Lou Rawls, The Les McCann Trio - Stormy Monday

Styles: Vocal And Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 43:18
Size: 100,8 MB
Art: Front

(3:45)  1. (They Call It) Stormy Monday
(4:30)  2. God Bless the Child
(3:11)  3. See See Rider
(5:57)  4. Willow Weep for Me
(4:00)  5. I'm Gonna Move to the Outskirts of Town
(3:28)  6. In the Evening (When the Sun Goes Down)
(2:46)  7. 'Tain't Nobody's Biz-Ness If I Do
(3:12)  8. Lost and Lookin'
(3:55)  9. I'd Rather Drink Muddy Water
(3:08) 10. Sweet Lover
(2:58) 11. Blues Is a Woman
(2:23) 12. A Little Les of Lou's Blues

Lou Rawls has had a long and commercially successful career mostly singing soul, R&B, and pop music. Originally a gospel singer, Rawls' first album as a leader features him performing soulful standards backed by the Les McCann Trio. Few of the songs have been under-recorded through the years, but they sound fresh and lively when sung by Rawls; highlights include "Stormy Monday," "In the Evening," and "I'd Rather Drink Muddy Water." Pianist McCann gets a generous amount of solo space, and the reissue has three bonus tracks. This is still Rawls' definitive recording in the jazz idiom, cut before he went on to more lucrative areas. ~ Scott Yanow https://www.allmusic.com/album/stormy-monday-mw0000203592

Personnel: Lou Rawls - vocals; Les McCann - piano; Leroy Vinnegar - bass; Ron Jefferson - drums

Stormy Monday

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Kristin Chenoweth - Coming Home

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 77:25
Size: 180,5 MB
Art: Front

(3:10)  1. I Could Have Danced All Night
(3:16)  2. Maybe This Time
(4:20)  3. My Coloring Book
(4:20)  4. Bring Him Home
(3:41)  5. Fathers And Daughters
(5:06)  6. Hard Times Come Again No More
(5:08)  7. Upon This Rock
(3:18)  8. Over The Rainbow
(3:41)  9. Popular
(5:13) 10. For Good
(6:23) 11. Little Sparrow
(3:16) 12. Wishing You Were Somehow Here Again
(2:19) 13. All The Things You Are
(5:23) 14. No More Tears (Enough Is Enough)
(5:20) 15. I Was Here
(4:04) 16. I Will Always Love You
(6:31) 17. Heart Of The Matter
(2:47) 18. I’ll Be Home For Christmas

Kristin Chenoweth is recognized across the full spectrum of entertainment as an Emmy and Tony Award-winning actress of stage ("You're A Good Man, Charlie Brown," "Wicked," & the upcoming "On the Twentieth Century"), television ("Pushing Daisies," "Glee," "West Wing") film (Disney's "Descendants," "The Boy Next Door") in addition to her career as an accomplished singer. With the recording of Coming Home, she returns to her Broken Arrow, OK, home to perform songs in the Performing Arts Center housing the aptly-named Kristin Chenoweth Theater. Kristin performs her most memorable songs of Broadway, television, film & American classics. ~ Editorial Reviews https://www.amazon.com/Coming-Home-Kristin-Chenoweth/dp/B00O50QY24

Personnel:  Lead Vocals- Kristin Chenoweth; Featured Vocals- Tyler Hanes, Chelsea Packard, Axyl Langford, Will Taylor, Mary-Mitchell Campbell; Additional Vocals- Broken Arrow High School Choir; Guitar- Eric Davis; Bass- Brian Hamm; Drums- Damien Bassman; Percussion- Steve Craft; Violin- Justin Smith, Michelle Sherman; Cello- Krassimira Figg; Woodwinds- Reid Bennett, Gary Linde; Trumpets- Dave Johnson, Steven Goforth

Coming Home

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Yves Theiler Trio - Dance in a Triangle

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 60:14
Size: 138,5 MB
Art: Front

( 8:29)  1. For Bass
( 6:26)  2. Day By Day
(10:25)  3. Book Of Peace
( 8:35)  4. Dance In A Triangle
( 4:03)  5. In A Way It's Nothing
( 9:52)  6. Caravan Change
(12:24)  7. Over There Is Another One

Although a piano trio has a leader, the better ones behave as an equilateral triangle. That is, they "go Dutch." In the case of the Yves Theiler Trio, we could say the music on Dance In A Triangle "goes Swiss." The pianist, Yves Theiler, composed all the music here, but it is improbable that it could be navigated by surrogate performers. At least, ones that were not well rehearsed. Theiler, who studied with Richie Beirach and has recorded with Omri Ziegele, collaborates here with drummer Lukas Mantel and bassist Luca Sisera (Tommy Meier Root Down, Michael Jaeger Kerouac). Theiler's previous trio recording was Out Of The Box (Unit Records, 2012). Their triad approach is evident from track one. "For Bass" opens with some hand drumming, and Theiler's percussive and repetitive metronome plunk of keys that paves Sisera's double bass solo. As the piece develops, it maintains that same repetitive pulse, but effectuates multiple complex changes of direction. Such is the overall modus operandi here. The obvious comparison to be made here is to The Bad Plus. 

Live Ethan Iverson, Theiler has taken the percussive piano approach of Ahmad Jamal and injected it with the repetitive sounds of modern composition, hip-hop, and what only can be described as folk/jazz. Thankfully, modern players feel no need to by labeled or pigeon-holed by tradition, with a capitol "T." They can add funky drumming to a piece like "Book Of Piece," yet sidestep simple pop music by charting a course with multiple changes. Theiler uses his Wurlitzer organ in tandem with piano on the title track, backed by the rhythms of Africa and even a soft ballad like "In A Way It's Nothing" delivers a varied approach, as the players rely on a chest throbbing percussive sound. It will be interesting to see what this trio comes up with next. ~ Mark Corroto https://www.allaboutjazz.com/dance-in-a-triangle-yves-theiler-trio-musiques-suisses-review-by-mark-corroto.php

Personnel: Yves Theiler: piano, Wurlitzer; Luca Sisera: bass; Lukas Mantel: drums.

Dance in a Triangle

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Harold Mabern - The Iron Man: Live at Smoke

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 103:12
Size: 237,9 MB
Art: Front

( 7:32)  1. A Few Miles From Memphis
( 8:07)  2. I Get a Kick Out of You
( 4:48)  3. I Know That You Know
( 4:44)  4. I Remember Clifford
( 9:28)  5. T-Bone Steak
( 8:48)  6. Almost Like Being In Love
( 5:48)  7. Dear Lord
( 9:44)  8. Nightlife in Tokyo
( 9:00)  9. She's Out of My Life
(10:31) 10. How Insensitive
( 5:06) 11. Mr. P.C.
( 6:34) 12. On a Clear Day (You Can See Forever)
( 7:14) 13. You Are Too Beautiful
( 5:41) 14. Rakin' and Scrapin'

Hard-bopping pianist Harold Mabern may have made his recording debut in 1959 with drummer Walter Perkins' quintet and led his first session in 1968 for Blue Note on the soulful A Few Miles From Memphis but here he is, at 82, playing with straight-ahead, youthful joie de vivre on the story telling, life affirming, two-disc set The Iron Man: Live at Smoke.  Working as hard as ever with his long standing trio of tenor saxophonist and former student Eric Alexander, bassist John Webber and drummer Joe Farnsworth, Mabern, on this last night of an exhilarating three-week residency that saw his rep re-ascend, covers all the bases and revels in his song-filled autobiography. His signature "A Few Miles From Memphis" and "Rakin' and Scrapin,'" two full fledged, hot blooded boogies, bookend The Iron Man: Live at Smoke and the music in between never lets you down. John Coltrane gets a special nod with a sonorous, rolling read of "Dear Lord" and a robust, crowd pleasing "Mr. PC." Add to that Alexander's gifted, often biting Coltrane-inspired runs and Webber's swing-blues bass circa Jimmy Garrison and yes, as he often, if not always, is, Coltrane's in the room taking it all in. "Nightlife in Tokyo," another Mabern claim to fame, effortlessly sways to and fro from a deceptive Oriental tinge to a grand American boogie/swing. Farnsworth keeps a tight rein on things here while Mabern and Webber carry the day. Alexander gets his licks in too and shines on the quieter "You Are Too Beautiful" and "She's Out of My Life." No one goes home disappointed and The Iron Man: Live at Smoke proofs it. ~ Mike Jurkovic https://www.allaboutjazz.com/the-iron-man-live-at-smoke-harold-mabern-smoke-sessions-records-review-by-mike-jurkovic.php

Personnel: Harold Mabern: piano; Eric Alexander: tenor saxophone; John Webber: bass; Joe Farnsworth: drums.

R.I.P.
Born: March 20, 1936, Memphis, Tennessee, United States
Died: September 19, 2019

The Iron Man: Live at Smoke

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Johnathan Blake, Chris Potter, Linda Oh - Trion

Styles: Saxophone, Post Bop
Year: 2019
File: MP3@320K/s
Time: 112:42
Size: 259,1 MB
Art: Front

( 1:59)  1. Calodendrum
(16:42)  2. Synchronicity 1
( 3:22)  3. Trope (Linda Intro)
( 8:03)  4. Trope
(10:57)  5. One for Honor
(10:07)  6. High School Daze
(10:19)  7. No Bebop Daddy
( 2:51)  8. Bedrum
(11:34)  9. Good Hope
(10:16) 10. Eagle
(11:02) 11. Relaxing at the Camarillo
( 7:54) 12. Blue Heart
( 7:31) 13. West Berkley St.

Johnathan Blake, in-demand drummer who has contributed to recordings by trumpeter Tom Harrell and guitarist Russell Malone, presents an ambitious two-CD set, Trion, a chordless trio affair with a pair of fellow first-callers, saxophonist Chris Potter and bassist Linda May Han Oh. The ground was broken for this particular format by saxophonist Sonny Rollins' A Night At The Village Vanguard (Blue Note, 1958), a freewheeling exploration of jazz standards and Great American Songbook tunes. Where A Night At The Village Vanguard sounds raw and unrehearsed a seat-of-the-pants recording if ever there was one (in a very good way) Trion is a slightly tighter presentation of music, with Potter displaying as much muscle as Rollins. A level of familiarity pervades as Potter played in the Mingus Big Band with Blake in the 1990s, and also on Blake's 2014 disc, Gone, But Not Forgotten (Criss Cross Records). Linda May Han Oh is newer to Blake's orbit; she has played with him in trios with saxophonists Mark Turner and Jaleel Shaw, and she steps into this situation with powerhouse flexibility and virtuosity. Blake opens both discs with brief drum solos, "Calodendrum" on Disc One the name of the African evergreen tree, a nod to the drum language's roots and "Bedrum," meaning "to drum about in celebration," on Disc Two. Following the drum opening on Disc One, Potter offers an intense-yet-ghostly tenor intro that gels into "Synchronicity 1," from the Police songbook, seventeen minutes of sustained intensity that set the tone for two CD's worth of inspired, no-hold-barred trio music. "Trope," an Oh composition, shifts from a moody bass intro into a melodically Near Eastern-sounding tune, with the heartbeat of the bass creating a disturbing EKG readout. Potter contributes two pieces, and Blake adds several of his own. All are delivered to create a cohesive whole, spanning both discs, featuring a consistently spirited threeway interplay and a crisp clarity of input all around, with Charlie Parker's "Relaxing At the Camarillo" serving as a touchstone to early bop, with the trio tearing it up in grand style. No relaxing at all. Chordless trio outings have become commonplace since Sonny Rollins introduced the idea. Few hit the level of excellence of Trion. ~ Dan McClenaghan https://www.allaboutjazz.com/trion-johnathan-blake-giant-step-arts-review-by-dan-mcclenaghan.php

Personnel: Johnathan Blake: drums; Chris Potter: tenor saxophone; Linda May Han Oh: bass.

Trion

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Bill O'Connell - Triple Play

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 57:39
Size: 133,1 MB
Art: Front

(4:17)  1. Triple Play
(6:29)  2. Flying By
(5:54)  3. Machu Picchu
(6:02)  4. A Call for Sanity
(4:31)  5. Just in Time
(5:48)  6. Second Son
(6:32)  7. Cravo E Canela
(5:35)  8. You've Changed
(6:15)  9. Afro Blue
(6:10) 10. Dansette

Pianist/Composer Bill O'Connell has long been a vital part of the New York Jazz scene. It is refreshing to see that he is given a rare opportunity to lead an ensemble on Triple Play, an unusual trio setting for O'Connell along with flutist Dave Valentin and Latin percussionist Richie Flores. O'Connell has only been given this opportunity sporadically and his efforts are preserved on indie labels, Inner City, CTI and two sessions for Random Chance. The pianist has worked with a wide variety of musicians but has expressed a preference for a Latin jazz ambiance and was with Mongo Santamaria for more than two years beginning in 1977. O'Connell has been the musical director for Dave Valentin for more than two decades. The enjoyment of listening to Triple Play is to hear the cohesiveness of these three musicians as they convene on an inspired Latin jazz session. In his liner notes Felipe Luciano suggests the difference between Latin jazz and jazz Latino. In jazz Latino, the music is a result of the harmonies of big band jazz and bebop while Latin Jazz is a music form that plays for the dancer and requires that the listener must pay attention to hear the music without forgetting the "The tradition of the clave in one's inner ear." Not a bad suggestion at all for this album inasmuch as there is a lot of musical room and space in this ensemble that only employs piano/flute/congas. The music on this album is provided by five originals from O'Connell, one from Valentin, two standards, a Milton Nascimento tune and a jazz standard from Mongo Santamaria. It is indeed difficult to say which instrument contributes the most to this session which is probably the most positive sign of any finished album. Flores, an accomplished but little publicized Latin percussionist, shows his versatility throughout the album and plays the cajón on "Machu Picchu," enlivens on timbales on two tracks and on congas elsewhere. Flores appears in a duet with O'Connell on Santamaria's "Afro Blue" and lays out on "Dansette" which is an O'Connell/Valentin duet. Dave Valentin is probably one of the most popular jazz flutists today although many may categorize much of his music as stemming from a smooth jazz preference. Be that as it may, Valentin has done for Latin jazz what Herbie Mann accomplished for the genre during the 1950s and '60s and on his most recent efforts, Come Fly With Me (HighNote, 2006) and World on a String (HighNote, 2005) the vibe is strictly mainstream Latin jazz. Ultimately the above observations can be shelved while listening to Triple Play as O'Connell and company let the music speak for itself. ~ Michael P.Gladstone https://www.allaboutjazz.com/triple-play-bill-oconnell-highnote-records-review-by-michael-p-gladstone.php

Personnel: Bill O'Connell: piano; Dave Valentin: flute, alto flute; Richie Flores: congas, cajón (3), timbales (6, 10).

Triple Play

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Zee Avi - Zee Avi

Styles: Vocal 
Year: 2009
File: MP3@320K/s
Time: 37:24
Size: 86,9 MB
Art: Front

(2:36)  1. Bitter Heart
(3:07)  2. Poppy
(3:06)  3. Honey Bee
(2:56)  4. Just You And Me
(3:48)  5. Is This The End
(3:32)  6. Monte
(1:44)  7. Kantoi
(2:35)  8. I Am Me Once More
(3:56)  9. First Of The Gang
(2:42) 10. Darling
(2:52) 11. The Story
(4:24) 12. Let Me In

The story behind the release of Zee Avi's self-titled debut album is very much a 21st century tale. The Borneo-born, Kuala Lumpur-raised singer/songwriter began posting songs on YouTube at a friend's behest. Soon after she began to accumulate a fan base, eventually including the head of Monotone Records, who, in tandem with the people at Jack Johnson's Brushfire Records, signed her to a deal. The resulting record is very much in tune with the Brushfire aesthetic, with a warm and cozy sound, intimate vocals, and a general feeling of calm. While her songwriting is strong and she dishes out many fine melodies and perfectly fine lyrics, the real draw is Avi's vocals. Breathy, quiet, and sweet as spring, yet never wandering into cutesy territory, she hooks the listener in right away and never lets go. Songs like "Honey Bee," "Monte," and "First of the Gang to Die" are probably the most beguiling on the album, as they feature only Avi with guitar backing her vocals, but the instrumentation on the remainder never gets in the way (as you might expect from a Brushfire release). It's a very promising debut by an artist who already seems in total control of her gift; the trick now is to maintain the momentum and keep making records this good. ~ Tim Sendra https://www.allmusic.com/album/zee-avi-mw0000814914

Zee Avi

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Kevin Hays Quintet - Sweet Ear

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 55:16
Size: 128,7 MB
Art: Front

(9:26)  1. Neptune
(6:39)  2. Sweetear
(4:09)  3. Fun
(6:06)  4. Almost Always
(6:23)  5. You And The Nigth And The Music
(7:09)  6. Beatrice
(6:57)  7. Lonely Woman
(8:23)  8. Judgement

A talented pianist, Kevin Hays grew up in Connecticut and started lessons when he was seven. He made his recording debut with Nick Brignola; toured with the Harper Brothers (1989-1990); and worked with Joshua Redman, Benny Golson, Donald Harrison, Roy Haynes, and Joe Henderson, among others. Kevin Hays recorded three albums with Bob Belden, and in 1994 cut his first record as a leader, Seventh Sense (Blue Note). ~ Scott Yanow https://www.allmusic.com/artist/kevin-hays-mn0000082897/biography

Personnel: Piano – Kevin Hays; Alto Saxophone, Soprano Saxophone – Vincent Herring; Bass – James Genus; Drums – Joe Chambers; Trumpet – Eddie Henderson

Sweet Ear

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Shelly Manne - Li'l Abner

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 40:24
Size: 93,5 MB
Art: Front

(3:13)  1. Jubilation T Cornpone
(4:35)  2. The Country's In The Very Best of Hands
(2:48)  3. If I Had My Druthers
(5:01)  4. Unnecessary Town
(4:35)  5. Matrimonial Stomp
(3:30)  6. Progress Is the Root of All Evil
(4:25)  7. Oh Happy Day
(5:43)  8. Namely You
(6:29)  9. Past My Prime

Breaking stride with many of his jazz contemporaries, Shelly Manne always had an ear attuned toward popular entertainment. In the 1950s, Broadway musicals, film scores and television shows were the fodder of the day and the drummer regularly mined these sources for material. The Contemporary label was ready and willing to release the results of these jazz commercial music hybrids. Just reference the clutch of Manne-led dates that yielded albums such as My Fair Lady, Peter Gunn and the recently reissued Checkmate. The former session marked the first meeting of trio dubbed The Friends with Previn, an in-demand Hollywood composer, and Vinnegar, a first-string walking bassist, rounding out the ranks. For their sophomore musical effort The Friends chose the Mercer and Paul musical Li’l Abner, based loosely on the Al Capp comic strip of the same name. The album’s cover revels in the classic kitsch of the period, picturing Manne in Abneresque overalls and ill-fitting Izod shirt, awkwardly lugging his drums and being chased by an especially buxom Daisy Mae. The musical itself updated the simple story of bumpkin Abner and the other residents of Dogpatch, USA with ominous Atomic Age overtones. Manne affects a similar modernistic touch on the trite at times songbook. 

Funky syncopations infuse the opener “Jubilation T. Cornpone,” as Previn builds with near gospel-like block chords. Manne’s whispering brushes are a blur and Vinnegar speed walks right down the center creating a solid harmonic anchor. Forwarding the rustic feel further, “The Country’s in the Very Best of Hands” builds from a ballad tempo on the sparse cymbal play from of the leader. Conversely, the trio tackles “If I Had My Druthers” at a sprinter’s pace, lighting a fire from crackling rhythmic tinder. Manne’s brushes are again a wonder, but it’s really Vinnegar’s chance to show how fast his fingers can race across the strings. The bassist’s throbbing, sparsely voiced notes on the mellow “Unnecessary Town” contrast beautifully with his earlier enthusiasm. Previn turns to delicate celeste after a stately piano prelude, and it’s a move that adds music box color to the trio sound. Rolling funk returns for the robust “Matrimonial Stomp” with Previn leaping from the dark to light poles of his keyboard and in the process summoning a startling range of emotional hues. “Oh, Happy Day” offers the biggest surprise of the date as Manne and the pianist suddenly shift gears from chordal to free improvisation. Jockeying through the brisk theme advanced by the drummer’s Latin beat, the trio suddenly disperses and its sticks and ivories in a darkly-tinged matching of wits that sounds far more like modern-day Jarrett and DeJohnette than something from an obscure '50s musical soundtrack. Beat and theme return abruptly, and it’s as if the fleeting leap forward into the future was only a figment of the imagination. Tipping their hats in a farewell to Dogpatch, the Friends hit the trail out of town on the laidback lope of “Past My Prime.” Manne had an uncanny knack for wedding the modern to the popular and making it pleasing to the palate, in a manner akin to Sonny Rollins. His Contemporary albums are littered with these kinds of experiments and this one is no exception. Li’l Abner the musical may not have performed well at the box office, but in Manne’s capable hands its credentials as a vehicle for jazz improvisation are convincingly proven. ~ Derek Taylor https://www.allaboutjazz.com/lil-abner-shelly-manne-contemporary-review-by-derek-taylor.php

Personnel:  Shelly Manne - drums; André Previn - piano; Leroy Vinnegar - bass

Li'l Abner

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Tim Kliphuis - Counterpoint Swing

Styles: Violin Jazz
Year: 2008
File: MP3@320K/s
Time: 45:45
Size: 105,9 MB
Art: Front

(2:45)  1. Sheba's Tiger
(3:32)  2. Sugar Plum Blues
(3:26)  3. Counterpoint Swing
(3:56)  4. Django
(5:05)  5. The Moldau
(3:55)  6. Solveig's Song
(4:01)  7. Red Rose Calypso
(3:02)  8. Pent Up House
(2:41)  9. Waltzin' Mathilda
(3:14) 10. Erbarme Dich
(2:48) 11. Canon in D
(4:49) 12. You Are the Sunshine of My Life
(2:30) 13. Caprice No. 24

Dutchman Tim Kliphuis ranks among the world's finest jazz violinists. He takes Stéphane Grappelli's legacy into the 21st Century by infusing Gypsy Swing with Folk and Classical music.

"Stephane Grappelli's style is alive and well in the hands of Tim Kliphuis" ~  Nigel Kennedy

Think Stephane Grappelli, Frankie Gavin, Yehudi Menuhin, Slam Stewart, Django Reinhardt and Oscar Peterson all thrown together and you get an idea of Tim’s musical style. It's Jazz, Folk and Classical tunes in one"swingy, zingy mix" (Glasgow Herald) that is fresh and new but appeals to everyone.

"Ear-caressing" ~ Sir John Dankworth

After touring and recording with gypsy jazz guitarists Fapy Lafertin, Angelo Debarre and Stochelo Rosenberg, Tim moved on to create his own unique style which got him concerts all over the world in venues ranging from jazz clubs and concert halls to Swing and Classical festivals. He worked with Les Paul, Frankie Gavin, Martin Taylor, Bucky Pizzarelli, Martin Hayes and Jay Ungar.

"This was a charming, uplifting performance from a future great. Kliphuis’s music will take you back to a simpler point in time. He has the world at his feet ... check him out." ~ Scotsman

As a continental swing jazz educator, Kliphuis hosts Jazz Violin Workshops around the globe and was featured in several editions of Fiddler Magazine. His Tuition Book about Grappelli's style is scheduled to appear with Mel Bay Publications in 2008 and a first DVD is in the making.

“Kliphuis plays with an astonishingly fluid versatility, incorporating funky slurs, whooping hoedown flourishes" Time O. https://store.cdbaby.com/cd/timkliphuis3

Personnel:  Tim Kliphuis: violin; Nigel Clark: premier Scots guitarist; Roy Percy: virtuoso bassist

Counterpoint Swing

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Lester Young & Harry 'Sweets' Edison - Pres And Sweets

Styles: Saxophone And Trumpet Jazz 
Year: 1955
File: MP3@320K/s
Time: 47:32
Size: 109,5 MB
Art: Front

(7:15)  1. Mean To Me
(5:12)  2. Red Boy Blues
(5:14)  3. Pennies For Heaven
(4:35)  4. That's All
(5:19)  5. One O'clock Jump
(8:24)  6. She's Funny That Way
(5:38)  7. It's The Talk Of The Town
(5:52)  8. I Found A New Baby

This 1955 session could really be termed a reunion date. The tenor saxophonist and trumpeter had worked together in the Count Basie Orchestra , Harry Edison for 17 years and Lester Young for seven of those. Together again, these two jazz giants revive the musical rapport they first developed in the Basie band. 

Young and Edison's approach on this session reflects their tenure with Basie; for example, it was common for Young to solo followed directly by Edison in the Basie days, and they follow that same plan here. The two horn players perform a swinging, rousing version of the Count's legendary "One O'Clock Jump," which features superb solos by pianist Oscar Peterson and drummer Buddy Rich, both legends in their own right. Other highlights on Pres & Sweets include the subtle "Pennies from Heaven" and the lovely ballad, "It's the Talk of the Town," the latter of which displays Herb Ellis' delicate guitar stylings and Pres' beautiful light and airy tone. ~ Rovi Staff https://www.allmusic.com/album/pres-and-sweets-mw0000264791

Personnel: Harry Edison - trumpet; Lester Young - tenor saxophone; Oscar Peterson - piano; Herb Ellis - guitar; Ray Brown - bass; Buddy Rich - drums

Pres And Sweets

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Carol Sloane - Sweet & Slow

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 55:35
Size: 128,2 MB
Art: Front

(3:37)  1. Sometime Ago
(3:51)  2. One Morning In May
(4:32)  3. I'm Way Ahead Of The Game
(5:30)  4. I'm Getting Sentimental Over You
(4:18)  5. Until I Met You
(5:55)  6. Sweet And Slow
(3:51)  7. You're Getting To Be A Habit With Me
(3:41)  8. A Woman's Intuition
(4:56)  9. Baubles, Bangles And Beads
(5:10) 10. An Older Man Is Like An Elegant Wine
(3:15) 11. If I Could Be With You One Hour Tonight
(6:53) 12. I Got It Bad And That Ain't Good

After too many years in obscurity or out of music altogether, Carol Sloane's renaissance began in 1988 with her first of two albums for the Contemporary label. This was succeeded by a long string of consistently enjoyable Concord releases, of which this was the second one. This time around, she is assisted by pianist Stefan Scaggiari, bassist John Lockwood, drummer Colin Bailey and, on four of the dozen numbers, Frank Wess on tenor and flute. Sloane pays tribute to Lee Wiley on "A Woman's Intuition" and sounds very close to Ella Fitzgerald on "Sweet and Slow"; she uplifts such numbers as Hoagy Carmichael's "One Morning In May," "Baubles Bangles and Beads," "An Older Man Is Like an Elegant Wine," and in a classic version, "I Got It Bad." Recommended. ~ Scott Yanow https://www.allmusic.com/album/sweet-slow-mw0000621553

Personnel: Carol Sloane - vocals; Stefan Scaggiari - piano; John Lockwood - bass; Colin Bailey - drums.

Sweet & Slow

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Sonny Criss - Go Man

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 39:47
Size: 92,4 MB
Art: Front

(4:04)  1. Summertime
(3:49)  2. Memories Of You
(2:45)  3. Whalin' With Joe
(3:01)  4. How Deep Is The Ocean
(2:33)  5. The Blues For Rose
(3:20)  6. The Man I Love
(4:03)  7. Until The Real Thing Comes Along
(2:38)  8. Blue Prelude
(3:42)  9. After You've Gone
(3:52) 10. Come Rain Or Come Shine
(3:10) 11. How High The Moon
(2:44) 12. If I Had You

By the mid-'50s, William "Sonny" Criss was maturing as a significant voice on the alto saxophone. Heavily influenced by Charlie Parker, much of Criss' earlier output was plagued by a hurried time feel, awkward phrasing and an uncomfortably tense vibrato. Go Man!, one of three dates he did for the Imperial label, showcases a confident, energetic Criss on ten standard tunes and two original lines. This hard-to-find collection is a must-have for fans of pianist Sonny Clark, heard in fine form (a bit more aggresive and "on top of the beat" than usual) along with the very coherent team of bassist Leroy Vinnegar and drummer Lawrence Marable. Only 24 years old at the time of recording, Clark had recently settled in California and was establishing himself as an inspired accompanist and soloist with the groups of Buddy DeFranco and Howard Rumsey. Clark's piano introduces nearly every cut on this recording, and his crisp, inventive soloing is a perfect compliment for Criss' brightly expressive, lightening quick lines. Overall, a lively assortment of concisely rendered, boppish treatments. ~ Lee Bloom https://www.allmusic.com/album/go-man%21-mw0000471629

Personnel: Saxophone [Alto] – Sonny Criss; Bass – Leroy Vinnegar; Drums – Lawrence Marable; Piano – Sonny Clark

Go Man

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Bobby McFerrin - Beyond Words

Styles: Vocal, Keyboards, Jazz
Year: 2002
File: MP3@320K/s
Time: 55:43
Size: 129,7 MB
Art: Front

(7:10)  1. Invocation
(3:40)  2. Kalimba Suite
(4:28)  3. A Silken Road
(4:39)  4. Fertile Field
(2:15)  5. Dervishes
(5:20)  6. Ziggurat
(1:22)  7. Sisters
(1:14)  8. Circlings
(1:30)  9. Chanson
(4:01) 10. Windows
(4:08) 11. Marlowe
(2:40) 12. Mass
(2:11) 13. Pat And Joe
(4:22) 14. Taylor Made
(3:47) 15. A Piece, A Chord
(2:48) 16. Monks/The Shepherd

How does one write about the ineffable? It is, after all, Beyond Words ... We must, however, reflect on Bobby McFerrin’s Beyond Words. There is a certain degree of serendipity in the fact that this recording is being capitalized upon, in the best economic system the world has ever known, through the marketing efforts of both Blue Note and Angel Records as in Classical music, the "grace note" is what in Jazz is known as a "blue note." Beyond Words is an album from the world to the world, encompassing the fleeting hallowedness that structures the allure and effect of a graceful blue note. Hence, it is not for the faint of sensibility and intelligence. Although not a difficult work, without recurring to popish sentimentality or facility in its accessibility, it does require a certain level of engagement in order to disengage the listener from preconceptions and expectations that would mar the delight on musical idioms beyond any evocative or explanatory measure. McFerrin’s latest is “deep,” as musicians are fond of saying when referring to outstanding music. It would be rather tempting to play a game of “Where’s Waldo?” when trying to document the various musical, cultural or aesthetic influences present in this compact disc, although that would be infelicitous and beside the point. 

As mentioned before, this is an album from the world to the world. Creative, or so-called creative endeavors, nonetheless, often times end up as mere masturbatory efforts that have more to do with inbred narcissism than true originality. McFerrin is not affianced in self-pleasure in this Blue Note/Angel release. He wants to gratify his audience with an anointing dipped into one of the widest palettes available for worldwide consumption in contemporary musical markets. Beyond Words has a wide and fun emotional range that swings in saintly depth. The arrangements, vocalizations, and compositions, as well as the performances of the musicians, have a refreshing sense of cultural innocence and curiosity in their tales. With the exception of “Windows,” a Chick Corea composition, reinterpreted here in historical fashion by McFerrin, the rest of the oeuvre was penned by him. Having Corea playing in this recording was a prudent decision as he has an authentic and imaginative record of accomplishment in various musical worlds. The same is true of most of the rest of the crew that gave rise to the beautiful blessing that is Beyond Words. McFerrin’s latest also hits the mark with the integrity of the 16 pictorials poured in this recording. From the short-lived “Circlings,” to the beefier “Invocation,” Beyond Words manages to say what needs saying without recourse to vocal or instrumental logorrhea. The whole of Beyond Words is known through its wholesome parts, duration notwithstanding. All told, Beyond Words says a lot. You had better listen...~ Javier AQ Ortiz https://www.allaboutjazz.com/beyond-words-bobby-mcferrin-review-by-javier-aq-ortiz.php

Personnel: Bobby McFerrin: Vocals, Keyboards;  Richard Bona: Bass; Cyro Baptista: Percussion; Chick Corea: Piano & Keyboards; Gil Goldstein: Accordion & Fender Rhodes; Omar Hakim: Drums; Taylor McFerrin: Beatbox; Keith Underwood: Flutes.

Beyond Words

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Joan Chamorro, Carla Motis - Joan Chamorro Presenta Carla Motis

Styles: Vocal And Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 71:10
Size: 165,1 MB
Art: Front

(4:11)  1. As Long as I Live
(4:42)  2. He Ain´t Got Rhythm
(3:52)  3. Peggy´s Blue Skylight
(5:33)  4. Everything Happens to Me
(5:19)  5. O Grande Amor
(3:34)  6. Dance for Daddy
(5:12)  7. It Had to Be You
(4:25)  8. I'll Wind
(6:10)  9. Afro Blue
(4:49) 10. What´s New?
(4:30) 11. Doodlin´
(4:48) 12. Chelsea Bridge
(5:18) 13. When It´s Sleepy Time Down South
(3:44) 14. Minor League
(4:56) 15. Saudades da Guanabara

Thirteen years of jazz and 12 "Joan Chamorro presents ...", in this case Carla Motis, who joined the Sant Andreu Jazz Band in 2008, with 11 years, and who has been the only guitarist who has formed part of the band. As Freddie Green in Count Basie's bigband, Carla Motis, discreetly, during all these years, has given a special sound to the rhythm section. His time, every day that passed, was more solid, her "compings" supported the soloists that were emerging and she remained in the background, but with a great rhythmic and harmonic contribution. My work in the context of the Sant Andreu Jazz Band has been to try, not so much to teach music properly, but also to transmit my passion for it. Making young people who start at an early age see that devoting themselves to music, specifically Jazz, is something wonderful and worth spending part of our time. On the other hand, I understand that all students are different and that their times in the learning processes and giving light to their creativity and what they are learning and assimilating, are also so. Carla Motis is, for me, and I say it with great satisfaction, the realization that work, perseverance, patience and believing in something have their morereward. Carla Motis, discreetly but in a continuous evolution, begins, three or four years ago, to surface with her improvisations, little by little, timidly, with a coherent discourse, beyond her rhythmic function. 

A speech based on bebop, with references such as Charlie Christian, Grant Creen or Wes Montgomery, and all this with a work supervised with great success by his teacher and collaborator in many of my projects, Josep Traver. And growing and enjoying every day of its evolution, comes this CD, in which we can listen to Carla's wonderful phrasing, as well as a beautiful sound and a coherent and increasingly original speech. One of the things I would like to highlight especially is the incredible time and swing that characterizes it. "Carla is coming", and never stop, because I am convinced that Carla has a lot to tell us with her voice, with the voice of her guitar, because both are the same, and merge, how can it be otherwise in it, a wonderful artist ... Translate By Google https://santandreujazzband.bandcamp.com/album/joan-chamorro-presenta-carla-motis

Joan Chamorro Presenta Carla Motis

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Donald Byrd - Blackjack

Styles: Trumpet Jazz
Year: 1967
File: MP3@320K/s
Time: 40:37
Size: 93,6 MB
Art: Front

(6:16)  1. Blackjack
(5:20)  2. West Of The Pecos
(5:55)  3. Loki
(8:02)  4. Eldorado
(5:27)  5. Beale Street
(5:00)  6. Pentatonic
(4:34)  7. All Members

One of three Donald Byrd albums from 1967 (the end of his hard bop period), this recording features the trumpeter/leader with altoist Sonny Red, tenor saxophonist Hank Mobley, pianist Cedar Walton, bassist Walter Booker, and drummer Billy Higgins. The six tunes (five of which are originals by Byrd or Red) are all quite obscure and to one extent or another quite explorative. One can sense that Byrd wanted to break through the boundaries and rules of hard bop but had not yet decided on his future directions. The music does swing and highlights include "West of the Pecos" and "Beale Street"; Byrd and Red in particular are in excellent form throughout the date. ~ Scott Yanow https://www.allmusic.com/album/blackjack-mw0000032341

Personnel: Trumpet – Donald Byrd;  Alto Saxophone – Sonny Red; Bass – Walter Booker; Drums – Billy Higgins; Piano – Cedar Walton; Tenor Saxophone – Hank Mobley

Blackjack

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Joey DeFrancesco - The Street of Dreams

Styles: Jazz, Hard Bop
Year: 2005
File: MP3@320K/s
Time: 55:07
Size: 126,9 MB
Art: Front

(3:08)  1. How Little We Know
(3:42)  2. Twisted Blues
(6:02)  3. Incognito
(3:20)  4. Stop Leading Me On
(6:29)  5. Black Nile
(3:53)  6. The Street of Dreams
(6:05)  7. Puttin' on the Ritz
(5:45)  8. Moanin'
(4:03)  9. I Wish You Love
(7:07) 10. A Real Goodun'
(5:28) 11. What's New

Organist Joey DeFrancesco switched to a small label for this release. He is featured with his regular trio (with guitarist Paul Bollenback and drummer Byron Landham), guest bassist Keter Betts, and a six-piece horn section arranged by Horace Ott. Most unusual about this set is that DeFrancesco is also heard on piano, trumpet, and vocals. Unfortunately, his singing is more heartfelt than musical and brings down the value of the record. However, DeFrancesco's organ playing is as strong as ever and he is an underrated trumpeter most influenced by Miles Davis. Among the better selections are Wes Montgomery's "Twisted Blues," Wayne Shorter's "Black Nile," and "Moanin'." 

~ Scott Yanow https://www.allmusic.com/album/the-street-of-dreams-mw0000179292

Personnel: Organ – Joey DeFrancesco; Bass – Keter Betts; Bass Trombone – Dudley Hinote; Drums – Byron Landham; Guitar – Paul Bollenback; Saxophone – Pete Berrenbregge; Trombone – Doug Elliott , Rick Lillard; Trumpet – Bruce Gates, Rick Sigler

The Street of Dreams

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David Binney, Alan Ferber - In The Paint

Styles: Saxophone And Trombone Jazz
Year: 2009
File: MP3@320K/s
Time: 59:30
Size: 137,7 MB
Art: Front

(5:08)  1. Growin' Up
(6:03)  2. In The Paint
(5:34)  3. Everybody's Wonderland
(2:04)  4. Interlude I
(7:03)  5. Paris
(6:01)  6. Edinburgh
(4:43)  7. Ice Cave
(1:39)  8. Interlude II
(6:02)  9. La Taqueria
(5:06) 10. Magnolia
(1:27) 11. Lautir
(1:58) 12. Interlude III
(6:36) 13. Our Inventions

With an influence felt, perhaps, as much or more in the work of others than in his own record sales, alto saxophonist David Binney rarely co-leads groups, but his longstanding collaboration with pianist Edward Simon has been fruitful in more ways than one. Sharing compositional and conceptual duties frees him to focus more on his playing, and that's always a good thing, as Binney's innovative writing has sometimes overshadowed the fact that he's also a damn fine performer. Co-leading brings even greater breadth to the table, making In the Paint a first-time shared leadership with trombonist Alan Ferber another inspired pairing. Nearly 15 years Binney's younger, Ferber has been increasingly in the public eye on guitarist Charlie Hunter's succinct Gentlemen, I Neglected to Inform You You Will Not Be Getting Paid (Spire, 2010), bassist Todd Sickafoose's remarkable Tiny Resistors (Cryptogramophone, 2008) and percussionist/composer John Hollenbeck's equally outstanding Eternal Interlude (Sunnyside, 2009). He also guested on Binney's last album with Simon, Océanos (Criss Cross, 2007), but with In the Paint his voice is more definitive splitting compositional duties with Binney nearly down the middle, alongside an uncovered gem and three freely improvised alto/trombone duets that demonstrate the leaders' shared propensity for pulling surprising form from the ether. 

Despite being instantly recognizable, Binney's writing remains fresh and unpredictable. With a septet also featuring the twin-chordal attack of pianist John Escreet and vibraphonist Peter Schlamb, and a rhythm section powered by bassist Thomas Morgan and drummer Gerald Cleaver, the opening "Growin' Up" combines mixed meters and unhurried motivic development, built around unison lines that give way to knotty counterpoint, creating a propulsive, mid-tempo context for Binney's needle-threading solo. Ferber's title track is equally intricate, a syncopated bass line doubled by Escreet underpinning warm voicings and an equally unhurried melody that sets up an exhilarating alto solo that reaches comfortably into the horn's upper register before Ferber takes over, his burnished tone possessing a hint of grit as he lithely winds his way through the changes. Cleaver and Morgan swing with gentle authority on Binney's "Everybody's Wonderland," shifting seamlessly between 5/8 and 6/8, while Escreet takes a lengthy solo that confirms his status as another young player to watch. Schlamb, another up-and-comer, delivers an ethereal solo, filled with cascading lines, on Binney's "Paris," where darker colors support its serpentine melody. Unencumbered by preconception, Binney and Ferber engage on three spontaneous miniatures: the vivacious "Interlude I"; sparer "Interlude II"; and "Interlude III," where the two orbit around each other, occasionally intersecting. "Lautir" by the perennially overlooked woodwind multi-instrumentalist Makanda Ken McIntyre, best-known for his work with Eric Dolphy and Charlie Haden's Liberation Music Orchestra becomes a brief feature for Cleaver. Binney and Ferber's shared appreciation for complex yet eminently accessible writing performed by an ensemble rich in texture and a simmering rather than steaming approach makes In the Paint a captivating listen. A strong addition to Binney's discography, it's also clear notice that Ferber is an artist to watch beyond his inestimable appearances as a sideman. ~ John Kelman https://www.allaboutjazz.com/in-the-paint-david-binney-posi-tone-records-review-by-john-kelman.php

Personnel: David Binney: alto saxophone; Alan Ferber: trombone; John Escreet: piano; Peter Schlamb: vibes; Thomas Morgan: bass; Gerald Cleaver: drums.

In The Paint

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Tim Kliphuis - Live In Glasgow

Styles: Violin Jazz
Year: 2007
File: MP3@320K/s
Time: 57:01
Size: 132,3 MB
Art: Front

(4:43)  1. Ain't Misbehavin'
(3:41)  2. Danny Boy
(3:47)  3. Loch Lomond
(5:16)  4. Wave
(4:20)  5. Sweet Georgia Brown
(4:32)  6. Embraceable You
(3:47)  7. Isn't She Lovely
(5:18)  8. Skye Boat Song / the Deil Among the Tailors
(5:29)  9. A Nightingale Sang in Berkeley Square
(4:25) 10. The Orange Rogue
(3:38) 11. Hallelujah!
(3:16) 12. I Only Have Eyes for You
(4:45) 13. Caravan

Dutchman Tim Kliphuis ranks among the world's finest jazz violinists. He takes Stéphane Grappelli's legacy into the 21st Century by infusing Gypsy Swing with Folk and Classical music. "Stephane Grappelli's style is alive and well in the hands of Tim Kliphuis" ~ Nigel Kennedy

Think Stephane Grappelli, Frankie Gavin, Yehudi Menuhin, Slam Stewart, Django Reinhardt and Oscar Peterson all thrown together and you get an idea of Tim’s musical style. It's Jazz, Folk and Classical tunes all thrown together in one "swingy, zingy mix" (Glasgow Herald) that is fresh and new but appeals to everyone. "Ear-caressing" ~ Sir John Dankworth

After touring and recording with gypsy jazz guitarists Fapy Lafertin, Angelo Debarre and Stochelo Rosenberg, Tim moved on to create his own unique style which got him concerts all over the world in venues ranging from jazz clubs and concert halls to Swing and Classical festivals. He worked with Les Paul, Frankie Gavin, Martin Taylor, Bucky Pizzarelli and Jay Ungar. "This was a charming, uplifting performance from a future great. Kliphuis’s music will take you back to a simpler point in time. He has the world at his feet ... check him out." ~ Scotsman

As a continental swing jazz educator, Kliphuis hosts Jazz Violin Workshops around the globe and was featured in several editions of Fiddler Magazine. His Tuition Book about Grappelli's style is scheduled to appear with Mel Bay Publications in 2008 and a first DVD is in the making. “Kliphuis plays with an astonishingly fluid versatility, incorporating funky slurs, whooping hoedown flourishes" Time Out https://store.cdbaby.com/cd/timkliphuis

Personnel: Tim Kliphuis: violin; Nigel Clark: premier Scots guitarist; Roy Percy: virtuoso bassist

Live In Glasgow

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Rebecca DuMaine, Dave Miller Combo - Chez Nous

Styles: Vocal And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 56:46
Size: 131,2 MB
Art: Front

(4:42)  1. When in Rome
(3:52)  2. So Danca Samba
(4:19)  3. I've Never Been in Love Before
(2:59)  4. Everything I Got Belongs to You
(3:12)  5. Chez Moi
(4:55)  6. I Didn't Know What Time It Was
(3:55)  7. Tangerine
(3:02)  8. Yesterday
(3:37)  9. You're Getting to Be a Habit with Me
(4:21) 10. Just the Two of Us
(4:29) 11. Give Me the Simple Life
(5:09) 12. Alice in Wonderland
(4:31) 13. Do It the Hard Way
(3:37) 14. Que Reste-T-Il/i Wish You Love

Jazz vocalist Rebecca Dumaine is the daughter of pianist Dave Miller and they collaborate for a generous program of mostly standards, several done rather inventively. Joining are bassist Chuck Bennett, drummer Bill Belasco, and on eight of the 14, guitarist Brad Buethe. This is Bay Area’s Dumaine’s fifth CD. Her father has led his own piano trio, with whom Dumaine often works, in the area since the 70s. Two things are immediately striking upon listening to the opening playful “When In Rome.” Dumaine has perfect phrasing, tone and articulation while Miller’s deft touch evokes George Shearing. Jobim’s “So Danco Samba” follows where Dumaine sings in Portuguese. “I’ve Never Been In Love Before”(usually performed as a ballad) is taken in medium tempo and “Everything I’ve Got Belongs to You” is ramped up to a cooking tempo. Dumaine clearly understands every lyric she sings, and if you listen carefully, you can hear her hanging on to or accentuating certain words as she sings. She sings “Chez Moi” in French and beautifully presents an extended version with a rarely heard verse in “I Didn’t Know What Time It Was,” featuring economic solos from Miller, Bennett and Buethe. “Tangerine” is Latin flavored, leading into an emotive father-daughter piano-vocal duet reading of Lennon and McCartney’s “Yesterday.” “You’re Getting To Be a Habit With Me,’ the 50s standard was inspired by the Frank Sinatra and Elaine Elias recordings as Dumaine and combo put a fresh spin on it. They do Bill Withers’ “Just the Two of Us” in the style of Grover Washington Jr., swinging a bit harder with soulful piano and guitar solos. 

They swing on “Give Me the Simple Life” and transform the waltz “Alice in Wonderland” into 4/4 time with improvisations and joyful vocals. “Do It the Hard Way” is an obscure Rodgers and Hart tune, partly inspired by Chet Baker’s version, with piano/drums dialogue and wordless singing during the second vocal. Dumaine sings in both English and French in the animated closer “Que Beste-l-il/I Wish You Love.” Miller comments on the project – This was our most relaxed recording. We were able to go for it more and stretch the music,” Rebecca adds, “The overall tone of the CD is light, playful and engaging rather than being traditional love songs. We love discovering gems from the American songbook that are not overplayed and that we can make into something new.” Some say the Great American Songbook is overplayed ad nauseum. The truth is that there is so much great material there, aside from the same old tunes we usually hear. Many lend themselves to more inventive interpretation as represented here. This will put a smile on your face. While it may not stun you, there’s nothing not to like. 

~ Jim Hynes https://www.makingascene.org/rebecca-dumaine-and-the-dave-miller-combo-chez-nous/

Personel: Rebecca DuMaine - Vocal; Dave Miller - Piano; Chuck Bennett -Bass; Bill Belasco -Drums; Brad Buethe - Guitar

Chez Nous

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