Cecil Payne - Payne's Window

Styles: Saxophone, Flute Jazz
Year: 1999
File: MP3@320K/s
Time: 73:45
Size: 169,3 MB
Art: Front

(9:25)  1. Spiritus Parkus
(4:26)  2. Martin Luther King Jr.
(7:38)  3. James
(8:49)  4. That's It Blues
(7:38)  5. Payne's Window
(7:09)  6. Southside Samba
(4:38)  7. Lover Man
(8:46)  8. Tune Up
(7:06)  9. Delillah
(8:05) 10. Hold Tight

Cecil Payne turns seventy-seven this month. Most people who are lucky enough to reach such an advanced age have long since retired from their craft. Payne has chosen a different path and judging from the sturdy work on this disc he isn't showing many signs of slowing down in his twilight years. After over a half century in the jazz trenches he's still delivering his signature brand of versatility and style to his instrument. And as on his earlier Delmark releases he's shaped a band that effectively bridges the generations. My first exposure to Payne's playing was on Coltrane's "Dakar where he rounded out a formidable horn section alongside Pepper Adams in a baritone sax combo that was tough to beat when that classic record was released and still is. Ever since hearing that album harboring a lasting appreciation for his oeuvre has been easy. Throughout his lengthy career he has balanced an enviable agility on the weighty reed with a rustic affinity for the blues and a gracious willingness to shape his sound to the setting he's in. He could play scalding hot runs or just as effortlessly change up and blow a breezy blue-tinged ballad. Over the intervening years Payne has unavoidably slowed a little in his attack, but he's traded some of the quicksilver veracity of youth for a sureness of tone that is contagious among his compatriots. The bucolic bite of his sax delivers the perfect impetus for the group to take flight. Along for the ride is a solid crew of supporters. Alexander is no stranger to spirited blowing sessions and he delivers his usual high level of empathy and improvisational ingenuity. 

On many of the tunes he favors the lower registers of his horn and his lines fit snugly against Payne's own deep-toned musings. Mabern shares distinction along with Payne as another elder statesman of hard bop. His emotive accompaniment is frequently the common denominator in the relaxed approach the group takes on most of the numbers. Webber and Farnsworth fill in the rhythmic blanks with skill and sensitivity. As for the program of tunes, they are mainly basic blowing vehicles, but the emphasis here is rightfully on inspired playing, not on compositional complexity. The opening "Spiritus Parkus lights the flames with rollicking solos from everyone save Farnsworth and over the course of the next sixty minutes the sextet continually delivers the goods. Standouts include the gentle ballad "Martin Luther King, Jr. and a dusky quartet reading of "Loverman, which features Payne as the only horn. "That's It Blues is another winner thanks mainly to Davis' cobalt slurs which slither deftly against Farnsworth's light cymbals. Regrettably Payne's featherweight flute only crops up Gershwin's "Delilah and would have been well served by more exposure. All things considered though this disc is a treat from start to finish and is easily recommended. Take a leisurely look through Payne's propitious window and you're guaranteed to be pleased by what you see. 

~ Derek Taylor https://www.allaboutjazz.com/paynes-window-cecil-payne-delmark-records-review-by-derek-taylor.php

Personnel: Cecil Payne, baritone saxophone, flute; Eric Alexander, tenor saxophone; Steve Davis, trombone; Harold Mabern, piano; John Webber, bass; Joe Farnsworth, drums.

Payne's Window

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Milt Jackson - That's The Way It Is

Styles: Vibraphone Jazz 
Year: 1969
File: MP3@320K/s
Time: 42:24
Size: 97,4 MB
Art: Front

(6:43)  1. Frankie And Johnny
(7:45)  2. Here's That Rainy Day
(4:32)  3. Wheelin' And Dealin'
(7:15)  4. Blues In The Bassment
(8:44)  5. Tenderly
(7:22)  6. That's The Way It Is

As the story goes, Milt Jackson and Ray Brown would meet up once a year for a run of gigs at Shelly's Manne-Hole, not because they couldn't find work elsewhere, but rather (as the liner notes put it) for "the pleasure of making music". That's The Way It Is comes from a pair of 1969 shows with a stellar quintet that featured three jazz masters (Teddy Edwards and the two headliners) along with the young up-and-comer Monty Alexander, who would go on to have an impressively long and varied career that is still going strong today. The somewhat obscure Dick Berk manned the drummer's chair, admirably laying down the tempo for this set of hard bop jazz that not surprisingly harkens back to a simpler time of blues-based jazz music. Jackson and Brown's friendship went way back, they first played together in the rhythm section of Dizzy Gillespie's band from 1946 to 1951. The other members of the rhythm section, not coincidently, were John Lewis and Kenny Clarke, who would soon thereafter go on to form The Modern Jazz Quartet with Jackson, the group for which he is most often associated with. Brown is best known for his enduring work with the Oscar Peterson Trio, whom he played with for nearly fifteen years from 1951 until 1966. Apparently the two men remained close throughout the years, resulting in their yearly meetings at the famous Hollywood jazz club. In addition to this live LP, they would also record a couple of big band albums together for Impulse!, both of which remain pretty obscure. That's The Way It Is finds the pair playing a jazz style that by 1969 had fallen out of favor with the listeners of popular music (at least in terms of record sales), but that's the reason I love a record like this: it gives a sense of what you would find in smaller jazz clubs during this period when this music was supposedly a dying art form. This was a time when post bop, electric jazz and fusion were the stylistic watchwords of the day, so it's nice to see that Impulse! had the sense to record Jackson and Brown playing in a modern jazz style that they once helped to popularize. Even though the record is fairly mellow, the musician's love of the classic jazz sound shines through, and the subtle nature of the music seems a conscious choice against the more in-your-face electric jazz that was gaining momentum all around them. One can imagine the audience members kicking back with their cocktails, nodding their heads in appreciation at the calm and collected grooves being laid down in front of them.

No need to extoll the great talents of Jackson and Brown here, if you are unfamiliar with their work go check out the Modern Jazz Quartet and Oscar Peterson Trio, but a few quick words on Teddy Edwards seem appropriate. By the time of That's The Way It Is he had certainly fallen out of favor with the jazz mainstream, but in the late 1940s he was considered one of the best (if not the most influential) tenor saxophone players along with Dexter Gordon and Wardell Gray. In 1947 Edwards and Dexter Gordon released the "The Duel", a recording that would cement both men's legendary status in the jazz world. It seems Edwards didn't achieve the same level of fame as his counterparts from the '40s due to his decision to remain in Los Angeles rather than head east, but that would explain Jackson and Brown tapping him to play in their quintet at a Hollywood jazz club, and what better choice for this set of music than a cat like Edwards who by this time had presumably seen and played it all. While the quieter tracks on the album feature some outstanding bass work from Brown (particularly his solo work on "Tenderly"), I'm certainly more partial to the upbeat tracks, in particular "Wheelin' And Dealin'" and the title track that closes out the record. The band swings and there is an instant delight in the interplay between the musicians. Nothing fancy, just some great jazz music. I'll quote Morgan Ames' liner notes again, as he sums up the recording quite well: "This is not experimental jazz. It's beyond that, or as they say in New York, outside that. This is solid, rooted, sweet-smelling earth of an enduring style, as played by masters." Well said, and even if the record labels had already begun to abandon this "enduring style", it's reassuring in hindsight to know that it was still out there, almost underground perhaps, but like the best that art has to offer it was simply biding it's time until the world would be once again ready to embrace it. The Details: An original 1969 pressing on the first version of the "Impulse! ABC Records" label. It is easily dated as pre-1972 by "A Product of ABC Records, Inc. New York, N.Y. 10019 • Made in USA" along the bottom (this would be shortened to differing lengths starting in 1972 until the next label change in 1974). This label version is often considered to be the last if the "audiophile" sounding pressings, although I own some later "neon" and "green bullseye" repressed titles and they sound pretty darn good to my ears (especially at the nice price you can snag em at). http://www.thejazzrecord.com/records/2016/5/29/milt-jackson-quintet-featuring-ray-brown-thats-the-way-it-is

Milt Jackson - Vibes; Ray Brown - Bass; Teddy Edwards - Tenor Sax; Monty Alexander - Piano; Dick Berk - Drums

That's The Way It Is

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The George Shearing Trio - 500 Miles High

Styles: Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 43:07
Size: 99,6 MB
Art: Front

(2:50)  1. Cheryl
(4:48)  2. 500 Miles High
(5:29)  3. I Wished On The Moon
(4:32)  4. Old Folks
(5:13)  5. Jordu
(7:33)  6. P.S. I Love You
(3:54)  7. Everything Happens To Me
(5:40)  8. Here's That Rainy Day
(3:04)  9. Invitation

The most underrated recordings of George Shearing's career were his trio sets made in the mid-'70s for MPS after the breakup of his popular Quintet. This particular LP is one of three that feature the brilliant pianist in a drumless trio with guitarist Louis Stewart and bassist Niels Pedersen. The music is essentially bop-based with just one newer song (an interesting version of Chick Corea's "500 Miles High") included among the nine standards. The more memorable selections are "I Wished on the Moon," "Old Folks" and "Here's That Rainy Day." Tasteful performances with plenty of subtle surprises. ~ Scott Yanow https://www.allmusic.com/album/500-miles-high-mw0000893509

Personnel: Piano – George Shearing; Bass – Niels Henning Ørsted-Pedersen; Guitar – Louis Stewart

500 Miles High

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Ted Nash Quartet - Out Of This World

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 76:59
Size: 176,5 MB
Art: Front

(14:05)  1. Out Of This World
(12:05)  2. Hope
(11:37)  3. City Hall
(12:16)  4. Sixteen And Eighteen
(16:04)  5. Sadness
(10:49)  6. Necessary Risks

Recorded live at the Carroboro Arts Center in Carroboro, NC in 1991, Out of This World finds Ted Nash's early 1990s quartet playing melodic and mostly "inside" hard bop and post-bop but going "outside" a few times with likable results. The performance marked the end of a three-week tour by the quartet, which included Nash on tenor sax, Frank Kimbrough on piano, Ben Allison on bass and Tim Horner on drums. Except for the opener, "Out of This World," this CD favors Nash and Kimbrough's own material over standards. The playing is mostly "inside" on "Out of This World," Kimbrough's pensive "Hope" and Nash's vibrant "City Hall," but more of an "inside/outside" approach is taken on Kimbrough's 15-minute "Sadness." Influenced by both Thelonious Monk and Charles Mingus, this angular piece finds the quartet alternating between bluesy testifying and dissonant "outside" playing. 

The set isn't as adventurous as some of the concerts that Allison's Jazz Composers Collective would hold in New York in the mid-to-late 1990s (some of which included Nash and Kimbrough). Still, this is a decent offering from a foursome that was cohesive and certainly swinging. ~ Alex Henderson https://www.allmusic.com/album/out-of-this-world-mw0000625930

Personnel:  Saxophone – Ted Nash; Bass – Ben Allison; Drums – Tim Horner; Piano – Frank Kimbrough

Out Of This World

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Terry Gibbs Quartet - Take It From Me

Styles: Vibraphone Jazz
Year: 1964
File: MP3@320K/s
Time: 31:50
Size: 73,2 MB
Art: Front

(4:24)  1. Take It From Me
(4:00)  2. El Fatso
(3:08)  3. Oge
(2:32)  4. Pauline's Place
(2:33)  5. 8 lbs., 10 ozs.
(6:11)  6. Gee, Dad, It's A Deagan
(4:21)  7. All The Things You Are
(4:37)  8. Honeysuckle Rose

This is a likable small-group date from vibraphonist Terry Gibbs, who welcomes guitarist Kenny Burrell, bassist Sam Jones and drummer Louis Hayes to his quartet. Gibbs contributed six originals, none of which are that catchy, but he also stretches out on "All the Things You Are" and "Honeysuckle Rose." 

Gibbs and Burrell work together quite well, and their improvisations and the upbeat mood of the set are superior to the newer melodies. ~ Scott Yanow https://www.allmusic.com/album/take-it-from-me-mw0000871259

Personnel:  Terry Gibbs – vibes; Kenny Burrell – guitar; Sam Jones – bass; Louis Hayes – drums

Take It From Me

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Elmo Hope - Plays His Original Compositions

Styles: Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 54:08
Size: 125,7 MB
Art: Front

(3:35)  1. Hot Sauce
(5:01)  2. When The Groove Is Low
(4:28)  3. De-Dah
(3:46)  4. Abdullah
(3:39)  5. Freffie
(6:45)  6. Stars Over Marrakesh
(4:58)  7. Chips
(4:05)  8. Happy Hour
(4:21)  9. Moe's Bluff
(4:31) 10. Moe Is On
(4:39) 11. Maybe So
(4:15) 12. Crazy

The highly original works of composer/pianist Elmo Hope included in this collection are certainly a landmark in his career and a source of unalloyed joy to his many admirers. Paul Chambers and Philly Joe Jones, two of the most exciting jazz musicians, are the remaining two-thirds of this extraordinary trio. Within the dazzling framework of Hopes vivid compositions, they form an aggregation with a strikingly individual style. https://www.freshsoundrecords.com/elmo-hope-albums/4386-plays-his-own-compositions.html

Personnel: Elmo Hope (p), Paul Chambers, Edward Warren (b), Philly Joe Jones, Granville Hogan (d)

Plays His Original Compositions

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Chick Webb - The Best of Chick Webb

Styles: Jazz, Post Bop
Year: 2005
File: MP3@320K/s
Time: 61:14
Size: 141,0 MB
Art: Front

(3:03)  1. A Little Bit Later On
(4:12)  2. Breakin' 'Em Down
(3:11)  3. By Heck
(2:23)  4. Go Harlem
(3:13)  5. I Let a Tear Fall In the River
(3:23)  6. If Dreams Come True
(2:59)  7. If You Can't Sing
(3:16)  8. It's Over Because We're Through
(3:10)  9. King Porter Stomp
(2:48) 10. Liza
(2:54) 11. On the Sunny Side of the Street
(3:11) 12. Stompin' at the Savoy
(2:26) 13. The Dipsy Doodle
(2:32) 14. Vote for Mr. Rhythm
(2:58) 15. What a Shuffle
(3:19) 16. You Showed Me the Way
(2:51) 17. A Tisket, A Tasket
(2:36) 18. Sing Me a Swing Song
(3:12) 19. Tain't What You Do
(3:29) 20. Keeping Out Of Mischief Now

“The King of the Savoy” reigned supreme over jazz drummers in New York in the 1930’s. He was the consummate showman and with his fluid and rhythmic style, was perfectly suited for the swing era. He raised the standard for drummer awareness, and paved the way for drummer led bands. Born in Baltimore, Feb. 10, 1909, William Henry Webb, was an unlikely candidate to become a jazz drummer. Stricken with spinal tuberculosis, he was left with a hunched back, and little use of his legs. He took up drumming as a way to relieve joint stiffness, and never stopped. He saved enough to buy a drum set which he had fit with special pedals for his legs. He joined local band the Jazzola Orchestra, then in 1925 decided to try New York City. He sat in on sessions with Johnny Hodges, Benny Carter, and Duke Ellington, after settling in by 1926 he had his own quintet, and played for five months at the Black Bottom Club. He formed an eight piece band, playing the Paddock Club, moving next to the Savoy with his now called Harlem Stompers, and setting up there in 1927. This band grew to eleven members, and by the end of the ‘20’s they were gigging at all the major jazz clubs in the city as the Cotton Club, the Roseland, and the Strand Roof. In 1930 they toured with the “Hot Chocolate Revue”. By 1931 the band was on an extended engagement contract at the Savoy, which would last for the next five years. They also did road tours and other dates at clubs such as the Casino de Paris, but it was the Savoy where they would get a name. Chick Webb had himself become quite a star, known for his power drumming and showmanship, he decided to name the band the Chick Webb Orchestra. The lineup at the time included Benny Carter, Louis Jordan, Don Redman, and Mario Bauza. This band was actually feared in the Harlem club circles, as they were known to blow any other band off the stage. There are many stories about the long line of musicians that left the Savoy with their tails dragging in the ground after being ‘cut’ by Chick Webb. Their theme song and the one that is associated with the Chick Webb Orchestra, was “Stomping at the Savoy”. Which is what they did best, flat out swingin’ man! The band was to enjoy a long run at the Savoy then when things couldn’t seem to get better, he replaced his longtime vocalist with a young Ella Fitzgerald in 1935. The band had a string of hits on the Decca label that was capped off by their biggest ever when Ella wrote “A Tisket A Tasket” in 1938. By 1938 Chick’s health started to take its toll but he continued with the band through that year. In June of 1939 he entered John Hopkins Hospital in Baltimore for a major operation, he never recovered; his mother was at his side when he died. Ella Fitzgerald went on to front the band until 1942. Chick Webb was “The Man” for all the drummers in that era, including rivals Art Blakey and Gene Krupa, and would go on to influence drummers as Buddy Rich, who studied Webb intensely, and Louie Bellson. His spectacular technique and wide dynamic range were never captured properly on any of his recordings, but as legend has it he was something to behold when he held court at the Savoy. https://musicians.allaboutjazz.com/chickwebb

The Best of Chick Webb

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Herbie Mann - A Man And A Woman

Styles: Flute Jazz
Year: 2002
File: MP3@320K/s
Time: 27:36
Size: 64,7 MB
Art: Front

(2:25)  1. A Man and a Woman
(2:34)  2. Day Tripper
(2:43)  3. Come Back to Me
(2:32)  4. Little Boat
(2:10)  5. It's Time That You Settled Down
(2:13)  6. A Good Thing (Is Hard to Come By)
(2:15)  7. 1-2-3
(2:33)  8. Only Yesterday
(2:24)  9. Sunny
(2:38) 10. How Insensitive
(3:04) 11. The Sidewinder

A Mann & A Woman is an album by American jazz flautist Herbie Mann and vocalist Tamiko Jones released on the Atlantic label in 1967. https://en.wikipedia.org/wiki/A_Mann_%26_A_Woman

Personnel:  Herbie Mann - flute; Tamiko Jones - vocals - with various ensembles including: Roy Ayers, Gary Burton - vibraphone; Joe Zawinul - piano; Victor Gaskin, Reggie Workman - bass; Everett Barksdale - electric bass; Bruno Carr, Roy McCurdy - drums; Carlos "Patato" Valdes - congas, percussion; Tamiko Jones - vocals; Melba Liston, Jimmy Wisner, Joe Zawinul - arranger

A Man And A Woman

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Julienne Taylor - The Sessions

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 46:00
Size: 106,6 MB
Art: Front

(3:24)  1. A Time for Love
(2:11)  2. Hear Come the Bears (Female Ambient Mix)
(3:32)  3. Just Let Me Be (Remix)
(6:38)  4. Like a Rolling Stone (Female Vocal Full Length Version)
(4:00)  5. Like a Rolling Stone (Female Vocal Mix)
(3:16)  6. Parisian Cafe (Female Chillout Mix)
(3:53)  7. Say to Me (Female Ambient Mix)
(4:36)  8. Tears In Heaven (Female Celtic Mix)
(3:56)  9. What Am I Gonna Do (Alternative Mix)
(2:52) 10. When Love Dies (Female Celtic Mix)
(3:55) 11. Why Did You Do It
(3:42) 12. Why Did You Do It (Alternative Mix)

Julienne Taylor’s enchanting and captivating voice raised comparisons with both Norah Jones and Eva Cassidy, but Julienne has her own unique and distinctive style influenced from her Scottish ancestry.The musical journey of Julienne Taylor has been a long and winding road. Having played in various bands in her High School years and studied dance and expressive mime in Edinburgh with Kinny Gardner (Lindsay Kemp Company), Julienne was convinced by musician friends who had previously made the transition, that a move to London was the only way to seriously pursue a career in music. So at 17 years old she did just that.‘Home’, somewhat strangely, for the first few months of her arrival in the capital was living out of a suitcase in student nurse accommodation in Guys Hospital, being signed in as a guest by nursing staff friends and ‘changing’ her name every other day to avoid detection.A flat in an insalubrious part of S. E. London, which she shared with former band members from Scotland was to become a more permanent base with Julienne working by day and writing songs by night soon discovering that success does not come suddenly. A  spell of homelessness on London’s streets was only to compound this further.Subsequent years saw Julienne working at Shepperton Film Studios learning the craft of sound engineering whilst regularly singing six nights a week with blues and soul bands and lending her voice as a backing vocalist for established acts. Later, a serious car crash would lead Julienne to pursue a studio engineering career whilst still persevering with her own musical ambitionsIn 2001, whilst working with an Edinburgh based independent label, and following a series of successful live performances at the Edinburgh Festival, Julienne was signed to Virgin Records. A delay in the release of her first album however, meant the momentum was lost and in a world of priorities, the album and Julienne slowly became misplaced in the shuffle.Since 2010 Julienne has been happily signed to Hong Kong based record label ‘Evolution’.On a personal note, Julienne was diagnosed with thyroid cancer in November 2015. A full thyroidectomy followed in December, and she was given the “all clear” in January 2016. http://juliennetaylor.com/biography/

The Sessions

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Stanley Turrentine, Milt Jackson - Cherry

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 37:50
Size: 87,3 MB
Art: Front

(6:38)  1. Speedball
(5:10)  2. I Remember You
(7:46)  3. The Revs
(6:04)  4. Sister Sanctified
(5:10)  5. Cherry
(7:00)  6. Introspective

One of the best CTI albums from the early 70s and one of Stanley Turrentine's funkiest records as well! The album's got a sharper edge than most other Turrentine albums of the time a quality that goes beyond Stan's already soulful approach to the tenor, and which brings in some tight changes and more pronounced rhythms that really give the best cuts a great groove! The group's a sextet with Bob James on electric piano, Milt Jackson on vibes, Cornell Dupree on guitar, Ron Carter on bass, and Billy Cobham on drums and titles include a monster version of Weldon Irvine's "Sister Sanctified" a great funk tune that's probably best known as the sample for "My Philosophy" by BDP! Other tracks include "Speedball", "Cherry", and "The Revs".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/1522/Stanley-Turrentine:Cherry

Personnel:  Stanley Turrentine - Tenor Sax; Milt Jackson - Vibes; Bob James - Electric Piano, Piano; Cornell Dupree - Guitar; Ron Carter - Bass; Billy Cobham - Drums

Cherry

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George Russell - Ezz-thetics

Styles: Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 43:02
Size: 98,7 MB
Art: Front

(8:59)  1. Ezz-thetic
(4:41)  2. Nardis
(8:07)  3. Lydiot
(5:36)  4. Thoughts
(9:04)  5. Honesty
(6:33)  6. 'Round Midnight

A post-war masterpiece, Ezz-Thetics is pianist/arranger George Russell's definitive 1961 sextet recording from the earliest phase of his multi-decade career. On par with such iconic albums as Oliver Nelson's Blues and the Abstract Truth (Impulse!, 1961), Mal Waldron's The Quest (Riverside, 1961) and Andrew Hill's Point of Departure (Blue Note, 1964), Ezz-Thetics traffics in the same advanced but accessible strain of avant-garde-influenced post-bop. Author of The Lydian Chromatic Concept of Tonal Organization (pub. 1953), Russell's seminal concepts of improvisation, based on scales rather than chords, became the driving force behind the early modal explorations of Miles Davis and John Coltrane. This pioneering session offers a singular and visionary view of classic post-bop that is ageless in its perfection. Starring a phenomenal group of talent, Russell's sextet features multi-instrumentalist Eric Dolphy, trumpeter Don Ellis, trombonist Dave Baker, a young Steve Swallow on acoustic bass and drummer Joe Hunt. Undaunted by Russell's unorthodox arrangements and tricky, pan-tonal harmonic sensibility, these young firebrands tackle these knotty compositions with flawless technique and unbounded creativity. "Ezz-Thetic" opens the album with a bustling, circuitous theme that ripples with spiraling angularity. Inspiring a round of exhilarating statements from the horns, the tune breaks down into a sequence of recurrent call and response between the rhythm section and brass that eschews typical conventions of pattern and form. Supported by subtle counterpoint and an elegant arrangement, Miles Davis' exotic "Nardis" is given a haunting reading. The sly and unassuming "Lydiot" reveals Russell's minimalist angularity behind the piano, while Dolphy displays a keening, expressive aspect in contrast to Ellis' dulcet trumpet. Using the blues as a basic framework, Baker's contribution, "Thoughts," incorporates free-form sections at regular intervals, exposing the fine line between tradition and innovation. "Honesty" is a celebratory ode; a vibrant hybrid of classic swing and edgy futurism that contrasts bluesy lyricism with suspenseful, stop-time segments. 

A prescient rendition of Thelonious Monk's "'Round Midnight" acts as a showpiece for Dolphy. Opening with a free-form section of tiny instrumental sounds and highly vocalized brass effects, it pre-dates the work of the AACM (Association for the Advancement of Creative Music) by almost a decade. A brilliant study in dynamics and virtuosity, Dolphy's alto solo is legendary. Incorporating intervallic leaps and register changes with a highly vocalized tone and mellifluous phrasing, he offers a definitive statement on a hallowed theme. Two takes of the previously unissued "Kige's Tune" appear as bonus tracks. A driving bop-ish vehicle, it is a worthwhile addition, providing the perfect coda to a brilliant session. Cerebral and innovative, yet firmly grounded in tradition, Ezz-Thetics is essential listening and an absolute requirement for any comprehensive jazz collection. Russell's masterwork is beautiful, enthralling and adventurous, a perfect summation of all the innovations post-war jazz has to offer. ~ Troy Collins https://www.allaboutjazz.com/ezz-thetics-george-russell-riverside-review-by-troy-collins.php

Personnel: George Russell: piano, arranger; Don Ellis: trumpet; Dave Baker: trombone; Eric Dolphy: alto saxophone, bass clarinet (2, 4); Stephen Swallow: bass; Joe Hunt: drums.

Ezz-thetics

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Roy Ayers - Feeling Good

Styles: Jazz Funk 
Year: 1982
File: MP3@320K/s
Time: 40:13
Size: 93,2 MB
Art: Front

(5:19)  1. Fire Up The Funk
(5:20)  2. Let's Stay Together
(4:18)  3. Ooh
(5:32)  4. Our Time Is Coming
(5:39)  5. Turn Me Loose
(4:40)  6. Knock, Knock
(5:00)  7. Stairway To The Stars
(4:21)  8. Feeling Good

Stellar sounds from the great Roy Ayers an early 80s album for Polydor, but a set that's still got the wonderfully tight, wonderfully groovy feel of his late 70s albums for the label! Roy's really perfected his sense of balance by this time and does a great job of balancing groovers with sweet mellow steppers the kind of cool, compressed, jazzy numbers that we love so much! Ayers heads for the clubs one minute, the bedroom the next and draws us in beautifully whichever direction he takes thanks to some sublime vibes and electric piano and great lead vocals from Roy, and other singers who include Terri Wells, Vivian Prince, John King, and Ricky Williams. Titles include "Ooh", "Let's Stay Together", "Feeling Good""Knock Knock", "Turn Me Loose", "Stairway To The Stars", and "Our Time Is Coming".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/34880/Roy-Ayers:Feeling-Good

Feeling Good

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Donald Byrd - Groovin' For Nat

Styles: Trumpet Jazz
Year: 1962
File: MP3@320K/s
Time: 65:53
Size: 154,1 MB
Art: Front

(6:17)  1. Hush! (take 2)
(5:38)  2. Child's Play (take 3)
(2:42)  3. Angel Eyes (take 4)
(5:55)  4. Smoothie (take 4)
(7:11)  5. Sudel (take 2)
(6:33)  6. Friday's Child (take 1)
(7:16)  7. Out Of This World
(3:45)  8. Groovin' for Nat
(7:35)  9. Hush! (take 1)
(6:46) 10. Child's Play (take 2)
(6:09) 11. Sudel (take 4)

On this somewhat obscure Black Lion release (which has been reissued on CD), Donald Byrd teams up with fellow trumpeter Johnny Coles, pianist Duke Pearson, bassist Bob Cranshaw and drummer Walter Perkins for a set of music dominated by hard bop originals; "Angel Eyes" and "Out Of This World" are the only standards. Augmented by three previously unreleased alternate takes, this straightahead session finds Cole's brittle tone sounding more distinctive than Byrd's (who is in more of a Lee Morgan vein) but everyone plays well. Recommended. ~ Scott Yanow https://www.allmusic.com/album/groovin-for-nat-mw0000310933

Personnel: Trumpet – Donald Byrd, Johnny Coles; Bass – Bob Cranshaw; Drums – Walter Perkins; Piano – Duke Pearson

Groovin' For Nat

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Miriam Aida - Letras Ao Brasil

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 43:27
Size: 101,1 MB
Art: Front

(2:48)  1. Livraria Mágica (Violen Från Flen)
(3:34)  2. Quem (Vem)
(4:00)  3. Existe Uma Terra Ao Longe (Det Ligger Ett Land Långt Borta)
(4:16)  4. Canção Do Outono (Höstvisa)
(3:47)  5. Uma Valsa Vadia (En Valsmelodi)
(3:07)  6. A Felicidade E O Amor (När Lyckan Mötte Kärleken)
(4:02)  7. Com Olhos Sensiveis Ao Verde (Ögon Känsliga För Grönt)
(4:58)  8. Cristal Tão Fino (Kristallen Den Fina)
(4:03)  9. Canção Do Imigrante (Emigrantvisa)
(3:01) 10. Natal (När Det Lider Mot Jul)
(3:12) 11. A Última Sambista (Den Sista Jäntan)
(2:34) 12. Jag Har Bott Vid En Landsväg

Miriam Aïda  one of Sweden’s most popular singers with an international following,  has performed in Japan, UK, Brazil, France, Spain, USA, Turkey, Russia, Italy, Germany and of course all around Sweden and Scandinavia, both as a solo artist as well as with the band A Bossa Elétrica. She has shared the stage with many great Brazilian musicians such as Hermeto Pascoal, Badi Assad and master guitarist Marco Pereira. After exploring the music traditions of Brazil and her success with the albums such as Quatro Janelas, Letras ao Brasil  & É de Lei! she has been spotted in several national TV shows. Miriam ´s extensive talent travels through a number of musical landscapes and since her album-debut in 2002 she has released 8 albums as a leader. Since 2010 she is an acclaimed radio profile for Swedish National Radio as a producer and music journalist. She has hoasted the Swedish Radio live broadcast JazzAward “Jazzkatten” several times and on the PolarPrize 2017 she interviewed Wayne Shorter on PolarTalks. https://miriamaida.wordpress.com/bio/

“É de Lei!” – Award Winning 2015 Rhythm of the Year:  Following the success of the Swedish Grammy, Manifest and World Music Awards nominated albums Letras ao Brasil (2009) and Visans Väsen (2011), mixing Swedish traditional songs with Brazilian rhythms, her album AFRO SAMBA ORCHESTRA – É de Lei!” was awarded “Rhythm of the Year” by Manifestgalan. The album honors the Brazilian legend and founder of Afro Samba, Baden Powell. and was recorded in Sweden and Rio de Janeiro in collaboration with the Brazilian arranger Jayme Vignoli. É de Lei!  features one of Rio’s greatest singers, Marcos Sacramento.

Artist of the year at Swedish World Music Awards 2012: “A versatile artist, colorful, headstrong, audacious and personal. A performer who twists and turns on the familiar and who creates new perspectives for all of us.” This was the jury’s statement when Miriam Aïda received the price for Artist of the year at the Swedish World Music Awards in 2012.

Letras Ao Brasil

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Maynard Ferguson - Dancing Sessions

Styles: Trombone And Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 79:00
Size: 187,6 MB
Art: Front

(2:23)  1. Secret Love
(3:11)  2. 'Tis Autumn
(3:29)  3. Soft Winds
(3:15)  4. 'Round Midnight
(2:51)  5. I'm Beginning To See The Light
(2:30)  6. Stompin' At The Savoy
(3:35)  7. It Might As Well Be Spring
(2:27)  8. I'll Be Seeing You
(3:34)  9. If I Should Lose You
(2:40) 10. Where's Teddy?
(3:02) 11. Hey There
(4:06) 12. Mangos
(2:56) 13. Don't Take Your Love From Me
(2:56) 14. My Foolish Heart
(1:59) 15. Let's Face The Music And Dance
(2:53) 16. You Don't Know What Love Is
(2:46) 17. It's Only A Paper Moon
(3:46) 18. The Party Is Over
(3:36) 19. The Masquerade Is Over
(3:10) 20. Let's Do It
(4:02) 21. Spring Is Here
(2:24) 22. It Could Happen To You
(3:29) 23. Teach Me Tonight
(2:22) 24. Do Nothin' Till You Hear From Me
(3:03) 25. Don't Take Your Love From Me
(2:20) 26. Let's Fall In Love

This release contains the complete contents of the original Maynard Ferguson big band LPs Plays Jazz for Dancing (1959) and Lets Face the Music and Dance(1960), plus three rare bonus tracks taken from the same sessions and previously issued as singles or on compilation albums. The two albums presented here, come from the zenith of this orchestra and present Maynard Ferguson's vision of dance music at a time in which dancing and Jazz were undergoing serious decline. By 1950, Swing music seemed a thing of the past. Modern Jazz focused on small formats or big orchestral scores which targeted concert halls as opposed to dancing establishments. Most of the dance scene had been taken over by Rock & Roll and R&B bands. The great Canadian-born trumpeter Maynard Ferguson died in California on August 23, 2006, at the age of 78. His career had spanned over 60 years. He formed his own 14-piece band in 1956, and as it starred at the famous Birdland club in New York, it picked up the moniker the Birdland Dream Band - which remained active for nearly nine years, during an era in which most big bands saw very difficult times due to the change of times and musical styles. https://www.freshsoundrecords.com/maynard-ferguson-albums/5227-dancing-sessions-2-lp-on-1-cd.html

Personnel:  Trumpet – Bill Chase, Chet Ferretti,  Don Ellis, Jerry Tyree, Larry Moser, Maynard Ferguson, Rick Kiefer; Alto Saxophone – Jimmy Ford , Lanny Morgan; Baritone Saxophone – Frank Hittner , John Lanni; Bass – Charlie Saunders, Jimmy Rowser; Drums – Frankie Dunlop, Rufus Jones; Euphonium – Maynard Ferguson; Featuring – Maynard Ferguson And His Orchestra; Mellophone – Maynard Ferguson;  Piano – Bob Dogan, Jaki Byard; Tenor Saxophone – Joe Farrell, Willie Maiden; Trombone – Don Sebesky , Kenny Rupp, Maynard Ferguson, Slide Hampton

Dancing Sessions

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Red Mitchell - Chocolate Cadillac

Styles: Cool, Hard Bop
Year: 1976
File: MP3@320K/s
Time: 51:19
Size: 117,8 MB
Art: Front

( 8:43)  1. Idrees
(15:39)  2. U.A.I. (You Are Invited)
( 5:17)  3. These Foolish Things
(10:04)  4. A Theme For Ahmad
(11:35)  5. Chocolate Cadillac

During his years living in Sweden the late bassist Red Mitchell made many recordings and this live quintet date at the Montmatre is one of his best. Leading a group that included fellow American expatriates Horace Parlan on piano and Idrees Sulieman on trumpet, they open the CD with "Idrees," a potent bop number penned by the leader, which features strong solos by both Sulieman and tenor saxophonist Nisse Sandstrom. The trumpeter contributed the sauntering "U.A.I. (You Are Invited)" and the title track, which is highlighted by Mitchell's booming bass solo. This impressive swinging date is highly recommended. ~ Ken Dryden https://www.allmusic.com/album/chocolate-cadillac-mw0000647316

Personnel:  Double Bass – Red Mitchell; Drums – Rune Carlson; Piano – Horace Parlan; Tenor Saxophone – Nisse Sandström; Trumpet – Idrees Sulieman

Chocolate Cadillac

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Dan Barrett Octet - Strictly Instrumental

Styles: Trombone Jazz 
Year: 1987
File: MP3@320K/s
Time: 39:41
Size: 91,4 MB
Art: Front

(3:30)  1. Old Fashioned Love
(3:16)  2. Somebody Loves Me
(3:55)  3. Quasimodo
(2:58)  4. The Minor Infraction
(3:22)  5. No Regrets
(3:34)  6. Moon Country
(3:12)  7. My Honey's Lovin' Arms
(5:08)  8. Strictly Instrumental
(3:24)  9. Sleep
(3:53) 10. Some Other Spring
(3:24) 11. There's Honey on the Moon Tonight

Trombonist Dan Barrett utilizes some of the top younger players of pre-bop in this delightful octet session. In addition to Barrett, the lineup includes cornetist Warren Vache; Ken Peplowski on clarinet and tenor; altoist Chuck Wilson; the late, great pianist Dick Wellstood; guitarist Howard Alden; bassist Jack Lesberg; and drummer Jackie Williams. Together, they play a variety of high-quality standards, including relative obscurities such as "No Regrets," Hoagy Carmichael's "Moon Country," and "There's Honey on the Moon Tonight." The concise solos and Barrett's clever arrangements make this a particularly memorable release. ~ Scott Yanow https://www.allmusic.com/album/strictly-instrumental-mw0000194071

Personnel:  Trombone – Dan Barrett; Valve Trombone – Dan Barrett;  Acoustic Guitar, Electric Guitar – Howard Alden; Alto Saxophone – Chuck Wilson; Bass – Jack Lesberg; Clarinet, Tenor Saxophone – Ken Peplowski; Cornet – Warren Vaché; Drums – Jackie Williams; Piano – Dick Wellstood

Strictly Instrumental

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Janet Seidel - The Art of Lounge 3

Styles: Vocal, Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 57:49
Size: 132,8 MB
Art: Front

(3:40)  1. Moonglow
(2:16)  2. If They Asked Me I Could Write a Book
(4:01)  3. Always
(4:13)  4. Midnight Sun
(3:32)  5. Miami Beach Rhumba
(4:30)  6. Canadian Sunset
(4:00)  7. Whatever Lola Wants
(3:45)  8. Lullaby of Birdland
(5:11)  9. Cow Cow Boogie
(3:32) 10. Trolley Song
(4:28) 11. Cry Me a River
(3:46) 12. The Breeze and I
(5:43) 13. Somewhere over the Rainbow
(5:06) 14. Dream

Born in Australia's bush country, Janet Seidel emerged as one of that country's leading cabaret and jazz vocalists. She appeared frequently at Australia's top jazz and hotel venues beginning in the early '80s, often working with bassist brother David Seidel. Janet Seidel also performed at jazz festivals in the U.S., working with such jazz notables as Harry Allen, Dan Barrett, Dave McKenna, and Michael Moore. Her first venture into cabaret came in 2000 when she put together and starred in Doris and Me, a tribute to Doris Day's singing career. Often working with saxophone player Tom Baker and with her brother, she has made numerous albums for the LaBrava label. Her double album The Way You Wear Your Hat was named vocal album of the year by Australia's national newspaper and was a finalist for the prestigious ARIA award. Her The Art of Lounge, Vol. 2 was similarly a finalist for that award for the AIRA Jazz Album of the Year. Seidel did not have great range, but she used the tools she possessed with great skill and effectiveness. With her intimate style, great feel for the lyrics of songs she sings, Seidel was one of those vocalists who was as much a story teller as a singer. 

The way she handled the music came off as a fortuitous blend of Blossom Dearie and Doris Day with an occasional nod to Julie London, although she was somewhat jazzier than the latter two. Like Jeri Southern, Shirley Horn, and Diana Krall, she often doubled at the piano.  From the turn of the millennium through the decade of the 2000s, Seidel recorded prolifically, releasing such albums as Love Letters (2000), Doris & Me (2001), Don't Smoke in Bed (2002), Comme Çi, Comme Ça and The Art of Lounge, Vol. 3 (both 2003), Dear Blossom and Hooray for Christmas (both 2004), Moon of Manakoora and Delovely (both 2005), and We Get Requests and Charade: Henry Mancini Songbook (both 2007). In addition, her Live in Taipei DVD was released in 2011. Janet Seidel died from ovarian cancer in Sydney in August 2017; she was 62 years old. The numerous recordings she made evince an exquisite, gentle, and agile voice that honored each tune she sang, from classic standards to pop songs and novelties. ~ Dave Nathan https://www.allmusic.com/artist/janet-seidel-mn0000420852/biography

Personnel:  Vocals, Piano – Janet Seidel ; Bass – David Seidel;  Drums – Adam Pache; Guitar – Chuck Morgan; Piano – Kelvin Hunt; Saxophone – Ben Jones

The Art of Lounge 3

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Adrian Cunningham - Walkbout

Styles: Saxophone, Clarinet And Flute Jazz
Year: 2011
File: MP3@320K/s
Time: 56:50
Size: 130,9 MB
Art: Front

(0:55)  1. Prologue: Wanderlust
(6:24)  2. Chasing the Horizon
(4:56)  3. Baby Please Don't Go
(2:20)  4. In Transit
(6:14)  5. Oasis
(7:29)  6. Barcelona
(1:03)  7. Winter
(5:55)  8. Winter's End
(1:19)  9. In Transit #2
(7:08) 10. What I Can't Take with Me
(6:50) 11. Dancing into the Sun
(6:12) 12. The Long Road Home

One of Australia's finest jazz musicians, Saxophonist Adrian Cunningham has been busy leading The Adrian Cunningham Quartet in venues around his country of birth, establishing himself as a fixture in New York's vibrant jazz scene since his relocation in 2008. Recorded in Cunningham's home town of Sydney, Australia, Walkabout is a tasteful slice of modern jazz featuring original statements performed by a core quartet, with backup from a four-piece string section. Known as a multi-instrumentalist, Cunningham adds variety and mix to the music by performing on clarinet and flute, in addition to his saxophones. The album contains a selection of refreshing new material, which is a testament to Cunningham's talents as a songwriter. The music is bold, sophisticated and sometimes edgy but always engaging, drawing inspiration from his many travels and tenure in New York. With titles such as "Baby Please Don't Go (For New Orleans)," "Barcelona" and "Writer's End (For Williamsburg)," a picture emerges as to why this wanderlust's inspiration comes from traveling around the globe. Though swing may not be an appropriate adjective to describe the major contents of the disc, it certainly applies to "Dancing Into The Sun (For Bahia)," where Cunningham, pianist Bill Risby and drummer Gordon Rytmeister swing to a slight Latin rhythm on the burner of the set. Taking the music to the edge of the spectrum, "Oasis (For Central Park)" opens with a structureless free jazz introduction by the string section, then turns a bit avant-garde before developing its eventual fusion-like jazz texture. Cunningham returns to the saxophone on the last few pieces, closing the session with the swing jazz statement of "Dancing Into the Sun (For Bahia)" and the blues-tinged "The Long Road Home," climaxed by a solid, high-pitched solo providing convincing evidence of the reed man's tenor chops. With no covers, vocals or familiar jazz standards, Walkabout runs through a repertoire of original modern music showcasing quality charts by a multi-instrumentalist from down under whose talents as a writer and a performer, are poised to make Cunningham a first-call jazz musician on a world stage. ~ Edward Blanco https://www.allaboutjazz.com/walkabout-adrian-cunningham-new-market-music-review-by-edward-blanco.php

Personnel: Adrian Cunningham: saxophones, clarinet, flute; Bill Risby: piano; Dave Pudney: bass; Gordon Rytmeister: drums; Phillip Harti: violin; Ursula Nelius: violin; Angela Lindsay: viola; Paul Stender: cello.

Walkbout

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Red Mitchell - Giants of Jazz

Styles: Jazz, Post Bop
Year: 1959
File: MP3@320K/s
Time: 73:07
Size: 174,5 MB
Art: Front

( 8:12)  1. Cheek To Cheek
( 5:49)  2. Things Ain't What They Used To Be
( 5:32)  3. Scrapple From The Apple
( 5:22)  4. I Thought Of You
( 5:19)  5. Endless
(10:59)  6. Between The Devil And The Deep Blue Sea
( 5:35)  7. Sandu
( 4:04)  8. Easy Like
( 7:00)  9. Paul's Pal
( 5:22) 10. Rainy Night
( 6:19) 11. Out Of The Blue
( 3:28) 12. Happy Times

This is a curious collection of recordings, mostly standards save two originals, that Red Mitchell made with a wide variety of artists, primarily West Coast, unfortunately unidentified from track to track. Astute listeners will be able to pick the cuts with Barney Kessel or Jim Hall, definitely Ornette Coleman and Don Cherry ("Endless.") There are rare sessions with Lorraine Geller, James Clay, Buddy Collette, Carl Perkins and Claude Williamson included. Red Mitchell completists or first time discoverers of the brilliant bassist might find this hodgepodge compilation inviting, and it is over 70 minutes in length. ~ Michael G.Nastos https://www.allmusic.com/album/red-mitchell-giants-of-jazz-mw0001071614

Giants of Jazz

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