Saturday, February 16, 2019

The Oscar Peterson Trio - Tristeza On Piano

Styles: Piano Jazz
Year: 1970
File: MP3@320K/s
Time: 44:42
Size: 103,7 MB
Art: Front

(3:12)  1. Tristeza
(6:45)  2. Nightingale
(6:13)  3. Porgy
(5:21)  4. Triste
(3:33)  5. You Stepped Out Of A Dream
(6:11)  6. Watch What Happens
(8:49)  7. Down Here On The Ground
(4:37)  8. Fly Me To The Moon

At the beginning of this set Oscar Peterson so overwhelms the normally gentle "Tristeza" that it almost becomes a parody. Fortunately, the remainder of the bossa nova-flavored LP is more tasteful. Even if Peterson is overly hyper in spots, he is able to bring out the beauty of such songs as George Gershwin's "Porgy," Antonio Carlos Jobim's "Trieste," and "Watch What Happens," in addition to stomping through the straight-ahead "You Stepped out of a Dream." ~ Scott Yanow https://www.allmusic.com/album/tristeza-on-piano-mw0000188657

Personnel:  Oscar Peterson – Piano; Sam Jones – Double bass; Bobby Durham – drums

Tristeza On Piano

Debbie Harwood - Soothe Me

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 40:16
Size: 92,7 MB
Art: Front

(2:25)  1. We Kiss In A Shadow
(3:03)  2. Oh, You Crazy Moon
(3:19)  3. Soothe Me
(4:42)  4. Don't Explain
(3:57)  5. Willow Weep For Me
(3:02)  6. Bewitched, Bothered And Bewildered
(2:47)  7. Kissing Bug
(4:27)  8. Every Time We Say Goodbye
(4:05)  9. Don't Want That Man Around
(4:27) 10. September In The Rain
(3:55) 11. Exactly Like You

Soothe Me is the superb solo debut from iconic Kiwi artist Debbie Harwood. The album is an evocative collection of soul-soothing songs of love and life from a time gone by set to a backdrop of subtle rhythms of post WWII swing. Harwood has always had a fascination with the music from the period after the Second World War, especially the music of pianist and big band leader Stan Kenton. Soothe Me was self-produced in two weeks at the renowned Helen Young Studio in Auckland with the help of some vintage Neumann microphones. Sony. 2005. ~ Editorial Reviews https://www.amazon.com/Soothe-Me-Debbie-Harwood/dp/B000AA4KH4
 
Thank You Dave!

Soothe Me

Kyle Eastwood - Songs from the Chateau

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 50:27
Size: 116,1 MB
Art: Front

(4:49)  1. Marciac
(6:37)  2. Moon over Couronneau
(5:21)  3. Café Calypso
(5:07)  4. Soul captain
(6:21)  5. Andalucía
(5:12)  6. Over the line
(5:50)  7. Tonic
(5:09)  8. Aperitif
(5:56)  9. Down at Ronnie´s

Kyle Eastwood's career encompasses the writing of film soundtracks, as well as the life of a jazz composer, bandleader and bassist. On those seemingly rare occasions when he isn't working, Eastwood spends much of his time in France. Songs From The Chateau is his fifth album since 1998's debut, From There To Here (Sony), and his fourth for British Candid label. It finds Eastwood recording in the country he loves, at the 15th century Chateau Couronneau in the Bordeaux region. From drummer Martyn Kaine's first emphatic beats on "Marciac," this album simply bursts with energy and, to maintain the French theme, joie de vivre. It's full of strong compositions from Eastwood, and virtuoso playing from every musician, but never feels forced, or competitive: no showboating, no unnecessary technical complexity. The range of styles is wide, demonstrating the influences from across the world that Eastwood has absorbed into his writing and playing. "Moon Over Couronneau" has a dreamlike, ethereal quality, and a standout acoustic piano solo from Andrew McCormack 99. "Café Calypso" is an irresistibly cheerful number, with some jaunty playing from Graeme Blevins and Graeme Flowers. "Soul Captain" is another celestial tune, thanks in particular to Blevins and Flowers' haunting horn lines. Once more, the melody is enticingly simple and insistent. The lovely "Andalucia" is driven by Eastwood's simple, repeated, acoustic bass riff and Kaine's fluid, more complex, percussion. Flowers' trumpet flies over the top, evoking the vastness and beauty of the Andalucian countryside, while Eastwood's solo adds a touch of North African spirit. "Down At Ronnie's" is inspired by London's Ronnie Scott's Club. It's a loose, funky, jam-band, kind of number, that wouldn't sound out of place in an Average White Band set. "Tonic" takes inspiration from more mainstream jazz sources with McCormack and Blevins' beautiful contributions channeling the spirit of Dave Brubeck and Paul Desmond.  While Songs From The Chateau is an album of varied moods, rhythms and beats it continuously evokes one particular emotion joy. Eastwood and his band create music from the heart: uplifting, reflective and beautiful. ~ Bruce Lindsay https://www.allaboutjazz.com/songs-from-the-chateau-kyle-eastwood-candid-records-review-by-bruce-lindsay.php

Personnel: Kyle Eastwood: acoustic bass, electric bass; Andrew McCormack: piano, electric piano; Graeme Flowers: trumpet, flugelhorn; Graeme Blevins: soprano saxophone, tenor saxophone; Martyn Kaine: drums.

Songs from the Chateau

Chico Freeman - Spirit Sensitive

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 63:34
Size: 146,8 MB
Art: Front

(4:15)  1. Autumn in New York
(5:39)  2. Peace
(7:42)  3. A Child Is Born
(7:24)  4. Lonnie's Lament
(4:19)  5. You Don't Have to Say You're Sorry
(7:00)  6. Wise One
(6:21)  7. It Never Entered My Mind
(8:52)  8. Close to You Alone
(7:36)  9. Carnival
(4:21) 10. Don't Get Around Much Anymore

This set was a change-of-pace for Chico Freeman for it features the usually adventurous tenor (who doubles on soprano) mostly playing warm versions of standards.

The CD reissue adds four previously unissued selections (including a pair of Coltrane tunes, "Lonnie's Lament" and "Wise One") to the original program. With pianist John Hicks, bassist Cecil McBee and either Billy Hart or Don Moye on drums offering fine support (vibraphonist Jay Hoggard sits in on "Carnival"), Freeman pushes at but does not break the boundaries of hard bop. Highlights include "Autumn in New York" (a duet with McBee), Horace Silver's "Peace," "It Never Entered My Mind" and the bassist's "Close to You Alone." ~ Scott Yanow https://www.allmusic.com/album/spirit-sensitive-mw0000204353

Personnel:  Chico Freeman - tenor saxophone, soprano saxophone; Cecil McBee – bass; John Hicks – piano; Billy Hart - drums; Famoudou Don Moye - drums

Spirit Sensitive

Friday, February 15, 2019

Elmo Hope - A Night in Tunisia

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 103:03
Size: 237,6 MB
Art: Front

( 6:29)  1. Something for Kenny
( 6:18)  2. Barfly
( 7:32)  3. Like Someone in Love
( 5:47)  4. B's A-Plenty
( 6:00)  5. Boa
( 4:51)  6. Minor Bertha
( 2:58)  7. Tranquility
( 3:55)  8. Eejah
(10:50)  9. I Love You
( 4:56) 10. Low Tide
(10:41) 11. Elmo's Blues
(10:16) 12. A Night in Tunisia
( 4:21) 13. Stellations
( 8:42) 14. Somebody Loves Me
( 6:32) 15. Low Tide - Alternate Take
( 2:46) 16. Pam

Overshadowed throughout his life by his friends Bud Powell and Thelonious Monk, Elmo Hope was a talented pianist and composer whose life was cut short by drugs. His first important gig was with Joe Morris' R&B band (1948-1951). He recorded in New York as a leader (starting in 1953) and with Sonny Rollins, Lou Donaldson, Clifford Brown, and Jackie McLean, but the loss of his cabaret card (due to his drug use) made it very difficult for him to make a living in New York. After touring with Chet Baker in 1957, Hope relocated to Los Angeles. He performed with Lionel Hampton in 1959, recorded with Harold Land and Curtis Counce, and returned to New York in 1961. A short prison sentence did little to help his drug problem and, although he sounds fine on his trio performances of 1966, he died a little over a year later. Elmo Hope's sessions as a leader were cut for Blue Note, Prestige, Pacific Jazz, Hi Fi Jazz, Riverside, Celebrity, Beacon, and Audio Fidelity; his last albums were initially released on Inner City. Hope was also a fine composer, although none of his songs became standards.~ Scott Yanow https://www.allmusic.com/artist/elmo-hope-mn0000145307/biography

A Night in Tunisia

Bernadette Seacrest and Her Yes Men - Live

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 70:30
Size: 162,1 MB
Art: Front

(5:54)  1. Summertime
(5:13)  2. Nobody's Crying
(5:35)  3. Caravan
(4:19)  4. So Cruel
(5:50)  5. Early In The Morning
(3:12)  6. Temptation
(4:55)  7. Smoking Cigars
(4:31)  8. Tango
(5:15)  9. Money
(4:30) 10. When The Sun Comes
(5:00) 11. Fever
(5:08) 12. Wrong Turn (Studio Version)
(4:30) 13. Money (Studio Version)
(3:44) 14. Man's Ruin (Studio Version)
(2:47) 15. Rain (Studio Version)

Bernadette’s creative path reads like the back story to a mid-century Hollywood heroine: Ballerina, Fashionista, Hell Kitten, Sultry Chanteuse. She spent her childhood in California and New York studying classical dance with the renowned Los Angeles Ballet, San Francisco Ballet and American Ballet Theatre until an injury drove her love of drag and pageantry north east and underground. Coming of age amidst the gutter glam and jewel-toned ink of New York and L.A.’s early 80’s street punk scene the ballerina scraped by as a sometimes fetish model, makeup artist, clothing designer and stylist. In 1993 Bernadette declared Albuquerque home and in 2001 made her musical debut with one of the hottest roots-rockabilly bands in the Southwest, the Long Goners. Working closely with singer-songwriter Pat Bova, she belted out rebellious anthems in the style of Janis Martin and Wanda Jackson. Together, they shared the stage with rockabilly’s most iconic acts to include Hank Williams III, Jonathan Richman, Big Sandy and many more. 2003 found the burgeoning chanteuse ready to wrap her voice around the more complex musical terrain of jazz. She collaborated with acclaimed bassist and composer David Parlato while forming the new band Bernadette Seacrest and her Yes Men. The combo’s first album “No More Music by the Suckers” was released in 2004 and features desire drenched jazz standards as well as original songs by Michael Grimes and Pat Bova. The band toured extensively upon the album’s release, playing to packed audiences across the U.S. and France. They were featured on NPR and Swing City Magazine described the album as “…an attempt for a one time rockabilly kitten to break into the modern day jazz scene and break the mold, an endeavor she unconsciously accomplishes.” Their second album, “Live in Santa Fe” was released in 2005 and magically captures the smoke-filled room acoustics of a sold out live performance. In 2006 Bernadette followed her heart to Atlanta where a new project arose Bernadette Seacrest and her Provocateurs with guitarist/songwriter par excellence, Charles Williams and journeyman bassist Kris Dale. In 2009 “The Filthy South Sessions” was released to critical acclaim. The album’s collection of songs range from the All Mighty’s drinking habits to an epic lament about a diner at the end of the world, with stops in between. 

The arrangements are an amalgam of jazz, rockabilly and swing noire elements that elude all descriptors, allowing each musician’s considerable talent to shine through. During this era, Bernadette was awarded Best Atlanta Vocalist twice by Atlanta’s leading alternative press publication “Creative Loafing”. With new album in hand, Bernadette and her boys went on to tour exclusively in France. In 2012 The Provocateurs disbanded and Bernadette went solo. With bass player extraordinaire Kris Dale as musical director, they crafted a different approach to their next album released in 2016 under the title “Lust & Madness” an unconventional and bracing body of work inviting repeated visits to the dark wells of the soul. Like an all-consuming novel, we consider life’s twists, plights and circumstances…with Bernadette’s seductive voice guiding us all the while atop raw and sparse instrumentation. Bernadette’s allure continues to foster a constellation of talented friends as Atlanta’s local heavy hitters Big Mike Geier (AKA Puddles Pity Party) and legendary Hall of Fame inductee Francine Reed appear on two separate tracks. A Bernadette Seacrest “show” is better described as a coveted experience for the quietly informed. Her willing subjects recoil, laugh and blush as she relentlessly exorcises the demons of doubt, inhibition and lowered expectations born of life’s bludgeoning routines. Fans smile knowingly while newcomers are buffeted through songs with each new effort seeming to top the last. When the lights come up, they carry their experiences home in a beguiled state of wonder. Something has been restored and reclaimed. It’s authentic…. it’s intimate….. and we are blessedly reminded of how music can make us feel when we’re lucky enough to be in the right place at the right time. http://bernadetteseacrest.com/biography

Live

Peter Skellern, Mary Hopkin - Oasis

Styles: Vocal
Year: 1984
File: MP3@320K/s
Time: 47:09
Size: 110,1 MB
Art: Front

(2:17)  1. Prelude [Instrumental]
(4:20)  2. If This Be The Last Time
(3:57)  3. I Wonder Why
(4:20)  4. Hold Me
(5:45)  5. Oasis
(6:33)  6. Sirocco
(5:03)  7. Who Knows?
(5:06)  8. Weavers Of Moonbeams
(5:17)  9. Loved And Lost [Instrumental]
(4:27) 10. True Love

Oasis is a studio album by 1980s group Oasis (not the 1990s rock band of the same name). The album was recorded at Solid Bond Studios and Trident II Studios in London. It was mixed at Trident II Studios. https://en.wikipedia.org/wiki/Oasis_(Oasis_album)

Personnel:  Peter Skellern - vocals, keyboards, synths; Mary Hopkin - vocals; Julian Lloyd Webber - cello; Bill Lovelady - guitar; Mitch Dalton - guitar; Andy Pask - bass; Charlie Morgan - drums; Tristan Fry - marimbas; Frank Ricotti - percussion
 
Thank You Dave!


Oasis


Vinny Golia Quartet - Take Your Time

Styles: Saxophone Jazz 
Year: 2011
File: MP3@320K/s
Time: 71:12
Size: 167,5 MB
Art: Front

( 6:20)  1. That Was for Albert 10
( 7:20)  2. Otolith
(11:18)  3. On The Steel
( 3:15)  4. That Was for Albert 11
( 9:45)  5. Welcome Home
( 8:38)  6. Parambulist
(14:00)  7. A Guy We All Used to Know
(10:31)  8. Even Before This Time

After yesterday's review, here is another great quartet, with Vinny Golia on saxophones, Bobby Bradford on cornet, Ken Filiano on bass and Alex Cline on drums. As I might have written once, Golia is one of those musicians whose playing really opened my ears many years ago, because of his power to be lyrical and emotional while at the same time trying out new things. So I always look out with anticipation for his new projects. Like good wine, this music also has body and substance, while being fluid. All tracks have composed elements without having real themes, but offer structured character as the basis for the band's interaction. Another characteristic is that all four musicians play all the time, with only few exceptions. This adds to the density of the sound and the intensity of the music, which spans the whole range from bop to free jazz. And needless to say, four fantastic musicians. Not a real musical breakthrough, but consistent high quality music. Recommended. http://www.freejazzblog.org/2012/04/vinny-golia-quartet-take-your-time.html

Personnel: Vinny Golia - soprano, alto and tenor saxophone; Bobby Bradford - cornet; Ken Filiano - bass; Alex Cline - drums

Take Your Time

Thursday, February 14, 2019

Harold Ashby - Scufflin'

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 52:25
Size: 121,0 MB
Art: Front

(5:45)  1. Scufflin' (take 2)
(6:33)  2. Earma Jean
(7:46)  3. Salty Mama
(5:13)  4. When Sunny Gets Blue
(3:15)  5. Stealing
(9:54)  6. Quiet Nights
(7:29)  7. Get Down
(6:26)  8. Scufflin' (take 1)

Other than a scarce album for Masters of Jazz from 1959, this was Harold Ashby's debut as a leader. The underrated tenor saxophonist, one of Duke Ellington's finest soloists during his final decade, is teamed with three other alumni of Ellington's bands (trombonist Booty Wood, bassist Aaron Bell, and drummer Sam Woodyard), plus pianist Raymond Fol. The original program (six Ashby originals) is augmented by a new alternate take of "Scufflin'," plus a previously unreleased "When Sunny Gets Blue." Ashby's warm tenor is equally welcome on both warm ballads and jumping originals, blending in well with Wood's colorful trombone for a high-quality mainstream swing set. ~ Scott Yanow https://www.allmusic.com/album/scufflin-mw0001152758

Personnel: Tenor Saxophone – Harold Ashby;  Bass – Aaron Bell; Drums – Sam Woodyard; Piano – Raymond Fol;  Trombone – Booty Wood

Scufflin'

Pamela Joy - L'aparela

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 46:26
Size: 107,4 MB
Art: Front

(3:51)  1. Everlasting Arms
(3:53)  2. Beautiful Things
(3:50)  3. Creature
(2:43)  4. Psalm 23 (The Lord is My Shepherd)
(3:05)  5. Things That Last
(3:23)  6. Speak Your Mind
(3:10)  7. Help My Unbelief
(4:01)  8. Fires
(4:18)  9. Deep Seas
(3:19) 10. Remind Me
(4:14) 11. Jacob's Ladder
(3:38) 12. Lord Over Everything (Easter Song)
(2:56) 13. As I Have Loved You

“The seductive warmth of her voice, her elegant phrasing, creative arrangements, thoughtful musicianship and her ability to swing with the best of them will intoxicate any lover of good singing and jazz.” ~ Cabaret Exchange http://www.pamelajoyjazz.com/home.html

L'aparela

Bob Berg - New York Journey

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 49:07
Size: 113,1 MB
Art: Front

(7:24)  1. Scrunch
(7:43)  2. Waiting for Birth
(4:13)  3. Israel
(8:36)  4. Swiss Moon
(8:28)  5. Agadir
(5:07)  6. Cocotte's Waltz
(7:32)  7. Blues for Christine

Tenor saxophonist Bob Berg channeled the bold dynamics of hard bop to emerge as one of contemporary jazz's most expressive and resourceful improvisers, honing a richly articulated sound bolstered by flawless technical command. Born in New York City on April 7, 1951, Berg grew up in Brooklyn, initiating piano lessons at age six. At 13, he moved to alto saxophone, first discovering jazz when a high school teacher introduced him to the music of Cannonball Adderley and Horace Silver. After dropping out of New York's High School of Performing Arts, Berg enrolled in a special non-academic curriculum at the Juilliard School of Music. In 1968, he made his professional debut touring behind Brother Jack McDuff, and by the time the 1960s drew to a close, he specialized in tenor saxophone, his subsequent creative path profoundly shaped by John Coltrane. After a brief flirtation with free jazz Berg renounced the avant-garde in favor of postwar bop. On the recommendation of fellow saxophonist Michael Brecker, he joined Silver in 1973, remaining with his boyhood hero for three years, when he replaced George Coleman in Cedar Walton's Eastern Rebellion. In 1978 Berg stepped out to record his debut LP, New Birth, and after leaving Walton in 1981 he cut his sophomore effort, Steppin': Live in Europe; he rose to new levels of renown upon joining Miles Davis in 1984, a three-year stint that set the stage for his 1987 breakout session, Short Stories. Berg closed out the decade in the band he led with co-founder/guitarist Mike Stern, cutting a series of LPs including 1988's Cycles and 1990's In the Shadows. In 1992, he signed on with Chick Corea's acoustic quartet, and that same year led his own quartet on a U.S. Department of State-sponsored tour of the Caribbean. Upon releasing the 1997 solo date Another Standard, Berg joined an acoustic reincarnation of the group Steps Ahead, and in 2000 he also joined the cooperative project the Jazz Times Superband, collaborating with Randy Brecker, Joey Defranchesco, and Dennis Chambers. Berg next surfaced alongside vibraphonist Joe Locke in the group 4 Walls of Freedom. Sadly, their eponymous debut set did not appear until after the saxophonist's death in an auto accident near his home on Long Island on December 5, 2002. ~ Jason Ankeny https://www.allmusic.com/artist/bob-berg-mn0000759694/biography

Personnel:  Bob Berg (saxophone), Moncef Genoud (piano), Jean-luc Lavanchy (drums), Ivor Malherbe (bass)

New York Journey

Marc Jordan - Live At El Mocambo

Styles: Vocal And Guitar Jazz
Year: 1980
File: MP3@320K/s
Time: 39:42
Size: 91,4 MB
Art: Front

(5:06)  1. Secrets
(4:08)  2. Im A Camera
(4:03)  3. Potential And Air
(3:15)  4. New York New York
(3:56)  5. You're Not Greater Than G
(5:23)  6. Satin Dolls
(4:39)  7. Survival
(5:15)  8. Lost In The Hurrah
(3:54)  9. From Nowhere To This Town

Vivid Sound has announced to reissue one of the hardest-to-get album of Marc Jordan, "Live At El Mocambo" alternatively known as "Secrets Live" here in Japan on February 20, 2008 as one of the Ligh Mellow's Choice series supervised by Toshikazu Kanazawa. This album was originally released in 1981 on RCA/RVC Records, Canada and Japan. And in 1992, the album was once re-released on CD in France by La Califusa Records. Recorded live April 11, 1980 at El Mocambo, Tronto Canada, the album was produced by Keith Whiting and Marc. 5 tracks out of 9 were unreleased materials, and 4 tracks; "I'm A Camera", "Survival", "Lost In The Hurrah" and "From Nowhere To This Town" were from Marc's first two solo albums "Mannequin" (1978) and "Blue Desert" (1979). Only those well-known 4 tunes were included later on Marc's another live album entitled "Live- Now & Then" in 1997. Therefore, many Marc's fan are eager to have a chance to listen to 5 unreleased materials only on this live album. Finally, remastered reissued CD will be available and you should also note that the new version will include a bonus live tracks at El Mocambo. The tune is "Tattooed Lady" from the album "Blue Desert"! Thus, even if you were lucky enough to have the original LP and/or French reissued CD, you cannot help getting the new reissued CD! https://aorclub.blogs.com/acmj/2008/01/marc-jordan-liv.html

Personnel:  Vocals [Guitar] – Marc Jordan; Backing Vocals – Colina Philips, Sharon Lee Williams; Bass – Michael Farquharson; Drums – Rick Grattan; Guitar – Peter Mueller; Keyboards – Dave McMorrow; Saxophone – John Johnson 

Live At El Mocambo

Wednesday, February 13, 2019

Wynton Marsalis Septet - Blue Interlude

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 71:12
Size: 165,3 MB
Art: Front

( 3:19)  1. Brother Veal
( 5:55)  2. Monologue For Sugar Cane And Sweetie Pie
(37:09) 3. Blue Interlude(The Bittersweet Saga Of Sugar Cane And Sweetie ie
( 5:18)  4. And The Band Played On
(12:17)  5. The Jubilee Suite I. Day To Day/ II. Running And Gambling/ III. Grace.
( 7:11)  6. Sometimes It Goes Like That

With Wynton Marsalis, exuberance, energy and high-level musicianship is never an issue, but long-windedness can be. This may be one of the best of the trumpeter's mid-sized ensembles, a septet, with pianist Marcus Roberts, trombonist Wycliffe Gordon, saxophonists Wessell Anderson and Todd Williams, bassist Reginald Veal, and drummer Herlin Riley. It is also to the credit of Marsalis that he allows solid group interplay, and much room for his sidemen to not only stretch, but to also include their written works in the repertoire. The problem is for the listener, as the bulk of this material lays in long form, and is more a test for the band's stamina than the pleasure of the beholder. It works in concert, but not on the radio or at home. The 37-plus-minute title track, a grandiose treatise on bittersweet romance, is the most egregious with lengthy solos, tight but verbose ensemble sections, up-and-down dynamics, and rhythmic variations. "The Jubilee Suite" is only 12 minutes, and much more concise, echoing anthemic clarion calls, a hip modern New Orleans groove, and features for the clarinet of Williams and Marsalis. "And the Band Played On" is a processional march, and "Brother Veal" exudes a warm feeling marinated in easy swing, with the clarinet of Williams again a focal point. The last piece, "Sometimes It Goes Like That," is the most complex melody, using the typical variable tempo and melodic devices that make a Marsalis jazz tune fairly recognizable. The cover art and title might indicate this was a blue interlude in the personal life of Marsalis translated into music (and words on the indulgent "Monologue" prelude to the title cut) and self-consciously rendered. It's fine music, but not particularly unique or original. ~ Michael G.Nastos https://www.allmusic.com/album/blue-interlude-mw0000076016

Personnel:  Wynton Marsalis – trumpet; piano and spoken word (2); Reginald Veal – bass; Herlin Riley – drums; Marcus Roberts – piano; Wessel Anderson – alto saxophone; Todd Williams – tenor saxophone, soprano saxophone, clarinet; Wycliffe Gordon – trombone

Blue Interlude

Margaret Whiting - The Wheel Of Hurt (Deluxe Edition)

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 69:50
Size: 162,5 MB
Art: Front

(2:46)  1. The Wheel of Hurt
(2:58)  2. You Don't Have to Say You Love Me
(2:47)  3. The World Inside Your Arms
(2:47)  4. Winchester Cathedral
(2:31)  5. Somewhere There's Love
(2:40)  6. Where Do I Stand
(2:50)  7. It Hurts to Say Goodbye
(2:30)  8. Time after Time
(3:18)  9. Show Me a Man
(2:27) 10. You Won't Be Sorry, Baby
(2:29) 11. Nothing Lasts Forever
(3:20) 12. But Why
(2:53) 13. Let's Pretend
(2:26) 14. Faithfully
(2:58) 15. Can't Get You Out of My Mind
(2:44) 16. Maybe Just One More
(3:25) 17. Where Was I
(2:13) 18. Love's the Only Answer
(2:28) 19. At the Edge of the Ocean
(3:01) 20. Love Has a Way
(3:00) 21. ("Z" Theme) Life Goes On
(3:47) 22. Until It's Time for You to Go
(2:03) 23. I'll Tell Him Today
(2:49) 24. The Wheel of Hurt - German Version
(2:27) 25. Nothing Lasts Forever - German Version

Margaret's first album for London remastered from the original stereo master tapes incorporated contemporary and country influences (to which she was no stranger, having charted with all those Jimmy Wakely duets in the '40s and '50s) into her sound and scored a Top 40 hit with the title track in 1966. We've added a full 13 rare single sides including her German-language version of "Wheel of Hurt" for a total of 25 tracks, all on CD for the first time! http://www.margaretwhiting.com/cds.htm

The Wheel Of Hurt (Deluxe Edition)

Bud Freeman - Chicago

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 38:04
Size: 87,6 MB
Art: Front

(5:54)  1. Saturday Night Fish Fry
(4:06)  2. Meet As In San Juan
(6:11)  3. Basin Street Blues
(2:05)  4. Chicago
(5:02)  5. Schooldays
(3:20)  6. All By Myself
(5:35)  7. Loveless Love
(5:48)  8. One For The Money

Three of the selections on this LP are taken from a January 15, 1962 session reissued in full on a Black Lion CD. The great veteran tenor Bud Freeman is in fine form fronting a quartet also including pianist Dave Frishberg, bassist Bob Haggart and drummer Don Lamond. The other five numbers are part of a lesser date actually led by guitarist Elmer Snowden and featuring trumpeter Roy Eldridge, who takes a couple of vocals. Freeman is actually a bit out of place on the spirited if erratic set, which also includes pianist Ray Bryant, bassist Tommy Bryant and drummer Jo Jones. Get the Black Lion CD instead. ~ Scott Yanow https://www.allmusic.com/album/chicago-mw0000913151

Personnel:  Tenor Saxophone – Bud Freeman,  Trumpet, Vocals – Roy Eldridge;  Bass – Bob Haggart, Tommy Bryant ; Drums – Don Lamond, Jo Jones; Guitar – Elmer Snowden; Piano – Dave Frishberg, Ray Bryant .

Chicago

Phineas Newborn Jr. - Fabulous Phineas

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 41:21
Size: 95,5 MB
Art: Front

(4:28)  1. Sugar Ray
(4:04)  2. What's New?
(4:38)  3. Pamela
(5:49)  4. 45° Angle
(4:32)  5. No Moon At All
(7:39)  6. I'll Remember April
(4:49)  7. Cherokee
(5:18)  8. Back Home

Fabulous Phineas is an album by American jazz pianist Phineas Newborn Jr. recorded in 1958 and released on the RCA Victor label. 
https://en.wikipedia.org/wiki/Fabulous_Phineas

Personnel:  Phineas Newborn Jr. – piano; Calvin Newborn – guitar; George Joyner –bass; Denzil Best – drums

Fabulous Phineas

Vinny Golia - Lineage

Styles: Saxophone, Clarinet Jazz
Year: 1999
File: MP3@320K/s
Time: 71:47
Size: 164,4 MB
Art: Front

( 7:07)  1. Hello to Mrs. Minifield
( 9:57)  2. Winterset
(13:22)  3. Tenorphonicity
( 7:57)  4. Legends, Logic, Folklore, Fact
( 8:24)  5. Hsaibde
( 7:53)  6. So Close to Where you Live
( 7:42)  7. Pierrot for Al (dedicated to the memory of Al Wiertz)
( 9:20)  8. Caught by Surprise

As the album title suggests, lineage in jazz flows from like minds to the like minded. Vinny Golia’s Nine Winds label, the reservoir of West coast creative music, presents more challenging music than any label releasing modern music today. His quartet heard here includes long time collaborators Ken Filiano (bass) and Alex Cline (drums), plus the legendary trumpeter and veteran of Ornette Coleman and John Carter’s bands, Bobby Bradford. Golia on tenor & baritone saxophones and Bb & bass clarinets leads the pianoless quartet through eight original compositions too sober to be Ornette knock-offs. The lineage referred to here comes directly through John Carter. The quartet keeps its emotions checked but lets lyricism flow throughout the set. Bradford, the replacement for Don Cherry in Ornette’s band, plays with the folksiness of Cherry, but doesn’t display his brittle nature. Perhaps this is the format best suited to display Vinny Golia’s immense talent. With a familiar rhythm section and a sympathetic horn to trade off, Golia finds his voice. His sound dares comparisons to Anthony Braxton, but I’ll place Golia alongside Marty Ehrlich for imagination and creative compositions. The quartet plays at a relaxed organized groove, outside enough to please adventurous fans, yet composed enough for casual listening.~ Mark Corroto https://www.allaboutjazz.com/lineage-vinny-golia-nine-winds-records-review-by-mark-corroto.php

Personnel: Vinny Golia - Tenor & Baritone Saxophones, Bb & Bass Clarinet; Bobby Bradford - Trumpet;  Ken Filiano - Bass ; Alex Cline - Drums.

Lineage

Tuesday, February 12, 2019

Eric Alexander - Summit Meeting

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 66:43
Size: 153,7 MB
Art: Front

(8:01)  1. Summit Meeting
(7:41)  2. The Sweetest Sounds
(8:48)  3. There But For The Grace Of...
(7:12)  4. I Haven't Got Anything Better To Do
(7:58)  5. A House Is Not A Home
(6:37)  6. This Girl's In Love With You
(5:29)  7. Something's Gotta Give
(7:09)  8. Andre's Turn
(7:45)  9. After The Rain

A direct descendent of competitive, no nonsense titans such as Sonny Stitt and George Coleman, Eric Alexander plays the horn with a decidedly assertive temperament, as if he always has something to prove. Summit Meeting, his fourth release for Milestone, is arguably the tenor saxophonist’s finest recording as a leader in a prolific, decade-long career. No longer a series of brilliantly executed segments, his solos flow logically from beginning to end, exhibiting calculation and a quickness of mind that match his fervor. For example, the seven choruses Alexander takes on the brisk title cut are rife with coherent, well-developed ideas, yet they retain the excitement of his earlier work. Other signs of Alexander’s continued development include curbing a tendency to race through improvisations on ballads, and occasionally displaying a willingness to take things a little easier. He plays the melody of “I Haven’t Got Anything Better To Do” with reverence. During the solo that follows, several strings of sixteenth and thirty-second note runs are not overdone, thereby adding a playful dimension to the music’s reflective mood. Alexander evinces uncharacteristic restraint on an agreeably swinging treatment of Bacharach and David’s “This Girl’s In Love With You.” He teasingly gives off signs of erupting only to pull back, and even without the fireworks makes a compelling statement. All of this evidence of Alexander’s maturation takes place in the company of players who’ve been involved in various projects with him since the early 1990s: pianist Harold Mabern, bassist John Webber, and drummer Joe Farnsworth. (Trumpeter Nicholas Payton plays on four of the nine tracks.) The record is chock-full of “Mabern moments.” During a brief solo on an up-tempo “A House Is Not A Home” he gleefully marches with his left hand and dances with the right. His accompaniment on the same track is a majestic wall of sound that inspires some of the tenor saxophonist’s freest playing of the set. When Alexander moves so fast that he nearly loses control in the middle of a burning “Something’s Gotta Give,” Mabern keeps him rooted by banging out a sequence of jocose, riff-like chords. ~ David A.Orthmann https://www.allaboutjazz.com/summit-meeting-eric-alexander-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Eric Alexander--tenor saxophone; Nicholas Payton--trumpet and flugelhorn; Harold Mabern--piano; John Webber--bass; Joe Farnsworth--drums.

Summit Meeting

Duchess - Duchess

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 48:27
Size: 112,3 MB
Art: Front

(4:19)  1. Love Being Here With You
(3:00)  2. There Ain't No Sweet Man That's Worth the Salt of My Tears
(4:12)  3. Que Sera, Sera
(3:42)  4. My Brooklyn Love Song (Feat. Hilary Gardner)
(2:51)  5. A Doodlin' Song (Feat. Amy Cervini)
(3:47)  6. A Little Jive Is Good for You
(5:46)  7. P.S. I Love You
(3:09)  8. Hummin' To Myself (Feat. Melissa Stylianou)
(2:50)  9. It's a Man
(3:21) 10. I'll Be Seeing You
(3:11) 11. Lollipop
(4:51) 12. Blah, Blah, Blah
(3:22) 13. Heebie Jeebies

Sure-footed swing, sweet-toned harmony and ever insouciant charm are embodied in the new Jazz vocal trio Duchess, featuring notable New York singers Amy Cervini, Hilary Gardner and Melissa Stylianou. The group's debut album - DUCHESS, channels the 1930's inspiration of the virtuosic Boswell Sisters into a wonderfully entertaining and contemporary package. Duchess pairs the vocal trio with an ace New York band: pianist Michael Cabe, bassist Paul Sikivie and drummer Matt Wilson, plus saxophonist Jeff Lederer and guitarist Jessie Lewis. The songs of Duchess range from the Peggy Lee number "I Love Being Here with You" and Johnny Mercer's "P.S. I Love You" to new twists on "Que Sera, Sera" and the indelible standard "I'll Be Seeing You." There's a playful Gershwin rarity with "Blah, Blah, Blah" and a direct Boswell Sisters homage with their arrangement of "Heebie Jeebies." And there are solo spots for each of the Duchess ladies with "My Brooklyn Love Song" (Gardner), "A Doodlin' Song" (Cervini) and "Humming to Myself" (Stylianou). a blend of the vintage and the fresh, Duchess is a fizzing cocktail of an album. ~ Editorial Reviews https://www.amazon.com/Duchess-DUCHESS/dp/B00RXPTU7O

Vocalists Amy Cervini, Hilary Gardner and Melissa Stylianou

Duchess

Peter Skellern - Astaire

Styles: Vocal And Keyboards Jazz 
Year: 1987
File: MP3@320K/s
Time: 35:20
Size: 81,7 MB
Art: Front

(4:11)  1. Isn't It A Lovely Day
(3:39)  2. Cheek To Cheek
(4:29)  3. They Can't Take That Away From Me
(3:58)  4. The Way You Look Tonight
(4:34)  5. The Continental
(2:43)  6. Putting On The Ritz
(2:46)  7. No Strings
(3:32)  8. Let's Call The Whole Thing Off
(2:59)  9. Night And Day
(2:25) 10. Top Hat, White Tie And Tails

A composer, singer, and musician, Peter Skellern played trombone in a school band and served as organist and choirmaster in a local church before attending the Guildhall School of Music, from which he graduated with honors in 1968. Because "I didn’t want to spend the next 50 years playing Chopin," he joined the vocal harmony band March Hare which, after changing their name to Harlan County, recorded a country-pop album before disbanding in 1971. Married with two children, Skellern worked as a hotel porter in Shaftesbury, Dorset, before striking lucky at the end of 1972 with a self-composed U.K. number three hit, "You're a Lady." The album Not Without a Friend consisted entirely of original material (aside from a rendition of Hoagy Carmichael's "Rockin' Chair"), and another U.K. hit single with the title track to 1975's Hold on to Love established Skellern as a purveyor of wittily observed if homely love songs of similar stamp to Gilbert O'Sullivan. He earned the respect of Beatles fans (already manifested following Derek Taylor's production of Not Without a Friend) when George Harrison assisted on Hard Times and the title number was later recorded by Ringo Starr. A minor hit in 1978, "Love Is the Sweetest Thing" (featuring Grimethorpe Colliery Band) was part of a tribute to Fred Astaire that won a Music Trades Association Award for Best MOR Album of 1979. Skellern subsequently wrote and performed six autobiographical programs for BBC television, followed by a series of musical plays (Happy Endings), and also hosted the chat show Private Lives in 1983. 

A year later he formed Oasis with Julian Lloyd Webber, Mary Hopkin, and guitarist Billy Lovelady in an attempt to fuse mutual classical and pop interests, but the band's recordings failed to make a major impact. In 1985, Skellern joined Richard Stilgoe for Stilgoe and Skellern Stompin' at the Savoy, a show in aid of the Lords Taverners charity organization. This led to the two entertainers working together on several successful tours and in their two-man revue, Who Plays Wins, which was presented in London's West End and New York City. After becoming disenchanted with the record business for a time, in 1995 Skellern issued his first album in nearly eight years. Originally conceived as a tribute to the Ink Spots, it eventually consisted of a number of songs associated with that legendary group, and a few Hoagy Carmichael compositions "just to break it up." He later wrote sacred choral music and was ordained as a deacon and priest in the Church of England. After developing an inoperable brain tumor, he died in February 2017 at 69 years of age. ~ Rovi Staff https://www.allmusic.com/artist/peter-skellern-mn0000687269/biography

Astaire