Dinah Washington - In Love

Bitrate: MP3@320K/s

Time: 51:17

Size: 117.4 MB

Styles: Jazz vocals

Year: 1962/1991

Art: Front

[2:27] 1. Fly Me To The Moon (In Other Words)

[2:26] 2. You're A Sweetheart

[2:45] 3. Our Love

[2:44] 4. Love Is The Sweetest Thing

[2:49] 5. I'll Close My Eyes

[3:04] 6. I Didn't Know About You

[3:34] 7. If It's The Last Thing I Do

[2:18] 8. Do Nothing 'til You Hear From Me

[2:38] 9. My Devotion

[2:51] 10. That's My Desire

[2:37] 11. Was It Like That

[2:57] 12. Me And The One That I Love

[3:41] 13. What's New

[3:20] 14. I Used To Love You But It's All Over Now

[2:24] 15. Somebody Else Is Taking My Place

[2:20] 16. That Old Feeling

[2:44] 17. He's Gone Again

[3:28] 18. These Foolish Things

Don Costa and Dinah...sometimes it works and sometimes it all sounds the same but it is an interesting attempt to marry two diverse artists to see if a new sound and tone could be produced. It seems that Dinah is phoning it in a lot of the time here and her talk singing seems to predominate her vocals, but Don Costa, like Billy May and Peter Matz could make Jackie Moms Mabley sound good. Not quite the gem that Billie's LADY IN SATIN is when it comes to a legit effort to produce commercially successful records, but knowing Dinah's history it isnt a bad effort. I once asked Jonathan Schwartz why she had imploded so young he told me that a new sound was coming up, mainly Nancy Wilson and Dinah couldnt or wouldnt adapt to the public taste in music. He said simply that she was scared. Another woman of color from humble beginnings who can tear your heart out and continues to generate new fans but had so many demons that she couldnt manage to love herself the way we did. Sometimes I feel guilty for listening to these divas and getting such and emotional charge from them, but beileve me, they are the losers here...give and give and give and make millions adore you but cant get yourself together. It seems that way with all truly great artists. RIP Dinah. ~Frank S. Stewart

In Love

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Bridgetown Sextet - The New Old-Fashioned

Bitrate: MP3@320K/s
Time: 60:22
Size: 138.2 MB
Styles: Retro Swing
Year: 2012
Art: Front

[3:32] 1. Who's Sorry Now
[3:56] 2. Sent For You Yesterday
[3:06] 3. That's When I'll Come Back To You
[6:18] 4. If I Could Be With You (One Hour Tonight)
[3:52] 5. I'm Gonna Stomp Mr. Henry Lee
[3:20] 6. Shivers
[4:26] 7. Old Fashioned Love
[2:22] 8. Sporting House Rag
[3:32] 9. Black Stick Blues
[5:07] 10. I Thought I Heard Buddy Bolden Say
[2:56] 11. New Orleans Blues
[5:15] 12. Between The Devil And The Deep Blue Sea
[3:39] 13. Your Baby Ain't Sweet Like Mine
[3:06] 14. King Porter Stomp
[5:49] 15. C Jam Blues

75 years ago jazz was a rebellious, hip, high-energy, hard-driving, untamed, unpredictable and unapologetically joyous cult phenomenon, and on the new Bridgetown Sextet album, it still is. The jazz of the 1920s and 30s was the sound of excitement itself in the hands of its original masters, and while that essence still survives in the earliest recordings for the few who know them, the music has too often been recreated as a bloodless caricature of its former self. Andrew Oliver and Scott Kennedy organized the Bridgetown Sextet in an effort to express early hot jazz and swing with the intensity and authenticity it deserves. The band plays the music of the prohibition and depression eras as though it were written yesterday, not to preserve it, but to rediscover it. This album represents the new school of old jazz.

The Sextet has been performing in the Portland area for over three years and has since gained a loyal following among roots music enthusiasts and Portland's thriving swing dance community. This new album was recorded at SE Portland's Map Room Studio with a pair of microphones, capturing the sound of the band in its natural state on a variety of forgotten gems from the swing era and before. The band features self-taught pianist/drummer Scott Kennedy with his amazing command of the demanding stride piano tradition. Andrew Oliver, a figure on the Portland jazz scene in many varied groups, performs on piano, cornet, and drums. Long time New Orleanian David Evans provides his trademark lyrical clarinet and tenor sax stylings. John Moak dazzles as always with his command of the trombone, and Doug Sammons on rhythm guitar and vocals and Eric Gruber on bass anchor the band with a rock-solid pulse.

The New Old-Fashioned

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Kevin Mahogany - You Got What It Takes

Bitrate: MP3@320K/s
Time: 54:40
Size: 125.2 MB
Styles: Jazz vocals, Standards
Year: 1995
Art: Front

[3:01] 1. Baby You've Got What It Takes (W. Jeanie Bryson)
[4:23] 2. Stockholm Sweetnin'
[2:04] 3. Bells Are Ringing/Just In Time
[5:04] 4. Sophisticated Lady
[4:54] 5. (Get Your Kicks On) Route 66
[5:31] 6. Carnival In Flanders/Here's That Rainy Day
[2:32] 7. Yardbird Suite
[6:20] 8. Babes In Arms/My Funny Valentine
[2:18] 9. Old Times Sake
[4:47] 10. Bg's Groove
[6:14] 11. God Bless The Child
[1:49] 12. Little Sherri
[5:38] 13. Please Send Me Someone To Love

Kevin Mahogany's third and final Enja recording (before moving on to Warner Bros.) was his finest and a very definitive set. More jazz-oriented than his first Warner Bros. set, this program matches Mahogany's attractive voice with pianist James Williams (who contributed the tune "Old Times Sake"), bassist Michael Formanek, drummer Victor Lewis and guest tenor Benny Golson. Singer Jeanie Bryson helps out on the opening "Baby You Got What It Takes," making one wish that the two vocalists would team up more often. Other highlights include Quincy Jones' classic "Stockholm Sweetnin'," "Route 66" (which has some creative scatting by Mahogany), the brief "Yardbird Suite" and "BG's Groove." Throughout this date, Kevin Mahogany (formerly a saxophonist who obviously knows music well) shows just how strong a jazz singer he can be. Highly recommended. ~Scott Yanow

You Got What It Takes

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Jim Kweskin - Enjoy Yourself (It's Later Than You Think)

Bitrate: MP3@320K/s
Time: 45:22
Size: 103.9 MB
Styles: Folk, Blues, Swing
Year: 2009
Art: Front

[4:34] 1. Some Of These Days
[3:15] 2. Blues My Naughty Sweetie Gives To Me
[4:45] 3. Enjoy Yourself (It's Later Than You Think)
[5:22] 4. John Henry
[3:42] 5. Blue Skies
[3:25] 6. C Jam Blues
[5:25] 7. Brother Can You Spare A Dime
[3:54] 8. Junko Partner
[3:15] 9. Choo Choo Ch'boogie
[3:43] 10. Exactly Like You
[3:57] 11. Sweet Sue

On National Public Radio’s Fresh Air, rock historian Ed Ward listed, among the most important bands of the early 60’s, the Rolling Stones, the Beatles, the Byrds, “and the Jim Kweskin Jug Band.” Ward added: “I’m not kidding.”

Listening to the music here, you’ll understand why he wasn’t kidding. Jim Kweskin continues to perform his vast repertoire of folk, blues, swing, jug band and early standards with his own brand of infectious personal interpretations. His guitar finger picking of songs like Some of These Days and Exactly Like You is recognized by his peers and fans as some of the best there is. His selection of songs is vividly evocative of his many diverse influences such as Louis Jordan, Clancy Hayes, Fats Wallter, Milton Brown, Duke Ellington, Bing Crosby and Pete Seeger. Backed by the Jim Kweskin Band, a group of extraordinary musicians, this album features four tracks taken from Jim’s Now And Again album and three tracks from Samoa Wilson’s Live The Life album.

Enjoy Yourself (It's Later Than You Think)

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Ed Cherry - A Second Look

Bitrate: MP3@320K/s
Time: 67:12
Size: 153.8 MB
Styles: Bop, Guitar jazz
Year: 1997/2015
Art: Front

[ 7:21] 1. B&b
[ 7:30] 2. Cloud Dancer
[ 5:48] 3. Congo Chant
[ 9:56] 4. You Go To My Head
[ 5:59] 5. Mogadishu
[ 7:05] 6. Lullaby Of The Leaves
[10:00] 7. High-Fly
[ 6:01] 8. A Second Look
[ 7:29] 9. Eddie Harris

Ed Cherry (guitar); Ray Parker, Jr. (guitar); John Robinson (drums); Mitch Marcoulier (programming); Konesha Owens, Agape Choir Of Santa Monica (background vocals). Recording information: Systems Two Studios, Brooklyn, NY (04/26/1994/04/27/1994).

An expressive instrumentalist, Cherry has a hip, melodic approach that is a refreshing contrast to guitarists who frequently resort to playing "finger music," the execution of rapid streams of notes that serve no musical purpose other than to fill space. Born in New Haven, Conn., After moving to New York in 78', Ed Cherry played guitar with Dizzy Gillespie from 1978 to 1992, performing in Gillespie's quartet, big band and with The United Nation Orchestra, which recorded the Grammy Award-winning Live at Royal Festival Hall (Enja). Gillespie died in 1993, and Cherry released his first recording as a leader, 'First Take' (Groovin' High) that same year as well as performing w/Paquito D'Rivera's small group and recording "Havana Cafe"(Chesky Records). Ed also worked with composer/saxophonist Henry Threadgill for two years (recorded 3 cd's w/ Henry's 'Very Very Circus' group. In 1995, Cherry released his second project as a solo artist, entitled A Second Look.

A Second Look

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Jillian Edwards - Covers

Bitrate: MP3@320K/s
Time: 38:20
Size: 87.8 MB
Styles: Country/Pop/Rock
Year: 2016
Art: Front

[4:08] 1. When A Man Loves A Woman
[3:35] 2. The Middle
[4:10] 3. Lean On Me
[4:20] 4. No One
[3:18] 5. God Only Knows
[4:02] 6. You Are My Sunshine
[2:49] 7. First Day Of My Life
[3:45] 8. I Want You To Want Me
[3:29] 9. When I Need You
[4:41] 10. You've Got A Friend

"I'm recording songs I love & putting my own little heart into'em! Dreamy takes on old + new favorites, by yours truly. I am getting in the studio to re-imagine some of the best songs of all time. I’m diving into songs that are outside of myself, & I’m thrilled to be taking my own swing at’em! I’m covering songs that resonate with something inside me – songs that have stamped themselves into my life, one way or another. I’m adopting these songs as they’re my own for this record, & I hope to honor them w/a fresh perspective. I love recording my own songs, but this record is a moment for me to take a deep breath & do something new. I would be honored to have you alongside me in this process! I’m going all out on this album (it’s my FIRST full length album, ever) & I would be so grateful for your support." ~Jillian

Jillian Edwards is singer-songwriter based in Nashville, TN. Originally from Dallas, TX, this 25-year old indie songstress has been compared to the likes of angels, with a sound influenced by artists such as Alison Krauss, Patty Griffin and Mindy Smith. Jillian’s ability to silence a room of strangers with just the distinct pureness of her voice and an acoustic guitar is a scene to behold. Combining raw talent with honest melodies, she continues to captivate new fans and keep old ones faithfully returning each time she graces a stage. You may have caught her opening for a variety of talented artists over the last few years, including Drew & Ellie Holcomb, Josh Garrels, Ben Rector, David Ramirez, the Civil Wars, & more.

Jillian wowed her earliest listeners in 2009 when she released her EP, Galaxies & Such. In late 2011, she graced fans with her second release, Headfirst, holding the #1 spot on singer-songwriter charts for its entire release week. It wasn’t long after that Jillian was planning a wedding, marrying the love of her life in December 2012. Married life quickly led to a musical side project with her husband, Will Franklin Chapman and brother-in-law, Caleb Chapman, both members of the band Colony House. They named the indie-folk trio “The Inlaws,” recording an EP and playing several successful local shows over the past year. In 2013, Jillian also had the honor of co-writing and singing on the title track of Ellie Holcomb’s latest album, “With You Now.” You may have also noticed her vocals on the “How Great Thou Art” track from Steven Curtis Chapman’s blue grass record, “Deep Roots.” In September, Jillian performed on the cast of Studio Tenn's "The Hank Legacy" where one review described her as possessing an “enchanting voice that evokes the purity of Alison Krauss and the smoky warmth of Norah Jones.” Songs from Jillian's 2011 release “Headfirst” are faithfully played by both Delta Airlines inflight radio and Sirius XM.

Covers

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Al Haig - Plays Jerome Kern

Styles: Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 38:59
Size: 89,8 MB
Art: Front

(7:20)  1. The Way You Look Tonight
(3:50)  2. Dearly Beloved
(3:24)  3. Yesterdays
(4:31)  4. All the Things You Are
(2:53)  5. Can I Forget You
(4:34)  6. The Folks Who Live On the Hill
(4:40)  7. I'm Old Fashioned
(5:17)  8. The Song Is You
(2:27)  9. They Didn't Believe Me

There is a curious sense of history revisited, or rewritten, in the release of this album by Al Haig. More than three decades ago, in 1947, Haig was a member of the large orchestra (woodwings, strings, French horns) conducted by Johnny Richards for a Dizzy Gillespie record session. The date was dedicated to Jerome Kern; in fact, two of the four songs recorded, The Way You Look Tonight and All the Things You Are are found in the present Haig collection. As one of the first and most gifted pianists to become involved in the revolutionary new jazz of the period, Haig was in and out of the bebop scene for several years, working from time to time with big bands such as Charlie Barnet’s or Jimmy Dorsey’s, but also answering calls from Dizzy or Bird. The present album finds Al in his element, provided with material from the long-prolific pen of Jerome Kern. Haig’s version of Yesterdays (introduced in a 1933 musical, Roberta) finds him in a reflective mood, with fills and ornamentations that are at times evocative of Art Tatum. It is interesting that even on the up tempo pieces such as I’m Old Fashioned, Al bears little resemblance to Bud Powell, who was generally accepted in his day as the pace-setting bebop pianists. The supple bass work on this and other tracks is by Jamil Nasser. ~ From the 1980 liner notes. https://www.cdbaby.com/cd/alhaig

Personnel:  Bass – Jamil Nasser;  Piano – Al Haig;  Helen Merrill – Vocal.

Plays Jerome Kern

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Richie Beirach & Andy Laverne - Too Grand

Styles: Piano Jazz
Year: 1994
File: MP3@256K/s
Time: 62:21
Size: 114,4 MB
Art: Front

( 5:36)  1. Footprints
( 8:36)  2. Nature Boy
( 4:30)  3. Moonlight In Vermont
( 4:54)  4. So What
( 5:46)  5. Zingaro
( 5:18)  6. Monk's Dream
( 6:29)  7. Milestones
(12:38)  8. In Your Own Sweet Way
( 8:29)  9. Passion Dance

Pianists Richie Beirach & Andy LaVerne have each made a number of first rate solo releases, so a follow up to there earlier collaboration, "Universal Mind," was essential. This time they're on separate keyboards rather than sharing one instrument. They kick things off with an aggressive daredevil take of Wayne Shorter's "Footprints," followed by brilliant interpretations of other classics like "So What," "Monk's Dream," and "In Your Own Sweet Way." The intense closer is a no-holds-barred version of McCoy Tyner's "Passion Dance." Highly recommended for fans of jazz piano. ~ Ken Dryden http://www.allmusic.com/album/too-grand-mw0000436586

Personnel:  Richie Beirach (piano), Andy LaVerne (piano).

Too Grand

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Mickey Tucker - Hang in There

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 57:48
Size: 132,4 MB
Art: Front

(13:10)  1. Wombat Children
( 7:30)  2. Hang In There
( 8:32)  3. Happy
( 8:21)  4. Cloud Seven
( 8:11)  5. Star Eyes
( 5:30)  6. Mickey's Tucker
( 6:32)  7. Hook-Turns And Hectares

For pianist Mickey Tucker's second Steeplechase recording he gathered a group of fine young players, saxophonists Javon Jackson and Donald Harrison, trumpeter Greg Gisbert, and drummer Marvin "Smitty" Smith, augmented by veteran bassist Ray Drummond, to perform a challenging program of six hard bop-oriented originals, four by Tucker, and a nice trio arrangement of the standard "Star Eyes." With two former Jazz Messengers and Jackson and Harrison on the front line, the music takes on a Jazz Messenger-like flavor, with the melodies of "Happy" and "Hook Turns and Hectacres" adding a modern twist. Tucker's "Happy" has one of the fastest-moving melodies one will ever hear. Starting with a fast piano-drums duet, the composition moves into a tricky line so fast the horns can hardly play it, then into blazing uptempo for the soloists fueled by Smith's driving drumming. Other favorites include the finger poppin "Wombat Children," the funky "Cloud Seven," and another up-tempo burner, "Mickey's Tucker." A welcome addition to Tucker's small discography. ~ Greg Turner http://www.allmusic.com/album/hang-in-there-mw0000423309

Personnel:  Mickey Tucker (Piano);  Javon Jackson and Donald Harrison (Saxophone); Greg Gisbert (Trumpet);  Marvin ‘Smitty’ Smith (Drums);  Ray Drummond (Bass).

Hang in There

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Steve Bailey, Victor Wooten - Bass Extremes - Cookbook

Styles: Jazz Contemporary
Year: 1998
File: MP3@320K/s
Time: 63:29
Size: 147,1 MB
Art: Front

(6:43)  1. To Serve Man
(2:14)  2. 1/2 Fast
(4:54)  3. Not at 3
(5:37)  4. What So
(5:34)  5. Acoustic Brew
(3:55)  6. Madonna Lee
(6:41)  7. Bassically Yours
(4:25)  8. Cool Groove
(6:01)  9. Glorius Pastorius
(5:28) 10. Eye Of The Beholder
(5:40) 11. Gloria's Child
(6:12) 12. Little Stevie Ray Charles Mingus

Bass Extremes is the name of a collection of works by bassists Victor Wooten and Steve Bailey. It has been released as on CD, video, and in a book of sheet music and tablature. The book was transcribed by Roy Vogt. The Bass Extremes project has also included drummer Derico Watson and Oteil Burbridge. https://en.wikipedia.org/wiki/Bass_Extremes

Personnel:  Steve Bailey, Victor Wooten, Will Lee, Oteil Burbridge (bass); Steve Bailey (background vocals); Victor Wooten (cello, shaker); Will Lee (vocals, background vocals); Oteil Burbridge (vocals); Gregg Bissonette, Kenny Aronoff , Joel Taylor (drums); Jim Roberts (congas).

Cookbook

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Jessica Young - When I Fall in Love

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 56:24
Size: 129,4 MB
Art: Front

(5:37)  1. Summertime
(3:57)  2. My Heart Belongs to Daddy
(3:07)  3. Blue Skies
(5:18)  4. You Don't Know What Love Is
(3:02)  5. They Can't Take That Away from Me
(5:55)  6. My Funny Valentine
(5:15)  7. Do Nothin' Till You Hear from Me
(5:21)  8. Bewitched
(4:57)  9. Georgia on My Mind
(5:59) 10. When I Fall in Love
(3:45) 11. Let's Fall in Love
(4:05) 12. God Bless the Child

Jessica Young is a 26 year-old from Denver, NC. She started playing the piano at the age of 3; and later, earned a Bachelor of Arts Degree with a concentration in Piano Performance from Queens University of Charlotte. After attending college, she learned how to play guitar, and starting writing songs. She has been to Nashville to record her first album, but returned to her roots in North Carolina to record her second album with an independent label. Her music can make you want to dance, cry, or feel great. ~ Bio http://www.sonicbids.com/band/jessicayoung/

When I Fall in Love

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Betty Carter, Carmen McRae - Duets: Live at the Great American Music Hall

Bitrate: MP3@320K/s
Time: 61:43
Size: 141.3 MB
Styles: Vocal jazz
Year: 1996
Art: Front

[6:45] 1. Am I Blue
[7:56] 2. Sometimes I'm Happy
[2:58] 3. Isn't It Romantic
[3:35] 4. Sophisticated Lady
[2:51] 5. I Hear Music
[8:08] 6. Love Dance
[4:21] 7. What's New
[3:38] 8. Stolen Moments
[5:54] 9. But Beautiful
[5:33] 10. Ballad Medley: Glad To Be Unhappy/Where Or When
[6:10] 11. It Don't Mean A Thing (If It Ain't Got That Swing)
[3:48] 12. That Old Devil Moon

Betty Carter - vocals; Carmen McRae - vocals, piano; Eric Gunnison - piano; Jim Hughart - double bass; Winard Harper - drums.

This project is an unusual matchup between two very individual vocalists that generally works. Both Carmen McRae and Betty Carter show a lot of good humor during their duets, cracking occasional jokes and often jamming quite spontaneously. With suitable support from pianist Eric Gunnison, bassist Jim Hughart and drummer Winard Harper along with a very enthusiastic audience at San Francisco's Great American Music Hall, Carter usually takes vocal honors while McRae comes up with the most humorous lines. Some of the ensembles are ragged but this encounter is overall quite successful. The CD reissue adds three previously unreleased selections that feature McRae without Carter. Now if only someone had teamed together Ella Fitzgerald and Sarah Vaughan for a full album. ~Scott Yanow

Duets

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Various - Blue Boat

Bitrate: MP3@320K/s
Time: 61:42
Size: 141.3 MB
Styles: Swing, Jump blues
Year: 1994
Art: Front

[4:32] 1. Steen Vig - Blue Boat
[4:37] 2. Ole Fessor Lindgreen - Memphis Blues
[4:17] 3. Gene "Mighty Flea" Conners - Soul Country
[4:02] 4. Gene "Mighty Flea" Conners - The Flea Is Jumping
[4:54] 5. Gene "Mighty Flea" Conners - Blue Turning Grey Over You
[6:01] 6. Gene "Mighty Flea" Conners - Taps Miller
[5:42] 7. Gene "Mighty Flea" Conners - We Sure Do Need Him Now
[5:57] 8. Gene "Mighty Flea" Conners - Tee
[5:37] 9. Ole Fessor Lindgreen - Kansas City Man Blues
[5:31] 10. Gene "Mighty Flea" Conners - Copenhagen Hip Hop
[7:24] 11. Gene "Mighty Flea" Conners - Foo Foo Blues
[3:02] 12. Steen Vig - Hotel Blækregning

This is a fun set. Steen Vig, a thick-toned tenor saxophonist who also is heard on soprano, displays a flexible style that ranges from swing and Dixieland to spirited jump tunes. He used up to seven pieces on these spirited performances, which sometimes include both Mighty Flea Conners and Fessor Lindgreen on trombones and guitarist Cornell Dupree. Highlights include the debut of Sidney Bechet's previously unrecorded "Blue Boat," Conners' "The Flea Is Jumping," "Taps Miller" and Clarence Williams' "Kansas City Man Blues." It is sad, listening to the joy of the music, to realize that Vig would pass away, on Jan. 1, 1994 when he was just 49. ~Scott Yanow

Blue Boat

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Tadd Dameron, John Coltrane - Mating Call

Bitrate: MP3@320K/s
Time: 35:02
Size: 80.2 MB
Styles: Bop
Year: 1957/2016
Art: Front

[5:32] 1. Mating Call
[5:07] 2. Gnid
[5:21] 3. Soultrane
[6:19] 4. On A Misty Night
[6:49] 5. Romas
[5:51] 6. Super Jet

These half-dozen tracks from November 30, 1956 -- containing what would be John Coltrane's final studio outing of the year -- find the tenor saxophonist in the company of Tadd Dameron (piano), John Simmons (bass), and Philly Joe Jones (drums). Recordings have been issued with Coltrane's name outranking or insinuating that he is the session leader. However Dameron not only offers up some exceptional interplay against Coltrane, the pianist actually supplied 10-percent of the top-shelf material. The unmistakable rat-a-tat-tat of Philly Joe Jones opens the exotic "Mating Call." Dameron almost immediately responds on the seductive verse that sets the pace. Coltrane bursts through with confident soul as Dameron occasionally interjects his own animated punctuation. By comparison, the pianist takes his turn with consideration and subdued introspection. Yet Dameron steers clear of a mini duet between himself and Jones prior to the final reprise of the chorus. As a sidebar: parties who revel in the production work of Rudy Van Gelder are encouraged to spin "Mating Call"'s echoplex-laden fade out for some old-school excitement.

It remains unknown whether Dameron titled the lovely and melodic "Gnid" after the acronym for the social-disease yielding "Gram-Negative Intracellular Diplococci." The name aside, "Gnid" features the ensemble at their collective best. The uniform guidance of Dameron and Coltrane is explored immediately as they unfurl the spry theme before taking the respective reigns. The pianist's solo reveals hints of Duke Ellington's "Take the 'A' Train" as a build up to Coltrane's inventive and playful counterpoint. "Soultrane" may well be Dameron's greatest gift to Coltrane as the ballad is custom-built for the tenor player's tender yet empathetic sonic terminology. Nowhere is this more evident than when the rhythm hits double-time with a lack of competition from the bandstand, while Coltrane takes the combo around corners with acuity and fluidity to spare. Giving props to the pop songbook standard "September in the Rain," Dameron's "On a Misty Night" is a study in contrasts. Coltrane embraces the singsong quality of the chorus in broad, hearty strokes. On the other hand, Dameron's playing has a Thelonious Monk feel in places -- especially as the swinging backbeat vacillates in and out of a double-time pattern. The sturdy blues of "Romas" has Dameron calling the shots with a stealth-like vibe that Coltrane fleshes out in the ensuing instrumental banter.

As if building up to a high-energy conclusion, "Super Jet" is an outright bop-inspired vehicle into the pure improvisational nature of jazz. Coltrane is beginning to show signs of his mile-a-minute phrasing that would later become known as "sheets of sound." Dameron loses none of the momentum during his response and finally, Jones gets a chance to trade licks with Coltrane as the pair demonstrate their uncanny ability to complete -- or at the very least complement -- each other's performances. ~Lindsay Planer

Mating Call

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Susannah McCorkle - Someone To Watch Over Me: The Songs Of George Gershwin

Bitrate: MP3@320K/s
Time: 61:35
Size: 141.0 MB
Styles: Jazz vocals
Year: 1998
Art: Front

[5:23] 1. They Can't Take That Away From Me
[4:15] 2. Who Cares
[4:18] 3. Someone To Watch Over Me
[4:51] 4. It Ain't Necessarily So
[5:20] 5. How Long Has This Been Going On
[1:13] 6. I Got Rhythm Intro
[3:37] 7. I Got Rhythm
[3:37] 8. Love Walked In
[3:44] 9. I Loves You Porgy
[4:58] 10. They All Laughed
[3:07] 11. Summertime
[4:13] 12. 's Wonderful
[4:49] 13. I Was Doing All Right
[4:01] 14. I Got Plenty O' Nuthin'
[4:03] 15. Will You Remember Me Drifting Along With The Tide

Alto Saxophone [Alto Sax], Flute [Alto Flute] – Jerry Dodgion; Bass – Dick Sarpola, Steve Gilmore; Drums – Rich DeRosa; Guitar – Howard Alden; Tenor Saxophone, Flute [Alto Flute] – Chris Potter;Trombone – Conrad Herwig; Trumpet, Flugelhorn – Randy Sandke; Vocals – Susannah McCorkle.

Throughout her career, singer Susannah McCorkle recorded many "songbook" sets dedicated to the music of a particular composer or lyricist. She followed up sets of Cole Porter and Irving Berlin in 1997 with a full program of George Gershwin's music. On this CD, McCorkle performs 15 Gershwin songs in settings ranging from an octet that includes tenor saxophonist Chris Potter, trumpeter Randy Sandke, trombonist Conrad Herwig, and altoist Jerry Dodgion to duets with guitarist Howard Alden ("I Loves You, Porgy"), bassist Dick Sarpola ("I Was Doing All Right" and "Love Walked In"), and her musical director, pianist Allen Farnham (a medley of "Will You Remember Me?" and "Drifting Along with the Tide"). Even when singing such well-known tunes as the title cut, "How Long Has This Been Going On," "I Got Rhythm" (to which she adds an introduction explaining Ira Gershwin's method of coming up with lyrics), and "'S Wonderful," McCorkle comes up with fresh variations and subtle creativity. Although one wishes that she had unearthed more Gershwin obscurities, listeners should be grateful that Susannah McCorkle recorded a long string of easily recommended vocal jazz albums during her lifetime. ~Scott Yanow

Someone To Watch Over Me

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Bernard Berkhout - Doctor Bernard & His Swing Orchestra

Bitrate: MP3@320K/s
Time: 51:37
Size: 118.2 MB
Styles: Big band, Swing
Year: 2011
Art: Front

[3:48] 1. Roll 'em
[3:52] 2. Minnie The Moochers Wedding Day
[3:26] 3. Jersey Bounce
[4:10] 4. St. Louis Blues
[4:43] 5. He Ain’t Got Rhythm
[3:28] 6. I Would Do Most Anything For You
[3:44] 7. House Hop
[3:02] 8. Swingtime In The Rockies
[3:31] 9. Estrelita
[3:07] 10. Sing Me A Swing Song (And Let Me Dance)
[4:15] 11. Down South Camp Meeting
[3:56] 12. Happy As The Day Is Long
[3:00] 13. You Turned The Tables On Me
[3:29] 14. Let’s Dance

Clarinettist Bernard Berkhout formed the Swing Orchestra in 2008. The big band consists of 18 musicians and focuses entirely on 1930s jazz. The Swing Orchestra is in high demand both in the Netherlands and abroad. Lindy Hoppers love to dance to this style of music and the Swing Orchestra is followed by Lindy Hoppers from all over Europe.

The music of Bernard Berkhout’s Swing Orchestra is based entirely on the ideas and arrangements of Benny Goodman. The orchestra comprises only professional musicians and reproduces the ambience and style of the thirties with exactly the same line-up as the traditional Goodman big band: 4 saxes, 3 trumpets, 2 trombones and a rhythm section – but now led by the world’s best contemporary swing clarinettist, Bernard Berkhout. Benny Goodman’s music is brought out of the 1930s and into the 21st century in an incomparable manner!

Doctor Bernard & His Swing Orchestra

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Kenny Burrell - Ellington Is Forever Vol 1

Bitrate: MP3@320K/s
Time: 72:47
Size: 166.6 MB
Styles: Guitar jazz
Year: 1975/1995
Art: Front

[ 1:48] 1. Jump For Joy
[ 8:38] 2. Caravan
[ 4:38] 3. Chelsea Bridge
[ 4:30] 4. Mood Indigo
[ 3:13] 5. Don't Get Around Much Anymore
[15:31] 6. C-Jam Blues
[ 9:31] 7. It Don't Mean A Thing (If It Ain't Got That Swing)
[ 5:09] 8. I Didn't Know About You
[ 3:25] 9. My Little Brown Book
[10:26] 10. Blues Medley
[ 2:51] 11. Do Nothin' Till You Hear From Me
[ 2:59] 12. Take The A Train

For fans of jazz, it is deeply, satisfyingly appropriate that Kenny Burrell should be the one to organize this splendid homage to Duke Ellington. It is a well-known fact that Burrell was the Duke's favorite guitarist, and legend has it that on one occasion when Burrell couldn't make a date, Ellington chose to cut the guitar part from the score rather than have it performed by a lesser player. On Ellington Is Forever, Vol. 1, Burrell has put together a small big band, if you will, to perform 12 Ellington or Strayhorn compositions. It is a high-class affair, featuring such notables as Jimmy Smith, Thad Jones, and Joe Henderson, who turns in one of the most memorable solos on the record on "Caravan." The leader remains mostly inconspicuous throughout, comping tastefully and soloing with his typical funkiness when the music calls for it, but never drawing undue attention to himself. In fact, Burrell is so subservient to the music, so respectful of the contributions of his fellow musicians, that one would never guess that Ellington Is Forever is his own project. This is clearly an affectionate tribute, one born out of close association as well as great appreciation. Besides Burrell, another notable Ellington collaborator present on these dates is pianist Jimmy Jones, whose solo rendition of "Take the 'A' Train" puts the song "in requiem status" according to no less an authority than Jerome Richardson, who is also present on this record. What makes Ellington Is Forever really special, however, is the presence of vocalist Ernie Andrews on two tracks, who swings soulfully through terrific renditions of "Don't Get Around Much Anymore" and "My Little Brown Book." A long time favorite of Burrell, Andrews simply owns this material. His contributions are too brief. As far as shortcomings are concerned, it ought to be mentioned that the recording is slightly lacking in lower frequency response. For example, Stanley Gilbert's bass, though masterfully played, lacks the resonance that the listener would like to hear. This, however, is a minor complaint. Ellington Is Forever, Vol. 1 is a fitting tribute to one of the giants of American music, and the second volume, which followed two years later, is just as good. ~Daniel Gioffre

Ellington Is Forever Vol 1

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Irene Reid - The Uptown Lowdown

Styles: Vocal, Soul
Year: 2009
File: MP3@320K/s
Time: 39:26
Size: 90,5 MB
Art: Front

(4:41)  1. I'm Walkin'
(5:47)  2. Candy
(4:43)  3. Mamma, He Treats Your Daughter Mean
(5:06)  4. I Believe I Can Fly
(5:20)  5. I'll Take You Back
(4:02)  6. If I Never Get To Heaven
(5:16)  7. Me and Mr. Jones
(4:28)  8. Long John Blues

Irene Reid is a survivor, a voice from a golden age of jazz and blues singers. In the 1960s, she toured with Count Basie and recorded for Verve, then disappeared for decades, only to sound better than ever on a trio of CDs with organist Charles Earland before his death in late 1999. Like its predecessors, The Uptown Lowdown is relaxed, soulful, elemental music roots with elegance. Reid sings in a style at the early intersection of jazz and R&B, with a sweet and gritty voice that recalls Dinah Washington and Ruth Brown. She covers some of their songs here, but she gives them her own spin, swinging mightily with a phrasing as natural as speech. She draws with ease on wellsprings of feeling, from a secure plaintiveness to bawdy humor, adding her own depths to "Me and Mr. Jones" and infusing a gospel spirit into the contemporary R&B of Robert Kelly's "I Believe I Can Fly." Earland builds potent grooves with drummer Greg Rockingham and blends his organ keyboards with two tenors and trumpet, creating a lush carpet of sound for Reid's rich voice. Eric Alexander contributes some booting tenor solos, and guitarist Bill Boris adds cutting, soulful blues. ~ Stuart Broomer https://www.amazon.com/Uptown-Lowdown-Irene-Reid/dp/B00000DUC6

Personnel: Irene Reid (vocals); Eric Alexander,  Mike Karn (tenor saxophone); James Rotondi (trumpet); Charles Earland (Hammond B3 organ); Bill Boris (guitar); Greg Rockingham (drums).

The Uptown Lowdown

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Arthur Blythe - Focus

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 62:13
Size: 142,8 MB
Art: Front

(6:52)  1. Opus 1
(3:18)  2. Children's Song aka That Old Man
(4:58)  3. C.C. Rider
(2:53)  4. Once Again
(8:09)  5. My Son Ra
(6:20)  6. Hip Toe
(6:50)  7. Night Song
(3:16)  8. Bubbles
(5:00)  9. Stuffy Turkey
(5:19) 10. Night Creeper
(7:58) 11. In A Sentimental Mood
(1:16) 12. Focus

After what many considered a dry period in the early 1990s, Arthur Blythe gently began his return to alto prominence through exotic collaborations with cellist David Eyges and mallets player Gust William Tsilis. Focus presents one of his most unusual ensembles since the early '80s tuba/cello/guitar quintet. The sparse, foreign sound of this new quartet takes a moment to adjust to, but after a short distance into “Opus 1” (a Blythe original, not the old Sy Oliver chestnut) we are completely sucked in. Tsilis’s tinkly marimba carries the air of the Brazilian rainforest or African veldt but, within the full context of the album, manages to sound comfortably at home. Two obscure Monk tunes, actually expansions of prior art, are assayed here. “Children’s Song,” a recasting of “This Old Man,” is taken slowly and decorated by Blythe’s signature wide vibrato. “Stuffy Turkey,” drawing heavily from Coleman Hawkins’ “Stuffy”, gets the Bourbon Street treatment; Stewart’s vigorous puffing sounds perfectly fitting, and Brooks is sufficiently flexible to negotiate all the different turns this multi-hued album takes. Two duo tracks offer Blythe and friends a chance for more introspective action. “Once Again” is a mysterious duet for Blythe and Tsilis, their lines woven together like a rich textile. As the altoist matches wits with Stewart on “Hip Toe,” they fill in the numerous spaces nicely with spontaneous phrases and thoughtful responses. Only Ellington’s “In A Sentimental Mood” flounders, and significantly so. Blythe’s intonation is quite unsteady at times, and Tsilis mostly noodles with a seeming lack of direction as if he were unfamiliar with the tune. However, Blythe quickly redeems things on the title piece, a too-short solo of impressive lyricism which brings a satisfying end to a most surprising experience. More evidence that Blythe still has plenty of good, creative notions within his expansive mind. ~ Todd S.Jenkins  https://www.allaboutjazz.com/focus-arthur-blythe-savant-records-review-by-todd-s-jenkins.php

Personnel: Arthur Blythe, alto sax; Gust William Tsilis, concert grand marimba; Bob Stewart, tuba; Cecil Brooks III, drums.

Focus

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Lee Konitz - Frescalalto

Styles: Saxophone Jazz 
Year: 2017
File: MP3@320K/s
Time: 50:32
Size: 117,9 MB
Art: Front

(9:35)  1. Stella By Starlight
(6:25)  2. Thingin
(5:17)  3. Darn That Dream
(4:58)  4. Kary's Trance
(7:26)  5. Out of Nowhere
(3:25)  6. Gundula
(9:19)  7. Invitation
(4:02)  8. Cherokee

The whim of the first disc of Impulse! if it is taken to the threshold of the nineties, yet another step in a career that would not be enough to tell two Treccani and their Appendices. A life in jazz as there have been few, and as ever (maybe) there will be, that of Lee Konitz. From the beginning the court of Lennie Tristano 's legendary Birth of the Cool Miles, by Claude Tornhill and Stan Kenton to fraternal association with Warne Marsh , the glittering wonders scattered among the fifties and sixties (put hands and ears least of Motion , in a trio with Elvin Jones and Sonny Dallas ) infinite series of collaborations between the seventies and eighties have made it the absolute giant status ( Satori and Duplicity , published by the Italian Horo, the essential). Until the present day, ECM Angel Song , with Kenny Wheeler , Bill Frisell and Dave Holland , to a brace Blue Note, Alone Together and Another Shade of Blue , the giant Live at Birdland , with Brad Mehldau , Charlie Haden and Paul Motian , and the very recent Costumes Are Mandatory , given to the press thanks to Ethan Iverson , Mr. Bad Plus. It lacked just a Impulse! to complete the priceless collection. Lacuna finally filled with drummer Kenny Washington , which producing Frescalalto has somehow settled a debt contract in 1977, when Konitz wanted him for his nonet spalancandogli for the first time the doors of a recording studio. Four decades later the two are back together with Peter Washington (no relation) and never less than excellent Kenny Barron to complete the quartet. Gregori luxury for a delicious condensate Konitz-thought. Structured around the usual standard punch ( "Stella By Starlight," "Darn That Dream," "Cherokee") and above all the warm tone and sinuous saxophone, in that unmistakable ruling that the weather made it more human, real bewitching. Okay, we are not the parts of the Live at Birdland , and the rhythm section sometimes thinks only keep going without realizing that we would need very different care, greater sensitivity. But heck! Konitz enough. When sounds (Please listen to the joyous reinterpretation of "Out of Nowhere") and even when sudden humming, with the affectionate and approximate pace of those who in life has seen pretty much all. Other percent of these discs Mr. Konitz! ~ Luca Canini https://www.allaboutjazz.com/frescalalto-lee-konitz-impulse-review-by-luca-canini.php

Personnel: Lee Konitz: saxophone (alto) voice; Kenny Barron: piano; Peter Washington: bass; Kenny Washington: drums.

Frescalalto

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