Pepper Adams - The Cool Sound Of Pepper Adams

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 33:11
Size: 77,4 MB
Art: Front

(10:17)  1. Bloos, Blooze, Blues
( 7:27)  2. Settin' Red
( 7:39)  3. Like What Is This?
( 7:47)  4. Skippy

The Cool Sound of Pepper Adams is the kind of record one buys for its remarkable cover art (depicting a flame-haired beauty cupping a seashell to her ear) only to discover the music contained therein is just as spellbinding. A wonderfully soulful session featuring striking contributions from pianist Hank Jones and drummer Elvin Jones, its four lengthy cuts pulsate with energy and invention. Despite complementing Adams' baritone leads with Bernard McKinney's euphonium, the music never sounds bloated. Instead, it's supple and slinky, with a dexterity that's utterly winning. Still, there's no mistaking the physicality of Adams' tone. Songs like "Bloos, Blooze, Blues" and "Like…What Is This?" are as rich and smooth as crushed velvet. ~ Jason Ankeny http://www.allmusic.com/album/the-cool-sound-of-pepper-adams-mw0000097915

Personnel: Pepper Adams (baritone saxophone), Bernard McKinney (euphonium), Hank Jones (piano), George Duvivier (bass), Elvin Jones (drums).

The Cool Sound Of Pepper Adams

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Gloria Lynne - Lonely And Sentimental

Styles: Vocal

Year: 1959

File: MP3@320K/s

Time: 35:35

Size: 81,9 MB

Art: Front

(3:15)  1. Am I Blue

(2:43)  2. For All We Know

(3:17)  3. In Other Words

(3:15)  4. 'tis Autumn

(2:46)  5. Hands Across The Table

(2:39)  6. Love I've Found You

(2:38)  7. Blue And Sentimental

(3:03)  8. Then I'll Be Tired Of You

(2:33)  9. Man Of Mine

(3:22) 10. Little Girl Blue

(2:38) 11. We Never Kissed

(3:19) 12. Sentimental Melody

Gloria Lynne recorded many albums for Everest in her early days, slipped away into obscurity, and then in the 1990s made a comeback. An excellent singer whose style falls between bop, 1950s middle-of-the-road pop, and early soul, Lynne was always capable of putting on a colorful show. Her mother was a gospel singer and Lynne started out singing in church. She had five years of concert training and in 1951 won the legendary amateur competition at the Apollo Theater. Lynne sang with some vocal groups, became a solo artist, and in 1958 was discovered by Raymond Scott, who at the time was a top A&R man at Everest. During her busy period with Everest (at least ten records were cut between 1958-1963), Lynne had hits in "I Wish You Love" (a song she virtually made a standard) and "I'm Glad There Is You." She recorded with both orchestras and jazz combos, becoming quite popular for a period. However, with the rise of rock and the change in the public's musical tastes, Lynne was forgotten for a time. Only a commercial record in 1975 for ABC broke the silence. But starting in the early '80s, Lynne started working regularly again, regained some of her earlier fame, and in the early '90s recorded a couple of CDs for Muse; her initial Everest date also reappeared as an Evidence CD. Gloria Lynne has remained active into the 21st century, and issued one of her strongest albums in decades, From My Heart to Yours, on the Highnote label in 2007. ~ Scott Yanow https://itunes.apple.com/us/artist/gloria-lynne/id132350#fullText

Lonely And Sentimental

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The Paul Bley Quartet - Solemn Meditation

Styles: Piano Jazz

Year: 2008

File: MP3@320K/s

Time: 79:58

Size: 186,7 MB

Art: Front

(6:03)  1. Birk's Works

(3:17)  2. O Plus One

(3:40)  3. Porgy

(3:34)  4. Solemn Meditation

(3:42)  5. I Remember Harlem

(3:06)  6. Drum Two

(4:04)  7. Everywhere

(5:33)  8. Beau Didley

(3:28)  9. Persian Village

(3:25) 10. Triangle

(4:21) 11. Valse Hot

(4:36) 12. Lullaby Of The Leaves

(5:07) 13. You Go To My Head

(3:33) 14. For The Love Of Pike

(3:47) 15. Goody Speaks

(3:29) 16. Polynesia

(5:27) 17. I'll Remember April

(3:53) 18. Willow Weep For Me

(5:45) 19. Pike's Peak

This early quartet date from pianist Paul Bley is somewhat historic because it was the recording debut of both bassist Charlie Haden and vibraphonist Dave Pike. With drummer Lennie McBrowne completing the group, Bley explores a lot of unlikely material in an early postbop manner including Bill Harris' "Everywhere," Roy Eldridge's "I Remember Harlem" and some group originals. The liner notes by Carla Borg (soon to be Carla Bley), who has her "O Plus One" recorded by the group, are also noteworthy. ~ Scott Yanow http://www.allmusic.com/album/solemn-meditation-mw0000269651

Personnel:  Paul Bley – piano;  Dave Pike – vibraphone;  Charlie Haden – bass;  Lennie McBrowne - drums

Solemn Meditation

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Lou Donaldson - Play The Right Thing

Styles: Saxophone Jazz
Year: 1991
File: MP3@224K/s
Time: 49:54
Size: 80,5 MB
Art: Front

(6:21)  1. Play the Right Thing
(6:09)  2. Whiskey Drinkin' Woman
(6:54)  3. Marmaduke
(5:53)  4. Harlem Nocturne
(7:58)  5. This Is Happiness
(6:24)  6. I Had the Craziest Dream
(4:12)  7. The Masquerade Is Over
(6:00)  8. Footpattin' Time

As specifically indicated by the album's title, the title tune's bluesy cast, and Sweet Lou Donaldson's own determined liner notes, this CD aims to strike a blow for soul-jazz, a once-popular, then-maligned idiom newly returned from exile. That it does with no frills, no apologies, and an idiomatic supporting cast. For Donaldson, it was a return to the style that lit up inner-city jukeboxes for him in the 1960s, and though his alto sax lacks some of the majesty that he could summon forth, his bop-flavored technique remained in fine shape in his mid-sixties. It was also a reunion with Donaldson's occasional organist Dr. Lonnie Smith, who contributes plenty of understated savvy to his solos and bass pedal underpinning. Peter Bernstein is the crisp, tasteful guitarist and Bernard Purdie remains the genre's premier timekeeper, assisted by conguero Ralph Dorsey. Together, they work over a series of standards ("Harlem Nocturne," "I Had the Craziest Dream"), some vintage bop (Charlie Parker's "Marmaduke"), and a few Donaldson compositions. "Whiskey Drinkin' Woman," a humorous slow blues featuring Donaldson's high-pitched, good-natured vocals, became a popular feature of his stage act into the next century. With all of these ingredients in place, the CD achieves a comfortable level of competence without really grabbing hold of a groove and riding it the way Donaldson could in his Blue Note days. Also, the sound is a little dry. ~ Richard S.Ginell http://www.allmusic.com/album/play-the-right-thing-mw0000264811

Personnel: Lou Donaldson (vocals, alto saxophone); Peter Bernstein (guitar); Dr. Lonnie Smith (organ); Bernard "Pretty" Purdie (drums); Ralph Dorsey (congas).

Play The Right Thing

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Mary Halvorson Octet - Away with You

Styles: Guitar Jazz, Avant-Garde 
Year: 2016
File: MP3@320K/s
Time: 56:01
Size: 128,4 MB
Art: Front

(6:18)  1. Spirit Splitter (No. 54)
(8:04)  2. Away with You (No. 55)
(9:59)  3. The Absolute Almost (No. 52)
(4:41)  4. Sword Barrel (No. 58)
(7:34)  5. Old King Misfit (No. 57)
(5:31)  6. Fog Bank (No. 56)
(5:14)  7. Safety Orange (No. 59)
(8:35)  8. Inky Ribbons (No. 53)

Continuing her streak of outstanding releases, guitarist extraordinaire Mary Halvorson once again shows her determination to build upon her unique style as a composer and bandleader. She's taken her septet from 2013's superb Illusionary Sea and added an eighth member, pedal steel guitarist Susan Alcorn, and the resulting music is typical Halvorson: harmonically complex, emotionally compelling, and full of interesting moments worth savoring. The first thing one notices about Alcorn's presence is the sense of atmosphere she provides. On the third track, "The Absolute Almost," she offers spare, crystalline notes that gradually emerge and then drift away, providing a somber opening to the cut. Then Halvorson herself joins in, with carefully placed notes that emerge in a pensive dialogue with Alcorn to continue the subdued conversation, before a break in which the rest of the band jumps in to take the piece in a dramatically different direction, full of bounce and rhythmic drive. (It's little surprises like these that always make listening to a Halvorson record such an adventure.) Alcorn's role seems to liberate Halvorson's playing, freeing up subtle opportunities for her to contribute to the group as an equal rather than as a dominant voice.

It's also immediately evident how well this group works together as a unit. Drummer Ches Smith and bassist John Hébert have worked as Halvorson's partners for several recordings, to the point that they are an intuitive element of the rhythmic fluidity that is one of her trademarks. Even during the record's more raucous moments, there's never a sense that they're in danger of losing control of the pulse. And the horns are as fabulous as you would expect: with Jonathan Finlayson, Jon Irabagon, Ingrid Laubrock and Jacob Garchik in the lineup, Halvorson has a superlative brass section for her rich compositions, each member equally adept as a soloist or as an ensemble contributor. Perhaps the most engaging aspect of the recording is its strong emotional core. Listening to the opening of the record, "Spirit Splitter," and the jubilant horn interplay that propels the track, it is clear that this is music to be enjoyed, not simply admired or respected. 

Whether we are taken down a path of exultant cacophony or melancholy musings, with Halvorson as our guide it is sure to involve her irresistible melodic sensibility. I'm sure Halvorson's next installment in her impressive catalog will continue to surprise and astonish, but in the meantime she's given us another exceptional record to celebrate. 

~ Troy Dostert https://www.allaboutjazz.com/away-with-you-mary-halvorson-firehouse-12-records-review-by-troy-dostert.php
 

Personnel: Mary Halvorson: guitar; Susan Alcorn: pedal steel guitar; Jonathan Finlayson: trumpet; Jon Irabagon: alto saxophone; Ingrid Laubrock: tenor saxophone; Jacob Garchik: trombone; John Hébert: bass; Ches Smith: drums.

Away with You

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Pepper Adams - Hollywood Quintet Sessions

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 76:07
Size: 177,1 MB
Art: Front

(5:53)  1. Muezzin'
(6:20)  2. Unforgettable
(8:26)  3. Baubles, Bangles and Beads
(3:50)  4. My One and Only Love
(6:00)  5. Freddie Froo
(6:26)  6. Minor Mishap
(4:57)  7. Blackout Blues
(8:41)  8. High Step
(6:32)  9. Zec
(5:48) 10. Alone Together
(8:10) 11. 5021
(4:58) 12. Four Funky Folk

Music in general, jazz in particular, and notably baritone saxophonist Pepper Adams all had a breakthrough year in 1957. Given his New Star award in Down Beat magazine's critics poll and much acclaim working with the Stan Kenton Orchestra, Adams left Detroit that year for important recording sessions on both the East and West Coasts. Teamed here with musicians based in the Los Angeles area, Adams proved as adept at hard bop as with the cool school sound the California jazzmen had established. Two dates from the summer of 1957 (Pepper Adams Quintet for the Mode label and Critics' Choice from Pacific Jazz) feature drummer Mel Lewis on all the cuts, with help from pianists Carl Perkins or Jimmy Rowles, Kenton trumpeters Stu Williamson or Lee Katzman, bassist Leroy Vinnegar, and on the second assemblage fellow Detroiter bassist Doug Watkins. The result is a solid collection of standards and compositions from emerging Motor City jazzmen Tommy Flanagan, Barry Harris, Thad Jones, and Adams. The distinguished sound of the baritone makes for an intriguing partnership alongside the brass of Williamson or Katzman. Five tracks with the Perkins/Williamson combine produced the calypso to hard bop "Muezzin'," with a singing trumpet followed by baritone, and "Freddie Froo," a hard bopper based on the same batting order, both originals by the leader. A spry version of the usually mundane "Unforgettable," a frantic, wow factor-saturated take of "Baubles, Bangles and Beads," and the tender, deep, and mellow "My One and Only Love" round out the first session. 

Katzman plays very well, trumping his relatively little-known status on three of the next eight tracks. He's excellent taking the lead on Flanagan's now legendary "Minor Mishap," adds to the breezy cool of "High Step" from the pen of Harris, and assists the band in bright, inventive, and adroit 4/4 to 3/4 time changes during the Thad Jones number "5021." Rowles in particular consistently stands out for his inserted solo segments on "5021," and manhandles the other Thad Jones contribution, a furious flyer titled "Zec," in a way original boppers Charlie Parker and Miles Davis would be envious of. His piano leads are simply elegant and refined on two more originals written by Adams: on the bluesy "Four Funky Folk" (originally on the World Pacific LP Blowin' the Blues) and especially during his feature on "Blackout Blues." Of course, Mel Lewis is the consummate professional with every swinging note. But the star here is Adams, emerging with brimming confidence and a solid concept beyond his peers and influences, and exhibiting a style that perfectly reflects his highly intelligent, dry, quick-witted, and fluid personality. For fans and students of the big horn, this is a homework project, and a testament to one of the greatest players of all time on his instrument. ~ Michael G.Nastos http://www.allmusic.com/album/hollywood-quintet-sessions-mw0001219041

Personnel:  Pepper Adams - baritone saxophone;  Stu Williamson, Lee Katzman – trumpet;  Carl Perkins , Jimmy Rowles  - piano;  Leroy Vinnegar, Doug Watkins – bass;  Mel Lewis - drums

Hollywood Quintet Sessions

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Jill Johnson - Songs For Daddy

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 41:04
Size: 94,3 MB
Art: Front

(2:56)  1. Crazy In Love
(3:25)  2. Hallelujah I Love Him So
(3:18)  3. Fly Me To The Moon
(3:36)  4. Moon River
(3:06)  5. Something's Gotta Give
(3:07)  6. That's Life
(3:53)  7. Love Is Here To Stay
(4:04)  8. The Very Thought Of You
(3:21)  9. No Other Daddy But You
(2:46) 10. After You've Gone
(4:07) 11. Everybody Loves Somebody
(3:19) 12. I Can't Give You Anything But Love

There is no doubt that Jill Johnson is Sweden's uncrowned queen country, but in the fall Jill Johnson takes a step to the side of country music and release an American Songbook albums! An album that is a tribute to Jill's father who has supported her throughout her career. After Jill's success as a singer, musician and songwriter, not least in country music, with the acclaimed Swedish Television series "Jills veranda" and the hit show "Jill" on the Stock Exchange in the spring, choose Jill this autumn to try something for her brand new; To record American classics from the 20s onwards. Standards that are arranged for big band and strings of arranger and musician Anders Berglund. Jill and Anders have talked about making this album together for several years, but not until now has always been right. Anders Jill took under their wing 15 years ago, after they had worked together during the Eurovision Song Contest in 1998 and has presented Jill for big bands, symphony orchestras and invited to collaborations with musicians such as Putte Wickman and Svante Thuresson. "Songs For Daddy" is a tribute album to my father who was a great inspiration in my career. His love of "the American songbook" and jazz have been with me since I was a child and I have long promised him that one day I will play in a big band album. Songs from the past with the likes of Ella Fitzgerald, Frank Sinatra, Ray Charles and Dean Martin. I decided to make the disc now because I'm doing a big band medley of floor show "JILL" and for that I want daddy to be part of it! On "Songs For Daddy" are the very personal and original song "No Other Daddy But You," Jill wrote with his låtskrivarkollegor in Nashville earlier this year. But it also contains classics like Fly Me To The Moon, Everybody Loves Somebody, Moon River and Hallelujah I Just Love Him So and even a big band version of her big hit Crazy In Love. "Songs For Daddy" is a tribute to Jill's father, Tommy, but also a declaration of love to all the fantastic music Jill has been with her from her childhood! (Translate by Google) http://jilljohnson.se/en/songs-for-daddy/

Songs For Daddy

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Mel Tormé - Songs Of New York

Styles: Vocal Jazz
Year: 1963
File: MP3@320K/s
Time: 33:40
Size: 79,3 MB
Art: Front

(2:31)  1. Sunday In New York
(3:23)  2. Autumn In New York
(2:28)  3. Lullaby Of Birdland
(2:15)  4. Broadway
(2:42)  5. The Brooklyn Bridge
(2:35)  6. Let Me Off Uptown
(2:23)  7. 42nd Street
(2:16)  8. Sidewalks Of New York
(3:53)  9. Harlem Nocturne (Nocturne For The Blues)
(2:19) 10. New York, New York
(2:20) 11. There's A Broken Heart For Every Light On Broadway
(3:12) 12. Manhattan
(1:19) 13. My Time Of Day

This thematic recording, with songs all relating to New York City, has vocalist Mel Tormé singing in fine fashion. Some of the familiar numbers are swingy, some stringy, but all are done with the heartfelt passion of a man who has lived in the Big Apple and has many tales to tell. Among some of the favorites are "Autumn in New York" with its ever poignant and heartbreaking lyric, the jumping "Let Me Off Uptown," a classic rendition of "Harlem Nocturne," and the obligatory "New York, New York." 

These sessions, reissued from Atlantic label recordings of 1963, have a disclaimer regarding the transfer from analog to digital, in that quality may be lost in spots. Don't let that dissuade you, as any dropouts are minimal. These are well done and worthwhile offerings from Tormé and friends. ~ Michael G.Nastos http://www.allmusic.com/album/songs-of-new-york-mw0000649757

Personnel: Mel Tormé (vocals); Dave Barbour (guitar); Dorothy Remsen (harp); Gerald Vinci, James Getzoff, Marvin Limonick, Lou Raderman, Henry Roth, Israel Baker, Paul Shure, Harry Bluestone (violin); Alvin Dinkin, Allan Harshman (viola); Margaret Aue, Edgar Lustgarten (cello); Arnold Koblentz (oboe); Gene Cipriano, John Lowe, Paul Horn, Ronnie Lang, Buddy Collette (woodwinds); Frank Beach, Al Porcino, Ray Triscari, Stu Williamson (trumpet); Richard Taylor "Dick" Nash , Lew McCreary, Lloyd Ulyate (trombone); John Kitzmiller (tuba); Jimmy Rowles (piano); Shelly Manne (drums).

Songs Of New York

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Jaco Pastorius & Bireli Lagrene - Stuttgart Aria

Styles: Piano And Guitar Jazz
Year: 1986
File: MP3@320K/s
Time: 54:49
Size: 126,4 MB
Art: Front

( 4:51)  1. American Boy
( 4:46)  2. Donna Lee
( 7:40)  3. Stuttgart Aria I
( 6:02)  4. Jaco Reggae
( 5:55)  5. The Chicken
( 8:56)  6. Teresa
(10:09)  7. Stuttgart Aria II
( 6:30)  8. The Days Of Wine And Roses

At the end of their tour European tour and the triumphant concert in Rome documented on Heavy 'n Jazz Jaco Pastorius, guitarist Bireli Lagrene, and percussionist Serge Bringolf decided to leave the continent with at last one studio recording under their belt. The result is Stuttgart Aria. With the addition of three additional musicians Jan Janke on synths and keyboards, Peter Lubke on drums, and keyboardist Vladislav Sendecki (the keyboardists never played at the same time) the date went off as a series of formatted tunes with extended improvisations anchoring them to the album. While the styles here vary wildly; they are all rooted deeply in the jazz fusion and R&B worlds. To be fair, the trio of Lagrene, Pastorius, and Bringolf could have executed these songs very well especially since one of them was "Donna Lee," Pastorius' transcription of the Charlie Parker bebop classic that he recorded on his own first solo album for Columbia. The keyboards seem to get in the way, and sound stilted based against the loose groove created by the pair of string players. And then there's the matter of Pastorius' "singing" on the title track, which is a meld of James Brown funk, high-tech rock, and jazz. 

It's one long riff; Lagrene gets to riff on forever as Pastorius indulges his weak voice and awful lyrics ("people got to be free/give 'em a shot of R&B"), quoting from Sly Stone and any other tune he can think of. It just comes off as indulgent as hell without any substance other than Lagrene's playing to hold it in place. But there are astonishing moments as well, when Pastorius drives a dub-riddled "Jaco's Reggae" into the stratosphere with a meld of chordal and scalar riffs that never, ever sacrifice the track's rhythm for the sake of improvisation. Lagrene's chunky, knotty chords give it a deeper feel, lending the bottom a wide base. There is also a gorgeous performance of "Teresa" with the single weepiest bassline Pastorius ever recorded. The set ends with a serious lyrical, lush, and moving version of Henry Mancini's "Days of Wine and Roses" that pairs Lagrene and Pastorius together in a silky weave of emotion and musical virtuosity, exchanging harmonics and chromatic melody in a painterly fashion. This disc is far from perfect, and must have been a bit of a drag to even make ever such a high-energy tour, but it's not without merit especially for serious fans of the two principals. ~ Thom Jurek http://www.allmusic.com/album/stuttgart-aria-mw0000654208

Personnel:  Backing Vocals – Jan Jankeje;  Bass [Synthesizer] – Jan Jankeje (tracks: 6, 8);  Drums – Peter Lübke;  Electric Bass [Fender 86], Piano, Vocals – Jaco Pastorius;  Electric Guitar, Backing Vocals – Bireli Lagrene;  Keyboards, Synthesizer – Vladislaw Sendecki*

Stuttgart Aria

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Glenn Zottola - Too Marvelous For Words

Size: 100,3 MB
Time: 32:13
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Too Marvelous For Words (4:35)
02. Body And Soul (3:32)
03. Oh, Lady Be Good (2:53)
04. Embraceable You (3:03)
05. Three Little Words (2:32)
06. Poor Butterfly (2:29)
07. Sometimes I'm Happy (3:32)
08. You Go To My Head (3:27)
09. When Your Lover Has Gone (4:06)
10. Fine And Dandy (1:58)

In his career,Glenn Zottola has been best known as a brilliant and swinging trumpeter who occasionally doubled quite effectively on alto. But on this special project, he is heard as a talented tenor-saxophonist who draws on the sounds and styles of Lester Young and Coleman Hawkins, finding his own voice somewhere in between. Glenn sounds quite at home playing with the vintage rhythm sections yet gives the music his own twist and never tries to just merely copy or recreate the past.
Relatively few jazz musicians have been equally comfortable on both brass and reed instruments. Benny Carter, Ira Sullivan and Scott Robinson come to mind along with just a handful of others. Glenn was never told that it was difficult to play both brass and reeds, so he developed his own musical conceptions, giving one the impression that it is effortless. But that is consistent with his career for he has often made the difficult seem natural.

Although he has loved playing tenor since he picked up his first saxophone when he was 13, Glenn Zottola
had never recorded a full set on that instrument. Making this CD even more unique is that Glenn is heard playing along with some of the earliest performances recorded for the acclaimed Classic Jazz series. Dating from 1952, the rhythm sections feature such notables as pianists Nat Pierce and Don Abney, and guitarists Mundell Lowe and Jimmy Raney taking short solos while bassist Milt Hinton, Oscar Pettiford and Wilbur Ware, and drummers Osie Johnson, Kenny Clarke and Bobby Donaldson give quiet and steady support. Because Glenn has a timeless and very flexible style, he adapts his playing on this unique set, sounding a bit like a cousin of Lester Young and Stan Getz. His style, hinting at swing, bop and cool jazz, fits the era perfectly.

Performing 10 standards including “Too Marvelous For Words,” “Body And Soul,” “Three Little Words” and “Fine And Dandy,” Glenn Zottola plays creatively within the style of 1952 cool swing without sacrificing his own individuality. If given a blindfold test, few listeners would guess that Glenn’s playing took place nearly 60 years after that of the rhythm sections and some might speculate that this was a long lost session recorded at the Lighthouse.

In any case, this is timeless music and quite fun to hear. ~Scott Yanow

Too Marvelous For Words

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Wycliffe Gordon - Hello Pops!: A Tribute To Louis Armstrong

Size: 149,8 MB
Time: 64:13
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz: New Orleans Jazz
Art: Front

01. Hello Pops (4:20)
02. Keyhole Blues (3:24)
03. Up A Lazy River (3:16)
04. Dream A Little Dream (Feat. Nancy Harms) (2:52)
05. I Cover The Waterfront (3:26)
06. Basin Street Blues (7:34)
07. I've Got The World On A String (Feat. Nancy Harms) (4:44)
08. If (3:13)
09. Meatball 1,2,3 (8:13)
10. Swing That Music (3:18)
11. That Old Feeling (7:40)
12. Black And Blue (3:30)
13. Hello Brother (3:03)
14. Pops For President (3:09)
15. Hello Pops Reprise (2:24)

Hello Pops is a project that simply extends a musical homage and Hello to my favorite and most influential hero!

When deciding on the selections for this CD I chose songs that were poignant during various developmental stages of my personal as well as my musical life. The music of Louis Armstrong (Pops) was on the “hit parade” with me from day one of listening—from the Hot Fives and Sevens all the way through to the All Stars. From my first recording of “Keyhole Blues” (Hot Fives) to “Dream A Little Dream” (with Ella) to “Hello Brother” (All Stars) to “Black and Blue” (All Stars), I enjoyed each tune that Pops did with various groups and configurations.

Pops was also an inspiration for the new compositions in this session. “Hello Pops” is my way of saying thanks to Louis Armstrong for what he did for me. If I could do that for 10 quadrillion, it wouldn’t amount to what he did for me, is my direct sentiment and feeling about it all. “Pops for President” was inspired by a video clip of the All Stars with Louis singing “Black and Blue” to 100,000 Africans that were at war but called a truce just to attend his performance. What better candidate to bring world peace? Can you think of one? I can think of none!!! Pops touched EVERYBODY!!! Still brings tears to my eyes when I think about it. Come on folks, Vote Pops for Pres-i-dent!!!

“Meatball 1, 2, 3,” well, that’s something that just came to me in the dressing room after a gig one night in Wisconsin. Sitting backstage after everyone had left the theatre, I picked up my trumpet and began to play what became this tune. Who knows why I was thinking about meatballs, but here it is in this offering as a song with a simple melody and me playing Trumpet (Meatball 1), Trombone (Meatball 2), and Tuba (Meatball 3). Pops used to write songs about food so I guess he and I have that in common, and that’s just how my mind works sometimes.

I hope you enjoy this CD as much as I have enjoyed putting it together. And one last thing, “Hello, Pops. Wycliffe Gordon here, saying ‘Thank you!’ once again for the great vibes you put in the universe!!!”

Personnel for the album: Wycliffe Gordon on all featured solos on trumpet, trombone, sousaphone and vocals; Anat Cohen on reeds; Aaron Diehl on piano; Corcoran Holt on bass; Marion Felder on drums; Nancy Harms femaie vocals; Bria Skonberg and Emily Asher on trumpet and trombone supplemental. Thanks guys!

Hello Pops!

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Darden Purcell - Where The Blue Begins

Size: 124,8 MB
Time: 53:51
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Destination Moon (5:21)
02. Moon And Sand (5:17)
03. Lullaby Of The Leaves (4:40)
04. You Stepped Out Of A Dream (4:35)
05. This Bitter Earth (5:12)
06. Old Devil Moon (6:13)
07. Dam That Dream (5:45)
08. No Moon At All (3:29)
09. The Nearness Of You (4:46)
10. Wrap Your Troubles In Dreams Weaver Of Dreams (4:22)
11. Stairway To The Stars (4:06)

Darden Purcell's highly anticipated second CD, Where the Blue Begins, masterfully showcases her honey and spice drenched voice, artistic sophistication, and vocal maturity. From her adept navigation of intricate lines on "Destination Moon" to her delicate interpretation of "Stairway to the Stars," Where the Blue Begins demonstrates Purcell is a musical "tour de force."

Shawn Purcell's arrangements illuminate fresh adaptations on well-worn standards such as "Old Devil Moon" and "You Stepped Out of a Dream" as well as more obscure pieces "This Bitter Earth" and Alec Wilder's "Moon and Sand." Produced by Doc Severinsen drummer, Stockton Helbing (drums and cymbals), with musical direction by Shawn Purcell (nylon string and electric guitar), Where the Blue Begins also features first-call Washington D.C. musicians, Todd Simon (B3 organ, piano, wurlitzer and Fender Rhodes), Paul Henry (acoustic and electric bass) and Kenny Rittenhouse (flugelhorn and trumpet). From the Jazz neophyte to the most seasoned aficionado, Where the Blue Begins satisfies all.

Where The Blue Begins

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The Rusty Scott Organ Group - The Thrill Is Gone

Size: 162,4 MB
Time: 70:04
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues, Hammond Organ
Art: Front

01. The CCC (6:13)
02. Mean Old Joe (7:20)
03. I Can't Remember (4:47)
04. The Thrill Is Gone (4:55)
05. Who Knew (4:49)
06. Timmonizing (4:55)
07. Funky Little Thing (5:46)
08. Lover Layne (6:26)
09. Bluesology (6:09)
10. Chicken Pickin' (6:38)
11. Curly (4:56)
12. What's Happening! (7:02)

The Rusty Scott Organ Group plays original material and organ standards and is fronted by Hammond B3 organist Rusty Scott of Boston, Massachusetts. The band's music is based on jazz, blues, boogaloo, and funk and features the B3 sound from the 50s and 60s that is associated with Hammond organ legends Jimmy Smith, Don Patterson, Dr. Lonnie Smith, and Brother Jack McDuff.

Hello Pops

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Kurt Elling - The Beautiful Day: Kurt Elling Sings Christmas

Size: 126,5 MB
Time: 54:13
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals/Xmas
Art: Front

01. Sing A Christmas Carol (4:33)
02. Wenceslaus (Image I) (1:27)
03. Star Of Wonder (2:04)
04. We Three Kings (6:31)
05. Christmas Children (4:30)
06. Wenceslaus (Image II) (0:52)
07. Some Children See Him (7:10)
08. Little Drummer Boy (2:46)
09. Wenceslaus (Image III) (1:22)
10. The Michigan Farm (Cradle Song, Op. 41 1) (3:03)
11. The Snow Is Deep On The Ground - Snowfall (6:33)
12. Same Old Lang Syne (6:17)
13. This Christmas (4:31)
14. The Beautiful Day (2:27)

When Kurt Elling embraced the meaning, the spirit and the word Christmas in creating his new album The Beautiful Day (OKeh), he also wanted to make a holiday album that celebrated the promise and magic of the season that touches people of all beliefs. Inventive and fresh, The Beautiful Day reimagines the sounds of Christmas, mixing traditional carols decked out in new arrangements with songs that are revelations and rediscovered treats. New versions of "Little Drummer Boy" and "We Three Kings" join the wistful folk-rock of Dan Fogelberg ("Same Old Lang Syne") and the jazz-and-gospel-influenced soul of Donny Hathaway ("This Christmas"). Elling's lovely duet with his daughter on the title track is the perfect ending for an album that's destined to be a holiday jazz classic.
Grammy® winner Kurt Elling is among the world's foremost jazz vocalists. He won the DownBeat Critics Poll for fourteen consecutive years and was named Male Singer of the Year by the Jazz Journalists Association on eight occasions. An international jazz award winner, the New York Times declared, "Elling is the standout male vocalist of our time." The Washington Post added, "Since the mid-1990s no singer in jazz has been as daring, dynamic or interesting as Kurt Elling. He has come to embody the creative spirit in jazz."

The Beautiful Day

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Lori Cullen - Sexsmith Swinghammer Songs

Size: 101,0 MB
Time: 34:38
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Face Of Emily (2:24)
02. Miracle Home (2:19)
03. Strange Is This Life (3:22)
04. New Love (3:06)
05. Something Right (3:01)
06. This Morning (3:06)
07. Beginner's Luck (2:37)
08. Off Somewhere (Feat. Ron Sexsmith) (2:32)
09. Then There Were Three (2:58)
10. Some Part Of Me (2:54)
11. Don't Go Yet (2:52)
12. True (3:24)

Long time friends and respected musicians Lori Cullen, Kurt Swinghammer and Ron Sexsmith come together and collaborate on a new recording - Sexsmith Swinghammer songs. Ron, who has been a huge fan of Lori’s for years, suggested to Kurt that they co-write an album of material specifically for Lori to sing. The inspired results are sure to draw attention, as always, to her remarkable voice.

Identified by jazz giant Kurt Elling as one of his favourite new vocalists, Lori Cullen’s upcoming album on True North Records is a fresh expression of jazz-infused chamber-pop. With her pure, unaffected style she delivers twelve tunes that evoke the rich creativity of 60’s/70’s composers Bacharach, Webb and Jobim. Supporting the combination of Sexsmith’s renowned lyrical approach and Swinghammer’s unique musical sensibilities, the tracks feature contributions from a dozen of Toronto’s finest musicians.

“To have two of my favourite people who also happen to be two of my favourite songwriters write an album of material for ME to sing is beyond exciting.” - Vocalist Lori Cullen

"It was a thrill for me, not only to write the words for Kurt's incredible music but then to have Lori Cullen lend her beautiful voice to these songs was a dream come true" - Lyricist Ron Sexsmith

“Having Sexsmith as wordsmith was true inspiration to pull out all the stops compositionally, and writing melodies for Lori’s breathtakingly beautiful voice was the greatest motivation one could ever ask for.” - Composer Kurt Swinghammer

The album was recorded at Toronto’s Canterbury Sound by veteran engineer Jeremy Darby and produced by Maury Lafoy, who also played bass along with the core band of drummer Mark Mariash, keyboardist Robbie Grunwald, and guitarist Swinghammer. Centered around nylon string and Rhodes, the skillfully constructed arrangements sparkle with trumpet, trombone, oboe, clarinet, recorder, and harmonica. Backing vocalists Mia Sheard and Jennifer Foster add a signature sound throughout the songs with intricately layered counterpoint parts. With his celebrated experience and sonic sensitivity, David Travers-Smith created the exquisite mix.

“Kurt Swinghammer’s fertile songwriting imagination gave this project an absolutely amazing jumping off point for both Ron Sexsmith’s straight to the heart lyrics and Lori Cullen’s beautiful interpretations. It the rarest and finest combination of music, lyrics and voice I’ve worked on.” - Producer Maury Lafoy

The first Lori Cullen CD came out at the start of a new century. Garden Path reflected a young sensibility informed by her heroes Joni Mitchell and Jane Siberry. Two years later she shifted gears to jazz standards for the well received So Much. Her third release Uneven Hill focused on original writing and dramatically broadened the scope of her sonic world. Calling For Rain in 2006 brought together all the previous elements to create a hybrid of jazz and pop which established her artistic identity. It was nominated for a Best Vocal Jazz Juno and one of her original tunes won the Colleen Peterson Songwriting Award from the Ontario Council Of Folk Festivals. The CDs Buttercup Bugle and That Certain Chartreuse continued to define her reputation as a brilliant interpreter of covers, as well as a distinctive original writer, and expanded her reputation overseas with releases in Japan.

Lori’s seventh album is a confident, mature artistic statement inspired by the personal milestone of motherhood.

Sexsmith Swinghammer Songs

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Donald Byrd & Pepper Adams - Out of This World

Styles: Trumpet And Saxophone Jazz

Year: 1961

File: MP3@320K/s

Time: 60:51

Size: 140,0 MB

Art: Front

(10:52)  1. Byrd House

( 8:09)  2. Mr. Lucky

( 5:10)  3. Day Dreams

( 9:44)  4. I'm an Old Cowhand

(11:51)  5. Curro's

( 5:21)  6. It's a Beautiful Evening

( 9:40)  7. Out of This World

This set of sides recorded with the then-fledgling Donald Byrd/Pepper Adams quintet was taped for the long-defunct Warwick label. While Byrd and Adams -- along with Jimmy Cobb and Charles, who is only on one track here -- were veterans in Detroit before coming to the Big Apple, Herbie Hancock was a kid. His playing is the weak link here, but it nonetheless shows great promise and he acts more as an anchor for the wondrous interplay between the front line-check of Byrd's "Bird House" or the title track or even Johnny Mercer's "I'm an Old Cowhand" for the wooly, yet lyrical, interplay between this pair of soloists. With his rough and tumble tone punching through Byrd's elegant and fiery lines and creating a melodically charged harmonic invention in which the interval was everything, Adams came up with a session that was as passionate and innovative as it was hip and tender. This is a hell of an introduction to both players and captures their magic as a band better than any other document that is available on CD. ~ Thom Jurek http://www.allmusic.com/album/out-of-this-world-mw0000603550

Personnel: Donald Byrd (trumpet); Pepper Adams (baritone saxophone); Herbie Hancock (piano); Laymon Jackson (bass); Jimmy Cobb (drums).

Out of This World

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Shawnn Monteiro With Clark Terry - One Special Night

Styles: Vocal And Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 55:25
Size: 127,5 MB
Art: Front

(0:31)  1. Opening Remarks
(4:38)  2. The Lamp Is Low
(3:53)  3. Just In Time
(4:31)  4. Never Let Me Go
(8:38)  5. Blues Medley With The Mumbles Man
(0:27)  6. Introduction To Greasy Blues
(8:37)  7. Having Chit'lins On The Champs Elysees, Paris
(1:14)  8. Introduction: Monk Story
(6:56)  9. Let's Cool One
(5:12) 10. All My Tomorrows
(5:49) 11. The Nearness Of You
(4:53) 12. Sunday

It isn't hard to understand why Shawnn Monteiro would call this release One Special Night. Recorded live at Sculler's in Boston in 2002, this CD finds the underexposed jazz singer joining forces with some of bop's true heavyweights, including trumpeter Clark Terry, bassist Jimmy Woode (Monteiro's father), and drummer Jimmy Cobb; John Harrison III, a capable pianist, is also on board. One Special Night underscores the fact that while Monteiro is hardly the most original or groundbreaking singer in the world, she's enjoyably good at what she does and the singer's basic recipe (a strong Carmen McRae influence with traces of Sarah Vaughan and Marlena Shaw) serves her well when she wraps her big, full-bodied voice around overdone standards like "Just in Time," "All My Tomorrows," and "The Nearness of You." Monteiro isn't terribly adventurous not stylistically, not in her choice of material but she gets the job done and does so in an expressive, soulful fashion. Although Monteiro is featured on most of the tracks, she lays out a few times and lets the quartet take over on Thelonious Monk's "Let's Cool One" and Terry's playful "Having Chit'lins on the Champs Elysees, Paris" (which gives Terry a chance to sing and have some humorous fun with his Mumbles character). 

It should be noted that Terry was 81 when One Special Night was recorded not exactly a spring chicken, but the veteran improviser certainly isn't showing his age on any of these performances; in fact, his chops are holding up impressively well. One Special Night doesn't offer a lot of surprises, but it's a solid disc that paints an attractive, if conventional, picture of Monteiro and illustrates Terry's remarkable durability as a musician. ~ Alex Henderson http://www.allmusic.com/album/one-special-night-mw0000331851

Personnel: Shawnn Monteiro (vocals); Clark Terry (trumpet); John Harrison III (piano); Jimmy Woode (bass); Jimmy Cobb (drums).

One Special Night

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John Berendt - Midnight In The Garden Of Good and Evil

Styles: Stage & Screen
Year: 1994
File: MP3@320K/s
Time: 53:44
Size: 123,7 MB
Art: Front

(3:49)  1. Skylark
(3:48)  2. Too Marvelous for Words
(4:50)  3. Autumn Leaves
(4:00)  4. Fools Rush In
(5:01)  5. Dream
(2:12)  6. Days of Wine and Roses
(3:42)  7. That Old Black Magic
(5:10)  8. Come Rain or Come Shine
(4:13)  9. Ac-Cent-Tchu-Ate the Positive
(5:11) 10. This Time the Dream's on Me
(3:34) 11. Midnight Sun
(4:33) 12. I'm an Old Cowhand (From the Rio Grande)
(3:35) 13. I Wanna Be Around

As a means of telling one of the most infamous stories of Savannah, GA, jazz-student/director/actor Clint Eastwood has chosen the works of one of the most famous natives of this fabled southern city, Johnny Mercer. Not only has he and producer Matt Pierson picked some of the most beautiful and beloved selections of the Great American Songbook, but the pair have also enlisted some of the greatest musical talents to perform them. In addition to older masters such as Tony Bennett, Joe Williams, and Rosemary Clooney (who easily earns the honors of the films featured chestnut, "Fools Rush In"), the album features a collection of younger talents from the world of jazz such as Cassandra Wilson, Kevin Mahogony, Joshua Redman, and Diana Krall  and a number of crooners and tunesmiths from other genres, such as k.d. lang, Alison Krauss, and Paula Cole. In addition, Eastwood himself steps up to the mike to run the appropriately chosen "Ac-cent-tchu-ate the Positive" through his smoky vocal clips. In an effort to prevent the award-winning director from having all the spotlight, leading man Kevin Spacey and Eastwood's daughter Alison (who also stars and sings in the film) also take turns in the studio. With the keyboard work of Brad Mehldau and a backing band which includes the likes of Charlie Haden, Christian McBride, Kevin Eubanks, and a host of others, this album would have to work to fail. The high points (which are high indeed) include lang's lush orchestral flow through "Skylark," Cole's sonorous head-voice rendition of "Autumn Leaves," Krauss' beguiling offering of "This Time the Dream's on Me" and, of course, Bennett's version of "I Wanna Be Around," which has every bit of swing and sting as it did when it was recorded in 1962. While Oscar-winner Spacey is a trained vocalist, and while the song is especially germane to his voodoo-lovin' character in Midnight, his spoken-song lounge-act swing through "That Old Black Magic" argues for his continued success in acting. Contrarily, the younger Eastwood's twangy torch of "Come Rain or Come Shine" demonstrates that the Eastwood musical apple has not fallen at all. Clint has made our day again, and we should all feel lucky, Punk! ~ Matthew Robinson http://www.allmusic.com/album/midnight-in-the-garden-of-good-evil-mw0000030408

Midnight In The Garden Of Good and Evil

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Steve Khan - Tightrope

Styles: Guitar Jazz, Fusion
Year: 1977
File: MP3@320K/s
Time: 37:48
Size: 86,7 MB
Art: Front

(5:22)  1. Some Punk Funk
(6:31)  2. Darlin' Darlin' Baby (Sweet Tender Love)
(5:46)  3. Tightrope (For Folon)
(6:05)  4. The Big Ones
(5:20)  5. Star Chamber
(5:02)  6. Soft Summer Breeze
(3:40)  7. Where Shadows Meet

What do you get when you have a superb rhythm section, saucy keyboards, a hot and brassy mini-horn section, and one very tasteful jazz- and chops-laden guitarist all come together with some jazz and some fusion in mind? You have the magic of Steve Khan and the Brecker Brothers coming together. With folks like this, and Steve Gadd and Bob James too, you have a formula for success. Khan's compositions are smooth yet lively enough not to bore. His unique drive, and pristine flourish and tone on his modded Fender Telecaster, and even his deft acoustic work, all come together to make a very satisfying blend of sexy jazz and funked-up, be bop fusion. Yet there is that special touch that only Steve Khan can add that makes his releases a signature sound on each outing. If you listen closely, you will hear Larry Coryell-ian riffs and stylings (as Khan and Coryell used to jam together, and did record together).  Much ado is made about Mike Stern's guitar work in the '80s and '90s, but one listen to Khan and you will immediately hear who his big inspiration was. Next time you pick up an old Stern release you stand a good chance of seeing the words "produced by Steve Khan." ~ John W.Patterson http://www.allmusic.com/album/tightrope-mw0000919537

Personnel:  Steve Khan, Bob James – guitar;  Michael Brecker - tenor saxophone;  Randy Brecker – trumpet;  David Sanborn - alto saxophone;  Don Grolnick – keyboards;  Will Lee – bass;  Steve Gadd – drums;  Ralph MacDonald – percussion;  David Spinozza, Jeff Mironov - guitar

Tightrope

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Kirk Knuffke, Jesse Stacken - Satie

Styles: Cornet And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 67:35
Size: 155,7 MB
Art: Front

(4:32)  1. Six Gnossiennes No. 1
(4:35)  2. Trois Gymnopédies No. 3
(2:39)  3. Vexations 1
(7:16)  4. Petite Ouverture à danser
(9:49)  5. Six Gnossiennes No. 2
(6:01)  6. Trois Gymnopédies No. 2
(1:17)  7. Vexations 2
(7:04)  8. Pièces Froides 2 Dance De Travers
(8:10)  9. Six Gnossiennes No. 3
(2:21) 10. Bonjoir Biqui, Bonjour!
(5:04) 11. Sarabande No. 1
(2:50) 12. Six Gnossiennes No. 4
(1:22) 13. Vexations 3
(4:28) 14. Trois Gymnopédies No. 1

N.Y.C.-based cornetist Kirk Knuffke is an adventurous, forward-thinking artist with a bent toward avant-garde improvisation and modern creative jazz. A native of Colorado, Knuffke studied with trumpeter Ron Miles and pianist Art Lande before relocating to New York City in 2005. Since that time, he has earned a reputation as both an in-demand sideman and bandleader, having performed with such artists as Roswell Rudd, William Parker, Uri Caine, Myra Melford, John Zorn, Dave Douglas, Billy Hart, Steven Bernstein, Jon Irabagon, and many others. He is a veteran member of several of Butch Morris' ensembles, and performs regularly as a member of both drummer Matt Wilson's quartet and the Steve Lacy tribute ensemble Ideal Bread. As a solo artist, Knuffke has released a steady stream of albums including Big Wig (2008), Garden of Gifts (2009), Amnesia Brown (2010), Chorale (2013), and Exterminating Angel (2014). He also has an ongoing duo project with pianist Jesse Stacken in which they explore the more obscure works by legendary jazz composers, such as the Thelonious Monk and Duke Ellington-themed Mockingbird (2009) and the Charles Mingus-themed Orange Was the Color (2011). In 2015, Knuffke delivered the trio album Arms & Hands, which featured bassist Mark Helias and drummer Bill Goodwin. ~ Matt Collar  https://itunes.apple.com/us/artist/kirk-knuffke/id325391889#fullText

Personnel: Kirk Knuffke (cornet), Jesse Stacken (piano)

Satie

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