Wednesday, June 4, 2025

Deborah Silver - The Gold Standards

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 39:00
Size: 91,2 MB
Art: Front

(3:29) 1. Teach Me Tonight
(4:29) 2. The Nearness Of You
(2:55) 3. The Glory Of Love (Feat. Ann Hampton Callaway)
(2:23) 4. I Could Have Danced All Night
(3:20) 5. I've Got A Crush On You (Feat. Jack Jones)
(3:05) 6. Ain't Misbehavin'
(2:26) 7. Never On Sunday
(3:14) 8. On A Slow Boat To China
(2:32) 9. I Can't Give You Anything But Love
(2:43) 10. Pennies From Heaven
(2:38) 11. My Heart Belongs To Daddy
(2:41) 12. It All Depends On You
(3:01) 13. I Could Write A Book

A gifted vocalist whose repertoire embraces jazz, pop, and the Great American Songbook, Deborah Silver offers a fresh take on classic material with her second album, 2016's The Gold Standards. Teaming with producers Steve Tyrell and Jon Allen (who've worked with Rod Stewart, Diana Ross, and Kristin Chenoweth) and arranger Alan Broadbent (best known for his work with Paul McCartney, Michael Bublé, and Barbra Streisand), here Silver interprets old standards, show tunes, and popular favorites with a warm, personable approach. The Gold Standards also includes duets with Grammy-winning singer Jack Jones and acclaimed jazz artist Ann Hampton Callaway.~Mark Deming https://www.allmusic.com/album/the-gold-standards-mw0002985553

The Gold Standards

The Jonah Jones Quartet - A Touch Of Blue

Bitrate: MP3@320K/s
Time: 58:01
Size: 132.8 MB
Styles: Trumpet jazz
Year: 2014
Art: Front

[1:58] 1. So Blue
[2:07] 2. It's A Blue World
[1:47] 3. I Got The Blues When It Rains
[2:46] 4. Blues In My Heart
[1:55] 5. Blue Turning Grey Over You
[2:10] 6. A Touch Of Blue
[1:41] 7. Blue (And Broken Hearted)
[2:48] 8. Blue Champagne
[2:37] 9. Birth Of The Blues
[2:43] 10. Dust Bowl Blues
[1:57] 11. Blue Danube Rock
[2:22] 12. Blue Skies
[1:59] 13. The Poor People Of Paris
[2:29] 14. Cherry Pink And Apple Blossom White
[3:17] 15. La Rosita
[2:45] 16. Dansero
[2:41] 17. April In Portugal
[2:00] 18. The Third Man Theme
[2:38] 19. Lisboa Antigua
[2:13] 20. Sleepy Lagoon
[2:47] 21. Soft Summer Breeze
[2:45] 22. Serenata
[2:52] 23. Theme From Picnic
[2:33] 24. The Song From Moulin Rouge (Where Is Your Heart )

Twofer: A Touch of Blue (ST-1405) 1960 [#1-12], Greatest Instrumental Hits Styled by Jonah Jones (ST-1557) 1961 [#13-24]. Recorded in New York City, 1960-1961. 24-Bit Digitally Remastered. Jonah Jones, trumpet & vocal on #2, 5 & 9; Teddy Brannon, piano; John Brown, bass; George 'Pops' Foster, drums; Swinginest Chorale, vocals.

Jonah Jones zoomed to popularity in the late 50s. He found a successful formula and used it to brighten the hit charts with a succession of bouncy albums on Capitol Records. His quartet was one of the three newcomers in the Top 10 wide variety of small groups listed in the favorite Instrumental Billboard lists in 1958.

Jonah Jones was truly a man with a rare talent for playing in a way that people loved. Jones trumpet stays fairly close to the melodic line and he displays an excellent sense of timing and pacing. In these two albums he just added a new sound with the tasteful vocal backgrounds of the Swinginest Chorale. All tailored to suit the clean, compact style which became a Jonah Jones trademark.

A Touch Of Blue

Diego Figueiredo - I Love Samba

Styles: Brazilian Jazz
Year: 2024
Time: 47:30
File: MP3 @ 320K/s
Size: 110,6 MB
Art: Front

(3:35) 1. I Love Samba
(4:47) 2. Brazilian Batucada
(4:17) 3. Nanina
(1:34) 4. Breeze
(3:40) 5. Echoes Of Manhattan
(4:40) 6. African Soul
(3:59) 7. Samba Pra Bonfá
(5:18) 8. Marinero
(1:46) 9. Funny Juggler
(3:54) 10. Ipanema Dream
(2:44) 11. Little Moon
(2:30) 12. Baiåozinho
(4:39) 13. Random

One upside to Brazilian-born guitarist Diego Figueiredo's latest album, I Love Samba, is that the title says it all. In case you are unfamiliar with Figueiredo, you should know that he not only loves samba, he also plays samba quite well and has entertained audiences in more than sixty countries around the world doing exactly that. And while he is only in his mid-forties, I Love Samba brings the number of CDs Figueiredo has under his belt as leader of his own groups to almost thirty.

Here, Figuieredo oversees an all-star "quartet" (disclaimer to follow) whose other members are flutist Itai Kriss, bassist Nilson Matta and drummer Duduka Da Fonseca. While the album is not entirely samba, several of its highlights are, starting with the congenial title song (on which Figueiredo adds a wordless vocal), the vintage "Samba pra Bonfa" and the graceful "Ipanema Dream." Elsewhere, the group wrests as much color and variety as it can from the various Latin rhythms, even though Kriss solos only on "I Love Samba" and is not audible on any other number, which means the quartet is a trio most of the way. More reinforcement from Kriss would have been welcome.

As it is, Figueiredo, Matta and Da Fonseca are as focused and steady as can be on every number, all of which, the liners say, were composed by Figueiredo. The closing theme, "Random," is described by the leader as an exercise in "totally free" improvisation, which, as it turns out, does not stray far from the group's usual comfort zone. In other words, close to typical Latin jazz with a free-standing edge. Before that, Figueiredo and his mates nod to the Big Apple ("Echoes of Manhattan"), share the distinctive rhythms of northeastern Brazil ("Baiaozinho") and show that the music of various spheres more often than not shares a common bond ("African Soul"). By Jack Bowers https://www.allaboutjazz.com/i-love-samba-diego-figueiredo-self-produced

I Love Samba

Peggy Lee - Oldies Selection, Best of Peggy Lee Vol. 1 (Remastered)

Styles: Vocal
Year: 2025
Time: 62:45
File: MP3 @ 320K/s
Size: 144,7 MB
Art: Front

(1:57) 1. Heart (Remastered)
(2:10) 2. On the Street Where You Live (Remastered)
(2:29) 3. Till There Was You (Remastered)
(2:07) 4. I Am in Love (Remastered)
(2:08) 5. Hey There (Remastered)
(2:07) 6. I Could Have Danced All Night (Remastered)
(1:57) 7. The Surrey with the Fringe on Top (Remastered)
(3:17) 8. The Party's Over (Remastered)
(2:27) 9. Dance Only with Me (Remastered)
(2:45) 10. Wish You Were Here (Remastered)
(2:04) 11. C'est Magnifique (Remastered)
(2:12) 12. I Enjoy Being a Girl (Remastered)
(2:26) 13. Come Dance with Me (Remastered)
(3:19) 14. By Myself (Remastered)
(1:45) 15. You're so Right for Me (Remastered)
(1:52) 16. Just Squeeze Me (But Please Don't Tease Me) (Remastered)
(2:03) 17. Fantastico (Remastered)
(1:46) 18. Together (Wherever We Go) (Remastered)
(2:04) 19. Love and Marriage (Remastered)
(2:24) 20. Non Dimenticar (Remastered)
(1:52) 21. From Now On (Remastered)
(2:28) 22. You Stepped out of a Dream (Remastered)
(2:24) 23. Ole (Remastered)
(2:11) 24. I Can't Resist You (Remastered)
(2:47) 25. Caramba It's the Samba (Remastered)
(2:34) 26. Laroo Laroo Lili Bolero (Remastered)
(2:55) 27. Manana (Is Soon Enough for Me) (Remastered)

Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes that showed her bewitching vocal power, a balance between sultry swing and impeccable musicianship. Lee started out in the early '40s as the vocalist for the Goodman band, and shortly thereafter became a star in her own right. Though she had numerous pop hits, she constantly crossed the line between pop and jazz, and was hailed by numerous critics as one of America's finest singers in either genre. In addition, Lee was involved in the film world as both an actress and a composer, most actively in the '50s (she received an Academy Award nomination for her role in Pete Kelly's Blues). She was a pioneer of the cool vocal style, and best-known for her hit version of the Little Willie John tune "Fever," off 1958's Sea Shells. A tireless artist, she continued working until her health gave out in the '90s.

Born Norma Egstrom in Jamestown, North Dakota, she suffered the death of her mother at the age of four and endured a difficult stepmother after her father remarried. Given her sense of swing by listening to Count Basie on the radio, she taught herself to sing and made her radio debut at the age of 14. She made the jump to Fargo (where she was christened Peggy Lee), then to Minneapolis and St. Louis to sing with a regional band. Lee twice journeyed to Hollywood to make her fortune but returned unsuccessful from both trips.

She finally got her big break in 1941, when a vocal group she worked with began appearing at a club in Chicago. While there, she was heard by Benny Goodman, whose regular vocalist Helen Forrest was about to leave his band. Lee recorded with Goodman just a few days later, debuting with the popular "Elmer's Tune" despite a good deal of nerves. That same year, several songs became commercial successes including "I Got It Bad (And That Ain't Good)" and "Winter Weather." In 1943, "Why Don't You Do Right" became her first major hit, but she left the Goodman band (and the music industry altogether) later that year after marrying Goodman's guitarist, Dave Barbour.

After just over a year of domestic life, Peggy Lee returned to music, first as part of an all-star jazz album. In late 1945, Capitol signed her to a solo contract and she hit the charts with her first shot, "Waitin' for the Train to Come In." Lee continued to score during the late '40s, with over two-dozen chart entries before the end of the decade, including "It's a Good Day," "Mañana (Is Soon Enough for Me)" the most popular song of 1948 and "I Don't Know Enough About You." Many of her singles were made in conjunction with Barbour, her frequent writing and recording partner.

After moving to Decca in 1952, Peggy Lee scored with the single "Lover" and an LP, Songs from Pete Kelly's Blues recorded with Ella Fitzgerald (both singers also made appearances in the film). It was also during the early '50s that she hosted her own radio show, often showcasing composers she loved, including Johnny Mercer, Hoagy Carmichael, Matt Dennis, and others. She spent only five years at Decca, however, before moving back to Capitol. There, she distinguished herself through recording a wide variety of material, including songs and occasionally, entire LPs influenced by the blues, Latin, cabaret, and pop. Lee also used many different settings, like an orchestra conducted by none other than Frank Sinatra for 1957's The Man I Love, the George Shearing Quintet for 1959's live appearance Beauty and the Beat, Quincey Jones as arranger and conductor for 1961's If You Go, and arrangements by Benny Carter on 1963's Mink Jazz. Barbour's problems with alcoholism ended their marriage, though they remained good friends until his death in 1965.

Peggy Lee was an early advocate of rock and made a quick transition into rock-oriented material. Given her depth and open mind for great songs no matter the source, it wasn't much of a surprise that she sounded quite comfortable covering the more song-oriented end of late-'60s rock, including great choices by Jimmy Webb, Buffy Sainte-Marie, Burt Bacharach, Randy Newman, Goffin & King, and John Sebastian. She nearly brushed the Top Ten in 1969 with Leiber & Stoller's "Is That All There Is?" She continued recording contemporary material until 1972's Norma Deloris Egstrom from Jamestown, North Dakota brought her back to her roots. It was her last LP for Capitol, however. Lee recorded single LPs for Atlantic, A&M, Polydor UK, and DRG before effectively retiring at the beginning of the '80s. She returned in 1988 with two LPs for Musicmasters that revisited her earlier successes. Her last album, Moments Like This, was recorded in 1992 for Chesky. Her voice was effectively silenced after a 1998 stroke, and she died of a heart attack at her Bel Air home in early 2002. By John Bush
https://www.allmusic.com/artist/peggy-lee-mn0000256349#biography

Oldies Selection, Best of Peggy Lee Vol. 1 (Remastered)

Sunday, June 1, 2025

Barbara Carroll Trio - Plays Standards plus 'Funny Face' and other Gershwin Tunes (2 LP on 1 CD)

Styles: Cool Jazz, Easy Listening
Year: 2021
Time: 74:01
File: MP3 @ 320K/s
Size: 170,6 MB
Art: Front

(4:15) 1. The Trolley Song
(4:52) 2. I've Grown Accustomed To His Face
(3:50) 3. Life Is Just A Bowl Of Cherries
(4:16) 4. It Might As Well Be Spring
(3:20) 5. Will You Still Be Mine?
(4:53) 6. Love Is Just Around The Corner
(5:53) 7. Easy Living
(3:09) 8. Happy To Make Your Acquaintance
(4:48) 9. Blues For Blue-eyes
(2:13) 10. Let's Kiss And Make Up
(2:55) 11. Funny Face
(3:35) 12. He Loves And She Loves
(1:28) 13. 'S Wonderful
(3:08) 14. How Long Has This Been Going On?
(2:45) 15. Clap Yo' Hands
(2:42) 16. Let's Call The Whole Thing Off
(3:45) 17. Someone To Watch Over Me
(2:23) 18. Who Cares?
(3:02) 19. They Can't Take That Away From Me
(4:06) 20. Our Love Is Here To Stay
(2:32) 21. They All Laughed

Plays Standards plus 'Funny Face' and other Gershwin Tunes

This CD presents the two albums The Barbara Carroll Trio recorded for the Verve label in 1957. On the first, Barbara, she confines herself to piano on a selection of familiar standards, with a strong leaning towards slow ballads. Relaxed and refreshingly at ease, she leisurely explores the tonal colours suggested by the material in a reflective approach to trio playing. On the up-tempo tunes, Mine and Acquaintance, the bassist Joe Shulmans strength and intelligence is evident, while drummer Bill Faites brushwork is a model of good taste.

The second album presents six songs from Funny Face, along with six from several Gershwin shows. This set contains a pair of nicely off-hand vocals, Who Cares?, and a lightly swinging version of S Wonderful that she sings much in the sophisticated style of Bobby Troup. With Joe Shulman on bass, and Joe Petti on drums, the trios approach displays a blend of imagination, taste, touch, and swing.

And though Barbara Carroll was by no means an innovator or trailblazer, she was a talented performer with a distinctive musical personality that enabled her to do justice to her repertoire and communicate musically with the listeners attractive and hardly minor gifts at any level of music. https://www.amazon.com/Barbara-Carroll-Plays-Standards-Gershwin/dp/B0050HMCKY

Personnel on 'BARBARA': Barbara Carroll (piano), Joe Shulman (bass), Bill Faite (drums).
Recorded in New York City, on November 26, 1957

Personnel on 'Playing Selections From the Paramount Motion Picture Funny Fce and Other Gershwin Tunes': Barbara Carroll (piano, vocals only on #13 & 18), Joe Shulman (bass), Joe Petti (drums).
Recorded in New York City, March 7 & 8, 1957

Ahmad Jamal - The Complete 1962 Ahmad Jamal at the Blackhawk (Live, Bonus Track Version)

The Complete 1962 Ahmad Jamal at the Blackhawk (Live, Bonus Track Version) CD 1
Styles: Cool Jazz, Post Bop
Year: 2018
Time: 51:43
File: MP3 @ 320K/s
Size: 119,1 MB
Art: Front

(6:12) 1. Medley: I'll Take Romance / My Funny Valentine
(5:15) 2. Like Someone in Love
(4:20) 3. Falling In Love with Love
(4:35) 4. The Best Thing for You
(6:15) 5. April in Paris
(4:13) 6. The Second Time Around [Master]
(5:08) 7. We Live In Two Different Worlds
(7:05) 8. Night Mist Blues
(4:33) 9. Darn That Dream
(4:03) 10. On Green Dolphin Street



The Complete 1962 Ahmad Jamal at the Blackhawk (Live, Bonus Track Version) CD 2
Styles: Cool Jazz, Post Bop
Year: 2018
Time: 56:17
File: MP3 @ 320K/s
Size: 129,4 MB
Art: Front

( 6:52) 1. Like Someone in Love (Alternative Version 1, Bonus Track)
( 5:32) 2. The Second Time Around (Alternative Version 1, Bonus Track)
( 6:51) 3. Angel Eyes (Bonus Track)
( 6:42) 4. Medley: Alone Together / Love Walked (Bonus Track)
( 3:37) 5. Smoke Gets In Your Eyes (Bonus Track)
( 3:51) 6. I'm Old Fashioned (Bonus Track)
(10:31) 7. We Kiss in a Shadow (Bonus Track)
( 4:50) 8. The Second Time Around (Alternative Version 2, Bonus Track)
( 7:26) 9. Like Someone in Love (Alternative Version 2, Bonus Track)

The Complete 1962 Ahmad Jamal at the Blackhawk (Live, Bonus Track Version) CDs 1 & 2


The Complete 1962 At The Blackhawk (2-CD Set + 9 Bonus Tracks). This release compiles all known 1962 performances by the celebrated Ahmad Jamal Trio with Israel Crosby and Vernel Fournier at the Blackhawk club in San Francisco. This material was originally issued on the LP, Ahmad Jamal at the Blackhawk (Argo LPS-703). Nine extra tunes from the engagement that were not issued on the original LP have been added here. This formation of the group wouldn't last long, as Israel Crosby died in mid-1962.
https://www.amazon.com/Complete-1962-At-Blackhawk-Tracks/dp/B0B6RSJJDK


Don Elliott & Bob Corwin - The Don Elliott & Bob Corwin Quartet (2 LP on 1 CD)

Styles: Bop
Year: 2019
Time: 75:30
File: MP3 @ 320K/s
Size: 174,1 MB
Art: Front

(4:02) 1. My Shining Hour
(4:06) 2. Isn’t It Romantic
(3:42) 3. I’ll Remember April
(4:15) 4. I Remember You
(4:10) 5. Rico-jico-joe
(3:28) 6. It Might As Well Be Spring
(5:16) 7. I’ll Take Romance
(4:44) 8. Gone With The Wind
(3:57) 9. It Could Happen To You
(4:19) 10. Pony Tail
(4:24) 11. It Might As Well Be Spring (Live)
(6:34) 12. But Not For Me (Live)
(5:38) 13. Isn’t It Romantic (Live)
(3:03) 14. Embessy (Live)
(4:58) 15. I Only Have Eyes For You (Live)
(5:21) 16. I Remember You (Live)
(3:23) 17. Moonlight In Vermont (Live)

The Don Elliott & Bob Corwin Quartet

Don Elliott’s collaboration with Bob Corwin was considered the East coast answer to the famous Chet Baker-Russ Freeman quartet.

Pianist Corwin was 23, when he made his recording debut as a leader with this NY studio session from June 1956 (#1-10). He was backed by bassist Ernie Furtado, drummer Jimmy Campbell, and had Don Elliott playing trumpet in all but two trio numbers. And although he was credited as a sideman in the album, the featured quartet was actually Elliott’s own unit, which he had been leading in clubs since mid-1955, and which can also be heard on the sides recorded live at Chicago’s Modern Jazz Room in July 1956, a mere month later (#11-17).

Elliott’s collaboration with Corwin was considered the East coast answer to the famous Chet Baker-Russ Freeman quartet. Elliott was best known for his work as vibraphonist and as mellophone player, but in these recordings we find him on trumpet, which he played with lyric warmth, authority and his usual sense of humor. You will also hear him on vibes in three of the numbers, and bongos and vocals on two—one each. At his side, Corwin plays with drive, fertile imagination, and generally interesting —if eclectic— conception; Campbell is crisp and steady, particularly his brushes, which are full of jumping strength; and they have a strong asset in Furtado, who plays tastefully throughout.

As is, there’s a wealth of musical satisfaction coming from both sessions, in good part because this quartet format allowed Elliott more freedom as a soloist, and proved to be the best framework for him to fully develop his talents as instrumentalist and singer.

Tracks #1-10, originally issued on the album "The Bob Corwin Quartet featuring the trumpet of Don Elliott" (Riverside RLP 12-220)

Tracks #11-17, originally issued on the album "Don Elliott at the Modern Jazz Room" (ABC-Paramount, ABC-142)

The Don Elliott & Bob Corwin Quartet: Don Elliott, trumpet (except on #3,7,12,14,17), vibes (#12, 14,17), bongos (#12), vocals (#15); Bob Corwin, piano; Ernie Furtado, bass; Jim Campbell, drums.
Recorded in New York City, June 1956 (#1-10) and live at the “Modern Jazz Room” in Chicago, July 1956 (#11-17)

Saturday, May 31, 2025

Lena Horne - Sings Your Requests + Like Latin (2 LP on 1 CD)

Styles: Jazz Vocal
Year: 2008
Time: 67:26
File: MP3 @ 320K/s
Size: 155,9 MB
Art: Front

(2:50) 1. Love
(2:33) 2. I Wish I Was Back In My Baby's Arms
(2:22) 3. Why Was I Born
(3:38) 4. Good For Nothin' Joe
(2:57) 5. Love Me Or Leave Me
(3:46) 6. I Got It Bad And That Ain't Good
(3:21) 7. Stormy Weather
(2:24) 8. Poppa Don't Preach To Me
(2:57) 9. Honeysuckle Rose
(2:21) 10. The Lady Is A Tramp
(3:25) 11. Lover Man
(2:45) 12. Can't Help Lovin' That Man
(1:54) 13. From This Moment On
(2:27) 14. Take Me
(2:44) 15. Night And Day
(2:43) 16. Old Devil Moon
(1:47) 17. More
(2:28) 18. My Blue Heaven
(3:37) 19. Cuckoo In The Clock
(2:23) 20. Meditation
(2:47) 21. By Myself
(2:24) 22. Island In The West Indies
(2:49) 23. Ours
(2:03) 24. Falling In Love With Love
(1:52) 25. He Loves Me (Bonus track)

Sings Your Requests + Like Latin

Lena Horne undeniable artistry in weaving each of these songs adds conclusive proof to the previously convincing evidence that she is great with any kind of song. On the first album of this collection, she interprets some of her favorite tunes, together with Marty Paich, in a swinging combination which would go on to be widely accepted.

As for the songs she chose to include in the second album, they seem tailor-made for her unique interpretations. Lenas husband, Lennie Hayton, conducts the orchestra, and the skillful arrangements are by Shorty Rogers. Garnishing some of the tracks with an innovative jazz-samba rhythm, Lena offers moving interpretations to such great songs as Night And Day and Meditation. Here you will find clear evidence of the incomparable versatility that made her one of the worlds greatest stars.

Tracks #1-12, from the Charter album "Lena Sings Your Requests" (CLS 101)
Tracks #13-24, from the Charter album "Lena Like Latin" (CLS 106)
Tracks #25 is a non-LP bonus track

Orchestras conduceted by Marty Paich & Lennie Hayton
Arrangements by Marty Paich, Bob Florence & Shorty Rogers

Collective personnel includes:
Jack Sheldon, Al Porcino, Don Fagerquist, Bud Brisbois, Ray Triscari, Ollie Mitchell (tp), Lew McCreary, Bob Knight, Lawrence Lofton, Harry Betts, Dick Leith (tb), George Roberts (b-tb), Bob Enevoldsen (vtb), Bud Shank, Ronny Lang, Ted Nash, Harry Klee, Gene Cipriano, Justin Gordon (reeds), Larry Bunker (vib), Al Hendrickson (g), Gene DiNovi (p), Joe Mondragón, Monty Budwig (b), Shelly Manne (d), Frank Guerrero (conga), Ann Stockton (harp), 12 violins; 6 violas; 4 cellos.

All tracks recorded in Hollywood, 1963

Bobby Bryant - Chicago Years (2 LPs on 1 CD) + Bonus Track

Styles: Hard Bop, Progressive Jazz, Swing, Big Band,
Year: 2015
Time: 75:40
File: MP3 @ 320K/s
Size: 175,7 MB
Art: Front

(4:19) 1. Blues Excerpt
(4:40) 2. 'Round Midnight
(3:23) 3. Secret Love
(3:33) 4. Love for Sale
(2:13) 5. Sleepy
(3:35) 6. Cry Me a River
(2:39) 7. Indiana
(3:05) 8. Falling in Love with You
(4:10) 9. Harlem Rain
(3:17) 10. Don't Let the Sun Catch You Cryin'
(3:29) 11. Husky
(3:31) 12. Church Seat
(5:20) 13. Sandra's Dream
(2:31) 14. Travelin'
(3:32) 15. Swingin' & Things
(3:15) 16. Santifism
(3:09) 17. Antler Rock
(4:28) 18. Nocturne
(2:44) 19. Unholy Four
(4:20) 20. Wild Wrice
(4:16) 21. Blues for the "Q"

Bobby Bryant Chicago Years

These recordings were made when Bobby Bryant (1934-1998) lived in Chicago, and document the beginnings of his later successful career in the Hollywood studios. The first ten tracks were recorded in 1961 for Vee Jay Records, but were released only in 1974 as Big Band Blues. As he recalled in the album notes, it was intended to bring out of obscurity a number of talented musicians. As it turned out, a couple of them did become better known, while others just remained in Chicago and are no more prominent today than they were then. The band was specially assembled for the session; we never did any gigs together.

The second album, Wild!, was made when drummer Larry Wild Wrice returned to Chicago in 1959, after eight months away, and formed the group heard here, with James Spaulding, Bobby Blevins, and Bobby Bryant, who arranged much of the groups material and wrote all the albums tunes except Travelin, written by Wrice.

The last track on this collection comes from the album The Billy Williams Revue, an example of the musical excitement with which the irrepressible Williams and company packed the countrys most celebrated night spots. A unique blues in waltz time, Blues for the Q features an electrifying trumpet solo by Bryant.

Tracks #1-10, from the album Big Band Blues (Vee Jay VJS 3059)

Tracks #11-20, from the album The Big Sound of Larry Wild Wrice Wild! (Pacific Jazz PJ ST 24)

Track #21, from the album The Billy Williams Revue (Coral CRL 757343)

Personnel on Big Band Blues: Bobby Bryant, trumpet, conductor & arranger; John Howell, Marty Marshack, Fortunatus Fip Ricard, trumpets; John Avant, Bill Porter, Louis Satterfield, trombones; Bill Adkins, Willie Randall, alto saxes; James Spaulding, tenor sax, flute; Eddie Williams, tenor sax; George Hunter, baritone sax; John Young, piano; Robare Edmondson, bass; Marty Clausen, drums. On #5-7, 9 & 10 Wilbur Wynne, added on guitar. Recorded in Chicago, February 9 (#1-4 & 8) and 13 (#5-7, 9 & 10), 1961

Personnel on Larry 'Wild' Wrice -Wild!: Bobby Bryant, trumpet & arranger; James Spaulding, flute, alto and tenor saxes; Bobby Blevins, organ; Larry Wild Wrice, drums. Recorded in Chicago, October 1959

Personnel on Bonus Track:  Bobby Bryant, trumpet with Dick Jacobs & His Orchestra. Recorded in New York, June 27, 1960

This CD is testimony to the memory of the talented soloist, composer and arranger Bobby Bryant was.

Stan Getz & Lionel Hampton - Hamp & Getz (Bonus Track Version)

Styles: Swing, Cool Jazz
Year: 2021
Time: 78:24
File: MP3 @ 320K/s
Size: 181,0 MB
Art: Front

(9:21) 1. Cherokee
(8:13) 2. Ballad Medley_ Tenderly_Autumn In New York_East Of The Sun_I Can't Get Started
(6:52) 3. Louise
(8:29) 4. Jumpin' At The Woodside
(7:48) 5. Gladys
(2:47) 6. Stella By Starlight *
(3:01) 7. Time On My Hands *
(3:17) 8. Tis Autumn *
(3:07) 9. The Way You Look Tonight *
(3:00) 10. Lover Come Back To Me *
(3:19) 11. Body And Soul *
(3:27) 12. Stars Fell On Alabama *
(3:01) 13. You Turned The Tables On Me *
(3:23) 14. Thanks For The Memory *
(2:58) 15. Hymn Of The Orient *
(3:25) 16. These Foolish Things *
(2:48) 17. How Deep Is The Ocean? *

If one were to believe the clichés and stereotypes common in some jazz history books, this duo should not have worked. By 1955, Lionel Hampton was a veteran swing vibraphonist while Stan Getz was the leader of the "cool school" of young tenors. But what these two masters had in common (in addition to a healthy respect for each other's talents) was the ability to swing as hard as possible. Joined by a fine trio, the duo really rips into "Cherokee" and "Jumpin' at the Woodside" (listen to their blistering tradeoffs) and, even with a fine ballad medley, it is these torrid jams that make this a highly recommended LP.~ Scott Yanow

"Hamp and Getz" (Verve MGV-8128) came to be after producer Norman Granz attended a series of July-August 1955 sessions on which both Stan Getz and Lionel Hampton were present, appearing as guests of the Benny Goodman orchestra for the soundtrack of Benny’s biographical film The Benny Goodman Story. Hamp and Getz would be the second and last recorded encounter of the tenor saxophonist and the vibraphonist. The complete LP "Stan Getz Plays" (Norgran MGN1042), presenting Getz in a quintet format with Jimmy Raney and Duke Jordan, has been added here as a bonus.

Personnel includes: Stan Getz (tenor saxophone), Lionel Hampton (vibraphone), Lou Levy (piano), Leroy Vinnegar (bass), Shelly Manne (drums).

(*) Bonus Album (6-17): 'Stan Getz Plays' Stan Getz, tenor sax; Jimmy Raney, guitar; Duke Jordan, piano; Bill Crow, bass; Frank Isola, drums.

Hamp & Getz

HAPPY WEEKEND!


Thursday, May 29, 2025

Cleo Laine - All About Me

Styles: Vocal
Year: 1962/2015
Time: 36:24
File: MP3 @ 320K/s
Size: 84,8 MB
Art: Front

(3:42) 1. I Gotta Right to Sing the Blues
(2:38) 2. I Don’t Know Why
(2:49) 3. I Want to Be Happy
(2:43) 4. I Think of You
(2:58) 5. I Can Dream. Can't I?
(3:03) 6. All About Me
(1:54) 7. I've Got My Love to Keep Me Warm
(4:27) 8. I Got It Bad and That Ain't Good
(2:36) 9. I'm a Dreamer, Aren’t We All
(2:26) 10. I'm Just Wild About Harry
(2:56) 11. I Don’t Want to Set the World on Fire
(3:03) 12. I'll Be Around
(1:03) 13. Reprise: All About Me

Sometimes fame and international acclaim come just a little bit too late.

When Cleo Laine was finally introduced to US audience in her 40s and everybody went mad about her & wondered why Brits were hiding what must have been national tresure, in her native UK she was well-known name for almost two decades. She worked jazz gigs with her husband John Dankworth, acted in theatre ("Flesh to a Tiger"), sung in musicals ("Valmouth") and classical work (Kurt Weill), not to mention famous weekly TV appearances ("That was the week that was") so at home she was fairly known presence - it just took a world little longer to discover her.

Which is pity because her later, much more famous work from 1970s was not as half as exciting as her 1960s recordings when voice was at its best - young Cleo in full strenght possesed one of the best voices in jazz ever, with multi-octave range, depth, feeling and sensuality I found unsurpassed. While her 1950s records showed promise, in 1960s Laine metarmophosed into first rate jazz-tigress who was passionate, sensual and seductive beyond belief. Almost all of her 1960s albums are out of print now (and that also goes for her 1964 masterpiece Shakespeare: And All That Jazz) and just occasionaly compiled, so is this one that has young Laine surrounded with big orchestra, swinging through dozen of standards and getting all sexy in ballads - one exception is old ditty "I'm just wild about Harry" from 1921. Brodway show "Shuffle along" (and later Harry Truman's 1948. campaign song) that starts with Laine mock-imitating 1920s singing style and than half-way through turning to swing. It's just slightly out of place with the rest of album but not bad in itself and it makes sense as material here is mostly pre-WW2 anyway. My favourites are ballads - what she does with old Bing Crosby/The Andrews Sisters standard "I Can Dream,Can't I?" is magnificent, same goes for Duke Ellington and his "I Got It Bad and That Ain't Good" that she always had soft spot for and recorded it several times through decades.

Everything Laine recorded in 1960s has magic dust spread all over it - no wonder this album was called All About Me as it shows her different talents and versality - when in the next decade she was catapulted into international stardom and eventually awarded with "Grammy" in 1980s, the voice was not the same anymore (still exceptional but not as elastic as here) and too many flirtings with pop have something diminished the fact what sensational jazz singer she had been at the start. Of course she would eventually return to jazz later as to make it full circle and today this is what she sings again, but these early 1960s albums for me are her best and I reccomend it to everybody as essential listening - if you want to hear Laine at her best,go for any of her 1960s albums. https://rateyourmusic.com/release/album/cleo-laine/all-about-me/

All About Me

Buddy Collette Quintet, James Newton - Flute Talk

Styles: Flute Jazz
Year: 1989
Time: 46:46
File: MP3 @ 320K/s
Size: 107,9 MB
Art: Front

(5:59) 1. Magali
(6:31) 2. Blues In Torrance
(7:22) 3. Richmond In Acropolis
(5:25) 4. It's You
(5:06) 5. Crystal
(5:54) 6. André
(4:31) 7. Flute Talk
(5:55) 8. Roshanda

Other than a couple of releases for tiny labels in 1973, this Soul Note CD was Buddy Collette's first session as a leader since 1964. Collette and his former pupil, the great flutist James Newton, team up with pianist Geri Allen, bassist Jaribu Shahid, and drummer Gianpiero Prina for six of Collette's melodic originals (including "Blues in Torrance"), one of Newton's, and a free improvisation created by the two flutists.

Collette, who also plays some alto and clarinet on the date, sounds quite happy to be reunited with Newton and to finally be recording again. Although the music is primarily straight-ahead, there are some adventurous moments.
By Scott Yanow https://www.allmusic.com/album/flute-talk-mw0000272002#review

Flute Talk

Carmell Jones - Jay Hawk Talk

Bitrate: MP3@320K/s
Time: 38:11
Size: 87.4 MB
Styles: Bop, Trumpet jazz
Year: 1965/2000
Art: Front

[5:50] 1. Jay Hawk Talk
[4:56] 2. Willow Weep For Me
[8:56] 3. What Is This Thing Called Love
[5:32] 4. Just In Time
[6:17] 5. Beepdurple
[6:37] 6. Dance Of The Night Child

Bass – George Tucker; Drums – Roger Humphries; Piano – Barry Harris; Tenor Saxophone – Jimmy Heath; Trumpet – Carmell Jones. Recorded May 8, 1965.

Hard bopper Carmell Jones is in fine form on this 1965 outing, Jay Hawk Talk. Together with tenor Jimmy Heath, pianist Barry Harris, bassist George Tucker, and drummer Roger Humphries, Jones confidently tackles a half-dozen tunes. From the piano/bass riff at the beginning of "Jay Hawk Talk" to the Parker-esque kickoff of "Beepdurple," the band holds a steady, driving groove. Both of those instrumentals, plus "Dance of the Night Child," were written by Jones and stand comfortably beside the other selections on this album. Tucker kicks off a particularly affecting version of "Willow Weep for Me," with a simple descending bass run. Jones enters with a full and rich tone for a beautiful, extended solo, and is followed by Harris, who emphasizes the bluesy, late-night feel of the piece. The band turns in a nine-minute version of Porter's "What Is This Thing Called Love?" that pulls out all the stops, and gives Heath plenty of room to show that he can fly as high and play as fast as Charlie Parker himself. Throughout the album, Tucker's bass work adds greatly to the overall texture; Tucker and Humphries together provide a steady pulse with lots of charged rhythm to keep the whole project stimulating. Jay Hawk Talk will remind everyone of Jones' distinctive voice. Like Johnny Griffin, Jones moved to Europe in the '60s, greatly lowering his profile in the United States. This re-release of an old classic should help to familiarize everyone once again with a great trumpeter. By Ronnie D. Lankford Jr.

Jay Hawk Talk

Sunday, May 25, 2025

Boots Randolph - A Whole New Ballgame

Bitrate: 320K/s
Time: 58:57
Size: 135.0 MB
Styles: Saxophone jazz
Year: 2007
Art: Front

[4:09] 1. I'm Beginning To See The Light
[5:40] 2. Billy's Bounce
[3:18] 3. I'll Be Seeing You
[4:08] 4. Take Me Out To The Ballgame
[3:31] 5. Candy
[6:16] 6. Basically Blues
[4:33] 7. 'round Midnight
[3:53] 8. Dream Dancing
[3:49] 9. Stompin' At The Savoy
[5:55] 10. Cry Me A River
[5:09] 11. L-O-V-E
[3:38] 12. You'll Never Know
[3:43] 13. I'll Walk Alone
[1:10] 14. Nature Boy

Boots Randolph will always be best-known for his cornball pop hit "Yakety Sax" and for his association with country music, but he has long loved swinging jazz. Years ago he recorded an effective jazz album with Richie Cole called Yakety Madness! Randolph's huge tone, influenced by Illinois Jacquet, Eddie "Lockjaw" Davis and Coleman Hawkins, perfectly fits into the idiom, and on A Whole New Ballgame, he performs no-nonsense jazz. Although the occasional synthesized strings of keyboardist Jason Webb sounds a little cheesy in spots, Randolph is heard throughout in top form. He displays very impressive technique, knows the songs well and swings hard without going too over the top. The rhythm section is fine in support, with pianist Steve Willets and guitarist Roddy Smith having solo space, but Randolph is the main show, really blowing up a storm on "L-O-V-E," an up-tempo "Take Me out to the Ballgame" and "Basically Blues." Recommended. Unfortunately, Radolph died about a month after this was released. ~ Scott Yanow

Recording information: The Groovhouse, Nashville, TN (02/2006-04/2006).

Boots Randolph (tenor saxophone); Boots Randolph; Mark Stallings (Hammond b-3 organ); Jason Webb (keyboards); Tim Smith (bass guitar); Ray VonRotz (drums, drum, percussion); Roddy Smith (guitar); Steve Willets (piano).

A Whole New Ballgame

James Newton - James Newton

Styles: Flute Jazz
Year: 1983
Time: 36:42
File: MP3 @ 320K/s
Size: 84,0 MB
Art: Front

( 7:05) 1. Daydream
(10:05) 2. Budapest
( 8:39) 3. Ismene
( 3:49) 4. Persephone
( 7:03) 5. The Crips

Flutist James Newton teams up with six distinctive players on this continually interesting set: violinist John Blake, trombonist Slide Hampton, vibraphonist Jay Hoggard, pianist Anthony Davis, bassist Cecil McBee and drummer Billy Hart. The five selections include Billy Strayhorn's beautiful "Daydream," Davis' "Persephone" (a 17-bar piece), and three of the flutist's originals. The variety in the music ranges from an atonal "The Crips" to "Budapest," which recalls Charles Mingus, and the high quality of the players makes this thoughtful presentation a recommended set.
https://www.todocoleccion.net/discos-vinilo/james-newton-james-newton-gramavision-deu-1983-lp-1st-edition~x57069900

James Newton

Win Pongsakorn - Time Has Changed

Styles: Trumpet Jazz
Year: 2024
Time: 58:30
File: MP3 @ 320K/s
Size: 134,5 MB
Art: Front

(5:51) 1. Man In The Mirror
(5:18) 2. Pensri
(5:57) 3. Hummingbirds At Balata Garden
(6:16) 4. Time Has Changed
(5:40) 5. Caipirinha
(6:12) 6. Will You Still Love Me Tomorrow
(5:35) 7. You're Getting To Be A Habit With Me
(5:59) 8. Theme For Ernie
(6:10) 9. Imagination
(5:26) 10. Pearls

Time Has Changed is the second recording as leader by trumpeter Win Pongsakorn who was born in Bangkok, Thailand, but has been firmly wedded to American-style contemporary jazz since he started playing trumpet at age fourteen in 2011. As on his debut album, Yes, It Is! (Cellar Music, 2020), Pongsakorn is backed by a stellar rhythm section overseen by the elebrated pianist David Hazeltine with Paolo Benedettini on bass and Jason Brown on drums.

Unlike that initial enterprise, on which Pongsakorn composed seven of eight numbers, he has written only four (of ten) this time around—including the next four in a row after Glen Ballard and Sarah Garrett's opening theme, the trim and handsome "Man in the Mirror." Besides the graceful title song, they include the waltz-like "Pensri," gently swaying "Hummingbirds at Balata Garden" and limber "Caipirinha." Pongsakorn then turns elsewhere with largely admirable results, covering Carole King's "Will You Still Love Me Tomorrow," the standard "You're Getting to Be a Habit with Me," Fred Lacey's pensive "Theme for Ernie" and "Imagination" (not the standard) before closing with Hazeltine's sleek and shiny "Pearls."

Much of the rationale for the complimentary appraisal rests on Pongsakorn's singular ability to embrace and enhance the heart and soul within any song, owing to his keen and soulful approach. In reviews of his earlier album, Pongsakorn was compared to such masters as Blue Mitchell, Carmell Jones and Bobby Shew, among others, and he offers no reason to amend that opinion. The phrases are logical and clean, the tone is pure, and the improvisations are sharp and perceptive. An impartial listener might arguably contend that Pongsakorn plays older than his age, which is not yet thirty.

Ponsakorn also benefits from the expertise of his rhythm section, which not only provides staunch and unerring support but shares solo honors on most tracks, with Hazeltine, as always, especially creative and pleasing. Anyone who may have expected a sophomore slump from Pongsakorn will find no trace of one here. Yes, Time Has Changed, but that alteration has done nothing to lessen Pongsakorn's skills or demeanor. Indeed, based on the evidence presented here, a persuasive argument could be made that he is becoming an even more focused and inventive artist as time goes by. By Jack Bowers https://www.allaboutjazz.com/time-has-changed-win-pongsakorn-cellar-music-group

Personnel: Win Pongsakorn – Trumpet; David Hazeltine – Piano; Paolo Benedettini – Double Bass; Jason Brown – Drums

Time Has Changed