Eddie 'Cleanhead' Vinson - Jamming The Blues

Bitrate: MP3@320K/s
Time: 35:47
Size: 81.9 MB
Styles: Jazz-blues
Year: 1974/1994
Art: Front

[4:07] 1. Just A Dream
[2:52] 2. Laura
[4:50] 3. Person To Person
[6:14] 4. Now's The Time
[7:27] 5. Hold It Right There
[4:01] 6. Home Boy
[6:12] 7. C Jam Blues

Alto Saxophone, Vocals – Eddie Cleanhead Vinson; Drums – Peter Vanhook; Electric Bass – Jerome Rimson; Guitar – Joe Jammer; Piano – Pete Wingfield; Tenor Saxophone – Hal Singer. Recorded July 2, 1974.

For this lesser-known outing (reissued on CD), the great altoist and blues singer Eddie "Cleanhead" Vinson is heard in fine form at the 1974 Montreux Jazz Festival. With fine support from a four-piece rhythm section that includes pianist Peter Wingfield and some solo space for tenor-saxophonist Hal Singer, Vinson plays a few of his familiar but always welcome numbers ("Just A Dream," "Person To Person" and "Hold It Right There") plus "Laura" and some basic instrumental blues. An excellent outing from a performer who was claimed by both the jazz and blues worlds. ~Scott Yanow

Jamming The Blues  

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The Impressions - The Greatest Hits

Bitrate: MP3@320K/s
Time: 41:46
Size: 95.6 MB
Styles: Soul, R&B
Year: 1998
Art: Front

[2:18] 1. Gypsy Woman
[2:46] 2. It's All Right
[2:30] 3. Talking About My Baby
[2:46] 4. I'm So Proud
[2:30] 5. Keep On Pushing
[2:31] 6. You Must Believe Me
[3:24] 7. Amen
[2:37] 8. People Get Ready
[2:15] 9. Woman's Got Soul
[2:18] 10. Meeting Over Yonder
[2:47] 11. I Need You
[2:32] 12. You've Been Cheatin'
[2:35] 13. Can't Satisfy
[2:21] 14. We're A Winner
[3:13] 15. I Loved And I Lost
[2:16] 16. We're Rolling On (Part One)

The quintessential Chicago soul group, the Impressions' place in R&B history would be secure if they'd done nothing but launch the careers of soul legends Jerry Butler and Curtis Mayfield. But far more than that, the Impressions recorded some of the most distinctive vocal-group R&B of the '60s under Mayfield's guidance. Their style was marked by airy, feather-light harmonies and Mayfield's influentially sparse guitar work, plus, at times, understated Latin rhythms. If their sound was sweet and lilting, it remained richly soulful thanks to the group's firm grounding in gospel tradition; they popularized the three-part vocal trade-offs common in gospel but rare in R&B at the time, and recorded their fair share of songs with spiritual themes, both subtle and overt. Furthermore, Mayfield's interest in the civil rights movement led to some of the first socially conscious R&B songs ever recorded, and his messages grew more explicit as the '60s wore on, culminating in the streak of brilliance that was his early-'70s solo work. The Impressions carried on without Mayfield, but only matched their earlier achievements in isolated instances, and finally disbanded in the early '80s. ~Steve Huey

The Greatest Hits

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Camille - The Big Parade

Bitrate: MP3@320K/s
Time: 50:08
Size: 114.8 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[5:23] 1. Come Rain Or Come Shine
[3:13] 2. The Big Parade
[7:12] 3. 'round Midnight
[2:46] 4. Lullaby Of Birdland
[3:19] 5. Why Should I Love You
[3:19] 6. Fever
[3:57] 7. Twisted
[4:27] 8. My Funny Valentine
[2:35] 9. There Will Never Be Another You
[5:06] 10. Cry Me A River
[4:35] 11. Shadow Of Your Smile
[4:09] 12. Some Other Time

In a swirl of sights and sounds, a thousand faces pass by; different lives, different pasts, presents and futures. A thousand takes on fantasy and reality converges in one grand, moving celebration...

The Big Parade. It’s a perfect metaphor for the jazz album from vocalist Camille Harrison. Drawing substantial experience in a variety of stylistic settings, Camille focuses on traditional jazz music. The result is a stunning set that includes some of jazz’s most recognizable classics, along with a sampling of Camille’s own compositions. Don’t let The Big Parade pass you by!

The Big Parade

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Ken Peplowski Quartet - Lost In The Stars

Bitrate: MP3@320K/s
Time: 66:06
Size: 151.3 MB
Styles: Bop, Saxophone jazz
Year: 2002
Art: Front

[8:07] 1. If This Isn't Love
[6:34] 2. Why Do I Love You
[4:20] 3. Ataraxi
[6:25] 4. My Ship
[4:29] 5. Ballad For Very Tired And Very Sad Lotus Eaters
[7:14] 6. People Will Say We're In Love
[3:59] 7. Marchons
[4:49] 8. Lament
[7:45] 9. Good Morning Heartache
[5:52] 10. Sleep
[4:23] 11. Lost In The Stars/When You Wish Upon A Star
[2:03] 12. Piece #8 From Benny's Gig

Benny Aronov/Piano; Greg Cohen/Bass; Lewis Nash/Drums; Ken Peplowski/Clarinet, Liner Notes, Primary Artist, Sax (Tenor).

Lost in the Stars sounds like the title of a romantic mood music album, and in fact, parts of this 2001 session are romantic and sentimental. But other parts are up-tempo, exuberant, and hard-swinging. So listeners shouldn't make too much of the album's title; Ken Peplowski, true to form, provides yet another well-rounded swing-to-bop effort that ranges from the lyrical to the exhilarating. Like other Peplowski releases, Lost in the Stars has one foot in small-group swing and the other in early bebop -- an approach that recalls the mid-'40s, when there were a lot of players who were right at that swing/bop border. They were being influenced by the innovations of Charlie Parker, Bud Powell, and Dizzy Gillespie, but they weren't 100 percent bop and hadn't forgotten about swing. On Lost in the Stars, Peplowski oversees a rhythm section that includes pianist Ben Aranov, bassist Greg Cohen, and drummer Lewis Nash -- and these players serve Peplowski well whether he is on tenor sax or clarinet. Although not groundbreaking, this German release has its share of surprises. Aranov and Cohen do some writing -- Lost in the Stars isn't just an album of overdone warhorses -- and Peplowski unearths a few overlooked gems, including "Ballad for Very Tired and Very Sad Lotus Eaters" (a little known Billy Strayhorn piece from the '50s). "My Ship" certainly falls into the warhorse category -- some would argue that as great as the song is, the jazz world needs to give it a rest in the 21st century. But Peplowski's version of "My Ship" is so gorgeous and deliciously lyrical that one can easily cut him some slack, and he is equally expressive on "Good Morning Heartache." Lost in the Stars falls short of essential, but even so, it is a solid and rewarding addition to Peplowski's catalog. ~Alex Henderson

Lost In The Stars

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Stefano Bollani Trio - Falando De Amor

Bitrate: MP3@320K/s
Time: 44:58
Size: 102.9 MB
Styles: Brazilian jazz, Piano jazz
Year: 2003
Art: Front

[3:47] 1. Falando De Amor
[5:19] 2. So Tinha De Ser Com Voce
[4:36] 3. Angela
[4:14] 4. Luiza
[4:18] 5. Retrato Em Branco E Preto
[5:11] 6. Agua De Beber
[5:30] 7. Tema Do Amor Por Gabriela
[3:55] 8. Cancao Do Amor Demais
[2:25] 9. Aguas De Marco
[2:49] 10. Pois E
[2:50] 11. Samba De Uma Nota So

A truly international effort, this is a Japanese release of an Italian trio doing Brazilian music: 11 songs of Antonio Carlos Jobim, nicely mixed between the familiar and less-so. Falando de Amor is also a delightful surprise, giving a fresh coat to music that's been widely covered for the past four decades. While the fine pianist Stefano Bollani has obvious respect for Jobim's luscious melodies, he and his gifted bandmates -- bassist Ares Tavolazzi and drummer Walter Paoli -- make them sound newly composed. For example, the beautiful "Luiza," usually done as a slow ballad, becomes a fast-flowing waltz that brings out the twirling nature of the melody. The classic "Agua de Beber" is transformed by putting the bass and drums forward, while an innovative take on "Aguas de Março" ("Waters of March") replaces its usual repetition with intrigue. In these capable hands, "Samba de Uma Nota So" ("One Note Samba") vaults out of cliché into a full-out bop burner, ending with a sly reference to the original. Bollani, who has played with Lee Konitz and Phil Woods, is a master of clean, elegant phrasing. His solo turn on "Retrato em Branco e Preto" is one of the most beautiful versions you will ever hear; he takes another on "Pois E," this time strong and swinging. Meanwhile, Tavolazzi is blessedly on-pitch and unusually melodic, and Paoli is both supportive and imaginative. Each track is a perfect little set piece with no padding or fluff. Warmly recorded, this CD is a must-have for the Jobim collector, and will also satisfy fans of lively, lyrical trio playing. Highly recommended. ~Judith Schlesinger

Falando De Amor

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The Thad Jones-Mel Lewis Orchestra - Basie, 1969

Bitrate: MP3@320K/s

Time: 67:51

Size: 155.3 MB

Styles: Bop, Trumpet jazz

Year: 1969/1995

Art: Front

[10:53] 1. Second Race

[ 4:29] 2. Don't Ever Leave Me

[ 9:23] 3. The Waltz You Swang For Me

[11:09] 4. That's Freedom

[ 4:56] 5. Come Sunday

[11:48] 6. Don't Get Sassy

[ 6:47] 7. Bible Story

[ 8:22] 8. Groove Merchant

Jerome Richardson, Jerry Dodgion, Eddie Daniels, Joe Farrell, Pepper Adams (saxes, woodwinds); Thad Jones; Snooky Young, Jimmy Nottingham, Richard Williams (trumpets); Bob Brookmeyer, Garnett Brown, Tom McIntosh, Cliff Heather (trombones); Roland Hanna (piano), Richard Davis (bass), Mel Lewis (drums). Recorded in 1970 at the Village Vanguard in NYC, and was originally titled "Village Vanguard Live Sessions 3.

This live concert, broadcast over Swiss radio and released for the first time on this 1995 CD, features the Thad Jones/Mel Lewis Orchestra at its prime. The remarkable all-star group includes two first trumpeters (Snooky Young and Al Porcino) and such soloists as trumpeters Richard Williams, Danny Moore and Thad Jones, trombonist Jimmy Knepper, Jerome Richardson on soprano, Jerry Dodgion on flute and alto, baritonist Pepper Adams, pianist Roland Hanna, bassist Richard Davis and tenor great Joe Henderson whose short stint with the band was long enough to include this European tour. Highlights of the superior set include "Second Race," "The Waltz You Swang For Me," "Don't Get Sassy" and "Groove Merchant." Highly recommended to fans of the band, this Swiss CD can be found with a bit of a search.

Basie, 1969   

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Kenny Wheeler Big Band - The Long Waiting

Bitrate: MP3@320K/s
Time: 68:12
Size: 156.1 MB
Styles: Big band
Year: 2012
Art: Front

[ 4:15] 1. Canter N.6
[ 9:48] 2. Four Five Six
[ 7:24] 3. The Long Waiting
[ 5:31] 4. Seven Eight Nine
[11:20] 5. Enowena
[ 7:55] 6. Comba N.3
[14:08] 7. Canter N.1 Old Ballad
[ 7:47] 8. Upwards

Kenny Wheeler: flugelhorn; Peter Churchill: conductor; Diana Torto: vocals; Ray Warleigh: alto saxophone; Duncan Lamont: alto saxophone; Stan Sulzmann: tenor saxophone; Julian Siegel: tenor saxophone; Julian Argüelles: baritone saxophone; Henry Lowther: trumpet; Derek Watkins: trumpet; Tony Fisher: trumpet; Nick Smart: trumpet; Dave Horler: trombone; Mark Nightingale: trombone; Barnaby Dickinson: trombone; Dave Stewart: bass trombone; John Taylor: piano; John Parricelli: guitar; Chris Laurence: bass; Martin France: drums.

While likely not the reason behind its title, The Long Waiting could easily fit for fans of the Canadian expat trumpeter who has lived in England since the 1950s. Since coming to Cam Jazz in 2004 with his duo recording with longtime pianist and fellow Cam Jazzer John Taylor, Where Do We Go From Here?, Kenny Wheeler has ramped up his output, releasing four more albums in the ensuing years. But all of the octogenarian's Cam Jazz recordings have been small ensemble affairs, and though he's collaborated with larger ensembles like Italy's Colours Jazz Orchestra on Nineteen Plus One (Astarte, 2009), it's been far too long since Wheeler released a big band recording solely under his own name—22 years, in fact, when Music for Large & Small Ensembles was released by ECM.

The wait is over. That eight players are back speaks both to their dedication to the music of one of jazz's most important composers of the past six decades, and of Wheeler's faith in their ability to bring his distinctive charts to life. Some—trumpeters Henry Lowther and Derek Watkins—go right back to Wheeler's first leader date, the 1969 Fontana classic Windmill Tilter, though any who follow Wheeler's career will find plenty of familiar faces in this brass-heavy, nineteen-piece big band. Perhaps the most notable newish face is Nineteen Plus One's Diana Torto. Like Wheeler's previous vocalist of choice, Norma Winstone, Torto possesses inestimable chops, but knows when to use them—and when to lay back. Here, her wordless vocals add distinction to the melody of the buoyant waltz-time "Enowena," navigating Wheeler's interval-challenging melody with ease as part of the larger ensemble, and delivering an impressive scat solo that more effectively distances her from Winstone's spare approach for one of The Long Waiting's high points.

Wheeler's writing is immediately recognizable, a kind of gentle melancholy dominating the melodies, even at brighter tempos. Most of The Long Waiting's eight tracks are new, though he does revisit "Coma N.3," a particularly heartbreaking ballad from It Takes Two! (Cam Jazz, 2006), but its larger palette here facilitating a build to more climactic peaks. It Takes Two!'s John Parricelli is not featured on this version, though his warm electric solos on "Enowena" and the fierier "Canter N.1," are just two more reasons why this veteran session guitarist deserves greater recognition. "Canter N.1" and a reprised "Old Ballad" from Kayak (Ah Um, 1992) also feature incendiary and softer solos, respectively, from tenor saxophonist Julian Siegel, whose work with Partisans and his own records including Urban Theme Park (Basho, 2011) have placed him at the vanguard of a younger generation of significant British jazzers.

Wheeler continues to focus solely on flugelhorn these days, but at 82 his technique remains impeccable, his signature leaps into the stratosphere still as accurate—and thrilling—as ever. Based on history and given his age, it's unlikely that another big band recording will be coming from Wheeler in another 22 years (though we can certainly hope). Still, with plenty of other projects yet to come, if The Long Waiting turns out to be the trumpeter's final large ensemble recording, it's as good a big band swan song as anyone could hope for, filled with resonant charts that brim with strong melodies, effervescent solos and a harmonic complexion that could only come from the pen and horn of Kenny Wheeler. ~John Kelman

The Long Waiting

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Barry Manilow - Singing With The Big Bands

Bitrate: MP3@320K/s
Time: 52:05
Size: 119.3 MB
Styles: Adult Contemporary
Year: 1994
Art: Front

[2:26] 1. Singin' With The Big Bands
[3:18] 2. Les Brown & His Band Of Renown - Sentimental Journey
[3:01] 3. And The Angels Sing
[3:18] 4. Jimmy Dorsey & His Orchestra - Green Eyes
[3:00] 5. I Should Care
[2:57] 6. Duke Ellington & His Orchestra - Don't Get Around Much Anymore
[4:27] 7. I Can't Get Started
[3:22] 8. The Glenn Miller Orchestra - Chattanooga Choo Choo
[4:48] 9. Moonlight Serenade
[3:24] 10. Tommy Dorsey & His Orchestra - On The Sunny Side Of The Street
[3:01] 11. All Or Nothing At All
[3:05] 12. Tommy Dorsey & His Orchestra - I'll Never Smile Again
[3:25] 13. I'm Getting Sentimental Over You
[2:50] 14. The Glenn Miller Orchestra - Don't Sit Under The Apple Tree (With Anyone Else But Me)
[2:29] 15. I'll Be With You In Apple Blossom Time
[3:07] 16. Where Does The Time Go

Like Neil Diamond, Barry Manilow embarked on a transition during the 1990s from being a contemporary pop singer/songwriter to being an interpretive singer on the model of Tony Bennett, who achieved a career resurgence around the same time with a series of thematic albums. Manilow followed 1991's Showstoppers, an album of songs from Broadway shows, with Singin' with the Big Bands, which found him covering swing-era standards, in some cases accompanied by the ghost bands of Tommy and Jimmy Dorsey, Duke Ellington, Harry James, and Glenn Miller. Les Brown & His Band of Renown were still active, and he backed Manilow on a rendition of his hit "Sentimental Journey." For the most part, the songs covered were known more for their instrumental power than for the vocals of people like Bob Eberly and Ray Eberle, and Manilow matched them, while soloists re-created the signature sounds of the big band musicians and the arrangements were subtly updated. So, for example, when Manilow sang Benny Goodman's "And the Angels Sing," he equaled Martha Tilton's vocal, and Warren Leuning aped Ziggy Elman's famous trumpet solo. Manilow got in more trouble with songs like "Sentimental Journey," originally sung by Doris Day with a marked sultriness he didn't even try to evoke, and with Frank Sinatra trademarks like "All or Nothing at All" and "I'll Never Smile Again." Born just after World War II, Manilow seemed to respond to the effervescence of the sweet swing sound, but to have no grasp whatsoever of the underlying longing and pain that went with and informed these songs of wartime separation. ~William Ruhlmann

Singing With The Big Bands

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Gregg Karukas - GK

Bitrate: MP3@320K/s
Time: 55:52
Size: 127.9 MB
Styles: Smooth jazz, Contemporary jazz
Year: 2009
Art: Front

[4:45] 1. Manhattan
[4:17] 2. Daylight
[5:25] 3. Napa Road
[4:48] 4. Floating In Bahia
[5:26] 5. Wildwood
[4:54] 6. Walkin In Time
[4:22] 7. Soul Kisses
[6:10] 8. Jamba Samba
[5:16] 9. Mesa Moon
[4:53] 10. Coyote Party
[5:30] 11. Believe In Me

While naming an album after your initials might indicate a lack of imagination, it also may be taken as suggesting that the contents are representative of the artist. Pianist Gregg Karukas once called a CD You'll Know It's Me, and GK is another collection that's easy to identify. Although he is a smooth jazz player, Karukas doesn't go in for the most contemporary styles of the genre, preferring, for instance, a live rhythm section (here including bassists Eric Baines, Melvin Davis, and Karukas himself, drummer Oscar Seaton, and percussionist Luis Conte) over programmed rhythm tracks. And his antecedents are clear, his music recalling the mid-‘60s soul-jazz of Ramsey Lewis and Cannonball Adderley. Opening tune "Manhattan," in fact, sounds like a rewrite of the 1966 Bobby Hebb hit "Sunny." And Karukas prefers that his guest soloists, here including Rick Braun (flügelhorn, trumpet), Russ Freeman (guitar), and Jessy J (saxophone), only punctuate the proceedings for the most part; although the guests are heard here and there, Karukas' fingers are never far away from his keyboards for long. Of course, it's his playing that really defines the music, and he rolls along, coming up with endless riffs and ripples without really rocking the boat. This is music that is lighthearted and, to an extent, lightweight, relying on textures and colors more than any flashy playing. Whether it turns Brazilian ("Jamba Samba") or funky ("Napa Road"), it remains subtly swinging. ~William Ruhlmann

GK

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Oscar Peterson Trio - On The Town

Bitrate: MP3@320K/s
Time: 76:50
Size: 175.9 MB
Styles: Bop, Piano jazz
Year: 1961/2001
Art: Front

[7:43] 1. Sweet Georgia Brown
[5:01] 2. Should I
[5:53] 3. When Lights Are Low
[6:49] 4. Easy Listenin' Blues
[7:19] 5. Pennies From Heaven
[5:22] 6. The Champ
[5:47] 7. Moonlight In Vermont
[6:45] 8. Baby Baby All The Time
[4:13] 9. I Like To Recognize The Tune
[8:58] 10. Joy Spring
[5:14] 11. Gal In Calico
[7:41] 12. Love Is Here To Stay

Bass – Ray Brown; Guitar – Herb Ellis; Piano – Oscar Peterson.

This reissue of Oscar Peterson's live Toronto recording in the Desert Island Discs series at Verve brings to light the question that jazz audiences were debating at the time. With Peterson's legerdemain rhythmic possibilities, his knotting, shimmering waves of notes, his insanely huge harmonic structures, and his dense clusters played in every solo, half the jazz populace wondered if all the swinging noodling might be a skillful medicine show while the other half considered it genius. No matter. One thing that everyone agreed on: No matter how busy his busy got -- and this album illustrates the rule since it's in a live setting Peterson always, always swung, particularly with Herb Ellis on guitar and Ray Brown on bass. The set opens with "Sweet Georgia Brown" and it's all bets off as to what Peterson will do next. He skitters from one melodic possibility to the next while Ellis creates a dynamic flow of fresh ideas to keep the music full and bright. There are blues here, and they are gutbucket blues. They come from Ellis' guitar during this late '50s period more than at any other time in his life. But they come from Brown and Peterson too, and that's where the argument loses the wind in its sails: Everything this trio played was rooted in a blues so pervasive, so swinging, so hot, it could not be anything but truly fine jazz. Peterson's musical appetite matched his physical stature, and it is reflected in the selections here, which all seem to segue into one another: "Should I," "When the Lights Are Low," "Pennies From Heaven," "Moonlight in Vermont," and others through to "Love Is Here to Stay." All are reinvented and reinterpreted through the science of harmonic invention and rhythmic interval unique to this Oscar Peterson Trio. And while the plates and glasses rattle and tinkle, the jazz continues to burn, full of joy and light and just a hint of smoke. In 1958 this was a night to remember; in the 21st Century it's a disc to memorize in the depths of the heart. ~Thom Jurek

On The Town

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Julie London - Julie

Bitrate: MP3@320K/s
Time: 30:54
Size: 70.8 MB
Styles: Vocal jazz
Year: 1957/2010
Art: Front

[3:01] 1. Somebody Loves Me
[2:41] 2. Dream Of You
[2:17] 3. Daddy
[2:34] 4. Bye Bye Blackbird
[2:18] 5. Free And Easy
[3:06] 6. All My Life
[1:43] 7. When The Red Red Robin Comes A Bob Bobobbin' Along
[2:28] 8. Midnight Sun
[2:29] 9. You're Getting To Be A Habit With Me
[2:37] 10. Don'cha Go 'way Mad
[2:53] 11. (Back Home Again In) Indiana
[2:40] 12. For You

Julie London made the folks at the Liberty label rich with more than 25 albums, exclusive of compilations, cut over a period of 1955 to 1969. Usually put into a torch song setting, this release allows London to shed that garment and become jazzy. The reason, of course, is the presence of the invaluable Jimmy Rowles, who did the charts, played piano, and led an orchestra of top-flight but unidentified musicians. Unidentified or not, that could well be Don Fagerquist's muted trumpet on "Midnight Sun" and other cuts and either Ted Nash or Bob Cooper on tenor on "Somebody Loves Me." That the producer is Bobby Troup also helped to assure that this session would be a swinging affair. The arrangements let London's vocals take on a different demeanor. Instead of being sultry, she becomes dazzling and sparkling. She also becomes more adept at phrasing and timing and takes a risk or two in the tradition of a jazz singer. Listen to her coax the lyrics along on "(Back Home Again In) Indiana." You'll rarely hear her on other albums take the kind of up-the-scale flyer she uses as the coda to this tune. One might argue London made only one other album that comes close to the jazz sensation that radiates from this record. That's the record featuring the small group recordings she made with the duos of Barney Kessel and Ray Leatherford and Howard Roberts and Red Mitchell, respectively, compiled on Julie Is Her Name, Vols. 1 and 2. ~Dave Nathan

Julie

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Rob Parton's Jazztech Big Band - S/T

Bitrate: MP3@320K/s
Time: 54:18
Size: 124.3 MB
Styles: Big band
Year: 1991
Art: Front

[5:43] 1. Blues For Mr. P
[5:12] 2. Laura
[5:20] 3. Sentimental Journey
[5:37] 4. Vignette For Trumpet And Flugelhorn
[5:02] 5. S'wonderful
[4:00] 6. Dreamer Of Dreams
[7:37] 7. Partin ' Shots
[5:07] 8. A Time For Love
[5:05] 9. Main Street News
[5:30] 10. Evanology

Rob Parton's first CD released by Rob Parton's JAZZTECH Big Band with Conte Candoli.

One of Chicago's busiest and most versatile trumpet players, Parton is highly regarded as a studio, theatre and jazz musician, performer, educator and band leader. As a jazz musician, Parton has performed five nights a week for the past four years as featured artist at Chicago's Catch 35. The list of musicians who have played in the Rob Parton Trio is like a who's who in Chicago Jazz.

When Parton is not working in Columbus or Chicago you will often find him directing an All-State jazz band or acting as a guest artist with many high school and college jazz programs throughout the country. He has presented concerts or clinics at the Midwest Clinic in Chicago, International Association of Jazz Educators convention, MENC and many other music educators conventions.

Rob Parton's Jazztech Big Band

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Sammy Rimington - Nuages

Bitrate: MP3@320K/s
Time: 93:08
Size: 213.2 MB
Styles: New Orleans jazz
Year: 2017
Art: Front

[ 7:31] 1. Marie
[ 6:27] 2. Jerusalem Blues
[ 8:55] 3. Down In Honky Tonk Town
[11:21] 4. Same Old Love
[ 4:41] 5. Blueberry Hill
[10:22] 6. Is It True What They Say About Dixie
[ 6:09] 7. Lonesome And Sorry
[ 8:28] 8. June Night
[ 3:13] 9. Nuages
[ 6:54] 10. While We Danced At Mardi Gras
[ 5:06] 11. Sentimental Journey
[ 8:03] 12. Panama
[ 5:51] 13. I've Always Been In Love With You

British reedman Sammy Rimington was one of the top trad musicians to emerge during the 1960s. He played with Barry Martyn in 1959, spent several years with Ken Colyer (1960-1965), and came to the U.S. in the mid-'60s, playing with Big Bill Bissonnette's Easy Rider Jazz Band. Since that time, Rimington has been heard in a countless number of settings and, other than a brief fling with a fusion band he led (Armanda in 1971), he has stuck exclusively to New Orleans revival jazz. Rimington has recorded and performed with a who's who of New Orleans jazz including Chris Barber, Kid Thomas Valentine, and Captain John Handy. Influenced strongly by George Lewis on clarinet and by Handy on alto, Rimington led many record dates of his own for small labels such as Rhythm Records in 1962; Jazz Crusade in 1963; GHB in 1966; 77 in 1969; California Condor in 1973; Storyville in 1974; Munich in 1975; Dawn Club in 1977; Beerendonk in 1977; Herman, Quines, Lulu White's, and Onward in 1979; Jazz Time in 1983; Progressive in 1985; and quite a few other labels. He continued recording as a leader and collaborator through the '90s and into the new millennium, with highlights including Reed My Lips (billed to Sammy Rimington & the Return of the Mouldy Five) on Jazz Crusade in 1999 and Visits New Orleans, recorded by Rimington with a host of Crescent City stalwarts in April 2005 (several months before Hurricane Katrina devastated the city) and released by Arhoolie in 2008. ~bio by Scott Yanow

Nuages

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Teddy Wilson Trio - Revisits The Goodman Years

Bitrate: MP3@320K/s
Time: 66:51
Size: 153.0 MB
Styles: Swing, Piano jazz
Year: 1980/2004
Art: Front

[3:02] 1. S'wonderful
[3:00] 2. Someday Sweetheart
[3:16] 3. The Sheik Of Araby
[2:58] 4. More Than You Know
[3:40] 5. Nobody's Sweetheart
[4:10] 6. Rose Room
[4:16] 7. China Boy
[2:22] 8. Sweet Sue
[2:43] 9. Moonglow
[3:17] 10. Exactly Like You
[3:36] 11. Sweet Lorraine
[3:28] 12. Whispering
[3:57] 13. How High The Moon
[4:23] 14. Keepin' Out Of Mischief Now
[4:37] 15. Don't Be That Way
[3:32] 16. Somebody Loves Me
[5:26] 17. St. Louis Blues
[5:00] 18. I'll Remember April

Teddy Wilson, age 67 at the time of these trio sides, was predictably excellent throughout his long career, never recording a dull or indifferent record. In fact, more than just about any jazz musician, his style remained immune to outside influences ever since the swing era, so do not look for any McCoy Tyner or Bill Evans chord voicings on this LP. Wilson, along with bassist Jesper Lundgaard and drummer Ed Thigpen, plays a dozen songs that he had performed with Benny Goodman during the 1935-38 period. Fun and swinging music. ~Scott Yanow

Revisits The Goodman Years

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George Colligan - Mad Science

Bitrate: MP3@320K/s
Time: 61:49
Size: 141.5 MB
Styles: Post bop, Piano jazz
Year: 2003/2010
Art: Front

[6:37] 1. Pride And Joy
[5:48] 2. Keeping Pace
[6:17] 3. Song For Obama
[2:16] 4. Birth
[6:46] 5. Interiors
[7:34] 6. The Shadow Knows
[4:26] 7. Utsukushi
[6:30] 8. Tightrope
[5:35] 9. Soulpain
[1:53] 10. The Promised Land
[8:02] 11. Anthem

George Colligan - Hammond B3 Organ; Tom Guarna - Guitar; Rodney Holmes - Drums; Gary Thomas - Tenor Saxophone, Flute.

George Colligan is a New York based pianist, organist, drummer, trumpeter, teacher, and bandleader, who is one of the most original and compelling jazz artists of his generation. An award-winning composer (Chamber Music America/Doris Duke Foundation grant recipient) and player (winner, Jazzconnect.com Jazz Competition), Colligan is highly in demand as a sideman, having worked with players like Cassandra Wilson, Don Byron, Buster Williams, and Lonnie Plaxico, both on the bandstand and in recording sessions (appearing on over 100 CDs). He has released 24 recordings full of his intelligent writing and impressive technique. Colligan’s musical style incorporates everything from showtunes to funk, from free improvisation to 20th century classical music. His performances include dazzling technique as well as mature restraint. Colligan was on the faculty of the Juilliard School for two years and is currently an Assistant Professor at Portland State University. He is currently a member of Jack DeJohnette’s New Quintet. Recently, Colligan started playing the Hammond 44 Melodion(melodica).

Mad Science

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Alan Pasqua, Darek Oleszkiewicz, Peter Erskine - My New Old Friend

Bitrate: MP3@320K/s
Time: 63:27
Size: 145.2 MB
Styles: Post bop, Piano jazz
Year: 2005
Art: Front

[4:55] 1. You Must Believe In Spring
[4:33] 2. Barcelona
[5:59] 3. Highway 14
[4:38] 4. All The Things You Are
[8:29] 5. My New Friend Old Friend
[7:18] 6. Body & Soul
[4:20] 7. One More Once
[7:03] 8. Vienna
[5:58] 9. Wichita Lineman
[4:37] 10. Stick Slap
[5:31] 11. Smile

Alan Pasqua's My New Old Friend is mostly a set of sensitive and relaxed trio improvisations. Pasqua, bassist Darek Oles and drummer Peter Erskine, three of the top jazz musicians based in Los Angeles, perform subtle reshapings of five standards which alternate with six of Pasqua's generally introspective originals. One is reminded of Bill Evans (particularly on the standards) in Pasqua's sophisticated chord voicings and the close interplay of the musicians, but that is only a point of reference rather than a direct copy. However fans of Evans' treatments of ballads will certainly enjoy this accessible and thoughtful effort. ~Scott Yanow

My New Old Friend

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Mike Ricchiuti - The Way I See It

Size: 137,4 MB
Time: 58:47
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz: Smooth Jazz
Art: Front

01. Forward Motion (5:25)
02. Up All Night (6:19)
03. Embrace (6:54)
04. The Way I See It (5:30)
05. Still Standing (5:24)
06. Just So You Know (6:05)
07. Dogs In The Neighborhood (4:44)
08. Changes (6:40)
09. Slow Roller (5:52)
10. And Then Peace (5:50)

Keyboardist, composer, Mike Ricchiuti is an emerging artist with a refreshing and contemporary approach to his playing and writing. Mike’s playing, while grounded in the jazz piano tradition, draws upon a wide variety of influences from pop to soul and funk, giving him a unique voice as an artist. His influences include Herbie Hancock, Keith Jarrett, Stevie Wonder, and many others.

Born in Brooklyn, NY, Mike grew up on Long Island, and began taking piano lessons by the age of 7. As a young boy he studied classical music but Billy Joel was his musical hero. In his late teens Mike discovered jazz piano and decided to enroll at Berklee College of Music. In the fall of 1986, Mike left for Boston and discovered a whole new world of music. There he studied with Jeff Covell, Ray Santisi, and Herb Pomeroy, among others. In 1991 he returned to NY to embark on his career, while continuing to study with Fred Hersch and Kenny Werner.

Most recently Mike has been touring with singer Patti Austin as her pianist/keyboardist and musical director, supporting her latest CD, “Avant Gershwin”. This has provided Mike with the opportunity to work with various symphonies around the world, legendary big bands like Count Basie and Duke Ellington, as well as leading his own trio. He is currently in the studio with Patti, arranging and producing tracks for her new pop/r+b record. In addition Mike has performed and recorded with guitarist Chuck Loeb. On Chuck’s latest Cd, “When I’m With You”, Mike is featured as a pianist, writer, as well as co-producer on several of the tracks. Other recent recording credits include “A New Kind of Blue” featuring Randy Brecker, and work with pianist, Bob James, saxophonist, Eric Marienthal, Gato Barbieri, Michael Franks, Spyro Gyra, David Mann, Kim Waters, and the soundtrack to “State and Main”.

Mike’s talents have also been sought out by a variety of other artists. He toured in the US and Europe with legendary funk saxophonist Maceo Parker, playing organ. Mike was hired to play in the house band for the “I Love NY” benefit concert held at the Beacon Theater in NYC for victims of the World Trade Center tragedy. On this special night, he backed up artists such as Al Jarreau, Natalie Cole, Phoebe Snow, Jeff Golub, Russ Freeman, and many others. In addition, Mike has worked with Michael Brecker, Chris Botti, Peabo Bryson, Bill Evans, Will Lee, Steve Gadd, John Patitucci, Omar Hakim, Stephanie Mills, David Foster, Jeff Kashiwa, Chieli Minucci, and Nelson Rangell.

The Way I See It

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Chick Corea - The Musician (Live)

Size: 177,8+164,9+156,7 MB

Time: 77:09+71:35+67:57

File: MP3 @ 320K/s

Released: 2017

Styles: Jazz

Art: Front

CD 1:

01. Captain Marvel (Feat. Return To Forever) ( 8:16)

02. Light As A Feather (Feat. Return To Forever) (14:14)

03. I Hear A Rhapsody ( 9:24)

04. Spirit Rides (Feat. John McLaughlin) (13:02)

05. Special Beings (Feat. John McLaughlin) (16:42)

06. I've Got The World On A String (Feat. Bobby McFerrin) ( 5:54)

07. Spain (Feat. Bobby McFerrin) ( 9:33)

CD 2:

01. Overture (Feat. Gary Burton) ( 7:58)

02. Your Eyes Speak To Me (Feat. Gayle Moran Corea) ( 4:32)

03. If I Were A Bell (22:08)

04. Nefertiti (10:56)

05. Zyryab (Feat. Flamenco Heart) (16:38)

06. Mi Nina Lola (Feat. Flamenco Heart) ( 9:20)

CD 3:

01. CC's Birthday Blues (Feat. Wynton Marsalis) ( 9:28)

02. Caravan (Feat. Marcus Roberts) ( 8:50)

03. Hot House (Feat. Herbie Hancock) ( 4:35)

04. Dolphin Dance (Feat. Herbie Hancock) ( 9:11)

05. Cantaloupe Island (Feat. Herbie Hancock) ( 6:37)

06. Ritual (Feat. Chick Corea Elektric Band) (13:40)

07. Silver Temple (Feat. Chick Corea Elektric Band) (15:33)

Renowned keyboardist Chick Corea has announced the upcoming release of a live album and documentary film set entitled The Musician. The live audio/video release captures Corea’s 70th birthday celebration concerts held at the legendary Blue Note Jazz Club in New York City in 2011.

Concord music group will issue the 3-CD/Blu-ray. Corea is featured alongside 10 different bands and a total of 28 fellow legendary musicians. Those who appear on The Musician with Corea include Herbie Hancock, Bobby McFerrin, Wynton Marsalis, John McLaughlin, Stanley Clarke, Chick Corea Elektric Band and Return to Forever, among others. The recordings total almost four hours of live performances.

The Musician Disc 1

The Musician Disc 2 

The  Musician Disc 3 

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Ray Charles - Rough Guide To Ray Charles

Size: 159,6 MB
Time: 68:13
File: MP3 @ 320K/s
Released: 2017
Styles: Soul, Jazz, R&B
Art: Front

01. Come Rain Or Come Shine (3:38)
02. What'd I Say (Parts 1 & 2) (5:02)
03. Lonely Avenue (2:32)
04. I Got A Woman (2:50)
05. Georgia On My Mind (3:32)
06. Ray Charles (2:32)
07. Drown In My Own Tears (3:18)
08. Early In The Morning (2:44)
09. Night Time Is The Right Time (3:24)
10. Mess Around (2:37)
11. I Believe To My Soul (2:58)
12. Mary Ann (2:43)
13. Come Back Baby (3:03)
14. This Little Girl Of Mine (2:29)
15. Sinner's Prayer (3:20)
16. Talkin' 'bout You (2:48)
17. A Fool For You (2:59)
18. Let The Good Times Roll (2:49)
19. Blackjack (2:17)
20. I Had A Dream (2:50)
21. Tell Me How Do You Feel (2:39)
22. It Should've Been Me (2:40)
23. I'm Moving On (2:17)

The undisputed ‘genius of soul’, Ray Charles’ golden period is presented here with a handpicked selection of tracks from his 1950s heyday. A true innovator and inspiration to soul singers and rock vocalists alike, Ray Charles transcended racial boundaries and changed the shape of popular music.

‘I was the first one who started soul,’ Ray Charles said when the compiler of this collection interviewed him shortly before his death in 2004. ‘I was raised in the church and I knew gospel music. But I knew rhythm and blues too, because that was the music you heard in the neighbourhood. And I thought, ‘that’s my sound.’ I put those two things together and they called it soul music.’

To interview Ray Charles was a privilege. But to hear him sing was heaven and the tracks included here, recorded between 1953 and 1960, constitute not only the peak of his genius but were a fountain of inspiration that changed the shape of popular music across racial boundaries, influencing black soul singers such as Stevie Wonder, Marvin Gaye and Otis Redding and white rock vocalists like Joe Cocker, Steve Winwood and Van Morrison.

Ray Charles Robinson was born into acute poverty in rural Georgia in 1930 and had a tragic upbringing. He witnessed his brother drown as a young child, was blind from the age of seven and lost his mother when he was 15. ‘Music was the only thing that kept me breathing and gave me a way to pick myself up,’ he told this writer.

At blind school he learnt to read and write music in braille and began his recording career for the Downbeat label in 1949, singing in a smooth, crooning style modelled on Nat ‘King’ Cole and Charles Brown.

He enjoyed some early success but it was not until he signed to Atlantic Records in 1952 that he began to develop his own style and, with the encouragement of label owner Ahmet Ertegun, moved away from his ‘cool’ sound towards a more urgent and emotional approach with its roots in blues and gospel.

The turning point came on 1954’s ‘I Got A Woman’. A huge hit, the song was also highly controversial for its fusion of gospel fervour and carnal lyrics which even Charles’ religious wife admitted shocked her when she first heard it.

The controversy soon subsided and a string of unforgettable hits followed, including ‘This Little Girl Of Mine, Drown In My Own Tears’, ‘Hallelujah I Love Her So’, ‘Lonely Avenue’, ‘Talking ‘Bout You’, ‘I Believe To My Soul’ and ‘The Night Time Is The Right Time’, all of which are included here. On these recordings, Charles fused jazz, gospel, swing, blues, r&b and balladry, which, as Van Morrison put it, were ‘rolled together into one amazing, soulful thing.’

He left Atlantic at the end of the 1950s and although there were still some great records to come, few would argue that the tracks included here represent his golden period when he was the undisputed ‘genius of soul’

Rough Guide To Ray Charles

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Sylvia Bennett - For You

Size: 101,7 MB
Time: 38:56
File: MP3 @ 320K/s
Released: 201/
Styles: Jazz/Pop Vocals
Art: Front

01. For You (3:41)
02. Stay With Me (3:39)
03. Two Hearts One Soul (3:56)
04. I Never Thought (3:21)
05. Fly Me To The Moon (2:30)
06. Smile (Lounge Version) (3:47)
07. Loving You (3:48)
08. Look Of Love (Smooth Pop Version) (3:43)
09. Make Someone Happy (3:31)
10. Glad To Know (3:07)
11. Smile (Chill Version) (3:49)

Sylvia Bennett continues her journey into smooth original music… her brand new album FOR YOU, delivers another successful set of contemporary, sensuous songs from the Grammy-nominated, Miami-based vocalist and songwriter. On the heals of IT’S ALL ABOUT LOVE, which climbed up to #24 in 2016 on SmoothJazz.com’s Top 50 Album Airplay Chart. The new release features the successful collaborative combo with Ms. Bennett’s longtime producer and writing partner, Hal S. Batt. The renowned Miami producer and After Hours studio owner has worked with some of the biggest names in Miami recording history including Ricky Martin, Julio Iglesias, Regina Belle and many more. Also, this go around, Sylvia invites Hungarian violinist and bandleader Peter Ferencz, from the Smooth Jazz Pop ensemble, Peet Project. Modern love songs, jazzy chilled arrangements, heart string-tugging vocals and sophisticated musicianship… FOR YOU is for all of us!

For You

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