Tuesday, February 7, 2017

Cassandra Wilson - Closer To You: The Pop Side

Bitrate: MP3@320K/s
Time: 57:41
Size: 132.1 MB
Styles: Jazz vocals
Year: 2009
Art: Front

[4:54] 1. Love Is Blindness
[4:06] 2. Time After Time
[4:35] 3. Fragile
[5:47] 4. Closer To You
[5:13] 5. Last Train To Clarksville
[6:03] 6. The Weight
[5:38] 7. Tupelo Honey Angel
[4:59] 8. Harvest Moon
[5:26] 9. I Can't Stand The Rain
[5:06] 10. Lay Lady Lay
[5:49] 11. Wichita Lineman

Cassandra Wilson: guitar, vocals; Chris Whitley: guitar; Lonnie Plaxico: bass, acoustic bass; Jim Keltner: drums; Reginald Veal: upright bass; Calvin "Fuzz" Jones: upright bass; Cyro Baptista: percussion; T Bone Burnett: guitar, vocals; Charles Burnham: violin; Lance Carter: drums; Keith Ciancia: piano, keyboards; Jeff Haynes: percussion; Brandon Ross: acoustic guitar, guitar, steel guitar; Marvin Sewell: acoustic guitar; Kevin Breit: banjo, bouzouki, guitar, mandolin, electric guitar, guitar (resonator); Cecilia Smith: marimbas; Perry Wilson: drums; Mark Peterson: bass, acoustic bass; Doug Wamble: acoustic guitar; Fabrizio Sotti: guitar; Xavyon Jamison:drums; Kevin Johnson: percussion.

One of the eminent jazz singers of this time, Cassandra Wilson's deep timbre is as unmistakable as it is alluring. Her acumen as a musician, her voice an exquisite instrument and the way she interprets and arranges songs—uniquely filled with soul and emotion—would set her in the upper echelon of singers regardless of genre. From roots in Mississippi, where she began playing music at the age of five to her involvement in the advanced music theories of M-Base with saxophonist Steve Coleman and a growing body of diverse work, she continues to press onward. Following her second Grammy-winning release, Loverly (Blue Note, 2008), a celebrated program of jazz standards, Wilson presents Closer To You: The Pop Side, a compilation of pop songs culled from previous Blue Note recordings. She makes the trans-American Songbook shine even brighter with contemporary favorites that include works from U2, Sting, Cyndi Lauper, Van Morrison, Glenn Campell, and even The Monkees. The collection epitomizes Wilson's idiosyncratic style: elegant, sexy, mysterious, and well-informed of the intricacies of music, song, and lyrics. Her imprint is heard on a western scatting version of the Monkee's "Last Train to Clarksville," and some delta blues on "The Weight"—that ever rocking 1968 hit by The Band.

Once called the "reluctant diva," this set shows Wilson's altruistic nature, which has placed her among superb artists, such as Terri Lyne Carrington, Marvin Sewell, Cyro Baptista, and producer T-Bone Burnett, who are integral collaborators and not just background fillers for the vocalist. Together they take these popular songs into unusual locations that are earthy, visceral and filled with artistic liberties. Highlights abound. A lovely version of Cyndi Lauper's 1980's smash "Time After Time," some Brazilian flair on Sting's ever thoughtful "Fragile" and a gorgeous redo of Van Morrison's "Tupelo Honey," where Wilson's soulful intonations are sublime. Neil Young's "Harvest Moon" is mesmeric with its canopy of acoustic guitar and the sounds of birds/insects likened to a warm summer's night, as the vocalist soothingly croons. The set closes with Glenn Campbell's popular "Wichita Lineman," proving that whether the song is jazz, rock, or country, no one can deliver it quite like Cassandra Wilson. ~Mark F. Turner

Closer To You: The Pop Side

Bucky Pizzarelli, John Pizzarelli - Contrasts

Bitrate: MP3@320K/s
Time: 62:48
Size: 143.8 MB
Styles: Standards, Guitar jazz
Year: 1999
Art: Front

[3:53] 1. Three Little Words
[2:57] 2. Coquette
[6:54] 3. Jersey Bounce
[2:27] 4. The Bad And The Beautiful
[2:38] 5. The Minute Samba
[6:01] 6. Contrasts
[2:38] 7. Test Pilot
[4:30] 8. I Hadn't Anyone Till You/The Very Thought Of You
[5:37] 9. The Devil And The Deep Blue Sea
[6:38] 10. Two Funky People
[2:45] 11. Stage Fright
[4:50] 12. Phantasmagoria
[1:50] 13. My Romance
[4:38] 14. Emily
[2:14] 15. Guess I'll Go Back Home This Summer
[2:09] 16. For Whom The Bell Tolls

Father and son duos are relatively rare in jazz but there's no generation gap apparent between Bucky and John Pizzarelli. The two have made a number of strong LPs and CDs together (and individually as well), although it is tough to lavish sufficient praise on this duo-guitar date, played primarily on seven-string electric guitars. Each man adapts equally well, whether in the lead, providing rhythmic support for the other, or matching his partner's lyricism while playing the head of a song. An invigorating "Three Little Words" introduces the two masterful guitarists with a flourish, followed by a lightly swinging take of "Jersey Bounce," the bluesy "Two Funky People," and the strutting acoustic duet "Test Pilot." Bucky is featured on two unaccompanied miniatures, "My Romance" and the rarely heard "For Whom the Bell Tolls." Very highly recommended. ~Ken Dryden

Contrasts

Various - Cuban Music: 20 Essential Songs

Bitrate: MP3@320K/s
Time: 61:43
Size: 141.3 MB
Styles: Cuban jazz/pop
Year: 2012
Art: Front

[3:08] 1. Erenesto Lecuona - La Paloma
[2:42] 2. Xabier Cugat - Siboney
[3:12] 3. Antonio Machín - Toda Una Vida
[2:45] 4. Trova Salsera - Corazón De Melón
[2:47] 5. Bebo Valdés - Bilongo, La Negra Tomasa
[2:36] 6. Celia Cruz - Burundanga
[3:25] 7. Los Romanticos - Tres Palabras
[4:26] 8. Conjunto Casino De La Habana - Me Lo Dijo Adela
[2:28] 9. Ernesto Lecuona - Ay Mama Inés
[2:53] 10. Antonio Machín - Dos Gardenias
[3:55] 11. Román San Martín - Tu Me Acostumbrastes
[2:42] 12. Bobby Capo - Piel Canela
[3:27] 13. Hermanos Rigual - Cuando Calienta El Sol
[3:13] 14. Tito Rodriguez - Inolvidable
[3:16] 15. Elena Burke - Capullito De Alelí
[2:41] 16. Celia Cruz - Nostalgia Habanera
[2:42] 17. Bola De Nieve - Ya No Me Quieres
[3:23] 18. Orquesta Casino - Quiéreme Mucho
[3:21] 19. Benny Moré - Batanga #2
[2:32] 20. Ernesto Lecuona - Rumba Colorá

Elements of Latin music can be heard in some of the earliest jazz, a tendency Jelly Roll Morton referred to as the “Spanish Tinge.” Music Director and bassist Carlos Henriquez and the Jazz at Lincoln Center Orchestra explore the phenomenon of Latin jazz, through the paradigm of Afro-Cuban forefather Machito and "Mambo King" Tito Puente along with special guests vocalists Cita Rodriguez and Marco Bermudez, trumpeter Pete Nater, and percussionists George Delgado, Jose Madera, and Johnny Rodriguez Jr., many of whom performed with Machito and Puente. Machito was one of the first to introduce Afro-Cuban jazz as one of the earliest hybridizations of the two genres and, in doing so, created a lane for a plethora of Latin styles like mambo, son, guaracha, and guajira to further diversify the music.

Cuban Music: 20 Essential Songs

Shannon Butcher - Words We Both Could Say

Bitrate: MP3@320K/s
Time: 41:47
Size: 95.6 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[3:31] 1. Mad World
[4:02] 2. Wichita Lineman
[3:01] 3. Here, There & Everywhere
[3:54] 4. It Might As Well Be Spring
[5:42] 5. Call Me
[2:31] 6. Just A Girl
[6:07] 7. Don't Talk (Put Your Head On My Shoulder)
[4:00] 8. Slow Hot Wind
[5:36] 9. Strange & Beautiful
[3:18] 10. Walking After Midnight

Bass - Ross MacIntyre; Drums - Mark McLean; Guitar - Rob Pilch; Percussion - Daniel Stone; Piano, Electric Piano [Rhodes] - Michael Shand; Saxophone - Kelly Jefferson; Trumpet - William Sperandei.

Shannon Butcher is quickly becoming a favourite on the Canadian jazz scene for her dynamic voice and fresh spirit. "Jazz isn’t about one label or style; it’s not about one person or time," says Butcher. "It’s about the freedom to bring together all of your experiences; sing in the moment and connect with your audience." Shannon's debut CD, Words We Both Could Say, is a fusion of styles and an open door invitation to transcend expectations. Through her unique jazz transformations of “standards” from artists including the Beatles, Patsy Cline and No Doubt, the Toronto artist has connected with jazz aficionados and new listeners alike. Since its release, Words We Both Could Say has reached the 2 spot on the Canadian Campus Jazz chart and broke through the Top Ten of iTunes Top Jazz Albums. Thanks to her Internet presence Shannon has become a hit on jazz stations in Australia, the United Kingdom and the United States.

Words We Both Could Say

Kenny Dorham - Jazz Contrasts

Bitrate: MP3@320K/s
Time: 40:44
Size: 93.3 MB
Styles: Trumpet jazz
Year: 1957/2007
Art: Front

[ 9:09] 1. Falling In Love With Love
[12:03] 2. I'll Remember April
[ 4:26] 3. Larue
[ 5:22] 4. My Old Flame
[ 2:41] 5. But Beautiful
[ 7:01] 6. La Villa

Kenny Dorham: trumpet; Sonny Rollins: tenor saxophone; Hank Jones: piano; Oscar Pettiford: bass; Max Roach: drums; Betty Glamman: harp.

In the last half of the 1950s Max Roach practically redefined the meaning and uses of the fast tempo, generating such a head of steam that, in the beginning, bass players settled for the first and third beat of each measure and horn players soared in half-time over the drummer's intimidating, torrential time streams. Not Kenny Dorham. On the opening, medium-up-tempo of "Falling in Love," he even double-times his solo. On Dorham's own "La Villa," Roach supplies the break-speed tempo and the trumpeter lets the notes fly without allowing so much as a single one to get away from his thought process or execution. He's with Roach on every subdivision of the already kamikaze pulse, the performance possibly Dorham's most technically accomplished solo on record; moreover, it brings Sonny Rollins, who starts slowly on the session, up to speed.

Admittedly, the Dorham/Rollins pairing is more satisfying overall on Roach's Jazz in 3/4 Time (EmArcy, 1957). The inclusion of "I Remember April" on the present date practically invites listeners new to Dorham to compare him immediately with Clifford Brown who, on his last recording and only date with Rollins, had submitted a memorable performance of the same song [At Basin Street (EmArcy, 1956)]. But such comparisons can be as deceptive as they are edifying. "Brownie" was a passionate Romantic, his brilliant, brassy tone full of daring, emotion and near- theatrical splendor. "K. D."'s temperament was more Schubert than Verdi, more scaled to chamber music than grand opera. His is an equally compelling voice, but one that requires an adjustment on the listener's part to be able to absorb all of its subtle intricacies. In some respects, the tenor player on most of the Brown-Roach recordings, Harold Land, would have been the ideal complement to Dorham's smallish sound and letter-perfect execution.

The "contrasts" of the title are apparently in reference to the three ballads, which employ a flowery harp. Among them, "My Old Flame features thoughtful, lyrical turns by Dorham both before and after Rollins' solo. To present-day listeners, Oscar Pettiford's bass will sound under-recorded, but both he and pianist Hank Jones maintain unflappable composure and provide unfailing support in the face of the leader's and drummer's flame-setting pace. ~Samuel Chell

Jazz Contrasts

Rick Braun - Kisses In The Rain

Styles: Trumpet And Flugelhorn Jazz
Year: 2001
File: MP3@320K/s
Time: 43:28
Size: 100,1 MB
Art: Front

(3:51)  1. Car Wash 2000
(4:33)  2. Kisses In The Rain
(3:44)  3. Use Me
(4:40)  4. Grover's Groove
(4:29)  5. Your World
(4:45)  6. Middle Of The Night
(4:30)  7. One For The Girls
(4:26)  8. Song For You
(4:37)  9. Simplicity
(3:49) 10. Emma's Song

Rick Braun is in high demand these days, both as a trumpeter and a producer he certainly has his thumb on the pulse of today's adult contemporary music. His solo debut on Warner Brother, hot on the heels of last year's successful collaboration with Boney James on Shake It Up, should further extend his mastery of the idiom. The first four tunes are the most jazz-oriented and satisfying; they come complete with catchy melodies, infectious live rhythms, and thoughtful arrangements clean but not overly glossy. Braun alternates between open and muted trumpet, and turns in solos that are a bit more adventurous than you might expect from a commercially-oriented album. About half-way through, the program turns more to the programmed background tracks and moves more into the "romantic evening" groove. To my ears, the sweet-soul vocals ("Your World" and "Song for You") seem a bit formulaic and lower the bar on creativity a couple notches. 

"Middle of the Night" is sort of "Chuck Mangione meets the click track." There are tasty touches here and there, such as a nice tenor solo and interesting background brass parts on "Simplicity," and Braun's expressive balladry on the closer, "Emma." Overall, this is an enjoyable and well-executed program of contemporary work by one of the genre's leading proponents. ~ Dave Hughes https://www.allaboutjazz.com/kisses-in-the-rain-rick-braun-warner-bros-review-by-dave-hughes.php

Personnel: Rick Braun (trumpet, flugelhorn, piano, keyboards, programming); Sue Ann Carwell (vocals, background vocals); Mindy Stein, Shai (vocals); Peter White (guitar, acoustic guitar); Tony Maiden (guitar, electric guitar, wah-wah guitar); Fred Clark , Norman Brown , Ross Bolton (guitar); Larry Williams (strings, tenor saxophone, keyboards); Doug Norwine (flute, saxophone); Euge Groove, Steve Grove (tenor saxophone); Marty Grebb (baritone saxophone); Jerry Hey (flugelhorn); Nick Lane, William Frank "Bill" Reichenbach Jr. (trombone); Al Forman, Mitchel Forman (piano); Ricky Peterson (Wurlitzer organ, keyboards); David Woods (keyboards, drum programming); Johnny Britt, Roberto Vally (keyboards); Harvey Mason, Sr. , Lil John Roberts (drums, percussion); Luis Conte, Paulinho Da Costa (percussion); Paul Brown (programming); Yvonne Williams (background vocals).

Kisses In The Rain

Nnenna Freelon - Maiden Voyage

Styles: Vocal Jazz
Year: 1998
File: MP3@320K/s
Time: 66:31
Size: 152,5 MB
Art: Front

(5:24)  1. Come Into My Life
(4:55)  2. Four Women
(8:28)  3. Maiden Voyage
(5:32)  4. Buy And Sell
(4:46)  5. Future News Blues
(6:00)  6. Until It's Time For You To Go
(8:06)  7. Women Be Wise
(5:43)  8. Sepia Wing
(4:07)  9. Pick Yourself Up
(4:34) 10. I Won't Dance
(4:31) 11. Inside A Silent Tear
(4:21) 12. Sing Me Down

No matter how impressive the voice, no matter how well oiled the pipes and Lord knows Nnenna Freelon is abundantly blessed in both respects he or she simply cannot rise far above the material. Although Freelon makes a gallant effort on Maiden Voyage, the ship barely gets out of drydock, overladen with forgettable lyrics and lashed to its moorings by mundane melodies. Too harsh? Perhaps. But if I were going to open a set with eight sleep inducing originals, as Freelon has done, I wouldn’t remind the listener of their relative lack of substance by following them with “Pick Yourself Up” and “I Won’t Dance,” enduring classics from the golden age of Tin Pan Alley (with memorable words by the clever tunesmith Dorothy Field). In fact, the session doesn’t take wing until Freelon introduces those treasures and closes with Blossom Dearie’s pensive ballad, “Inside a Silent Tear” (lyrics by Linda Albert), and her own “Sing Me Down“ (actually her lyrics set to a folk song whose name, I believe, is “Turn Around”). The melodies and lyrics that precede them really are lightweight; while Herbie Hancock’s “Maiden Voyage” and Marian McPartland’s “Threnody” (here renamed “Sepia Wing” to mirror Freelon’s lyrics) are splendid as instrumentals, appending lyrics does nothing to enhance their appeal. Among the others, only Freelon’s “Future News Blues” held this listener’s ear for more than a moment. While I am hardly conversant with the works of Nina Simone, Laura Nyro and Buffy Sainte Marie, surely their reputations weren’t built on the sort of uninspired material that is presented here. On a brighter note, if one would like to sing along, lyrics to each song (not always unerring) are provided in the accompanying booklet. As for Freelon, she sings beautifully which, for the most part, is rather like adding a delectable frosting to cow chips. ~ Jack Bowers https://www.allaboutjazz.com/maiden-voyage-nnenna-freelon-concord-music-group-review-by-jack-bowers.php
 
Personnel:  Nnenna Freelon, vocals; Michael Abene, piano, arranger; Joe Beck, guitar; Avishai Cohen, bass; Sammy Figueroa, percussion; Danny Gottlieb, drums; Herbie Hancock, piano

Maiden Voyage

Peter Zak - Blues On the Corner

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 56:08
Size: 129,3 MB
Art: Front

(7:57)  1. Blues On the Corner
(4:53)  2. Three Flowers
(8:20)  3. The Man from Tanganyika
(4:36)  4. Sunset
(4:38)  5. May Street
(6:37)  6. Ballad for Aisha
(5:28)  7. The Camel
(5:23)  8. All My Yesterdays
(8:11)  9. Peresina

McCoy Tyner has justifiably been heralded as one of the most important jazz pianists of the past 50 years, both for his seminal work with the classic John Coltrane Quartet in the 1960s and for the four decades of consistently exhilarating work as a leader that followed. But while his heavily percussive style, unique chord voicings and the sheer emotional force of his playing have influenced countless followers, he has seldom been appreciated for his contributions as a composer. That's beginning to change a bit, however, with the SF Jazz Collective's 2009 Tyner tribute and New York pianist Peter Zak 's Blues on the Corner: The Music of McCoy Tyner.  Zak is a top-flight modern mainstream player who appears regularly with respected artists like Ryan Kisor, Walt Weiskopf and Jim Snidero. He is wise enough not to try to mimic the raw power of Tyner's style; he has a more lyrical and restrained, but still hard swinging, approach. But Zak and his impressive working trio (Paul Gill on bass and Quincy Davis on drums) capture the spirit of Tyner's music on eight tunes drawn from throughout his long career. The diversity and energy of the selections, ranging from old-school bebop to searing, avant-leaning explorations to unabashedly beautiful ballads give testament to Tyner's breadth as a composer.

Highlights include the bouncy blues of the title track, Zak's whirlwind post-bop playing on the explosive "May Street," the bowing prowess of Gill on "Three Flowers" and the sense of playfulness the entire trio brings to the lively "Man from Tanganyika." The lovely, expressive ballad, "All My Yesterdays," given a thoughtful treatment here, should serve as an antidote to those who still view Tyner simply as Coltrane's fiery foil. The lone Zak original, "The Camel," is an edgy, forward-looking number that fits in well with the overall Tyner theme. Peter Zak and his trio have made a fine album that shines new light on a too-often neglected aspect of McCoy Tyner's legacy. ~ Joel Roberts https://www.allaboutjazz.com/blues-on-the-corner-the-music-of-mccoy-tyner-peter-zak-steeplechase-records-review-by-joel-roberts.php
 
Personnel: Peter Zak: piano; Paul Gill: bass; Quincy Davis: drums.

Blues On the Corner

Mark Soskin Quartet - Live At Smalls

Styles: Piano Jazz 
Year: 2015
File: MP3@320K/s
Time: 62:22
Size: 144,3 MB
Art: Front

(8:16)  1. Think Of One
(7:04)  2. Sometime Ago
(5:56)  3. Lonely Town
(9:35)  4. Crazy She Calls Me
(9:31)  5. Miyako
(8:24)  6. Cal Massey
(6:42)  7. Blackberry Winter
(6:50)  8. In A Silent Way

Mark Soskin was born July 12, 1953 in Brooklyn, N.Y. Soskin has recorded and performed with such diverse musicians as Sonny Rollins, Joe Henderson, Randy Brecker, Billy Cobham, Buster Williams, Eddie Henderson, Stanley Turrentine, Cornell Dupree, Herbie Mann, John Abercrombie, Claudio Roditi, Sheila Jordan, Gato Barbieri, Joe Locke, David"Fathead"Newman, Mark Murphy, Slide Hampton, Pete and Sheila Escovedo, Bobby Watson, Miroslav Vitous, The NY Voices and others. Soskin attended Colorado State University where he pursued classical studies, but at this time his interests in jazz music were growing. In 1973 he enrolled in The Berklee College of Music, studying composition as well as arranging. In Boston he began to work professionally until moving to San Francisco, eventually going on to work with some of the west coast's finest players.  Shortly after arriving in San Francisco, Soskin was introduced to the Latin music legend, Pete Escovedo. Along with Pete's daughter, percussionist Sheila. E, they toured and recorded as Azteca, a group in which Soskin's keyboard, writing, and arranging talents were showcased. Eventually, the group, which now included Tom Harrell on trumpet, went on to record two discs for Fantasy Records, produced by drum ace Billy Cobham. Soskin was enlisted in Cobham's band, a stint that lasted for two years and which produced two recordings for Columbia. Between tours for Cobham, Soskin did a tour and live recording for the CBS All Stars with Tom Scott, Alphonso Johnson, Steve Khan, and Billy Cobham. At this time Soskin was very active as a session player at Fantasy studios in Berkeley, California and veteran jazz music producer Orrin Keepnews took notice. Soskin signed his first recording contract with Prestige (a subsidiary of Fantasy) produced by Keepnews, entitled "Rhythm Vision." This featured the likes of Benny Maupin and Harvey Mason with the album eventually making it into Billboard's top ten Jazz Chart. Keepnews introduced Soskin to Sonny Rollins, which started a long, fruitful collaboration (14 years). Besides the extensive touring throughout the world, Soskin can be heard on a number of critically acclaimed recordings with the tenor sax master, including a video,"Saxophone Collosus”. 

Since 1981 Soskin has resided in New York City, remaining active as sideman and as a leader. He has ten of his own recordings to date and three as co-leader, one which features Harvie Swartz and Joe LaBarbera with Sheila Jordan called "Spirits", one under the name "Contempo Trio" with Danny Gottlieb and Chip Jackson featuring Ravi Coltrane and another Contempo Trio recording named"The Secret of Life" featuring Carolyn Leonhart. His recording, "17" on TCB, highlights Soskin in a quintet setting featuring mainly original compositions.  He continues to maintain a busy tour schedule as well as giving master classes and workshops. Television performance credits include the HBO hit series, "Sex And The City." Examples of arranging projects have been writing for Slide Hampton's "World Of Trombones" and his writing and playing on Steve Smith's DVD,"Drumset Technique/History of the U.S. Beat". Soskin has been featured in solo piano concerts throughout the world such as the Ottawa Jazz Festival. He has performed the premier of contemporary classical music composer John Adams' opera, "Ceiling/Sky" at Lincoln Center. Soskin is currently on the faculty of The Manhattan School Of Music and has been written up in numerous music publications, including Ira Gitler and Leonard Feather's Biographical Encyclopedia of Jazz and The Jazz Book by Joachim E. Berendt. Mark Soskin is featured in the film documenting latin jazz artists entitled "Calle 54”.  He signed with the Kind of Blue label and produced three recordings for the company, all critically acclaimed. The first is entitled,“One Hopeful Day ”, which features Chris Potter, Bill Stewart and Jay Anderson.  The second released in October 2009 is “Man Behind the Curtain” with Ravi Coltrane, Bill Stewart and Jay Anderson. The third,released in 2012, is “Mark Soskin Solo Piano- The Music of Nino Rota”. His newest recording is “ Live at Small’s, Mark Soskin Quartett(2015)”, featuring Rich Perry, Jay Anderson and Anthony Pinciotti.  Mark Soskin teaches privately and is available for master classes and workshops.http://www.marksoskin.com/bio.html

Personnel:  Mark Soskin-piano;  Jay Anderson-bass;  Rich Perry-tenor sax;  Anthony Pinciotti-drums

Live At Smalls

Gene Ammons - My Way

Styles: Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 28:18
Size: 65,4 MB
Art: Front

(3:33)  1. Chicago Breakdown
(4:18)  2. What's Going On
(3:45)  3. A House Is Not A Home
(6:21)  4. Sack Full of Dreams
(4:18)  5. Back in Mérida
(6:01)  6. My Way

Although late in the Prestige jazz funk years, and not in the small combo mode of some of Ammons' best early 70s sides, this is still an excellent batch of tracks thanks to hip arrangements from Bill (William S?) Fisher! The format's almost in a Kudu/CTI mode, as larger arrangements envelope Jug's soulful tenor funking away with a blacksploitation on tracks like "Chicago Breakdown", "Back In Merida", and a great cover of "What's Going On", all done with tight horns, compressed guitar, and even a bit of strings. There's a few mellower numbers that aren't as great but these tracks more than make the album worth having! © 1996-2017, Dusty Groove, Inc.https://www.dustygroove.com/item/40417?s=Gene+Ammons&incl_oos=1&incl_cs=1&kwfilter=Gene+Ammons&sort_order=artist
 
Personnel:  Gene Ammons - tenor saxophone;  Robert Prado, Ernie Royal - trumpet (tracks 1, 2 & 4-6);  Garnett Brown - trombone (tracks 1, 2 & 4-6);  Richard Landry - tenor saxophone (tracks 1, 2 & 4-6);  Babe Clark - baritone saxophone (tracks 1, 2 & 4-6);  Roland Hanna - electric piano (tracks 1-3); Billy Butler (tracks 4-6), Ted Dunbar (tracks 1 & 2) – guitar;  Ron Carter - bass (tracks 4-6);  Chuck Rainey - electric bass (tracks 1 & 2);  Idris Muhammad - drums (tracks 1, 2 & 4-6);  Omar Clay - percussion (tracks 1, 2, 4 & 5);  Yvonne Fletcher, Patricia Hall, Loretta Ritter, Linda Wolfe - vocals (tracks 2 & 4)

My Way

Monday, February 6, 2017

Anita Ellis - Look To The Rainbow

Bitrate: MP3@320K/s
Time: 71:56
Size: 164.7 MB
Styles: Cabaret, Vocal
Year: 2000
Art: Front

[2:32] 1. On A Clear Day You Can See Forever
[3:29] 2. Moments Like This
[3:48] 3. Anyone Can Whistle
[2:57] 4. Spring Will Be A Little Late This Year
[3:17] 5. Hury! It's Lovely Up Here!
[4:55] 6. But Beautiful
[2:26] 7. Swinging On A Star
[2:12] 8. Like Someone In Love
[3:51] 9. Poor Loulie Jean
[2:30] 10. Everywhere I Look (There Are You)
[3:00] 11. Birthday Candles
[2:42] 12. Sunday, Monday Or Always
[2:52] 13. Don't Let It Get You Down
[2:42] 14. Suddenly It's Spring
[2:57] 15. All Of Us In It Together
[3:53] 16. Who Can I Turn To
[3:49] 17. Too Late Now
[3:52] 18. The World Is In My Arms
[3:14] 19. Look To The Rainbow
[2:52] 20. It's Anybody's Spring
[2:29] 21. Here's To My Lady
[2:53] 22. Melinda
[2:32] 23. Wht Did I Have That I Don't Have

A superior cabaret singer whose stage fright kept her from appearing in public that often, Anita Ellis was 57 when she taped two of Alec Wilder's radio shows in 1977. It is from those programs that these previously unreleased performances are drawn. Ellis is particularly wonderful on ballads and her voice is strong, quite expressive and very appealing. Many of the songs are by Burton Lane or the team of Van Heusen and Burke with a few other favorites tossed in. The accompaniment by pianist Loonis McGlohon's rhythm section is tasteful and very sympathetic, and Anita Ellis sings quite beautifully throughout the extended set, doing great justice to the lyrics. ~Scott Yanow

Look To The Rainbow

Various - Heart & Soul: Celebrating The Unforgettable Songs Of Frank Loesser

Bitrate: MP3@320K/s
Time: 64:16
Size: 147.1 MB
Styles: Easy Listening
Year: 1999
Art: Front

[2:51] 1. Helen Forrest - I Don't Want To Walk Without You
[3:06] 2. Bea Wain - Heart And Soul
[3:45] 3. Della Reese - Two Sleepy People
[2:31] 4. Kay Kyser - Praise The Lord And Pass The Ammunition
[2:48] 5. Sarah Vaughan - Can't Get Out Of This Mood
[2:59] 6. Vaughn Monnroe - Let's Get Lost
[2:49] 7. Johnny Mathis - What Are You Doing New Year's Eve
[2:40] 8. Sarah Vaughan - Spring Will Be A Little Late This Year
[2:55] 9. Dinah Shore - I Wish I Didn't Love You So
[2:56] 10. Pearl Bailey - Baby, It's Cold Outside
[7:32] 11. Four Lads - Where's Charley
[3:01] 12. Doris Day - I've Never Been In Love Before
[2:15] 13. Barry Manilow - Luck Be A Lady
[2:50] 14. Four Lads - Standing On The Corner
[2:51] 15. Doris Day - Somebody Somewhere
[3:55] 16. Johnny Mathis - Joey, Joey, Joey
[2:40] 17. Vic Damone - Never Will I Marry
[3:21] 18. Michele Lee - I Believe In You
[6:22] 19. Arthur Fiedler - Hans Christian Anderson Medley

There may be no better shorthand for Frank Loesser’s genius than the words “heart and soul.” They never deserted him, from the dapper hit-parade favorites he wrote for Hollywood, to his ambitious Broadway career that produced – in little more than a decade – Where’s Charley?, Guys and Dolls, The Most Happy Fella and How to Succeed in Business Without Really Trying. A complex and sophisticated man, Loesser somehow managed to keep the essence of “heart and soul” in everything he wrote, without ever seeming glib. His craft deepened and broadened, but it never lost an almost streetwise honesty that is as dazzling and sharp as a diamond. You never feel cheated or manipulated in a Frank Loesser song. Seduced, maybe. Teased and kidded, certainly. Moved, almost always. And joyously entertained. ~ David Foil

Heart & Soul: Celebrating The Unforgettable Songs Of Frank Loesser

Chuck Wayne - Tapestry

Bitrate: MP3@320K/s
Time: 41:49
Size: 95.8 MB
Styles: Guitar jazz
Year: 1964/2013
Art: Front

[2:54] 1. On Green Dolphin Street
[3:27] 2. My Favorite Things
[3:45] 3. Satin Doll
[2:49] 4. Down The Road
[4:19] 5. Loads Of Love
[3:32] 6. Askaterine
[3:09] 7. Lady's Love Song
[6:44] 8. 'round Midnight
[2:59] 9. Greensleeves
[4:51] 10. Softly As In A Morning Sunrise
[3:15] 11. Thank The Lord

Bass – Ernie Furtado; Drums – Jimmy Campbell; Guitar – Chuck Wayne. Recorded in New York City at Nola's Penthouse Studios.

Although he often paid his bills with non-jazz pursuits, native New Yorker Chuck Wayne was an expressive and talented, if underexposed, bebop guitarist along the lines of Barney Kessel, Tal Farlow, Jimmy Raney, and Johnny Smith. Wayne was never a huge name in the jazz world, but he did cross paths with major jazzmen like Dizzy Gillespie, Zoot Sims, and Woody Herman — and improvisers who were familiar with his swinging yet lyrical playing (a relatively small group) swore by him. Wayne was capable of playing more than one style of jazz; he played swing before he played bop, and he could handle Dixieland as well. But bop was his preference, and that's the style that he is best known for in jazz circles.

Tapestry

Steve Lawrence - Going Solo

Bitrate: MP3@320K/s
Time: 55:19
Size: 126.7 MB
Styles: Vocal, Pop
Year: 2014
Art: Front

[2:38] 1. (The Bad Donkey) Pum-Pa-Lum
[2:08] 2. Fabulous
[2:11] 3. Footsteps
[2:48] 4. Fraulein
[2:12] 5. Go Away Little Girl
[3:24] 6. Hallelujah
[2:30] 7. (I Don't Care) Only Love Me
[2:41] 8. I Gotta Be Me
[3:07] 9. In Time
[2:24] 10. Many A Time
[2:53] 11. More
[2:44] 12. My Claire De Lune
[2:10] 13. Party Doll
[2:49] 14. Portrait Of My Love
[3:08] 15. A Room Without Windows
[2:59] 16. Sunrise, Sunset
[3:55] 17. That's What Friends Are For
[3:35] 18. Through The Years
[2:43] 19. True Love
[2:11] 20. Uh-Huh Oh Yeah

Oldies fans remember Buddy Knox's chart-topper "Party Doll," but Steve Lawrence also enjoyed a number one hit with the song according to the Cash Box charts. By Billboard's accounting it went Top Five and is only one of several hits included on his first Coral album, Songs by Steve Lawrence. Taragon's CD reissue adds three bonus tracks to make the disc a complete collection of Lawrence's Coral hits, of which there were eight. The material is diverse, from light rock to orchestral pop to ethnic numbers like "(The Bad Donkey) Pum-Pa-Lum." Lawrence even released a competing version of Bobby Helms' crossover country hit "Fraulein," although Lawrence's rendition was made exclusively for the pop audience. This is an excellent and concise summary of his Coral years.

Going Solo

East Coast JazzBand - It Might As Well Be Spring

Bitrate: MP3@320K/s
Time: 56:26
Size: 129.2 MB
Styles: Swing, Dixieland
Year: 1997
Art: Front

[3:14] 1. Honeysuckle Rose
[4:22] 2. Indiana
[3:57] 3. Lover Come Back To Me
[4:57] 4. I'm Gonna Sit Right Down And Write
[3:35] 5. I Can't Believe That You're In Love With
[3:14] 6. Them There Eyes
[4:50] 7. West End Blues
[3:54] 8. When The Saints Go Marching In
[4:11] 9. Baby Won't You Please
[3:48] 10. It's Only A Paper Moon
[4:20] 11. It Might As Well Be Spring
[4:58] 12. Someone To Watch Over Me
[3:02] 13. I Can't Give You Anything But Love
[3:58] 14. It Don't Mean A Thing

Described as the “lively band with cool sounds from the sunny side”, the East Coast Jazz Band perform an eclectic mix of popular jazz styles ranging from Dixieland, Ragtime and Swing to Bossa Nova and Blues. Hailing from the sunny south east, the band has been playing festivals and gigs throughout Ireland for almost twenty years. They had their inaugural performance at the world renowned Guinness Cork Jazz festival in 1998 and have been welcomed back EVERY year since. This culminated at 2013 festival when the band played 3 performances at the flagship Metropole festival club in addition to other venues. Their high energy take on jazz classics ensure they appeal to all walks of music fans. The band tours various festivals throughout Ireland, including the Kilkenny Arts Fest, Arklow Maritime Fest and the Jazz festivals at Doonbeg, Ballydehob and Bray.

It Might As Well Be Spring

Bob Wilber Quintet Feat Clark Terry - Blowin' The Blues Away

Styles: Clarinet And Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 36:21
Size: 85,8 MB
Art: Front

(4:23)  1. After Midnight
(2:53)  2. Please Blues Go On Away From Here
(3:09)  3. Soulful Serenade
(4:34)  4. Basie Eyes
(3:41)  5. The Maryland Farmer
(4:18)  6. Baptist Blues
(5:39)  7. Where Will I Go
(4:25)  8. La Valse Bleue (The Blue Waltz)
(3:14)  9. Blue Rhumba

This quintet date matches together Bob Wilber (doubling on clarinet and tenor) with flugelhornist Clark Terry, pianist Dick Wellstood, bassist George Duvivier and drummer Panama Francis. Wilber's last album as a leader until 1969 consists of nine blues-oriented originals and was also issued (with the horn solos cut out) in the Music Minus One series. This Lp (if it can be found) is worth picking up but since Wilber was suffering a bit of an identity crisis at the time, the music is not really all that essential. ~ Scott Yanow http://www.allmusic.com/album/blowin-the-blues-away-mw0000906886

Personnel:  Bob Wilber (clarinet and saxophone); Clark Terry (flugelhornist);  Dick Wellstood (piano);  George Duvivier (bass); Panama Francis (drums).

Blowin' The Blues Away

Susanne Abbuehl - Compass

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 53:40
Size: 123,3 MB
Art: Front

(5:46)  1. Bathyal
(4:21)  2. Black Is The Color...
(4:58)  3. Where Flamingos Fly
(3:45)  4. Lo Fiolairé
(4:20)  5. Sea, Sea!
(4:02)  6. Don't Set Sail
(5:30)  7. The Twilight Turns From Amethyst
(5:16)  8. Primrose
(4:42)  9. Bright Cap And Streamers
(4:46) 10. A Call For All Demons
(3:04) 11. Children's Song No.1
(3:03) 12. In The Dark Pine-Wood

Anyone fortunate enough to have heard Susanne Abbuehl's out-of-print first record, I Am Rose (Evoke, 1997), knows that while the singer's musical direction was already developing, it was not until her 2001 ECM debut, April, that it became fully realized. Compass is a logical evolution, but it manages a few surprises, finding Abbuehl and her unorthodox trio becoming even more integrated, intuitive and introspective. Abbuehl continues to defy convention. In contrast to jazz singers who search for new ways to portray an overworked Great American Songbook, she has chosen a different path. Alongside her own writings are adaptations of poetry by writers like James Joyce and William Carlos Williams, set to music from artists as diverse as Chick Corea and Sun Ra. All too many singers approach their material with overbearing melisma; Abbuehl's delivery remains so understated that it takes time to fully appreciate the finer nuances that are the trademark of her deeply interpretive approach. Additionally, Abbuehl shapes her music with a trio that may be unusual in its makeup but, with its clear allegiance to space as an equal component, creates a compelling orchestration for her pure and nearly vibrato-less voice. Newcomer Lucas Niggli's textural approach to percussion with the rare exception of songs like "Sea, Sea!," there's rarely a pulse to be found meshes perfectly with longtime musical collaborators Wolfert Brederode (piano) and Christof May (clarinets). 

Though it's hard to believe such a thing would be possible, Compass is even more rarefied than April. Abbuehl's take on Sun Ra's "A Call for All Demons" is an abstruse mix of staccato low notes on piano, gentle but clangy percussion, and a bass clarinet that seems to shadow her every move a far cry from Ra's more extroverted approach on Sun Song (Delmark, 1956). On the traditional "Black is the Color" and "Lo Fiolairé" both based on Luciano Berio's "Folk Songs" Abbuehl is accompanied solely by May and guest clarinetist Michel Portal. The fact that two clarinets can blend together to create such a warm foundation for Abbuehl's delicate and vulnerable delivery is just as remarkable as the blurred line they draw between form and freedom. While improvisation is a clear aspect of the music, Brederode, May and Niggli mesh so seamlessly that the melancholy pedal tone of the ever-so-slightly bluesy "Where Flamingos Fly" feels both spontaneous and clearly conceptualized at the same time. May's tone is soft and often remains in a lower register that perfectly complements Abbuehl's range, while Brederode's sparse approach often suggests more than it explicitly states.  But at the end of the day, it's Abbuehl's ability to express the beauty or bittersweet of a lyric with the slightest turn of phrase that makes Compass so rewarding. It takes a good singer to get to the core of a song; it takes a great one to do it so in a way that puts the song first and ego second. Dark, mysterious and sensual in the most insidious of ways, the appeal of Compass is its breadth of emotion, beautifully delivered without a trace of excess. ~ John Kelman https://www.allaboutjazz.com/compass-susanne-abbuehl-ecm-records-review-by-john-kelman.php

Personnel: Susanne Abbuehl: vocals; Wolfert Brederode: piano, harmonium; Christof May: clarinet; Lucas Niggli: percussion; Michel Portal: clarinet (2,4).

Compass

Harold Danko - This Isn't Maybe

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 65:46
Size: 151,4 MB
Art: Front

(5:58)  1. Whatever Possessed Me
(7:00)  2. I Thought About You
(4:22)  3. I Fall In Love Too Easily
(5:42)  4. Gnid
(6:17)  5. Deep In A Dream
(4:01)  6. The Touch Of Your Lips
(3:58)  7. D's Dilemma
(5:21)  8. These Foolish Things
(6:06)  9. When She Smiles
(4:22) 10. Way To Go
(6:49) 11. Gone With The Wind
(5:45) 12. This Is Always

It's a dilemma that has been common to jazz for decades now. It involves those players who might accurately be called "the middle children." You know how it works, players who can't get the same attention from the major labels like the young lions are able to nor are old enough to be referred to as elder statesmen. The transcendent and always appealing pianist Harold Danko falls into this trap. He should clearly be better known than what he is, yet he fulfills a valuable role as educator at the Eastman School in Rochester and also has in Nils Winter the support of a very congenial producer. Following up on his 1994 solo piano tribute to John Coltrane, After the Rain, Danko puts forward another solo set dedicated to the spirit of the late trumpeter/vocalist Chet Baker. The pianist, of course, is uniquely suited for this endeavor considering that he spent time in the '70s and '80s working with Baker. Some familiar standards and a few rare lines from Jimmy Heath and Phil Urso make up this recital that clocks in at over an hour. Detailed commentary seems superfluous, as Danko plays with the kind of finesse and heartfelt emotion that has always marked his work. Bravo! ~ C.Andrew Hovan https://www.allaboutjazz.com/this-isnt-maybe-harold-danko-steeplechase-records-review-by-c-andrew-hovan.php
 
Personnel: Harold Danko (solo piano)

This Isn't Maybe

Rodney Jones - Soul Manifesto

Styles: Guitar, Funk
Year: 2001
File: MP3@320K/s
Time: 68:09
Size: 156,9 MB
Art: Front

( 5:25)  1. Groovebone, Part 1
( 6:48)  2. Soul Makossa/Wake Up Call  (Interlude)
(10:17) 3. Soul Manifesto/Roll Call (Interlude) 
( 5:41)  4. One Turnip Green
( 4:23)  5. Ain't No Sunshine
( 7:40)  6. Mobius 3
( 8:17)  7. Soup Bone
( 8:13)  8. Soul Eyes
(11:22)  9. Groovebone, Part 2/Last Call (Interlude) 

You've got to funkafize... Guitarist Rodney Jones departs from the mainstream fare of his most recent recordings ( The Undiscovered Few, Blue Note 96902, 1999 and My Funny Valentine, Timeless 162, 2000) and testifies his funk philosophy on Soul Manifesto. Joined by Funk/R&B specialists Maceo Parker, Arthur Blythe, and Dr. Lonnie Smith, Jones weaves a hypnotic tapestry with a limbic collection of originals and standards so funky the listener might have to leave the room or succumb to the groove. The foundation of Jones's Soul philosophy is grounded in Gospel, Funk, and the Blues. He began playing guitar at age 6, beginning formal lessons age 8. He saturated himself with the Funk-forefront of the day: Jimi Hendrix, Sly Stone, and the formidable James Brown. "You have soul that was created by God, and you have soul created by James Brown. I've always been fascinated by that connection," says Jones. Jones joined the James Brown Mythology when he linked up with Brown alto saxophonist Maceo Parker for Parker's breakthrough Roots Revisited (Verve 843 751, 1992). Jones went on to work with the funkmeister for five years (and that definitely shows on this recording). Jones bookends this recording with the original "Groove Bone, Parts 1 and 2." He establishes the mood of the recording with these pieces while jamming through the other funky tone orgies "Soul Makossa," "Mobius 3," and "One Turnip Green." Standards include a soulful "Ain't No Sunshine" and "Soul Eyes." The band was well chosen, particularly Maceo Parker and Arthur Blythe. They truly reveal the soulfulness of the alto saxophone. Makes one wish King Curtis was on hand for the tenor chair. Is this Jazz? Quoting Mark Corroto in his primer on funk, "As the tee-shirt sez, 'F*** Art, Let's Dance." ~ C.Michael Bailey https://www.allaboutjazz.com/soul-manifesto-rodney-jones-blue-note-records-review-by-c-michael-bailey.php

Personnel: Rodney Jones: Guitars;  Maceo Parker: Alto Saxophone;  Arthur Blythe: Alto Saxophone;  Dr. Lonnie Smith: Hammond B-3 Organ;  Lonnie Plaxico: Bass;  Idris Muhammad: Drums.


Harry James and his Music Makers - Trumpet Blues

Styles:  Jazz, Big Band
Year: 1953
File: MP3@320K/s
Time: 44:18
Size: 102,8 MB
Art: Front

(2:35)  1. Trumpet blues
(2:50)  2. Serenade in blue
(3:12)  3. Cherry
(2:33)  4. Autumn leaves
(2:53)  5. Roll'em
(2:42)  6. Cherry pink and apple blossom white
(3:25)  7. You made me love you
(3:10)  8. Don't be that way
(3:27)  9. Stealin' apples
(3:10) 10. Sleepy lagoon
(4:14) 11. Ultra
(3:11) 12. Jealousie
(3:08) 13. Two o'clock jump
(3:43) 14. Back beat boogie

Harry James was one of the most outstanding instrumentalists of the swing era, employing a bravura playing style that made his trumpet work instantly identifiable. He was also one of the most popular bandleaders of the first half of the 1940s, and he continued to lead his band until just before his death, 40 years later. James was the child of circus performers. His father, Everette Robert James, was the bandleader and trumpet player in the orchestra for the Mighty Haag Circus, and his mother, Maybelle Stewart Clark James, was an aerialist. Growing up in the circus, James became a performer himself as early as the age of four, when he began working as a contortionist. He soon turned to music, however, first playing the snare drum in the band from about the age of six and taking trumpet lessons from his father. At 12, he took over leadership of the second band in the Christy Brothers Circus, for which his family was then working. He attended grade school in Beaumont, Texas, where the circus spent the winter, and when he was 14 he won a state music contest as a trumpeter. That inspired him to turn professional and begin playing in local bands. James' first job with a national band came in 1935 when he was hired by Ben Pollack. In May 1935, he married singer Louise Tobin, with whom he had two children and from whom he was divorced in June 1943. He made his first recordings as a member of the Pollack band in September 1936. Not long after, he was tapped by Benny Goodman, then leading one of the country's most popular bands, and he began working for Goodman by the end of 1936. He rapidly gained notice in the Goodman band, and by December 1937 he had begun to make recordings under his own name for Brunswick Records (later absorbed by Columbia Records).

In early 1939, he left Goodman and launched his own orchestra, premiering it in Philadelphia in February. That spring, he heard the then-unknown Frank Sinatra on a radio broadcast and hired him. The band struggled, however, and when the more successful bandleader Tommy Dorsey made Sinatra an offer at the end of 1939, James did not stand in his way. Around the same time, he was dropped by Columbia and switched to the tiny Varsity Records label. After two years of difficulties in maintaining his band, James changed musical direction in early 1941. He added strings and turned to a sweeter, more melodic style, meanwhile re-signing to Columbia Records. The results were not long in coming. In April 1941, he first reached the Top Ten with the self-written instrumental "Music Makers." (His band was sometimes billed as Harry James and His Music Makers.) A second Top Ten hit, "Lament to Love," featuring Dick Haymes on vocals, followed in August, and late in the year James reached the Top Five with an instrumental treatment of the 1913 song "You Made Me Love You (I Didn't Want to Do It)." This was the record that established him as a star. But with its sweet style and what was frequently described as James' "schmaltzy" trumpet playing, it was also, according to jazz critic Dan Morgenstern (as quoted in the 1999 biography Trumpet Blues: The Life of Harry James by Peter J. Levinson), "the record that the jazz critics never forgave Harry for recording."  James was second only to Glenn Miller as the most successful recording artist of 1942. During the year, seven of his recordings peaked in the Top Ten: the Top Five "I Don't Want to Walk Without You," with vocals by Helen Forrest; the number one instrumental "Sleepy Lagoon"; the Top Five "One Dozen Roses," with vocals by Jimmy Saunders; the Top Five instrumental "Strictly Instrumental"; "He's My Guy"; the Top Five "Mister Five by Five"; and "Manhattan Serenade," the last three with vocals by Helen Forrest. In September, when Miller went into the armed forces and gave up his radio show, Chesterfield Time, he handed it over to James, a symbolic transference of the title of top bandleader in the country. (James was ineligible for military service due to a back injury.) Meanwhile, wartime travel restrictions and the recording ban called by the musicians union, which took effect in August 1942, had limited James' touring and recording activities, but another avenue had opened up. He began appearing in movies, starting with Syncopation in May 1942 and continuing with Private Buckaroo in June and Springtime in the Rockies in November. His next hit, "I Had the Craziest Dream," with vocals by Helen Forrest, was featured in Springtime in the Rockies; it hit number one in February 1943. The movie is also memorable for having starred Betty Grable, whom James married in July 1943; they had two children and divorced in October 1965.

"I Had the Craziest Dream" was succeeded at number one in March 1943 by another James record with a Helen Forrest vocal, "I've Heard That Song Before." "Velvet Moon," an instrumental, followed and did almost as well, but with that Columbia's stockpile of James recordings made just before the start of the recording ban was almost exhausted. The label went into its vaults and began reissuing older James recordings. Frank Sinatra had recently emerged as a solo star, and in the spring of 1943, Columbia reissued "All or Nothing at All," a song he had recorded as James' vocalist in 1939; the song reached the Top Five. Next, Columbia released "I Heard You Cried Last Night," a year-old recording with a Helen Forrest vocal; it too reached the Top Five. Once again, James ranked as the second most successful recording artist of the year, just behind Bing Crosby. Meanwhile, James was based in New York, doing his three-times-a-week radio show and appearing at major venues such as the Paramount Theatre and on the Astor Hotel Roof. He also appeared in the June 1943 film release Best Foot Forward. Decca Records settled with the musicians' union in 1943, which gave its recording stars an advantage, but while Bing Crosby, the Andrews Sisters, and Jimmy Dorsey (all on Decca) were the top recording artists of 1944, James came in fourth without ever stepping into a recording studio. His instrumental "Cherry," recorded in 1942, became a Top Five hit early in the year; "I'll Get By (As Long as I Have You)," recorded in 1941 with Dick Haymes on vocals, hit number one in June; and he had eight other chart records during the year. He also continued with his radio show through March and had two films, Two Girls and a Sailor and Bathing Beauty, in release in June. The two remaining major labels, Columbia and RCA Victor, came to terms with the musicians' union in November 1944, freeing James to return to the recording studio. This resulted in seven Top Ten hits in 1945: the number one "I'm Beginning to See the Light"; "I Don't Care Who Knows It"; "If I Loved You"; "11:60 P.M."; the Top Five "I'll Buy That Dream"; "It's Been a Long, Long Time"; and "Waitin' for the Train to Come In." "If I Loved You" had vocals by Buddy DiVito; all the rest had vocals by Kitty Kallen. That was enough to make him the third most successful recording artist of 1945, behind only Bing Crosby and Sammy Kaye.

Meanwhile, he and his band became regulars on the Danny Kaye Show radio series in January 1945, and he hosted its summer replacement program from June to September. James scored two Top Ten hits in early 1946 -- the Top Five "I Can't Begin to Tell You," which featured a pseudonymous vocal by his wife Betty Grable, and "I'm Always Chasing Rainbows," with a vocal by Buddy DiVito -- but then his recording success began to decline, though he managed one more Top Ten hit, "This Is Always," with Buddy DiVito on vocals, in the fall. Having appeared in a number of films, he formally signed a movie contract with 20th Century Fox, resulting in bigger parts in Do You Love Me?, released in May, and If I'm Lucky, out in September. He also took to the road for the first time since the end of the war. The declining popularity of the big bands led many to break up in December 1946, James' orchestra among them. But in January 1947, his All Time Favorites collection was at the top of the album charts, indicating he was still broadly popular, and within months he had reorganized his band, reducing the number of strings (and soon eliminating them entirely), and taking a more jazz-oriented approach. He scored only one Top Ten hit in 1947, "Heartaches," with vocals by Marion Morgan. And he appeared in the film Carnegie Hall in May. James appeared in the film A Miracle Can Happen (aka On Our Merry Way) in February 1948, the same month he became a regular on the radio show Call for Music, which ran until June. He was not much visible in 1949, but in February 1950, his trumpet playing was heard in the film Young Man with a Horn, though the man fingering the trumpet onscreen was Kirk Douglas.

The Young Man with a Horn soundtrack, credited to James with Doris Day, hit number one in May 1950. Repeating that pairing, Columbia teamed James with Day for "Would I Love You (Love You, Love You)," which hit the charts in March 1951 and reached the Top Ten. Similar success was achieved with "Castle Rock," which paired James with Frank Sinatra and reached the charts in September. Meanwhile, James had his own TV series, The Harry James Show, which ran on a Los Angeles station for the first six months of 1951. From this point on, James maintained his band as a touring unit, though he was less frequently glimpsed in the media. He played himself in the film biography The Benny Goodman Story in 1955, the same year that, having moved to Capitol Records, he released Harry James in Hi-Fi, an album of re-recordings of his hits that reached the Top Ten in November. (The 1999 compilation Trumpet Blues: The Best of Harry James combines tracks from this album and its follow-up, More Harry James in Hi-Fi.) 

By now, he was deliberately trying to make his band sound like Count Basie's. He was back onscreen in November 1956 in the film The Opposite Sex. He made his first major tour of Europe in October 1957, and in ensuing years he alternated national and international tours with lengthy engagements at Las Vegas hotels. There were two more film appearances, The Big Beat (June 1958) and The Ladies Man (July 1961). James performed regularly through the early '80s. He was diagnosed with lymphatic cancer in 1983, but continued to play, making his last appearance only nine days before his death at 67. Led by trumpeter Art Depew, his band continued to perform. No one questioned James' talent as a jazz trumpeter, though after his commercial ascendance in 1941 many jazz critics dismissed him. After his period of greatest success, he turned back to a more jazz-oriented style, which failed to change the overall impression of him, if only because he was no longer as much in the public eye. Nevertheless, his swing hits remain among the most popular music of the era. In addition to the Columbia recordings from his heyday, there are numerous other titles in his discography, notably many airchecks, though his recordings of the '50s are also worth seeking out. ~ William Ruhlmann http://www.allmusic.com/artist/harry-james-mn0000950571/biography

Trumpet Blues