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 Into the Rhythm
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1982: Alberta Hunter - Look for the Silver Lining |
Music » Blues » Blues woman |
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 Artist: Alberta Hunter Album: Look for the Silver Lining Label: Columbia Year: 1982 Genre: Vocal, Jazz Blues Format, bitrate: mp3, 320 kbps Time: 33:14 Size: 77 MB AMG rating  Classic blues singer Alberta Hunter's final recording (made when she was 87, two years before her death) is as powerful as her previous three Columbia albums. The legendary delightful singer puts plenty of feeling into "Look for the Silver Lining," "He's Funny That Way," "Somebody Loves Me" and four of her originals. As was true of each of her final sets, Hunter is joined by the Gerald Cook quartet and several veteran horn players (trumpeters Doc Cheatham and Jonah Jones, trombonist Vic Dickenson and tenorman Budd Johnson), all of whom sound quite happy to be supporting the ancient yet ageless singer. ~ Scott Yanow, All Music Guide |
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1958: LaVern Baker - Sings Bessie Smith |
Mainstream, Vocal Jazz |
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 Artist: LaVern Baker Album: Sings Bessie Smith Label: Sequel Year: 1958, release: 1997 Genre; Vocal jazz, Early R&B Format, bitrate: mp3, 320kb/s Size: 95 MB AMG Rating  This is an album that should not have worked. LaVern Baker (a fine R&B singer) was joined by all-stars from mainstream jazz (including trumpeter Buck Clayton, trombonist Vic Dickenson, tenor-saxophonist Paul Quinichette and pianist Nat Pierce) for twelve songs associated with the great '20s blues singer Bessie Smith. Despite the potentially conflicting styles, this project is quite successful and often exciting. The arrangements by Phil Moore, Nat Pierce, and Ernie Wilkins do not attempt to re-create the original recordings; Baker sings in her own style (rather than trying to emulate Bessie Smith), and the hot solos work well with her vocals. ~ Scott Yanow, All Music Guide |
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2008: Lage Lund - Early Songs |
Music » Jazz » Fusion » Contemporary Jazz |
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 Artist: Lage Lund Album: Early Songs Label: Criss Cross Year: 2008 Quality: mp3;VBR kb/s Size: 94.16 mb I'v been really getting into what I'm going to call the new blood of New York's modern jazz scence & Lage Lund is one of the new voices on guitar that has been making some noise playing extensively as a sideman with the likes of sax men Seamus Blake & Marcus Strickland to name only a few. Here on Early Songs Lage's debut album for the Criss Cross jazz label he is sounding great in a modern postbop with a touch of groove jazz. Joined here by Marcus Strickland on sax, Danny Grisset on piano, Orlando LeFlemming on bass & Kendrick Scott on drums. What a great band, right there you've got many of the rising stars on their instruments. The program is made up of mostly originals with a couple standards in there to keep everyone happy. My favorite track would have't be the lead off tune Scrapyard Orchestra. The rest of the album is also great I hate to use words like beautiful & organic but they come to mind when hearing these fine jazz musicians make music together. Expertly rendered, highly recommended! I'll let Lage's music speak for itself. Check it out! ~ Anthony R. Guarriello, Amazon.com |
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1959: The Five Pennies - Soundtrack |
Swing, Mainstream, Vocal Jazz |
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 Artists: VA; Soundtrack Album: The Five Pennies Label: Decca Broadway Year: 1959, release: 2005 Quality: mp3@320kbit/s Size: 86,22 mb The Five Pennies expertly captures the flavor of a colorful era, has lots of great music. Kaye's wife, Sylvia Fine, came up with three original numbers: "Follow The Leader," "Lullaby In Ragtime" and the title song. Danny Kaye shows off his keen musical sense in the lead role of The Five Pennies, the life story of cornet master Red Nichols--or at least the Hollywood version of Nichols'd life. The movie gets off to a kicky start as Nichols joins a big-city band, meets his future wife (Barbara Bel Geddes), and sits in on a speakeasy session with Louis Armstrong. Armstrong's in the movie a lot, and there are smaller roles for other musical names such as Bob Crosby and Ray Anthony. The tunes include a batch of standards but also new songs written by Sylvia Fine, Danny Kaye's wife and the creator of his signature wordplay routines. The film's main dramatic device--that Nichols eventually sacrifices his career to care for a sick daughter--must be slogged through while the decent jazz sequences come and go. Whether you're a Danny Kaye fan or not, this film emphasizes his very real musical "touch" (in his manner, not his cornet playing; Red Nichols dubbed the horn himself). It also proved Kaye could handle melodrama at least as easily as frantic comedy, and yet this 1959 film was near the end of his run as a movie actor. ~ Robert Horton |
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1994: Ernest Dawkins' New Horizons Ensemble - South Side Street Songs |
Swing, Post-bop, Avantgarde |
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 Artist: Ernest Dawkins' New Horizons Ensemble Album: South Side Street Songs Label: Silkheart Records Year: 1994 Format, bitrate: mp3, 320 Time: 65:47 Size: 147 mb AMG Rating:  "Hot jazz, indeed!, from one of the most gifted and stimulating jazz bands of the 1990s." ~ John Litweiler, Author of Ornette Coleman: A Harmolodic Life
"Unique combination of jazz, bebop, swing, and avant garde." ~ All About Jazz This is an exciting band. Ernest Dawkins (heard on alto, tenor, and flute) heads the New Horizons Ensemble, a high-energy avant-garde sextet also including trombonist Steve Berry, trumpeter Ameen A.C. Muhammad, guitarist Jeff Parker, bassist Yosef Ben Israel, and drummer Avreeayl Ra. The driving rhythm section and rather individual horn stylists perform eight diverse pieces by Dawkins (who also contributed the arrangements) which cover a variety of moods, are not shy to swing, and temporarily embrace melodies. Each selection is stirring and full of surprises and fire. Recommended.~ Scott Yanow, All Music Guide |
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1955-1957: Lenya Sings Weill - The American Theatre |
Music » Classical music » Pop classics |
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 Artist: Lotte Lenya & Guests Album: Lenya Sings Weill - The American Theatre Label:Sony Classical #60647 Years: 1955-1957; release:1999 Genre: Easy Listening-Jazz Format, bitrate: MP3 320 Time: 79 Min Size: 176 KB Employing the same Richard Avedon portrait that graced the cover of the 1970 double-LP The Lotte Lenya Album, this collection is an abbreviated version of that compilation, cut down to fit the length limit of a single CD. The Lotte Lenya Album was nothing more or less than a two-fer repackaging of the single LPs Lotte Lenya Sings Berlin Theatre Songs by Kurt Weill and September Song and Other American Theatre Songs by Kurt Weill. For this version, the last four songs from the former ("Was Die Herren Matrosen Sagen," "Ballade vom Ertrunkenen Mädchen," "Lied der Fennimore," and "Cäsars Todd") have been deleted to bring the total running time down to 70 minutes. Thus, the first eight tracks find Lenya in Germany in 1955, singing mostly in German songs composed by Weill with lyrics by Bertolt Brecht from their stage works Die Dreigroschenoper ("The Threepenny Opera"), Aufstieg und Fall der Stadt Mahagonny ("Rise and Fall of the City of Mahagonny"), and Happy End, while the last 12 tracks find her in the U.S. in 1957, singing in English songs from Weill's Broadway musicals Knickerbocker Holiday, Lady in the Dark, One Touch of Venus, The Firebrand of Florence, Street Scene, Love Life, and Lost in the Stars. Lenya always disputed the notion that there were two Weills, the Berlin Weill and the Broadway Weill, but she ended up reinforcing that argument with these two LPs, and juxtaposing two-thirds of one with all of the other on this disc does not disprove it. Lenya was the definitive interpreter of the Brecht/Weill catalog, of course, and when she came to make the recordings here she had been singing (and recording) songs like "Seeräuberjenny" ("Pirate Jenny") and "Surabaya-Johnny" for more than a quarter-century. It's no surprise that she sounds assured on the first eight tracks, which use the original orchestrations for small jazz band conducted by Roger Bean. It's a different story with the Broadway tunes that make up tracks 9-20, however, as Maurice Levine conducts a string orchestra on songs for which other singers have done memorable treatments, including "September Song," "Saga of Jenny," "Speak Low," and "Lost in the Stars." With her limited range and German-accented English, Lenya is not the best interpreter of this material, and she does better with the less familiar songs, such as "Sing Me Not a Ballad," which actually was written for her to sing in the unsuccessful operetta The Firebrand of Florence. As such, the decision to excise a third of the Berlin album is all the more questionable. ~ William Ruhlmann, All Music Guide |
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1966: Andrew Hill - Change |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Andrew Hill Album: Change Label: Blue Note Year: 1966; release: 2007 Format, bitrate: MP3,VBR 224-256 kbps Time: 55:30 Size: 91.92 MB w/scans The 1966 edition of the Andrew Hill Quartet included saxophonist Sam Rivers, bassist Walter Booker, and drummer J.C. Moses. This group recorded what was to be the first of Andrew Hill's four "free" sessions for Blue Note. The other three were all recorded in 1967 and were solo piano sessions. Two of those dates along with an Artist House LP were released on the Mosaic Select Andrew Hill box. Hill's classic, brilliant, and still-outside date Dance with Death from 1968, featuring Joe Farrell, Charles Tolliver, Victor Sproles, and Billy Higgins, was not issued until 1980 and made its first compact disc appearance in 2004. Change has an interesting story in that it wasn't released at the time of recording and remained in the can until 1975, when it was issued under Sam Rivers' name as part of a Blue Note double as part of a two-LP set called Involution. The other disc was a Rivers-led date (from 1967) with a different band that hit CD shelves in 1998 under the title Dimensions and Extensions. Change as it was recorded and edited -- and even given a catalog number (84233) -- is supplemented here with two bonus tracks from the date. All this music was previously released on CD in limited edition (and now sold out) as The Complete Blue Note Andrew Hill Sessions (1963-66). This band plays outside, but this is not "free jazz" in the original sense of the term. In fact, it is music that is composed, with lots of room for improvisation, and one need go no further than the 11-minute opening cut, "Violence," where Hill's chords lie behind a bristling opening solo by Rivers. Hill takes the solo from Rivers, quoting from stride piano blues and Thelonious Monk, and then enters into a spiky duet with the saxophonist before a bass solo and Hill entering on harpsichord. Rivers brings the head back in and moves it to the margins again. This fiery interplay is a long example of what lies in wait for those who've never encountered this music before. It is Hill at his most intense and focused, with an eager group of players who were all excellent listeners. In contrast, "Pain," the album's second track, feels like anything but, with a swinging, Monk-like theme before Sproles takes over with a bass solo that keeps the theme in clear view. Rivers isn't present here at all; it's a trio number that strides and lopes with a killer piano solo by Hill. The saxophonist doesn't re-enter the picture until the middle of the next cut, "Illusion," with a Latin-tinged rhythmic motif and wonderful playing by Moses. When Rivers does enter, his melodic strut -- courtesy of the composer -- feels like a beautiful nod to Ornette. And so it goes with one delight after another -- including a gorgeous trio ballad called "Lust" that brought the original album to a close. This is one of the most out and out structured "free" dates of the entire 1960s. It's a shame this ensemble didn't get to record together more, because by album's end it feels like they're just getting started. Hill never got to see this date come out on its own on disc. He passed away a month and a half before. ~ Thom Jurek, All Music Guide |
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1964: Joe Pass - For Django |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Joe Pass Album: For Django Label: Pacific Jazz (Jap.) Year: 1964, release: 1999 Quality: mp3; 192 kb/s Size: 45,94 mb AMG Rating Long considered a classic, guitarist Joe Pass' fourth date as a leader finds him performing music that was composed by Django Reinhardt, was part of his repertoire, or is one of two more recent tributes (John Lewis' "Django" and Pass' "For Django"). Pass is joined by the rhythm guitar of John Pisano, bassist Jim Hughart, and drummer Colin Bailey; the quartet would reunite in the 1980s. Although Pass was actually more strongly influenced by Charlie Christian than by Reinhardt and he had already formed his own style, he has no difficulty fitting into the music. Highlights include "Rosetta," "Nuages," and "Limehouse Blues." ~ Scott Yanow, All Music Guide |
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1998: Dee Dee Bridgewater - Live at Yoshi's |
Music » Jazz » Vocal Jazz |
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 Artist: Dee Dee Bridgewater Album: Live at Yoshi's Quality: FLAC + mp3@320 Kbps Size: 472 + 154 MB (+ covers) Year: 1998 Label: Verve (released 2000) Total time: 67:59 AMG rating 13 years after her prior in-performance release Live in Paris, Bridgewater has not so much matured or refined her approach as she has gotten bolder. This CD was recorded on what would have been her idol Ella Fitzgerald's 80th birthday weekend at Yoshi's in Oakland, CA. She scats in the style of Fitzgerald on most of these numbers -- not quite in the higher range, but comfortably in the middle -- while also displaying some of Sarah Vaughan's more deeply soulful traits. It's a combination of the two, with a little bawdiness for spice, that has made Bridgewater a prime purveyor of excitable jazz vocalizing these days. The set begins with the Charlie Shavers evergreen "Undecided," as the singer stops and starts the band on several dimes for the initial lines, exacting choppy phrases and similar scatting á la Fitzgerald on the bridge. In an Ella-cum-Betty Carter mode for "What a Little Moonlight Can Do," Bridgewater waxes frantically on the effect of an obviously full moon turning her into a scatting monster during two different uptempos. Then she brings out the Sarah Vaughan nightshade for "Midnight Sun," a memorable rendition especially buoyed by Eliez, with rubato intro of bass and piano underneath cat-walking, stealth phrases, stunningly set between the bass and piano lock-step with the vocal line. Then they dive headlong into "Love for Sale" for just over 14 minutes, and more delicate vocals lead to a scat much faster than the band's rhythm. The finale "Cotton Tail" is a three-ring exercise in scat. This program comprises a side of Bridgewater's well-known vehicles used for years as a springboard for her formidable talent -- unabashed and unafraid. ~ Michael G. Nastos, All Music Guide |
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1948 - 1954: Bennie Green - Go Ahead And Blow |
Swing, Mainstream |
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 Artist: Bennie Green Album: Go Ahead And Blow Label: Ocium Records Years: 1948 - 1954, release: 2002 Quality: MP3@320 kbps Size: 139 mb Total Time: 70:19 Ïðåâîñõîäíûå ñåññèè ñ ó÷àñòèåì âåëèêîëåïíîãî òðîìáîíèñòà! One of the greatest bone players who did not follow the J.J. Johnson's influence. Capable of playing Swing, Bop and rooted R&B projecting a strong feeling of joy in all his music. This CD retains all his powerful sound backing Charlie Ventura or fronting his early 50s quintets for Jubilee, Esquire, Prestige & Decca supported with the soul and passion of Eddie "Lockjaw" Davis, Budd Johnson, Cliff Smalls, Osie Johnson and a rare collaboration with Coleman Hawkins. Undoubtedly the most enjoyable introduction to Green's wonderful friendly style. ~ freshsoundrecords.com |
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1966: Wes Montgomery - California Dreaming |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Wes Montgomery Album: California Dreaming Year: 1966, release: 1990 Label: Verve Records Format: mp3, 320kb/s; FLAC ( cue, log) Time: 35:49 Size: 80mb; 245 mb (with scans) REPOST with additional lossless links from Mr. hungaropitecus Wes Montgomery's last album for Verve (other than an exciting collaboration with Jimmy Smith) is a so-so orchestral date featuring arrangements by Don Sebesky. The material (which includes "Sunny" and "California Dreaming") is strictly pop fluff of the era and the great guitarist has little opportunity to do much other than state the melody in his trademark octaves. This record was perfect for AM radio of the period. ~ Scott Yanow, All Music Guide |
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1977: Lenny Breau & Richard Cotten - Pickin' Cotten |
Music » Jazz » BeBop » Post-bop |
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 Artists: Lenny Breau & Richard Cotten Album: Pickin' Cotton Year: 1977, release: 2001 Label: True North Records Quality: mp3/320kbps Size: 152 MB AMG rating Lenny Breau is a jazz enigma. He never really caught on with the public, yet was recognized by his peers as a major guitar innovator. Add to this a mysterious and still unsolved death in a Los Angeles swimming pool at the too-young age of 43. This is the way a cult figure is born. Former student Randy Bachman has been meticulously and methodically issuing Breau material through his Guitarchives label. This one is a 1977 live session at a Nashville, TN, club where Breau teams up with Richard Cotten, with whom he played frequently when visiting the capital of country music. Country music and Nashville notwithstanding, the album play list is a mix of classic and jazz standards. One of the classic standards is a moving, flowing, highly lyrical "Stella By Starlight." "On Green Dolphin Street" has Breau starting off quiet and unassuming before he leaps off into a series of scintillating improvisational runs, during which you never hear anything played the same way twice. He pays tribute to one of his influences, Bill Evans, with the Evans pieces "The Two Lonely People" and "La Funkallero." Breau made no bones about it that his unique single-string voicings were due in no little part to his transformation of Evans' piano technique to the guitar. Cotten is a fine guitarist, although here he pretty much plays rhythm to Breau's melody. One of the more engaging moments comes with the coda, where for almost seven minutes Cotten's daughter Darci Cotten shares personal recollections, peeling away some more of the mystery surrounding this fine guitar innovator. Indications are that this CD is the first of Breau's Nashville performances that Bachman intends to get to market. One hopes that this is more than a rumor. Recommended. ~ Dave Nathan, All Music Guide |
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