Maynard Ferguson - Live From London

Styles: Trumpet Jazz
Year: 1994
File: MP3@320K/s
Time: 58:47
Size: 136,3 MB
Art: Front

(14:36)  1. A Night In Tunisia
( 8:39)  2. In A Mellow Tone
( 8:08)  3. St. Thomas
( 3:53)  4. Fox Hunt
( 7:22)  5. Rhythm Method
( 8:18)  6. My One And Only Love
( 7:48)  7. Glenn's Den

Utilizing a 13-piece band that includes ten horns, Maynard Ferguson performs bebop with his Big Bop Nouveau on this CD. All of the music is fairly basic, using common chord changes and charts that leave plenty of room for solos. Ferguson shows at age 65 that he still has most of his outstanding range and, assisted by a trumpet section full of screamers, the performances are boisterous and sometimes a bit bombastic. Chip McNeill takes a passionate soprano solo on "A Night in Tunisia," Matt Wallace has a couple of rewarding spots on tenor and trumpeter Walter White fares well on "Fox Hunt," but it is the leader who gives this music its main personality.~ Scott Yanow https://www.allmusic.com/album/live-from-london-mw0000110888

Personnel:  Maynard Ferguson - trumpet, flugelhorn;  Chris Brown - drums;  Matt Wallace - alto saxophone, tenor saxophone;  Christian Jacob - piano, keyboards;  Roger Ingram - trumpet;  Brian Thompson - trumpet;  Chip McNeill - soprano & tenor saxophones;  Dave Pietro - alto saxophone
Ed Sargent - percussion.

Live From London

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Brother Jack McDuff - A Change Is Gonna Come

Styles: Soul Jazz
Year: 1966
File: MP3@320K/s
Time: 36:23
Size: 86,8 MB
Art: Front

(2:19)  1. Down In The Valley
(3:07)  2. A Change Is Gonna Come
(3:34)  3. Hotcha
(2:35)  4. What'd I Say
(4:42)  5. No Tears
(2:36)  6. Gonna Hang Me Up A Sign
(5:52)  7. Minha Saudade
(4:20)  8. Same Old, Same Old
(7:15)  9. Can't Find The Keyhole Blues

This album is an elegant mix of soul and sambas, interspersed with a pair of distinctly blues-focused pieces. Jack McDuff's Hammond B-3 organ surges and trills and rocks, at times seeming to talk as the lead instrument on renditions of works as different as Ray Charles' "What'd I Say" and Sam Cooke's "A Change Is Gonna Come." His calls and responses with the five-man brass section on several of the tracks here comprise another highlight, but even the slow numbers, such as "No Tears," offer virtuoso playing by McDuff. The tempo and texture shifts throughout keep this record continually interesting to the listener, and the range of influences, from jazz to gospel with side trips into the blues (culminating with a seven-minute epic in the latter genre), gives a lot of great playing for everybody.~ Bruce Eder https://www.allmusic.com/album/a-change-is-gonna-come-mw0000378740

Personnel:  Jack McDuff - organ;  Johnny Grimes, Harold Johnson - trumpet;  Richard Harris - trombone;  Danny Turner - alto saxophone;  Arthur Clarke, George Coleman - tenor saxophone;  Buddy Lucas - baritone saxophone James Oliver - guitar;  Cornell Dupree - guitar, congas;  Jimmy Tyrell - bass;  Joe Dukes, Bernard Purdie - drums;  Warren Smith - percussion

A Change Is Gonna Come

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Naoko Terai - The Standard II

Styles: Violin Jazz
Year: 2018
File: MP3@320K/s
Time: 68:23
Size: 157,2 MB
Art: Front

(6:03)  1. Charade
(5:02)  2. California Dreamin'
(4:37)  3. Beautiful Love
(5:05)  4. Overjoyed
(5:33)  5. A Taste Of Honey
(4:51)  6. A Boy Named Charlie Brown
(3:40)  7. Pick Yourself Up
(5:19)  8. Daydream Believer
(4:27)  9. Twilight Time
(3:45) 10. Are You Lonesome Tonight
(6:01) 11. Going Out Of My Head
(5:22) 12. The Summer Knows
(3:59) 13. South Of The Border
(4:32) 14. All The Way

Naoko Terai ( Japanese, Terai Naoko , born May 1, 1967 ) is a Japanese jazz violinist. Naoko Terai studied the violin when she was four years old and began working in the Japanese jazz scene in the 1990s. In 1995 she participated in the album Things Unseen by pianist Kenny Barron ; In 2000 she was honored as Newcomer of the Year by the magazine Swing Journal . She played since then u. a. with Herbie Hancock , Wayne Shorter , Michael Brecker . In 1996 she presented her debut album Thinking of You ; her third album Princess T was produced by Lee Ritenour . At All For You (2005) Richard Galliano was a guest musician. Terai, who works with her own quartet of Naoki Kitajima (piano), Kunio Tanaami (bass) and Go Nakazawa (drums), performed in 2012 with Richard Galliano in the context of the Paris exhibition Jazz en Japan. https://de.wikipedia.org/wiki/Naoko_Terai

The Standard II

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Richie Cole - Cool 'C'

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 37:52
Size: 127,8 MB
Art: Front

(5:25)  1. Back To Bop
(7:35)  2. Willow Weep For Me
(5:45)  3. Blue Bossa
(4:35)  4. Someday My Prince Will Come
(4:35)  5. Autumn Leaves
(5:01)  6. Cool 'C'
(4:55)  7. On Green Dolphin Street

Recorded during his first visit to Japan, this out-of-print LP features altoist Richie Cole playing five bop standards, his own "Cool 'C"' and pianist Himiko Kikuchi's "Back to Bop." Cole is joined by eight brass players, a rhythm section and two percussionists, all of whom are fine Japanese musicians. The results are generally hard-swinging bop with enough humor and color to hold one's interest. The focus is on Cole throughout and he makes a rare appearance on tenor during "On Green Dolphin Street."~ Scott Yanow https://www.allmusic.com/album/cool-c-mw0000897790

Personnel:   Saxophone – Richie Cole;  Trombone – Hitomi Uchida, Michio Kagiwada, Toshinobu Kawashima;   Trumpet – Masahiro Kobayashi, Shin Kazuhara, Yoshikazu Kishi;   Piano – Himiko Kikuchi;   Drums – Motohiko Hino;   Drums – Motohiko Hino

Cool 'C'

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Bob Mintzer Big Band - Camouflage

Styles: Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 60:06
Size: 139,8 MB
Art: Front

(5:38)  1. Techno Pop
(6:23)  2. Mr. Fone Bone
(8:28)  3. A Long Time Ago
(1:46)  4. After Thought
(7:54)  5. Camouflage
(5:47)  6. One Man Band
(9:39)  7. Truth
(6:10)  8. Hip Hop
(8:18)  9. In The Eighties

Good '86 big band set led by tenor saxophonist and bass clarinetist Bob Mintzer, a fine player and arranger. These recordings are in a conventional format, with polished ensemble sections and good, occasionally great solos. They are well produced and mastered, but the material and style tend to be conservative.~ Ron Wynn https://www.allmusic.com/album/camouflage-mw0000649651

Personnel:  Bob Mintzer (Saxophone, Bass Clarinet); Lawrence Feldman, Bob Malach, Roger Rosenberg (Saxophone); Pete Yellin (Alto Saxophone); Randy Brecker, Laurie Frink, Bob Millikan, Marvin Stamm (Trumpet); Keith O'Quinn, Chris Seiter, Bob Smith, David Taylor (Trombone); Don Grolnick (Piano); Peter Erskine (Drums); Zev Katz (Bass); Frank Malabé (Percussion).

Camouflage

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Kate Rusby - The Girl Who Couldn't Fly

Styles: Vocal, Guitar, Folk
Year: 2005
File: MP3@320K/s
Time: 49:52
Size: 114,9 MB
Art: Front

(3:40)  1. Game of All Fours
(4:15)  2. The Lark
(3:29)  3. No Names
(3:22)  4. Mary Blaize
(4:52)  5. A Ballad
(3:24)  6. You Belong to Me
(4:04)  7. Elfin Knight
(5:40)  8. Bonnie House of Airlie
(4:24)  9. Moon Shadow
(4:14) 10. Wandering Soul
(3:51) 11. Fare Thee Well
(4:30) 12. Little Jack Frost

Yorkshire singer/songwriter Kate Rusby has been quietly resurrecting English folk music for the last ten years with a grace, wit, and reverence that others have attempted yet failed to achieve. 2004's Underneath the Stars was a triumph of contemporary music both new and borrowed, an acoustic symphony of brass, guitars, and Rusby's mesmerizing voice. Listeners craving a sequel will find much to love in The Girl Who Couldn't Fly, another collection of traditional ballads and self-penned charmers that firmly establish Rusby as the Alison Krauss of British folk music. Produced again by John McCusker, her renditions of songs both old and new are presented with an effervescence that belay their sometimes wistful and often sexual, as in the bawdy opener, "Game of All Fours" natures. Rusby's own compositions ("Elfin King," "Little Jack Frost," and "The Lark," just to name a few) are marvels of timelessness. Like June Tabor and Gillian Welch, she's got one hand on the pulse of history and the other on a heart that contains a very old soul. Here's to hoping that those hands continue to pen such lovely tales.~ James Christopher Monger https://www.allmusic.com/album/the-girl-who-couldnt-fly-mw0000181513

The Girl Who Couldn't Fly

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Terry Gibbs - The Latin Connection

Styles: Vibraphone Jazz
Year: 1986
File: MP3@320K/s
Time: 44:58
Size: 103,5 MB
Art: Front

(5:21)  1. Scrapple from the Apple
(4:37)  2. For Keeps
(5:01)  3. Groovin' High
(4:21)  4. Chelsea Bridge
(4:33)  5. Sing Sing Sing
(5:11)  6. Kick Those Feet
(5:26)  7. Good Bait
(4:41)  8. Flamingo
(5:44)  9. Sweet Young Song of Love

Vibraphonist Terry Gibbs sounds fine on this Latin jazz date, which also includes altoist Frank Morgan, pianist Sonny Bravo, bassist Bobby Rodriguez and three percussionists, including Tito Puente playing timbales on three of the nine numbers. Most of the tunes are bop and swing standards (such as"Scrapple From the Apple," "Groovin' High," "Good Bait" and "Sing, Sing, Sing") and have excellent spots for Gibbs, Morgan and the percussion section. A fine date.~ Scott Yanow https://www.allmusic.com/album/the-latin-connection-mw00002675

Personnel: Vibraphone, Arranged By – Terry Gibbs;   Alto Saxophone – Frank Morgan;  Bass – Bobby Rodriguez;  Bongos, Percussion – Johnny Rodriguez;  Congas, Percussion – Jose Madera;  Piano – Sonny Bravo;  Timbales – Orestes Vilato, Tito Puente .

The Latin Connection

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Johnny Griffin - Live In Tokyo

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 56:37
Size: 130,2 MB
Art: Front

(18:53)  1. All The Things You Are
(17:08)  2. When We Were One
( 3:47)  3. Wee
(16:47)  4. The Man I Love

The great tenor Johnny Griffin really gets a chance to stretch out on this two-LP set. Joined by pianist Horace Parland, bassist Mads Vinding and drummer Art Taylor for this Tokyo concert, Griffin digs into three standards and a pair of his originals; all except for a rapid "Wee" are at least 16 minutes long. 

Griffin's long cadenza on "The Man I Love" is a highlight.~ Scott Yanow https://www.allmusic.com/album/live-in-tokyo-mw0000094442

Personnel:  Johnny Griffin (saxophone), Horace Parlan (piano), Art Taylor (drums), Mads Vinding (bass).

Live In Tokyo

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Louis Hayes - Louis at Large

Styles: Jazz, Post Bop
Year: 1996
File: MP3@320K/s
Time: 61:35
Size: 141,4 MB
Art: Front

( 6:42)  1. Check In
( 5:19)  2. Rio
( 6:24)  3. Hen and Hub
(10:00)  4. My Ship
( 6:53)  5. Teef
( 7:33)  6. Dear Lou
( 5:49)  7. Dream Surreal
( 6:34)  8. My Old Flame
( 6:21)  9. Perambulation

For Louis Hayes' first domestic release in nearly 20 years the veteran drummer assembled a group consisting of tenor saxophonist Javon Jackson, trumpeter Riley Mullins, pianist David Hazeltine, and bassist Santi Debriano, took them into the studio, and recorded this collection of no-nonsense, high energy hard bop. Best known for his stints in the groups of Horace Silver (1956-59) and Cannonball Adderley (1959-65), Hayes is at his cymbal ridin', snare drum poppin' best, and the other musicians are up to the task, with Mullins' go-for-broke, high note filled solos giving Louis at Large much of its flavor. Favorites include the uptempo burners "Check In" written by Mullins and Hayes, and Mullins' "Hen and Hub," dedicated to Hayes' former bandmates Joe Henderson and Freddie Hubbard, the bop blues "Teef," which also appeared on Hayes' self-titled 1960 debut recording, and an uptempo arrangement of the standard "My Old Flame," with a medium tempo bridge throughout. This a welcome return to an American label for Hayes.~ Greg Turner https://www.allmusic.com/album/louis-at-large-mw0000082109

Personnel:  Louis Hayes - drums;  Riley Mullins - trumpet;  Javon Jackson - tenor saxophone;  David Hazeltine - piano;  Santi Debriano - bass.

Louis at Large

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David Kikoski - Details

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 67:51
Size: 155,5 MB
Art: Front

(12:13)  1. In Your Own Sweet Way
( 7:35)  2. Detachment
( 9:09)  3. 7/4 Ballad
( 6:17)  4. Inner Urge
( 6:00)  5. Juriki
( 6:45)  6. Adorable You
( 5:45)  7. K's Blues
( 6:52)  8. Presage
( 7:09)  9. Tag Blues

David Kikoski has earned his chops backing everyone from legends like Roy Haynes (two decades and counting) to young gun David Sanchez. Though he can commandeer a set when he wants (an astoundingly fractured, nearly chaotic barrelhouse blues piano solo is all that remains in memory of the last Pat Martino gig I caught), by nature he's a team player: gently tenacious exploration and ethereal post-bop empathy are this Berklee grad's true bread and butter. Thus Details , as you might expect from its title, is loaded with both. It's a trio disc, and for this kind of patient investigation, Kikoski could scarcely have filled out the group better. Bass man Larry Grenadier and drummer Bill Stewart provide the pianist with a near-telepathic unity that lifts the disc immediately above the ordinary. (Stewart, whose extensive trio forays with keyboardist Larry Goldings have prepared him magnificently for this kind of work, seems particularly alert.) From the group's leisurely twelve-minute stroll through Dave Brubeck's "In Your Own Sweet Way," to its thoughtful, intense work on Joe Henderson's great "Inner Urge," and through the host of tricky Kikoski originals that comprise the remainder of the material, ideas flow free and quick and no subtle shift goes unnoticed. (Even Kikoski's single-track detour on electric keyboard, "K's Blues," comes off.) Short on flash but loaded with exquisite three-way rapport, Details is a dreamy, first-rate disc from a player deserving more attention. ~ AAJ Staff https://www.allaboutjazz.com/details-dave-kikoski-criss-cross-review-by-aaj-staff.php

Personnel: Dave Kikoski: Piano;  Larry Grenadier: Bass;  Bill Stewart: Drums. 

Details

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Swing Out Sister - Live in Tokyo

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 78:41
Size: 180,6 MB
Art: Front

(5:49)  1. Surrender/World Out Of Control
(6:47)  2. Get in Touch with Yourself
(5:18)  3. La La Means I Love You
(5:17)  4. Sugarfree
(4:51)  5. Stoned Soul Picnic
(7:40)  6. Closer than the Sun/Forever Blue
(6:08)  7. Heaven Only Knows
(6:34)  8. Filth & Dreams
(6:31)  9. Now You're Not Here/No Scrubs
(8:08) 10. Am I the Same Girl
(7:57) 11. Breakout/When Morning Comes
(7:36) 12. Twilight World

This trend-setting act with a cult like following returns with LIVE  beautifully crafted new live arrangements of some of their biggest hits ever! Included are completely new and revamped versions of the 1980s worldwide hits 'Breakout' and 'Am I the Same Girl', each with a completely new and fresh approach and arrangement. Also included are many of their other greatest US hits like 'La La Means I Love You' and 'Stoned Soul Picnic', each classic cover executed in a refreshing new way! Recorded live in Tokyo, the 10 piece Swing Out band includes incredible vocalists, multiple keyboard players, funky rhythm and jazz guitars, tight drums and auxiliary percussion. Shanachie. 2005.~ Editorial Reviews

Personnel:  Bass Guitar – Juneroy Johnson;  Congas, Percussion, Kalimba – Jody Linscott;  Drums – Chris Bailey ;  Guitar, Backing Vocals – Tim Cansfield;  Lead Vocals – Corinne Drewery ;  Vocals [Additional] – Delores Clay

Live in Tokyo

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Naoko Terai - The Standard

Styles: Violin Jazz
Year: 2017
File: MP3@320K/s
Time: 72:07
Size: 166,3 MB
Art: Front

(4:27)  1. Night And Day
(6:16)  2. Fly Me To The Moon
(3:59)  3. Devil May Care
(6:28)  4. What Are You Doing The Rest Of Your Life
(6:08)  5. It's All Right With Me
(6:42)  6. Soul Eyes
(4:46)  7. Samba de Uma Nota Só
(6:38)  8. Yesterdays
(5:31)  9. Bluesette
(5:47) 10. Golden Earrings
(4:33) 11. Les Feuilles mortes
(5:17) 12. Nardis
(5:29) 13. Blue Velvet

Born in Kanagawa Prefecture. Began playing the violin at the age of 4 and appearing at the age of 6 at NHK Educational TV "Keiko no Violin". When I was 12 years old, I received an encouragement prize at "Student Music Competition East Japan Convention" sponsored by the Mainichi Newspaper Company. Received again at the age of 14. In 1988, he debuted professionally as a jazz / violinist. Since being co-starred with Kenny • Baron who came to Japan in 1995, he was invited to guests of his album "Things unseen" and recorded for the first time in NY. In 1998, the first leader work "Thinking of You" was announced. In the blink of an eye, it gets notice as a heroine of the jazz world. In January 2001, he won the Jazz Disc Grand Prize "New Star Award" sponsored by Swing Journal magazine. In August 2002, I participated in my 1st "Tokyo Jazz 2002" in my band. The overwhelming performance of becomes a topic. Herbie Hancock invited me to join his session. In February 2003, EMI (now Universal Music) first release "Anthem" was announced. Became a big best seller and received the Japan Gold Award Grand Prize . December, announced the second transfer "Jazz  Waltz" announcement. Jazz disc award "Jazz Award" won by swing journal magazine. In April 2004, in the swing journal magazine reader popularity vote, he won three divisions , . Become a top artist in the jazz world with both name and reality. From this year onwards until 2009, serve KINCHO mosquito coil TVCM character. (I will be in charge of music continuously after that) In January 2008, received the 33rd Nanri's Fumio Award. In March 2010, the Agency for Cultural Affairs received the Prize for Art Scholarship Minister Entry Science Minister's Newcomer Award (Grand Prize Division). From May, serve as the first regular personality in the BS - TBS program "Cinemagic Café" (~ 2012). In September 11th, "Tokyo Jazz" celebrating the 10th anniversary, she appeared on the stage entitled "Astor Piazzolla Project" with world accordionist Richard Galliano and performed again etc. The stage live record "Libertango in Tokyo" is also reputed. In January 15, the regular band was renewed for the first time in 12 years, and the latest work "Hot Jazz" was announced. (Translate by Google) https://www.universal-music.co.jp/terai-naoko/biography/

The Standard

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Caribbean Jazz Project - Afro Bop Alliance

Styles: Latin Jazz, World Fusion 
Year: 2008
File: MP3@320K/s
Time: 60:46
Size: 142,1 MB
Art: Front

(4:55)  1. Rendezvous
(6:11)  2. Naima
(8:45)  3. Five For Elvin
(5:20)  4. Soul Sauce
(6:30)  5. Picture Frame
(8:35)  6. Stolen Moments
(4:55)  7. Birds Of A Feather
(7:42)  8. Afro Green
(7:52)  9. Bemsha Swing

Lionel Hampton was one of the first "real" jazz vibraphonists. In more recent years, Gary Burton has been among those who have kept the instrument an integral part of the jazz scene. However, another name is also synonymous with the instrument. That is Dave Samuels. A longtime member of Spyro Gyra who occasionally reunites with the group, performing on a few songs here and there for recordings, Samuels is a master of both the vibraphone and the marimba. He also, when desiring a certain effect, has used a mallet-triggered synthesizer. After a brief solo career that included such recordings as Living Colors (MCA, 1988) and Ten Degrees North (MCA, 1989), Samuels joined forces with pals Paquito D'Rivera on alto sax and clarinet and Andy Narell on steel pans, to form the Caribbean Jazz Project. D'Rivera and Narell are no longer with the group, but Samuels is still its leader. Afro Bop Alliance revisits nine songs previously recorded by CJP, done this time with the Maryland-based Afro Bop Alliance, a big band with a Latin sound. The set begins with a dynamic offering of "Rendezvous," a track Samuels wrote for the Africa-themed Ten Degrees North and later appeared on CJP's Grammy-nominated Here and Now Live in Concert (Concord, 2005). While the first two recordings are exceptional, this one is equally engaging. 

With a heavy dose of horns, Joe McCarthy and Roberto Quintero splitting percussion duties, and Tim Stanley's trumpet solo, "Rendezvous" is more exciting than ever. John Coltrane's "Naima," which also was on Here and Now, is moderately paced. Samuels' vibraphone solo is the highlight, but the CJP rhythm section of McCarthy, Quintero and Max Murray on bass, complements the entire package. Steve Williams contributes an elegant soprano saxophone solo, underscored by soft horns. "Five for Elvin," another Samuels original, gives the percussionists plenty of room to stretch out. First, they underscore Samuels' marimba solo, complemented by Murray and pianist J.J. Wright. Later in the song, McCarthy and Quintero are out front, accompanied only by piano and bass, setting up the song's closing. Samuels and the rhythm section set up Oliver Nelson's "Stolen Moments." Luis Hernandez contributes a moving tenor sax solo, which gives way to Samuels on the marimba, punctuated by an amplified horn section. The horns then back off, leaving it to Samuels, pianist Harry Appelman and the rhythm section; Murray's bass stands out and the horns come back in to help close the song. Other tracks presented here are Dizzy Gillespie's "Soul Sauce," Thelonius Monk's "Bemsha Swing" and Samuels' "Picture Frame," "Birds of a Feather" and "Afro Green." Throughout, the Afro Bop horn section is strong but doesn't overpower CJP. Samuels, as he has done throughout his career, shows his versatility. Whether carrying the melody, stretching out on a solo or complementing the other musicians, he demonstrates why he is regarded as one of the world's leaders in jazz vibes and marimba. Afro Bop Alliance is an hour's worth of engaging music.~ Woodrow Wilkins https://www.allaboutjazz.com/afro-bop-alliance-dave-samuels-heads-up-international-review-by-woodrow-wilkins.php

Personnel: Dave Samuels: vibes, marimba; Steve Williams: lead alto, soprano saxophone, solo (2); Andy Axelrad: alto saxophone; Luis Hernandez: tenor saxophone, solos; Vince Norman: tenor saxophone; Rob Holmes: baritone saxophone; Chris Walter: lead trumpet; Nick Cooper: trumpet; Greg Reese: trumpet; Tim Stanley: trumpet, solo; Dan Drew: lead trombone; Jim McFalls: trombone; Mark Morgan: bass trombone; Harry Appelman: piano; J.J. Wright: piano (3); Max Murray: bass; Joe McCarthy: drums, percussion (bells, timbale, clave, chekere, shakers); Robert Quintero: percussion (congas, bongos, maracas).

Afro Bop Alliance

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Mary Lou Williams - Lady Piano

Styles: Piano Jazz
Year: 1955
File: MP3@320K/s
Time: 44:41
Size: 104,4 MB
Art: Front

(2:06)  1. Fandangle
(3:26)  2. Mama, Pin a Rose On Me
(3:36)  3. Roll' em
(3:32)  4. Sweet Sue
(5:15)  5. Lullaby of the Leaves
(2:17)  6. Taurus
(3:30)  7. Jericho
(4:44)  8. I Love Him
(4:00)  9. Amy
(4:40) 10. Talk of the Tawn
(3:30) 11. I Love You
(4:00) 12. Easy Blues

To say that Mary Lou Williams had a long and productive career is an understatement. Although for decades she was often called jazz's greatest female musician (and one has to admire what must have been a nonstop battle against sexism), she would have been considered a major artist no matter what her sex. Just the fact that Williams and Duke Ellington were virtually the only stride pianists to modernize their style through the years would have been enough to guarantee her a place in jazz history books. Williams managed to always sound modern during a half-century career without forgetting her roots or how to play in the older styles. Born Mary Elfrieda Scruggs (although she soon took the name of her stepfather and was known as Mary Lou Burley), she taught herself the piano by ear and was playing in public at the age of six. Growing up in Pittsburgh, Williams' life was always filled with music. When she was 13, she started working in vaudeville, and three years later married saxophonist John Williams. They moved to Memphis, and she made her debut on records with Synco Jazzers. John soon joined Andy Kirk's orchestra, which was based in Kansas City, in 1929. Williams wrote arrangements for the band, filled in for an absent pianist on Kirk's first recording session, and eventually became a member of the orchestra herself. Her arrangements were largely responsible for the band's distinctive sound and eventual success. Williams was soon recognized as Kirk's top soloist, a stride pianist who impressed everyone (even Jelly Roll Morton). In addition, she wrote such songs such as "Roll 'Em" (a killer hit for Benny Goodman) and "What's Your Story Morning Glory" and contributed arrangements to other big bands, including those of Goodman, Earl Hines, and Tommy Dorsey. Mary Lou Williams stayed with Kirk until 1942, by which time she had divorced John Williams and married trumpeter Harold "Shorty" Baker. She co-led a combo with Baker before he joined Duke Ellington. 

Williams did some writing for Duke (most notably her rearrangement of "Blue Skies" into a horn battle called "Trumpets No End") and played briefly with Benny Goodman's bebop group in 1948. She had gradually modernized her style and by the early to mid-'40s was actively encouraging the young modernists who would lead the bebop revolution, including Thelonious Monk, Bud Powell, Tadd Dameron, and Dizzy Gillespie. Williams' "Zodiac Suite" showed off some of her modern ideas, and her "In the Land of Oo-Bla-Dee" was a bebop fable recorded by Gillespie.  Williams lived in Europe from 1952-1954 and then became very involved in the Catholic religion. She retired from music for a few years before appearing as a guest with Dizzy Gillespie's orchestra at the 1957 Newport Jazz Festival. Williams returned to jazz and by the early '70s sounded more like a young modal player (clearly she was familiar with McCoy Tyner) than a survivor of the 1920s. Although she did not care for the avant-garde, she occasionally played quite freely, although a 1977 duo concert with Cecil Taylor was a complete fiasco. Williams wrote three masses and a cantana, was a star at Benny Goodman's 40th-anniversary Carnegie Hall concert in 1978, taught at Duke University, and often planned her later concerts as a history of jazz recital. By the time she passed away at the age of 71, she had a list of accomplishments that could have filled three lifetimes.  

Mary Lou Williams recorded through the years as a leader for many labels including Brunswick (a pair of piano solos in 1930), Decca (1938), Columbia, Savoy, extensively for Asch and Folkways during 1944-1947, Victor, King (1949), Atlantic, Circle, Vogue, Prestige, Blue Star, Jazztone, her own Mary label (1970-1974), Chiaroscuro, SteepleChase, and finally Pablo (1977-1978).~ Scott Yanow https://www.allmusic.com/artist/mary-lou-williams-mn0000859820/biography

Lady Piano

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Donald Harrison, Ron Carter, Billy Cobham - New York Cool

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 63:24
Size: 146,5 MB
Art: Front

(10:51)  1. Body and Soul
(10:28)  2. Harrisburg Address
( 8:39)  3. Easy Living
( 9:31)  4. I'll Remember April
(10:34)  5. Star Eyes
( 8:32)  6. Third Plane
( 4:46)  7. Blues For Happy People

Altoist Donald Harrison gained his initial fame in the late '70s when he was a member of Art Blakey's Jazz Messengers, following that up by co-leading a notable quintet with trumpeter Terence Blanchard. Although he never quite became a poll winner or a major influential force, Harrison has always been a solid improviser. New York Cool moves his career up a notch and is one of his finest recordings to date. Reuniting in 2005 with bassist Ron Carter and drummer Billy Cobham (the trio had recorded Heroes for the Nagel Heyer label in 2002), Harrison and his sidemen constantly challenge each other, with each of the musicians feeling free to set the direction of the performances. The repertoire is comprised of "Body and Soul," "Harrisburg Address" (based on "I Got Rhythm"), "Easy Living," "I'll Remember April," "Star Eyes," Ron Carter's "Third Plane" (which deserves to become a standard), and the medium-tempo "Blues for Happy People." The musicians feed off each other's ideas and their interplay is full of subtle surprises and unpredictable moments. New York Cool demonstrates that there is plenty of life still to be found in bebop standards when they are played in creative fashion. Highly recommended.~ Scott Yanow https://www.allmusic.com/album/new-york-cool-live-at-the-blue-note-mw0000349623

Personnel:  Donald Harrison - alto saxophone;  Ron Carter - bass;  Billy Cobham - drums.

New York Cool

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Della Reese - The Classic Della

Styles: Vocal
Year: 1962
File: MP3@320K/s
Time: 36:38
Size: 84,8 MB
Art: Front

(2:49)  1. The Story of a Starry Night
(3:35)  2. These Are the Things I Love
(3:07)  3. If You Are But a Dream
(3:39)  4. My Reverie
(2:42)  5. Take My Heart
(3:02)  6. Stranger in Paradise
(2:38)  7. Gone
(3:24)  8. Serenade
(2:58)  9. Moon Love
(2:42) 10. Softly My Love
(3:20) 11. Till The End of Time
(2:36) 12. Don't you know

The pun in the title of Della Reese's most popular album for RCA Victor refers to the musical basis for these 12 songs: classical pieces originally composed by Tchaikovsky ("Symphony No. 6," "Melodie Op. 42"), Debussy ("Reverie"), Schubert ("Serenade"), Chopin ("Etude in E, Op. 10 No. 3," "Polonaise No. 6 Op. 53"), and Puccini ("Musetta's Waltz Song" from La Boheme), among others. The idea is a full-length expansion of her 1959 single, "Don't You Know," one of the biggest hits of her career (and also included here). Fortunately, Della Reese's voice as strong, controlled, and pitch-perfect as it had proven in the past is up to the challenge of such heavy material. Meanwhile, Glenn Osser's arrangements are gauzy and string-heavy, quite suited for the material and Reese's vocals. Though it's not a definitive performance, Reese admirably stretches her grasp of popular song by assimilating pieces from the classical repertoire.~ John Bush https://www.allmusic.com/album/the-classic-della-mw0000469815

The Classic Della

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Clara Ponty - Mirror of Truth

Styles: Piano Jazz 
Year: 2004
File: MP3@320K/s
Time: 43:37
Size: 100,4 MB
Art: Front

(4:37)  1. Glimpses Of Paradise
(3:57)  2. In Quest Of New Horizons
(3:24)  3. Mirror Of Truth
(4:08)  4. Autumn Bells
(3:05)  5. The Last Romantics
(3:06)  6. Joyous Awakening
(3:30)  7. Atlantis
(3:02)  8. Time To Say Farewell
(4:51)  9. In The Shadow Of Stars
(3:41) 10. The Paths To Wisdom
(3:02) 11. Serenity
(3:09) 12. The Cry Of The Forest

Classical artists making crossover music are usually sabotaged by a surfeit of technique and an inability to restrain themselves for emotional and musical clarity. Witness any opera singer tackling pop songs. They bludgeon them with virtuosity. That has never been pianist Clara Ponty's problem. A concert-trained pianist, she shifted gears several years ago to create music that revealed her classical background but fell into a new instrumental music netherworld. Recorded after she left New York for her childhood home in France, Mirror of Truth is her first new CD in five years. She's joined on many tracks by her father, renowned fusion violinist Jean-Luc Ponty, recording together for the first time. On tracks like the pensive "Autumn Bells," the violinist colors his daughter's moods like the sun shifting shadows. His solo on "In the Shadow of Stars" is refined elegance, full of reigned-in emotions. Compared to Embrace, Mirror of Truth is under-produced. The occasional percussion sounds like an afterthought and the ambience is more classical than the lush sheen of Embrace. But Clara Ponty's original compositions still linger with a haunted, if not always provocative, allure. ~ John Diliberto https://www.amazon.com/Mirror-Truth-Clara-Ponty/dp/B00028HP26

Personnel:  Clara Ponty  piano;  Taffa Cissé  percus;  Jean-Luc Ponty  violon, synthés;  Laurent Cirade  violoncelle;  Jeremy Lewis  contrebasse;  Patrick Manouguian  guitare

Mirror of Truth

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Terry Gibbs - A Jazz Band Ball, Second Set

Styles: Vibraphone Jazz
Year: 1957
File: MP3@320K/s
Time: 40:50
Size: 95,9 MB
Art: Front

(3:33)  1. The Dipsy Doodle
(3:44)  2. Where Or When
(4:01)  3. I'm Getting Sentimental Over You
(4:58)  4. Hollywood Blues
(3:19)  5. Tangerine
(3:32)  6. Just Friends
(4:08)  7. Softly As In A Morning Sunrise
(3:35)  8. Memories Of You
(3:07)  9. Broadway
(6:47) 10. Allen's Alley

This reissue is unrelated to another V.S.O.P. set simply titled A Jazz Band Ball. Terry Gibbs on vibes and marimba matches wits and creativity with Victor Feldman and Larry Bunker, both of whom double on vibes and xylophone. Assisted by pianist Lou Levy, bassist Max Bennett and drummer Mel Lewis, the intriguing frontline essentially plays bop, but with a great deal of color. The interaction between the vibraphonists, who are all featured and occasionally trade off, is the main reason to acquire this very interesting set.~ Scott Yanow https://www.allmusic.com/album/jazz-band-ball-mw0000046596

Personnel: Terry Gibbs - vibraphone, marimba; Max Bennett - bass;  Lou Levy - piano; Larry Bunker, Vic Feldman - vibraphone, xylophone; Mel Lewis - drums.  

A Jazz Band Ball, Second Set

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McCoy Tyner - With Stanley Clarke and Al Foster

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 64:55
Size: 152,1 MB
Art: Front

(9:10)  1. Trane-Like
(5:28)  2. Once Upon A Time
(4:16)  3. Never Let Me Go
(5:15)  4. I Want To Tell You Bout That
(6:43)  5. Will You Still Be Mine
(6:28)  6. Goin' Way Blues
(7:35)  7. In The Tradition
(4:49)  8. The Night Has A Thousand Eyes
(5:37)  9. Carriba
(3:31) 10. Memories
(5:56) 11. I Want To Tell You Bout That

The piano trio performs standards at one end of the small dining room while you and your companion sip champagne at a nearby table. It’s a cool jazz session from an acoustic trio. Certainly relaxed and enjoyable, this evening wears a graceful posture but refuses to serve you subtle fire or strong emotion. It’s a far cry from John Coltrane’s classic quartet of the early ‘60s. This cool acoustic trio carries over the percussive keyboard style of McCoy Tyner, but delivers without hammerin’ the message home and without including excessively improvised spates from any of the three veterans. Tyner prefers to stay with the melody for the most part and lets loose on occasion. Bassist Stanley Clarke opts for the acoustic stand-up instrument on this session, accompanying lyrically and issuing rapid-fire runs during solo spots. Drummer Al Foster offers a plain and simple (tasteful) accompaniment, and shows a variety of textures when trading fours. Standards "Never Let Me Go" and "The Night Has a Thousand Eyes" appear as pleasant as you’ve heard them a thousand times. Keeping good taste at the forefront, Tyner improvises only slightly as the chords change in familiar fashion, never losing sight of the melody. Clarke and Foster take their turns at the solo mic’ without ever breaking a sweat. Elsewhere, "Going ‘way Blues" sashays to a relaxed toe-tapping groove and two versions of "I Want to Tell You ‘bout That" compare Clarke’s acoustic bass principles to his electric bass virtuosity. While the timbre remains different, both takes use the common denominator found in the blues and jazz. The trio ensures that spontaneity, syncopation, and familiar rhythms make the blues tunes more exciting than middle-of-the-road standards. Since McCoy Tyner has chosen to present us with both aspects, we are welcome to sit back in our comfortable night club seats, enjoy a little more champagne, and appreciate both sides.~ Jim Santella https://www.allaboutjazz.com/mccoy-tyner-with-stanley-clarke-and-al-foster-mccoy-tyner-telarc-records-review-by-jim-santella.php?width=1920

Personnel:  McCoy Tyner- piano;  Stanley Clarke- bass;  Al Foster- drums.

With Stanley Clarke and Al Foster

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David 'Fathead' Newman - The Blessing

Styles: Saxophone And Flute Jazz
Year: 2009
File: MP3@320K/s
Time: 55:10
Size: 138,7 MB
Art: Front

(6:23)  1. SKJ
(5:47)  2. Someone To Watch Over Me
(4:55)  3. As Time Goes By
(5:27)  4. Manha De Carnival
(6:33)  5. Smile
(7:31)  6. Romantic Night
(5:59)  7. Chelsea Bridge
(5:24)  8. Whispers Of Contentment
(7:07)  9. The Blessing

What an apt name The Blessing is for David Newman's final recording before his death ended a long career last January (2009). He played for more than a decade with Ray Charles and alongside Herbie Mann, Aretha Franklin and Roy Ayers, among many others. For this last studio session he was in fine form. A Milt Jackson gem, "SKJ," is the set's opener, Steve Nelson's vibes providing glowing cascades before Newman swings in with a solo as brief in its measured warmth as it is satisfying. Here too and throughout the set Peter Bernstein's guitar is vigorous in a style that is direct as it mixes blues and bebop. In Newman's blues-drenched take on Gershwin's "Someone To Watch Over Me" (which in moments has echoes of Duke Ellington's "In A Sentimental Mood"), again there is a dazzling display of colors and tones. He begins with a statement of the original tune, albeit with little turns, pauses and a warm, floating, utterly romantic sound.

Nelson is always there with just the subtlest echoes of the melody. Newman's tenor saxophone is as gentle as it is full-bodied, with nary a superfluous embellishment. David Leonhardt's piano solo leads perfectly into Newman's bridge and the final bars. It must be noted that Newman's brand of romanticism is never mushy or sentimental. His version of "As Times Goes By" is abetted by the brisk, crystal warmth of Nelson's vibes on the bridge. Newman is authoritative and yet relaxed and it segues into "Manha de Carnival," on which his sax, Nelson's vibes and Leonhardt's piano effect a subtle tension by both anticipating and playing after the beat. It is Leonhardt's own composition, "Romantic Night," that showcases Newman at a peak on the recording and brings out the best from all hands. 

Shifting between major and minor modes, it's a beautifully structured performance. Newman gives a textbook example of a veteran player who swings easily as he makes it feel so good, yet without ever allowing things to get too cozy. The closer is the title track, Newman's own tune, this time with him on flute. It's a gospel-tinged piece that closes the set on a funky, upbeat note. As with all of Newman's music, this piece could as aptly have been called "a gift."~ Andrew Velez https://www.allaboutjazz.com/the-blessing-david-fathead-newman-highnote-records-review-by-andrew-velez.php

Personnel: David "Fathead" Newman: tenor saxophone, flute;  Steve Nelson: vibes;  David Leonhardt: piano;  Peter Bernstein: guitar;  John Menegon: bass;  Yoron Israel: drums.

The Blessing

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