Kenny Dorham & Jackie McLean - Inta Somethin'

Styles: Trumpet Jazz
Year: 1962
File: MP3@320K/s
Time: 38:34
Size: 89,0 MB
Art: Front

(7:13)  1. US
(6:00)  2. It Could Happen To You
(6:06)  3. Let's Face The Music
(6:59)  4. No Two People
(5:01)  5. Lover Man
(7:12)  6. San Francisco Beat

"Originally released in 1962 on the Pacific Jazz label, Inta Somethin' is a wonderful live session from the legendary trumpeter Kenny Dorham and alto sax great Jackie McLean, recorded live at the Jazz Workshop in San Francisco in the winter of 1961. Featuring four standards bookended by two Dorham originals, the album also includes contributions from dynamic bassist Leroy Vinnegar amongst others. Inta Somethin' is a classic hard bop live session that includes a version of Dorham's great 'Uno Mas' a year before the Blue Note album of the same name. Includes original liner notes. 180 gram vinyl." http://www.forcedexposure.com/Catalog/dorham-jackie-mclean-kenny-inta-somethin-lp/DOX.888LP.html

Personnel: Kenny Dorham: trumpet;  Jackie McLean: alto saxophone; Walter Bishop: piano;  Leroy Vinegar: bass; Art Taylor: drums.

Inta Somethin'

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Karrin Allyson - By Request: The Best Of Karrin Allyson

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 65:47
Size: 153,1 MB
Art: Front

(5:26)  1. Night And Day
(6:02)  2. Moanin'
(5:55)  3. What's New
(3:54)  4. O Pato (The Duck)
(4:07)  5. Sous Le Ciel De Paris (Under Paris Skies)
(4:15)  6. Life Is A Groove (Jordu)
(6:44)  7. Everything Must Change
(4:20)  8. A Felicidade (Happiness)
(6:11)  9. Sweet Home Cookin' Man
(6:20) 10. Nature Boy
(3:44) 11. And So It Goes
(3:48) 12. Cherokee
(4:54) 13. Next Time Around (Soultrane)

Straight-ahead jazz vocalist Karrin Allyson came from Kansas City to the world at large, becoming as popular as any singer of her generation. These 12 selections plus one previously unissued track, done over a span of 11 recordings and 15 years, show why she has become likable, marketable, and admired within certain circles of the mainstream standard-bearers. She also writes a little, plays some piano, interprets others' lyrics to well-known standards, and tosses in a considerable amount of seductive Brazilian or French tunes done in their native language. Allyson's controlled voice never soars skyward or through wispy clouds, but her sensible style is one that easily attracts regular nightclubbers, as well as festival crowds who just want to hear good music professionally performed. Her sophistication through the years has grown considerably, but she has never been the cutesy singer who needed to grow up, and has remained as poised and polished as the first day she chose to sing for a living. This recording also displays a mix of the many collaborators she has worked with, including many of her friends from home. She's very comfortable with the blues, as the Bobby Timmons evergreen "Moanin'" displays, going from a scatted intro to the famous Jon Hendricks lyric. She uses two guitarists for the light samba take of "Night and Day," the perky "O Pato," and the convincing, heartfelt "Nature Boy." An accordion accompanies the waltz "Sous le Ceil de Paris," and she sings well in Portuguese on the happy, bouncy "A Felicidade." Working separately and together with the wonderful singer Nancy King, Duke Jordan's "Jordu" is turned into "Life Is a Groove" with Allyson's swinging lyrics, while her original "Sweet Home Cookin' Man" is a fan favorite about an imaginary sweetheart gourmet chef, with the modal piano of Paul Smith keeping the griddle sizzling. In retrospect, her version of the ballad "What's New?" is especially poignant and bittersweet to hear, considering that the late tenor saxophonist Bob Berg and pianist James Williams are backing her up. Both died far too young, making this statement a forever unanswered question. "Cherokee" is the most unusual arrangement, jamming the gears from idle neutral to furiously fast sixth gear at the drop of a flag like a drag race. Certainly there are those who would choose different tracks, but this is a very good overview of what Allyson has done in her relatively short career and there's much more to come. ~ Michael G.Nastos http://www.allmusic.com/album/by-request-the-best-of-karrin-allyson-mw0000816546

Personnel: Karrin Allyson (vocals, piano, shaker); Nancy King (vocals); Danny Embrey (guitar, acoustic guitar, electric guitar); Rod Fleeman (acoustic guitar); Carter Brey (cello); Randy Weinstein (harmonica); Gil Goldstein (accordion, piano); Kim Park (alto saxophone); Bob Berg (tenor saxophone); Paul "Scooby" Smith, Mulgrew Miller, James Williams , Bruce Barth (piano); David Finck, John Patitucci, Bob Bowman (acoustic bass); Todd Strait (drums, percussion); Lewis Nash (drums); Michael Spiro (pandeiro, shaker, surdo).

By Request: The Best Of Karrin Allyson

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Gene Harris Quartet - Live In London

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 62:29
Size: 144,0 MB
Art: Front

(13:26)  1. No Greater Love
(15:18)  2. Blue Monk
( 6:04)  3. My Funny Valentine
(11:18)  4. In A Mellow Tone
( 9:02)  5. Misty
( 7:19)  6. Blues Closer

Gene Harris (1933-2000) was the master of blues in jazz. A self-proclaimed "blues pianist with chops," Harris could sting the most un-blues-like melody and make it sound like it was written by Meade Lux Lewis and performed by Oscar Peterson. Since Harris' death in 2000, posthumous releases of previously unreleased performances have been steady but sparse. These include: Live at Otter Crest (Concord Jazz, 2001), Instant Party (Concord Jazz, 2004), and now Live in London. Documenting a 1996 London performance with a local rhythm section, Live in London find Harris at his most exuberant. The set begins with an expansive "No Greater Love," with Harris introducing the piece with a length legato prelude before turning the tempo upside-down, giving the ballad the momentum of a freight train, albeit a happy one. Guitarist Jim Mullen sounds more rock than jazz, but does manage a clever Mozart quote ("allegro molto," from the "Symphony 40 in G minor") and several cartoon soundtrack quotes. An up-tempo "Blue Monk" provides Harris his first of three blues venues, allowing him and guitarist Mullen to display their considerable chops. This is where Harris is most at home, a steady romp through those twelve bars with a smile as big and fresh as his Idaho home. "My Funny Valentine" displays Harris invention in approaching a melody from the bottom side up in the same way as Erroll Garner in his salad days. The recital center point is the fifteen-minute "In a Mellow Tone." Harris, who states that he never plans set lists or performances, effectively conjures this Ellington chestnut out of thin air, employing the same introduction paradigm he used on "Valentine." He reveals the song covertly and then overtly. Harris uses his great sense of drama to build upon the melody, chorus by chorus, until he achieves the maximus of his orchestral style. Harris salutes Garner with a sensitive "Misty" before closing things with, what else, a blues appropriately entitled "Blues Closer." The Resonance Records website sports a brief interview with Harris where the pianist is revealed as a smiling, amiable giant interested only in playing music. One must believe that there is much more unreleased Gene Harris out there to celebrate. ~ C.Michael Bailey https://www.allaboutjazz.com/live-in-london-gene-harris-resonance-records-review-by-c-michael-bailey.php

Personnel: Gene Harris: piano; Jim Mullen: guitar; Andrew Clyendert: bass; Martin Drew: drums.

Live In London

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Walter Bishop, Jr. - Old Folks

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 37:06
Size: 85,3 MB
Art: Front

(6:01)  1. Manhã De Carnaval
(7:39)  2. Old Folks
(4:35)  3. Up Jumped Spring
(4:15)  4. Straight, No Chaser
(4:41)  5. Here's That Rainy Day
(3:58)  6. Yardbird Suite
(5:54)  7. Ev'ry Time We Say Goodbye

A lost little session from pianist Walter Bishop one that has the pianist working at an all acoustic level, and in a trio format that's a bit different than his other 70s sessions but still totally great! The group features wonderful work from Sam Jones on bass and Billy Higgins on drums both players we totally love together, and who give Bishop a bit of backing that's similar to their work with Cedar Walton. Yet the style here is very different, too as Walter brings out these more gutbuckety notes at times still handled with class and care, but with a deeper vibe that seems to resonate especially strongly with the bass of Jones. Titles include "Manha Do Carnaval", "Old Folks", "Up Jumped Spring", and "Straight No Chaser". © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/731094/Walter-Bishop-Jr:Old-Folks

Old Folks

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Fats Navarro - Fats Blows 1946-1949

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 70:54
Size: 166,1 MB
Art: Front

(2:53)  1. Dance Of The Infidels
(2:49)  2. 52nd St. Theme
(5:34)  3. Double Talk
(2:35)  4. Move
(2:41)  5. Hollerin' And Screamin'
(2:54)  6. The Tadd Walk
(3:09)  7. Jumpin' For Jane
(2:50)  8. Lady Bird
(2:53)  9. Goin' To Minton's
(2:45) 10. Nostalgia
(2:25) 11. Eb Pob
(2:59) 12. Our Delight
(3:16) 13. Bouncing With Bud
(3:04) 14. Wail
(3:05) 15. Symphonette
(3:07) 16. Boperation
(2:49) 17. Fats Blows
(4:02) 18. Stop
(2:52) 19. Sid's Delight
(2:53) 20. Jahbero
(2:57) 21. The Skink
(2:59) 22. The Squirrel
(3:13) 23. Groovin' High

A 23-track overview of Fats' brief moments of brilliance in the jazz skyline. The groups are varied, as was Navarro's wont, featuring such luminaries as Eddie "Lockjaw" Davis, Tadd Dameron, Leo Parker, Art Blakey, Howard McGhee, Bud Powell, Sonny Rollins, Kenny Clarke, Milt Jackson, and Fats' idol, Charlie Parker. Navarro was a brilliant musician, done in by drugs and tuberculosis. This disc gives you an idea of how tragic his loss was to the jazz world. ~ Cub Koda http://www.allmusic.com/album/fats-blows-1946-1949-mw0000051021

Personnel includes: Fats Navarro (trumpet); Leo Parker (alto & baritone saxophones); Charlie Parker, Ernie Henry, Budd Johson, Sahib Shihab, Ernie Henry (alto saxophone); Eddie Davis, Charlie Rouse, Don Lamphere, Allen Eager, Coleman Hawkins, Dexter Gordon, Sonny Rollins, Wardell Gray (tenor saxophone); Cecil Payne, Marion De Veta (baritone saxophone); Howard McGhee (trumpet); Kai Winding (trombone); Milt Jackson (vibraphone); Al Haig, Tadd Dameron, Lennie Tristano, Linton Garner, Bud Powell (piano); Huey Long, Billy Bauer, Chuck Wayne (guitar); Gene Ramey, Curley Russell, Nelson Boyd, Tommy Potter, Jimmy Johnson, Jack Lesberg (bass); Denzil Best, Kenny Clarke, Art Blakey, Shadow Wilson, Buddy Rich, Max Roach, Roy Haynes (drums); Chano Pozo, Diego Ibarra (bongos); Vidal Bolado (conga).

Fats Blows 1946-1949

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Chuck Loeb - My Shining Hour

Styles: Guitar Jazz
Year: 1988
File: MP3@320K/s
Time: 61:20
Size: 141,6 MB
Art: Front

(5:30)  1. The Chant
(6:29)  2. Asi Sera
(6:56)  3. My Shining Hour
(9:06)  4. If I Were a Bell
(5:26)  5. Maxine
(6:05)  6. Let All Notes Ring
(5:57)  7. Tarde
(6:00)  8. I Just Can't Stop Loving You
(4:40)  9. Brunet
(5:05) 10. My Funny Valentine

A skillful guitarist capable of playing any style of music, Chuck Loeb's own solo projects have generally been commercially successful crossover jazz, which has been classified through the years as "contemporary" or "smooth" jazz. He started playing guitar when he was 11; discovered jazz when he was 16; took lessons from Jim Hall, Pat Metheny, and Joe Puma; and attended the Berklee College of Music. Loeb freelanced in New York (with Hubert Laws, Chico Hamilton, and Joe Farrell, among others), and then in 1979 joined Stan Getz's group for two years. While in New York, Loeb worked on jingles and soundtracks both as a player and a composer. He spent 1985-1987 with Steps Ahead and later produced recordings by Donald Harrison, Nelson Rangell, Larry Coryell, George Garzone, and Warren Bernhardt, among others. As a performer, Loeb was part of Petite Blonde (a group featuring saxophonist Bill Evans), Metro, and the Fantasy Band, and played with Gary Burton, Dave Samuels, and many others; in addition, his compositions have been recorded by quite a few pop/jazz artists. Loeb made his first solo record in 1988, recorded extensively for DMP, and switched to Shanachie in 1996. Over the next seven years he released six albums for the label, beginning in 1998 with The Moon, the Stars and the Setting Sun, followed by Listen in 1999. Loeb remained active in the 21st century, releasing In a Heartbeat in early 2001, All There Is in 2002, and eBop one year later. The guitarist wrapped up his tenure with Shanachie in 2005 with When I'm with You, and signed with Heads Up International, a division of Telarc. His first outing for the label was Presence, released in 2007.  In 2010, Loeb replaced Larry Carlton as the guitarist for Fourplay, but continued as a producer, composer, arranger, and guitarist on his own, starting his own label, Heads Up, and with the release of Plain 'n' Simple in 2011 he revisited the world of 1960s jazz bebop organ trios. It's Love, an album with saxophonist Eric Marienthal, appeared in 2012. Loeb returned to Shanachie in 2013 with Silhouette, an eclectic album featuring the guitarist backed by four distinct ensembles including a group with drummer Peter Erskine and an organ trio with Pat Bianchi. Two years later, he again paired with Marienthal for Bridges, which also featured bassist John Patitucci. In 2016, Loeb delivered his 22nd studio album, Unspoken, featuring a bevy of collaborators including Jeff Lorber, Nathan East, Andy Snitzer, Till Brönner, and many more. Loeb died of cancer on July 31, 2017 at the age of 61. ~ Scott Yanow http://www.allmusic.com/artist/chuck-loeb-mn0000125479/biography

Personnel:  Chuck Loeb (Guitar); Makoto Ozone (Piano, synthesizer); John Patitucci (Bass); Dave Weckl (Drums); Pat Rebillot (Piano); Carmen Cuesta (Vocals 02, 07).

My Shining Hour

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Charnett Moffett - Spirit of Sound

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 47:02
Size: 108,2 MB
Art: Front

(2:48)  1. Bassland
(1:28)  2. Seeker of Truth
(3:32)  3. Opera
(4:03)  4. Hope
(4:38)  5. Natural Heritage
(4:53)  6. Swing Raga
(6:43)  7. Blues Walk Groove
(5:30)  8. Overpass
(4:09)  9. Lonely Woman
(3:47) 10. For Those Who Know
(5:26) 11. Spirit of Sound

Bassist Charnett Moffett's first two releases on the Motéma imprint came out two years apart; his third and fourth releases for the same label The Bridge: Solo Bass Works (Motéma Music, 2013) and the outing under discussion here arrive a mere three months apart. His working pace has clearly quickened, but the quality of the music hasn't suffered for it. Both The Bridge: Solo Bass Works and Spirit Of Sound present an artist, interpreter, composer and conceptualist in his prime. Moffett used his first release of 2013 to showcase his virtuosity and skill in delivering songs. His high level bass chops are also on display here, but this album is about creating soundscapes, not out-and-out songs. (Middle) Eastern tinged auras, circling patterns and swirling ideals are all part of this production, and "production" is the key word in that statement; Moffett, label head/label mate/duo partner Jana Herzen and manager/producer Mary Ann Topper shaped the album and gave it a glistening, celestial vibe. The personnel on Spirit Of Sound changes from track to track, as various family members and label mates drop in and out, but the consistent presence of Moffett on bass(es), Angela Moffett on tamboura, and Max Moffett on drums creates a supportive foundation throughout. In a traditional sense, the guests are underutilized, but in the context of this album concept, they deliver what's expected. Amareia Moffett adds some wordless vocals to the underwhelming "Opera," Tessa Souter does the same on the bouncy, hippie-ish "Natural Heritage," and Herzen follows suit on the semi-psychedelic "Swing Raga." Angela Moffett rounds out the vocalist roster, reciting E. E. Cummings' words on "Seeker Of Truth" and Emily Dickinson's work on "Hope." Babatunde Lea adds some percussive coloring on a few tracks, pianist Marc Cary makes an appearance on one piece and multi-reedist Oran Etkin shows up twice, but none of them make a big splash; they simply fit into the overall musical formula of the day. Much of this music is overly repetitious in nature, with vamping patterns aplenty, but Moffett's ever-stupendous bass work is the X factor that brings excitement and a sense of surprise into the picture. His technique, taste and overall conception for construction turns the potentially-bland into a flavorful sonic stew. ~ Dan Bilawsky https://www.allaboutjazz.com/spirit-of-sound-charnett-moffett-motema-music-review-by-dan-bilawsky.php

Personnel: Charnett Moffett: acoustic upright bass, fretless electric bass, piccolo bass guitar, vocals; Angela Moffett: tamboura, spoken word (2, 4); Charnett "Max" Moffett: drums, tabla, vocals (4); Marc Cary: piano (10); Oran Etkin: clarinet (4), tenor saxophone (8); Babatunde Lea: percussion (4, 6, 8); Amareia Moffett: vocals (3); Tessa Souter: vocals (5); Jana Herzen: vocals 6).

Spirit of Sound

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Marcus Printup - Lost

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 64:01
Size: 147,5 MB
Art: Front

(7:21)  1. G Wiz
(7:12)  2. Hopscotch
(9:15)  3. Soul Street Parade
(8:34)  4. Lost
(6:16)  5. Black Bossa
(6:32)  6. Homey's Idea
(8:54)  7. What you Talkin Bout
(9:53)  8. To the Mountain Top

A talented trumpeter with a lot of potential, Marcus Printup was discovered by Marcus Roberts at the University of North Florida in 1991. Printup started on trumpet in the fifth grade, played funk as a teenager, and in college was part of a ten-piece band called Soul Reason for the Blues. Since that time, he has toured and recorded with Roberts, played with the Lincoln Center Jazz Orchestra, recorded with Carl Allen, performed with Betty Carter, and cut a number of excellent albums as a leader for Blue Note. ~ Scott Yanow https://itunes.apple.com/us/album/lost/id949976771

Personnel: Marcus Printup,trumpet; Shantawn Kendrick,tenor sax; Helen Sung,piano;   Ben Williams,bass; Ulysses Owens,drums

Lost

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Ian & Sylvia - Four Strong Winds

Styles: Vocal, Folk

Year: 1964

File: MP3@320K/s

Time: 40:30

Size: 93,0 MB

Art: Front

(2:07)  1. Jesus Met the Woman at the Well

(3:10)  2. Tomorrow Is a Long Time

(2:53)  3. Katy Dear

(3:57)  4. Poor Lazarus

(3:20)  5. Four Strong Winds

(2:20)  6. Ella Speed

(2:21)  7. Long Lonesome Road

(1:38)  8. V'La L'bon Vent

(3:27)  9. Royal Canal

(3:29) 10. Lady of Carlisle

(3:19) 11. Spanish is a Loving Tongue

(2:27) 12. The Greenwood Sidie (The Cruel Mother)

(4:11) 13. Every Night When The Sun Goes Down

(1:43) 14. Every Time I Feel the Spirit

Ian & Sylvia hit their stride on their second LP, which features the first in a line of talented second guitarists (John Herald) they would use to augment their original guitar-autoharp-basslineup. The album featured an assortment of largely traditional material that was unsurpassed in its time, encompassing bluegrass, spirituals, gospel, hillbilly, the French-Canadian standard "V'La L'bon Vent," a British prison song, and two tunes from the Cecil Sharp collection of Southern mountain folk songs of British origin. Two of the most impressive cuts, however, were contemporary compositions. One was their version of Bob Dylan's "Tomorrow Is a Long Time," one of the first obscure Dylan tunes to be committed to vinyl. The title cut, an Ian Tyson original, would prove to be the duo's first song to influence rock musicians, as the Searchers covered it shortly afterwards with a reverent version that was quite close to the original; Neil Young revived it in the late '70s. ~ Richie Unterberger http://www.allmusic.com/album/four-strong-winds-mw0000315505

Personnel: Ian Tyson (vocals, guitar, autoharp); Sylvia Tyson (vocals, autoharp)

Four Strong Winds

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Cathy Menezes - Break Away

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 54:43
Size: 125,8 MB
Art: Front

(6:04)  1. Boundless
(4:55)  2. Gotta Let You Know
(5:23)  3. Blues For Schultz
(5:56)  4. Time In Life
(3:54)  5. This Is What I Do
(5:02)  6. Brave And Startling Truth
(5:41)  7. Whispers Of Love
(5:50)  8. Make You Feel My Love
(6:14)  9. Break Away
(5:39) 10. This Is What I Do (Reprise)

This is an outstanding creation of songwriting which has flowed into genres of Latin Funk, R&B and Smooth Jazz. The music possesses the distinct flow of sophistication melodically and rhythmically.

Composer, Arranger, Cathy Menezes, was raised in a family of Asia's most famous musicians. Her compositions recorded in the USA, collaborating with Musicians: - 2014 Grammy Award winner Hussain Jiffry, Russell Ferrante (Yellow Jackets), Mike Shapiro, Oscar Seaton, Brandon Fields, Scott Mayo and Tony Guerrero. The compositions originate from her ethnic heritage, providing the combination of Latin and Jazz grooves. Her Debut Album "A Dream" was released in 2015, "Waves of Seven" rising to #5 on the Top Ten Regional Charts in Australia - “It's that kind of an album where the artist makes all the right moves”. Jazz Corner News (WavelengthLA), July 10, 2016. Her new album "Break Away" has strong sense of definition and finesse. https://store.cdbaby.com/cd/cathymenezes3

Personnel:  Cathy Menezes – Vocals;  Allen Hinds – Guitars;  Hussain Jiffry – Bass;  Russell Ferrante – Rhodes;  Mike Shapiro – Percussion;  Oscar Seaton - Drums

Break Away

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Ari Ambrose - Settling In

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 65:11
Size: 150,3 MB
Art: Front

(9:34)  1. Fun X 4
(9:18)  2. Country Living
(8:11)  3. How Deep is the Ocean
(9:03)  4. I Remember You
(7:08)  5. Hope and Cope
(8:52)  6. Midnight Moments
(5:44)  7. Polkadots And Moonbeams
(7:19)  8. Airegin

Ari Ambrose, since his recording debut as leader on SteepleChase's “Introducing Ari Ambrose” some 15 years ago, has maintained his musical perspectives of modernism on tradition and has polished them to perfection on this new album.

“…With so many 9of the young tenor voices continuing to follow John Coltrane or Sonny Rollins or turning toward free-form abstraction, it's refreshing to find Ambrose employing the tradition, taking it back and bringing it forward, … offering something different in what often seems to be a world of clones.” (Will Smith – JazzT9imes on Whatever Happens ) “Ari Ambrose's Waiting is totally lacking in pretension. An exceptional example of mainstream modern jazz,…” (David Franklin-JazzTimes)

Personnel:  Ari Ambrose (tenor saxophone);  Nir Felder (guitar);  Jay Anderson (bass);  Anthony Pinciotti  (drums)

Settling In

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Helen Sheppard - Oyster Love

Styles: Vocal And Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 45:28
Size: 104,6 MB
Art: Front

(5:18)  1. The Baraka
(3:09)  2. Oyster Love
(5:22)  3. When You're In Love
(3:19)  4. Brown Lady
(2:58)  5. The Key
(0:35)  6. Three Wise Monkeys
(4:21)  7. Catching Dynamite
(4:41)  8. Only You
(4:22)  9. Emily Louise
(3:32) 10. Let The Day Slip By
(4:52) 11. Stay
(2:53) 12. Long Time No See

Vocalist Helen Sheppard dedicates "Oyster Love" to all lovers past, present and future. Influenced by Cole Porter, Billie Holiday, Jobim, Gershwin, Bacharach and others, Sheppard has tried to let their subconscious direct her writing. She says: "Gone are the days of 'lovin' dat man' no matter what he does and being a victim of circumstance. I present an alternative to the notion that the blues are caused by someone or something else in my songs I tell the story of how I came to realize that I have created all my troubles and if I want a better life then I had better make it that way myself.  This album was recorded live in two days at "The Premises Studio" Hackney Road, London with no overdubs. Produced by Leo Feigin. ~ Editorial Reviews https://www.amazon.com/Oyster-Love-HELEN-SHEPPARD/dp/B0002FE7ZC

Personnel: Helen Sheppard (vocals, guitar); Zoe Rahman (piano); Riaan Vosloo (double bass).

Oyster Love

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Walter Bishop, Jr's 4th Cycle - Keeper of My Soul

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 38:01
Size: 87,7 MB
Art: Front

(6:23)  1. Soul Village
(4:37)  2. N'Dugu's Prayer
(5:47)  3. Summertime
(7:47)  4. Those Who Chant
(4:46)  5. Keeper of My Soul
(3:13)  6. Blue Bossa
(5:26)  7. Sweet Rosa

Digitally remastered edition of this 1973 album from the Bop/Jazz pianist. On Keeper of My Soul, Bishop plays acoustic and electric pianos and organ with a sense of uplift, a quality characterizing the best soul-jazz of the day. Opening number 'Soul Village' is a fascinating union of jazz and funk; today, it still sounds fresh in its immediacy. Here Bishop brings personality to his playing of a plugged-in piano, no easy task, while young saxophonist Ronnie Laws, a few years away from his descent into the disco-fusion abyss, captures in his solo some of the saxophone-generated warmth associated with his mentor, David Fathead Newman. The little-remembered vibraphonist Woody Murray handles himself well, and the funk rhythm section cooks. ~ Editorial Reviews https://www.amazon.com/Keeper-Soul-Walter-Cycle-Bishop/dp/B0081ZYVEW

Personnel:  Walter Bishop Jr. – piano;  Ronnie Laws – flute, saxophone;  Woody Murray – vibraphone;  Gerald Brown – bass, electric bass;  Bahir Hassan – drums;  Shakur M. Abdulla – congas, bongos

Keeper of My Soul

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Eddie Calvert - Lonely Nights

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 31:47
Size: 74,5 MB
Art: Front

(2:57)  1. Easy To Love
(2:22)  2. What Is This Thing Called Love
(2:27)  3. Can't Help Lovin' Dat Man
(2:20)  4. Taking A Chance On Love
(2:24)  5. Falling In Love With Love
(3:00)  6. Love In Bloom
(2:46)  7. The Man I Love
(2:21)  8. Why Do I Love You
(2:27)  9. One Night Of Love
(2:56) 10. A Little Love,A Little Kiss
(2:28) 11. Love Is The Sweetest Thing
(3:15) 12. Love Me Or Leave Me

Eddie grew up within a family to whom the music of his local brass band featured highly. He was soon able to play a variety of instruments though he was most accomplished on the trumpet. After World War II, he graduated from playing as an amateur in brass bands to professional engagements with popular dance orchestras of the day including that of Geraldo, and he soon became renowned for the virtuosity of his performances. Following his exposure on TV with the Stanley Black Orchestra, an enthusiastic announcer introduced him as the 'Man With The Golden Trumpet'an apt description that remained with him for the remainder of his musical career. Eddie's style was unusually individualistic, and he became a familiar musician on BBC radio and TV during the 1950s. He started to make records for the Columbia label and his popularity can be assessed from the success of his records, which included two UK number ones, 'Oh Mein Papa', followed more than a year later by 'Cherry Pink And Apple Blossom White'. He was thus the first British instrumentalist to achieve two number ones. The magnificent 'Oh Mein Papa', which also sold well in the USA, topped the UK singles chart for no less than nine weeks (a British chart record}, and was successful enough to provide him with the first ever 'gold disc' awarded for an UK instrumental track. Further chart entries were secured with 'John And Julie', taken from the soundtrack of the movie; plus 'Mandy', Eddie's last major hit. Other recordings include 'Stranger In Paradise' in 1955; 'The Man with the Golden Arm' in 1956; and 'Jealousy' in 1960. As the music scene entered the less innocent age of the 1960s, Eddie's beautiful musical renditions became less appreciated by record buyers. By 1968 Eddie had become a little disillusioned by his dwindling fortunes and left Britain, making South Africa his home. Eddie died in 1978 aged 56. https://www.last.fm/music/Eddie+Calvert/+wiki

Lonely Nights

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Herb Alpert - Music Vol. 1

Styles: Trumpet Jazz
Year: 2017
File: MP3@320K/s
Time: 38:43
Size: 90,8 MB
Art: Front

(3:21)  1. Flamingo
(3:05)  2. Unforgettable
(3:52)  3. Michelle
(3:08)  4. C'est Si Bon
(3:05)  5. I'm Yours
(3:18)  6. Cheek To Cheek
(2:40)  7. Just A Gigolo
(4:01)  8. Witchcraft
(3:21)  9. Sugarfoot
(2:55) 10. Strike Up The Band
(3:34) 11. You Stepped Out Of A Dream
(2:16) 12. Imagine

Having enjoyed a career resurgence since returning to regular touring and recording in 2007, trumpeter and pop icon Herb Alpert celebrates his ten-year run with 2017's vibrant Music, Vol. 1. As with his more recent releases, Music, Vol. 1 finds him reworking a set of well-curated standards and 20th century pop classics in an electronic-tinged, often dance-oriented style. Included are songs by Irving Berlin, George Gershwin, the Beatles, and others. The difference this time out is that rather than working with any of his longtime collaborators, here Alpert recorded with veteran Dutch producer Jochem van der Saag (Andrea Bocelli, Barbra Streisand, Michael Bublé). The result is an album of kinetic, highly animated arrangements reminiscent of the trumpeter's classic '60s easy listening tracks, but with a modern twist. For fans of Alpert's albums since 2009's comeback Anything Goes, there is plenty to enjoy here, including his Parisian-chanson-meets-midtempo-ska rendition of the Beatles' "Michelle" and his similarly genre-bending swing-meets-electro-reggae take on the standard "Strike Up the Band." We also get similarly effective transmutations like the hip-hop-infused "Unforgettable" (which also features Alpert's boyish vocals), a '90s-style new jack swing version of "You Stepped Out of a Dream," and a jaunty, lounge-ready version of "C'est Si Bon." While the album has a generally lighter emotional tone than Alpert's Grammy-nominated 2016 effort Human Nature, we do get his lovingly rendered, orchestral-synth accented take on John Lennon's "Imagine." Ultimately, with Alpert having entered his octogenarian decade, it's life-affirming to hear him continue to deliver such buoyant and creatively engaged albums as this. ~ Matt Collar http://www.allmusic.com/album/release/music-vol-1-mr0004741235

Personnel: Herb Alpert (vocals, trumpet); Jochem van der Saag (keyboards, synthesizer, programming).

Music Vol. 1

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Ace Cannon & Al Hirt - For The Good Times

Styles: Saxophone And Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 34:23
Size: 78,9 MB
Art: Front

(2:58)  1. Make The World Go Away
(4:18)  2. Secret Love
(3:03)  3. Hey, Won't You Play Another Somebody Done Somebody Wrong Song
(4:03)  4. I Can't Stop Loving You
(2:36)  5. Gonna Travel On
(3:54)  6. Always On My Mind
(2:49)  7. Rocky Top
(3:10)  8. Everything Is Beautiful
(3:04)  9. Release Me
(4:24) 10. For The Good Times

One of Nashville's premier session men from the late '50s through the early '70s, alto saxophonist Ace Cannon began playing at the age of ten and signed with Sun Records during the early days of rock & roll. He performed with Billy Lee Riley and Brad Suggs but then in 1959 joined the original Bill Black Combo, recording for the Hi label. He stayed with the band until 1961, when he made his solo chart debut with the instrumental "Tuff," which made it to the country Top 20. This in turn was followed by a Top 40 hit, "Blues (Stay Away From Me)," and a minor hit for the Santos label, "Sugar Blues." He had two more hits in the mid-'60s with "Cotton Fields" and "Searchin'," both recorded for Hi. A decade later, he became the subject of the 1974 documentary film, Ace's High. After moving to Nashville in the mid-'70s, Cannon's version of "Blue Eyes Crying in the Rain" became a minor hit and was nominated for the Best Country Instrumental Performance Grammy that year. Cannon continued to perform into the '90s and frequently toured with such legends of early rock & roll as Carl Perkins. ~ Sandra Brennan https://itunes.apple.com/au/album/ace-cannon-and-al-hirt/id623014687

Al Hirt is a favorite son of his native New Orleans, the town that gave America Dixieland Jazz. Known for years as the "Round Mound of Sound," the genial Hirt is the most popular working Dixieland musician in the country. His original fusion of jazz and rock elements helped to bring the music of New Orleans to the attention of a new generation in the 1960s; since then he and his trumpet have been closely associated with both the city and its signature sound. Alois Maxwell Hirt was born in New Orleans late in 1922. The son of a police officer, he acquired his first trumpet from a pawnshop when he was six years old. He quickly mastered the instrument and became something of a prodigy with it, so much so that he headed the Sons of the Police Department Junior Police Band before he hit his teens. Hirt's first professional job came in 1939, when he was hired to call horses to the post at the Louisiana Fairgrounds. The weekly salary of 40 dollars was extravagant for a youth of 17, but the beginnings of a lifelong interest in betting on horse races absorbed some of the wages. Deciding to pursue a career in music, Hirt enrolled at the Cincinnati Conservatory of Music in 1940 and attended classes there until he entered the Army in 1943. At the conservatory he studied classical trumpet and cornet, dabbling in jazz as a sideline. "I always aspired to be a legitimate player," Hirt told the Richmond News Leader. "That was my training. Now I'm a jazz player. People paid attention to trumpet always. It's an attractive instrument. It's got a great sound. Every kid in school wants to play the trumpet."  Hirt may have chosen a popular instrument, but he played it so well that he suffered little competition for high-paying work. After the war he played with a number of top-ranked big bands, touring America and Europe in grand style with Jimmy Dorsey, Tommy Dorsey, and Benny Goodman. In the early 1950s Hirt decided to form his own group. He settled down in New Orleans and fronted a Dixieland band that soon became the house outfit for Dan Levy's Pier 600 Club. The band quickly attracted a local following and within a few years it had gained a national reputation for its exuberant horn numbers.

Hirt became a national celebrity after he signed with RCA Records in 1960. Early albums Greatest Horn, He's the King and Bourbon Street sold very well and RCA began to release new material from the artist roughly every six months. At a time when rock 'n' roll seemed to hold a monopoly on the air waves, Hirt actually placed Dixieland-flavored band music on the charts with hits such as "Java" and "Cotton Candy." The rotund performer earned his nickname "Round Mound of Sound" when he began appearing on television variety shows in the mid-1960sNational prominence notwithstanding, Hirt never gave up his New Orleans roots. For years he owned his own club at 501 Bourbon Street; when he sold it, he moved to the J. B. Rivers Club along the Mississippi. He was a minority owner of the New Orleans Saints when the club moved to town and for many seasons played trumpet right behind the team bench at home games. Hirt has performed with a number of America's largest symphony orchestras as a guest soloist; in 1965 he gave a standing-room-only concert at New York City's Carnegie Hall. 

Despite his popularity, reviewers have not always been kind to Hirt. Even at the height of his success, he was criticized for adding rock elements to his work and for watering down his personal ability to appeal to a mainstream audience. To this day Hirt bridles at such charges. "I couldn't care less what jazz puristssay," he told the Richmond News Leader. "Who ... is a jazz purist? Somebody who doesn't play an instrument."Purists aside, the public still loves Hirt's playful sound. His affectionate nickname, however, no longer applies as a strict diet has reduced the jazz master's once legendary weight. Well into his sixties, Hirt plays dozens of concerts a year, both at home in New Orleans and across the country. His performances include not only Dixieland numbers, but Latin, pop, jazz, and classical works as well--though his finale remains the rousing "When the Saints Go Marching In." A grandfather nine times over, Hirt nonetheless has no plans to hang his trumpet on a peg. "It's always been fun for me," he confided to the Richmond News Leader. "I enjoy playing." He concluded: "There's more to playing than playing, though. You gotta be a nice person, too."  by Anne Janette Johnson http://www.musicianguide.com/biographies/1608000042/Al-Hirt.html

Personnel:  Saxophone – Ace Cannon;  Trumpet – Al Hirt

For The Good Times

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Karrin Allyson - From Paris To Rio

Styles: Vocal Jazz, Brazilian Jazz
Year: 1999
File: MP3@320K/s
Time: 67:48
Size: 160,9 MB
Art: Front

(4:07)  1. Sous Le Ciel De Paris (Under Paris Skies)
(5:10)  2. Samba Saravah
(5:03)  3. Te Amo (I Love You)
(3:54)  4. O Pato (The Duck)
(4:41)  5. Ne Me Quitte Pas (If You Go Away)
(4:56)  6. Plasir d'Amour (The Pleasure Of Love)
(4:29)  7. O Barquinho (My Little Boat)
(4:27)  8. Coração Vagabundo (My Vagabond Heart)
(3:29)  9. Parisian Thoroughfare
(5:13) 10. Des Histoires
(5:27) 11. Inutil Paisagem (Useless Landscape)
(5:01) 12. Catavento e Girasol (Windmill And Sunflower)
(6:47) 13. Aria (from Bachianas Brasileiras No.5) • Belo Horizonte
(5:01) 14. That Day (Cinema Paradiso)

Songstress Karrin Allyson spreads wide her conceptual wings on her sixth release for Concord Jazz, crooning in three languages in an engaging salute to France and Brazil that may be short on Jazz but is long on emotion and charm. Allyson is cute as a button, the folks in Kansas City (where she resides) love her, and who are we to disagree? Allyson sings exactly as she looks, in a bright and lovable voice whose timbre reminds me (I’m dating myself here) of her namesake, June Allyson, a queen of the MGM musicals in the late ’40s–early ’50s. As June was always one of my favorite entertainers, that’s a compliment. Also complimentary is my admiration for Karrin’s ability to sing so fluently in French or Portuguese (a language most of us don’t learn in school), not only inflecting flawlessly (at least, as far as I can tell) but capturing as well the distinctive temperament that sets each of them apart from other languages, and for her Gilbert and Sullivan–like knack for unraveling tongue twisting lyrics almost nonchalantly (as on “O Pato” The Duck which she interprets wonderfully in English). She’s so proficient in French and Portuguese that it’s almost shocking to hear Allyson singing in her native tongue, as she does also on “Inutil Paisagem” and the album’s closing tune, “That Day” a gorgeous lyric adapted from the Italian film Cinema Paradiso. That’s the only detour from France or Brazil on the roadway, but Allyson says she had to include the song simply because it’s so lovely, and she’s right. Karrin’s no show off, preferring to let the lyrics speak for themselves, but she can scat like Ella or Sarah if she chooses to, as for example on Bud Powell’s busy “Parisian Thoroughfare.” Allyson says she has long been in love with the music of France and Brazil, and that love shines intensely throughout this ardent recital. It seems to be shared by her sidemen too, as they play with a passion usually reserved for those one holds near and dear. These are some of the best Jazz musicians KC has to offer, and it’s always a special treat to hear the superb Kim Park (alto on “O Barquinho” and “Parisian Thoroughfare,” flute on “Catavento e Girasol”). In a bumper crop of accomplished young female Jazz singers, Karrin Allyson stands as tall as that corn in Oklahoma!  “as high as an elephant’s eye” and it looks like she’s climbin’ clear up to the sky. ~ Jack Bowers  https://www.allaboutjazz.com/from-paris-to-rio-karrin-allyson-concord-music-group-review-by-jack-bowers.php?width=1920 

Personnel: Karrin Allyson, vocals, piano, percussion; Gil Goldstein, accordion, piano; Paul Smith, piano, synthesizer; Danny Embrey, Rod Fleeman, acoustic guitar; Bob Bowman, bass; Todd Strait, drums, percussion; Doug Auwarter, surdo, drums. String section

From Paris To Rio

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Clark Terry Quartet - Funk Dumplin's

Styles: Trumpet Jazz, Jazz Funk
Year: 1978
File: MP3@320K/s
Time: 44:44
Size: 102,8 MB
Art: Front

(5:08)  1. Funk Dumplin's
(4:20)  2. Serenity
(3:16)  3. Brushes And Brass
(5:16)  4. Beautiful
(5:48)  5. Snavset Blues
(6:29)  6. Bayside Cookout
(4:11)  7. Somebody Done Stole My Blues
(5:15)  8. A Child Is Born
(4:57)  9. Silly Samba

For this very worthy Matrix LP, flugelhornist Clark Terry is joined by three residents of Denmark, all American expatriates: pianist Kenny Drew, bassist Red Mitchell and drummer Ed Thigpen. Their repertoire of mostly little-known group originals is fresh, and C.T., who has yet to record an unworthy album, is in typically joyful form. This was the beginning of his association with Red Mitchell, who joins Terry on the vocal of "Snavset Blues." ~ Scott Yanow http://www.allmusic.com/album/funk-dumplins-mw0000909291

Personnel:  Trumpet, Flugelhorn – Clark Terry; Bass – Red Mitchell;  Drums – Ed Thigpen;  Piano – Kenny Drew

Funk Dumplin's

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Stan Hasselgard & Benny Goodman - At Click

Styles: Clarinet Jazz
Year: 1948
File: MP3@320K/s
Time: 77:16
Size: 177,5 MB
Art: Front

(4:12)  1. Cookin One Up
(3:43)  2. Swedish Pastry
(2:49)  3. All The Things You Are
(4:20)  4. Mary's Idea
(3:37)  5. Swedish Pastry
(2:48)  6. After You've Gone
(3:54)  7. Bye Bye Pretty Baby
(4:22)  8. Mary's Idea
(5:45)  9. Mel's Idea
(3:54) 10. Bye Bye Pretty Baby
(5:35) 11. Mel's Idea
(2:00) 12. Indiana
(4:10) 13. Bye Bye Blues
(4:47) 14. Limehouse Blues
(2:25) 15. Donna Lee
(3:47) 16. Bye Bye Blues
(4:17) 17. Mel's Idea
(2:21) 18. Donna Lee
(4:25) 19. Swedish Pastry
(4:03) 20. Lullaby in Rhythm

Were it not for his tragic death in a car accident late in 1948, Stan Hasselgard might be remembered as one of jazz's top clarinetists. He had impressed Benny Goodman to the point that Goodman used him as part of his septet for a few weeks in 1948. Although no commercial recordings resulted due to a recording strike, the group (which also featured tenor saxophonist Wardell Gray and pianist Teddy Wilson) was broadcast regularly from the Click in Philadelphia.

Virtually all of the existing joint Goodman-Hasselgård airchecks are included on this Dragon CD, which adds a few more performances to the original program of the LP of the same name. The boppish music is often fascinating and Benny Goodman ("The King of Swing") fits quite well into the advanced arrangements. The recording quality is generally decent and, due to the historic nature of these timeless (and rather unique) performances, very acceptable. ~ Scott Yanow http://www.allmusic.com/album/at-click-1948-mw0000614514

Personnel: Stan Hasselgård (clarinet); Billy Bauer (guitar); Benny Goodman (clarinet); Teddy Wilson (piano); Mel Zelnick (drums).

At Click

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Charnett Moffett - Music From Our Soul

Styles: Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 60:53
Size: 142,3 MB
Art: Front

(3:56)  1. Music From Our Soul
(5:20)  2. Freedom
(7:05)  3. Mood Indigo
(3:40)  4. So What?
(5:09)  5. Come And Play
(3:39)  6. Love In The Galaxies
(4:38)  7. We Are Here To Play
(4:58)  8. Mediterranean
(5:30)  9. For Those Who Know
(6:55) 10. Just Need Love
(1:02) 11. Celestial Dimensions
(2:53) 12. Sound World Suite
(5:27) 13. Freedom Swing
(0:35) 14. Love For The People Encore

Bassist Charnett Moffett is one of those figures that we tend to take for granted, mostly because it seems like he's simply always been here. The once-upon-a-time child prodigy has been omnipresent on the scene since the mid '80s, holding down the low end for jazz's elite while bringing strength, consistency, and creativity to the fore through his bass work. A short list of Moffett's employers and colleagues reads like a jazz history lesson saxophonists Ornette Coleman and Kenny Garrett, drummers Tony Williams and Art Blakey, pianists McCoy Tyner and Mulgrew Miller, guitarists Kevin Eubanks and Sonny Sharrock, and multiple Marsalis men have all called on the bassist at one time or another but he's not merely a sideman du jour. Moffett has made more than a few splashes on his own, releasing a dozen or so albums as a leader, and he's spent plenty of time headlining at notable venues and events. He's been a musical rock and pillar for the past thirty years, and Music From Our Soul celebrates that fact. For this occasion, Moffett assembled a program of music that capitalizes on his many strengths while also highlighting his varied musical exploits and excursions in the present day. There are performances that were recorded live at New York's Jazz Standard, showcasing the trio of Moffett, pianist Cyrus Chestnut, and drummer Victor Lewis; numbers with guitarist Stanley Jordan and drummer Mike Clark that were captured in a live studio setting; recordings from a run of shows at Seattle's Jazz Alley, where Moffett and Jordan combined forces with iconic saxophonist Pharoah Sanders and drumming powerhouse Jeff "Tain" Watts; and pieces plucked from Moffett's performance at the 40th International Bern Jazz Festival in 2015, featuring a quartet that includes Jordan, Chestnut, and Watts. When taken as a whole, all of it serves as a portrait of an artist in midlife Moffett turned fifty on June 10, 2017 and a statement of dominance from one of the most technically gifted and imaginative bass players on the planet.

The fleet-fingered lines, liquid tone, and harmonic perspicacity that are universally recognized as hallmarks of Moffett's work are all here for the viewing. His massive chops and flexibility are on display on the large majority of these pieces and his rapport with these different groups is evident. He supports Sanders' atavistic wails and exhibits a coiled connection to Jordan on "Freedom Swing," moves from mellow and melodious environs to a bluesy barroom and back again on Duke Ellington's "Mood Indigo," hits the gas pedal with Chestnut and Lewis on the feisty "Come And Play," explores pan-African cool on the title track, and gleefully mixes it up with Watts, Chestnut, and Jordan on the rocketing and explosive "For Those Who Know." Sound quality and balance understandably vary a bit from place to place here you can't source an album from three different live venues and a studio without encountering that issue to some degree but musical quality remains incredibly high throughout. Moffett reached the summit three decades ago and he's still right there, bass in hand and fingers at the ready. He remains a giant on his instrument and a stalwart figure in jazz. ~ Dan Bilawsky https://www.allaboutjazz.com/music-from-our-soul-charnett-moffett-motema-music-review-by-dan-bilawsky.php
 

Personnel: Charnett Moffett: acoustic bass, electric bass; Pharoah Sanders: tenor saxophone (1, 7, 13); Stanley Jordan: guitar (1, 2, 4, 5-10, 12, 13), piano and keyboards (1, 7, 13); Cyrus Chestnut: piano and keyboards (2, 3, 5, 8, 10); Jeff "Tain" Watts: drums (1, 2, 7-10, 12, 13); Victor Lewis: drums (3, 5); Mike Clark: drums (4, 6).

Music From Our Soul

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