Slim Gaillard, Babs Gonzales - Shuckin' & Jivin'

Bitrate: MP3@320K/s
Time: 56:30
Size: 129.4 MB
Styles: R&B/Jazz/Blues
Year: 1975/1997
Art: Front

[3:02] 1. Vout Orenee
[2:29] 2. Please Wait For Me
[2:51] 3. Sighing Boogie
[2:52] 4. Queen's Boogie
[2:51] 5. Voot Boogie
[2:48] 6. Nightmare Boogie
[2:43] 7. Slim Gaillard's Boogie
[2:40] 8. Harlem Hunch
[2:44] 9. Tutti Frutti
[3:01] 10. Travelin' Blues
[2:45] 11. Sightseeing Boogie
[2:41] 12. Central Avenue Boogie
[2:52] 13. Boogie
[2:40] 14. Slim's Cement Boogie
[2:11] 15. Still Wailin'
[2:26] 16. Shuckin' And Jivin'
[2:57] 17. House Rent Party
[2:57] 18. She's Just Right For Me
[3:19] 19. Be Bop Santa Claus
[3:31] 20. Watch Them Resolutions

This set brings together the work of two artists who delighted in turning language into humorous jive-talk. Gaillard's 14 tracks are all from the mid-'40s and feature three different ensembles: his 10-piece orchestra, a trio under his name, and another trio dubbed the Boogiereeners. His seemingly off-the-cuff riffing belies a dazzling set of skills. Wordplay and invented phrases roll through everything with infectious exuberance. Gaillard was not only an excellent singer, but also an inventive pianist and guitarist. The six numbers that close the set offer a fine contrast in vocalizing as Babs Gonzales carves out his own corner of the scat-singing world. He worked in the '50s, and was a contemporary of Lambert, Hendricks & Ross. However, where they created lyrics to popular instrumental jazz numbers, Gonzales created his own songs, which drew heavily from the pre-beatnik era of jazz talk. ~AMG

Shuckin' & Jivin' mc
Shuckin' & Jivin' zippy

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Stew Cutler - Insignia

Bitrate: MP3@320K/s
Time: 63:19
Size: 144.9 MB
Styles: Guitar jazz
Year: 2001
Art: Front

[ 7:35] 1. Whisper
[ 2:34] 2. QT
[ 5:30] 3. Lovely Mary
[ 6:51] 4. Left Behind
[ 4:13] 5. East River Delta
[ 4:46] 6. Saudades On 8th Avenue
[ 4:35] 7. Coles Mountain
[ 8:13] 8. Elizabeth
[ 4:58] 9. Left Alone
[13:59] 10. Insignia

Stew Cutler's electric guitar sound borrows from very few discernible sources, and as such is difficult to pigeonhole. There's a leanness to his style that is not enhanced or processed by electronics, though he occasionally does leap out with elements extracted from pedals or effects. Using a spare trio of electric bass guitar and drums, Cutler is just barely on the cutting edge of modern mainstream, contemporary, and even fusion jazz, but hints at it rather than pronounce its glory. On this program of all original music, Cutler plays pleasant swing jazz on "Whisper," utilizes a bluesy slide guitar on "East River Delta," trims a spare modal but intricate line in alternating bars of seven and five during "Saudades on 8th Avenue," and uses loops and effects in an insular self-examination during "Left Alone." "Left Behind" is dissimilar, using a steel-edged rock sound, with beats courtesy of drummer Garry Bruer, that reflects the British fusion of Allan Holdsworth, while a fun and funky "Elizabeth" playfully hops around courtesy of bassist Booker King and "Q.T." is perhaps the most innovative track, with a swirling repeat melody as a prelude to a tick-tock chorus and another bluesy refrain. While Cutler does have moments of languidness, sluggishness, or sentimentality, the music is generally hopeful. The 14-minute title track discourses from slow funk to more upbeat moments, letting the guitarist cut loose a bit. While not yet a distinctive voice, Cutler is quite literate, enjoyable, and witty in an internal manner. His music requires close listening to hear the flowers blooming in very rich soil. ~Michael G. Nastos

Insignia mc
Insignia zippy

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The Kim Richmond Concert Jazz Orchestra - Artistry: A Tribute To Stan Kenton

Bitrate: MP3@320K/s
Time: 73:04
Size: 167.3 MB
Styles: Big band
Year: 2013
Art: Front

[ 4:26] 1. Artistry In Rhythm
[ 7:59] 2. Horizon Under
[15:21] 3. Anchor Of Hope
[ 5:48] 4. Intermission Riff
[ 4:56] 5. Seascape
[ 6:21] 6. Invitation
[ 5:32] 7. Over The Rainbow
[ 6:47] 8. The Peanut Vendor
[ 4:30] 9. Virna
[ 4:10] 10. Willow Weep For Me
[ 4:43] 11. Zippidy Altered
[ 2:25] 12. Poetry

This ‘tribute’ to Stan Kenton and his musical mission impresses and holds true to what Kenton was all about. Besides new originals and a few new arrangements of standards, there are three adventurous new treatments of Kenton titles… a fitting tribute indeed from this jazz “orchestra”. Recorded at Capital Studios – in the same studio – on the exact same date (Nov. 1) that Kenton did his first recording session in 1940, the energy captured is incredible!

The critically acclaimed KIM RICHMOND CONCERT JAZZ ORCHESTRA was formed to provide a workshop for major concert works that include elements of both large ensemble jazz with free-swinging improvisation and symphonic colors and textures. This is truly a large jazz (orchestra) ensemble with expanded instrumentation contributing to the symphonic nature of the group… by definition, an authentic large jazz ensemble – the real deal!

“…The twenty-four piece Kim Richmond Concert Jazz Orchestra boasts a full roster of instrumentation, including double reeds and French horns, for a sound that is somewhat rare in the professional jazz world – Lush and multi-layered – a full range of color and emotion. The word “symphonic” comes to mind with so many deftly-woven textures underlying the free-swinging improvisations…” ~Allaboutjazz.com

Artistry: A Tribute To Stan Kenton mc
Artistry: A Tribute To Stan Kenton zippy

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Marjorie Barnes, Equinox - Brighter Shores

Bitrate: MP3@320K/s
Time: 66:48
Size: 152.9 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[4:26] 1. Let's Dance
[6:38] 2. Brighter Shores
[8:23] 3. Come What May
[7:24] 4. Throw It Away
[5:21] 5. Lady Be Good
[7:12] 6. Little Girl Blue
[5:25] 7. E.V.'s Berlin Bounce
[6:08] 8. I'm Glad There's You
[5:33] 9. Round And Round
[5:48] 10. Where Or When
[4:25] 11. Here's To Life

Marjorie Barnes is one of the world’s great jazz singers and performers. She is possessed with serious vocal chops, a confident and dramatic stage presence, and an ability to deliver a lyric in the manner of the great musical storytellers. She also manages to couple an authenticity and wisdom earned through five decades in the music business with an infectiously youthful and playful spirit. Equinox is a firmly rooted and musically diverse quintet of highly seasoned jazz musicians based in the Netherlands. Led by American guitarist, composer, arranger, and lyricist Dan Nicholas, the band also features Simon Rigter on tenor saxophone, Bob Wijnen on piano, Steve Zwanink on bass, and Marcel Serierse on drums.

The meeting between Marjorie Barnes and Equinox is of a true collaborative spirit. Marjorie’s singular vocal gifts shine brightly over the band’s unique sound and her sharp musical instincts and daring fit hand in glove with the band’s adventurous musical interplay. Marjorie Barnes and Equinox’s music is a seamless blend of original works penned by Dan Nicholas set alongside jazz classics, more contemporary pieces, and favorites from the great American songbook. With Equinox behind her every step of the way, Marjorie brings powerful emotional and personal depth to songs that speak of love, loss, hope, celebration, and the blues.

Brighter Shores mc
Brighter Shores zippy

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Ray Vanderby Hammond Combo - Orange Not Blue

Bitrate: MP3@320K/s
Time: 31:28
Size: 72.0 MB
Styles: Organ jazz
Year: 2009
Art: Front

[4:33] 1. Troubleshooter
[4:22] 2. Near Midnight
[6:20] 3. Where The Wind Blows
[2:59] 4. Gotta Get Up
[4:28] 5. Hospitalityman
[4:35] 6. Senior Citizen's Samba
[4:07] 7. Orange Not Blue

Ray Vanderby was born in Sittard Holland in 1953 and is a self taught jazz musician on the Hammond organ; he can’t read music, has not done any formal jazz studies and plays by ear. He began playing in 1964 at age 12 and was the youngest semi-professional organist in Australia. Ray became a qualified piano tuner/technician and at age 20, was the in house session keyboard sideman for EMI 301 Studios Sydney. He worked with some of Australia’s top performers and in 1991 won first prize in the W.R.O.C./BMG Australia wide songwriting competition out of 2,500 entries. Ray has performed at the Cronulla, Newcastle Jazz Festivals as well as the Thredbo, Goulburn and Bluestone Blues Festivals. Over the years he has released original recordings in various genres, “Orange Not Blue” is his first jazz album, consisting entirely of Ray’s original compositions.

Ray Campbell veteran bassist cut his teeth on the early Sydney scene in the 1960’s and 70’s playing in the house band at the Latin Quarter with Stewie Speers, Jimmy Sloggett and Ricky May. He toured New Zealand in the 1972 production of "Hair" with Marcia Hines and Reg Livermore and was in the resident band for the hit New Zealand show "The Happen Inn". Gerry Ramage started playing trombone at school in 1966, then did the Jazz Studies program at the Sydney Conservatorium of Music under Howie Smith, Bill Motzing, Don Burrows and Dick Montz. He joined the ABC in 1975 and has played in most ABC orchestras throughout Australia. Gerry has worked with Johnny Dankworth, Cleo Lane, Shirley Bassey, Pavarotti, the Ed Wilson, Warren Daly, Ralph Pyl Big Bands and the James Morrison’s Big Bad Band.

Chris Ronan is the youngest member of the Ray Vanderby Combo and began playing sax at age 14 in 2006. He played with the Orange High School and Orange Regional Conservatorium stage bands. Chris was a member of the 2008 Beijing Olympic Orchestra and toured China with that ensemble playing for diplomats and performing on the Great Wall of China and in Tiananmen Square. Rob “Rocky” Rochelli is probably the Central West's most versatile drummer and percussionist. He has played with various bands over many years covering the styles of jazz, funk, latin, folk, country and rock. Rob has worked extensively in theatre both as a musician and Music Director; his influences are many and include the soul, latin, Afro Cuban genres as well as drummers Dave Mattacks and Dave Weckl.

Orange Not Blue mc
Orange Not Blue zippy

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Freddie Redd Trio, Hampton Hawes Quartet - Piano East Piano West

Bitrate: MP3@320K/s
Time: 41:59
Size: 96.1 MB
Styles: Bop, Piano jazz
Year: 1956/1991
Art: Front

[2:44] 1. Terrible T
[2:47] 2. Fanfare
[2:59] 3. Just Squeeze Me (But Don't Tease Me)
[2:58] 4. I'll Remember April
[2:59] 5. Hamp's Paws
[1:57] 6. Move
[2:35] 7. Once In A While
[2:39] 8. Buzzy
[4:16] 9. Debut
[5:47] 10. The Things We Did Last Summer
[5:20] 11. Lady J Blues
[4:53] 12. Ready Freddie

This CD reissue has two unrelated early sessions from pianists Hampton Hawes and Freddie Redd. Hawes, heard in a quartet with vibraphonist Larry Bunker, bassist Clarence Jones and drummer Larence Marable, already ranked as one of the top bop-based pianists in 1952. He performs eight straight-ahead numbers (five bop standards and three originals like "Hamp's Paws"), including a two-minute version of "Move" that lives up to its name. Redd, who recorded much less during his longer career, stretches out a bit more on four numbers (including three originals) in a trio with bassist John Ore and drummer Ron Jefferson. Excellent music, easily recommended to bop collectors. ~Scott Yanow

Piano East Piano West 

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Walt Weiskopf - Day In Night Out

Styles: Saxophone And Flute Jazz
Year: 2008
File: MP3@320K/s
Time: 59:42
Size: 139,2 MB
Art: Front

(4:42)  1. Day In Night Out
(5:54)  2. West Side Waltz
(5:27)  3. City Of Sin
(6:42)  4. Blue In Two
(5:36)  5. Walk In The Woods
(6:03)  6. Off Yellow
(6:00)  7. Lean And Green
(7:17)  8. Heather On The Hill
(6:01)  9. Solid Citizen
(5:57) 10. I Got It Bad And That Ain't Good

Most of us find that there are certain musicians who speak to us through their music in a profound way that makes for a special connection. These are the artists who find a prominent space in our collections because we continuously seek out all of their current musical endeavors. For this reviewer, saxophonist Walt Weiskopf has always been a musician to watch. Not to take anything away from other jazz saxophonists, but Weiskopf's musical persona is the complete package. He has an identifiable sound, chops aplenty, great ideas, and a strong emotional base that is often absent in other technically gifted players. Beginning with 1993's Simplicity, Weiskopf has led a strapping and diverse series of albums for Criss Cross that rank among the finest the label has to offer. Additionally, his name has been getting out there more frequently these days as he continues to perform with rock icon Steely Dan.

His first large ensemble work since Siren (Criss Cross, 2000), Day In Night Out brings back a few familiar faces from his previous nonet records, but ultimately opts for a smaller unit composed of some new friends. As usual, the emphasis here is on Weiskopf's own unique compositions and a few sagacious reworkings of select standards. The title track opens up the program with one of Walt's signature licks, namely a tightly voiced serpentine melody with the saxophone choir speaking and breathing as one. Harmonized backing lines soon follow and the whole thing ends up sounding much larger than the sum of these few parts. Weiskopf has a wonderful knack for working in three quarter time and "West Side Waltz" is just the latest example of his prowess. It's also a great place to hear the palette of colors he uses in creating his canvas which, in this case, finds the humming of flutes figuring prominently in the mix.

Rich textures and hues mark the slower numbers such as "City of Sin" and "Off Yellow," where Weiskopf gives as much prominence to the ensemble structures as he does to the solos. It's interesting to note that in the liners, the saxophonist comments on the influence of Don Sebesky and the CTI albums of the '70s. He comments on the iconic arranger's skill of achieving a large sound with a small number of musicians and that's exactly what Weiskopft attains in his work here, as heard in the cacophony he generates on the opening gambit of "Lean and Green." Equally intriguing are the horn accents that punctuate a splendid reading of "Heather on the Hill," yet another standard to get the red carpet treatment arranging wise from Weiskopf.

As a leader, Weiskopf is more than generous with sharing the solo space. Prominent in the mix are Andy Fusco, a firebrand with a sound that nods towards James Spaulding, and Gary Smulyan, heir apparent to the burly style of the late, great Pepper Adams. Filling some big shoes is drummer Kendrick Scott, since Weiskopf usually prefers the company of modern powerhouse Billy Drummond. What Scott may lack in visceral punch, he more than makes up for in a swinging beat and crisp sound that shades his accompaniment to the needs of the arrangement. Weiskopf himself is so fluent that he is able to execute anything and his tone retains its weight regardless of range. A thoroughly accomplished work from start to finish, Day In Night Out can be appreciated for its technical virtuosity, bur remains surprisingly accessible. It not only sets a benchmark for jazz that functions within the tradition, but speaks with individuality and emotional attachment. Need one ask for anything more? ~ C.Andrew Hovan https://www.allaboutjazz.com/day-in-night-out-walt-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Walt Weiskopf: tenor sax and flute; Andy Fusco: alto sax, flute, clarinet; Gary Smulyan: baritone sax; Michael Leonhart: trumpet; John Mosca: trombone; Peter Zak: piano; Doug Weiss: bass; Kendrick Scott: drums.

Day In Night Out

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Mast - Thelonious Sphere Monk

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 67:12
Size: 154,7 MB
Art: Front

(1:48)  1. Misterioso (Reprise)
(4:50)  2. Evidence (feat. Jonah Levine Collective, Dan Rosenboom, Gavin Templeton)
(3:44)  3. Bemsha Swing
(5:17)  4. Ask Me Now (feat. Brian Marsella)
(4:59)  5. Well You Needn’t (feat. Chris Speed)
(4:05)  6. Epistrophy (feat. Dan Rosenboom, Gavin Templeton)
(5:38)  7. ‘Round Midnight (feat. Brian M
(4:21)  8. Blue Monk (feat. Jason Fratice
(1:29)  9. Oska T
(5:06) 10. Nutty (feat. Makaya McCraven,
(4:23) 11. Straight No Chaser (feat. Bria
(3:16) 12. Friday the 13th
(3:50) 13. Let’s Cool One (feat. Makaya M
(4:24) 14. Pannonica
(5:47) 15. Trinkle Tinkle
(4:10) 16. Misterioso

Jazz anniversaries are always a bit underwhelming. They come and go, their significance trumpeted in earnest Facebook posts. At the end of the day though, the artists we honor remain underappreciated by casual music listeners. The 100th anniversary of Thelonious Monk's birth date last October is a case in point. His contribution to American culture and to jazz culture globally is on par with that of the 20th century's great artists. To describe him as a giant is to state the obvious. But it's hard to imagine that Oct. 17, 2017 saw any meaningful uptick in Monk sales. Harder still to find signs of a sustained boost in interest. Still, he is among our heroes. And when a group of musicians gather to record a tribute as wide ranging and tightly performed as this new one, we can take some solace in the fact that our man remains as influential as ever. Behind Tim Conley's (a.k.a. MAST) leadership, Thelonious Sphere Monk offers up aggressively modern interpretations of Monk's music. Major works like "Epistrophy," "'Round Midnight" and "Straight No Chaser" are here. So too are compositions you may be less familiar with.

"Epistrophy" signals the band's willingness to push Monk fans beyond their comfort zone. Its first 30 seconds is a cross between a drum and bass track and a broken Space Invaders game. But like a lot of the album, MAST's horn section jumps in quickly and brings us right back to what we love about Monk. The forcefulness, the intricacy, the way Monk challenged us is captured faithfully again and again on these 16 new recordings.  "Oska T" features a cracking beat that would sound right at home on a downtempo electronic track. Paired with both a piano and brass band presentation of the tune, the mix is infectious. That's followed by the great "Nutty," which opens with one of the album's several recordings of Monk speaking: "I like to reach everybody," he says. "The public plus the musicians. That's a standard I set for my songs something that will get to the people's ear, plus no criticism from the musicians." These documentary-style additions are fun and add to the disc's modern feel. The track itself features an electric piano performance by Conley (an inarguably gutsy call). He keeps the piece grounded while Daniel Rosenboom's trumpet leads a brass section worthy of the great man himself. Conley began his career as a guitarist. His delivery on "Pannonica" is as good a measure of his talent as any on the album. What makes this tribute work is that he's surrounded by equally strong players, all of whom appear to revere Thelonious Sphere Monk. ~ Kevin Press https://www.allaboutjazz.com/thelonious-sphere-monk-tim-conley-world-galaxy-records-review-by-kevin-press.php

Personnel: Tim Conley: guitar, bass, keyboards, synthesizers, drum programming, production; Chris Speed: tenor saxophone (track 5); Dan Rosenboom: trumpet (tracks 2, 3, 6, 9, 10, 13); Gavin Templeton: alto saxophone, baritone saxophone (tracks 2, 3, 6, 9, 10, 13); Jonah Levine: trombone (tracks 2, 3, 6, 9, 10, 13); Jason Fraticelli: upright bass (track 8); Brian Marsella: piano (tracks 4, 7, 11); Makaya McCraven: drums (tracks 10, 13); Anwar Marshall: drums (track 2).

Thelonious Sphere Monk

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Kathy Kosins - Uncovered Soul

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 54:37
Size: 127,2 MB
Art: Front

(4:28)  1. Don't Get Me Started
(4:23)  2. Voodoo
(3:54)  3. Uncovered Soul
(4:41)  4. Ms. Martha
(4:13)  5. The Downtown Lights
(5:12)  6. A to B
(3:59)  7. Dreamin' / Dreamin's Gonna Pull Me Through
(4:55)  8. If Love Could Talk
(5:17)  9. Can We Pretend
(5:59) 10. Any Day Now
(3:50) 11. Could You Be Me
(3:40) 12. Seria Voce Como Eu

In “Uncovered Soul” Kosins (ASCAP awarded composer & lyricist) teams up with Kamau Kenyatta, the stellar long time producer of Gregory Porter, she will re-unite with her soulful and groove skills. A contrast to her previously released and highly acclaimed album, To the Ladies Of Cool“, "Uncovered Soul" follows in the footsteps of Kamau Kenyatta’s three Grammy nominated, Gregory Porter projects. The Grammy nominated CD “Water,” the Grammy nominated single, “Real Good Hands,” from the CD “Be Good” and the Grammy Award winning CD “Liquid Spirit.” “Uncovered Soul” is based on a sonic worldview shaped by the interpersonal and musical landscape of Detroit in the late 60s and 70s. 

“Uncovered Soul” however, is not merely an urban reality: It is also the common thread that binds the relevancy of the words and music of Curtis Mayfield, Gene McDaniels, Bill Withers,The Neville Brothers, Amos Lee and Burt Bacharach to the present. Three original compositions were added to “Uncovered Soul” to provide a contemporary point of view. http://www.kathykosins.com/

Uncovered Soul

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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

Down Home Style mc
Down Home Style zippy

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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

Latino Jazz Club mc
Latino Jazz Club zippy

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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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