Silky Denims

Friday, September 1, 2017

Gabor Szabo - 1969

Bitrate: MP3@320K/s
Time: 35:54
Size: 82.2 MB
Styles: Guitar jazz
Year: 1969/1998
Art: Front

[2:42] 1. Dear Prudence
[2:46] 2. Sealed With A Kiss
[2:57] 3. Both Sides Now
[2:47] 4. Walk Away Renee
[3:43] 5. You Won't See Me
[4:03] 6. Michael From Mountains
[3:18] 7. Stormy
[2:34] 8. In My Life
[4:40] 9. I've Just Seen A Face
[2:27] 10. Until It's Time For You To Go
[3:51] 11. Somewhere I Belong

In the late '60s, many jazz artists were ignoring the rock and soul hits of the day -- when called upon to interpret popular songs, they stuck to their favorite Cole Porter, George Gershwin, and Irving Berlin standards and didn't see Beatles or Marvin Gaye hits as vehicles for jazz improvisation. But there were some jazz artists who didn't feel that way; Grant Green, Herbie Mann, and Charles Earland -- just to give three examples -- saw no reason why rock and soul tunes couldn't receive instrumental jazz makeovers. And on 1969, Gazor Szabo puts a jazz spin on popular songs of the 1960s, including "Walk Away Renee" (a major hit for the Left Banke), the Beatles' "In My Life," and Joni Mitchell's "Both Sides Now." Again, there were many jazz artists who wouldn't have touched these songs in 1969 -- they would have insisted on providing yet another version of "Our Love Is Here to Stay" or "My Funny Valentine." But Szabo acknowledges that worthwhile popular music didn't die with George Gershwin. The Hungarian guitarist doesn't always stretch out as much as he could on this album; at times, he ends a solo that probably should have lasted a few more minutes. But Szabo still deserves credit for bringing a jazz perspective to songs that so many other improvisers were ignoring. Produced by Gary McFarland, this 1969 date originally came out on vinyl and was finally reissued on CD in 1998. ~Alex Henderson

1969

Bob Mintzer Big Band - Live At MCG

Bitrate: MP3@320K/s
Time: 70:28
Size: 161.3 MB
Styles: Big band
Year: 2004
Art: Front

[ 6:09] 1. El Caborojeno
[ 6:41] 2. My Foolish Heart
[ 4:37] 3. One O'Clock Jump
[ 7:12] 4. Gently
[12:05] 5. Eye Of The Hurricane
[ 8:03] 6. Timeless
[ 8:58] 7. All Is Quiet
[ 8:38] 8. Who's Walkin' Who
[ 7:59] 9. Original People

Bob Mintzer, leader, tenor saxophone; Lawrence Feldman, Pete Yellin, alto sax; Bob Malach, tenor sax; Roger Rosenberg, baritone sax; Frank Greene, Bob Millikan, Scott Wendholt, Michael Philip Mossman, trumpet; Michael Davis, Larry Farrell, Keith O'Quinn, trombone; David Taylor, bass trombone; Phil Markowitz, piano; Rufus Reid, bass; John Riley, drums. Special guest — Kurt Elling, vocals.

Bob Mintzer leads a superlative big band with seasoned pros in every chair, but what really gives the engine its get-up-and-go are the maestro's invariably admirable charts, unerring road maps that always ensure a smooth and delightful journey. This first-ever live album by the ensemble, recorded in May '02 at the Manchester Craftsmen's Guild in Pittsburgh, PA, is at its best on the half-dozen instrumentals, even though guest vocalist Kurt Elling does what he can to jump-start the other three.

All but one of the selections, Herbie Hancock's turbulent "Eye of the Hurricane," have appeared on earlier albums, but it's no less pleasurable to revisit them in a concert setting. Elling puts his formidable chops to the test on the lingering (twelve-minutes-plus) "Hurricane" with some acrobatic scatting and vocalese, parrying taut statements by Mintzer, trumpeter Scott Wendholt and drummer John Riley. He's more loose and mellow on Victor Young/Ned Washington's hauntingly beautiful love song "My Foolish Heart" (complete with its charming yet seldom-heard introduction) and in front of a quartet on the less-persuasive ballad "All Is Quiet," which he and Mintzer co-authored.

Mintzer arranged "One O'Clock Jump" (for the album Homage to Count Basie ) and wrote everything else—"El Caborojono," "Gently," "Timeless," "Who's Walkin' Who," "Original People." Each of these themes has its own allure, and all are interlaced with weighty remarks by Mintzer's cadre of talented soloists, especially pianist Phil Markowitz (dazzling on "One O'Clock Jump," "Timeless" and "Original People"). Others who have their say are trombonists Michael Davis, Keith O'Quinn and Larry Farrell, trumpeter Michael Philip Mossman, alto saxophonist Pete Yellin, tenor Bob Malach and baritone Roger Rosenberg.

Fans of big bands in general and Mintzer in particular should find much to enjoy on this buoyant and generally likable album, and may even warm to the vocal tracks more readily than yours truly. As a bonus, all proceeds from its sale go directly to support a worthy cause, the MCG Jazz program. ~Jack Bowers

Live At MCG

Ringo Starr - Photograph: The Very Best Of Ringo

Bitrate: MP3@320K/s
Time: 69:21
Size: 158.8 MB
Styles: Pop/Rock
Year: 2007
Art: Front

[3:56] 1. Photograph
[3:00] 2. It Don't Come Easy
[2:49] 3. You're Sixteen You're Beautiful (And You're Mine)
[3:19] 4. Back Off Boogaloo
[3:26] 5. I'm The Greatest
[4:13] 6. Oh My My
[3:23] 7. Only You (And You Alone)
[2:32] 8. Beaucoups Of Blues
[2:18] 9. Early 1970
[3:22] 10. Snookeroo
[2:32] 11. No No Song
[3:01] 12. Goodnight Vienna (It's All Down To)
[3:42] 13. Oo-Wee
[3:44] 14. Have You Seen My Baby
[5:22] 15. Six O'clock
[3:54] 16. Weight Of The World
[5:24] 17. Never Without You
[3:00] 18. Act Naturally
[2:21] 19. Wrack My Brain
[3:55] 20. Fading In And Fading Out

Hard as it is to believe but there has not been a proper Ringo Starr hits collection since the first, 1975's Blast from Your Past -- that's not counting 1989's Starr Struck: Best of Ringo Starr, Vol. 2, which was designed as a companion to that earlier set -- until 2007's Photograph: The Very Best of Ringo Starr. Blast from Your Past was released just five years after his debut, Sentimental Journey, but it ignored that collection of pop standards, along with much of its country cousin Beaucoups of Blues, winding up as a collection of highlights of 1973's Ringo and 1974's Goodnight Vienna, with a few non-LP hit singles rounded up within the LP's tight ten-track, 30-minute span. Ringo kept recording after Blast, working his way through several labels and ill-advised phases before settling into a nice, easy groove with 1993's Time Takes Time, but he stopped having hits not long after 1975, after the Elton John/Bernie Taupin "Snookeroo" climbed all the way to number three, capping off a remarkable streak of seven Top Ten singles. After that, the crash was fast: "Oo-Wee" was pulled off of Vienna and stalled at 31, then there was just one more hit -- "A Dose of Rock & Roll," peaking at 26 in 1976 -- before a five-year wait until the George Harrison-written "Wrack My Brain" limped to 38 in 1981 before Ringo disappeared from the charts. His '90s comeback may have never dented Billboard, but it is represented on the 20-track Photograph, which also contains all the aforementioned singles (apart from "Oo-Wee," no great loss) and the entirety of Blast from Your Past, albeit presented in a different running order. This doesn't just make for a compilation that's longer than the 1975 set, it makes for one that's better, since it adds the terrific "(It's All Down to) Good Night Vienna" to the mix, along with the amiable 1976 cover of Bruce Channel's "Hey Baby," a duet with Buck Owens on "Act Naturally" from 1989, and a well-chosen selection from each of Time Takes Time, 1998's Vertical Man, 2003's Ringorama, and 2005's Choose Love. This may not hit all the great stuff from the early '70s -- after all, the whole of Ringo is exceptionally strong -- but it does cut out all the real embarrassing stuff from the late '70s and just concentrates on the good latter-day material that holds its own with the best of his '70s hits. Far from merely being songs that are good when graded on a curve, these hits have aged really well, especially his originals: "It Don't Come Easy," the thundering glam rocker "Back Off Boogaloo," the cheerfully post-Beatles autobiography of "Early 1970" and "Photograph," his gorgeous collaboration with George, which lends this comp its title and ranks as among the very best post-Beatles songs by any of the Fab Four. That tune proves Ringo could deliver music every bit as memorable as his colleagues and much of this excellent, long overdue compilation is at a similar high standard. [Photograph: The Very Best of Ringo Starr also includes entertaining track-by-track commentary from Ringo and was also released in a deluxe edition that contains a wonderful DVD with the videos for "Sentimental Journey," "It Don't Come Easy," "Back Off Boogaloo," "You're Sixteen," "Only You (And You Alone)" (which also features Harry Nilsson), and "Act Naturally," along with an ad for Goodnight Vienna.] ~Stephen Thomas Erlewine

Photograph: The Very Best Of Ringo

Miles Davis All Stars - Walkin'

Bitrate: MP3@320K/s
Time: 37:27
Size: 85.7 MB
Styles: Bop, Trumpet jazz
Year: 1957/2014
Art: Front

[13:21] 1. Walkin'
[ 8:13] 2. Blue 'n' Boogie
[ 4:39] 3. Solar
[ 4:19] 4. You Don't Know What Love Is
[ 6:52] 5. Love Me Or Leave Me

Alto Saxophone – Davey Schildkraut; Bass – Percy Heath; Drums – Kenny Clarke; Piano – Horace Silver; Tenor Saxophone – Lucky Thompson; Trombone – Jay Jay Johnson; Trumpet – Miles Davis.

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'n' Boogie," adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles. Walkin' commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music -- as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'n' Boogie." The improvisation yields some truly memorable solos and exchanges between Davis and Johnson -- who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning." "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me," gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort. ~Lindsay Planer

Walkin'

Terry Callier - I Just Can't Help Myself

Styles: Guitar Jazz
Year: 1973
File: MP3@320K/s
Time: 40:55
Size: 95,9 MB
Art: Front

(3:16) 1. (I Just Can't Help Myself) I Don't Want Nobody Else
(3:20) 2. Brown-Eyed Lady
(3:25) 3. Gotta Get Closer To You
(4:18) 4. Satin Doll
(5:36) 5. Until Tomorrow
(9:05) 6. Alley-Wind Song
(3:54) 7. Can't Catch The Trane
(7:57) 8. Bowlin' Green

Terry Callier's third and final album for the Cadet label is the most soulful and supple of the bunch Marvin Gaye's classic Motown LPs from the same early 1970s period serve as a good reference point, both in their richly-detailed arrangements as well as their thoughtful political and social messages. Despite its contemporary feel, however, much of the material on I Just Can't Help Myself dates back several years both the powerful "Alley-Wind Song" and the John Coltrane tribute "Can't Catch the Trane" were initially recorded during the 1969 sessions which later comprised the First Light collection, while the graceful reading of Duke Ellington's "Satin Doll" was and would remain a longstanding highlight of Callier's live set. Under the circumstances, then, the cohesive beauty and power of I Just Can't Help Myself is all the more remarkable possessed of a subtlety and shading absent from his other Cadet dates, the disc simmers with quiet intensity, its underlying confidence and serenity occasionally giving way to moments of soul-searching angst. Certainly Callier's later records have much to recommend them, but the conclusion of his Cadet stint was nevertheless the end of an era he never reached quite the same peaks again. ~ Jason Ankeny http://www.allmusic.com/album/i-just-cant-help-myself-mw0000457389

Personnel: Acoustic Guitar – Terry Callier; Backing Vocals – Errol Batts, Phylis Knox; Bass – Cleveland Eaton, Louis Satterfield, Richard Evans; Cello – Karl B. Fruth, Leonard Chausow; Drums – Donny Simmons, Morris Jennings; French Horn – Ethel Merker, Paul Tervelt; Guitar – Phil Upchurch; Harp – Edward Druzinsky; Percussion – Alfred Nalls, Bobby Christian, Fred Walker; Piano, Electric Piano – Charles Stepney; Saxophone [Alto] – Don Myrick; Trumpet – Arthur Hoyle, John Howell; Viola – Arthur W. Ahlman, Bruce Hayden, Harold D. Klatz, Harold Kupper, Roger Moulton; Violin – Elliott Golub, Everett Zlatoff-Mirsky, Jerry Babransky, Joseph Golan, Ruth Goodman, Theodore Silavin

I Just Can't Help Myself

Patricia Barber - Cafe Blue

Styles: Vocal And Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 63:08
Size: 146,5 MB
Art: Front

(5:24) 1. What A Shame
(4:30) 2. A Taste Of Honey
(8:01) 3. Too Rich For My Blood
(4:29) 4. Romanesque
(5:08) 5. Yellow Car III
(0:58) 6. Wood is a Pleasant Thing to Think About
(5:06) 7. Inch Worm
(5:22) 8. Ode to Billy Joe
(7:01) 9. Morning Grace
(4:42) 10. The Thrill Is Gone
(9:01) 11. Nardis
(3:20) 12. Manha de Carnaval

Patricia Barber, who is both a fine keyboardist and an atmospheric singer, contributes roughly half of the material to her Premonition debut. Her dark voice and the generally esoteric program takes awhile to get used to (listeners will have to be patient), but after two or three listens, this thought-provoking and rather moody set becomes more accessible.

The music ranges stylewise from sophisticated pop sensitivities to the avant-garde and even touches of minimalism, while not fitting securely into any category. Barber gives a new slant to "The Thrill Is Gone," "Ode to Billy Joe," and even "A Taste of Honey," and her vocals are all quite haunting and contemporary. An added plus to this unusual music is adventurous guitarist John McLean. ~ Scott Yanow http://www.allmusic.com/album/caf%C3%A9-blue-mw0000658292

Personnel: Patricia Barber (vocals, piano); John McLean (guitar); Michael Arnopol (bass); Mark Walker (drums, percussion).

Cafe Blue

Gilberto Gil, Vusi Mahlasela - The South African Meeting Of Viramundo

Styles: Vocal, Guitar, Latin World
Year: 2013
File: MP3@320K/s
Time: 50:34
Size: 116,7 MB
Art: Front

(6:08) 1. Tempo Rei
(4:12) 2. La Renaissance Africaine
(7:19) 3. When You Come Back Nakupenda Africa
(4:23) 4. A Raca Humana
(5:17) 5. Estrela
(4:57) 6. The Beauty Of Our Land Ubuhle Bomhlaba
(5:56) 7. Kao
(4:18) 8. Piece Of Ground
(3:56) 9. Oracao Pela Libertacao Da Africa Do Sul
(4:06) 10. Viramundo

This album was born from the meeting of Gilberto Gil and Vusi Mahlasela during the filming of the documentary Viramundo. Some titles are from concerts which took place during the filming in Johannesburg in May 2011 and others were recorded a year later in Switzerland during the Montreux Jazz Festival. Gil carries out a fundamental role in the constant modernization process of Brazilian popular music. For 46 years, he has developed one of the most relevant and renown careers in this field. ~ Editorial Reviews https://www.amazon.com/South-African-Meeting-Viramundo-Gil/dp/B00C9FXWWW

The South African Meeting Of Viramundo

Shane Filan - You And Me

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 74:22
Size: 171,4 MB
Art: Front

(3:23) 1. Everything To Me
(3:47) 2. About You
(3:34) 3. All You Need To Kn
(3:06) 4. Knee Deep In My He
(3:35) 5. One Of These Days
(3:31) 6. Everytime
(3:39) 7. Always Tomorrow
(3:27) 8. When I Met You
(3:50) 9. Everything's Gonna
(3:11) 10. Coming Home
(3:15) 11. Baby Let's Dance
(3:59) 12. In The End
(3:41) 13. You And Me
(3:37) 14. Just The Way You L
(3:32) 15. Once
(3:20) 16. Today's Not Yester
(3:49) 17. About You(Acoustic
(3:36) 18. All You Need To Kn
(3:17) 19. Everytime
(3:19) 20. Everything To Me
(3:44) 21. Amazed

You and Me is the debut solo album by Irish singer-songwriter Shane Filan. It was released via Capitol Records on 1 November 2013 in Ireland. The album was preceded by the release of his debut single "Everything to Me" which peaked at number 14 on the UK Singles Chart on the week of release. The album's second single, "About You", co-written by long-term collaborators Steve Mac and Wayne Hector, was released on 1 November 2013. "Knee Deep in My Heart" was released as the third and final single on 29 November 2013. The song "Baby Let's Dance" was released as promotional single on 4 October 2013. https://en.wikipedia.org/wiki/You_and_Me_(Shane_Filan_album)

You And Me

The Jive Aces - Diggin' Roots vol. 2 Hot Jazz

Styles: Swing
Year: 2017
File: MP3@320K/s
Time: 37:00
Size: 89,0 MB
Art: Front

(2:29) 1. I'm Gonna Sit Right Down And Write Myself A Letter
(2:17) 2. On A Slow Boat To China
(3:02) 3. Sweet Sue, Just You
(3:00) 4. On The Sunny Side Of The Street
(3:11) 5. Jeepers Creepers
(2:59) 6. It's Been A Long, Long Time (feat. Toni Elizabeth Prima)
(2:23) 7. I Can't Give You Anything But Love
(2:20) 8. It Hard To Be You
(2:56) 9. Wrap Your Troubles In Dreams
(2:52) 10. Ain't She Sweet
(3:29) 11. I'm Confessin' (It's Only A Paper Moon)
(2:43) 12. Ain't Misbehaving
(3:14) 13. Mack The Knife

The Jive Aces are a six-piece UK based, high energy, jive and swing band, formed in 1989. They were the winners of BBC TV's Opportunity Knocks, and Britain's Got Talent semi-finalists in 2012. They have recorded singles and albums, and have performed at numerous music festivals.The band is widely recognised as one of the top swing bands in the world, something borne out by their extensive international travel (the band has performed in over 30 countries). The June 2015 issue of "Vintage Rock" magazine described them as the "UK's number one jive and swing band"" in a six page feature on the band titled "Leaders of the Pack". They have received an award from Variety, the Children's Charity for their charity work, and the City of Derry International Music Award in 2006.

On 9 July 2010, the band headlined at the first ever swing dance at the Royal Albert Hall They played to approximately 1,400 dancers on the 5,000-square-foot (460 m2) dance floor, with support from the Back To Basie Orchestra and Top Shelf Jazz. In late August 2010, the Jive Aces performed at the Edinburgh Fringe Festival in a show tributing one of their musical heroes, Louis Prima. In February 2011, after recording in Los Angeles, they toured the United States, including opening for legendary singer Keely Smith, the former wife of Louis Prima Keely Smith has also sung with the band on a number of occasions, including shows in Los Angeles, Palm Desert, Phoenix and at the Edinburgh Fringe. The band played London's famous jazz venue Ronnie Scotts for the first time in July 2011.[23] In Spring 2015, the band did their biggest tour to date, 6 weeks of major theatres around the US (mostly 1000-2000+ capacity). The tour was a huge success, with more major US tours to follow in Winter 2015 and 2016 https://en.wikipedia.org/wiki/The_Jive_Aces

Diggin' Roots vol. 2 Hot Jazz

Thursday, August 31, 2017

The Oscar Peterson Trio - Walking The Line (Remastered)

Bitrate: MP3@320K/s
Time: 41:40
Size: 95.4 MB
Styles: Piano jazz
Year: 2005/2014
Art: Front

[5:11] 1. I Love You
[5:28] 2. Rock Of Ages
[5:16] 3. Once Upon A Summertime
[3:54] 4. Just Friends
[5:03] 5. Teach Me Tonight
[5:02] 6. The Windmills Of Your Mind
[6:34] 7. I Didn't Know What Time It Was
[5:10] 8. All Of You

Bass – Jiri "George" Mraz*; Drums – Ray Price (3); Piano – Oscar Peterson. Recorded at MPS-Studio, Villingen, November 10-13, 1970.

Oscar Peterson's series of recordings for Hans Georg Brunner-Schwer during the 1960s and early '70s are one of many high points in his long career. With George "Jiri" Mraz on bass and Ray Price on drums, Peterson's flashy romp through "I Love You" (complete with a humorous detour into the opera "Pagliacci") and mid-tempo walk through "All of You" salute Cole Porter in style on Walking the Line. "Rock of Ages" isn't the old hymn but a lively, gospel-inflected Peterson original that will easily get any congregation swinging and swaying to the music. His mastery of the ballad form is heard in his sensitive interpretation of "Once Upon a Summertime," which showcases Mraz's gorgeous tone, as Price sits out this one. ~Ken Dryden

Walking The Line (Remastered)

Molly O'Mahony, Norman Collins - Quiet Nights Of Quiet Stars

Bitrate: MP3@320K/s
Time: 44:13
Size: 101.2 MB
Styles: Bossa Nova
Year: 2010
Art: Front

[2:53] 1. One Note Samba
[2:54] 2. Halleluia I Love Her So
[4:40] 3. How Insensitive
[4:05] 4. Jealousy
[3:04] 5. If You Never
[3:30] 6. Boy From Ipanema
[3:14] 7. Night Train
[3:41] 8. Quiet Of Quiet Stars
[3:15] 9. Wave
[2:46] 10. Meditation
[3:41] 11. Triste
[4:15] 12. Cry Me A River
[2:09] 13. Sway

Eight of the songs are by Antonio Carlos Jobim, the late Brazilian composer who basically launched the Bossa Nova movement in the 1960s. Attempting a Jobim-themed album is audacious for two reasons: first, it follows in the footsteps of artists like Frank Sinatra, Ella Fitzgerald and, of course, Stan Getz and Astrud Gilberto. Second, singer Molly O'Mahony and guitarist Norman Collins are from Ireland's Mizen Peninsula.

It might counterintuitive for an Irish duo to play mostly Brazilian music, but both come out of a setting of mountains and ocean, and the playing and singing is (though excellent) cool and uncluttered. So, it probably makes more sense than first meets the eye.

This CD is suffused with large and small pleasures. Perhaps the only unfortunate aspect may be its title, which is similar to Diana Krall's "Quiet Nights." I like this one better. ~Sirch

Quiet Nights Of Quiet Stars

James Hunter - People Gonna Talk

Bitrate: MP3@320K/s
Time: 40:15
Size: 92.2 MB
Styles: Retro soul
Year: 2006
Art: Front

[3:14] 1. People Gonna Talk
[3:02] 2. No Smoke Without Fire
[2:28] 3. You Can't Win
[4:13] 4. Riot In My Heart
[2:27] 5. 'til Your Fool Comes Home
[2:30] 6. Mollena
[4:03] 7. I'll Walk Away
[3:16] 8. Watch And Chain
[1:55] 9. Kick It Around
[2:34] 10. Don't Come Back
[3:44] 11. It's Easy To Say
[1:51] 12. Tell Her For Me
[2:19] 13. Talkin' 'bout My Love
[2:32] 14. All Through Cryin'

Truly a man, and an album, out of time, James Hunter travels back to the '60s for this slinky shot of retro soul-blues. The singer/guitarist/cartoonist's (he draws the comical caricatures of the band in the liner notes) third album for his third label, isn't a departure from previous releases, but it summarizes what he does best. Kicking off with the Caribbean breeze of the title track, things quickly shift to the funky Austin Powers soul of "No Smoke Without Fire." Hunter's combo of twin saxes, bass, drums, and his own tasty guitar makes for unique jazz/blues/pop that has its roots in Ray Charles' small combo, King Curtis, and Van Morrison's early-'70s work, in particular His Band and the Street Choir. Vocally, Hunter's croon falls on the smooth Sam Cooke side of Boz Scaggs. The album seems like it was made in the late '50s, and the clean sound along with Liam Watson's spacious production is the only giveaway that it was recorded in 2005. None of this would amount to much though if the songs didn't connect, and these do. Perfectly written and arranged, these are each polished gems with instantly memorable choruses and lyrics that although heavy on moon-June-spoon, never sound forced or uncomfortably contrived. Hunter is a punchy, pithy guitarist, cranking out taut solos with the economy of Steve Cropper. Some tunes such as "Talkin' Bout My Love" with its jaunty horns and twistable beat seem like they were grabbed from, or written for, a '60s beach flick. At 14 tracks running 40 minutes, it's over before you want it to be, always the sign of a quality album. An anomaly in 2006 with its mini sax section and sparse, danceable songs, the album nonetheless shimmers with hip-shaking grooves. Although the disc is decidedly retro, it exudes classy, cool fun that feels timeless. An instant party starter, it'll make you want to do the Twist, the Jerk, the Shimmy, and the Mashed Potato, or at least learn how. ~Hal Horowitz

People Gonna Talk

Tom Howard, The London Fox Players - Our Love Is Here To Stay

Bitrate: MP3@320K/s
Time: 35:02
Size: 80.2 MB
Styles: Easy Listening
Year: 2012
Art: Front

[3:02] 1. Our Love Is Here To Stay
[2:54] 2. My Melancholy Baby
[4:33] 3. Count The Stars
[4:03] 4. The Love Nest
[2:35] 5. Play A Simple Melody
[3:43] 6. Love Goes On
[4:07] 7. My Buddy
[4:25] 8. You Made Me Love You
[2:59] 9. Love's Old Sweet Song
[2:36] 10. Ain't We Got Fun

Our Love Is Here To Stay

Bireli Lagrene - Blue Eyes

Bitrate: MP3@320K/s
Time: 59:57
Size: 137.2 MB
Styles: Guitar jazz
Year: 1998
Art: Front

[3:32] 1. A Foggy Day
[6:30] 2. Witchcraft
[3:19] 3. The Lady Is A Tramp
[4:10] 4. I've Got A Crush On You
[2:34] 5. My Kind Of Town
[7:06] 6. I've Got You Under My Skin
[4:15] 7. It's All Right With Me
[2:29] 8. You Make Me Feel So Young
[7:16] 9. Come Fly With Me
[5:19] 10. Here's That Rainy Day
[4:30] 11. Luck Be A Lady
[4:14] 12. April In Paris
[4:36] 13. Autumn In New York

Throughout his career, Bireli Lagrene has often confounded expectations. He started out as a brilliant young Django Reinhardt impressionist; a few years later, he switched to rock-oriented fusion, and then returned to straight-ahead jazz with a more original (if blander) voice than he had displayed in his Django days. On this 1997 set Blue Eyes, a tribute to Frank Sinatra, Lagrene not only plays with swing and subtlety in a conventional quartet (with pianist Maurice Vander, bassist Chris Minh Doky, and drummer André Ceccarelli), but sings a few numbers quite effectively. The 13 selections include such standards as "The Lady Is a Tramp," "My Kind of Town," "Come Fly with Me" and "Luck Be a Lady" and are all associated with Sinatra; the treatments given by Lagrene and his quartet are melodic, tasteful and full of cheer. ~Scott Yanow

Blue Eyes

Patti Wicks Trio - Italian Sessions

Bitrate: MP3@320K/s
Time: 47:33
Size: 108.9 MB
Styles: Vocal jazz
Year: 2007
Art: Front

[3:47] 1. This Hotel
[3:21] 2. I've Got The World On A String
[4:14] 3. Where Do You Think You're Going
[4:43] 4. E Minor Waltz For Gavin
[2:23] 5. A Beautiful Friendship
[4:37] 6. I Keep Goin' Back To Joe's
[7:25] 7. Laura
[4:57] 8. It Might As Well Be Spring
[3:51] 9. Here's To Romance
[4:37] 10. Day Dream
[3:32] 11. Baby Don't You Quit Now

Patti Wicks: piano, vocals; Giovanni Sanguineti: bass; Giovanni Gullino: drums. Featuring Gianni Basso: tenor saxophone.

Patti Wicks represents the historical apex of female jazz pianists/vocalists, with Nina Simone and Shirley Horn on one side and Patricia Barber and Dena DeRose on the other. Wicks has loads of talent and the unique ability to take the simplest cocktail jazz trifle and make it sound like Shakespeare. Her previous recordings, Room at the Top, Love Locked Out and Basic Feeling, all tastefully revealed a vast, understated talent worthy of ample acreage in the field of jazz vocals. Wicks' voice is nominally considered an alto, but that tag may be misleading. It's deep and broad, speaking of experience, which is in this case is practice obtained from years on the bandstand.

A wicked ballad performer like her friends Rebecca Parris and Nancy King, Wicks' voice and time can add an additional dimension to any song she sings. "This Hotel opens The Italian Sessions. Brushes on the snare and careful bass playing buoy Wicks' piano and voice on a light wave. If music had a smell, this one would be of just-lit, filterless Lucky Strikes and vodka martinis. Wicks' piano and voice blends the smoky and the heady in a solution of relaxed bliss. Wicks' arrangement of "I've Got the World on a String is a revelation. The song is counted off and introduced by two rapid staccato chords that recall Nat King Cole. Wicks' conversational singing style is best illustrated here as she comfortably strolls through the Ted Koehler lyrics.

The Italian Sessions sport two Wicks originals, the slowly lilting "E Minor Waltz for Gavin, where Wicks' piano playing mimics her vocal style, and "Here's To Romance, where she address love in a waltz, laconically resisting love's wiles. Her smart piano soloing closely follows her vocal approach. On the upbeat side, Wicks' playfully romps through the Kahn and Styne standard "A Beautiful Friendship. She makes Fisher and Segal's "I Keep Going back to Joe's her "saloon song in the same way Sinatra did with "One More For the Road. Here it's not Lucky Strikes and vodka, but a Cohiba Coronas Especiales with a single-malt scotch.

Recorded with an Italian rhythm section, The Italian Sessions recalls the ambience of Wicks' last recording, Basic Feeling, where she employed the same players, drummer Giovanni Gullino and bassist Giovanni Sanguineti. Tenor saxophonist Gianni Basso makes a dry, reedy appearance on "Laura and "It Might as Well Be Spring, but the real star here is Wicks, whose talent cannot be contained—and shouldn't be. ~C. Michael Bailey

Italian Sessions

Artie Shaw - King Of The Clarinet (1938-39 Live Performances) Disc 3

Styles: Clarinet Jazz, Swing
Year: 1993
File: MP3@320K/s
Time: 65:08
Size: 152,5 MB
Art: Front

(2:32) 1. I Can't Believe That You're In Love With Me
(2:14) 2. Oh, You Crazy Moon (with Tony Pastor)
(2:38) 3. I'm Yours
(2:58) 4. What's New (with Helen Forrest)
(2:03) 5. It Had To Be You
(2:23) 6. This Can't Be Love (with Helen Forrest)
(4:57) 7. Everything's Jumpin'
(3:27) 8. I Can't Give You Anything But Love (with Helen Forrest)
(3:11) 9. I Cover The Waterfront
(3:19) 10. Over The Rainbow (with Helen Forrest)
(3:39) 11. Back Bay Shuffle
(3:49) 12. Summer Souvenirs (with Helen Forrest)
(2:39) 13. Ya Got Me
(3:51) 14. Got The Mis'ry (with Tony Pastor)
(2:45) 15. I Didn't Know What Time It Was (with Helen Forrest)
(2:50) 16. The Yam
(4:11) 17. I Haven't Changed A Thing (with Helen Forrest)
(1:50) 18. If What You Say Is True
(2:36) 19. Maria My Own
(3:16) 20. Last Night (with Helen Forrest)
(2:39) 21. Hold Your Hats
(1:12) 22. Nightmare (Closer)

One of jazz's finest clarinetists, Artie Shaw never seemed fully satisfied with his musical life, constantly breaking up successful bands and running away from success. While Count Basie and Duke Ellington were satisfied to lead just one orchestra during the swing era, and Benny Goodman (due to illness) had two, Shaw led five, all of them distinctive and memorable. After growing up in New Haven, CT, and playing clarinet and alto locally, Shaw spent part of 1925 with Johnny Cavallaro's dance band and then played off and on with Austin Wylie's band in Cleveland from 1927-1929 before joining Irving Aaronson's Commanders. After moving to New York, Shaw became a close associate of Willie "The Lion" Smith at jam sessions, and by 1931 was a busy studio musician. He retired from music for the first time in 1934 in hopes of writing a book, but when his money started running out, Shaw returned to New York. A major turning point occurred when he performed at an all-star big band concert at the Imperial Theatre in May 1936, surprising the audience by performing with a string quartet and a rhythm section. He used a similar concept in putting together his first orchestra, adding a Dixieland-type front line and a vocalist while retaining the strings. Despite some fine recordings, that particular band disbanded in early 1937 and then Shaw put together a more conventional big band.

The surprise success of his 1938 recording of "Begin the Beguine" made the clarinetist into a superstar and his orchestra (who featured the tenor of Georgie Auld, vocals by Helen Forrest and Tony Pastor, and, by 1939, Buddy Rich's drumming) into one of the most popular in the world. Billie Holiday was with the band for a few months, although only one recording ("Any Old Time") resulted. Shaw found the pressure of the band business difficult to deal with and in November 1939 suddenly left the bandstand and moved to Mexico for two months. When Shaw returned, his first session, utilizing a large string section, resulted in another major hit, "Frenesi"; it seemed that he could not escape success. Shaw's third regular orchestra, who had a string section and such star soloists as trumpeter Billy Butterfield and pianist Johnny Guarnieri, was one of his finest, waxing perhaps the greatest version of "Stardust" along with the memorable "Concerto for Clarinet." The Gramercy Five, a small group formed out of the band (using Guarnieri on harpsichord), also scored with the million-selling "Summit Ridge Drive." Despite all this, Shaw broke up the orchestra in 1941, only to re-form an even larger one later in the year. The latter group featured Hot Lips Page along with Auld and Guarnieri. After Pearl Harbor, Shaw enlisted and led a Navy band (unfortunately unrecorded) before getting a medical discharge in February 1944. Later in the year, his new orchestra featured Roy Eldridge, Dodo Marmarosa, and Barney Kessel, and found Shaw's own style becoming quite modern, almost boppish. But, with the end of the swing era, Shaw again broke up his band in early 1946 and was semi-retired for several years, playing classical music as much as jazz.

His last attempt at a big band was a short-lived one, a boppish unit who lasted for a few months in 1949 and included Zoot Sims, Al Cohn, and Don Fagerquist; their modern music was a commercial flop. After a few years of limited musical activity, Shaw returned one last time, recording extensively with a version of the Gramercy Five that featured Tal Farlow or Joe Puma on guitar along with Hank Jones. Then, in 1955, Artie Shaw permanently gave up the clarinet to pursue his dreams of being a writer. Although he served as the frontman (with Dick Johnson playing the clarinet solos) for a reorganized Artie Shaw Orchestra in 1983, Shaw never played again. He received plenty of publicity for his eight marriages (including to actresses Lana Turner, Ava Gardner, and Evelyn Keyes) and for his odd autobiography, The Trouble With Cinderella (which barely touches on the music business or his wives), but the outspoken Artie Shaw deserves to be best remembered as one of the truly great clarinetists. His RCA recordings, which were reissued in complete fashion in a perfectly done Bluebird LP series, have only been made available in piecemeal fashion on CD. ~ Scott Yanow http://www.allmusic.com/artist/artie-shaw-mn0000511029/biography

King Of The Clarinet (1938-39 Live Performances) Disc 3

Linda Eder - Now

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 43:50
Size: 101,6 MB
Art: Front

(3:19) 1. Not Gonna Fall This Time
(2:51) 2. No Finer Man
(3:40) 3. Ordinary People
(3:34) 4. The Heat of The Night
(5:39) 5. What Did You See Inside The Stars?
(3:20) 6. Now
(3:03) 7. The Mad Hatter
(3:44) 8. A Woman In His Arms
(3:26) 9. Good Bye
(3:08) 10. What's Never Been Done Before
(4:27) 11. More Than Heaven
(3:35) 12. Living In The Shadows

There is a certain irony to the title of Linda Eder's reunion with her musical partner, theater composer Frank Wildhorn. Naming the album Now calls attention to the contents, which consist of newly written Wildhorn compositions with lyrics by the likes of Leslie Bricusse, Don Black, and Maury Yeston. But not only is the style of the music not current, it is rooted in a particular time. Back in the mid-'60s, pop singers like Tony Bennett and Barbra Streisand used to make albums that sounded a lot like this by picking and choosing material from Broadway shows and movie themes of the day. Another good source was South American or European songs with newly commissioned English lyrics. But here, Wildhorn has written tunes that sound like the traditional pop of the mid-‘60s, set to string orchestras and big bands, with Eder singing in her typically passionate style. Reused titles like "Ordinary People," "The Heat of the Night," and even "Now" (there was an earlier song by that name sung by Lena Horne in the ‘60s) emphasize the neo-retro nature of the project. While most of the music may have been written especially for Eder, one song, "Mad Hatter," anticipates the next Wildhorn musical, Wonderland, and is the album's jazziest, liveliest number. The overall style, however, is lush and romantic, appropriate for Eder, who is, as always, something of a Streisand soundalike. One might say, in fact, that her Streisand-lite approach is often more enjoyable than the real thing, since, while Eder's voice bears definite similarities to Streisand's, as does her phrasing, she isn't as mannered as Streisand. Still, music written in the style of an era Streisand dominated can't help but evoke the earlier singer. ~ William Ruhlmann http://www.allmusic.com/album/now-mw0002101565

Personnel: Benny Reid, Aaron Heick, Roger Rosenberg, David Mann , Charles Pillow (saxophone); C.J. Camerieri, John Chudoba, Tony Kadleck (trumpet); Dan Levine , Jeff Nelson , John Fedchock (trombone); Dan Nimmer (piano); Clint DeGanon (drums).

Now

Tony Monaco - Fiery Blues

Styles: Jazz Fusion, Jazz Funk
Year: 2004
File: MP3@320K/s
Time: 74:42
Size: 171,5 MB
Art: Front

(6:38) 1. Goin' to a Meetin'
(4:38) 2. Everyday I Have the Blues
(7:03) 3. Greasy Spoon
(5:33) 4. Mellow Soul
(5:42) 5. Ashleen
(6:43) 6. Crosscut Saw
(7:32) 7. The Hooker
(8:18) 8. Stormy Monday
(8:25) 9. All Blues
(4:33) 10. The Preacher
(9:31) 11. Takin' My Time Blues

Tony Monaco's explosive Fiery Blues session may be his best ever. Settling into a comfortable groove, he unleashes the soulful power of the blues, and its magnetic attraction holds you in its spell. Guitarist Derek DiCenzo and drummer Louis Tsamous have developed a delicious rapport with the organist. Together, they interpret standards and originals with vibrant energy. As the house starts rockin' and the fires heat up, each artist provides more fuel. Monaco drives with genuine soul. Horace Silver's "The Preacher" opens with guest saxophonist Gene Walker spreadin' the word. His emotional outpouring leads to a burning guitar tribute by DiCenzo. Then Monaco sums it up with a sermon that would convince any audience. "All Blues" features Robert Kraut on guitar, as he and Monaco team with Tsamous to give that familiar theme a fresh look. The piece connotes mellow textures, but Monaco's trio kicks it into high gear. With a similar drive, the organist takes Don Patterson's "Mellow Soul" on a trip. Walker returns, and the ensemble builds from its casual atmosphere into a classic tumult on Monaco's fiery spirit. Blues singer Willie Pooch joins for three selections, giving the listener a strong prescription for what ails ya. His persuasive interpretations, particularly on "Stormy Monday," give the session another avenue to reach out forcefully. Monaco's session connects with his audience convincingly, from one man's heart to a world of open arms. ~ Jim Santella https://www.allaboutjazz.com/fiery-blues-tony-monaco-review-by-jim-santella.php

Personnel: Tony Monaco -Hammond B3 Organ; Robert Kraut, Tom Carroll, Derek DiCenzo - Guitar; Louis Tsamous, Jim Rupp - Drums; Gene Walker - Saxophones; Willie Pooch - Vocals.

Fiery Blues

Duke Ellington - The Cosmic Scene

Styles: Piano Jazz
Year: 1958
File: MP3@256K/s
Time: 43:58
Size: 81,7 MB
Art: Front

(3:22) 1. Avalon
(4:57) 2. Body and Soul
(3:03) 3. Bass-Ment
(3:10) 4. Early Autumn
(2:55) 5. Jones
(2:49) 6. Perdido
(5:07) 7. St. Louis Blues
(2:33) 8. Spacemen
(3:38) 9. Midnight Sun
(4:59) 10. Take the "A" Train
(4:46) 11. Body and Soul (alternate take)
(2:35) 12. Jones (alternate take)

Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed "the Spacemen" in 1958, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them down even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin "Butter" Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features "Avalon" and "Early Autumn," the slinky stripper pole blues version of "St. Louis Blues" with Ellington's piano taking the lead, and two versions of "Body & Soul," with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the main take, while faithfully playing the original melody on the alternate selection. There's a modified "Perdido," an animated and perky "Midnight Sun" that deviates from any other slow and lugubrious version of the ballad, and two attempts of "Jones" the first a real good swinger, the second with a more unified horn chart accented by a New Orleans shuffle provided by drummer Sam Woodyard. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing "Bass-Ment," and one of the more delightful of all of Ellington's book, the poppin' and boppin' "Spacemen," a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. ~ Michael G.Nastos http://www.allmusic.com/album/the-cosmic-scene-duke-ellingtons-spacemen-mw0000752803

Personnel: Duke Ellington – piano; Clark Terry – trumpet; Quentin Jackson, Britt Woodman – trombone; John Sanders - valve trombone; Jimmy Hamilton – clarinet; Paul Gonsalves - tenor saxophone; Jimmy Woode – bass; Sam Woodyard - drums

The Cosmic Scene

Jive Aces - Diggin' The Roots vol.1

Styles: Swing
Year: 2017
File: MP3@320K/s
Time: 38:45
Size: 92,4 MB
Art: Front

(3:18) 1. Rock 'N' Roll Movie Star
(2:48) 2. Feelin' Happy
(3:11) 3. Mama, He Treats Your Daughter Mean (feat. Cassidy Janson)
(2:31) 4. No. 13 (Fruit Boots)
(2:47) 5. Choo Choo Ch'Boogie
(2:27) 6. Giddy Up A Ding Dong (feat. Chris Wilkison)
(3:21) 7. Bad News
(3:51) 8. Alright, Ok, You Win
(2:01) 9. I Want You To Be My Baby (feat. Cassidy Janson)
(2:56) 10. Rok 'N' Roll Boogie
(2:38) 11. Ain't Nobody Here But Us Chickens
(3:39) 12. Jump, Jive And Wail
(3:11) 13. Loch Lomond

Diggin' The Roots vol.1