Hot Lips Page - Feelin' High and Happy

Styles:Trumpet Jazz
Year: 2022
File: MP3@320K/s
Time: 28:28
Size: 65,9 MB
Art: Front

(2:15) 1. Feelin' High And Happy
(2:06) 2. I'm Gonna Lock My Heart
(2:24) 3. Skull Duggery
(2:34) 4. Will You Remember Tonight Tomorrow
(2:31) 5. Small Fry
(2:29) 6. Pied Piper
(2:47) 7. Jumpin'
(2:40) 8. At Your Beck And Call
(2:54) 9. Down On The Levee
(2:52) 10. Rock It For Me
(2:48) 11. He's Pulling His Whiskers

One of the great swing trumpeters in addition to being a talented blues vocalist, Hot Lips Page's premature passing left a large hole in the jazz world; virtually all musicians (no matter their style) loved him. Page gained early experience in the 1920s performing in Texas, playing in Ma Rainey's backup band. He was with Walter Page's Blue Devils during 1928-1931, and then joined Bennie Moten's band in Kansas City in time to take part in a brilliant 1932 recording session.

Page freelanced in Kansas City and in 1936 was one of the stars in Count Basie's orchestra but, shortly before Basie was discovered, Joe Glaser signed Hot Lips as a solo artist. Although Page's big band did alright in the late '30s (recording for Victor), if he had come east with Basie he would have become much more famous. Page was one of the top sidemen with Artie Shaw's orchestra during 1941-1942 and then mainly freelanced throughout the remainder of his career, recording with many all-star groups and always being a welcome fixture at jam sessions.By Scott Yanow
https://www.allmusic.com/artist/hot-lips-page-mn0000825032/biography

Feelin' High and Happy

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Paolo Fresu - Ferlinghetti

Styles: Trumpet Jazz
Year: 2022
File: MP3@320K/s
Time: 54:08
Size: 125,2 MB
Art: Front

(6:11) 1. I Was An American Boy
(3:16) 2. Ferlinghetti
(3:23) 3. The Macaronis Scene
(6:13) 4. Hill Of Poetry
(4:33) 5. Obscene Boundaries
(2:49) 6. Endless Life
(5:30) 7. Island Of The Mind
(4:21) 8. I Am The Man
(3:23) 9. Too Young To Die
(4:35) 10. Tyrannus Nix
(4:25) 11. Where Books Were Trees
(2:52) 12. Back Roads To Far Places
(2:30) 13. Eponymous Epitaph

The musical analysis of the trumpeter alongside his now trusted new trio with Dino Rubino and Marco Bardoscia manages to offer especially on live occasions profound perspectives around such a beautiful and discussed theme as that of the much loved beat generation. To widen the sound plateau was then called Daniele Di Bonaventura whose bandoneon manages to give deep pictorial nuances.

From San Francisco to Sardinia, passing through Rome: it is the parable between music and poetry that he ideally draws Paolo Fresuprotagonist on trumpet and flugelhorn with his new trio – Dino Rubino on piano, Marco Bardoscia on double bass, Daniele Di Bonaventura on bandoneon – of the concert “Ferlinghetti”, named after the poet and editor of the beat generation Lawrence Ferlinghettian American with an Italian father (who died before he was born), to be precise Lombard, and a Franco-Portuguese mother (hospitalized in an asylum when he was only a few months old), a life between France and the USA, before moving permanently to California.

Fresu, ‘king’ of Italian jazz, creator in his Sardinia of the ‘Time in Jazz’ review starting tomorrow, proposes this evening at the House of Jazz in Rome a concert in which the soundtrack of the docufilm ‘The last beat’ by director Ferdinando Vicentini Orgnani, signed by the Sardinian musician. The feature film was designed to celebrate the centenary of the birth of Ferlinghetti, born in March 1919 and passed away in February 2021 on the eve of his 102 years. A long and even ‘wide’ life, marked by his poems and the activity of his publishing house, City Lights, which gives Allen Ginsberg a Jack Kerouac made the literature of the beat generation.
https://jazzbluesnews.com/2022/10/20/cd-review-paolo-fresu-ferlinghetti-2022-video-cd-cover/

Personnel: Paolo Fresu – trumpet, flugelhorn, effects; Dino Rubino – piano; Marco Bardoscia – double bass; Daniele Di Bonaventura (or Carlo Maver) – bandoneon

Ferlinghetti

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Ed Cherry - Peace

Styles: Guitar Jazz
Year: 2022
File: MP3@320K/s
Time: 63:03
Size: 144,7 MB
Art: Front

( 8:33) 1. In A Sentimental Mood
(12:22) 2. Kojo No Tsuki
( 8:03) 3. Tres Palabras
( 8:29) 4. Edda
( 6:32) 5. Peace
( 7:37) 6. Road Song
( 3:25) 7. Ugly Beauty
( 7:59) 8. Comin' Home Baby

"An expressive instrumentalist, Cherry has a hip, melodic approach that is a refreshing contrast to guitarists who frequently resort to playing 'finger music', the execution of rapid streams of notes that serve no musical purpose other than to fill space"- Jim Ferguson: Jazztimes - 06/02

Born in New Haven,Connecticut, Ed moved to New York in 1978 to play guitar with Dizzy Gillespie from 1978 to 1992 performing in Gillespie's quartet, big band and with The United Nation Orchestra which recorded the Grammy Award-winning Live at Royal Festival Hall (Enja). Gillespie died in 1993, and Cherry released his first recording as a leader, 'First Take' (Groovin' High). That same year, Ed recorded with Paquito D'Riveras' small group which recorded "Havana Cafe" (Chesky Records). Ed also worked with composer/saxophonist Henry Threadgill for two years and recorded three cds with Henry's 'Very Very Circus' group.

In 1995, Cherry released his second project as a solo artist, entitled A Second Look (Groovin' High Records). During that same period Ed worked with Hammond organist John Patton recording three critically acclaimed cds with Patton's quartet-'Blue Planet Man','Minor Swing' and 'This ones for Jah'(DIW). From 1997 to 1998, Cherry worked in Roy Hargrove's “Crisol” Latin jazz band, which performed in Havana, Cuba. During this same period, he also worked w/baritone saxophonist, Hamiett Bluiett, recording Bluiett's cd 'With Eyes Wide Open' on Justin-Time records.In 2001, Cherry toured Europe for the first time with his own group. He also released his cd, 'The Spirit Speaks' on the Canadian Justin Time Records label, inspired by the great jazz organist Jimmy Smith with whom he had also recently worked.Ed was asked to perform at the 'Vodaphone Madarao Jazz festival'in 2002 in Madarao Japan with his quartet featuring trumpeter Jon Faddis.

More recently , Ed toured with the great Hammond organist Dr. Lonnie Smith, recording one critically acclaimed cd, 'In The Beginning' on Pilgrimage Records in 2012. Currently Ed has a brand new second recording released on Posi-Tone Records. ('It's All Good' his first release in 2012 for Posi-Tone stayed in the JazzWeek charts for 3 months) his second recording for the label is titled "Soul Tree" ( release date February 19 2016 ) featuring Kyle Koehler on Hammond B3 organ and drummer Anwar Marshall. As of this pre release date, it's already gathering rave reviews. Ed continues to work nationally and internationally ; concerts, workshops, jazz clubs.
https://www.allaboutjazz.com/musicians/ed-cherry

Peace

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Ben Selvin & His Orchestra - The Dean of Recorded Music

Styles: Big Band
Year: 2022
File: MP3@320K/s
Time: 35:27
Size: 81,6 MB
Art: Front

(2:50) 1. Steppin' In Society
(3:02) 2. Brezzin' Along
(3:09) 3. Yes Sir, That's My Baby
(3:05) 4. Spanish Shawl
(2:47) 5. Charlestonette
(2:42) 6. The Original Charleston
(3:09) 7. There'll Be Some Changes Made
(2:55) 8. Susquehanna Home
(3:20) 9. Dinah
(2:49) 10. I Can't Realise
(2:52) 11. Suite 16
(2:43) 12. Does My Sweetie Do

By many accounts the most recorded bandleader of all time with as many as 13,000 recordings to his credit, Ben Selvin led a variety of studio groups and society orchestras from 1910 into the '30s, recording endless novelties for prime commercial crossover, many of which featured future big bandleaders Benny Goodman, the Dorsey Brothers, Jack Teagarden, Red Nichols, and Bunny Berigan. Among the most popular of Selvin's thousands of sides were "Dardanella" (the first recording to sell five million copies), "I'm Forever Blowing Bubbles," "Yes! We Have No Bananas," "Manhattan," "Happy Days Are Here Again" (best known as a theme song for President Franklin D. Roosevelt), and "When It's Springtime in the Rockies." In addition to his own sides, Selvin also led backing groups for vocalists Ethel Waters, Kate Smith, and Ruth Etting.

Selvin began his career as a violinist in Charles Strickland's orchestra. Not yet out of his teenage years, he launched his own society dance band in 1917 and began a seven-year residency at the Moulin Rouge club in New York. He recorded his first hit, "I'm Forever Blowing Bubbles," for Victor in July 1919 at his first recording session. During the next few years, he led studio ensembles for labels including Vocalion, Brunswick, Okeh, Paramount, Lyric, Emerson, and Arto (many of them recorded under aliases, from the Bar Harbor Society Orchestra to the Broadway Syncopators). Just as on his recording dates, Selvin was able to lead a variety of society orchestras at performance dates, even on the same night. What was then common practice might result in dozens of orchestras playing weekend gigs all over New York, each one under the banner of Selvin (or Lester Lanin or Meyer Davis or any other popular bandleader of the day).

By the late '20s, Selvin was recording exclusively for Columbia. He continued to issue side after side into the mid-'30s. After retiring from performing in 1934, he went to work as a vice president of recording and programming at the newly formed Muzak company, using his connections to convince prominent bandleaders to record for the company anonymously. He became A&R director of Columbia Records in 1947 and supervised recording sessions for such singers as Frank Sinatra and Doris Day. In 1952, he moved to RCA Victor, where he worked until he retired in 1963, after which he was a consultant to 3M. He was also a co-founder of Majestic Records. He lived to see his ninth decade before dying of a heart attack in 1980. By John Bush
https://www.allmusic.com/artist/ben-selvin-mn0000794156/biography

The Dean of Recorded Music

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Dominick Farinacci - Sounds in My Life

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 67:34
Size: 154,8 MB
Art: Front

(7:05) 1. The Thing to Do
(6:15) 2. Flamenco Sketches
(6:12) 3. What Is This Thing Called Love
(6:59) 4. The Pursuit
(5:53) 5. I Can't Get Started
(8:58) 6. Visions
(5:47) 7. Peyote
(9:01) 8. My Funny Valentine
(6:00) 9. Memories
(5:19) 10. Mona's Mood

Trumpeter Dominick Farinacci was named the very first Global Ambassador to Jazz at Lincoln Center by Wynton Marsalis, working to further integrate music into communities around the world in culturally collaborative ways. He graduated from The Juilliard School in 2005 launching his career in Japan with a prolific run of eight albums, later releasing four more globally. He has performed in more than 120 cities in 14 countries around the world, was a featured guest on ABC’s Good Morning America, and is a TED Speaker. Music icon Quincy Jones says of Dominick’s accomplishments in performance, recording, education & advocacy, “This kid is 360 degrees!”

Dominick has been successful in his personal endeavors on bringing music into the community through Arts and Wellness & Education. He was invited by TED to be a TED Speaker at the 2014 TED MED conference at the Kennedy Center in Washington, DC. He is a featured performer for the Cleveland Clinic in both Ohio and Abu Dhabi, and organized the very first jazz performance for patients in Abu Dhabi in collaboration with the Cleveland Clinic and the Abu Dhabi Music and Arts Foundation. For Dominick, music and health go hand in hand, most recently organizing panel discussions around patient-doctor communication through music with Weill Cornell Medical College in Qatar.

Dominick has been a leading advocate in music education development, most recently featured at the Community College Association of America in D.C. He served as Music Consultant to the Amy Winehouse Foundation, and is Artist in Residence at the Gill and Tommy LiPuma Center for Creative Arts at Cuyahoga Community College in Cleveland, Ohio. His educational reach recently expanded to the GCC, in schools such as Weill Cornell Medical College, Qatar Music Academy, the American School of Doha among others.

His most recent recording “Short Stories” is produced by four-time Grammy Award winning producer Tommy LiPuma. This was Tommy & Dominick’s first collaboration, and was recorded in their hometown of Cleveland at the Gill and Tommy LiPuma Center for Creative Arts. Dominick is signed to Mack Avenue Records.https://www.allaboutjazz.com/musicians/dominick-farinacci

Personnel: Trumpet – Dominick Farinacci; Tenor Saxophone – Stacy Dillard; Bass – Yasushi Nakamura (2); Drums – Carmen Intorre; Piano – Miyako Katakur

Sounds in My Life

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Yvonne Walter - Libra

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 52:10
Size: 122,0 MB
Art: Front

(5:18) 1. My Houseboat
(4:06) 2. Ocean Island
(4:25) 3. Libra
(4:12) 4. Autumn Tells
(5:23) 5. Snowflakes
(5:37) 6. Arches De Paris
(3:47) 7. To Be Good to Be Thru
(3:59) 8. If Only We Could
(2:47) 9. Sherry Flowers
(6:13) 10. Take Care
(4:42) 11. Dawn
(1:35) 12. Trois Musiciens

Yvonne Walter was born as Yvonne de Kok in Eindhoven, a town in the southern part of the Netherlands. She started studying piano at the age of seven and in her teens, she performed as a singer in high school bands. At that time she started to compose songs. Yvonne lived twenty years in Antwerp, Belgium. Since 2020 she lives in Malaga, Andalusia, Spain. http://yvonnewalter.com/about/

Personnel: Yvonne Walter vocal; Arturo Serra vibraphone; José Carra piano; Bori Albero bass; Miguel Benito drums

Libra

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Joe Locke - Makram

Styles: Vibes Jazz
Year: 2022
File: MP3@320K/s
Time: 62:16
Size: 142,9 MB
Art: Front

(7:04) 1. Love For Sale
(7:35) 2. Raise Heaven (for Roy)
(7:31) 3. Makram
(3:40) 4. Elegy For Us All
(6:45) 5. Tushkin
(9:06) 6. Shifting Moon
(7:57) 7. Song For Vic Juris
(7:35) 8. Interwoven Hues
(5:00) 9. Lush Life

While 10,000 hours of practice remains a popular adage for attaining a level of mastery in music, it does little to unpack the complexity of being a Jazz musician. Beyond any accounting of time or quality of dedication is the persistent and often mercurial quest for kinship. Whether that takes the form of mastering an instrument, nurturing an affinity for improvisation, or building intimacy within bands and the audiences they engage, kinship, and the connection it fosters, is indispensable to a life-long journey of refining an authentic musical identity.

After decades (past 100,000 hours in case you’re counting) as one of the most impactful vibraphonists in Jazz, with countless awards, critically acclaimed albums, and a remarkably diverse array of musical associations to his credit, Joe Locke brings us Makram; a recording glistening with the spirit, ingenuity, musicianship and inquisitiveness of an artist joyously embracing kinship as the foundation for making music entirely on his own terms. Locke’s quartet, (pianist Jim Ridl, bassist Lorin Cohen, and drummer Samvel Sarkisyan) is a unique musical fraternity, a group perfectly suited to the quality of compositions that make this recording so special.

Named after the talented Lebanese bassist Makram Aboul Hosn, the album opens with an uptempo arrangement of Cole Porter’s Love for Sale, a buoyant, tight, swinging base for crisp solos by Locke, Ridl and Sarkisyan. Soulful and melancholic, Raise Heaven is a lyrical homage to the late Roy Hargrove, reflecting the reverence with which the trumpeter approached ballads while at the same time giving a nod to his love of R&B, as evidenced by his work with the RH Factor. The song is buoyed by the delicate brass arrangement from trombonist and album co-producer, Doug Beavers.

Pivoting to a minor blues laced with an addictive Middle-Eastern melody managed in 5/4 time, the album’s title track Makram glides gracefully while maintaining a spirited rock-like energy. Sarkisyan expertly guides the song through searching solos by Ridl and Locke, accented wonderfully by Samir Nasr Eddine on oud and Bahaa Daou on riq, a smaller version of the tambourine. Delicate, somber and representative of our nation’s growing political vulnerability, Elegy For Us All speaks to Locke’s deep sadness for the growing dark influences he sees threatening democracy in the United States. Locke’s sweeping melody does well to describe the grief in watching ongoing attempts to roll back decades of gains made since the country’s Civil Rights era.

Penned in honor of his grandfather, Tushkin was composed by Samvel Sarkisyan, with a vibes/piano introduction written by Locke. The song features the gifted multi-instrumentalist Tim Garland on soprano saxophone, bass clarinet and flute. Stemming from the genius of John Coltrane’s Satellite, Shifting Moon has Locke deftly slaloming complex chord changes, while Sarkisyan’s percolating drumming shifts between a heavy 4/4 rock groove and 7/4 time. Guitarist, former collaborator, and friend Vic Juris is lovingly remembered by Jim Ridl with his Song For Vic Juris, a shimmering ballad that speaks to the legacy of Juris’ musical career.

Reminiscent of hardbop’s heyday, Lorin Cohen’s Interwoven Hues takes us home with a wonderful collaborative effort. By song’s end, everyone has soloed in ways that would make Horace Silver or Cedar Walton smile. A fitting epilogue, the set ends with Locke playing solo on Billy Strayhorn’s Lush Life. Dancing alone with his instrument, Locke delivers a signature performance that elegantly intertwines Strayhorn’s legacy with his own.

Within the galaxy of contemporary Jazz, albums often come with expectations that artists present their music in ways listeners can easily appreciate or readily understand. Makram’s orbit revolves around a slightly different sensibility, one where a gorgeous collage of music speaks to the meticulous preparation, world-class artistry and personal chemistry which Joe Locke is advancing at this point in his career. Challenging, complex, familiar but with a contemporary and international flare, this recording incorporates a dynamic quartet, effortless arranging spiced with just the right blend of instrumentation, curious meters, honorable sentiments and kinship - music that exemplifies Joe Locke’s intimate connection to his band, his audience, and most importantly himself. By Michael Ambrosino
https://joelocke.bandcamp.com/album/makram

Personnel: Joe Locke - vibes and additional keyboards; Jim Ridl - piano and keyboards; Lorin Cohen - acoustic and electric bass; Samvel Sarkisyan - drums and cymbals

Special Guests: Doug Beavers - trombone (2,4); Eric C. Davis - french horn (2,4); Jennifer Wharton - bass trombone and tuba (2,4); Samir Nasr Eddine - oud (3) Bahaa Daou - riq (3); Tim Garland - soprano saxophone, bass clarinet and flute (5)

Makram

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Ali Ryerson - I'll Be Back

Styles: Flute Jazz
Year: 1993
File: MP3@128K/s
Time: 49:58
Size: 46,5 MB
Art: Front

(4:41) 1. Bobby's Minor
(4:33) 2. L'Ode A' Muse
(5:28) 3. I'll Be Back
(7:51) 4. Peace
(6:24) 5. Thinking of You
(7:29) 6. Nobody Knows
(4:59) 7. Song For Myself
(4:59) 8. Samba De Gago
(3:33) 9. That's All

It is a testament to flutist Ali Ryerson that on her second release she is not overshadowed by her all-star rhythm section (pianist Kenny Barron, bassist Cecil McBee and drummer Danny Gottlieb) and that her sidemen sound happy to be playing with her. The music on this CD ranges from Bobby Jaspar's blues "Bobby's Minor" to a memorable version of Horace Silver's "Peace" and an emotional "That's All." Nothing that innovative occurs, but Ryerson's very pleasing flute sounds perfectly at home in this modern mainstream setting. Recommended for straight-ahead jazz fans.By Scott Yanow
https://www.allmusic.com/album/ill-be-back-mw0000104451

Personnel: Alto Flute, Flute – Ali Ryerson; Bass – Cecil McBee; Drums – Danny Gottlieb; Piano – Kenny Barron

I'll Be Back

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Bill Coleman - Hold Tight

Styles: Trumpet Jazz
Year: 2020
File: MP3@320K/s
Time: 89:58
Size: 210,8 MB
Art: Front

(2:54) 1. Lester Leaps In
(5:10) 2. Colemanology
(4:36) 3. From Boogie to Funk
(4:43) 4. St. James Infirmary
(6:32) 5. Afromotive in Blue
(5:11) 6. Baby, Won't You Please Come Home
(4:56) 7. Pound Horn
(5:27) 8. Old Maid Blues
(9:42) 9. Bill, Budd and Butter
(4:06) 10. Mood Indigo
(3:10) 11. Si Jolie
(6:12) 12. Bill Coleman Blues
(3:25) 13. Come on a My House
(5:50) 14. I Surrender, Dear
(9:46) 15. Have Blues Will Play´Em
(2:58) 16. The Blues Jumped up and Got Me
(5:13) 17. In My Solitude

A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's band, with whom he made his recording debut. He worked with Luis Russell (1929-1932) and Charlie Johnson, and then in 1933 traveled to France with Lucky Millinder. Coleman recorded with Fats Waller (1934) and played with Teddy Hill's Orchestra (1934-1935), but then moved to France for the first time in 1935.

While overseas, he recorded frequently as a leader (really coming into his own), with Willie Lewis' Orchestra, and on dates with Django Reinhardt. He ventured as far as Bombay, and spent 1938-1940 in Egypt with Herman Chittison. Returning to New York, Coleman played with Benny Carter, Teddy Wilson, Andy Kirk, Mary Lou Williams, and John Kirby during 1940-1945, and recorded with Lester Young and Coleman Hawkins (both in 1943). However, he preferred life in Europe and, after a period with groups led by Sy Oliver and Billy Kyle, in 1948, Coleman moved permanently back to France, staying active and recording fairly regularly up until his death in 1981. By Scott Yanow
https://www.allmusic.com/artist/bill-coleman-mn0000068537/biography

Hold Tight

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Oliver Nelson - The Argo, Verve And Impulse Big Band Studio Sessions (Disc 4), (Disc 5), (Disc 6)

Album: The Argo, Verve And Impulse Big Band Studio Sessions (Disc 4)
Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 60:28
Size: 140,1 MB
Art: Front

(6:14) 1. Let The Word Go Forth
(2:34) 2. A Genuine Peace
(3:54) 3. The Rights Of All
(3:20) 4. Tolerance
(3:26) 5. The Artists' Rightful Place
(2:12) 6. Jacqueline
(3:37) 7. Day In Dallas
(3:17) 8. John Kennedy Memory Waltz
(2:46) 9. Love Is Just Around The Corner
(2:15) 10. This Is It
(3:09) 11. Memories Of You
(3:48) 12. Pee Wee's Blues
(2:25) 13. The Shadow Of Your Smile
(3:43) 14. Ja-Da
(2:51) 15. A Good Man Is Hard To Find
(2:55) 16. Bopol
(4:16) 17. I'm Coming Virginia
(3:36) 18. Six And Four

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Album: The Argo, Verve And Impulse Big Band Studio Sessions (Disc 5)
Time: 66:40
Size: 154,2 MB

(5:55) 1. Walk On The Wild Side
(3:56) 2. Ol' Man River
(4:25) 3. In A Mellow Tone (Album Version)
(4:13) 4. Step Right Up (Album Version)
(4:46) 5. Hobo Flats
(4:56) 6. Blueberry Hill
(3:31) 7. Walk Right In
(4:24) 8. Trouble In Mind (Album Version)
(6:15) 9. The Preacher (Album Version)
(3:06) 10. Meditation (Album Version)
(4:29) 11. I Can't Stop Loving You
(7:08) 12. Slaughter On Tenth Avenue
(4:29) 13. Who's Afraid Of Virginia Wolff? (Pt. 1)
(5:00) 14. Who's Afraid Of Virginia Wolff? (Pt. 2)

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Album: The Argo, Verve And Impulse Big Band Studio Sessions (Disc 6 )
Time: 76:39
Size: 176,7 MB

(4:08) 1. The Cat The Grandfather
(9:37) 2. Peter's Theme Meal Time
(7:14) 3. Elegy For A Duck
(5:19) 4. Cat In A Tree
(1:13) 5. Capture Of The Wolf
(4:44) 6. Parade Peter Plays Some Blues
(5:27) 7. One Mint Julep
(5:24) 8. Blues And The Abstract Truth
(9:59) 9. Down By The Riverside
(6:45) 10. Night Train
(5:19) 11. 13 (Death March)
(4:08) 12. Milestones
(7:17) 13. 'Round Midnight

Oliver Nelson was one of the more distinctive arrangers to be active in jazz, the studios, and popular music of the '60s. While most Nelson reissues focus on his always-excellent saxophone playing (whether on tenor or alto), this six-CD set, Argo, Verve and Impulse Big Band Studio Sessions, focuses on Oliver Nelson the arranger-composer-bandleader. He does take solos on some of these dates on tenor, alto,and soprano (his only recorded solos on that instrument), but it his writing that takes center stage. Included are his albums Full Nelson, Fantabulous, Jazzhattan Suite (which finds the ensemble called the Jazz Interactions Orchestra), Sound Pieces, and his unusual and reverent tribute set Musical Tribute to JFK: The Kennedy Dream.

In addition, Nelson's writing for Leonard Feather's Encyclopedia of Jazz All Stars is here, plus his contributions (usually just part of each record) for sets by organist Shirley Scott (Roll 'Em), a group co-led by Ray Brown and Milt Jackson, and clarinetist Pee Wee Russell (The Spirit of '67). Topping off this well-conceived box are all of the music for organist Jimmy Smith's Hobo Flats, Peter and the Wolf (a classic jazz version), and Smith's first collaboration with guitarist Wes Montgomery, plus a few numbers from Smith's Bashin', Who's Afraid of Virginia Woolf, and Hootchie Coochie Man.

In addition to the playing of Jimmy Smith (who was really at his peak during this period), Wes Montgomery, Shirley Scott, and Pee Wee Russell, the most memorable soloists are altoist Phil Woods, cornetist Nat Adderley (on the Feather date), and flugelhornist Clark Terry plus Nelson himself. There is plenty of classic material here (such as the Smith/Montgomery blues jamming on "Down by the Riverside") which, even when the big-band writing is secondary, serves as a superior tribute to the underrated Oliver Nelson. By Scott Yanow

https://www.allmusic.com/album/the-argo-verve-and-impulse-big-band-studio-sessions-mw0000407387

The Argo, Verve And Impulse Big Band Studio Sessions(Disc 4),(Disc 5), (Disc 6 )

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Ed Cherry - First Take

Bitrate: MP3@320K/s
Time: 66:45
Size: 152.8 MB
Styles: Guitar jazz
Year: 2015
Art: Front

[7:51] 1. Jean-Pauline
[9:18] 2. Little Sunflower
[5:46] 3. Lorenzo's Wings
[6:54] 4. Third Stone From The Sun
[6:09] 5. Serious
[6:10] 6. In A Sentimental Mood
[8:49] 7. Inner Circle
[8:20] 8. Rachel's Step
[7:24] 9. Blues Interrogation

Born in New Haven,Connecticut, Ed moved to New York in 1978 to play guitar with Dizzy Gillespie from 1978 to 1992 performing in Gillespie's quartet, big band and with The United Nation Orchestra which recorded the Grammy Award-winning Live at Royal Festival Hall (Enja). Gillespie died in 1993, and Cherry released his first recording as a leader, 'First Take' (Groovin' High). That same year, Ed recorded with Paquito D'Riveras' small group which recorded "Havana Cafe" (Chesky Records). Ed also worked with composer/saxophonist Henry Threadgill for two years and recorded three cds with Henry's 'Very Very Circus' group.

In 1995, Cherry released his second project as a solo artist, entitled A Second Look (Groovin' High Records). During that same period Ed worked with Hammond organist John Patton recording three critically acclaimed cds with Patton's quartet-'Blue Planet Man','Minor Swing' and 'This ones for Jah'(DIW). From 1997 to 1998, Cherry worked in Roy Hargrove's “Crisol” Latin jazz band, which performed in Havana, Cuba. During this same period, he also worked w/baritone saxophonist, Hamiett Bluiett, recording Bluiett's cd 'With Eyes Wide Open' on Justin-Time records.In 2001, Cherry toured Europe for the first time with his own group. He also released his cd, 'The Spirit Speaks' on the Canadian Justin Time Records label, inspired by the great jazz organist Jimmy Smith with whom he had also recently worked.Ed was asked to perform at the 'Vodaphone Madarao Jazz festival'in 2002 in Madarao Japan with his quartet featuring trumpeter Jon Faddis.

More recently , Ed toured with the great Hammond organist Dr. Lonnie Smith, recording one critically acclaimed cd, 'In The Beginning' on Pilgrimage Records in 2012. Currently Ed has a brand new second recording released on Posi-Tone Records. ('It's All Good' his first release in 2012 for Posi-Tone stayed in the JazzWeek charts for 3 months) his second recording for the label is titled "Soul Tree" ( release date February 19 2016 ) featuring Kyle Koehler on Hammond B3 organ and drummer Anwar Marshall. As of this pre release date, it's already gathering rave reviews. Ed continues to work nationally and internationally ; concerts, workshops, jazz clubs.

First Take

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Eric Reed Trio - Blue Monk

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 57:44
Size: 132,7 MB
Art: Front

(9:23)  1. Blue Monk
(4:30)  2. Am I Blue?
(4:34)  3. Blue Daniel
(4:54)  4. Blue Rose
(5:33)  5. Born to Be Blue
(7:20)  6. Black and Blue
(4:28)  7. Very Near Blue
(3:35)  8. Wild Man Blues
(4:57)  9. Blue and Green
(3:35) 10. Blue Chopsticks
(4:51) 11. Light Blue

Pianist Eric Reed is one of a large number of talented musicians who emerged from Wynton Marsalis' bands to pursue a rewarding solo career in his own right. Born in Philadelphia in 1970, Reed's first exposure to music came through his father, a minister and local gospel singer; he began playing piano at age two and soon discovered jazz, quickly developing into a musical prodigy. He entered music school at age seven, and resisted classical training in favor of jazz, inspired early on by Dave Brubeck, Ramsey Lewis, Art Blakey, and Horace Silver. Four years later, he moved with his family to Los Angeles, where he digested enough jazz history that he was able to begin playing around the city's jazz scene as a teenager, both as a leader and a sideman for the likes of Gerald Wilson, Teddy Edwards, John Clayton, and Clora Bryant. He first met Wynton Marsalis at age 17, and toured briefly with the trumpeter the following year (his first and only at Cal State-Northridge). In 1989, Reed officially joined Marsalis' band as the replacement for Marcus Roberts; the following year, he issued his debut album as a leader, A Soldier's Hymn, on Candid, with backing by his regular trio of bassist Dwayne Burno and drummer Gregory Hutchinson. In 1991 and 1992, Reed worked with Freddie Hubbard and Joe Henderson as a sideman, returning to Marsalis' group by the end of 1992. He cut a pair of well-received albums for MoJazz, It's All Right to Swing and The Swing and I, in 1993 and 1994, and in 1995 embarked on his first tour as leader of his own group. Two more dates for Impulse!, 1996's Musicale and 1997's Pure Imagination, found his style maturing and his critical and commercial success growing; he also spent 1996-1998 playing with the Lincoln Center Jazz Orchestra. 1999's Manhattan Melodies, his first outing for Verve, was a colorful and sophisticated tribute to New York City; that year, he also undertook the most prominent of several film-scoring projects, the Eddie Murphy/Martin Lawrence comedy Life. Reed also continued to record with Marsalis up into the new millennium. 2001 brought the acclaimed Happiness on Nagel-Heyer, and the next year saw two releases, the well-received From My Heart and a duet album with frequent cohort Wycliffe Gordon on trombone, We. He recorded and played frequently during subsequent years, including a second volume with Gordon (We, Vol. 2) and several sessions for Savant. In 2009, Reed released the gospel-inspired Stand! and returned the following year with Plenty Swing, Plenty Soul, a duet album with Cyrus Chestnut. Beginning with 2011's The Dancing Monk, Reed embarked on an ongoing recording project of Thelonious Monk's music; a theme he revisited on 2012's Baddest Monk and 2014's The Adventurous Monk. ~ Steve Huey https://www.allmusic.com/artist/eric-reed-mn0000799352/biography

Personnel:  Eric Reed – piano; Ron Carter – bass; Car Allen – drums

Blue Monk

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Gunhild Carling Big Band - Magic Swing!

Styles: Vocal, Swing
Year: 2007
File: MP3@320K/s
Time: 44:51
Size: 104,6 MB
Art: Front

(3:25) 1. Seventh Blues
(2:22) 2. Magic Swing
(4:11) 3. Memories
(2:54) 4. Jungle Log
(5:08) 5. Hindustan
(2:41) 6. After You've Gone
(2:45) 7. Diggeridoo
(3:15) 8. You Are My World
(3:15) 9. Some Day
(3:44) 10. Obelisk
(3:02) 11. Perdido
(1:56) 12. Chinatown
(2:54) 13. Ko Ko
(3:13) 14. Over the Rainbow

If Tommy Dorsey and Madonna had a baby, that child might very well grow up to be Gunhild Carling.

Ms. Carling, who will play the Key West Theater on Feb. 19, is known as Sweden’s Queen of Swing. She has made an international name for herself by performing jazz, swing and Big Band versions of contemporary songs such as Madonna’s “Material Girl,” Rick Astley’s “Never Gonna Give You Up” and Pharrell Williams’ “Happy,” to name a few. She attributes this sound to Postmodern Jukebox, a rotating musical collective founded by arranger and pianist Scott Bradlee. PMJ is known for reworking popular modern music into various musical genres, especially swing and jazz.

“People have been calling me the Queen of Swing for a long while,” Ms. Carling said by phone. “That and the Jazz Queen of Sweden. It started years ago and I’m happy to say it stuck.”

She’s a musical prodigy to be sure, proficient on the trombone, bagpipes, trumpet, recorder and stringed instruments such as the banjo, ukulele and harp often showcasing all of her skills in a single song while occasionally breaking into a tap dance or singing. And all with no formal training.

“I haven’t ever been to a music teacher,” Ms. Carling said. “That’s because I come from a family that plays music. I grew up outside of Malmö in the south of Sweden. Our house was always so full of variety circus, acting, dance, vaudeville and novelty. I just picked up instruments from when I was very young and played them. I started with the drums, then the recorder, trombone and trumpet. Then I started tap dancing and after that harmonica and bagpipe. Later, I began composing music.”

She said her greatest influences come from early jazz, particularly the New Orleans period, and the works of Louis Armstrong, Freddy Keppard, Jelly Roll Morton, Bix Beiderbecke and Billy Holliday. Her favorite instrument, however, is the trombone and she can play it in the style of all the jazz greats Tommy Dorsey, Jack Teagarden, Glenn Miller, Trummy Young, you name it.

“The trombone is very jazzy,” Ms. Carling said. “It’s very smooth and beautiful and lyrical, but it’s also very rough and bouncy. You can create so many really cool sounds with the trombone.”

She said her dream was always to come to America and tour the whole country, which she did, settling in San Francisco in 2019 with her husband and two children all of whom are also excellent musicians and frequently perform with her.

“I always perform with a band, depending on where I’m playing,” Ms. Carling said. “Sometimes it’s a combo, sometimes a full orchestra. When I come to Key West on Feb. 19, I’ll have my jazz band clarinet, trumpet, trombone and piano.”

Selected songs that night, she said, will include “Dream a Little Dream of Me,” “Bourbon Street Parade,” “Tiger Rag” and a mix of blues, jazz and swing from the Great American Songbook along with some original material of her own, possibly from her 2021 album, “Good Evening Cats.”

“And my family will perform with me that night,” Ms. Carling said. “My daughter plays trombone, saxophone, sings and dances. My son plays drums and my husband plays banjo and guitar.”

She added the best way to describe one of her concerts is it’s like attending a high-spirited party out of “The Great Gatsby,” with some New Orleans Mardi Gras thrown in for good measure.

“It will be something unexpected and unique, with great fun and a lot of energy,” Ms. Carling said. “You’ll hear some beautiful melodies and have a really enjoyable time. Plus, I have some of my own tricks. I play three trumpets at once, as well as bagpipes and about ten other instruments.”By Steven J.Smith
https://keywest.floridaweekly.com/articles/38967/

Magic Swing!

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Mike Westbrook - After Abbey Road: Celebrating the 50th Anniversary of The Beatles' Classic (Live)

Styles: Contemporary Jazz
Year: 2019
File: MP3@320K/s
Time: 93:59
Size: 216,8 MB
Art: Front

( 5:28) 1. Come Together
( 8:05) 2. Something
( 3:34) 3. Maxwell's Silver Hammer
( 4:47) 4. Oh! Darling
( 3:55) 5. Octopus's Garden
( 9:39) 6. I Want You (She's So Heavy)
(15:41) 7. Here Comes the Sun
(13:26) 8. Because
( 6:52) 9. You Never Give Me Your Money
( 2:43) 10. Sun King
( 2:04) 11. Mean Mister Mustard
( 1:42) 12. Polythene Pam
( 2:36) 13. She Came in Through the Bathroom Window
( 3:49) 14. Golden Slumbers
( 2:37) 15. Carry That Weight
( 1:34) 16. The End
( 5:23) 17. She Loves You

This is a weird record, to say the least. Pianist Mike Westbrook and his English avant-garde octet remade the Beatles' entire Abbey Road record with unusual interpretations of each of the titles. The instrumental segments work best (Peter Whyman and Alan Wakeman are fine on reeds) but the overly pompous vocals of Phil Minton and Kate Westbrook, which lack the Beatles' humor, largely sink this strange outing. An interesting idea but the results are uncomfortable and not too appealing. by Scott Yanow
https://www.allmusic.com/album/off-abbey-road-mw0000315499

Personnel: Kate Westbrook, John Winfield (voices); Peter Whyman, Alan Wakeman (saxophones); Brian Godding (guitar) Andy Grappy (tuba) Peter Fairclough (drums); Mike Westbrook (piano)

After Abbey Road: Celebrating the 50th Anniversary of The Beatles' Classic (Live)

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Ali Ryerson - Portraits in Silver

Styles: Flute Jazz
Year: 1995
File: MP3@320K/s
Time: 58:36
Size: 135,6 MB
Art: Front

(6:02) 1. Windows
(5:19) 2. Beatrice
(6:00) 3. Ausência
(4:16) 4. Shadowlight
(4:51) 5. Beautiful Love
(6:53) 6. Zingaro
(5:55) 7. Very Early
(6:53) 8. Jardin de la Paresse
(6:40) 9. Lament
(5:41) 10. The Summer Knows

A pleasant recording from this fine flutist, Portraits in Silver finds Ms. Ryerson playing several pieces which have had other flute interpretations. Her classically trained tone is clear and shimmering. With a sympathetic supporting cast, she mines new gold from the material, creating warm, beautiful, relaxing music. By Jim Newsom
https://www.allmusic.com/album/release/portraits-in-silver-mr0001444483

Personnel: Ali Ryerson, flute, alto flute; Kenny Werner, piano; Dennis Irwin, bass; Danny Gottlieb, drums, percussion

Portraits in Silver

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Oliver Nelson - Meet Oliver Nelson / Main Stem

Bitrate: MP3@320K/s

Time: 72:25

Size: 165.8 MB

Styles: Saxophone jazz

Year: 2012

Art: Front

[7:02] 1. Jams And Jellies

[6:51] 2. Passion Flower

[3:44] 3. Don't Stand Up

[5:30] 4. Ostinato

[6:52] 5. What's New

[6:34] 6. Booze Blues Baby

[6:50] 7. Main Stem

[5:50] 8. J & B

[4:33] 9. Ho!

[6:11] 10. Latino

[5:18] 11. Tipsy

[7:03] 12. Tangerine

Kenny Dorham, Joe Newman (tp), Oliver Nelson (ts), Ray Bryant, Hank Jones (p), Wendell Marshall, George Duvivier (b), Charlie Persip, Art Taylor (d).

”Meet Oliver Nelson” marked the leader recording debut of a considerable talent in tenor saxophonist Oliver Nelson (1932-1975). He was to win even greater acclaim later as a composer and arranger, but at 27 he was already a vastly experienced performer and a notably imaginative soloist, affectingly sensitive on ballads like Passion Flower and What’s New, with a voluminous sound, full and fiery, on more driving material.

For his debut he had simpatico company in trumpeter Kenny Dorham, so lyrical on Booze Baby Blues, and a shrewdly chosen rhythm section in pianist Ray Bryant, bassist Wendell Marshall and drummer Art Taylor. It was a noteworthy beginning.

Recorded almost two years later, “Main Stem” was much more like a typical Prestige blowing session of the time, heavily dependant on the wit and invention of the participants. Fortunately, Nelson again chose his colleagues well. Trumpeter Joe Newman is particularly good and pianist Hank Jones is his usual lucidly impeccable self in a swinging rhythm section with bassist George Duvivier and drummer Charlie Persip, while the leader, on both alto and tenor, produces an abundance of melodic, well-constructed solos over a satisfying session.

Meet Oliver Nelson/Main Stem  

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Tom Harrell - Oak Tree

Styles: Trumpet Jazz
Year: 2022
File: MP3@320K/s
Time: 56:50
Size: 130,8 MB
Art: Front

(4:59) 1. Evoorg
(5:06) 2. Fivin'
(3:34) 3. Oak Tree
(3:48) 4. Tribute
(5:21) 5. Zatoichi
(5:05) 6. Sun Up
(4:29) 7. Improv
(5:22) 8. Shadows
(5:24) 9. Archaeopteryx
(7:01) 10. Robot Etude
(6:35) 11. Love Tide

Would it be overpraising Tom Harrell to describe his long recording career as practically peerless? Album after album, sometimes year after year, the Midwest-bred trumpet and flugelhorn virtuoso leading quartets, quintets, and sometimes even chamber orchestras has continued to release surprising new music. At 76, he’s still unearthing fresh sounds while digging deep into the jazz tradition, simultaneously referencing the brass players and bandleaders who preceded him and pointing to something new.

Oak Tree is yet another keeper. Joined by longtime bandmates Ugonna Okegwo on bass and Adam Cruz on drums, plus Venezuelan-born pianist Luis Perdomo, a relatively recent addition to his lineups, Harrell again offers a set of appealing, sometimes quirky originals. For opening track “Evoorg” (spell it backwards), he provides a master lesson in solo construction: Deploying a reassuringly warm trumpet tone, he alternates between melodic passages and waterfalling sprays of long phrases. He sometimes incorporates repetition, playing a string of similar phrases, each one configured slightly differently.

Harrell subtly nods to various influences. “Fivin’” has the leader mostly hitting the same note, playing the start-stop melody as the rhythm section shifts chords around him; it hints at Monk’s “Think of One,” combined with some ’70s electric-jazz flavors courtesy of Perdomo’s work on Rhodes. Tadd Dameron-style bop helps define “Improv,” with its deeply swinging groove fueling some of the album’s most inspired solos. “Archaeopteryx,” from its title to its high-flying improvisations, points to Charlie Parker.

The album ventures into varied stylistic terrain too. The aptly titled “Sun Up,” by rights the jazz anthem of the summer, is shaded in tropical colors, particularly reggae-tinted rhythms, and Okegwo sneaks in a sly quote of “Take Five.” And “Zatoichi,” named for the blind swordsman of Japanese pop culture, touches on free-jazz terrain. Like nearly everything else here, it slays. By Philip Booth
https://jazztimes.com/reviews/albums/tom-harrell-oak-tree/

Personnel: Tom Harrell: trumpet & flugelhorn; Luis Perdomo: piano & Fender Rhodes; Ugonna Okegwo: bass; Adam Cruz: drums

Oak Tree

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Oliver Nelson - The Argo, Verve And Impulse Big Band Studio Sessions (Discs 1, 2 & 3 of 6-Disc Set)

Oliver Nelson was one of the more distinctive arrangers to be active in jazz, the studios, and popular music of the '60s. While most Nelson reissues focus on his always-excellent saxophone playing (whether on tenor or alto), this six-CD set, Argo, Verve and Impulse Big Band Studio Sessions, focuses on Oliver Nelson the arranger-composer-bandleader. He does take solos on some of these dates on tenor, alto,and soprano (his only recorded solos on that instrument), but it his writing that takes center stage. Included are his albums Full Nelson, Fantabulous, Jazzhattan Suite (which finds the ensemble called the Jazz Interactions Orchestra), Sound Pieces, and his unusual and reverent tribute set Musical Tribute to JFK: The Kennedy Dream. In addition, Nelson's writing for Leonard Feather's Encyclopedia of Jazz All Stars is here, plus his contributions (usually just part of each record) for sets by organist Shirley Scott (Roll 'Em), a group co-led by Ray Brown and Milt Jackson, and clarinetist Pee Wee Russell (The Spirit of '67). Topping off this well-conceived box are all of the music for organist Jimmy Smith's Hobo Flats, Peter and the Wolf (a classic jazz version), and Smith's first collaboration with guitarist Wes Montgomery, plus a few numbers from Smith's Bashin', Who's Afraid of Virginia Woolf, and Hootchie Coochie Man. In addition to the playing of Jimmy Smith (who was really at his peak during this period), Wes Montgomery, Shirley Scott, and Pee Wee Russell, the most memorable soloists are altoist Phil Woods, cornetist Nat Adderley (on the Feather date), and flugelhornist Clark Terry plus Nelson himself. There is plenty of classic material here (such as the Smith/Montgomery blues jamming on "Down by the Riverside") which, even when the big-band writing is secondary, serves as a superior tribute to the underrated Oliver Nelson. ~Scott Yanow

Album: The Argo, Verve And Impulse Big Band Studio Sessions (Disc 1)

Bitrate: MP3@320K/s

Time: 74:46

Size: 171.2 MB

Styles: Saxophone jazz

Year: 2012

[2:45] 1. Full Nelson

[1:51] 2. Skokiaan

[4:08] 3. Miss Fine

[3:04] 4. Majorca

[4:52] 5. Cool

[3:29] 6. Back Woods

[3:53] 7. Lila's Theme

[2:33] 8. Ballad For Benny

[2:48] 9. Hoe Down

[2:54] 10. Paris Blues

[3:48] 11. What Kind Of Fool Am I

[4:28] 12. You Love But Once

[4:09] 13. Teenie's Blues

[5:27] 14. Daylie's Double

[3:44] 15. A Bientot

[3:21] 16. Three Plus One

[5:25] 17. Hobo Flats

[3:57] 18. Daylie's Double

[4:04] 19. Teenie's Blues

[3:58] 20. Laz-Ie Kate

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Album: The Argo, Verve And Impulse Big Band Studio Sessions (Disc 2)

Bitrate: MP3@320K/s

Time: 65:43

Size: 150.4 MB

Styles: Saxophone jazz

Year: 2012

[6:08] 1. St. Louis Blues

[6:25] 2. I Remember Bird

[2:31] 3. Ricardo's Dilemma

[3:11] 4. Patterns For Orchestra

[6:28] 5. The Sidewalks Of New York

[2:26] 6. Greensleeves

[3:20] 7. John Brown's Blues

[3:04] 8. Twelve Tone Blues

[4:42] 9. A Typical Day In New York

[4:10] 10. The East Side The West Side

[6:36] 11. 125th And Seventh Avenue

[3:07] 12. Penthouse Dawn

[5:23] 13. One For Duke

[8:06] 14. Complex City

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Album: The Argo, Verve And Impulse Big Band Studio Sessions (Disc 3)

Bitrate: MP3@320K/s

Time: 53:29

Size: 122.5 MB

Styles: Saxophone jazz

Year: 2012

[4:05] 1. Roll 'em

[3:43] 2. For Dancers Only

[2:49] 3. Sophisticated Swing

[3:52] 4. Sometimes I'm Happy

[5:30] 5. Lined With A Groove

[4:49] 6. Lazy Theme

[5:12] 7. Now Hear My Meaning

[6:01] 8. In A Crowd

[9:41] 9. Sound Piece For Jazz Orchestra

[2:46] 10. Flute Salad

[4:56] 11. The Lady From Girl Talk

The Argo, Verve And Impulse Big Band Studio Sessions (Disc 1, 2, 3) 

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Sonny Stitt - Jazz At The Hi-Hat (Volume One)

Styles: Saxophone Jazz
Year: 1954
File: MP3@320K/s
Time: 59:35
Size: 141,1 MB
Art: Front

( 3:45)  1. Blue And Sentimental
( 7:20)  2. Thou Swell
( 4:30)  3. Every Tub
( 7:06)  4. Pennies From Heaven
( 3:52)  5. Sweet Georgia Brown
( 2:36)  6. I'm In The Mood For Love
(11:22)  7. Tri-Horn Blues
( 4:42)  8. If I Should Lose You
( 5:09)  9. Indiana
( 2:51) 10. Wigwam
( 3:19) 11. My Melancholy Baby
( 2:58) 12. Flyin' Home

Sonny Stitt is in excellent form on At the Hi-Hat. Recorded live at a Boston club, Stitt uses a local rhythm section (pianist Dean Earl, bassist Bernie Griggs, and drummer Marquis Foster) as he jams on a variety of standards. Stitt mostly switches between alto and tenor, but on "Tri-Horn Blues," he takes solos not only on both of those saxes, but also on his rarely heard baritone. Overall, this LP gives you a good all-around sampling of early Sonny Stitt. ~ Scott Yanow http://www.allmusic.com/album/at-the-hi-hat-mw0000093336

Personnel:  Alto Saxophone, Tenor Saxophone, Baritone Saxophone – Sonny Stitt;  Bass – Bernie Griggs;  Drums – Marquis Foster;  Piano – Dean Earl

Jazz At The Hi-Hat (Volume One)

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Gene Segal - Spiral

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 59:31
Size: 137,2 MB
Art: Front

(6:14)  1. Spiral
(5:39)  2. Creeper
(7:50)  3. Two Sides to Every Story
(5:46)  4. Us
(6:14)  5. Dharma
(6:11)  6. Hidden Place
(5:52)  7. Sunken Treasure
(4:41)  8. Into Night
(4:27)  9. Blues Out
(6:33) 10. Soulstice

Guitarist/composer Gene Segal is rapidly becoming a stalwart regular player of SteepleChase Lookout with this his 3rd album, for which Gene assembles an organ trio. With his unpredictable, open, unconventional style still intact Segal applies a mini paradigm shift to straighter jazz and reveals a new dimension.

Personnel:  Gene Segal guitar;  Brian Charette Hammond B3 organ; Bruce Cox drums

Spiral

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