Bud Powell - The Return Of Bud Powell

Bitrate: MP3@320K/s
Time: 49:36
Size: 113.5 MB
Styles: Piano jazz
Year: 1964
Art: Front

[5:56] 1. I Know That You Know
[3:53] 2. Someone To Watch Over Me
[4:53] 3. The Best Thing For You
[5:43] 4. On Green Dolphin Street
[5:41] 5. Just One Of Those Things
[4:26] 6. I Remember Clifford
[4:50] 7. Hallucinations
[4:33] 8. If I Loved You
[5:34] 9. I Hear Music
[4:02] 10. Autumn In New York

On April 26, 1962, Bud Powell recorded an LP titled "Bouncing with Bud," on the Delmark label. He was full of spark and played with the ease and swiftness that had been his trademark in his earlier years. Clearly he had rallied from the dark vales into which he had descended for years, a result of mental illness and substance misuse. Four years of a European exile had apparently helped - at least the great master of the keyboard had not fallen apart. That recording is worth seeking out and enjoying, for it was probably the last hooray of the great man.

Two years later, upon his return to New York City, he recorded this album - whose title "the return of Bud Powell" can only be interpreted in terms of his physical return to the United States. His piano playing was gone. What one hears in this recording is a very hesitant, tentative piano player whom one identifies as Bud because of his characteristic moans and groans.

There are some bright moments, such as his rendition of the "I Remember Clifford", though even here he sounds like someone pushing himself to do what would have been second nature in his earlier days.

One who has not heard his earlier versions of "Hallucinations" might find no problem with his rendition of it here. It is quite a challenge to listen to it. Yet all said, I give him great credit for trying. That he refused to give up was testament to his determination. ~Munlini Mulera

The Return Of Bud Powell

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Lyn Stanley - London Calling: A Toast to Julie London

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 66:04
Size: 154,0 MB
Art: Front

(2:45)  1. Goody Goody
(3:35)  2. Call Me Irresponsible
(2:48)  3. Bye Bye Blackbird
(5:29)  4. I Heard It Through the Grapevine
(2:54)  5. How About Me?
(4:01)  6. Cry Me a River
(5:17)  7. As Time Goes By
(5:03)  8. Summertime
(3:51)  9. It's Impossible
(3:14) 10. Blue Moon
(2:46) 11. I've Got a Crush on You
(3:33) 12. Light My Fire
(5:09) 13. Sway
(2:52) 14. Go Slow / Nice Girls Don't Stay for Breakfast
(2:21) 15. You the Night and the Music
(4:03) 16. Ev'ry Time We Say Goodbye
(6:16) 17. Summertime (Piano / Vocal)

In London Calling, Lyn Stanley is at her best. Let her beautiful sultry voice take you through Julie London covers. Her top tier jazz band created 17 live arrangements that offer a new perspective on the American Songbook. The sound is spectacular. Fans and critics are saying: "Outstanding Sound" "Incredible!" "This will become one of you favorite albums."

Lyn Stanley's London Calling…A Toast To Julie London as she reimagines 17 classic songs Award-winning, internationally acclaimed jazz vocalist Lyn Stanley follows her top-selling Moonlight Sessions albums with an ultimate tribute to Julie London in music and sound! In this stunning new collection listeners will discover a side of singer Lyn Stanley that they haven’t heard before. The 17 tunes on this recording explore phases of romance from first glance, in “Blue Moon,” to a missed chance, in “Cry Me a River.” Most of the wide-ranging material presented here was originally recorded by singer/actress Julie London, along with a couple of offerings that Stanley feels would have been perfect for the sultry songstress, such as “It’s Impossible,” and “I Heard It Through the Grapevine.” With her distinctive sound and approach, Lyn Stanley brings to mind a method actor, mining the stories and feelings in each tune and getting to the heart of the lyrics. Striving for sensitivity, Stanley stays true to these stories and portrays the experiences of people engaged in the dance of romance. Besides being a well-conceived appreciation of the popular singer/actor Julie London, in both music and album graphic presentation, London Calling marks a big step forward in Lyn Stanley’s evolution as a recording artist. She recalls that for her debut album, 2013’s Lost in Romance, her mentor Paul Smith, renowned as Ella Fitzgerald’s long-time musical director and frequent collaborator, offered a lengthy tune list and urged the fledgling vocalist to pick some she could relate to. “It was as if you had a bunch of ingredients on the table and had to decide on the spot if you are going to make ramen or spaghetti,” she muses.  Just five years later, Stanley provided a recipe of her own to bring her unique vision of the Julie London project to fruition. Not only did she have a self-curated set list, she also had a clear idea of how each tune should sound, aiming to hold true to the composers’ ideas while stirring in some of her own. Lyn Stanley always makes a practice of working with top-flight musicians, and once she communicated her ideas to them, she welcomed their input. Without any written arrangements, the brilliant results of their collaboration bring cutting-edge ideas to vintage songs. “It’s a thrill to hear something you’ve brought into life,” Stanley says. “It came to me so easily once I got my bearings.” The singer opted for an intimate sound from a stellar lineup that brings together some of the very best players on the California jazz scene:guitarist featured artist John Chiodini; pianists Mike Garson and Christian Jacob; bassists Chuck Berghofer and Michael Valerio; percussionists Luis Conte, Brad Dutz, and Aaron Serfaty (also heard on drums); and drummer Paul Kreibich. With London Calling's artful packaging, Stanley finds another way to pay tribute to her inspiration, Julie London, who said photo shoots for her albums took longer than the recording process. That's not the case with Stanley, whose audiophile bona fides and perfectionism in the studio and throughout production are well established. But the gorgeously photographed images of the elegantly clad chanteuse are an homage to London's sensuous approach that reflects Lyn's own 21st century sensibilities. Completing the package are liner notes by Scott Yanow, offering a historian’s perspective on the music, providing background on each song, and insights to how Lyn and Julie! approached the tunes.

London Calling highlights include: “Cry Me a River” This heartfelt but cool take on the quintessential London hit has an after-hours feel, touching on former feelings without longing or regret. With this strong and simple statement, Stanley knows when to dig in and when to hold back.

Joyful and tender, “As Time Goes By” is handled with delicacy and feeling, evoking the past while looking to the future. Stanley’s swinging interpretation of “Goody Goody” has a bit of a bite and a bad-girl attitude; it’s a breakup story told by someone who’s landed on her feet. “Call Me Irresponsible” gives us a peek at the vulnerable side of a sophisticate in this persuasive rendition of a classic. The crisp swing culminates in a seductive purr.  On “It’s Impossible,” Stanley portrays the sense of wonder felt at the first flush of romance with divine understatement and a slight ache in her voice. Check out the delightful collaboration with percussionists Luis Conte and Aaron Serfaty. Stanley smolders on the slow, slinky, shimmering “Sway,” making every note every pause matter. The flamenco-flavored “Light My Fire” is full of sensuous invitation. Romantic and intriguing, it’s a refreshing new look at the Doors’ hit from the late 1960s. “Summertime” is a tune so nice Stanley had to record it twice on London Calling. The ensemble rendition is spare, supple, and sultry, with her voice shining like a jewel in the lean arrangement. On a duo version, Stanley and pianist Mike Garson play at a hot-August-night tempo that’s full of haunting, hypnotic allure. You’ve never heard “I Heard It Through the Grapevine” done quite like this! The relentless rhythm of this great ensemble piece conveys an ominous undercurrent, as Stanley’s treatment of the lyric reveals an iron will in a velvet voice. A favorite among audiophiles, Stanley plans to release multiple versions of London Calling, including 17 tracks on a choice of super-audio CD or two-disc vinyl LP set. A dozen tunes will also be offered on a direct-to-disc vinyl recording. Stanley’s tradition of surrounding herself with the best comes through bright and clear in the magnificent sound of this recording, thanks to engineering by Steve Genewick, Rouble Kalpoor, and Spencer Garcia; mixing by Allen Sides, and mastering by Bernie Grundman.

London Calling…A Toast To Julie London is a culmination of Lyn Stanley’s lifetime of rich experience, both personal and professional, from her long-time enjoyment of London through her own her early perceptions of romance. For the project she tapped into communications techniques developed as a successful corporate manager along with a jazz-inspired approach to rolling with obstacles in creative and innovative ways. Besides being a state-of-the-art tribute (following both the musical ideas and marketing platforms of Julie London), it is also a revelation of Lyn Stanley's formidable chops. With a late 2018 audiophile release and Valentine's Day weekend February 15, 2019 wide release street date, London Calling…A Toast To Julie London is a gift for lovers and lovers of great music, created the way it was in the 1960s  by the musicians themselves as a band. Keep an eye out for multiple versions of the album, including standard and super-audio CDs, along with a two-disc vinyl LP set. Produced by Lyn Stanley, with Associate Producer John Chiodini. Executive Producer: A.T. Music LLC. Engineered for high fidelity using analog mixing and mastering. Engineers: Steve Genewick (tracking), Allen Sides (mixing, and Bernie Grundman (mastering). Recorded and Mixed at United Recording, Studio A in Hollywood, using the Focusrite analog console, one of only ten ever made. https://store.cdbaby.com/cd/lynstanley20

London Calling: A Toast to Julie London

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Ingrid Jensen - Vernal Fields

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 64:48
Size: 148,7 MB
Art: Front

(7:06)  1. Marsh Blues
(5:49)  2. Spookum Spook
(7:20)  3. Vernal Fields
(8:25)  4. Ev'ry Time We Say Goodbye
(6:12)  5. I Love You
(6:13)  6. The Mingus That I Knew
(7:25)  7. Stuck in the Dark
(7:13)  8. Christiane
(9:01)  9. By Myself

Although trumpeter Ingrid Jensen has a wide range and a potentially fiery style, she holds a great deal in reserve on her debut recording, letting one peek at her emotional intensity now and then but mostly making lyrical statements. Her supporting cast (altoist Steve Wilson, George Garzone on tenor, pianist Bruce Barth, bassist Larry Grenadier, and drummer Lenny White) is quite impressive and adds a great deal to the CD without taking the spotlight away from the leader. Ingrid Jensen sounds particularly strong on "Marsh Blues" and the standards "Ev'rytime We Say Goodbye," "I Love You," and an ironic "By Myself," but all nine selections have their moments. The music is basically advanced hard bop, with Jensen (when she is playing open) sounding like a logical successor to Freddie Hubbard and Woody Shaw while resembling her teacher, Art Farmer, a bit when utilizing a mute. This is an impressive beginning to what should be an important career. ~ Scott Yanow  http://www.allmusic.com/album/vernal-fields-mw0000173581

Personnel: Ingrid Jensen (trumpet, flugelhorn); Steve Wilson (soprano & alto saxophones); George Garzone (tenor saxophone); Bruce Barth (piano); Larry Grenadier (bass); Lenny White (drums).

Vernal Fields

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Guido Di Leone Quartet - Blue Night

Styles: Guitar Jazz
Year: 2007
File: MP3@320K/s
Time: 54:15
Size: 124,4 MB
Art: Front

(6:09) 1. Bahia
(7:36) 2. Blue Night
(7:10) 3. Double Deal
(6:06) 4. Fascinating Rhythm
(7:33) 5. Moonlight In Vermont
(4:21) 6. Mad Blues
(7:14) 7. What A Difference A Day Made
(3:22) 8. L'Ultimo Valzer
(4:43) 9. Another's Wonderful

Jazz musician, guitarist, teacher, was born in Bari in 1964, where he currently lives.

Very prolific as composer, bandleader and arranger, he has recorded a hundred CDs, of which about half as leader, works published mainly for the labels "YVPMusic", "Philology", "Abeat Records" and Fo (u) r, of which he is also founder of. His renowned comping and good knowledge of jazz standards lead him to play and record frequently with well-known international artists. ( Mark Murphy , Jerry Bergonzi , Peter Bernstein , Paolo Fresu , Fabrizio Bosso , Jim Rotondi , Renato Chicco , Jim Snidero , Michele Hendricks, Tiziana Ghiglioni, Andy Watson , Claudio Fasoli, Gianluigi Trovesi,Franco Cerri , Gianni Basso , Ira Coleman , Gary Smulyan , Marco Tamburini , Dado Moroni , Mal Waldron, Trio Corrente, Gilson Silveira ...)

To these collaborations are added those with his countrymen, Larry Franco, "Con Alma Trio" ( Vito Di Modugno and Mimmo Campanale ), "Pocket Orchestra", Paola Arnesano and is often jazz soloist of the Symphony Orchestra of the Metropolitan City of Bari . In Duo with Francesca Leone, he recorded "Tudo em Bossanova" and "Coracao Vagabundo".

Despite the intense concert activity in Italy and abroad (Australia, China, USA, Cuba, Ethiopia, Sweden, Spain, Germany, United Arab Emirates, England, Syria, Belgium, Holland France, Croatia, Austria, Albania, Slovenia, Bulgaria , Romania, Poland ...), Guido Di Leone is often involved in the organization of Jazz reviews, in the conduct of musical shows and, at times, also in television musical programs. Stylistically identified in the air of Modern Mainstream, he has always shown a particular interest in the sounds and compositions of guitarist Jim Hall, so much so that he dedicated his first album in 1991, "All for Hall", well received by the great Jim.

After 25 years of record history, he re-proposes in Trio, a tribute to Jim Hall's compositions with "A lonely flower for you"; and again in 2019, the result of a national tour alongside guitarist Peter Bernstein, Dario Deidda on bass and Andy Watson on drums, the live CD, "Tribute To Jim Hall", is released on Abeat Records. 2018 is "Standards on Guitar" vol.3 "Two Sleepy People", featuring Renato Chicco, in memory of his missing parents, Bruna and the pianist Nino Di Leone . This last work follows on "Standards on Guitar" vol.1 and vol.2. July 2019 is "Parents" in drumless trio, featuring New York trumpeter Jim Rotondi.

He is director and teacher of guitar and harmony of the musical school "Il Pentagramma di Bari", which he himself founded in 1985. He also directs the " Duke Jazz Club Bari ", annexed to the school. From 2004 to 2014 he taught jazz guitar in the first and second level academic courses of the Niccolò Piccinni Conservatory of Bari. The 2002 text "Easy and complete method of Jazz Theory" published by the "Sinfonica Jazz Carish" publishing house, reprinted several times and also translated into the system for the blind "Braille". In 2012 it is the "Guido Di Leone Real Book" published by "Fo (u) r".

Personnel: Guitar – Guido Di Leone; Double Bass – Paolo Benedettini; Drums – Alessandro Minetto; Tenor Saxophone – Barend Middelhoff

Blue Night

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Peter Bernstein - Somethin's Burnin'

Styles: Guitar Jazz
Year: 1992
File: MP3@320K/s
Time: 60:03
Size: 137,7 MB
Art: Front

( 9:08)  1. This Could Be The Start Of Something Big
( 5:08)  2. Afterglow
(10:01)  3. Booker's Little Blues
( 7:18)  4. Mr. Kenyatta
( 7:02)  5. On A Misty Night
( 6:38)  6. Isn't This A Lovely Day
( 6:31)  7. Love For Sale
( 8:13)  8. Sideburns

Guitarist Peter Bernstein, who was 25 at the time, made his recording debut as a leader on this CD. He plays quite well, as does his friend, the up-and-coming pianist Brad Mehldau. Teamed with bassist John Webber and drummer Jimmy Cobb, Bernstein and Mehldau (who was almost recognizable at this early point) play three of the guitarist's originals, four jazz standards, and Lee Morgan's "Mr. Kenyatta," all in the modern hard bop style. Although Bernstein (who often sounds a bit like Wes Montgomery) and Mehldau would grow quite a bit from where they were in 1992, this was a fine start for their careers. ~ Scott Yanow https://www.allmusic.com/album/somethins-burnin-mw0000110257

Peter Bernstein Quartet: Peter Bernstein (guitar); Brad Mehldau (piano); John Webber (bass); Jimmy Cobb (drums).               

Somethin's Burnin'

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Houston Person & Joey DeFrancesco - The Party

Styles: Saxophone Jazz
Year: 1994
File: MP3@256K/s
Time: 53:09
Size: 97,4 MB
Art: Front

(9:59)  1. Love Me Tender
(6:06)  2. Blue Velvet
(7:17)  3. Blues for H.P.
(5:22)  4. Ceora
(5:59)  5. Impossible
(8:26)  6. Party's Over
(9:58)  7. True Blues

Good soul jazz and blues session, with young lion organist Joey DeFrancesco providing the funky undercurrent to tenor saxophonist Houston Person's thick, authoritative solos and Randy Johnston and Bertell Knox filling the spaces on bass and drums, plus Sammy Figueroa adding some Afro-Latin fiber for additional support.~Ron Wynn http://www.allmusic.com/album/the-party-mw0000278195

Personnel: Houston Person (tenor saxophone); Joey DeFrancesco (organ); Randy Johnston (guitar); Bertell Knox (drums); Sammy Figueroa (percussion, congas).

The Party

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Holly Cole - Girl Talk

Styles: Vocal Jazz
Year: 1990
File: MP3@320K/s
Time: 46:48
Size: 107,9 MB
Art: Front

(4:36)  1. My Foolish Heart
(4:33)  2. Girl Talk
(4:33)  3. Talk To Me Baby
(4:39)  4. Cruisin'
(4:44)  5. Spring Can Really Hang You Up The Most
(4:19)  6. My Baby Just Cares For Me
(5:59)  7. How Long Has This Been Going On
(4:24)  8. I'm So Lonesome I Could Cry
(5:02)  9. Melancholy Baby
(3:54) 10. Downtown

Girl Talk was recorded live to two-track using a single microphone. The liner notes state that Holly Cole's intention in doing so was to preserve the "quintessence of her live performancs," and the result is dazzlingly successful. The air of intimacy between artist and listener is so great that, if anything, the feeling of being present in the moment is greater here than on the 1996 live album It Happened One Night. On an album recorded "live in concert," the ambient noises that occur when a large number of people are gathered in one place can seem discordant or inappropriate when you're listening to the CD in your car or your living room; the atmosphere can exclude rather than include you. Put on this disc, however, and you can imagine that Holly Cole is singing for you alone. It's easy to focus on Cole's emotionally compelling delivery, and at first you can be so mesmerized that you forget that the vocalist is one part of a trio. 

Listen more carefully, and it becomes apparent that the piano and bass accompaniments are deceptively simple that they are, in fact, providing a counterpoint to the sung lyrics that is almost conversational. Suddenly, these simple arrangements feel quite complex. The most entertaining song on the album may well be Cole's interpretation of the traditionally sunny and euphoric "Downtown." In her expert hands it moves from near cynicism to a guarded openness that makes this standard seem to have a range of meaning you may never have considered. ~ Maya Geryk  http://www.allmusic.com/album/girl-talk-mw0000207577

Personnel: Holly Cole (vocals); John Johnson (saxophone); John MacLeod (trumpet); Aaron Davis (piano)

Girl Talk

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Peter Bernstein & Guido Di Leone Quartet - Tribute to Jim Hall

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 62:46
Size: 144,0 MB
Art: Front

(11:52) 1. I'm Getting Sentimental over You
( 6:21) 2. Bon ami
( 6:25) 3. Two's Blues
( 6:22) 4. All Across the City
( 8:14) 5. I Hear a Rhapsody
( 6:01) 6. Waltz New
( 9:19) 7. How Deep Is the Ocean
( 8:10) 8. St Thomas

Jazz guitarist Peter Bernstein was born September 3, 1967, in New York City. He got his first break while attending the New School when he met Jim Hall, who recruited him for a concert of guitarists as part of the 1990 JVC Jazz Festival in New York. The show was recorded by MusicMasters and issued as Live at Town Hall, Vol. 2. Bernstein quickly began playing with other jazz musicians, notably appearing on albums by Lou Donaldson, Michael Hashim, Larry Goldings, Mel Rhyne, Jesse Davis, and Geoff Keezer. He recorded his first album as a leader, Somethin's Burnin', for Criss Cross in December, 1992, as part of quartet with pianist Brad Mehldau, bassist John Webber, and drummer Jimmy Cobb. After working with such artists as Patti Page, Walt Weiskopf, Brian Lynch, Laverne Butler, Eric Alexander, and Hendrik Meurkens in 1993-1994, Bernstein returned to his solo work with Signs of Life. Issued in May of 1995, the album once again found the guitarist backed by pianist Mehldau, along with bassist Christian McBride, and drummer Gregory Hutchinson. Further work as a sideman with Ghetto Philharmonic, Trudy Desmond, Teodross Avery, Joshua Redman, Kevin Mahogany, Grant Stewart, and Mike LeDonne preceded the release of his third album, Brain Dance, in June 1997. This time, he led a quintet also containing organist Goldings, tenor saxophonist Eric Alexander, trombonist Steve Davis, and drummer Billy Drummond. Prior to his fourth album, Earth Tones, Bernstein recorded with Ralph Lalama and Eric Comstock, among others. Earth Tones, issued in August, 1998, found him fronting a trio with Goldings and drummer Bill Stewart.

Five years elapsed before the release of Heart's Content, Bernstein's fifth album as a leader, and he occupied the time working with a wide variety of musicians including Tom Aalfs, Group 15, Jimmy Cobb's Mob, David Bubba Brooks, Doug Lawrence, Sam Yahel, David Morgan, Jon Gordon, Michael Karn, Spike Wilner, Anna Lauvergnac, Harry Allen, Paula West, Nicholas Payton, Etta Jones, Béla Szakcsi Lakatos, Lee Konitz, Klaus Doldinger, and Ralph Bowen. Heart's Content, which was released in May 2003, was credited to "Peter Bernstein + 3," and the three were Mehldau, Bill Stewart, and bassist Larry Grenadier. The same year the album appeared, Bernstein could be heard on albums by Ryan Kisor, Wycliffe Gordon, Janis Siegel, and Martin Sasse, among others. Stranger in Paradise, Bernstein's sixth album, was released in June 2004 by the Japanese Tokuma label, and employed the same lineup as that on Heart's Content. In addition to musicians with whom he had recorded before, Bernstein appeared on albums by Jim Rotondi and Dr. Lonnie Smith in 2004 and Kathy Kosins in 2005. On August 23, 2005, Mel Bay released the DVD Peter Bernstein Trio Live at Smoke, taped at a jazz club on the Upper West Side of Manhattan.

Among his many sideman sessions in the mid-2000s, Bernstein added dates with Joe Magnarelli, Alvin Queen, Planet Jazz, Anton Schwartz, John Pisano, David "Fathead" Newman, Don Friedman, Cory Weeds, and Andrew Suvalsky to the list of his credits, along with repeat appearances with others. In January 2009, the newly reactivated Xanadu label released Bernstein's seventh album, Monk, a tribute to Thelonious Monk featuring bassist Doug Weiss and drummer Bill Stewart. In 2013, he paired with guitarist Joachim Schoenecker for the duo album Dialogues. A year later, he joined longtime associates Larry Goldings and Bill Stewart on Ramshackle Serenade. He then made his Smoke Sessions debut with 2016's Let Loose, a lively quartet date featuring pianist Gerald Clayton. Also that year, he collaborated with fellow guitarists Rale Micic, John Abercrombie, and Lage Lund on Inspired. For the guitarist's second Smoke Sessions date, Signs Live!, he reunited the band that had recorded his 1995 album Signs of Life, including pianist Brad Mehldau, bassist Christian McBride, and drummer Gregory Hutchinson. Released in 2017, Signs Live! was the first time Bernstein and the members of the quartet had all played together in over 20 years.~ William Ruhlmann https://www.allmusic.com/artist/peter-bernstein-mn0000317924/biography

Personnel: Peter Bernstein (guitar); Guido Di Leone (guitar); Dario Deidda (bass); Andy Watson (drums)

Tribute to Jim Hall

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Dizzy Gillespie - Dizzy In Greece

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 41:54
Size: 97,1 MB
Art: Front

(5:40) 1. Hey Pete
(3:47) 2. Yesterdays
(4:18) 3. Tin Tin Deo
(3:22) 4. Groovin' for Nat
(4:06) 5. Annie's Dance
(4:56) 6. Cool Breeze
(4:22) 7. School Days
(3:14) 8. That's All
(4:14) 9. Stable Mates
(3:52) 10. Groovin' High

Dizzy's in Greece, looking very cool in a fez on the cover and really wailing hard with a larger group that includes Billy Mitchell, Charlie Persip, Lee Morgan, Wynton Kelly, and Phil Woods! The mode here is still quite boppish, despite the larger size of the ensemble but Dizzy also manages to bring in some of those wonderfully rich colors that were coming into his later work a tonal depth that's completely amazing, and which pushed Gillespie way past his simple roots of the 40s, into a space that made him one of the most expressive jazz leaders of the 50s. The horn charts alone are totally great and Dizzy's got a wonderful talent for letting the key soloists step out with a really strong voice in the set and although short, the tunes have an incredible reach overall. Titles include "Tin Tin Deo", "Yesterdays", "Groovin' High", "Hey Pete", "Arnnie's Dance", and "Groovin' for Nat". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/1776/Dizzy-Gillespie:Dizzy-In-Greece

Personnel: Dizzy Gillespie, trumpet and leader; Joe Gordon, trumpet; Quincy Jones, trumpet; E.V. Perry, trumpet; Carl Warwick, trumpet; Melba Liston, trombone; Frank Rehak, trombone; Rod Levitt, bass trombone; Jimmy Powell, alto saxophone; Phil Woods, alto saxophone; Billy Mitchell, tenor saxophone; Ernie Wilkins, tenor saxophone; Marty Flax, baritone saxophone; Walter Davis, Jr., piano; Nelson Boyd, bass; Charli Persip, drums

Dizzy In Greece

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Ingrid Jensen - Now As Then

Styles: Straight-ahead/Mainstream, Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 66:50
Size: 153,3 MB
Art: Front

(10:59)  1. The Night Has a Thousand Eyes
( 8:29)  2. R Hour
( 6:39)  3. Now As Then
( 7:30)  4. Periwinkle
( 8:42)  5. Gloria
( 6:47)  6. Silver Twiligh
( 8:50)  7. Tony's Town
( 8:51)  8. Dilemma

The familiar groove of the organ trio returns with Ingrid Jensen's newest release. Her resounding trumpet and mellow flugelhorn carry a message that jazz will grow from its tradition of syncopated swing and creative improvisation toward a fresh formula that keeps the best elements on board, while adding virtuosic individual displays and a cohesive ensemble interplay. Trumpet and saxophone give Project O a classic front line flavor that has been espoused by many memorable straight-ahead quintets throughout jazz's history. Gary Versace's Hammond B-3 organ, on the other hand, lends a different mainstream timbre that points in several different directions. It's a great combination. Seamus Blake puts in a solid performance on his guest appearances and complements Jensen's trumpet quite well. Steve Wilson and Christine Jensen, who both add lively alto and soprano saxophone voices to the program, bring out a lighter side of the music. (Christine is Ingrid's sister.) The session includes both serious drama and laid-back swing.

While it's not clear on every track whether we're listening to Christine or Steve, each has sufficient leading roles to verify their individual spirits. Leader Ingrid Jensen is at ease with both. On Christine's "Dilemma," Wilson trades fours with the composer. Both have chosen the alto for this one; Wilson is on the left audio channel and Jensen is on the right. Their natural conversation leads to an open trumpet soliloquy and an eventual coming together of the band's distinctive voices. As with most of the album, an emphasis on rich harmony drives the piece forward with multi-hued layers. Now As Then draws together trumpeter Ingrid Jensen's original thoughts on the creative path that modern jazz needs to follow if it is to achieve continued growth. ~ Jim Santella  http://www.allaboutjazz.com/now-as-then-ingrid-jensen-review-by-jim-santella.php

Personnel: Ingrid Jensen- trumpet, flugelhorn; Gary Versace- B-3 organ; Jon Wikan- drums; Steve Wilson- alto saxophone, alto flute; Christine Jensen- alto saxophone, soprano saxophone; Seamus Blake- tenor saxophone

Now As Then

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Rosana Eckert - Sailing Home

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 48:14
Size: 111,4 MB
Art: Front

(3:31)  1. Sailing Home
(3:57)  2. Garby the Great
(4:35)  3. Someone Else's Life
(4:52)  4. Waiting
(4:36)  5. Miles of Blue
(4:06)  6. Blue Flower
(4:49)  7. Coriander Stomp
(3:54)  8. Empty Room
(4:55)  9. Lovely Ever After
(5:37) 10. For Good
(3:19) 11. Meant for Me

Rosana Eckert has made a name for herself as a jazz vocals composer and arranger with her previous recordings, At The End Of The Day (GEM Records, 2003) and Small Hotel (GEM Records, 2010). Bright and imaginative, Eckert draws from a lifetime of music beginning with her childhood in El Paso, Texas, where the musical melting pot was richly seasoned with American, Hispanic, and European influences. Educated at the notable music school, the University of North Texas, she went on to become a faculty member in addition to leading her own band, performing as a wedding singer and recording commercial jingles. This wide-openness to anything musical is Eckert's charm. She has a giving and generous musical personality that manifests in her broad format and genre palette. On Sailing Home, Eckert composes or co-composes eleven disparate jazz songs, each with its own character and texture. Eckert's music is as much tactile as tuneful. This tactile musical nature reveals itself in the intersection of a chosen rhythm and the song arrangements. On the title song, Eckert and pianist Peter Eldridge craft a sonic walk on an uneven path.

Over the circuitous figure, guitarist Corey Christiansen lays an infectious muted electric counterfigure. Ben Whittman's prepared steel drums are just gravy. Eckert's singing is bright, positive and inviting, setting a warm tone to the entire project. "Garby The Great" is a slinky, blues-inflected ballad with Eckert singing with authority and awareness, almost as a spontaneous vocalese. Her scat counterpoint to Young Heo's walking bass leads to Christiansen's octaves, and Heo's muscular solo, tartly accented by Christiansen. If a voice can mimic a fingersnap, Eckert's does so.  "Someone Else's Life" shimmers with dubbed vocals, Eckert studying harmony and sound structure in a forward and progressive manner. Eldridge and Christiansen provide a delicate filigree hung on Heo's spare bass playing. Juxtaposed against this shiny surface is the humid and inviting "Waiting," featuring Ginny Mac's whispering accordion weaving with a lazy Reggae beat. The attention grabber is "Coriander Stomp" initiated by a dirty funk line by Christiansen that gives way to drummer Steve Barnes channelling Little Feat's Richie Hayward in a jaunty street march. Christiansen's solo is boss with fuzz and swing. Eckert sings wordlessly, scatting in and out of the musical celebration, which is a good way to describe the entire recording.. ~ C.Michael Bailey https://www.allaboutjazz.com/sailing-home-rosana-eckert-oa2-records-review-by-c-michael-bailey.php

Personnel: Rosana Eckert, vocals; Peter Eldridge, piano, organ, keyboards; Corey Christiansen, electric/acoustic guitars; Young Heo, acoustic bass; Steve Barnes, drums; Ben Wittman, percussion (1, 4, 9); Gary Eckert, percussion (5, 7, 10); Daniel Pardo, alto flute (8, 9); Brian Piper, piano (7); Ginny Mac, accordion (4).

Sailing Home

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Bruce Forman Quartet - Pardon Me!

Styles: Guitar Jazz
Year: 1988
File: MP3@320K/s
Time: 48:18
Size: 110,8 MB
Art: Front

(3:35) 1. Count Down
(5:09) 2. Skylight
(6:07) 3. Pardon Me
(5:45) 4. I Thought About You
(4:15) 5. Blues For Wes
(6:07) 6. Picture Window
(5:58) 7. Autumn Leaves
(4:17) 8. Once Again
(7:00) 9. I Hear a Rhapsody

This strong effort finds guitarist Bruce Forman exploring music that is sometimes adventurous (particularly John Coltrane's "Countdown" and Dave Liebman's "Once Again"), along with some more basic tunes (the ballad "I Thought About You" and his "Blues for Wes"). An added plus to the date is that the quartet (which also includes bassist Jeff Carney and drummer Eddie Marshall) co-stars the superb pianist Bill Childs.~Scott Yanow https://www.allmusic.com/album/pardon-me%21-mw0000199135

Personnel: Guitar – Bruce Forman; Bass – Jeff Carney ; Drums – Eddie Marshall ; Piano – Billy Childs

Pardon Me!

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Frank Foster & Frank Wess - Frankly Speaking

Styles: Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 49:38
Size: 114,5 MB
Art: Front

( 6:32) 1. An' All Such Stuff As'Dat
( 6:47) 2. The Summer Knows
( 7:12) 3. When Did You Leave Heaven?
( 4:44) 4. Up And Coming
( 5:01) 5. One Morning In May
( 3:09) 6. Two Franks
(10:22) 7. This Is All I Ask
( 5:47) 8. Blues Backstage

Using the same personnel as the previous year's Two for the Blues (Frank Foster on tenor and soprano, Frank Wess on tenor and flute, pianist Kenny Barron, bassist Rufus Reid, and drummer Marvin "Smitty" Smith), this set gets the slight edge and is an excellent introduction to the playing of the two Count Basie saxophonists. Foster contributes two originals (including the classic "Blues Backstage"), Wess brings in "Up and Coming," and the quintet also performs five jazz standards including "When Did You Leave Heaven," Hoagy Carmichael's "One Morning in May," and Neal Hefti's "Two Franks." Recommended.~Scott Yanow https://www.allmusic.com/album/frankly-speaking-mw0000649518

Personnel: Tenor Saxophone, Soprano Saxophone – Frank Foster; Bass – Rufus Reid; Drums – Marvin "Smitty" Smith; Flute, Tenor Saxophone – Frank Wess; Piano – Kenny Barron

Frankly Speaking

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Jimmy Smith - Got My Mojo Workin'/Hoochie Coochie Man

Bitrate: MP3@320K/s

Time: 79:08

Size: 181.2 MB

Styles: Soul-jazz

Year: 1997

Art: Front

[5:12] 1. High Heel Sneakers

[4:23] 2. Satisfaction

[4:06] 3. 1-2-3

[5:37] 4. Mustard Greens

[7:59] 5. Got My Mojo Workin'

[3:57] 6. Johnny Come Lately

[3:48] 7. C Jam Blues

[4:28] 8. Hobson's Hop

[5:57] 9. Hoochie Coochie Man

[5:28] 10. One Mint Julep

[5:41] 11. Ain't That Just Like A Woman

[6:13] 12. Boom Boom

[5:25] 13. Blues And The Abstract Truth

[6:08] 14. Tnt

[4:40] 15. (I Can't Get No) Satisfaction (Alternative Take)

After leading a series of notable jam sessions for Blue Note, organist Jimmy Smith signed a lucrative contract with Verve in 1962. Throughout the remainder of the decade, he recorded songs that ranged from treasures to trash, turning most of the music into bluesy vamps. On this CD, a reissue of the LPs Got My Mojo Workin' and Hoochie Cooche Man, Smith's repertoire ranges from Billy Strayhorn's "Johnny Come Lately" and Oliver Nelson's "Blues and the Abstract Truth" to "I'm Your Hoochie Coochie Man" and "I Can't Get No Satisfaction." In most cases, Smith's versions bear little resemblance to the original recordings. The earlier set has Smith featured with both a quartet and an octet arranged by Oliver Nelson. The remainder of the CD is a big band with Nelson's charts making the orchestra as exuberant as Smith's solos. Overall, the CD is not as essential as Jimmy Smith's better Blue Note dates, but is a worthwhile acquisition for fans of the jazz organ due to his enthusiasm and his ability to uplift the material. ~Scott Yanow

Got My Mojo Workin'/Hoochie Coochieman  

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Bruce Forman with Joe Henderson - Forman on the Job

Styles: Guitar Jazz
Year: 1992
File: MP3@320K/s
Time: 57:27
Size: 131,7 MB
Art: Front

(5:51) 1. How Long Has This Been Going On
(5:43) 2. Un Poco Loco
(4:26) 3. Autumn Nocturn
(6:33) 4. Real Life
(4:55) 5. Prisione
(3:32) 6. Last Minute Calypso
(6:12) 7. Lullaby
(5:46) 8. A Night In Tunisia
(5:33) 9. Angels Just Are
(4:29) 10. People Will Say We're In Love
(4:23) 11. I Concentrate On You

Guitarist Bruce Forman's second CD for the small San Francisco-based Kamei label features him with bassist John Clayton, drummer Vince Lateano, and sometimes percussionist John Santos, plus guests. Pianist Mark Levine is on eight of the 11 tracks, tenor great Joe Henderson helps out on four, and steel drummer Andy Narell drops by for two. Although there are three Forman originals and one by Clayton ("Angels Just Are"), the emphasis is on bop-era tunes, including Bud Powell's "Un Poco Loco," "A Night in Tunisia," and a swinging "I Concentrate on You." The beautiful "Autumn Nocturne" is a high point.~ Scott Yanow https://www.allmusic.com/album/forman-on-the-job-mw0000085142

Personnel: Bruce Forman, guitar; John Clayton, Jr, bass; Vince Lateano, drums; Mark Levine, piano

Forman on the Job

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Brenda Lee - Sincerely

Styles: Vocal
Year: 1962
File: MP3@320K/s
Time: 33:22
Size: 81,7 MB
Art: Front

(2:46) 1. You Always Hurt The One You Love
(2:19) 2. Lazy River
(2:41) 3. You've Got Me Crying Again
(3:19) 4. It's The Talk Of The Town
(2:53) 5. Send Me Some Lovin'
(3:05) 6. How Deep Is The Ocean
(2:32) 7. I'll Always Be In Love With You
(2:53) 8. I Miss You So
(2:38) 9. Fools Rush In
(2:56) 10. Only You (And You Alone)
(2:36) 11. Hold Me
(2:37) 12. I'll Be Seeing You

Brenda Lee had made popular standards a part of her recorded repertoire almost from the time she started making records. But on this 1962 album (known both as Sincerely and Sincerely, Brenda Lee), these did not so much add to her versatility as tilt the LP away from the strengths that had made her so popular in the first place. It wasn't unknown for rock singers to make albums dominated by adult-oriented material in an attempt to broaden their appeal, and Lee could sing this kind of stuff well. The problem was that the record featured almost nothing but these kind of songs, most of them taken at a slow tempo, and none of them rock & rollers (or hit singles, for that matter).

As a result, it's one of the more forgettable albums from her prime, of value only to big fans and completists. All that stated, it's not a terrible record, benefiting from Owen Bradley's typically lush-yet-tasteful orchestral production and characteristically committed Lee vocal performances. None of the tracks are outstanding, however, though none are embarrassing and a few are decent, particularly the one up-tempo number, "Fools Rush In." "Hold Me" is also of note, as it's the same song that P.J. Proby would make into a huge British rock hit in 1964, though it's done in a much more conventional slower romantic fashion here.~ Richie Unterberger https://www.allmusic.com/album/sincerely-brenda-lee-mw0000856303

Sincerely

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Ben L'oncle Soul - Addicted To You

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 44:37
Size: 102,6 MB
Art: Front

(4:11) 1. Two Trees
(3:35) 2. Next To You
(3:35) 3. All My Life
(3:38) 4. Addicted
(4:24) 5. I Love This Game
(3:25) 6. The Best
(5:34) 7. You’re All I Need
(3:37) 8. I Don't Wanna Go
(5:09) 9. Call Me
(3:30) 10. I Just Want You
(3:55) 11. Let It Go

The French Soul-singer, revives the genre to its purest form in recent offering. Flexing his charming vocal timbre through a confluence of black musical influences; to provide a soulful soundscape, that exhibits traces of his Gospel background while exploring hints of traditional R&B and HIp-Hop. Ben formerly known as Ben L’Oncle Soul, the vocally dazzling, hugely entertaining artist from France, first graced stages as a vocalist in the Fitiavana Gospel choir. The ensemble made its album debut in 2009, with ‘I Have A Dream’ comprised of a collection of renditions of English-language soul classics such as ‘Killing Me Softly’, ‘Lean On Me’ and more. Successively, Ben was offered a solo recording deal with the French division of Motown Recordings, resulting in the release of his 2009 EP ‘Soul Wash’. Following shortly after with his full-length debut album ‘Ben L’Oncle Soul’ which hit number five on the French album chart, landing him numerous nominations and awards including; Best Male Singer of the year at The Globes de Cristal and Live Breakthrough at the Victoires de la Musique. Since signing Ben has augmented over 750,000 monthly listeners on Spotify alone with an audience predominately across his native land, Amsterdam and Sao Paulo.

Throughout this review, we'll break down the core musical elements of Ben's fourth album: 'Addicted To You'. That he delineates as an offering that sets forth an accumulation of influences of over the past 10 years. When speaking of Soul music, typically we first think of the most unique and personal instrument of them all; the voice it's fair to say that Ben's vocals are extremely potent. To be truthfully honest, your vocabulary could reach a total vanishing point when trying to describe it. However, there is some historicism here, a lot of the depth we hear stems from his years spent in the Fitiavana Gospel Choir, which he joined in 2004. His melismatic approach to projecting his voice, is best shown in tracks like: 'I Love This Game' an offering that compares the course of love to sport. In addition to ‘The Best’ which conveys the significance of confidence in not only yourself but the ones we love; described by Ben as “the basis of all relationships.” both showcase Ben’s vocal prowess.

You can hear subtle alterations in his timber, in response to him adapting to differing atmospheric emotion from scenes of sensuality, sorrow and longing - throughout this album. To achieve this, we hear him bouncing between speech and song, slightly extending the note at the end of a word at times (a method that does a great job in conveying his expression), whilst keeping his vocals controlled and with purpose at others. Evoking slight parts of black southern Gospel tradition (arguably a descendant of Soul) – A tradition that is known for a choir or singer constantly moving between something that also sounds like talking and singing. Often changing the timber of the voice to preach a message to a church. Moving onto the R&B element, that can be heard within the vibe of each track, somewhat reminiscent of prolific R&B legend D'Angelo (who also shares a Gospel background). Although. we won't hear Ben influenced by D'Angelo's famous falsetto, we will hear similarities in the album's rich instrument heavy production. The track 'Addicted' a song coined as “the albums strongest melody” by Ben: is a good example of this, it’s use of sizzling hats and sultry guitar runs creates an interesting foreground for Ben to lay down his sweet harmonies. Along with the last minute of 'I Don't Wanna Go'a track that displays a sense of betrayal and anger - supplying a invigorating electric guitar moment, accompanied by sweet piano riffs. Notwithstanding, the traditional components, Ben explores a synth lead backdrop in 'I Just Want You' a instaltion that acts as sexual decleration, serves a contemporary R&B feel that’s extremely favoured with in the genre today.

To conclude, 'Addicted to You' is a highly emotive body of work - courtesy of Ben's immaculate vocal expression teamed with his crews perfectly executed production along with some diverse collaborations. It journeys through a real-life turbulent portrayal of a love story, with highs and lows stippled throughout. To be pedantic, I would say although I feel the album supplies us with a wholesome experience due to of all the elements aforementioned; However personally, I would have enjoyed it that bit more if lyrically it was slightly more introspective. I also would have loved at least one of the songs to be acoustic, only because I know that it would sound be a great addition to the offering. Nonetheless, this is definitely an album that will go down a treat with Soul or R&B fans, whether digested in full or taken apart to uplift your go to playlist. It seems that his audience are already lapping this up, as streams are hitting some pretty impressive heights, along with some tracks being sprinkled throughout some of Spotify's best Soul playlists, like 'Soul 'n' the City' which has garnered almost 300,000 likes. https://www.newwavemagazine.com/single-post/ben-addicted-to-you-review-the-nostalgia-you-need

Addicted To You

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Frank Foster & Frank Wess - Two for the blues

Styles: Saxophone, Flute Jazz
Year: 1984
File: MP3@256K/s
Time: 45:54
Size: 84,7 MB
Art: Front

(6:41)  1. Two For The Blues
(6:18)  2. Send In The Clowns
(4:12)  3. Your Beauty Is A Song Of Love
(4:18)  4. But For The Likes Of You
(5:44)  5. Heat Of Winter
(4:16)  6. Nancy With The Laughing Face
(5:03)  7. Spring Can Really Hang You Up The Most
(5:32)  8. A Time For Love
(3:46)  9. Traccia 09

This CD reissue of a Pablo date features Frank Foster (on tenor and soprano) and Frank Wess (tenor, flute and alto) at their best. They perform three Wess originals, one by Foster, and a variety of mostly underplayed standards (including Neal Hefti's "Two for the Blues," plus "Spring Can Really Hang You Up the Most") and a surprisingly uptempo "Send In the Clowns." With pianist Kenny Barron, bassist Rufus Reid and drummer Marvin "Smitty" Smith offering stimulating support, this is an excellent showcase for the two Franks. A follow-up Concord set (Frankly Speaking) used the same personnel. 

~ Scott Yanow https://www.allmusic.com/album/two-for-the-blues-mw0000267573

Personnel: Tenor Saxophone, Soprano Saxophone – Frank Foster;  Tenor Saxophone, Alto Saxophone, Flute – Frank Wess; Bass – Rufus Reid; Drums – Marvin Smith;   Piano – Kenny Barron 

Two for the blues

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The Dime Notes - The Dime Notes

Styles: New Orleans jazz
Year: 2016
File: MP3@320K/s
Time: 49:31
Size: 115,1 MB
Art: Front

(3:56) 1. Original Jelly Roll Blues
(4:04) 2. Alabamy Bound
(4:36) 3. Aunt Hagar's Children's Blues
(3:05) 4. Black Stick Blues
(5:19) 5. The Pearls
(3:34) 6. 'Tain't Clean
(4:17) 7. Otis Stomp
(6:16) 8. Si Tu Vois Ma Mere
(2:58) 9. The Camel Walk
(4:59) 10. The Crave
(3:39) 11. I Believe In Miracles
(3:16) 12. Ole Miss
(2:52) 13. Turtle Twist
(2:50) 14. What A Dream

The Dime Notes have unearthed a repertoire of stomps, blueses, and forgotten gems of the era from musicians such as Johnny Dodds, Jelly Roll Morton and Red Nichols. Fronted by Chris Barber’s long-time clarinetist David Horniblow, an established figure on the London jazz scene and American pianist Andrew Oliver, a recent arrival to the UK, the band is anchored by the unstoppable pulse of London’s finest rhythm guitarist Dave Kelbie.

The bass chair is occupied by London bassist Louis Thomas, in demand across many genre boundaries with his huge sound and stylistic versatility. The Dime Notes present a fresh take on a timeless style, emphasizing the propulsive grooves and sultry melodies which made early jazz revolutionary, controversial, and wildly popular. https://lejazzetal.com/the-dime-notes/

Personnel: David Horniblow – Clarinet; Andrew Oliver - Piano; Dave Kelbie - Guitar; Louis Thomas - Double Bass

The Dime Notes>

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Maxine Sullivan - Moments Like This

Styles: Vocal, Swing
Year: 2004
File: MP3@320K/s
Time: 71:57
Size: 165,7 MB
Art: Front

(2:57) 1. Loch Lomond
(2:26) 2. I'm Coming Virginia
(2:42) 3. Annie Laurie
(3:04) 4. Blue Skies
(3:03) 5. Easy To Love
(3:02) 6. The Folks Who Live On The Hill
(2:56) 7. It's Wonderful
(3:05) 8. Moments Like This
(3:15) 9. Please Be Kind
(3:22) 10. Night And Day
(3:03) 11. Say It With A Kiss
(2:39) 12. I'm Happy About The Whole Thing
(2:44) 13. When Your Lover Has Gone
(2:22) 14. My Ideal
(3:06) 15. Everytime We Say Goodbye
(3:07) 16. This Heart Of Mine
(2:49) 17. I'm The Caring Kind
(2:57) 18. Mad About The Boy
(2:51) 19. I Can't Get Started
(2:44) 20. Skylark
(2:51) 21. Come Rain Or Come Shine
(2:07) 22. Taking My Time
(3:00) 23. Summertime
(2:54) 24. Legalize My Name
(2:38) 25. Miss Otis Regrets

Maxine Sullivan had very little formal music training. She was discovered while singing at the Benjamin Harrison Literary Club in Pittsburg by Gladys Mosier. Mosier was, in the mid 1930's, working in Ina Rae Hutton’s big band and an acquaitance of fellow pianist Claude Thornhill. She soon introduced her new find to Thornhill and as his protege', Maxine Sullivan made her first records in June of 1937, accompanied by the pianist's all-star band.

The critics at Metronome magazine received Maxine's first records warmly, giving the discs good ratings and reviews. Around the same time Maxine became the vocalist at The Onyx Club in New York. It was here that she formed both a music and personal partnership with bass-man John Kirby who she soon married. Kirby had worked with Fletcher Henderson in the early 1930’s as well as Henry Red Allen. A busy man in 1937, the stellar bassist recorded with Teddy Wilson, Willie The Lion Smith, Frankie Newton, Midge Williams, Charlie Barnet, and Lionel Hampton all prior to the first records he made with Maxine on August 6th, 1937 which also saw accompaniment from Thornhill on piano. Sullivan and Kirby remained married until 1941.

It was this first session with Kirby that proved to be both a blessing and a curse for Maxine Sullivan. It produced a hit record, a swing version of a Scottish folk song called Loch Lomond. Unfortunately it "typed" her and she depended on similar folk style performances for many subsequent records, despite her ability to adapt to other forms of Pop and jazz songs equally well. Her cool, soft, tone and subtle and intimate style was equally swinging on records like Nice Work If You Can Get It, Blue Skies, St Louis Blues, and Stop Your Breaking My Heart. Unfortunately there were a bevy of records like Darling Nellie Gray, Annie Laurie, Molly Malone and others that began to sound all very similar.

In 1940 Sullivan and Kirby were featured on the radio program Flow Gently Sweet Rhythm. They were the first black jazz stars to have their own weekly radio series. Sullivan and Kirby’s last shows together were in the fall of 1941 and were recorded by two different transcription companies, World and Associated. In the mid 1940s she was recorded with the bands of Teddy Wilson, Benny Carter, and Jimmie Lunceford and can be heard singing mainly ballads with all three groups.

Aside from sessions with Ellis Larkins and Bob Haggart, her recorded output was little until 1955 and 1956. Finally recorded singing better material in the company of musicians like Dick Hyman, and old cohorts Buster Bailey, Charlie Shavers, and Russell Procope; Sullivan produced a series of sides that were her most exciting since her 1937 sessions. In the late 50’s she branched out to new areas of study, in nursing and playing valve trombone, which she played at numerous concerts and festivals in 1958. From 1958 to 1966 nursing took up her career. In ’66 she reemerged playing several festivals with her new husband pianist Cliff Jackson. From then until 1986 she continued to appear at festivals and can be heard with musicians from Doc Cheatham to Scott Hamilton. Her last recorded concert was at The Fujitsu-Concord Jazz festival held in Tokyo in September of 1986.

Maxine Sullivan appeared in the movies St. Louis Blues and Going Places, the latter opposite of Louis Armstrong. On stage, she was seen in Swingin’ The Dream in 1939, and Take A Giant Step in 1953. She toured Great Britain in 1948 and again in 1954. In her later concert appearances she traveled to France for several performances in 1984 and to Sweden many times beginning in 1975 and ending in 1984. Maxine Sullivan died in April of 1987, little more than one month short of her 76th birthday and just 8 months after her last recorded concert appearance. The last song she performed at the Fujitsu – Concord Jazz Festival and her last performance on record…was Loch Lomond. http://www.swingmusic.net/Sullivan_Maxine.html

Moments Like This

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