Bruce Ditmas - Aeray Dust

Styles: Free Jazz, Fusion
Year: 1977
File: MP3@320K/s
Time: 34:41
Size: 80,7 MB
Art: Front

(6:34)  1. Aeray Dust
(7:19)  2. Side Looking Radar Image
(3:57)  3. Terminal Velocity
(7:08)  4. Face To Face To Face
(2:48)  5. Tactics Of Despair
(6:53)  6. Thats The Way It Is

Bruce Ditmas (born December 12, 1946) is an American jazz drummer and percussionist. Ditmas was born in Atlantic City but grew up in Miami; his father was a trumpeter in Miami big bands. He studied with Tony Crisetello and then with Stan Kenton at Indiana University and Michigan State University in the early 1960s. After a stint with Ira Sullivan (1962–64), he accompanied singers including Judy Garland, Barbra Streisand, Della Reese, Leslie Uggams, and Sheila Jordan between 1964 and 1970. He moved to New York City in 1966. In the 1970s Ditmas played on Broadway Promises..Promises...then with Joe Newman (1971), Jazz Interactions Orchestra (1971), Gil Evans (1971–77), Enrico Rava (from 1971), Stardrive, Atmospheres, Future Shock (1972), New Wilderness Preservation Band (1972–73), Paul Bley, Lee Konitz, Jaco Pastorius Pat Metheny, Chet Baker (1974–75), and Stan Getz (1975). Later in the 1970s he concentrated on solo performance, including experiments with drum machines. He returned to work with the Evans Orchestra from 1979 to 1985, and lived in Italy in 1986-87, where he played with Dino Saluzzi, Rava, Rita Marcotulli, and Pietro Tonolo. He played with his own trio D3 with Jack DeSalvo and Tony DeCicco from 1988. D3 released Spontaneous Combustion on the Tutu label. In the 1990s he played with Pat Hall and Karl Berger among others. D3 reformed in 2008 and is currently performing as the D3 Standards Trio. In 1990, Ditmas orchestrated the music to an opera by Patricia Burgess, The Dream of Four Directions. He also composed prolifically for film and television; among his credits is the film Deathscape. https://en.wikipedia.org/wiki/Bruce_Ditmas

Personnel:  Drums, Drum Machine [Moog Drum], Percussion – Bruce Ditmas;  Trumpet – Enrico Rava;  Voice, Percussion – Joan La Barbara

Aeray Dust

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John McLaughlin & The 4th Dimension - Live at Ronnie Scott's

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 71:25
Size: 163,9 MB
Art: Front

( 8:06)  1. Meeting of the Spirits
( 7:34)  2. Miles Beyond
( 5:05)  3. Gaza City
(10:41)  4. Here Come the Jiis
( 7:36)  5. New Blues Old Bruise
( 6:47)  6. El Hombre que Sabia
( 5:08)  7. Sanctuary
( 7:45)  8. Vital Transformation
(12:38)  9. Echos from Then

Music has taken him and his guitar to some of the most exotic far reaches of the world, but Ronnie Scott's Jazz Club will always have a special place in John McLaughlin's heart. His mid-1960s time in the famous London venue's house band was a key early step in his musical life, and he idly wonders "where would I be without them?" five decades later. No doubt he would still be a legend today; such boundless curiosity and imagination would have led him to some adventurous path one way or another. Nonetheless, this homecoming show of sorts provides the perfect occasion to celebrate a scorching group at the top of their game. That affection for the club contributes to this live set's special vibe, though of course there are many factors at work. Things are consistently taken to another level when McLaughlin can settle in and gel with one consistent band (as exciting as the studio constructions or occasional brief projects can also be). The Fourth Dimension makes his all-time longest-running ensemble (formed in 2007, with this lineup since 2011) and it's become the most expansive and versatile group the guitarist has ever had. More than any previous outfit, even the top-flight Five Peace Band of 2008-9, this quartet can handle his globe-spanning range with a virtuosity and interplay that are downright uncanny.

This was plenty in evidence on their previous live release The Boston Record (Abstract Logix, 2014), but the three years between leave them even more keenly in tune with each other on Ronnie Scott's. Admirers of the Mahavishnu Orchestra will be delighted with the return of a few chestnuts from that band's first two albums the audacity of the compositions hasn't dulled with age, though their renditions here have the inevitable seasoning of maturity as well. The players may hit McLaughlin's trademark blizzard pace fairly often, but they trade their brisk solos and dash off their complex dialogues without any gaudy grandstanding. Gary Husband's electric keys conduct a sprightly back-and-forth with Etienne M'Bappé's bass through Mahavishnu's "Miles Beyond," while an epic take on "Here Come the Jiis" positively sizzles thanks to Ranjit Barot's frisky drumming and use of konokol (a percussive vocalizing used in traditional Carnatic music). 

The piece takes him and Husband to heights of rhythmic joy in a most fitting dedication to Shakti's master mandolinist U. Srinivas. Honoring departed friends sadly makes a recurring theme here, as "El Hombre Que Sabia" (The Man Who Knew) does the same for McLaughlin's guitar partner Paco De Lucia (Husband's angular keys conveying the subject's uniqueness admirably). Still, it's only right to mark such notes in a set that ranges throughout the guitarist's career, and the band does them justice with performances full of life. Those tribute pieces and the thoughtful-but-not-maudlin "Gaza City" are the newest ones here, taken from 2015's Black Light (Abstract Logix), and all eloquently stand alongside those classics from decades past. The time in between has made a long and winding journey, but the inner flame burns undimmed even fifty years on. ~ Geno Thackara https://www.allaboutjazz.com/live-at-ronnie-scotts-john-mclaughlin-abstract-logix-review-by-geno-thackara.php
 

Personnel: John McLaughlin: guitar; Gary Husband: keyboards, drums; Etienne M'Bappé: bass; Ranjit Barot: drums, konokol.

Live at Ronnie Scott's

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Bertha Hope - Elmo's Fire

Bitrate: MP3@320K/s
Time: 55:39
Size: 127.4 MB
Styles: Bop, Piano jazz
Year: 1991
Art: Front

[ 6:52] 1. Low Tide
[ 2:13] 2. Mirror-Mind Rose
[ 9:12] 3. Bai Tai Blues
[ 9:16] 4. For Duke And Cannon
[11:57] 5. Bellarosa
[ 7:16] 6. Luna Negra
[ 8:50] 7. Elmo's Fire

Bertha Hope was married to pianist Elmo Hope for just seven years prior to his death in 1967, but she only recorded a few piano duets with him until getting back into the studio in the early 1990s. On this session, she proves herself to a more than capable pianist, composer and arranger as she leads a strong quintet featuring trumpeter Eddie Henderson, tenor saxophonist Junior Cook (with Dave Riekenberg taking over on "Bellarosa"), bassist Walter Booker and drummer Leroy Williams. Her snappy "Bai Tai Blues" stands up against anything her late husband recorded during his career, while there is plenty of blowing space for Cook and Henderson. The lovely ballad tribute "For Duke and Cannon," composed by Sonny Fortune, is a subtle feature for Hope with Booker's tasty bass and Williams' crisp brushwork. She offers effective interpretations of her late husband's works, especially the sauntering "Bellarosa" and the breezy "Elmo's Fire," which showcases the leader extensively. Sadly there are no liner notes to give more background about the leader and the making of this session. Bertha Hope, a superb talent worthy of wider recognition in her own right, should be a regular visitor to the recording studio. ~Ken Dryden

Elmo's Fire

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Charlie Byrd Trio - I've Got The World On A String

Bitrate: MP3@320K/s
Time: 68:02
Size: 155.7 MB
Styles: Guitar jazz
Year: 1994
Art: Front

[3:26] 1. I'm Gonna Sit Right Down And Write Myself A Letter
[3:13] 2. Blue Skies
[4:15] 3. How Deep Is The Ocean
[2:49] 4. Gee Baby, Ain't I Good To You
[3:48] 5. I've Got The World On A String
[3:48] 6. Goody Goody
[4:05] 7. They Can't Take That Away From Me
[2:55] 8. Avalon
[3:41] 9. Just You, Just Me
[4:51] 10. One To Nothing
[4:13] 11. Don't Get Around Much Anymore
[4:57] 12. Satin Doll
[4:23] 13. Travellin' On
[4:03] 14. Someone To Light Up My Life
[4:09] 15. So Danca Samba
[5:10] 16. Imagination
[4:08] 17. Straight, No Chaser

Charlie Byrd - guitar, vocals; Joe Byrd - bass; Chuck Redd - drums. Recorded at Studio Murec, Milano.

Charlie has always liked to sing. That's one of the reasons he wanted to make this recording. He's only been featured singing once before on record - on one of his old Columbia albums. His singing voice is just as sweet and soft and tinged with his lovely Southern accent as his speaking voice. It's just right for such songs as Blue Skies and Gee Baby, Ain't I Cood To You?

The other thing that Charlie wants to do with this record is spotlight his regular trio. Charlie, his brother Joe, and drummer Chuck Redd have been working as a tight unit for 14 years...yet they haven't been recorded that much. Joe is an excellent bass player who also sings (though not on this recording) in a style that recalls Mose Allison. Chuck Redd is one of the most respected young drummers on the D.C. scene. He's got big ears - you often see him at the clubs, after he's finished playing his own gigs, checking out the other musicians. It's always a pleasure to hear the Charlie Byrd trio...and it's often a surprise. Even if you know his music well, you sometimes slip into making that instant connection: 'Charlie Byrd = Brazilian music.' It's a treat to hear... again...how much else he can do. ~Tom Cole

I've Got The World On A String

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Dizzy Reece - Asia Minor

Bitrate: MP3@320K/s
Time: 36:13
Size: 82.9 MB
Styles: Bop, Trumpet jazz
Year: 1962/1992
Art: Front

[5:26] 1. The Shadow Of Khan
[4:31] 2. The Story Of Love
[5:38] 3. Yamask
[4:37] 4. Spiritus Parkus (Parker's Spiritus)
[7:48] 5. Summertime
[8:11] 6. Ackmet

Baritone Saxophone – Cecil Payne; Bass – Ron Carter; Drums – Charlie Persip; Flute – Joe Farrell; Piano – Hank Jones; Tenor Saxophone – Joe Farrell; Trumpet – Dizzy Reece. Recorded in Englewood Cliffs, New Jersey; March 13, 1962.

This is one of trumpeter Dizzy Reece's finest recordings, a well-planned sextet date (reissued on CD) with baritonist Cecil Payne, Joe Farrell on tenor and flute, pianist Hank Jones, bassist Ron Carter, and drummer Charlie Persip that is on the level of a Blue Note album. Reece (who contributed three diverse originals) performs mostly minor-toned songs that seem to really inspire the musicians. The solos tend to be concise but quite meaningful, and, overall, this hard bop but occasionally surprising session is quite memorable. Strange that Reece would not get another opportunity to lead a record date until 1970. ~Sxptt Yanow

Asia Minor

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Roland Hanna Trio - Dream

Bitrate: MP3@320K/s
Time: 63:29
Size: 145.3 MB
Styles: Bop, Piano jazz
Year: 2001
Art: Front

[4:54] 1. When I Grow Too Old To Dream
[4:12] 2. Street Of Dreams
[6:05] 3. You Stepped Out Of A Dream
[6:39] 4. Day Dream
[5:31] 5. This Time The Dream's On Me
[4:34] 6. Skylark
[6:01] 7. I Hear A Rhapsody
[5:07] 8. Dream
[4:31] 9. So In Love
[5:30] 10. Dream Dancing
[4:28] 11. A Sleepin' Bee
[5:51] 12. You Do Something To Me

Bass – Paul West; Drums – Eddie Locke; Piano – Roland Hanna. Recorded at "The Studio" in New York on February 1st, 2001.

One of Sir Roland Hanna's last recordings prior to his death at the end of 2002 was this session for the Japanese Venus label. With seven of the 12 songs incorporating the word "dream" in their titles, it seemed to be a fitting title for the CD. Hanna is joined by bassist Paul West and drummer Eddie Locke, kicking off with a rollicking take of "When I Grow Too Old to Dream." The pianist and the bassist trade lines throughout the lush introduction to the infrequently heard "Street of Dreams." The joyful interpretation of "This Time the Dream's on Me" (a favorite of Marian McPartland) and swinging treatment of "Dream" are also highlights. The "non-dream" tracks include a lullaby-like arrangement of "A Sleepin' Bee" and a toe-tapping "I Hear a Rhapsody." Highly recommended. ~Ken Dryden

Dream

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Glen Gray & The Casa Loma Orchestra - 1940

Bitrate: MP3@320K/s
Time: 55:06
Size: 126.2 MB
Styles: Big band
Year: 1983
Art: Front

[3:20] 1. Little Brown Jug
[3:05] 2. Last Night's Gardenias
[3:00] 3. Save Your Sorrow For Tomorrow
[3:02] 4. Tuxedo Junction
[2:55] 5. The Fable Of The Rose
[2:52] 6. Would'nt Could I But Kiss Thy Hand, Oh! Babe
[2:39] 7. Castle Of Dreams
[3:25] 8. Git Away Day
[2:53] 9. You've Got Me Out On A Limb
[3:20] 10. In The Mood
[2:34] 11. Yodelin' Jive
[3:03] 12. Watching The Clock
[2:52] 13. Jimtown Blues
[3:05] 14. I'll Take You Home Again, Kathleen
[2:50] 15. Big Bad Bill (Is Sweet William Now)
[3:10] 16. Polka Dots And Moonbeams
[6:51] 17. No Name Jive Parts One And Two

The Casa Loma Orchestra was a popular American dance band active from 1927 to 1963. From 1929 until the rapid multiplication in the number of swing bands from 1935 on, the Casa Loma Orchestra was one of the top North American dance bands. With the decline of the big band business following the end of World War II, it disbanded in 1947. However, from 1957 to 1963, it re-emerged as a recording session band in Hollywood, made up of top-flight studio musicians under the direction of its most notable leader of the past, Glen Gray. The reconstituted band made a limited number appearances live and on television and recorded fifteen LP albums for Capitol Records before Gray died in 1963.

1940

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Cherry Poppin' Daddies - White Teeth, Black Thoughts

Bitrate: MP3@320K/s
Time: 37:15
Size: 85.3 MB
Styles: Retro Swing
Year: 2013
Art: Front

[3:55] 1. The Babooch
[3:44] 2. I Love American Music
[3:20] 3. Whiskey Jack
[2:27] 4. Doug The Jitterbug
[3:26] 5. White Teeth, Black Thoughts
[4:05] 6. Brown Flight Jacket
[2:28] 7. Bloodshot Eyes
[2:44] 8. Jakes Frilly Panties
[3:16] 9. Huffin' Muggles
[2:47] 10. I Want A Bowlegged Woman
[4:58] 11. Concrete Man Blues

Cherry Poppin' Daddies' sixth studio album, 2013's White Teeth Black Thoughts, is the band's first album of all swing-oriented material since their hit 1997 compilation Zoot Suit Riot. The album also follows up the group's more eclectic, world music-infused 2008 album Susquehanna and ska-centric 2009 compilation Skaboy JFK. Loosely inspired by the American financial crisis of 2007-2008, lead singer Steve Perry began re-investigating various Dust Bowl and Depression-era swing songs as a way of finding historical context for the nation's troubles. This led Perry and the Daddies to cover several songs from the '30s, '40s, and '50s, something the band had heretofore eschewed in favor of sticking to original material. To these ends, the band takes on Wynonie Harris' "Bloodshot Eyes," Bull Moose Jackson's "I Want a Bowlegged Woman," and Louis Jordan's "Doug the Jitterbug." While these cover songs never stray too far afield from the original arrangements, they do sound fresh and imbued with that crisp (punk-informed, if not literally punk-sounding) Cherry Poppin' Daddies style of swing. Elsewhere, the band delves into several no less compelling originals, including the very socio-satirical "The Babooch," the bluesy "I Love American Music," and the glitter rock meets Cab Calloway-sounding "Brown Flight Jacket." The result is an album of exuberant, urbane dance music that moves from popular standards to new compositions with devilish ease. ~Matt Collar

White Teeth, Black Thoughts

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Bill Evans - We Will Meet Again

Styles: Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 61:59
Size: 142,3 MB
Art: Front

(10:09)  1. Comrade Conrad
( 8:22)  2. Laurie
(10:52)  3. Bill's Hit Tune
( 3:40)  4. For All We Know (We May Never Meet Again)
( 9:14)  5. Five
(10:51)  6. Only Child
( 6:14)  7. Peri's Scope
( 2:33)  8. We Will Meet Again

This was pianist Bill Evans' final studio session, a rare outing with a quintet (starring trumpeter Tom Harrell and Larry Schneider on tenor and soprano) and his first recording with the members of his final regular trio (bassist Marc Johnson and drummer Joe LaBarbera). The playing time is over 61 minutes. The group interprets "For All We Know" and seven Evans originals, including "Peri's Scope" and "Five." The thoughtful session is full of lyrical melodies and strong solos; even Evans' electric keyboard work on a few tunes is distinctive. ~ Scott Yanow http://www.allmusic.com/album/we-will-meet-again-mw0000276230

Personnel:  Piano, Electric Piano – Bill Evans;  Acoustic Bass – Marc Johnson;  Drums – Joe LaBarbera;  Tenor Saxophone, Soprano Saxophone, Flute [Alto] – Larry Schneider;  Trumpet – Tom Harrell

We Will Meet Again

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Hank Jones, Jimmy Cobb, Christian McBride - West of 5th

Styles: Piano Jazz, Post-Bop
Year: 2006
File: MP3@320K/s
Time: 62:18
Size: 143,1 MB
Art: Front

(5:22)  1. On Green Dolphin Street
(4:26)  2. Mr. Walker
(8:00)  3. Speak Low
(5:28)  4. A Child Is Born
(5:50)  5. If I Were A Bell
(5:18)  6. Billie's Bounce
(6:26)  7. Lotus Blossom
(4:53)  8. Confirmation
(6:52)  9. We'll Be Together Again
(4:50) 10. Stella by Starlight
(4:49) 11. Eleanor

Veteran pianist Hank Jones is hardly slowing down at the age of 87, as heard on this beautifully recorded session in early 2006. With drummer Jimmy Cobb (who sticks to brushes) and Christian McBride rounding out his potent trio, Jones keeps old warhorses like "On Green Dolphin Street" fresh, giving ample space to his partner and adding a humorous detour into Billy Strayhorn's "Rain Check." Other highlights include his elegant treatment of his late brother Thad's timeless ballad "A Child Is Born" and a hard driving take of Charlie Parker's "Confirmation."

McBride shows depth beyond his years with strong accompaniment and swinging solos. This Hybrid Super Audio CD, recorded without any gimmickry such as remixing or compression, enables the listener to enjoy these intimate performances as if sitting in the studio with the players. Highly recommended! 

~ Ken Dryden http://www.allmusic.com/album/west-of-5th-mw0000559064

Personnel: Hank Jones (piano); Christian McBride (double bass); Jimmy Cobb (drums).

West of 5th

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Eddie 'Lockjaw' Davis - Trane Whistle

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 33:03
Size: 76,8 MB
Art: Front

(6:19)  1. Trane Whistle
(3:35)  2. Whole Nelson
(5:11)  3. You Are Too Beautiful
(7:54)  4. The Stolen Moment
(5:27)  5. Walk Away
(4:36)  6. Jaws

This CD reissue brings back an Eddie "Lockjaw" Davis session in which the distinctive tenor saxophonist is joined by a 13-piece big band arranged by Oliver Nelson. Most significant is the inclusion of the original version of "Stolen Moments" (here called "The Stolen Moment" and predating the more famous Oliver Nelson recording by several months). Eric Dolphy is in the backup group but is not heard from in a solo capacity. There are some spots for trumpeters Richard Williams, Clark Terry and Bobby Bryant along with Nelson on alto but this is primarily Davis' showcase. On a set comprised of four Oliver Nelson originals, the ballad "You Are Too Beautiful" and the leader's "Jaws," Lockjaw as usual shows plenty of emotion during his driving solos. ~ Scott Yanow http://www.allmusic.com/album/trane-whistle-mw0000207360

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Clark Terry, Richard Williams, Bob Bryant (trumpet); Melba Liston, Jimmy Cleveland (trombone); Jerome Richardson, Oliver Nelson, Eric Dolphy, George Barrow, Bob Ashton (reeds); Richard Wyands (piano); Wendell Marshall (bass); Roy Haynes (drums).

Trane Whistle

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Dmitry Baevsky - The Day After

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 67:22
Size: 155,0 MB
Art: Front

(6:39)  1. Would You?
(6:37)  2. Minor Blues 012
(5:30)  3. Chant
(6:38)  4. Minor Delay
(7:20)  5. Hotel Baudin
(5:06)  6. The Wise Ones
(6:36)  7. The Day After
(5:39)  8. Four Seven Nine One
(9:33)  9. Delilah
(7:39) 10. I've Told Ev'ry Little Star

Imagine a group that, in large measure, references the bebop revolution of nearly seventy-five years ago, yet steers clear of the pitfalls of nostalgia, hero worship, and blatant imitation, and ultimately wins the day with an adroit blend of teamwork and compelling individual voices. For those who believe that nothing good can come from contemporary players choosing to work an all-too-familiar vein of the jazz tradition, I suggest a visit with Dmitry Baevsky's band. Over the past several years, the alto saxophonist's quartet featuring pianist Jeb Patton, bassist David Wong, and drummer Joe Strasser, has often performed at Smalls Jazz Club in New York City. The fruits of their labor are documented for the first time in The Day After, Baevsky's sixth record date as a leader. One of the record's primary strengths is the lasting impression made by the heads, leaving no doubt that they're as important as the solos that follow. The material feels lived-in, savored, respected, as opposed to expediently worked up for the record date. The group fully realizes a number of expressive perspectives. Baevsky's "Would You?," the opening track, is a graceful, courtly jazz waltz. Duke Pearson's "Chant" manages to wax shrewd and soulful without being too obvious about it. Patton's lickety-split "The Wise Ones" contains a number of dazzling twists and turns. Tom McIntosh's "The Day After" is a convincingly melancholy ballad. Victor Young's "Delilah" evinces a seductive, unhurried vibe. Much of the substance in these tracks lies in the details, such as the easy, natural sounding ways in which Patton supports and/or joins Baeveky in playing the melodies. Or, the exemplary hook-up between Wong and Strasser, in which the bassist lays down a sturdy, feel-good foundation that enables the drummer to use every component of his kit to make all manner of remarks about a song while remaining in the pocket.

The band's primary soloists, Baevsky and Patton, emerge in ways that display an acute awareness of the group as a whole. Throughout his turn on "Would You?," Baevsky persuasively asserts himself without becoming particularly verbose or forceful; often leaving enough space between tart, relatively concise phrases to allow the voices of each accompanying instrument to take effect. The title track finds him in an assertive ballad mode, gradually expanding and imaginatively building in strength without completely breaking ties to the tune's the melody. Patton's "Chant" solo is noteworthy for stability amidst changes in velocity and emphasis, as he leans against Wong's earthy walking bass, suddenly skips away from it with breathless single note lines, and invariably finds unexpected places to snap back into place. 

Left to his own devices at the onset of Baevsky's "Rollin'" and near the end of "Delilah," Strasser makes a deep impression with meticulous sticking and mallet strokes, a genuine feel for structure, and the ability to tell a story minus any extraneous details. For anyone who appreciates shrewdly chosen material, a cohesive, interactive group sound, and solos that are nicely integrated into the whole presentation, I heartily recommend The Day After. ~ David A. Orthmann https://www.allaboutjazz.com/the-day-after-dmitry-baevsky-jazz-family-review-by-david-a-orthmann.php

Personnel: Dmitry Baevsky: alto saxophone; Jeb Patton: piano; David Wong: bass; Joe Strasser: drums.

The Day After

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Lizz Wright - Grace

Styles: Vocal, Neo-Soul
Year: 2017
File: MP3@320K/s
Time: 43:50
Size: 101,2 MB
Art: Front

(5:07)  1. Barley
(4:43)  2. Seems I’m Never Tired Lovin’ You
(3:47)  3. Singing In My Soul
(4:14)  4. Southern Nights
(3:17)  5. What Would I Do Without You
(4:55)  6. Grace
(3:52)  7. Stars Fell On Alabama
(5:29)  8. Every Grain Of Sand
(4:34)  9. Wash Me Clean
(3:48) 10. All The Way Here

In reaffirming the adage that you can go home again, Lizz Wright did just that. The songs on Grace reflect a homecoming to the singer's southern heritage a personal rite of passage to glean inspiration and redefine her musical origins. She revisits her rural Georgia upbringing and Atlanta gospel roots, and finds comfort at her current home in Asheville, North Carolina. Having had an enduring taste of fame and success, she articulates the need for humanity, direly absent in times like these. Possessing a discernible earthy vocal quality, and recognized as a riveting interpreter of any song she sings, this time around Wright opts for an Americana theme guided by the expertise of producer Joe Henry, who proves to be a wise choice for the project. In keeping with Wright's natural inclinations, there is an inherent sense of the music that has forever buoyed the spirit of the black community, where she has been culturally grounded since Wright's days as musical director of her father's church. "Barley" is a rhythmic acoustic blues that conjures images of farmlands, down home country living and unwavering faith. The iconic Nina Simone continues to cast a mesmerizing spell over contemporary singers, and Wright fell under her sway long ago. She does a remarkable version of Simone's "Seems I'm Never Tired Of Lovin' You," bringing in an impressive Atlanta church choir under the direction of Kenny Banks Sr., a local gospel legend. They come in around mid-song, and the increasing vocal textures add a divine proclivity to the outcome. The traditional gospel "Singing In My Soul," long associated with Sister Rosetta Tharpe, comes with a swinging cadence, embellished by electric guitars amidst a sanctified shuffle. Allen Toussaint's signature "Southern Nights" is returned to the bayous and backwaters from where it came, with Wright successfully projecting the bucolic imagery the song intended. The road back to Atlanta goes right through Ray Charles, and he is given his due with "What Would I Do," with the choir brought back, accompanied by a deliberate church-inspired piano.

In breaking with her personal practice of composing the title track on her records, "Grace" was written by Rose Cousins, and given the royal Wright treatment, the choir returning for an encore. Wright contributes her romantic magic on the standard "Stars Fell On Alabama," while Bob Dylan's "Every Grain of Sand" is transported to a place where poetry, country and blues melt into the setting sun. There is an undercurrent of sensuality evident in Wright's voice, which she can conjure up at will, as she does on "Wash Me Clean," a k.d. lang ballad, converted into a soulful yearning moan. 

She co-wrote "All The Way Here," with Maia Sharp, a biographical tale of coming to terms with where she's been and what she has become, as the album comes to an end. There are few singers that are comfortable in a variety of styles while maintaining individuality and quality in the process. Lizz Wright can take any song into another dimension, yet she chooses with care as she is a firm believer in song as a means of message and hope. Her voice has a kind and tender quality that is evidence of her engagement with life on the higher spiritual plane from which she sings. ~ James Nadal https://www.allaboutjazz.com/grace-lizz-wright-concord-music-group-review-by-james-nadal.php

Personnel: Lizz Wright: vocals; Jay Bellerose: drums, percussion; David Piltch: upright bass; Chris Bruce: acoustic and electric guitar; Marvin Sewell: acoustic and electric guitar; Kenny Banks: piano, Hammond organ; Patrick Warren: keyboards (3, 9, 10); Marc Ribot: electric guitar (7); Valorie Mack: backing vocals (2, 5, 6); Cathy Rollins: backing vocals (2, 5, 6); Artia Lockett: backing vocals (2, 5, 6); Angela Jenifer: backing vocals (2, 5, 6); Sheree-Monique: backing vocals (2, 5, 6); K. Heshima White: backing vocals (2, 5, 6); Ted Jenifer: backing vocals (2, 5, 6); Kevin O’Hara: backing vocals (2, 5, 6); Kenny Banks, Sr.:vocal choir director (2, 5, 6).

Grace

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Jimmy Witherspoon - With The Junior Mance Trio

Bitrate: MP3@320K/s
Time: 37:23
Size: 85.6 MB
Styles: Urban blues, Jazz-blues vocals
Year: 1997
Art: Front

[0:23] 1. Intro
[2:16] 2. Lowdown Dirty Blues
[4:07] 3. Cal It Stormy Monday
[3:01] 4. Kansas City
[2:55] 5. Trouble In Mind
[3:12] 6. Times Getting' Tougher Than Tough
[4:16] 7. Ain't Nobody's Business
[2:54] 8. I'm Gonna Move To The Outskirts Of Town
[4:10] 9. Going Down Slow
[3:19] 10. Roll Em' Pete
[6:46] 11. No Rollin' Blues

With a voice as tasty as grandma's cooking, Witherspoon hit the 1940s running and had a series of hit records. The Blues that burst out of him were tinged with a weary sense of loss: he roared but it was almost a quiet roar. By the mid-'50s, he was considered all washed up. He started recording with a series of jazz greats such as Ben Webster, Richard Groove Holmes, and Buck Clayton. It was a move that did more than just revive his career: his music was better than ever. Witherspoon's intense delivery is so powerful that he can lay out during long solos and his presence can still be felt. More soul is found in his music than in a cemetery. He left that soul with us when he finally lost his long battle with throat cancer in '97. He was singing until the end.

With The Junior Mance Trio

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Pete Christlieb with the Lori Mechem Quartet - Live At The Jazz Cave

Bitrate: MP3@320K/s
Time: 69:04
Size: 158.1 MB
Styles: Saxophone jazz
Year: 2006
Art: Front

[5:29] 1. Yours Is My Heart Alone
[9:08] 2. Limehouse Blues
[8:51] 3. You've Changed
[8:27] 4. When Lights Are Low
[5:52] 5. Turn Out The Stars
[5:54] 6. Only Trust Your Heart
[9:19] 7. We'll Be Together Again
[7:23] 8. The Song Is You
[8:36] 9. Day Dream

Pete Christlieb: tenor sax; Lori Mechem: piano; Andy Reiss: guitar; Roger Spencer: bass; Chris Brown: drums.

I fell head-over-heels in love with the tenor saxophone the first time I heard Zoot Sims play one, and my heart (thank goodness) has never quite recovered from the impact. These days I have two tenors of choice, one on each coast—Eric Alexander in the east, Pete Christlieb way out west. And the strange part is, about the only thing they have in common is that they both play the same horn. Alexander is a hard-line, straight-ahead, no-nonsense swinger from the Dexter Gordon/George Coleman (and Zoot Sims) school, whereas Christlieb dances nimbly and impulsively "on the edge, much like altoist Lee Konitz or the late Warne Marsh, and one seldom knows what avenue he may choose to explore or where the next phrase may lead him. Truth be told, Christlieb could play the phone book and make it sound intriguing.

Christlieb doesn't play the phone book at the Nashville Jazz Workshop's Jazz Cave, but he's all over the tenor, as usual, in an electrifying live performance with the remarkably adept and supportive Lori Mechem Quartet. While there's no doubt that Christlieb is the headliner, Mechem and her colleagues are there when he needs them, conveying the impression that this was a well-rehearsed gig instead of a hastily planned session, occasioned by Christlieb's brief stopover in Nashville in April 2006. Mechem, in particular, is a real eye-opener. What a pianist with her singular talent is doing in Nashville is anyone's guess, but they're lucky to have her. She's not only an impressive soloist (who numbers among her influences Wynton Kelly, Oscar Peterson, Gene Harris, Monty Alexander, Erroll Garner and Bill Evans), but a vigilant and perceptive accompanist who always finds the proper notes to underscore precisely Christlieb's impromptu acrobatics. Bassist Roger Spencer, drummer Chris Brown and rhythm guitarist Andy Reiss round out a splendid group that is by no means eclipsed or overawed by its celebrated guest star.

The music chosen for the concert is for the most part well-known, consisting of half a dozen standards plus jazz evergreens by Evans ("Turn Out the Stars ) and Benny Carter ("When Lights Are Low, "Only Trust Your Heart"). Luckily, Christlieb is a peerless balladeer, as there are four on the menu, including the requisite encore, Ellington/Strayhorn's "Day Dream. The snappy flag-wavers are Jerome Kern/Oscar Hammerstein's "The Song Is You and Franz Lehar's sunny opener, "Yours Is My Heart Alone. Speaking of alone, Christlieb devises a breathtaking unaccompanied cadenza on "We'll Be Together Again. In sum, this is a marvelous live performance, splendidly recorded with generous sixty-nine minute playing time. Don't be put off by the fact that Christlieb's companions are unknown; this is as sharp and stalwart a quintet as you are likely to encounter in New York City, Los Angeles, Chicago or anywhere else. ~Jack Bowers

Live At The Jazz Cave

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Polly Bergen - Something Wonderful

Bitrate: MP3@320K/s
Time: 30:45
Size: 70.4 MB
Styles: Vocal
Year: 2012
Art: Front

[2:37] 1. By Myself
[2:17] 2. Something Wonderful
[2:48] 3. All Alone
[3:09] 4. It's Easy To Remember
[2:53] 5. Glad To Be Unhappy
[2:35] 6. When The Wind Was Green
[2:09] 7. I'm Glad There Is You
[2:44] 8. I'm Always Chasing Rainbows
[2:25] 9. Spring Is Here
[2:05] 10. He Didn't Call
[2:30] 11. Too Late Now
[2:29] 12. Not Like Me

Actress/singer Polly Bergen was born July 14, 1930 in Knoxville, TN, making her radio debut at the age of 14 and honing her craft on the summer stock circuit before journeying to Hollywood in 1949. She soon made her feature debut in Across the Rio Grande, quickly followed by roles in no less than three Dean Martin/Jerry Lewis comedies -- At War with the Army, That's My Boy and The Stooge. Increasing dissatisfaction with the roles coming her way prompted Bergen to walk away from a lucrative movie contract in 1953, however, and she soon made her Broadway debut in the revue John Murray Anderson's Almanac; upon recovering from throat surgery, two years later she also recorded her self-titled debut LP for Jubilee, followed later that year by Little Girl Blue. She jumped to Columbia for 1957's Bergen Sings Morgan, and continued recording for the label until the early 1960s; in the meantime she also maintained her stage career, additionally finding success in the business world through a series of ventures including Polly Bergen Cosmetics, Polly Bergen Jewelry and Polly Bergen Shoes. In 1960, she also authored the first of three books, Fashion and Charm. Bergen returned to film in the 1961 noir classic Cape Fear, although in the decades she was perhaps best known for her many television appearances, including a starring role in the 1983 miniseries The Winds of War and its 1988 sequel War and Remembrance. ~ Jason Ankeny

Something Wonderful

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Chet Atkins - Travelin'

Bitrate: MP3@320K/s
Time: 30:59
Size: 71.0 MB
Styles: Country
Year: 1963/2015
Art: Front

[2:28] 1. Wheels
[2:56] 2. Calcutta
[2:12] 3. La Dolce Vita
[3:14] 4. Exodus
[2:33] 5. Baubles, Bangles And Beads
[2:14] 6. Naboon Sprint Polka
[2:43] 7. Muskrat Ramble
[2:00] 8. Warm Patat
[2:40] 9. Volare
[2:24] 10. Mossie Se Moses
[2:21] 11. Sweetness
[3:09] 12. The World Is Waiting For The Sunrise

Besides doing session work and helping to create the Nashville sound while at RCA, guitarist Chet Atkins cut many jazz- and pop-inflected country instrumental albums under his own name. After producing sides for country stars like Don Gibson, Connie Smith, and Eddy Arnold, Atkins would team up with pianist Floyd Cramer, tenor saxophonist Boots Randolph, and other RCA musicians to reel off smooth, but usually engaging, covers of everything from blues and schmaltzy standards to Beatles tunes. While often seen as no more than hokey, easy listening ephemera, Atkins' many sides from the '60s deserve a reassessment. The stellar jazz dates Atkins later did at Columbia may better showcase his jazz leanings, but these RCA discs still have a wealth of quality picking and a good share of top-drawer material. This time out, Atkins showcases music from around the world, mixing in warhorses like "Exodus" and "Volare" with nice surprises like Nino Rota's "La Dolce Vita." Of course, the album has a few overly glib and stiff moments but, in spite of the mire, the playing is always great. And even though it's out of print, Travelin' usually can be found for just a few dollars at your local vinyl emporium. ~Stephen Cook

Travelin'

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Ted Rosenthal Trio - Rhapsody In Gershwin

Bitrate: MP3@320K/s
Time: 58:40
Size: 134.3 MB
Styles: Piano jazz
Year: 2014
Art: Front

[17:06] 1. Rhapsody In Blue
[ 4:52] 2. Let's Call The Whole Thing Off
[ 5:53] 3. Fascinatin' Rhythm
[ 5:40] 4. I Loves You Porgy
[ 5:30] 5. They Can't Take That Away From Me
[ 6:06] 6. Strike Up The Band
[ 6:34] 7. Someone To Watch Over Me
[ 6:54] 8. Love Walked In

Ted Rosenthal: piano; Martin Wind: bass; Tim Horner: drums.

The glories of George Gershwin have been well-documented in jazz settings. In fact, many would argue that Gershwin's music has been done to death. So does the world really need another tribute to this iconic tunesmith? In theory, it does not. Supply and demand, and the very nature of saturation, would say that a more-than-sufficient dose of Gershwin has been given to the world, so it's time to move on. However, these principles have never applied to this type of art. When somebody has something valuable to add to the jazz canon, it doesn't matter if they're the first, tenth, hundredth, or thousandth person to essay a specific topic. Good art is good art, and Rhapsody In Gerswhin certainly qualifies under this measure.

For his fifteenth album as a leader, pianist Ted Rosenthal decided to dive into the Gershwin songbook, visiting oft-covered favorites with his trio mates—sensitive-and-swinging drummer Tim Horner and beautifully balanced bassist Martin Wind. Together, they reimagine what this music can be. This trio works at the balance point between expectations and possibilities. It gives Gershwin's melodies, harmonies and rhythms their due, but applies transformative touches to all of them. The seventeen-minute "Rhapsody In Blue" is the perfect example. All of the sweeping sections and elegant melodic strains are there, but transitory nature surrounds this interpretation as the trio swiftly cuts from idea to idea. Shifting roles, styles and ideas enliven this performance of an oh-so-familiar classic. The seven other songs on the album speak to sophistication and wit. "Let's Call The Whole Thing Off" finds Rosenthal playing against and around the rhythm section, brilliantly avoiding the too-cute-by-half trap that so many versions of this song fall into. "Fascinatin' Rhythm" lives up to its name for a change, with quizzical call and response between Rosenthal and Horner, flowing streams of piano beneath Wind's arco melodies, and driving swing episodes. "I Loves You Porgy" is a mellow Bill Evans-ish beauty, "They Can't Take That Away From Me" finds Rosenthal and Wind in fine form, gliding atop the gilded swing of Horner, and Rosenthal's "Strike Up The Band" rewrite is rhythmically striking, moving from understated strolls to fast-and-furious sprints. The album then closes with a slowly drifting "Someone To Watch Over Me" and a lively "Love Walked In."

With Rhapsody In Gerswhin, Rosenthal reminds that single-mindedness in programming does not equate to one dimensional performances. Everything here might bear the trademark of George Gerswhin, but the multi-faceted nature of these performances is all about Rosenthal. ~Dan Bilawsky

Rhapsody In Gershwin

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Lester Young - Kansas City Swing

Styles: Saxophone And Clarinet Jazz
Year: 1999
File: MP3@320K/s
Time: 71:55
Size: 167,3 MB
Art: Front

(3:01)  1. Way Down Yonder In New Orleans
(3:00)  2. Countless Blues
(2:59)  3. Them There Eyes
(2:53)  4. I Want A Little Girl
(2:57)  5. Pagin' The Devil
(4:12)  6. I Got Rhythm
(4:09)  7. I'm Fer It Too
(3:06)  8. Hello Babe
(3:06)  9. Linger Awhile
(3:14) 10. Just You Just Me
(3:11) 11. I Never Knew
(3:10) 12. Afternoon Of A Basie-ite
(3:07) 13. Sometimes I'm Happy
(4:44) 14. After Theatre Jump
(4:12) 15. Six Cats And A Prince
(4:28) 16. Lester Leaps Again
(3:53) 17. Destination KC
(2:55) 18. Three Little Words
(3:20) 19. Jo-Jo
(2:51) 20. Four O'Clock Drag
(3:18) 21. I Got Rhythm

Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in the 1950s of hearing many young tenors try to sound exactly like him. Although he spent his earliest days near New Orleans, Lester Young lived in Minneapolis by 1920, playing in a legendary family band. He studied violin, trumpet, and drums, starting on alto at age 13. Because he refused to tour in the South, Young left home in 1927 and instead toured with Art Bronson's Bostonians, switching to tenor. He was back with the family band in 1929 and then freelanced for a few years, playing with Walter Page's Blue Devils (1930), Eddie Barefield in 1931, back with the Blue Devils during 1932-1933, and Bennie Moten and King Oliver (both 1933). He was with Count Basie for the first time in 1934 but left to replace Coleman Hawkins with Fletcher Henderson. Unfortunately, it was expected that Young would try to emulate Hawk, and his laid-back sound angered Henderson's sidemen, resulting in Pres not lasting long. After a tour with Andy Kirk and a few brief jobs, Lester Young was back with Basie in 1936, just in time to star with the band as they headed East. Young made history during his years with Basie, not only participating on Count's record dates but starring with Billie Holiday and Teddy Wilson on a series of classic small-group sessions. In addition, on his rare recordings on clarinet with Basie and the Kansas City Six, Young displayed a very original cool sound that almost sounded like altoist Paul Desmond in the 1950s. After leaving Count in 1940, Young's career became a bit aimless, not capitalizing on his fame in the jazz world. He co-led a low-profile band with his brother, drummer Lee Young, in Los Angeles until re-joining Basie in December 1943. Young had a happy nine months back with the band, recorded a memorable quartet session with bassist Slam Stewart, and starred in the short film Jammin' the Blues before he was drafted. His experiences dealing with racism in the military were horrifying, affecting his mental state of mind for the remainder of his life.

Although many critics have written that Lester Young never sounded as good after getting out of the military, despite erratic health he actually was at his prime in the mid- to late-'40s. He toured (and was well paid by Norman Granz) with Jazz at the Philharmonic on and off through the '40s and '50s, made a wonderful series of recordings for Aladdin, and worked steadily as a single. Young also adopted his style well to bebop (which he had helped pave the way for in the 1930s). But mentally he was suffering, building a wall between himself and the outside world, and inventing his own colorful vocabulary. Although many of his recordings in the 1950s were excellent (showing a greater emotional depth than in his earlier days), Young was bothered by the fact that some of his white imitators were making much more money than he was. He drank huge amounts of liquor and nearly stopped eating, with predictable results. 1956's Jazz Giants album found him in peak form as did a well documented engagement in Washington, D.C., with a quartet and a last reunion with Count Basie at the 1957 Newport Jazz Festival. But, for the 1957 telecast The Sound of Jazz, Young mostly played sitting down (although he stole the show with an emotional one-chorus blues solo played to Billie Holiday). After becoming ill in Paris in early 1959, Lester Young came home and essentially drank himself to death. Many decades after his death, Pres is still considered (along with Coleman Hawkins and John Coltrane) one of the three most important tenor saxophonists of all time. ~ Scott Yanow http://www.allmusic.com/artist/lester-young-mn0000259529/biography

Personnel:  Tenor Saxophone, Clarinet – Lester Young;   Double Bass – Al Hall, John Simmons, Rodney Richardson , Slam Stewart , Walter Page;  Drums – Jo Jones, Sidney Catlett;  Electric Guitar – Eddie Durham; Guitar – Freddie Green;  Piano – Ellis Larkins, Joe Bushkin, Johnny Guarnieri, Prince Charming;
Trombone – Dickie Wells;  Trumpet – Bill Coleman, Buck Clayton

Kansas City Swing

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Randy Weston - Plays Cole Porter In A Modern Mood

Styles: Piano Jazz
Year: 1954
File: MP3@320K/s
Time: 29:39
Size: 68,1 MB
Art: Front

(4:31)  1. Get Out of Town
(3:13)  2. I Get a Kick Out of You
(3:00)  3. I Love Her
(4:42)  4. In the Still of the Night
(4:31)  5. Just One of Those Things
(3:37)  6. Night and Day
(2:53)  7. What Is This Thing Called Love
(3:09)  8. I've Got You Under My Skin

Cole Porter tributes are a dime a dozen in the bop world. Although competently executed, many of them lack imagination. But back in 1954 -- when a 28-year-old Randy Weston recorded Randy Weston Plays Cole Porter in a Modern Mood saluting Porter wasn't an idea that beboppers had run into the ground and beaten to death. It was still an intriguing idea, and the element of intrigue is definitely present on this record (which contains Weston's first session as a leader). Forming a drumless duo with bassist Sam Gill, the pianist tackles eight well-known Porter standards. And he does it on his own terms, bringing a strong Thelonious Monk influence (with elements of Bud Powell) to angular performances of "I Love You," "Night and Day," and other favorites. Even in 1954, these standards had been recorded countless times by swing, pre-rock pop, and cabaret artists. But for a bebopper like Weston, Porter's songbook was still fertile ground. In the 1960s and 1970s, when Weston was exploring modal post-bop and incorporating elements of world music, some beboppers would become the stodgy, stuffy, cranky old conservatives who cursed anything having to with modal playing, avant-garde jazz or fusion. But in 1954, bop was still dangerous and cutting-edge (although it was more accepted than it had been in the 1940s). This Riverside LP was produced by Orrin Keepnews, which is appropriate because Keepnews worked with Monk extensively and understood an equally intellectual player like Weston. Not that Weston was ever a knee-jerk clone of Monk or anyone else; as Monk-minded as he was in 1954, he was still his own man. With Randy Weston Plays Cole Porter in a Modern Mood, the pianist's career as a leader was off to an impressive start. ~ Alex Henderson http://www.allmusic.com/album/plays-cole-porter-in-a-modern-mood-mw0000876773

Personnel:  Randy Weston – piano;  Sam Gill - bass

Plays Cole Porter In A Modern

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