Ahmed Abdullah - Ahmed Abdullah And The Solomonic Quintet

Styles: Vocal And Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 53:05
Size: 121,9 MB
Art: Front

(7:08) 1. African Songbird
(5:00) 2. Gypsy Lady
(6:52) 3. The Search
(4:57) 4. Canto II
(7:19) 5. Khaluma
(7:30) 6. The Dance We Do
(5:34) 7. Wishbone Suite
(8:42) 8. The Dance We Do (Take 1)

Trumpeter Ahmed Abdullah sprays around dissonant solos and spearheads an often frenzied set that was his second release for Silkheart. The lineup was exceptional, notably the powerful tenor saxophonist David S. Ware, dynamic bassist Fred Hopkins, and underrated drummer Charles Moffett.~ Ron Wynn https://www.allmusic.com/album/ahmed-abdullah-and-the-solomonic-quintet-mw0000265789

Personnel: Ahmed Abdullah – trumpet, flugelhorn, voice; David S. Ware – tenor saxophone; Masuhjaa – guitar; Fred Hopkins – bass; Charles Moffett – drums

Ahmed Abdullah And The Solomonic Quintet

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Eli Degibri - Emotionally Available

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 54:33
Size: 125,8 MB
Art: Front

(6:02) 1. Song For a Sad Movie
(6:25) 2. Big Fish
(7:46) 3. Like Someone In Love
(5:41) 4. Mika
(7:18) 5. Pum-Pum
(4:05) 6. Giant Steps
(5:36) 7. Wild Wide East
(6:10) 8. Mmmaya
(5:24) 9. Emotionally Available

Saxophonist Eli Degibri attended the Berklee College of Music and the Thelonious Monk Institute of Jazz Performance at New England Conservatory, from which he graduated with honors. For three years, he toured worldwide with the Grammy-award winning Herbie Hancock and his Sextet. Degibri currently performs and tours with the legendary drummer Al Foster, the Charles Mingus Big Band, as well as the Eli Degibri Quintet. His acclaimed debut CD, In the Beginning, was released in 2004. Emotionally Available is his second release for Fresh Sound Records. https://www.freshsoundrecords.com/eli-degibri-albums/4471-emotionally-available.html

Personnel: Eli Degibri - tenor saxophone, soprano saxophone; Aaron Goldberg - piano, fender rhodes; Ben Street - bass; Jeff Ballard - drums; Ze Mauricio - pandeiro

Emotionally Available

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Veronica Swift - This Bitter Earth

Styles: Vocal
File: MP3@320K/s
Time: 61:14
Size: 141,1 MB
Art: Front

(4:27) 1. This Bitter Earth
(4:11) 2. How Lovely to Be a Woman
(5:16) 3. You've Got to Be Carefully Taught
(6:19) 4. Getting to Know You
(4:50) 5. The Man I Love
(4:25) 6. You're the Dangerous Type
(5:20) 7. Trust in Me
(2:11) 8. He Hit Me (And It Felt Like a Kiss)
(4:56) 9. As Long as He Needs Me
(2:54) 10. Everybody Has the Right to Be Wrong
(4:16) 11. Prisoner of Love
(6:21) 12. The Sports Page
(5:44) 13. Sing

With This Bitter Earth, 26-year-old Veronica Swift casts aside her designated trajectory as the next great up-and-coming pure-jazz singer to embrace something grander, more pop-oriented and profound. The daughter of late pianist Hod O’Brien, Swift belted her first album out of the club as a precocious nine-year-old. Four albums later, Confessions cemented her rep as a jazz lioness with a pure tone, large lungs, a knowing sense of repertoire, and sure swing style. JazzTimes readers rewarded her with 2019 Best New Artist and Best Vocal Release poll wins.

Perhaps more naturally than everyone’s current favorite, Cécile McLorin Salvant, Swift occupies classic standards like a young Anita O’Day. But This Bitter Earth finds her pushing beyond cloistered jazz boundaries, recalling the sunny, big-throated readings of Eydie Gormé allied to the sincerity and tone of Broadway vocalist Jessie Mueller. She still thrills with Songbook nuggets (“As Long as He Needs Me,” “The Man I Love”), but restless as any 20-something vocalist aware of Lady Gaga and Billie Eilish, Swift shows her further ambitions in non-ironic takes of Goffin and King’s “He Hit Me (And It Felt Like a Kiss)” and the Ann-Margret vehicle “How Lovely to Be a Woman.” She boldly addresses the songs as they were intended—which is arguably a gutsier stance on pre-feminist material than that of Salvant, who revels in overturning a song’s intended meaning.

Elsewhere, “Everybody Has the Right to Be Wrong” rescues the cha-cha from semi-obscurity, while “Prisoner of Love” is languorous and rich, Swift wrapping herself around the melody like a Broadway diva. The gently unfurling “Sing” closes the record and returns Swift to what she does best, enchanting the listener with whispered caresses and elastic phrases that are as powerful as they are enticing.~ By Ken Micallef https://jazztimes.com/reviews/albums/veronica-swift-this-bitter-earth-mack-avenue/

This Bitter Earth

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Gary Bartz - Monsoon

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 61:04
Size: 140,8 MB
Art: Front

( 7:29) 1. Samuel
( 7:52) 2. Never Never Land
(12:47) 3. Run Before the Sun
( 7:15) 4. Strode Rode
( 9:22) 5. Monsoon
( 7:57) 6. Soul Eyes
( 8:17) 7. Uncle Bubba

Gary Bartz has been known to many as a trail blazer in the music business from the moment he started playing with Art Blakey at his father’s jazz club in his hometown of Baltimore, MD to his own music throughout the 57 years as a professional musician. As if his Grammy Award© with McCoy Tyner in 2005 (‘Illuminations’) wasn’t enough to carve out a place for Bartz in the jazz genre, he has broken the mold with more than 40 solo albums and over 200 as a guest artist.Gary Bartz first came to New York In 1958 to attend the Julliard Conservatory of Music. Just 17 years old, Gary couldn't wait to come to the city to play and learn. “It was a very good time for the music in New York, at the end of what had been the be-bop era,” says Bartz. “Charlie Parker had passed away three years previously but Miles' group was in its heyday, Monk was down at the Five Spot, and Ornette Coleman was just coming to town. Things were fresh.” Back then, Gary could regularly be found drinking Cokes in the all ages “peanut gallery” of Birdland, enjoying a marathon bill of performers. “If I didn't have money to get in. I'd help somebody carry a drum and sneak in,” laughs Bartz. “I learned that early on."

Circa mid-'60s, the alto saxophonist - still in his early 20s - began performing throughout the city with the Max Roach/Abbey Lincoln Group and quickly established himself as the most promising alto voice since Cannonball Adderley. “In those days, we used to go by people's lofts and stay for weeks, just working on music,” says Gary. “Folks would all chip in and buy food, and one of us would cook. But there was always music, because people were dropping by at all hours. We didn't even think about it; that's just what we did. We were very unselfish about what we were writing because, after all, music doesn't belong to any one person. It belongs to the people, to everybody.”

With the splash of his New York debut solidly behind him, Bartz soon joined Art Blakey's Jazz Messengers. According to the story, Gary's parents owned a club in Baltimore, the North End Lounge. When his father hired Blakey for a gig, Gary grabbed the opportunity to fill a sax player vacancy in the band. After his performance that night, the young Bartz was officially hired to join the Jazz Messengers; in 1965, he would make his recording debut on Blakey's ‘Soulfinger’ album. From 1962-64, Gary joined Charles Mingus' Workshop and began practicing regularly with fellow members of the horn section, including Eric Dolphy. In 1968, Bartz began an association with McCoy Tyner, which included participating in Tyner's classic ‘Expansions and Extentions’ albums. Work with McCoy proved especially significant for Bartz because of the bandleader's strong connection to John Coltrane who Gary succinctly cites as a profound influence. During his first two years with Tyner, Gary was also touring with Max Roach and taking some time out to record on Max's Atlantic Records release, ‘Mermbers Don’t Get Weary’. “With Max, there was that bond with Charlie Parker,” declares Bartz. “Charlie Parker is why I play the alto saxophone.”

Bartz received a call from Miles Davis in 1970; work with the legendary horn player marked Gary's first experience playing electric music. It also reaffirmed his yen for an even stronger connection to Coltrane. In addition to working with Miles in the early '70s - including playing the historic Isle of Wight Festival in August, 1970 - Bartz was busy fronting his own NTU Troop ensemble. The group got its name from the Bantu language: NTU means unity in all things, time and space, living and dead, seen and unseen.Outside the Troop, Bartz had been recording as a group leader since 1968, and continued to do so throughout the '70s, during which time he released such acclaimed albums as, ‘Another Earth’, ‘Home’, ‘Music Is My Sanctuary’ and ‘Love Affair’, by the late '70s, he was doing studio work in Los Angeles with Norman Connors and Phyllis Hyman. In 1988, after a nine-year break between solo releases, Bartz began recording what music columnist Gene Kalbacher described as “Vital ear-opening sides,” on such albums as ‘Monsoon’, ‘West 42nd Street’, ‘There Goes The Neighborhood’, and ‘Shadows’.

Bartz followed those impressive works in 1995 with the release of his debut Atlantic album ‘The Red and Orange Poems’ a self-described musical mystery novel and just one of Gary's brilliantly conceived concept albums. Back when Bartz masterminded the much-touted ‘I’ve Known Rivers’ album, based on the poetry of Langston Hughes, his concepts would be twenty years ahead of those held by some of today's jazz/hip hop and acid jazz combos. So it continues with ‘The Blues Chronicles: Tales of Life’ A testimonial to a steadfast belief in the power of music to soothe, challenge, spark a crowd to full freak, or move one person to think. It adds up to a shoe box full of musical snapshots from a life lived and played with passion and stirred - with both joy and sadness - by the blues. Gary's release ‘Live at the Jazz Standard Volume 1 – Soulstice’ is the first of a series of recordings documenting his legendary, non-stop style, live performances. This initial release on his own OYO label bares testimony to Gary's continuing growth as a composer, group leader, and master of both the alto and soprano saxophones. A quartet session recorded in 1998, was followed by ‘Live at the Jazz Standard, Volume 2’ released in 2000, which features Gary's exciting Sextet. His follow up release ‘Soprano Stories’ Gary exclusively performed on the soprano saxophone in a studio quartet setting.br

His follow up album to the highly acclaimed Volume I of the Coltrane Files, Toa Of A Music Warrior, will be released in early 2015 along with his album honoring Woody Shaw entitled ‘Two MF’s’. Gary Bartz continues taken his rightful place in the pantheon of jazz greats and has his sight is set on releasing more music on his label OYO Records. https://musicians.allaboutjazz.com/garybartz

Personnel: Gary Bartz - alto saxophone, composer; Butch Lacy - piano; Clint Houston - bass; Billy Hart - drums.

Monsoon

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Ahmed Abdullah's Diaspora - Dedication

Styles: Vocal And Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 71:24
Size: 164,1 MB
Art: Front

(14:43) 1. Amanpondo
( 7:52) 2. Brazil One
( 5:15) 3. Song of the Force (take 4)
(10:35) 4. Deja's View
(11:21) 5. Song of the Holy Warrior
( 3:37) 6. La Vie en Rose
( 6:16) 7. Song of Love
( 4:24) 8. I'll be Seeing You
( 7:19) 9. Song of the Force (take 2)

In the annals of free jazz drumming names like Sunny Murray, Andrew Cyrille and Milford Graves often percolate to the top of the lists as the progenitors of the tradition. Equally important, if sometimes overshadowed is Charles Moffett, who as a member of Ornette Coleman’s trio with David Izenzon completed one of the most inspiring improvising collectives of the 60s. His achievements were by no means limited to this seminal group and his career stretched well into the decade of the 90s before his untimely passing. What does this capsule reflection on Moffett have to do with the disc at hand by Abdullah’s Diaspora? Actually a great deal. This is not your typical Spirit Room session (if there even is such a thing), in fact this isn’t your routine ‘free jazz’ date either. At its fundamental root this is the product of five men whose lives have been shaped and sustained by the legacy of a sixth- the indomitable Charles Moffett.

Paying praise on this disc is an incredible group comprised of some of the most vibrant voices in creative improvised music. Abdullah convened them not only to pay homage, but also to pour their individual interests into the pool and come up with a fresh nectar of sustaining musical expression. In this respect he largely succeeds building a variegated musical melange that bespeaks the group’s chosen name. The opening “Amanpondo” is built on a slippery calypso beat and segues through a succession of stellar solo statements by each of the players. Cody Moffett, Charles son, holds court on his father’s metal drum kit and builds a stentorian rhythmic presence that fit’s the piece’s ‘island flavor’ perfectly. “Brazil One” shifts the focus to another set of tropical sounds with a beautifully lyric prelude. The piece proper propelled again by Cody’s sensitive drumming drifts along with Abdullah’s robust vocal chant floating on top. Ward eventually moves to the front for a blissful melodic improvisation.

With “Deja’s View” the group takes a totally unexpected turn into hot buttered soul. The gently syncopated beat, mellifluous flute, muted brass and bulbous electric bass that round out the piece would not be out of place on Issac Hayes’ Shaft soundtrack. “Song of the Holy Warrior” builds up momentum rapidly from a rhythmic vamp based in Moffett’s brisk prefatory solo, before Abdullah, Ward and Masujaa spar in a spiraling landslide of cyclonic phrasings. Abdullah takes a well-meaning, but somewhat raspy singing turn on the reading of “La Vie En Rose,” a tune powered largely by Masujaa’s iridescent chording. On “Song of Love” Ward’s shares the spotlight with Abdullah weaving a beautiful spell on dulcet alto that bookends his partner’s sweetly muted brass. Blake gets his chance too, on “I’ll Be Seeing You” his muscular strums and plucks take center stage. Tributes, particularly musical ones, can be a tricky enterprise and reconciling a reverence for the dedicatee with one’s own creative vision is often a delicate balance. Abdullah and his bandmates attain such a harmony on this disc juggling their love for Moffett with their own restlessly creative energies to produce a testament of moving depth and passion.

Personnel: Ahmed Abdullah- trumpet, flugelhorn, voice; Carlos Ward- flute, alto saxophone; Masujaa- guitar; Alex Blake- bass, electric bass; Cody Moffett- drums.

Dedication

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Amanda Tosoff - Earth Voices

Styles: Piano Jazz
File: MP3@320K/s
Time: 45:50
Size: 105,5 MB
Art: Front

(5:04) 1. A Dream Within a Dream
(5:25) 2. Sonnet 49
(5:20) 3. Here and Heaven
(5:27) 4. Birdwings
(6:14) 5. Oh, Life
(6:26) 6. The Fiddle and the Drum
(5:59) 7. To a Stranger
(5:51) 8. Finis

Building off the lure of language planted in Amanda Tosoff's Juno-nominated Words (Empress Music Group, 2016), this sixth album from the Toronto-based composer and pianist waves poetic in wondrous fashion. Pairing different guest vocalists and collections of musicians with personalized takes on Parnassian beauty of varied sorts, Tosoff cements the bonds between earthly voices and heavenly sounds with a questioning spirit.

The list of subjects and styles, both in words and music, varies widely on this playlist. But this is no slapdash selection thrown together at will. Reason provides a place of purpose for everything in the mix. "A Dream Within a Dream," featuring vocalist Emilie-Claire Barlow and marrying Tosoff's music with Edgar Allan Poe's work, deals in doubt and uncertainty with both bright-eyed, upbeat accents and open engagement. "Sonnet 49," showcasing Robin Dann's voice, serves as an expansion on Luciana Souza's exploration of Pablo Neruda's emotional arc(s) with gliding grace and chamber-esque adorments. "Here and Heaven," adding weight and personality with strings, grooving like a pendulum swings, and featuring some ear-catching harmonizing from singers Michelle Willis and Alex Samaras , calls to mind the under-appreciated original part of a decade-old collaboration between Stuart Duncan, Edgar Meyer, Aoife O'Donovan and Chris Thile. And Tosoff's musical investigation of Rumi's "Birdwings," with Samaras' absorbing Kurt Elling-meets Theo Bleckmann interpretation, tackles topics tied clearly to today loss, moving forward, finding solid footing with both sensitivity and strength.

While each of the aforementioned pieces arrives from different angles, their themes almost seem to be working in sympathy, building toward "Oh, Life." Vocalist Laila Biali, offering aching beauty with some help from Samaras, takes on the work of Mike Ross (of Soul Pepper Theatre) and, with Tosoff's sensitive structural refinements surrounding her, creates a meditation on existence and departure. Lydia Persaud's spellbinding delivery of Joni Mitchell's constantly relevant "The Fiddle and the Drum" follows, playing to its own clear truths, and Felicity WIlliams' strings-supported look at Walt Whitman's "To a Stranger" and Barlow's mighty and melodious handling of Marjorie Pickthall's poetry prove wholly complementary to the cross-threaded notions that Tosoff adopts.Despite the dizzying array of influences that inform Earth Voices, there's remarkable consistency and clarity across this program. Tosoff never seems far from home, regardless of reach, and her vision for how to shape these poems and pieces (through her writing and playing), what each represents, and who to tap to bring each one to life, proves profound. Whether taken as a broad glance at authentic existence, a clear address on a compatibility of art forms or a survey of some of Canada's most notable vocal and instrumental talent(s), Earth Voices earns high marks.~ Dan Bilawsky https://www.allaboutjazz.com/earth-voices-amanda-tosoff-empress-music-group

Personnel: Amanda Tosoff: piano; Kelly Jefferson: saxophone, tenor; Allison Au: saxophone, alto; Aline Homzy: violin; Beth Silver: cello; Jeremy Potts: violin; Laurence Schaufele: viola; Alex Goodman: guitar; Jon Maharaj: bass; Morgan Childs: drums; Emilie-Claire Barlow: voice / vocals; Robin Dann: voice / vocals; Michelle Willis: voice / vocals; Laila Biali: voice / vocals; Lydia Persaud: voice / vocals; Felicity WIlliams: voice / vocals; Alex Samaras : voice / vocals.

Earth Voices

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Ruby Braff & Ellis Larkins - The Complete Duets

Styles: Cornet, Trumpet And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 160:05
Size: 370,9 MB
Scans: Front & Back

(5:39) 1. Love For Sale
(3:46) 2. I've Got A Pocketful Of Dreams
(4:36) 3. Blues For Ruby
(3:47) 4. I've Got The World On A String
(5:37) 5. Please
(5:31) 6. Old Folks
(3:28) 7. Blues For Ellis
(4:32) 8. What Is There To Say
(5:07) 9. When A Woman Loves A Man
(5:39) 10. You Are Too Beautiful
(5:16) 11. Skylark
(4:47) 12. Sailboat In The Moonlight
(2:54) 13. A City Called Heaven
(5:38) 14. My Funny Valentine
(4:59) 15. Where Or When
(3:30) 16. I Could Write A Book
(4:59) 17. Little Girl Blue
(3:56) 18. Thou Swell
(3:29) 19. My Romance
(4:50) 20. The Girl Friend
(3:18) 21. Mountain Greenery
(4:16) 22. Blue Moon
(3:34) 23. You Took Advantage Of Me
(4:04) 24. I Married An Angel
(4:19) 25. I Didn't Know What Time It Was
(6:55) 26. Romance in the Dark
(5:58) 27. When You Wish Upon a Star
(7:24) 28. (I Don't Stand A) Ghost of a Chance
(4:44) 29. Where's Freddie
(3:16) 30. Wishing (Will Make It So)
(5:49) 31. I'm in the Market for You
(9:17) 32. Sweet Sue, Just You
(5:00) 33. Linger Awhile

A unique collection of laidback jazz recordings recorded in a very spare setting that has trumpeter Ruby Braff playing with pianist Ellis Larkins, and no other accompaniment! The setting's quite unusual for the time, and it makes for a relaxed intimate meeting between two strong talents that really differs from the work that either of them were recording elsewhere. But even more incredible is the way that the two players come together without additional support working beautifully in a format that would have others faltering always swinging the tunes despite the lack of bass or drums, and clearly very at home here with the extra space that lets both of them open up creatively!

2-CD set features 25 titles that are exclusively Larkins/Braff duets recorded for Vanguard in 1955, plus an additional 8 numbers from a sextet session that features Braff with Vick Dickenson, Sam Margolis, and Nat Pierce. Titles include "Love For Sale", "Skylark", "Blue Moon", "Blues For Ellis", "Please", "Sailboat In The Moonlight", "Linger Awhile", "I'm In The Market For You", "Where Or When", "I Could Write A Book", "The Girl Friend", "Little Girl Blue", and "Thou Swell".https://www.freshsoundrecords.com/ruby-braff-ellis-larkins-albums/4309-the-complete-duets-2-cd-set.html
".
Personnel: Cornet, Trumpet – Ruby Braff; Piano – Ellis LarkinsDrums – Jo Jones, Nat Pierce Tenor Saxophone, Clarinet –Trombone – Vic Dickenson; : Bass – Walter Page".

The Complete Duets

Eubie Blake - Eighty Six Years Of Eubie Blake

Styles: Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 69:33
Size: 161,9 MB
Art: Front

(2:44) 1. Dream Rag
(3:36) 2. Charleston Rag
(1:39) 3. Maple Leaf Rag
(2:36) 4. Semper Fidelis
(2:34) 5. Eubie's Boogie
(2:17) 6. Poor Jimmy Green
(2:40) 7. Tricky Fingers
(2:23) 8. Stars and Stripes Forever
(2:39) 9. Baltimore Todolo
(1:16) 10. Poor Katie Red
(2:41) 11. Kitchen Tom
(2:02) 12. Troublesome Ivories
(2:09) 13. Chevy Chase
(3:16) 14. Brittwood Rag
(2:10) 15. Medley: Bleeding Moon / Under the Bamboo Tree
(1:18) 16. It's All Your Fault
(6:41) 17. "Shuffle Along" Medley
(0:50) 18. I'm Just Wild About Harry
(2:13) 19. Spanish Venus
(3:23) 20. As Long As You Live
(4:05) 21. Medley: Charleston / Old Fashioned Love / If I Could Be with You
(1:19) 22. You Were Meant for Me
(2:33) 23. Dixie Moon
(3:31) 24. Blues, Why Don't You Let Me Alone
(2:23) 25. Blue Rag In 12 Keys
(4:22) 26. Memories of You

Eubie Blake had such a unique career that he fits into his own musical category. A near-contemporary of Scott Joplin, Blake was a ragtime composer as early as 1899 when he wrote “Charleston Rag.” A stage performer, he not only teamed up with singer Noble Sissle as the Dixie Duo in black vaudeville but collaborated with Sissle in writing musicals including the pioneering hit Shuffle Along in 1921 which included his “I’m Just Wild About Harry.”

Blake began recording as early as 1917 and with Sissle made a few pioneering sound films in 1923. He had success writing “Memories Of You” and recorded with his swing band in 1931 but mostly maintained a low profile for decades. However during 1968-69, with the release of the double-LP The Eighty-Six Years Of Eubie Blake, he launched a comeback that resulted in his last 14 years being among the busiest of his life. The last living ragtime composer, Blake became a national celebrity who was universally beloved.

The Eighty-Six Years Of Eubie Blake, which amazingly enough has still not been reissued on CD, does a superb job of summing up Blake’s life up to that point. He performs a variety of his originals (including “Charleston Rag,” “Eubie’s Boogie,” “Tricky Fingers,” “Troublesome Ivories,” “Shuffle Along Medley” with Noble Sissle, “I’m Just Wild About Harry,” and “Memories Of You”) plus a James P. Johnson medley, “Maple Leaf Rag” and a delightful version of “The Stars And Stripes Forever.”

Other than Sissle’s three appearances, Eubie Blake is heard throughout as a solo pianist, clearly having a great time being back in the spotlight again. This is his definitive album and it is well worth a search on Amazon to acquire. (It can be found on some streaming services or for sale as MP3s.) ~ Scott Yanow https://syncopatedtimes.com/the-eight-six-years-of-eubie-blake

Personnel: Eubie Blake - piano, songwriter; Noble Sissle - vocals, cover art, songwriter

Eighty Six Years Of Eubie Blake

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John Pizzarelli - Better Days Ahead (Solo Guitar Takes on Pat Metheny)

Styles: Guitar Jazz
File: MP3@320K/s
Time: 57:51
Size: 134,3 MB
Art: Front

(3:44) 1. Better Days Ahead
(4:39) 2. Spring Ain't Here
(8:17) 3. April Wind/Phase Dance
(5:18) 4. September Fifteenth
(4:19) 5. James
(5:52) 6. Antonia
(4:50) 7. (It's Just) Talk
(2:26) 8. Letter From Home
(5:58) 9. If I Could
(4:09) 10. Last Train Home
(2:49) 11. From This Place
(3:09) 12. The Bat
(2:15) 13. Farmer's Trust

Better Days Ahead features both signature songs and deep cuts from Metheny’s prolific career, including material dating back from The Pat Metheny Group’s influential eponymous album from 1978, through the title track of 2020’s Grammy-nominated From This Place. Though it contains some gloriously meditative music, the album was created in a perfect storm. “Two weeks after canceling all my live performances on April 1, 2020” remembers John, “my father, Bucky passed away from the Coronavirus. Five days after that I turned sixty, and two days later my mother Ruth was taken by the same virus. After sixty years of marriage, and within one week of each other, both my parents were gone.”

As a way to deal with the pain, Pizzarelli developed these musical interpretations in early-morning sessions, alone with his guitar. “I had watched my father do this my whole life,” he remembers. “Before we ventured out to a day filled with recording sessions, ‘The Tonight Show,’ or late-night jazz gigs, he would practice classical pieces. So that’s what I felt compelled to do during this rough period. I started out playing standards, but then felt drawn to the idea of deconstructing Pat Metheny’s group arrangements from my seven-string guitar. I had loved the recordings of the Pat Metheny Group since I was a teenager, and I welcomed the challenge of diving deep into his canon of remarkably dense and moving material. Every day, it was a miraculous diversion from my own personal grief and the tragedy of the pandemic I saw unfolding on the nightly news.”

Coincidentally, Metheny reached out to Pizzarelli to send condolences on his recent loss. “When I told him I had been working on his songs, Pat graciously sent me a treasure trove of his lead sheets. Now, I could hold this music in my hands and dive into every note. It’s like the holy grail to get that from a composer!”

Metheny himself offered kind words of encouragement: “I have admired John for years as a fantastic musician with an amazing ability to communicate. His love and understanding of classic song forms runs deep, almost as a birthright, thanks to having grown up on the knee of one of the greatest guitarists ever, his dad Bucky. His vast reserve of knowledge into the nuts and bolts of why those Great American Songbook tunes have the musical impact they do continually give his performances an insightful edge that connects him with a deep tradition. His life in music brings authority and insight that is increasingly rare as time moves on. To say it was flattering to have John address these tunes, knowing all the great music he has been around his whole life, is an understatement. It is an incredible honor for me.”(To be continued) https://www.thekurlandagency.com/2021/04/14/new-album-john-pizzarellis-better-days-ahead-a-solo-guitar-celebration-of-pat-metheny/

Better Days Ahead (Solo Guitar Takes on Pat Metheny)

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Wendell Eugene - Wendell Eugene & His Mardi Gras Band with Brian Carrick

Styles: Trombone Jazz
Year: 2010
File: MP3@320K/s
Time: 70:50
Size: 166,8 MB
Art: Front

(5:13) 1. When You & I Were Young Maggie
(3:31) 2. Mary Wore a Golden Chain
(5:25) 3. Frankie & Johnny
(3:12) 4. Bye Bye Blackbird
(3:51) 5. Do What Ory Say
(6:51) 6. Lover
(5:01) 7. Tennessee Waltz
(4:14) 8. The Last Mile of the Way
(5:34) 9. At Mardi Gras
(7:06) 10. Milk Cow Blues
(5:05) 11. My Memphis Baby
(3:54) 12. Eh La Bas
(3:39) 13. Walk Through the Streets of the City
(3:58) 14. Oh! How I Miss You Tonight
(4:10) 15. Just a Closer Walk with Thee

Wendell Eugene, one of the most respected and longest-serving trombonists in traditional New Orleans jazz, died Tuesday of pneumonia. He was 94. Eugene still performed at the Palm Court Jazz Cafe and local festivals as recently as 2015. By then, he had succeeded the late trumpeter Lionel Ferbos as the city’s oldest active jazz musician.During a career of more than seven decades, Eugene shared stages with the likes of Louis Armstrong, Paul Simon and the Temptations, as well as local jazz luminaries like George Lewis, Paul Barbarin, Albert “Papa” French, Danny Barker, Kermit Ruffins and Dr. Michael White.

Wendell Albert Eugene was born in New Orleans in 1923. His eldest sibling, Homer Eugene Jr., a trombonist, guitarist and banjo player, gave young Eugene his first trombone. By age 15, Wendell was performing professionally. He served in the Navy during World War II. Stationed in California, he performed with the Navy’s marching and concert bands. He backed Armstrong during a USO show in 1943.=After the war, he hit the road with the Lucky Millender and Buddy Johnson orchestras, performing in New York, Chicago and elsewhere. Skilled at reading and writing music, he assisted older musicians and tutored younger ones.

With a family to support he and his late wife of 54 years, Bernice, raised four daughters and wanting to stay closer to home, he took a job as a Postal Service letter carrier in 1949. He also taught trombone at New Orleans’ Grunewald School of Music and continued to perform at night and on weekends. He scheduled vacation time so that he could tour with the Onward Brass Band, the Olympia Brass Band, the Tuxedo Brass Band and Andrew Hall's Society Jazz Band. He also contributed to hundreds of jazz and rhythm & blues recordings, including many produced by Allen Toussaint.

When he retired from the Postal Service in 1979, he devoted himself to playing music full time. He appeared in numerous documentaries about New Orleans jazz. He performed at the first New Orleans Jazz and Heritage Festival and the first French Quarter Festival. He made yearly appearances at both festivals for decades. At age 91, he was still performing regularly with Ferbos’ Palm Court Jazz Band, Andrew Hall’s Society Jazz Band and Gregg Stafford’s Tuxedo Brass Band, always as a sentimental favorite with audiences. He found common cause with musicians much younger than himself while maintaining his standards of excellence. In 2013, he performed at a house party alongside trumpeter Irvin Mayfield, who was more than 50 years his junior.

He recorded his final album as a bandleader, “If I Had My Life to Live Over,” at age 90. Survivors include four daughters, Adele Blanchard, Wendolyn Hampton, Shelia Eugene and Patrice McNeal; six grandchildren; nine great-grandchildren; and two great-great grandchildren. A funeral is scheduled for Saturday at Transfiguration of the Lord Catholic Church, 2212 Prentiss Ave. Visitation will start at 8:30 a.m., followed by a Mass at 10 a.m. Interment will be at Mount Olivet Cemetery.

Charbonnet Funeral Home is in charge of arrangements. https://www.nola.com/entertainment_life/keith_spera/article_d0448e63-054c-5ccd-9318-cde9db1ab246.html

Personnel: Trombone – Wendell Eugene; Banjo – Louis Lince; Bass – Gerald Adams (4); Clarinet – Brian Carrick; Drums – Ernest Elly; Piano – Andrew Hall (16); Trumpet – Jamie Wight; Vocals – Brian Carrick (tracks: 2, 6, 8), Jamie Wight (tracks: 10, 14), Wendell Eugene (tracks: 4, 12)

Wendell Eugene & His Mardi Gras Band with Brian Carrick

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Mindi Abair - The Best of Mindi Abair

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 79:51
Size: 183,8 MB
Art: Front

(3:30) 1. Lucy's (Radio Edit)
(3:49) 2. Bloom (Radio Edit)
(3:20) 3. Flirt
(4:23) 4. I'll Be Your Home (feat. Keb' Mo')
(6:18) 5. Imagine
(3:48) 6. Come as You Are
(3:52) 7. Be Beautiful
(4:01) 8. True Love
(4:26) 9. True Blue
(4:08) 10. Wild Heart
(4:01) 11. Seven Day Fool (feat. The Boneshakers)
(5:06) 12. Make It Happen (feat. Booker T. Jones)
(3:19) 13. Haute Sauce (feat. The Boneshakers)
(4:22) 14. Good Day for the Blues (feat. The Boneshakers) [Radio Edit]
(3:59) 15. Pretty Good for a Girl
(5:35) 16. Just Say When (feat. Greg Allman)
(4:28) 17. Smile
(2:54) 18. I Love to Play the Saxophone (feat. The Boneshakers)
(4:24) 19. April (Radio Edit)

During her remarkable 21-year recording career, Mindi Abair has garnered 2 GRAMMY Nominations, recorded with some of the biggest names in music, and built a substantial following among jazz and blues audiences with her soaring melodies and powerhouse style. The Best of Mindi Abair is a 19-song collection of her biggest hits, previously unreleased gems, a few of Mindi’s personal favorites, and her brand-new song “April.” It features a 16-page booklet of personal liner notes written by Mindi, and photos spanning her career drawn from her archive. Smooth jazz hits like “Lucy’s,” “Bloom” and “Come As You Are” appear as radio edits, available here for the first time, so you can listen as you originally fell in love with them on the radio. “Make It Happen,” written and recorded with legendary soul icon Booker T. Jones, has never been released until now.

Other inspired collaborations include “I’ll Be Your Home” featuring Keb’ Mo’, “Just Say When” penned and recorded with Gregg Allman, and her woman-powered blues anthem “Pretty Good For A Girl” featuring guitar hero Joe Bonamassa. Fan favorite “Be Beautiful” checks into the compilation, as does a previously unissued take on the John Lennon classic, “Imagine.” “I Love To Play The Saxophone” and “Good Day For The Blues” hail from her albums as Mindi Abair and The Boneshakers, and the brand-new song, “April,” recorded as the world was shutting down in 2020 rounds out the collection. It brings Mindi's path full circle as it’s an instrumental reminiscent of her classic hits and provides the perfect jumping off point for the next chapter to begin. Follow the arc of Mindi’s unique musical journey with this 19-song collection featuring songs from 11 different albums, 8 unique tracks that have never been available to the public before now, 28 stunning photos, and Mindi telling her story in her own words … a must for any Mindi fan.

The Best of Mindi Abair

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The Anthony Wilson Trio - Jack of Hearts

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 58:08
Size: 134,6 MB
Art: Front

(3:45)  1. Mezcal
(5:47)  2. Jack of Hearts
(5:44)  3. Hawkeyes
(7:43)  4. Carnegie Blues
(8:10)  5. Theme from Chinatown
(4:24)  6. Vida Perdida Acabou
(4:58)  7. Orange Crate Art
(4:09)  8. Harajuku
(7:36)  9. Zweet Zurzday
(5:49) 10. Homecoming

Jack of Hearts isn't the first Anthony Wilson album to feature an organist extensively; for example, he worked with the Los Angeles-based organist Joe Bagg on his 2005 release Savivity. But the guitarist has worked with acoustic pianists more often than organists (at least as of 2009), and Jack of Hearts is unusual in that it finds Wilson not using a pianist at all. On this early 2009 session, Wilson forms an intimate trio with Larry Goldings on organ and Jeff Hamilton or Jim Keltner on drums. 

In the '90s and 2000s, Goldings was one of the leading proponents of a post-Jimmy Smith aesthetic on the Hammond B-3. Goldings has been greatly influenced by the late Larry Young, who started out as a Smith disciple but evolved into an innovative, distinctive post-bop/modal player and went down in history as "The John Coltrane of the Organ." Of course, Goldings is not a clone of Young; he is most certainly his own person, but he shares Young's love of post-bop. So it isn't surprising that Goldings does a lot to shape the post-bop perspective that dominates Jack of Hearts. 

His presence is a major plus on material that was composed by Goldings and/or Wilson, and it is a major plus on memorable arrangements of Coleman Hawkins' "Hawkeyes" and two of Duke Ellington's lesser-known pieces ("Zweet Zursday" and "Carnegie Blues"). The fact that neither of those Ellington tunes is a standard speaks well of Wilson, who is smart enough to realize that one of the joys of the vast Ellington songbook is hearing all of the worthwhile Ellington compositions that didn't become standards. Jack of Hearts is a consistently engaging addition to Wilson's catalog. ~ Alex Henderson http://www.allmusic.com/album/jack-of-hearts-mw0000821393

Personnel: Anthony Wilson (guitar); Larry Goldings (celesta); Jeff Hamilton , Jim Keltner (drums).

Jack of Hearts

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Prince Lasha - The Cry!

Styles: Flute Jazz
Year: 2000
File: MP3@320K/s
Time: 43:00
Size: 99,2 MB
Art: Front

(5:07) 1. Congo Call
(7:01) 2. Bojangles
(4:55) 3. Green and Gold
(5:03) 4. Ghost of the Past
(5:07) 5. Red's Mood
(5:36) 6. Juanita
(5:18) 7. Lost Generation
(4:48) 8. A.Y
.

Give a quick listen to this CD and you might be tempted to write off Prince Lasha and Sonny Simmons as Ornette Coleman knockoffs, albeit good ones. The reality is that Lasha had been playing with Coleman since high school, swapping ideas and looking for fellow players in a world that wasn’t quite ready for what they had to offer. Coleman broke through first, and finally people were ready for Lasha; The Cry, one of Lasha and Simmons’ only appearances on record, present them as a fine working unit that never quite garnered that much attention. Both Coleman and Lasha have similar approaches, yet Lasha’s compositions are more accessible than Coleman’s. Unlike Haden and Higgins, the rhythm section is content to follow a very consistent pulse (unusual for Peacock), providing a firm base that allows the two horns to explore all sorts of terrain. The heads (such as they are) are practically hummable and almost pretty. Simmons sounds quite a bit like a Coleman with more precision, and in fact may be using a plastic alto; Lasha prefers a wooden flute, which gives his passages a dark, earthy tone that contrasts well with the bitter, vibratoless sax. One can be forgiven for thinking that this is Simmon’s date; he gets two songs all to himself without Lasha, both of which show that he could have been a major player in the free jazz area if the cards were dealt differently. These guys probably don’t understand harmolodics any more than you do, but are still capable of creating fine free jazz that succeeds at being adventurous without being demanding. ~ David Rickert https://www.allaboutjazz.com/the-cry-prince-lasha-fantasy-jazz-review-by-david-rickert.php

Personnel: Prince Lasha-flute, Sonny Simmons-alto sax, Gary Peacock, Mark Proctor-bass, Gene Stone-drums.

The Cry!

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Elvin Jones, Jimmy Garrison Sextet, McCoy Tyner - Illumination!

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 31:04
Size: 71,9 MB
Art: Front

(5:33) 1. Nuttin' Out Jones
(3:46) 2. Oriental Flower
(6:25) 3. Half And Half
(4:09) 4. Aborigines Dance In Scotland
(5:12) 5. Gettin' On Way
(5:57) 6. Just Us Blues

Until it was reissued in 1998, this was one of the more elusive Impulse sets of the 1960s. Recorded in 1963 and co-led by John Coltrane's drummer and bassist (Elvin Jones and Jimmy Garrison), the music is most significant for introducing Sonny Simmons (alto and English horn) and Prince Lasha (flute and clarinet), who are joined in the sextet by underrated baritonist Charles Davis and Trane's pianist McCoy Tyner.

Each of the musicians except Jones contributed an original (there are two by Davis); the music ranges from advanced hard bop to freer sounds that still swing. While Garrison's contributions are conventional (this was his only opportunity to lead or co-lead a date), Jones is quite powerful. However, it is the playing of both Simmons, who tears it apart on English horn during "Nuttin' Out Jones," and Lasha (when is he going to be rediscovered and recorded again?) that make this early "New Thing" date of greatest interest.~ Scott Yanow https://www.allmusic.com/album/illumination%21-mw0000033695

Personnel: Drums – Elvin Jones; Alto Saxophone, English Horn – Sonny Simmons; Baritone Saxophone – Charles Davis; Bass – Jimmy Garrison; Clarinet, Flute – Prince Lasha; Piano – McCoy Tyner

Illumination!

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Kristin Korb - What If?

Styles: Vocal
File: MP3@320K/s
Time: 36:25
Size: 84,4 MB
Art: Front

(4:30) 1. Supercalifragilisticexpialidocious
(5:46) 2. Copacabana
(5:45) 3. Overjoyed
(4:51) 4. The Power of Love
(5:28) 5. This Is My Life
(5:24) 6. Don't Let Me Be Lonely Tonight
(4:38) 7. Can't Buy Me Love

American double bassist and vocalist Kristin Korb was primarily based in LA until moving to Denmark about 10 years ago, where she continues to impress audiences with her nonchalant, no-nonsense look at jazz. Her laid-back personality resonates through her music she has a way of taking anything and making it sound cool. This is evident in Korb’s newest release, What If?, where she has rearranged some very recognisable pop songs into trendy jazz numbers. In opening track Supercalifragilisticexpialidocious a song rooted in childhood nonsense from the classic film Mary Poppins Korb has played with mixed metre and pushed the scansion of the lyrics into something musically interesting and even sophisticated. Snorre Kirk on drums is a staple in her band and the two mesh together so well; Korb’s writing is obviously drawn to featuring bass grooves and rhythmic elements and Kirk ties everything together seamlessly.

An admirable trait, in this listener’s opinion, of Korb’s taste in music is that she never shies away from a bit of ‘cheese’, but instead finds a way to turn it into a delicacy thus palatable by pop fans and Michelin star music fans alike. Copacabana is definitely one of Barry Manilow’s most famous hits, and seeing the title on the album jacket may incite an involuntary little cringe. But no need, this arrangement has taken the exotic 70s disco hit and given it a more modal feel with a captivating urgency that wasn’t present in the original. There is something delightful in recognising a piece of music hearing something familiar, realising what it is, and then hearing it in a whole new light. Sometimes simple adjustments, or just an artist putting their own spin on something so famous can be touching. Overjoyed was already a delicate Stevie Wonder song, but here it is soft and twinkly, with the soulful beat removed (it’s a bit of a squidgy synth sound, if you recall), and the passion in Korb’s voice is featured more prominently as a result.

The Power of Love was one track that has changed in style enough that I had to remind myself how the original went. This Huey Lewis and the News song has had such a clever treatment adding more feeling to the lyrics (which are quite an apt message in our divisive world at the moment). The solo by award-winning Danish harmonica player Mathias Heise is bluesy and intricate just what the song needed to tie it together. This Is My Life is from a Shirley Bassey album from the sixties of the same title. This version is poignant and thought-provoking after a year frozen in time and full of reflection. It’s like a celebration of music, our careers and our creativity, and how they are integral to living fulfilled lives. It starts soft, but the trombone solo by Steen Nikolaj Hansen brings a warmth to the tune. By Magnus Hjorth‘s piano solo, the celebration is in full swing. The final chorus with intermingling lines from Korb, Hjorth and Hansen is beautiful and free.

James Taylor’s classic Don’t Let Me Be Lonely Tonight showcases a lightness to Korb’s voice and a bass solo with a richness to balance. Tenor sax solo by Karl-Martin Almqvist may be short but he packs a punch, reminiscent of a Celine Dion power-ballad before Korb brings it back in for a romantic, altered ending. The record ends with another harmonica feature for Heise on a Beatles standard Can’t Buy Me Love. Elements of a New Orleans second line sneak in here and there, with funky punches too, but it swings somethin’ fierce which is just what was needed.~ Lauren Bush https://londonjazznews.com/2021/04/12/kristin-korb-what-if/

What If?

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Jacob Fischer Trio - Black Orpheus

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 52:32
Size: 121,2 MB
Art: Front

(6:02) 1. Gentle Rain
(3:52) 2. Small Teardrop
(3:22) 3. Triste
(5:39) 4. How Insensitive
(5:18) 5. Sonho Carioca
(4:00) 6. Once I Loved
(4:58) 7. Assanhado
(4:52) 8. Black Orpheus
(4:39) 9. Bole-Bole
(3:47) 10. Desafinado
(3:58) 11. Doce De Coco
(2:04) 12. This Happy Madness

Danish native Jacob Fischer is a rising star and one of the most in-demand jazz guitarists in Europe. Born in 1967, the self-taught guitarist began working as a professional when he was 17 years old, and since then has participated in more than 200 recordings.

Fischer impressed with his debut from the Japanese label Venus Records, a Bill Evans tribute album with a simple trio with bass and drums. Now, he has shown a completely different side with his second release Black Orpheus, playing Brazilian music (bossa nova, samba and choro) with acoustic guitar. His authentic feel comes from his experience of traveling and performing throughout Brazil, and support of the great Brazilian drummer Duduka DaFonseca. https://store.acousticsounds.com/d/116472/Jacob_Fischer_Trio-Black_Orpheus-Single_Layer_Stereo_SACD

Musicians: Jacob Fischer, guitar; Martin Wind, bass; Duduka DaFonseca, drums

Black Orpheus

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Sarah Moule - Stormy Emotions

Styles: Vocal
File: MP3@320K/s
Time: 48:16
Size: 111,5 MB
Art: Front

(3:29) 1. Nothing Is Mine Now
(4:04) 2. Are We Just Having Fun
(5:02) 3. Never That's When
(4:17) 4. Close To Tears
(4:48) 5. A Magician's Confession
(3:23) 6. Truly Unruly
(3:44) 7. After The Fall
(4:14) 8. On Hold Living In Limbo
(3:05) 9. Time Is The Beast
(4:17) 10. The Long Arm Of Love
(4:46) 11. Fool's Gold
(3:02) 12. Stormy Emotions

The lyrics here are by Fran Landesman. If you’ve encountered any of hers before, you’ll know that although they’re entirely at home in jazz, and mainly concern love, they can’t be tossed about like any old standard. They’re wary, suspicious, suggesting that the singer has been around the block too many times to fall for the usual line of chat. Occasionally there’s a secretive backward glance to lost innocence, hastily suppressed. That’s a lot of nuance for a composer to take on board and for a singer to convey. Landesman declared that she’d got lucky when she met Simon Wallace, her songwriting partner for 18 years until her death in 2011, and had collected a bonus when he married the singer Sarah Moule.

Listening to these 12 tracks, 10 of them previously unrecorded, you can hear what Landesman meant. Moule catches the shifting moods, touchingly in A Magician’s Confession, candidly in Are We Just Having Fun?, and always unerringly. Wallace’s music catches the spirit of each lyric, brilliantly played by his small band. The prize there goes to Mark Lockheart’s soprano saxophone throughout Close to Tears, moving from dialogue with the voice to solo and back again.

Personnel: Sarah Moule (vocals); Simon Wallace (piano & keyboards); Mick Hutton, Neville Malcolm (double bass); Paul Robinson, Rob Young (drums); Mark Lockheart (soprano saxophone & bass clarinet); Nigel Price (electric & acoustic guitar); Charlie Cawood (acoustic guitar)

Stormy Emotions

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Louis Jordan & His Tympany Five - Five Guys Named Moe

Bitrate: MP3@320K/s
Time: 74:13
Size: 169.9 MB
Styles: Jump blues, Swing, R&B
Year: 1991/2006
Art: Front

[3:05] 1. Five Guys Named Moe
[4:23] 2. Pistol Packin' Mama
[1:30] 3. Jubilee Jingle Rap
[4:43] 4. I Can't Get Started
[4:52] 5. Rose Room
[3:21] 6. Nagasaki
[2:29] 7. End Announcements And Jubilee Theme One O'clock Jump
[1:57] 8. Jumpin' At The Jubilee
[2:51] 9. (I'm Gonna Move To The) Outskirts Of Town
[1:35] 10. The End Of My Worry
[2:17] 11. How High Am I
[2:22] 12. Hey Now, Let's Live
[2:29] 13. Slender, Tender And Tall
[2:19] 14. (My Feet Are Killing Me, Marching In) The Infantry Blues
[3:18] 15. Is You Is Or Is You Ain't (My Baby )
[3:04] 16. Caldonia (What Makes Your Big Head So Hard)
[2:39] 17. Bahama Joe
[2:50] 18. Nobody But Me
[1:25] 19. Caldonia With Opening Announcements
[3:00] 20. You Was Right, Baby!
[2:34] 21. Ofay And Oxford Grey
[2:23] 22. Reconversion Blues
[2:36] 23. On The Atchison, Topeka And The Santa Fe
[2:23] 24. End Theme Caldonia And Announcements
[3:03] 25. Is You Is Or Is You Ain't (My Baby ) (#2)
[2:13] 26. Don't Worry 'bout The Mule
[2:20] 27. Pinetop's Boogie Woogie

Alto Saxophone, Vocals – Louis Jordan; Bass – "Po" Simpkins*; Drums – Rossiere "Shadow" Wilson; Piano – Arnold Thomas; Trumpet – Eddie Roane.

Effervescent saxophonist Louis Jordan was one of the chief architects and prime progenitors of the R&B idiom. His pioneering use of jumping shuffle rhythms in a small combo context was copied far and wide during the 1940s. Jordan's sensational hit-laden run with Decca Records contained a raft of seminal performances, featuring inevitably infectious backing by his band, the Tympany Five, and Jordan's own searing alto sax and street corner jive-loaded sense of humor. Jordan was one of the first black entertainers to sell appreciably in the pop sector; his Decca duet mates included Bing Crosby, Louis Armstrong, and Ella Fitzgerald.

The son of a musician, Jordan spent time as a youth with the Rabbit Foot Minstrels and majored in music later on at Arkansas Baptist College. After moving with his family to Philadelphia in 1932, Jordan hooked up with pianist Clarence Williams. He joined the orchestra of drummer Chick Webb in 1936 and remained there until 1938. Having polished up his singing abilities with Webb's outfit, Jordan was ready to strike out on his own. The saxist's first 78 for Decca in 1938, "Honey in the Bee Ball," billed his combo as the Elks Rendezvous Band (after the Harlem nightspot that he frequently played at). From 1939 on, though, Jordan fronted the Tympany Five, a sturdy little aggregation often expanding over quintet status that featured some well-known musicians over the years: pianists Wild Bill Davis and Bill Doggett, guitarists Carl Hogan and Bill Jennings, bassist Dallas Bartley, and drummer Chris Columbus all passed through the ranks. ~partial bio by Bill Dahl

Five Guys Named Moe 

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Deana Martin - Destination Moon

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 44:52
Size: 104,6 MB
Art: Front

(2:31) 1. I Love Being Here With You
(2:31) 2. Beyond the Sea
(2:58) 3. Gee Baby Ain't I Good to You
(4:06) 4. Frim Fram Sauce
(3:55) 5. Break It to Me Gently
(2:21) 6. About a Quarter to Nine
(3:45) 7. Where Did You Learn to Love Like That
(4:00) 8. Paradise
(2:44) 9. G.I. Jive
(3:28) 10. Stuck in a Dream With Me
(2:58) 11. Destination Moon
(3:22) 12. Read Between the Lines
(3:03) 13. Nothing but the Best
(3:09) 14. True Love (Duet)

Among the female progeny of post-WWII pop elite who’ve established musical careers themselves-an impressive list that includes Liza Minnelli, Natalie Cole and Nancy Sinatra-Deana Martin, fourth of Dean’s eight children, remains the least known.

An accomplished stage and TV actress with a respectable voice, decent range and solid sense of swing, Martin has filled two previous albums with tunes made famous by her dad and his cronies. Fond of big, brassy arrangements-think classy, if pedestrian, approximations of Nelson Riddle and Billy May charts-Martin certainly isn’t the most adventurous of singers. But she shares her papa’s warmth and pluck.By Christopher Loudon https://jazztimes.com/reviews/albums/deana-martin-destination-moon/

Destination Moon

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Sonny Simmons - I'll See You When You Get There

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 58:54
Size: 135,9 MB
Art: Front

( 9:08) 1. Ancient City of Petra
( 5:14) 2. Ballade for Queen Anna
( 4:11) 3. Carebian Fiesta
( 5:33) 4. Colours
( 7:03) 5. I'll See You When You Get There
(11:21) 6. Close Encounter
( 5:01) 7. Fancy Free
( 3:06) 8. Too Late for Tears
( 4:07) 9. Round Midnight
( 4:06) 10. Tenderly

Once upon a time, guys like Chet Baker and Charlie Parker would tour as singles, playing wherever they could get a gig, backed by the local jazz hotshots. These days, as often or not, similar ad hoc gatherings result in CDs like this: alto sax legend Sonny Simmons playing a mix of his own tunes and standards, accompanied by three talented Scandinavian musicians who support the saxophonist ably but complacently.

Simmons appears in duo with, alternately, bassist Mats Eilertsen, pianist Anders Aarum and drummer Ole Thomas Kolberg. Eilertsen gets the most work, playing with Simmons on six of the 10 tracks. Of Simmons’ three partners, he’s the most consistently interesting. Strong and agile in his own right, he nevertheless serves mostly as a backstop off of which Simmons bounces ideas. Aarum and Kolberg are present on two tracks apiece, performing more than adequately but without particular distinction. Simmons is left to do the heavy lifting, and he’s up to the task, combining the most expressive aspects of free playing with his own unique take on postbop harmony and rhythm.~ Chris Kelsey https://jazztimes.com/archives/sonny-simmons-ill-see-you-when-you-get-there

Personnel: Alto Saxophone [Alto Sax], English Horn – Sonny Simmons; Acoustic Bass – Mats Eilertsen (tracks: 1, 4 to 6, 9, 10); Drums – Ole Thomas Kolberg (tracks: 3,7); Piano – Anders Aarum (tracks: 2, 8)

R.I.P.
Born: August 4, 1933
Died: April 6, 2021

I'll See You When You Get There

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