Brother Jack McDuff - Down Home Style

Bitrate: MP3@320K/s
Time: 38:54
Size: 89.1 MB
Styles: Jazz, Funk, Soul
Year: 1969/2004
Art: Front

[4:46] 1. The Vibrator
[5:06] 2. Down Home Style
[4:16] 3. Memphis In June
[3:34] 4. Theme From Electric Surfboard
[3:45] 5. It's All A Joke
[4:08] 6. Butter (For Yo' Popcorn)
[5:14] 7. Groovin' (On A Sunday Afternoon)
[8:02] 8. As She Walked Away

Jay Arnold (ts), Brother Jack McDuff (org), Charlie Freeman (g), Sammy Greason (d), recorded in Memphis, TN, June 10, 1969.

A set of gritty electric funk and soulful blues, Down Home Style is an excellent showcase for Brother Jack McDuff's gripping, funky style. Inspired more by the tight grooves of Stax Records than bebop, Down Home Style features McDuff leading a small group through a number of R&B grooves, ranging from the stuttering "The Vibrator" and dirty funk of "Butter (For Yo Popcorn)" to the slow blues of "Memphis in June." Occasionally, the group is augmented by a punchy horn section, but the record is designed as a showcase for McDuff's wild, intoxicating Hammond organ, and he runs with it, demonstrating every one of his tricks. ~Stephen Thomas Erlewine

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Roby Perissin & The Latin Jazz Ensemble - Latino Jazz Club

Bitrate: MP3@320K/s
Time: 56:11
Size: 128.6 MB
Styles: Latin jazz, Bolero
Year: 2014
Art: Front

[6:26] 1. Ceora
[5:14] 2. Obsesion
[4:11] 3. Someday My Prince Will Come
[5:52] 4. Tres Palabras (Without You)
[4:51] 5. This Is Always
[5:11] 6. Recado Bossa Nova
[6:40] 7. Linda Chicana
[5:19] 8. My Foolish Heart
[6:40] 9. Claudia
[5:43] 10. Beautiful Love

This is the third CD with Latin Jazz Ensemble, another project that I am proud of. I am very pleased and amazed at having been able to continue the series and to have received the appreciation for the previous CD’s from many listeners around the world. Latin Jazz Ensemble is not simply a band but by now a small community of musicians, professionals, friends that have helped me over the years. First to create, then to keep together, this long lasting project with live gigs all over Italy and abroad in different forms, from duo to sextet. I had the pleasure of involving fine musicians from the Milan scene for these CD recordings and for live gigs, happy to contribute to this project with professionalism and enthusiasm. It might be, they tell me, because of my contagious enthusiasm, passion and energy (that some call “positive folly”) that I put into everything in life and even more into music, my lifetime passion, and in the last few years, my profession. This time I imagined and envision the listener, even the non-jazz aficionado, sipping a good drink with friends, in an imaginary “Latino Jazz Club” accompanied by these beautiful tunes, selected among the many I love and that encompass my music taste, in a few of them also played Latin-American Percussions, another one of my original long time passions.

Tunes like “Obsesion”, “Tres Palabras”, “Claudia” are part of Cuban love song history, “Ceora” (one of the most beautiful songs ever written, to my opinion), “Recado Bossa Nova” and our version of “My foolish heart” are definitely into the bossa nova stream, “Linda Chicana” and “This is Always” are my personal latin jazz homage to Cal Tjader, RIP, who had performed these tunes and has been described as “the man who revolutionized Latin Jazz”. One of my favourite artists ever. “Someday my prince will come” (an exception from the latin mood of the CD) and the closing song of the CD “Beautiful Love” bring positive thoughts and express my undisputed love for life that I have inside of me.

I must again thank my long time “partners in crime” Angelo Bifezzi, Diego Ruvidotti and Paolo Traino, the “core” of Latin Jazz Ensemble, great musicians and friends with whom we worked together for several years. As in the previous CD’s, new friends joined the “Latin Jazz Ensemble” family; I have the honor to have on this CD some more great musicians, both exquisite people: one is Adalberto Ferrari, one of the most complete and refined players I ran into ever, a real “maestro” of one of my favorite instruments, the clarinet. The second is a master of a relatively seldom used instrument in Jazz, but very interesting in the latin atmosphere, the accordion, another fantastic player, Nadio Marenco. With both of these players we added new beautiful sounds to Latin Jazz Ensemble. Last, but not least, I wanted to have for a second time as a guest in the CD, Gino Carravieri, an experienced, versatile drummer, great professional and by now also a friend with whom I have fun playing in “latin” contexts.

Have a drink, relax and unwind into my “Latino Jazz Club”; I hope to have achieved one more time what I wanted: simple Jazz and Latin music, well performed, intense, honest, joyful and peaceful at the same time, a bit like the person I feel I am. Love and Music. ~Roby Perissin

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Mary Lou Williams - Mary Lou Williams Plays In London

Bitrate: MP3@320K/s
Time: 69:21
Size: 158.8 MB
Styles: Piano jazz
Year: 2016
Art: Front

[2:59] 1. Titoros
[2:58] 2. They Can't Take That Away From Me
[4:32] 3. Round About Midnight
[2:51] 4. Perdido
[2:56] 5. Kool Bongo
[3:13] 6. For You
[3:46] 7. Don't Blame Me
[3:03] 8. Lady Bird
[3:13] 9. Titoros (Alternate Take)
[3:19] 10. They Can't Take That Away From Me (Alternate Take)
[2:48] 11. Round About Midnight (Alternate Take)
[2:30] 12. Azure-Té
[3:07] 13. Flying Home
[2:55] 14. Nickels
[3:57] 15. Yesterdays (Alternate Take)
[2:59] 16. The Man I Love
[2:35] 17. Twilight
[2:32] 18. Just One Of Those Things
[3:42] 19. Why
[3:43] 20. Yesterdays
[2:45] 21. The Man I Love (Alternate Take)
[2:47] 22. Just One Of Those Things (Alternate Take)

Bass – Ken Napper (tracks: 1 to 11), Lennie Bush (tracks: 12 to 22); Bongos – Tony Scott; Drums – Allan Ganley (tracks: 1 to 11), Tony Kinsey (tracks: 12 to 22); Piano – Mary Lou Williams. Recorded in London in 1953 and 1954.

This 22-track reissue compiles the great pianist's two Vogue albums cut in 1953 and 1954, and includes the alternate takes from each. All of this music has been available before, but it is noteworthy that this set marks the first time these recordings have appeared together with their original sequencing.

While touring Europe in the early '50s, Mary Lou Williams made two separate recording trips to London. Each time she was paired with a different rhythm section. The common player on both dates was Tony Scott, who played bongos, thus appending both trios. The songs include standards, Latin tunes, and a few originals. For the most part, these sides were designed to offer a well-rounded portrait of an established American artist to record buyers on the other side of the pond. They accomplish that and more.

On the 1953 session she is accompanied by bassist Ken Napper and drummer Allan Ganley, as well as Scott. The highlights of the program include the hard-grooving swing-to-bop read of "Perdido" and two quite different takes of "Titoros" -- both of the latter make good use of Scott's bongos, which is not always the case here. Williams' "Kool Bongo" underscores these. The alternate take of "They Can’t Take That Away from Me" is done as a cha-cha but the original standard version is stronger. Williams' canny meld of harmony, rhythm, and the use of empty space on Monk's "'Round Midnight" offers elegance without drawing from the wonderful strangeness of its melody. The second date features a considerably lesser known -- but no less intuitive -- rhythm section comprised of lesser-known drummer Tony Kinsey and bassist Lennie Bush. It commences with a sprightly version of "Azure Te," which makes fine jazz use of the bongos, followed by a bluesed-out read of Lionel Hampton's and Benny Goodman's "Flying Home." This entire session feels far more relaxed. Williams' "Nickles" is a fingerpopping number that dances between bebop and swing. Her classy cha-cha tune "Twilight" offers interesting chord embellishments before it transforms into a blues. The alternate takes of standards "Yesterdays" and "The Man I Love" are in different keys than the ones originally issued, and it's arguable as to which are superior. A true highlight from the latter session is the reading of Cole Porter's "Just One of Those Things." The rhythm section plays it at double time while Williams complements and counters their collective energy adding grace, verve, and humor to every line. While this package is obviously designed for collectors who have everything else, it also serves as a fine introduction to Williams' iconic pianism. ~Thom Jurek

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Robert Palmer - Don't Explain

Bitrate: MP3@320K/s
Time: 63:50
Size: 146.1 MB
Styles: Blue eyed soul, Adult Contemporary
Year: 1990
Art: Front

[1:16] 1. Your Mother Should Have Told You
[4:25] 2. Light Years
[4:03] 3. You Can't Get Enough Of A Good Thing
[4:23] 4. Dreams To Remember
[3:48] 5. You're Amazing
[4:50] 6. Mess Around
[2:50] 7. Happiness
[4:31] 8. History
[3:25] 9. I'll Be Your Baby Tonight (Feat. Ub40)
[3:11] 10. Housework
[5:56] 11. Mercy Mercy Me I Want You (Medley)
[2:26] 12. Don't Explain
[2:59] 13. Aeroplane
[2:19] 14. People Will Say We're In Love
[4:18] 15. Not A Word
[2:40] 16. Top Forty
[2:24] 17. You're So Desirable
[3:56] 18. You're My Thrill

Don't Explain isn't the smashing success of palmer mid-'80s music, either his own Riptide album or his work with members of Duran Duran in the group Power Station. Still, the record did enjoy some commercial success thanks to a Top 20 medley of Marvin Gaye's Mercy Mercy Me / I Want You, songs he was initially intimidated to perform. Though the Gaye medley has been the album's sole hit, Palmer said he hasn't given up on Don't Explain.

"You make these albums and keep your fingers crossed that some one song is going to bring the record to the public's attention," Palmer says. "You're making something that's designed to communicate. If it sells, ther's some indication that you are. If it doesn't, then you do feel a bit like you've failed." ~Gary Graff

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Jon Faddis, Barcelona Jazz Orquestra - Dizzy's Business

Bitrate: MP3@320K/s
Time: 48:00
Size: 109.9 MB
Styles: Big band, Trumpet jazz
Year: 2014
Art: Front

[5:31] 1. Groovin' High
[5:50] 2. Birks Works
[3:07] 3. Groovin' For Nat
[5:33] 4. I Remember Clifford
[4:29] 5. Tin Tin Deo
[4:24] 6. Whisper Not
[3:08] 7. If You Could See Me Now
[4:01] 8. Jordu
[8:53] 9. A Night In Tunisia
[3:01] 10. If You Could See Me Now

Jon Faddis (born July 24, 1953) is an American jazz trumpet player, conductor, composer, and educator, renowned for both his playing and for his expertise in the field of music education. Upon his first appearance on the scene, he became known for his ability to closely mirror the sound of trumpet icon Dizzy Gillespie, who was his mentor along with Stan Kenton trumpeter Bill Catalano.

Jon Faddis was born in Oakland, California, in 1953. At 18, he joined Lionel Hampton‘s big band before joining the Thad Jones/Mel Lewis Orchestra as lead trumpet. After playing with Charles Mingus in his early twenties, Faddis became a noted studio musician in New York City, appearing on many pop recordings in the late 1970s and early 1980s. One such recording was “Disco Inferno” with the Players Association in which he plays trumpet recorded in 1977 on the LP “Born to Dance”. In the mid-1980s, he left the studios to continue to pursue his solo career, which resulted in albums such as Legacy, Into The Faddisphere and Hornucopia. As a result of his growth as a musician and individual artist, he became the director and main trumpet soloist of the Dizzy Gillespie 70th Birthday Big Band and Dizzy’s United Nation Orchestra; from 1992 to 2002, Faddis led the Carnegie Hall Jazz Band (CHJB) at Carnegie Hall, conducting more than 40 concerts in ten years, during which time the CHJB presented over 135 musicians, featured over 70 guest artists, and premiered works by over 35 composers and arrangers at Carnegie Hall. Faddis also led the Dizzy Gillespie Alumni All-Stars and the Dizzy Gillespie Alumni All-Stars Big Band from their inception through 2004, when he was appointed artistic director of the Chicago Jazz Ensemble (CJE), based at Columbia College Chicago in Illinois.

For over a decade, Jon Faddis has taught – and continues to teach – at The Conservatory of Music at Purchase College-SUNY, in Westchester, New York, where he teaches trumpet, classes, and an ensemble. Remaining true to the tradition of honoring mentors, he also leads master classes, clinics and workshops around the world; he often will bring promising students along to his gigs and allow the students to sit in, and also has produced a number of CDs for up-and-coming musicians.

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Tish Oney - Dear Peg

Bitrate: MP3@320K/s
Time: 52:22
Size: 119.9 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[3:24] 1. It's A Good Day
[3:23] 2. It Must Be So
[3:59] 3. He's A Tramp
[4:02] 4. Where Can I Go Without You
[3:19] 5. I Don't Know Enough About You
[2:32] 6. There'll Be Another Spring
[2:10] 7. I'm Gonna Go Fishin'
[5:16] 8. Burn It Slow
[4:53] 9. Over The Wheel
[2:43] 10. Circle In The Sky
[3:49] 11. Happy With The Blues
[3:13] 12. Boomerang
[5:20] 13. The Shining Sea
[4:14] 14. I Love Being Here With You

This is Miss Oney's second album, a tribute to the songwriting talents of the late Peggy Lee. Miss Oney's arrangements and vocal interpretations of Miss Lee's songs are tremendous; she has given a fine tribute indeed. The tempos and themes of the songs are varied, offering a multi-leveled album that is wonderful to listen to. The only downside to this album is the fact that Miss Oney's own songwriting talents, which are considerable, are not showcased. Her upcoming third album promises to include a plentitude of original songs, which is good news indeed for the jazz scene! ~Carolina Geo

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John McLaughlin and Shakti - A Handful Of Beauty

Bitrate: MP3@320K/s
Time: 47:57
Size: 109.8 MB
Styles: Fusion
Year: 1977/2001
Art: Front

[ 4:50] 1. La Danse Du Bonheur
[ 7:29] 2. Lady L
[12:38] 3. India
[ 3:00] 4. Kriti
[15:13] 5. Isis
[ 4:44] 6. Two Sisters

John McLaughlin- guitar; L. Shankar- violin; Zakir Hussain- table; T.H. Vinayakram- Ghatam.

John McLaughlin should have given this album a different name. Jazz-rock fans of the day (early 1977) did not want to be seen purchasing an album with such a title. It didn't help any to have a picture of John McLaughlin on the cover dressed and smiling as if he were a guru himself. Let’s face facts, even at this time: McLaughlin’s fans came from a rock background. In hindsight the Indo-jazz-fusion Shakti recordings are considered highlights in McLaughlin’s career, but they did cost him most of his early fan base.

In stark contrast to its album cover indicating joy and peace and all the related elements that were stretched beyond endurance in the 1970's, Handful of Beauty was in reality a dark and somber creation. Despite the opening cut, a free-spirited and wildly fun "La Danse Du Bonheur", this album features mostly dense compositions that provoke deep re-appraisals of one's own life. The musical highlight is "India". The tune seems to investigate the underside of the Eastern World and finds McLaughlin ominously bending and twisting notes while Shankar's violin dwells in the lower registers.

Of the three original Shakti albums, Handful of Beauty features the best playing from McLaughlin. Somber does not mean boring. The two master Indian percussionists Zakir Hussain and T. S. Vinayakaram provide the rhythm and much of the dynamic. The incomparable L. Shankar helps provide the mood. (It is too bad he and McLaughlin no longer seem to be friends in real life.) As was later to be the case on the group's Natural Elements, one of the highlights of the two Shakti studio recorded efforts is the high quality of sound engineering. This album should be played relatively loud, late at night, lights-off, while you sip from a cup of tea. Best to be in a reflective mood.

Listening to the tour that supported this recording was a different matter entirely. The same tunes that had led to introspection suddenly led to emotional release. The band was hot and an absolute joy to see, both visually and sonically. ~Walter Kolosky

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Benny Carter, Phil Woods - Another Time, Another Place

Bitrate: MP3@320K/s
Time: 137:15
Size: 314.2 MB
Styles: Saxophone jazz
Year: 1996
Art: Front

[ 8:56] 1. Sometimes I'm Happy
[ 6:32] 2. Spring Will Be A Little Late This Year
[ 8:33] 3. Rock Me To Sleep
[ 8:33] 4. Another Time, Another Place
[ 7:37] 5. Willow Weep For Me
[10:01] 6. Shiny Stockings
[10:41] 7. The Courtship
[11:12] 8. On The Sunny Side Of The Street
[ 9:15] 9. On Green Dolphin Street
[ 8:51] 10. A Walkin' Thing
[ 5:45] 11. Janel
[ 8:54] 12. Speak Low
[ 7:29] 13. Petite Chanson
[ 9:05] 14. Just Squeeze Me
[ 9:33] 15. Mood Indigo
[ 6:12] 16. How High The Moon

Alto Saxophone – Benny Carter, Phil Woods; Bass – John Lockwood; Drums – Sherman Ferguson; Piano – Chris Neville. Recorded live at the Regattabar, Cambridge, MA March 15, 16, 17, 1996.

Alto saxophonists Benny Carter and Phil Woods were great friends and enjoyed playing together on a number of record dates, though this double-CD live recording from a 1996 extended gig at the Regattabar proved to be the former's final release before he retired from active performing a few years afterward. A few months shy of 89 years old at the time, Carter still gives his all on his instrument and sounds like someone decades younger, while Woods' naturally more outgoing style proves complementary to the senior musician. Backed by a strong rhythm section, including Carter's long-time pianist Chris Neville, bassist John Lockwood, and drummer Sherman Ferguson, the two saxophonists have a ball as they play favorite standards, several Carter compositions, and gems penned by other jazz musicians. While fans of Carter and Woods will be delighted with this entire release, there are a few surprises. Carter's bluesy feature of "Willow Weep for Me" marks the only time he ever recorded it. The duo's robust, swinging setting of "On the Sunny Side of the Street" is a gem, as is Carter's swaggering "A Walkin' Thing." Beautifully recorded, this final meeting between Benny Carter and Phil Woods is one for the ages. ~Ken Dryden

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Jean Louisa Kelly - For My Folks

Bitrate: MP3@320K/s
Time: 37:58
Size: 86.9 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[2:17] 1. I Got The Sun In The Morning
[2:24] 2. Where Or When
[4:25] 3. Soon It's Gonna Rain
[2:43] 4. It Had To Be You
[3:28] 5. Someone To Watch Over Me
[2:49] 6. Singin' In The Rain
[2:27] 7. Cheek To Cheek
[2:39] 8. If I Loved You
[3:40] 9. The Man That Got Away
[2:36] 10. For Me And My Gal
[3:10] 11. Danny Boy
[2:24] 12. As Time Goes By
[2:51] 13. Some Other Time

You might be aware of Jean Louisa Kelly as Rowena Martin and her moving vocal of "Someone To Watch Over Me" in "Mr. Holland's Opus," or perhaps from "Uncle Buck," or her 6 year stint on the TV sitcom, "Yes Dear." But perhaps you don't know, her deep passion for the American Standard Songbook, which is on clear display on For My Folks, which just hit digital platforms, stores and radio stations across the globe! This 13-song project showcases a stunning new rendition of her signature song "Someone to Watch Over Me," complete with an a cappella introduction and is dedicated to her parents and fans.

The album features moving renditions of timeless gems such as "Singin' in the Rain," "The Man that Got Away," "Danny Boy," and an especially heart-tugging version of "As Time Goes By." Gorgeous and inventive musical arrangements by producer Todd Schroeder and special guest John Lloyd Young (star of "Jersey Boys" on Broadway and on film), who lends a sparkling presence to "For Me and My Gal," round out the delicious album. ~Lois Gilbert

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The Roger Kellaway Trio - Remembering Bobby Darin

Bitrate: MP3@320K/s
Time: 63:23
Size: 145.1 MB
Styles: Piano jazz
Year: 2005
Art: Front

[4:50] 1. Remember
[5:58] 2. Up A Lazy River
[7:05] 3. I've Found A New Baby
[5:48] 4. Meditation
[4:24] 5. More
[5:26] 6. Splish Splash
[5:27] 7. Oh! Look At Me Now
[8:32] 8. Once Upon A Time
[5:49] 9. I'm Beginning To See The Light
[5:56] 10. Beyond The Sea
[4:05] 11. Mack The Knife

If anyone bridged the gap between traditional jazz-influenced pop and early rock & roll, it was Bobby Darin. Some of his work appealed to the Frank Sinatra/Tony Bennett/Sammy Davis, Jr./Dean Martin crowd, while some of it appealed to the Elvis Presley/Chuck Berry/Jerry Lee Lewis crowd -- and that is in addition to the singer's folk-rock output. Stylistically, Darin was not easy artist to pin down, which means that anyone providing a Darin tribute has a wide variety of things to choose from. Roger Kellaway, much to his credit, acknowledges different sides of Darin's artistry on Remembering Bobby Darin. Recorded in 2004, Remembering Bobby Darin is a companion to the veteran pianist's other Darin tribute, I Was There: Roger Kellaway Plays from the Bobby Darin Songbook. But while I Was There is an album of unaccompanied solo piano performances, Remembering Bobby Darin finds Kellaway forming a cohesive, intimate trio with guitarist Bruce Forman and bassist Dan Lutz. If you're seriously into Nat King Cole, that drumless combination of instrumentals should sound familiar; Cole favored a piano/guitar/bass format when he led the legendary Nat King Cole Trio in the '30s and '40s. And that format serves Kellaway pleasingly well on this far-reaching CD, which ranges from the Darin smash "Beyond the Sea" to older standards like Duke Ellington's "I'm Beginning to See the Light" and "I've Found a New Baby." Kellaway celebrates Darin's swing side with an intriguing version of "Mack the Knife" (also known as "Moritat" or "Three Penny Opera") but savors Darin's rock & roll side on "Splish Splash," which the lyrical pianist performs in a Gene Harris-like fashion. I Was There and Remembering Bobby Darin are both excellent and well worth owning, but this release has a slight edge in the diversity department and reminds you just how impressively versatile Darin was. ~Alex Henderson

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Eddie Condon - Royal Garden Blues

Bitrate: MP3@320K/s
Time: 114:22
Size: 261.8 MB
Styles: Guitar jazz
Year: 2012
Art: Front

[ 4:54] 1. At The Jazz Band Ball
[ 2:28] 2. Chicago
[ 3:55] 3. Love Is Just Around The Corner
[ 3:15] 4. South Rampart Street Parade
[ 3:31] 5. Ol' Man River
[ 5:35] 6. Copenhagen
[ 3:21] 7. Someday Sweetheart
[ 5:06] 8. Royal Garden Blues
[ 3:16] 9. Oh Baby
[ 3:05] 10. Nobody Knows You When You're Down And Out
[ 2:57] 11. Oh Sister,Ain't That Hot
[ 7:15] 12. There'll Be Some Changes Made
[ 4:37] 13. Little White Lies
[ 3:43] 14. The Sheik Of Araby
[ 3:46] 15. Jazz Me Blues
[ 5:27] 16. Sugar
[ 7:42] 17. Tin Roof Blues
[ 4:19] 18. Singin' The Blues
[ 5:41] 19. Blues (My Naughty Sweetie Gave To Me)
[ 3:08] 20. I've Found A New Baby
[ 2:58] 21. Ballin' The Jack
[ 5:11] 22. Fidgety Feet
[ 3:00] 23. Save Your Sorrow
[ 3:04] 24. I Ain't Gonna Give Nobody None Of My Jelly Roll
[12:56] 25. How Come You Do Me Like You Do

A major propagandist for freewheeling Chicago jazz, an underrated rhythm guitarist, and a talented wisecracker, Eddie Condon's main importance to jazz was not so much through his own playing as in his ability to gather together large groups of all-stars and produce exciting, spontaneous, and very coherent music.

Condon started out playing banjo with Hollis Peavey's Jazz Bandits when he was 17, he worked with members of the famed Austin High School Gang in the 1920s, and in 1927 he co-led (with Red McKenzie) the McKenzie-Condon Chicagoans on a record date that helped define Chicago jazz (and featured Jimmy McPartland, Jimmy Teschemacher, Joe Sullivan, and Gene Krupa). After organizing some other record sessions, Condon switched to guitar, moved to New York in 1929, worked with Red Nichols' Five Pennies and Red McKenzie's Blue Blowers, and recorded in several settings, including with Louis Armstrong (1929) and the Rhythm Makers (1932). During 1936-1937, he co-led a band with Joe Marsala.

Although Condon had to an extent laid low since the beginning of the Depression, in 1938, with the opportunity to lead some sessions for the new Commodore label, he became a major name. Playing nightly at Nick's (1937-1944), Condon utilized top musicians in racially mixed groups. He started a long series of exciting recordings (which really continued on several labels up until his death), and his Town Hall concerts of 1944-1945 (which were broadcast weekly on the radio) were consistently brilliant and gave him an opportunity to show his verbal acid wit; the Jazzology label reissued them complete and in chronological order. Condon opened his own club in 1945, recorded for Columbia in the 1950s (all of those records have been made available by Mosaic on a limited-edition box set), and wrote three colorful books, including his 1948 memoirs We Called It Music. A partial list of the classic musicians who performed and recorded often with Condon include trumpeters/cornetists Wild Bill Davison, Max Kaminsky, Billy Butterfield, Bobby Hackett, Rex Stewart, and Hot Lips Page; trombonists Jack Teagarden, Lou McGarity, Cutty Cutshall, George Brunies, and Vic Dickenson; clarinetists Pee Wee Russell, Edmond Hall, Joe Marsala, Peanuts Hucko, and Bob Wilbur; Bud Freeman on tenor; baritonist Ernie Caceres; pianists Gene Schroeder, Joe Sullivan, Jess Stacy, and Ralph Sutton; drummers George Wettling, Dave Tough, and Gene Krupa; a string of bassists; and singer Lee Wiley. Many Eddie Condon records are currently available, and no jazz collection is complete without at least a healthy sampling. ~ Scott Yanow

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Ernestine Anderson - Hot Cargo!

Bitrate: MP3@320K/s
Time: 39:16
Size: 89.9 MB
Styles: Jazz vocals
Year:.1958/2008
Art: Front

[3:40] 1. Mad About The Boy
[3:29] 2. Did I Remember
[3:32] 3. Day Dream
[3:42] 4. Experiment
[2:37] 5. That Old Feeling
[3:02] 6. The Song Is Ended
[2:23] 7. Love For Sale
[3:43] 8. Autumn In New York
[2:51] 9. My Man
[3:24] 10. Ill Wind
[3:33] 11. Little Girl Blue
[3:14] 12. Wrap Your Troubles In Dreams

Rolf Ericson (tp), Cecil Payne (bs), Duke Jordan (p), John Simmons (b), Art Taylor (d), and the Harry Arnold Orchestra, featuring Benny Bailey (tp), Ake Persson (tb), Arne Domnerus, Bjarne Nerem (saxes), Thore Swanerud (p), Georg Riedel (b).

2008 collection from this Jazz/Soul vocalist containing studio tracks she recorded while in Sweden in 1956. Ernestine Anderson's fascinating voice is quite evident on this album that presents 'Love for Sale', 'lll Wind', 'My Man' and other evergreens in a torchy repertoire never before treated so knowingly. Full and expressive, her voice is an instrument that creates truly inspirational music.

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André Previn - A Touch Of Elegance: The Music Of Duke Ellington

Bitrate: MP3@320K/s
Time: 37:14
Size: 85.2 MB
Styles: Piano jazz
Year: 1961/2011
Art: Front

[3:23] 1. I Got It Bad
[2:57] 2. Satin Doll
[3:24] 3. I Let A Song Go Out Of My Heart
[2:34] 4. Perdido
[2:54] 5. Solitude
[3:00] 6. Le Sucrier Velours
[3:33] 7. A Portrait Of Bert Williams
[3:16] 8. A Touch Of Elegance
[3:21] 9. It Don't Mean A Thing
[3:08] 10. Prelude To A Kiss
[2:45] 11. What Am I Here For
[2:53] 12. Sophisticated Lady

As if being a classical conductor, jazz pianist, and film composer weren't enough, Previn was also one of the biggest mood music mavens of the 1960s. This elegant collection showcases his lush, elegant "swing with strings" side, and even includes a few straight-ahead bop numbers with J.J. Johnson, Herb Ellis, and his old pals Red Mitchell and Shelly Manne.

A Touch Of Elegance: The Music Of Duke Ellington mc
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Martin Abbuehl's Swing Express - First Class

Bitrate: MP3@320K/s
Time: 43:03
Size: 98.6 MB
Styles: Swing, Violin jazz
Year: 2011
Art: Front

[4:25] 1. Dream Of You
[2:55] 2. Micro
[3:30] 3. First Class
[4:15] 4. Django
[3:31] 5. Valse A Mia
[2:28] 6. Un Peu De Reve
[2:41] 7. Vamp
[2:54] 8. Train Bleu
[2:45] 9. Jaguar
[3:42] 10. Ballade
[3:14] 11. Swing For Rachel
[3:02] 12. Red And Hot Express Line
[3:35] 13. Le Bolero Des Controleurs

Martin Abbuehl (violin); Florent Kirchmeyer (guitar); Marco Neri (guitar); Thomas Dürst (double bass).

A train journey into the time of the legendary Hot Club de France and the music of Django Reinhardt and Stephane Grappelli. When the four thoroughbred musicians start their Swing Express, nostalgia is the order of the day as the "train crew" is fully committed to Django Reinhardt's music. With violin, two guitars and double bass they bring the time of the 1930s back to life.

Thanks to the enthusiasm of the four dedicated string artists, the spark of enthusiasm jumps over in no time on the listener. Velvety soft melodies, sometimes dripping with melancholy, alternate with breathtaking, iridescent sound cascades and dizzying, breakneck solo caprioles. A ride on the Swing Express lets time pass by in no time and many a passenger would have liked to sit in the end ... (Translated from German.)

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Krisanthi Pappas - A Centennial Tribute To George & Ira Gershwin

Bitrate: MP3@320K/s
Time: 54:01
Size: 123.7 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[3:12] 1. I Got Rhythm
[4:18] 2. Embraceable You
[3:40] 3. A Foggy Day
[3:27] 4. If I Had Only Known
[4:11] 5. Our Love Is Here To Stay
[3:22] 6. They All Laughed
[4:18] 7. Nice Work If You Can Get It
[4:01] 8. They Can't Take That Away From Me
[2:53] 9. Oh What A Day!
[4:34] 10. I've Got A Crush On You
[3:02] 11. Fascinating Rhythm
[4:06] 12. Someone To Watch Over Me
[3:34] 13. Let's Call The Whole Thing Off
[5:17] 14. Summertime

Krisanthi Pappas' second album honoring the works of George and Ira Gershwin has established her as a credible interpreter of two giants of the great American songbook. Possessing a clear soprano voice with excellent diction and paying close attention to the meaning of the words she is singing, Pappas delivers Gershwin in a jazzier manner than other albums honoring Gershwin in his centennial year. Susannah McCorkle's Gershwin effort Someone to Watch over Me is done in her inimitable purring and sensuous style while Pappas just bounces along. Even the ballads have a lilt to them. Pappas also provides a bonus by singing the verses to many of the songs either as an introduction to the chorus or in between the first and second choruses. A nice touch. There are two non-Gershwin melodies on this album, both by Pappas. The first, "If I Had Only Known," is a lament to her late discovery of the joys of Gershwin's music. The second, "Oh! What a Day," is a lively celebration of that discovery. Pappas cleverly segues back and forth between her happy words and Gershwin's "Strike Up the Band" and "S'Wonderful" to display her considerable scatting skills. Much of the success for this CD has to be shared with the supporting cast of players. Bill Duffy's piano is prominent on several of the cuts -- listen to his minimalist, well-spaced approach on "They Can't Take that Away from Me." On the same song, John Payne's Lester Young-like tenor is heard to great effect -- as is his flute on "Oh! What a Day" and his clarinet on "Let's Call the Whole Thing Off." The respected educator and performer Herb Pomeroy's muted trumpet graces "Embraceable You." Preusser's drums and Smith's bass lay a solid but unobtrusive foundation throughout. The Pappas interpretation of "Summertime" may raise the eyebrows of Gershwin purists with her vocal gyrations delivered over Smith's backbeat and Payne's raucous sax. Arguably, this bluesy, down-and-dirty reading is in harmony with the sometimes violent and always passionate storyline of Porgy and Bess. ~Dave Nathan

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Marcus Miller - Marcus

Bitrate: MP3@320K/s
Time: 70:32
Size: 161.5 MB
Styles: Funk-jazz
Year: 2008
Art: Front

[5:43] 1. Blast
[5:10] 2. Funk Joint
[5:00] 3. Free
[5:10] 4. Higher Ground
[5:36] 5. Milky Way
[3:17] 6. Pluck
[4:40] 7. Lost Without U
[3:11] 8. 'cause I Want You
[3:57] 9. Ooh
[5:23] 10. When I Fall In Love
[5:39] 11. Strum
[6:13] 12. Jean Pierre
[5:57] 13. What Is Hip
[5:31] 14. Lost Without U (Spoken Word)

Concord Jazz presents Marcus, the album from critically-acclaimed and Grammy-winning artist Marcus Miller. The album, which is Marcus' seventh solo release, features guest appearances by Corinne Bailey Rae, Lalah Hathaway, Keb' Mo' and more, including Taraji P. Henson, the actress who leant her vocals to the Oscar winning song "It's Hard out Here for a Pimp" from the film Hustle and Flow. The 13-track album finds Marcus serving up his own signature Funk-Jazz music and sees him cover some classics including Stevie Wonder's "Higher Ground", Miles Davis' "Jean Pierre" and Tower of Power's "What is Hip?". Marcus also features two covers of the Robin Thicke 2007 hit "Lost Without You". The first sees Lalah Hathaway shining on vocals with Marcus' bass upfront and the second version, which is the album's bonus track.

Marcus is the Concord debut for this Grammy winning artist. Features guest vocalists Corinne Bailey Rae, Keb' Mo', Shihan the Poet, Taraji Henson [bonus track], & Lalah Hathaway. Marcus has scored over 20 movies including Boomerang and This Christmas. He was also responsible for writing the party song "Da Butt" for Spike Lee's film School Daze and has scored music for Chris Rock's hit TV show Everybody Hates Chris

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The New Morty Show - Straight Ahead

Bitrate: MP3@320K/s
Time: 41:27
Size: 94.9 MB
Styles: Retro Swing
Year: 2000
Art: Front

[3:50] 1. Tico Tico
[5:10] 2. Stella By Starlight
[4:32] 3. Maiden Voyage
[5:47] 4. Long Long Summer
[2:05] 5. Destination Moon
[4:58] 6. Spring Can Really Hang You Up The Most
[3:07] 7. No Moon At All
[3:48] 8. Pork Pie
[4:33] 9. Samba Du Morpheus
[3:32] 10. All The Things You Are

Straight Ahead is a delightful mix of warm, vibrant jazz music and silky, seductive cocktail lounge. After hearing Rigormorty, you might be quick to write the band off as a rock 'n' roll act trying to cash in on the swing craze (a year late, even). After all, it has more rock influences than swing influences. But, after hearing tracks like "Destination Moon" and "No More At All," you'll instantly see the band for what it is, a modern swing act that loves the past but isn't afraid to re-create it for the present and beyond. ~Alex Steininger

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Wild Bill Davis - Free, Frantic & Funky

Bitrate: MP3@320K/s
Time: 38:14
Size: 87.5 MB
Styles: Soul-jazz, B3 Organ jazz
Year: 1965/2016
Art: Front

[2:35] 1. C Jam Blues
[3:45] 2. C.C. Rider
[2:28] 3. Hit The Road Jack
[4:36] 4. Just Squeeze Me (But Don't Tease Me)
[2:49] 5. I Can't Stop Loving You
[2:32] 6. Sent For You Yesterday (And Here You Come Today)
[2:45] 7. Well, Git It
[3:32] 8. Azure-Te (Paris Blues)
[3:44] 9. Free, Frantic And Funky
[2:11] 10. Don't Cry Baby
[3:16] 11. Tippin' In
[3:55] 12. Make Love To Me

Bass – George Duvivier; Drums – Jimmy Hopps, Osie Johnson; Guitar – Dicky Thompson, Mundell Lowe; Organ – Wild Bill Davis; Tenor Saxophone, Flute – Bob Brown, Jerome Richardson, Seldon Powell. Recorded in 1965 in RCA Victor's Studio B, New York City.

With the dynamic, swirling sounds of his Hammond B-3 organ, Wild Bill Davis provided a bridge from the big band swing of the 1930s and '40s to the organ-driven R&B of the 1950s and early '60s. Together with guitarist Floyd Smith and drummer Chris Columbus, Davis set the framework for the jazz organ combo sound. Initially a guitarist, Davis made his debut with Milt Larkin's band in 1939. The group is remembered for the double-saxophone attack of Eddie "Cleanhead" Vinson and Arnett Cobb. Davis, who was inspired by the guitar playing of Freddie Green, remained with the band until 1942. Moving to the piano, Davis joined Louis Jordan & His Tympany 5 in 1945. By then, he had already attracted attention as a skilled writer and arranger. He later furnished original material and arrangements for both Duke Ellington and Count Basie. He was scheduled to record his arrangement of "April in Paris" with the Count Basie Orchestra in 1955, but was unable to make it to the recording sessions. Recorded without his participation, the tune went on to be a Top 30 pop hit. Intrigued by the organ playing of Fats Waller and Count Basie, Davis began to experiment with the Hammond B-3. He soon developed his unique approach. "I thought of (the organ) as a replacement in clubs for a big band," he said during a late-'80s interview. Although he left Jordan's band after five years to form his own trio, Davis periodically returned to play special engagements. Although eclipsed by succeeding jazz organists, including Jimmy Smith and Bill Doggett in the late '50s, and Booker T. Jones in the '60s, Davis remained active until his death from a heart attack in August 1995. His summer appearances in Atlantic City, New Jersey were an annual treat for almost three decades.

A native of Moorestown, New Jersey, Davis studied music at Tuskegee University and Wiley College in Texas. ~ Craig Harris

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Peter Wildbolz Unit - Chill The Jazz

Bitrate: MP3@320K/s
Time: 47:35
Size: 108.9 MB
Styles: Smooth jazz
Year: 2005
Art: Front

[6:05] 1. The Joker
[7:08] 2. Buenos Aires Blue
[5:10] 3. Perpetual Love
[3:41] 4. Loose As A Goose
[5:21] 5. Many Moons Ago
[5:28] 6. Havana Strut
[6:14] 7. Lonely Nights
[6:41] 8. Easy Digging
[1:42] 9. Farewell

Peter Wildbolz, the Bernese saxophone player, can look back on a long, diverse musical career which started in the early 60s when he opened his jazz club, the “Blue Note”, in Bern. He later founded the FreeJazzTrio, then the New Jazz Quartet; he was also a member of the jazz-rock band Off & Out. In the 80s, he led the bebop trio “Frontline”. The success of “Blue Notes”, the album released in 1998, convinced sax-player and composer Wildbolz to focus on smooth jazz.

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Atlanta Rhythm Section - Champagne Jam

Bitrate: MP3@320K/s
Time: 32:58
Size: 75.5 MB
Styles: Southern rock
Year: 1978/2005
Art: Front

[2:57] 1. Large Time
[4:06] 2. I'm Not Gonna Let It Bother Me Tonight
[3:22] 3. Normal Love
[4:31] 4. Champagne Jam
[5:08] 5. Imaginary Lover
[4:34] 6. The Ballad Of Lois Malone
[4:46] 7. The Great Escape
[3:31] 8. Evileen

Released in 1978, this was the breakthrough album that marked the zenith of music-making, critical support and popular acclaim for ARS. Eight great songs-all originals-are showcased with the top notch, smooth pop production the group had been refining for years. The songwriting and musicianship maintain the superior standards the band had established through its previous albums. The songs continue the pattern of blending beautiful melodies with shifting tempos, with each of the songs clocking in at a moderate three to five minutes.

The album opens with a classic Southern rock song, Large Time, that pays tribute to recently fallen comrades. Three of the next four songs may be unmatched in their concise demonstration of the extraordinary talent and multifaceted skills of the band. I'm Not Gonna Let It Bother Me, Champagne Jam and Imaginary Lover are all classics-hits at the time that still sound fresh and resonate as nicely today as when they were released. The first two share a buoyant, positive sound that turns more subdued with the third. The album winds down with three more songs that lyrically present a darker image of wild times and loves-each with beautiful musical backing that both contrasts with and perfectly represents the stories being told.

Champagne Jam mc
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