the string quartet "Ensemble Laurier" and the Brazilian flute and saxophone player, Márcio Tubino.“http://www.jenny-evans.de/index.php?p=discography&ln=en

Personnel:  Walter Lang (p);  Thomas Stabenow (b);  Rudi Martini (dr);  Márcio Tubino (ts, fl);  Ensemble Laurier (string quartet)

Lunar Tunes

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Joe Locke - Inner Space

Styles: Vibraphone Jazz
Year: 1996
File: MP3@224K/s
Time: 61:20
Size: 98,4 MB
Art: Front

(8:01)  1. Django
(8:55)  2. Tripping
(9:49)  3. Fly Me to the Moon
(6:34)  4. Sanibel Island
(7:38)  5. Skylark
(7:11)  6. Truce
(4:46)  7. Quiet Now
(8:22)  8. Inner Space

While recording a series of dates for Steeplechase, vibraphonist Joe Locke was never predictable or in the least bit complacent, frequently changing personnel for each date and never falling into a rut in choosing material. His quartet on this 1995 session includes pianist Mark Soskin, bassist Harvie Swartz, and drummer Tim Horner; the music is wide-ranging, concentrating heavily on modern jazz repertoire. Standards include a lovely waltzing "Fly Me to the Moon" and a slow, exquisite arrangement of "Skylark." It might seem dangerous to tackle a piece such as John Lewis' "Django" with the identical instrumentation of the best-known version recorded by the composer during his years leading Modern Jazz Quartet, but it is also the sign of a musician who is confident not only in his own abilities but those of his accompanists; although this arrangement is not drastically different from the classic 1955 recording by the MJQ, the excellent individual solos and Swartz's superb arco bass make it noteworthy in its own right. 

A spacious approach to Denny Zeitlin's "Quiet Now" features Locke and Soskin as a duo. Among more recent works are Swartz's "Truce," which begins with an intense bass solo before evolving into a driving post-bop chart. Frank Kimbrough's introspective "Sanibel Island" seems to inspire some of the best solos of the date. This is one of a number of highly recommended CDs recorded by Locke during the 1990s. ~ Ken Dryden http://www.allmusic.com/album/inner-space-mw0000613490

Personnel: Joe Locke (vibraphone); Mark Soskin (piano); Harvie Swartz (bass); Tim Horner (drums).

Inner Space

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Kenny Drew - By Request II

Styles: Bop, Piano Jazz

Year: 1985

File: MP3@320K/s

Time: 45:24

Size: 104,2 MB

Art: Front

(6:52)  1. Alone Together

(4:56)  2. Yesterdays

(3:31)  3. Bye Bye Blackbird

(3:56)  4. Night in Tunisia

(5:05)  5. Autumn in New York

(3:53)  6. Georgia on My Mind

(4:40)  7. Waltz for Debby

(4:16)  8. Whisper Not

(4:17)  9. Over the Rainbow

(3:52) 10. I'll Remember April

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death. ~ Scott Yanow http://www.allmusic.com/artist/kenny-drew-mn0000081841/biography

Personnel:  Kenny Drew – piano;  Niels Pedersen – bass;  Ed Thigpen - drums

By Request II

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Roy Eldridge - Happy Time

Styles: Vocal And Trumpet Jazz
Year: 1975
File: MP3@320K/s
Time: 48:36
Size: 111,8 MB
Art: Front

(4:20)  1. Sweethearts On Parade
(7:02)  2. Willow Weep For Me
(4:43)  3. Makin' Whoopee
(3:33)  4. Gee Baby Ain't I Good To You
(4:45)  5. All Of Me
(4:10)  6. I Want A Little Girl
(6:55)  7. On The Sunny Side Of The Street
(4:43)  8. I Can't Get Started
(5:18)  9. Stormy Monday
(3:04) 10. Let Me Off Uptown

Roy Eldridge actually spends as much time singing as playing during the ten standards here, but the solos he takes (although concise) have their explosive moments. With pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Eddie Locke providing the support, the music always swings in an exuberant fashion. This CD reissue, although not essential, is worth acquiring. ~ Scott Yanow http://www.allmusic.com/album/happy-time-mw0000674713

Personnel: Roy Eldridge (vocals, trumpet); Oscar Peterson (piano); Joe Pass (guitar); Ray Brown (bass); Eddie Locke (drums).

Happy Time

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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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