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jasapaal
 Into the Rhythm
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1964: Anthony Williams - Life Time |
Hard-bop, Post-bop |
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 Artist: Tony Williams Album: Life Time Label: Blue Note Year: 1964 Format, Bitrate: MP3 192 kbps :S Time: 38.3 min Size: 51 Mb AMG Rating:  Drummer Tony Williams' first recording as a leader (made when he was 18 and still billed as Anthony Williams) gave him an opportunity to utilize an advanced group of musicians: tenor saxophonist Sam Rivers, vibraphonist Bobby Hutcherson, pianist Herbie Hancock, and both Richard Davis and Gary Peacock on bass. Williams wrote all four of the pieces and has a different combination of players on each song. The freely improvised "Memory" features Hutcherson, Hancock, and Williams in some colorful and at times spacy interplay; "Barb's Song to the Wizard" is a Hancock-Ron Carter duet; "Tomorrow Afternoon" has Rivers, Peacock and Williams in a trio; and all of the musicians (except Hutcherson) are on the sidelong "2 Pieces of One." The unpredictable music holds one's interest; a very strong debut for the masterful drummer. ~ Scott Yanow, All Music Guide |
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1963: Grachan Moncur iii - Evolution |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Grachan Moncur III Album: Evolution Label: Blue Note Year: 1963 Format, bitrate: M4A, 256 kbps (VBR) Time: 41,2 min Size: 84.45 Mb AMG Rating: One of the New Thing's extremely few trombonists and a greatly underappreciated composer of tremendous evocative power, Grachan Moncur III got his first major exposure on Jackie McLean's groundbreaking 1963 masterpiece, One Step Beyond. Toward the end of the year, most of the same musicians reconvened for Moncur's debut as a leader, Evolution; McLean, vibist Bobby Hutcherson, and drummer Tony Williams are all back, with Bob Cranshaw on bass and an extra voice in trumpeter Lee Morgan, moonlighting from his usual groovy hard bop style. While Moncur takes a little more solo space here, the main emphasis is on his talent as a composer. The four originals are all extended, multi-sectioned works (the shortest is around eight minutes), all quite ambitious, and all terrifically moody; much of the album sounds sinister and foreboding, and even the brighter material has a twisted, surreal fun-house undercurrent. Part of that is due to the accuracy with which the musicians interpret Moncur's vision. Hutcherson provides his trademark floating chordal accompaniment, which is crucial to the overall texture; what's more, the album features some of McLean's weirdest playing ever, and some of Morgan's most impressively advanced, as he makes the most of a situation he longed to be in more often. Of the pieces, "Monk in Wonderland" is the most memorable; its whimsical, angular theme is offset by Hutcherson's mysterious vibes, which create a trippy effect in keeping with the title. "Air Raid" is alternately ominous and terrifyingly frantic, and the funereal title track keeps time only in the pulse of the horns and the backing, which is based entirely on whole notes. With such an inventive debut, it's a shame Moncur didn't record more as a leader, which makes Evolution an even more important item for fans of Blue Note's avant-garde to track down. ~ Steve Huey, All Music Guide |
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1990: Clark Terry - Having Fun |
Swing, Mainstream |
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 Artist: Clark Terry Album: Having Fun Label: Delos Year: 1999 Quality: MP3@320 kbps Size: 158 mb Total time: 69:37 AMG rating  The title of this CD definitely fits not only its music but Clark Terry's career. The colorful flugelhornist is teamed with Red Holloway doubling on tenor and alto, bassist Major Holley (who sings along with his bass in his solos), pianist Jon Campbell and drummer Lewis Nash. Since C.T., Holloway and Holley were all humorists, the music is not only swinging, but quite enthusiastic. With titles like "Mumbles," "Meet the Flintstones," "The Snapper" and "Mule's Soft Claw," the humor isn't unexpected. An excellent and consistently swinging date. ~ Scott Yanow, All Music Guide |
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2010: Lou Donaldson Quartet - Forgotten Man |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Lou Donaldson Quartet Album: Forgotten Man Label: Timeless Jazz Legacy /Challenge Records Year: 1981 Release: 2010 Format, bitrate: mp3, 320kb/s Size: 88 MB On "Forgotten Man" alto saxophonist Lou Donaldson improvises, as he does during his concerts, to four sorts of themes: own compositions as the 32-measures counting "Tracy", jazz-standards like the samba "This is Happiness", "low down blues" such as "Wiskey Drinkin' Woman" and at last Charlie Parker-vehicles like "Confirmation", "Melancholy Baby", "Don't Blame Me" and "Exactly Like You". He expresses himself on this record in a typical post-Parkerian style. Striking is his choice of the material to be improvised in the form of attractive and charming "songs" with a melodic line. In his ballads he evokes something of the purity of a Johnny Hodges. As a creative artist he joins an innate liking for the melody to a special sense for the re-creation of the themes into own flesh and blood. In this way he carries on "Bird" Parker's message with almost the same instrumental virtuosity. His sonority stands for a True revelation. His tone possesses this special vibration which made Parker so touching during his golden ages. It leaves a sophisticated, delicate and muffled impression. Moreover, Donaldson is served by a natural and faultless timing. His swing of performance links up with the mainstream jazz and the postbop. Technically he experiences not one difficulty to cast the ideas that are flowing through his mind into a suitable form Since he does not reflect Parker's torture in any way, he appears more classicistical to us. His chorusses seem to be carried by a profound lyricism, the basis of all good music. On top of this he affirms on this album his personal and wordly approach of the blues, which gains in relief thanks to his vocal contribution and his ironical undertone. In this field, we consider him even as one of the greatest saxophonists of the contemporary jazzscene. Indeed, these interpretations show that Lou is no longer a "forgotten man", but has recovered his own strong identily. Together with the prominent Phil Woods and the enthusiastic Richie Cole, he probably cinstitutes the presentday top of altosaxes in the postbop-idiom.~ Juul Anthonissen, Challenge Records International |
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1997: Billy Kyle - Billy Kyle: 1939-1946 |
Music » Jazz » Swing |
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 Artist: Billy Kyle Album: Billy Kyle 1939-1946 Label: Chronological Classics 941 Year: 1939-1946, release 1997 Format, bitrate: MP3@320 kbit/s Time: 1:06:03 Size: 151 Mb AMG rating: The second of two Classics Billy Kyle CDs has all of the remaining titles the superior swing pianist led during his life (although he lived until 1966). Ten of the 23 numbers are lesser performances, with four featuring the dated organist Bob Hamilton and the vocals of O'Neil Spencer; two are jivey numbers by singer Jack Sneed and his Sneezers, and four others also emphasize O'Neil Spencer's singing along with the organ of Milt Herth. However, the other 13 selections are full of classic swing-oriented performances. The talented British trumpeter Nat Gonella is heard fronting a hot septet also including Kyle, clarinetist Buster Bailey and altoist Benny Carter (their version of "You Must Have Been a Beautiful Baby" is a highlight); Kyle leads a couple of high-quality trio sets from 1939 and 1946, and he also heads a 1946 octet also featuring trumpeter Dick Vance, trombonist Trummy Young, clarinetist Bailey and tenor saxophonist John Hardee. The better half of this CD is so strong that it makes the entire set well worth acquiring despite the organists. ~ Scott Yanow, All Music Guide |
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1927: Bix Beiderbecke - Singin' the Blues (Vol.1) |
Traditional Jazz, New Orleans Jazz |
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 Artist: Bix Beiderbecke Album: Singin' the Blues (Vol.1) Label: Columbia Year: 1927; release: 1991 Quality: MP3@320 kbps Size: 132 mb Total time: 60:56 AMG Rating:   Cornetist Bix Beiderbecke's greatest recordings were mostly made in 1927. This definitive CD (reissued in 1990) has most of Beiderbecke's best-loved work, including "Singin' the Blues," "I'm Coming Virginia," "Ostrich Walk," "Way Down Yonder in New Orleans," and his solo piano classic "In a Mist." Most of the recordings were cut with Frankie Trumbauer's Orchestra, although there are also two titles from the Broadway Bellhops, a similar group. The beauty of Beiderbecke's horn outshone virtually every other brassman in the 1920s other than Louis Armstrong, and he never sounded better than on these records. Beiderbecke is joined by such notables as C-melody saxophonist Trumbauer, guitarist Eddie Lang, clarinetist Jimmy Dorsey, trombonist Bill Rank, and clarinetist Don Murray, among others. In addition to the titles mentioned, the renditions of "Clarinet Marmalade," Hoagy Carmichael's "Riverboat Shuffle," and "Wringin' and Twistin'" are among the other highlights. Essential music that in one form or another belongs in every serious jazz collection. ~ Scott Yanow, All music Guide |
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1976: Ted Curson - Blue Piccolo |
Music » Jazz » BeBop » Post-bop |
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 Artist: Ted Curson Album: Blue Piccolo Label: Why Not / Candid Year: 1976; Release: 2009 Format, bitrate: FLAC Size: 235 MB One of the hippest records ever cut by trumpeter Ted Curson - and that's saying a lot, because all his records are pretty darn hip! Curson's working in a quartet with Jim McNeely on piano, Cecil McBee on bass, and Steve McCall on drums - and the group's a lot tighter than some of Curson's other ones from the late 70s, grooving away with a slight nod to freedom, but also a hard jazz swing that never loses its drive. The vibe is great -- soulful and soaring, but very focused too -- and titles include "Dwacki Mum Fudalick", "Blue Piccolo", "Playhouse March", and "Song Of The Lonely". CD also features bonus tracks not on the original LP! © 1996-2010, Dusty Groove America, Inc. |
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1952-1954: Stan Getz - Stan Getz Plays |
Cool, West Coast Jazz |
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 Artist: Stan Getz Album: Stan Getz Plays Label: Verve Year: 1952-1954 Release: 1954 Format, bitrate: MP3 320 kbps Time: 37 min Size: 116 mb AMG Rating:  Tenor saxophonist Stan Getz is in excellent form playing with one of his finest groups, a quintet with guitarist Jimmy Raney and pianist Duke Jordan. Although the music does not quite reach the excitement level of the Getz-Raney Storyville session, this music (particularly the ballads) really shows off the tenor's appealing tone. This CD is rounded out by four titles that Getz cut with a quartet in 1954 that co-starred pianist Jimmy Rowles. ~ Scott Yanow, All Music Guide |
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2011: David Binney - Barefooted Town |
Music, Jazz, Contemporary Jazz, Modern Jazz |
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 Artist: David Binney Album: Barefooted Town Label: Criss Cross Jazz Year: 2011 Format: FLAC (tracks) Time: 55:28 Size: 326 mb David Binney’s ambitious release on his own label earlier this year, Graylen Epicenter, drew even more praise than usual from critics and fellow musicians. And this new one from Criss Cross is another winner for the much admired but largely unsung alto saxophonist and composer.
The top-flight, mostly younger players Binney has assembled for Barefooted Town—Ambrose Akinmusire on trumpet, Mark Turner on tenor saxophone, David Virelles on piano, Eivind Opsvik on bass and Dan Weiss on drums—seem happy to keep the emphasis on Binney’s complex compositions rather than their own soloing prowess. There is impressive blowing throughout the disc, especially on the high-energy opening pieces “Dignity” and “Seven Sixty.” Akinmusire and the saxes cut loose on “Secret Miracle,” and Weiss maintains a protean brilliance throughout. But the focus stays remarkably centered on ensemble work and Binney’s music. Virelles takes a strong solo on “The Edge of the Seasons” and adds luster to the quieter, more balladic “A Night Every Day,” for example, but dutifully repeats a chord throughout the title cut for hypnotic effect. And Akinmusire has no problem allowing his trumpet to be employed simply for color elsewhere.
Binney’s compositions, meanwhile, are serious without being off-putting. He supplies his own wordless vocals on three of the tracks, weaves melodic patterns with his three horns and supplies them with complicated unison lines, and shifts among tricky meters at will. For all the complexity and experimentation, however, his work maintains both passion and an engaging lyricism. This isn’t casual listening, by any means. But it is a reminder that forward-looking writing can be palatable. ~ Bill Beuttler, JazzTimes |
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2004: Ralfi Pagan - Legend |
Latin, Soul |
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 Artist: Ralfi Pagan Album: The Legend Label: Aries Music Entertainment Inc. Year: 2004 Format, bitrate: Mp3, 256 Kbps Size: 92.43 MB Ralfi Pagan passed without making a significant mark in the music industry, but not because he didn't try. Raised on the Lower East Side of New York City, he was part of the city's bubbling salsa scene in the '60s and late '70s. His main body of work -- four albums -- was waxed for Johnny Pacheco and Gerald Masucci's Fania Records. Though a major player in the studio, he didn't achieve the notoriety of some other Fania artists, known as the Fania All Stars and which included Mongo Santamaria, Johnny Colon, Willie Bobo, Joe … Read more~ Andrew Hamilton, All Music Guide |
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1989: Eddie Daniels - Blackwood |
Hard-bop, Post-bop |
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 Artist: Eddie Daniels Album: Blackwood Label: GRP Records Year: 1989 Format, bitrate: flac Time: 46:32 Size: 269mb Eddie Daniels is such a monster on the clarinet that all of his GRP recordings are worth acquiring. This one, however, due to the somewhat commercial nature of some of the tunes (and the lightly funky rhythm sections), is of lesser interest compared to the classics such as Breakthrough. Daniels sounds fine but he is far better than much of the material (generally written by either the clarinetist, Rob Mounsey or Dave Grusin). ~ Scott Yanow, All Music Guide |
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1956: Dizzy Gillespie - For Musicians Only |
Music » Jazz » BeBop |
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 Artists: Dizzy Gillespie , Stan Getz, Sonny Stitt , John Lewis, Herb Ellis , Ray Brown Album: For Musicians Only Label : Verve Year: 1956, release - 1989 Quality: MP3@320 kbps Size: 98 mb Total time: 52:44 AMG Rating: REPOST with a new link from Mr.bultra This has plenty of great players and lots of amazing music. Getz, Dizzy Gillespie (tpt), and Sonny Stitt (as) are great, as are John Lewis (p) and Herb Ellis (g). ~ Ron Wynn, AMG Often in the early days of the modern jazz movement, players would come up with the most dazzling tempos, complex chord changes, intricate melodies and tricky rhythmic breaks imaginable, as much to challenge themselves as to keep the squares from trying to get on the bandstand and jam. FOR MUSICIANS ONLY is just that, and then some. Gillespie, the great virtuoso trumpeter is joined on the front line by Stan Getz and Sonny Stitt for a blowing session of phenomenal proportions.
[Gillespie's demanding tune "Bebop," and Denzil Best's "Wee (Allen's Alley)" (based on "I Got Rhythm") are given a brisk, wailing treatment. Both tunes highlight Stitt's scampering alto, Getz's dancing mentholated tenor (very much in his Lester Young mode), and Gillespie's coiled, tempestuous trumpet. The tough, swinging rhythm section really distinguishes itself on the standards "Dark Eyes" and "Lover Come Back To Me" (particularly bassist Ray Brown). They always manage to keep a hint of the basic tune in the foreground, no matter how free the soloists get. Gillespie is inspired throughout, and FOR MUSICIANS ONLY contains some of his spunkiest, most pugnacious solos. ~ cduniverse.com |
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1936-1937: Woody Herman 1936-1937 |
Music » Jazz » Swing |
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 Artist: Woody Herman Album: Woody Herman 1936-1937 Label: Classics Years: 1936-1937; release: 1999 Quality: MP3@320 kbps Size: 145 mb Total time: 65:21 Woody Herman led many big bands throughout his career. Some biographies give very little space to his earliest groups and start out with the First Herd of 1944-46, but Herman was a bandleader as early as 1936. This CD actually starts out with a few Herman appearances with Isham Jones during March 1936. The full orchestra performs "Stompin' At The Savoy" and then "Isham Jones' Juniors" (an octet taken from the big band) performs six numbers, four of which include Herman vocals. Virginia Verrell sings a spirited "Slappin' The Bass" and the only instrumental is "Nola" but the best number (and one that would reappear with Herman in the future) is "Fan It." By Nov. 1936 the clarinetist-altoist was leading his own big band, one that also included five other musicians from Isham Jones' orchestra which had broken up a few months earlier. Few listeners probably know that the very first Herman big band mostly featured his ballad vocalizing; "Woodchoppers Ball" would not change the orchestra's direction until 1939. Only one song among the 16 selections by Woody Herman's orchestra is an instrumental ("Mr. Ghost Goes To Town"). The leader' singing ranges from insipid and romantic to (in a few cases) swinging; best are "Doctor Jazz," "Trouble In Mind" and "It Happened Down In Dixieland." But this set is strictly for completists and Woody Herman collectors who are curious to know how he started out. ~ Scott Yanow, All Music Guide |
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1969: The Buck Clayton Swing Band - Live from Greenwich Village, NYC, 1969 |
Music » Jazz » Mainstream |
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 Artist: The Buck Clayton Swing Band Album: Live from Greenwich Village Label: Nagel - Heyer Records Year: 1969, release: 1997 Quality: MP3@320 kbps Size: 164 mb Total time: 72:46 AMG Rating: REPOST by request During the last few years of his life, when he could no longer play trumpet, Buck Clayton became a full-time arranger and wrote for an enthusiastic mainstream big band. The 16-piece orchestra (which is filled with such notables as altoist Jerry Dodgion, tenor saxophonist Frank Wess, pianist Dick Katz and a trumpet section comprised of John Eckert, Jordan Sandke, Byron Stripling and Warren Vache) is heard on this 1997 CD performing a dozen of Buck's originals, most of which were newly composed. The concise solos perfectly fit the swinging charts, and although Clayton does not play a note, his personality can be felt throughout the rewarding date, one of his final recordings. ~ Scott Yanow., All Music Guide |
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2009: Patricia Talem - Patricia Talem |
Music, Jazz, Vocal Jazz, Fusion, Latin |
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 Artist: Patricia Talem Album: Patricia Talem Label: Nu Groove / Points South Year: 2009 Quality: APE (image+.cue) Total Time: 52:20 Total Size: 308 mb Patricia Talem was produced by Marco da Costa (2004 Latin Grammy Winning Producer) and Sandro Albert with Patricia Talem as Executive Producer. For her debut self-title release Patricia she selected tracks that as she stated "portrayed this moment of my current life and the state of my soul." The release displays her love of music as she crosses genres, generations, styles, and languages selecting songs from Brazilian legends such as Chico Buarque, Rita Lee, and Renato Motha, from more current Brazilian writers such as Elder Costa, Sandro Albert, and Keco Brandão, as well as Canadian Ron Sexsmith.
Being introduced to new and exciting music, many times covers a serendipitous route as I heard about Patricia Talem from Jimmy Haslip of the Yellowjackets whom I caught up with at the Blue Note in New York. Jimmy and Russell Ferrante, also of the Yellowjackets, both love Latin music and contributed their talents on the release. So, based off their recommendation I gave Patricia Talem a listen, and then another listen, as Patricia has that type of voice that is enchanting and haunting; she has that ability to capture the body and the mind. Along with Jimmy Haslip and Russell Ferrante of the Yellowjackets, Patricia is accompanied by an all-star cast of Brazilian musicians who lend their creative energy to make this a memorable release and stellar debut.
I have a fairly extensive selection of Brazilian music and what I like the most about all the different genres and styles that I have is the feel of the music. On Patricia's release, I could feel each song as she has that ability to convey and project meaning through her timing and how she accents certain words and phrases, as well as through her tone and pace. ~ EzineArticles.com |
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2011: Richie Beirach - Impressions of Tokyo: Ancient City Of The Future |
Music » Jazz » BeBop » Post-bop |
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 Artist: Richie Beirach Album: Impressions of Tokyo: Ancient City Of The Future Label: Outnote Records Year: 2011 Format, bitrate: MP3, CBR 320 Kbps Time: 57:14 Size: 132 Mb Solo expression will reveal someone’s true character mercilessly. The fainthearted should abstain! Richie Beirach, New Yorker residing in Leipzig (Germany), most certainly doesn’t lack personality. His has been strengthened by forty years of practice in which he combines the discipline of a classical training with the vertigo of improvisation.
Richie has a deep knowledge of Japan – no less than 26 visits since the Seventies with numerous concerts and recordings – and doesn’t hide his admiration for its impressive culture and respect for art and music in all its forms. Under his fingers, Tokyo reveals itself in its duality, at the crossroads of tradition and modernity. His « impressions » follow like a series of snapshots presented in the form of haikus, the purest of poetic forms (3 verses of invariably 5, 7 and 5 syllables). Make no mistake; this freely chosen constraint enables Richie Beirach to go straight to the heart of the matter. Whether evoking the Japan of times immemorial – Kabuki theatre, stone gardens surrounding monasteries, flowering cherries, or even earthquakes …, or the Japan of today - the Shinkansen (Bullet train), Kurosawa’s movies, Takemitsu’s music… he appears alternatively sober, almost ascetic, or dense, searching the entrails of the piano. In other words: how can one translate, without betrayal, the Tokyoite soul and the daily life of millions of city dwellers? With this journey to Tokyo, Richie Beirach reaches this form of Zen serenity which is simply the prerogative of the greatest. ~ Outnote Records |
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1941: Don Byas - Midnight At Minton's |
Music » Jazz » Mainstream |
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 Artist - Don Byas Album - Midnight At Minton's Label - Highnote Records Year - 1941, release - 1999 Genre - swing, bop Quality - MP3@320 kbps Size - 79,8 mb Total Time - 38:51 AMG:  REPOST by request It features one of the earliest known recordings of Thelonious Monk, who was then playing piano in Minton's house band. Tenor saxophone legend Don Byas is heard with great clarity on this, a relative jam session, as is vocalist Helen Humes (the first two cuts) and ostensible leader/trumpeter Joe Guy, whose high energy solos are very good in spots. Less audible in the mix are pianist Thelonious Monk and drummer Kenny Clarke, working in this band while bebop was fermenting. These two would lead the bop charge later in the '40s at Minton's Playhouse, the bebop concubine/jazz club in N.Y.C. The music is pretty much swing material, with Humes tossing in a ballad ("Stardust") and a bluesy number ("Exactly Like You") while the instrumental "Indiana" is all fired up, and they typically chill down "Body & Soul." Present on the dates is an unidentified tenor saxophonist and trumpeter tossing in his/her less than two-cents worth solos. Even annotator Dan Morgenstern, with his detailed and informative liner notes, can't ID the pair. The star is clearly Byas. His well-rounded tenor inflections and characteristic quarter-to-eight note slurve is on throughout the performance. He can be at once warm, witty, smooth, precise, and consistently wonderful. He's one of the first original jazz voices on his horn and emphatic to boot on these tunes. These are true club date "field recordings," from the then Columbia University student Jerry Newman's portable unit, replete with crowd noise in the background (one can hear Humes rebuffing a heckler/admirer) annoying kicking of the stage area, and a brief drop out or distortion. Total time is barely 39 minutes. But the overall sound quality is quite acceptable, at most times remarkable. The music itself is priceless, the document of a transitional period from swing to bop, and some of the people that made it happen, especially the underappreciated genius Byas. ~ Michael G. Nastos, All Music Guide |
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2012: Esperanza Spalding - Radio Music Society |
Jazz-Pop, Contemporary Jazz |
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 Artist: Esperanza Spalding Album: Radio Music Society Label: Concord Jazz Year: 2012 Format: Flac Size: 202,00 MB + 171,82 MB Hailed as a prodigy on the acoustic double bass within months of first touching the instrument as a 15-year-old, Esperanza Spalding has emerged as a fine jazz bassist, but has also distinguished herself playing blues, funk, hip-hop, pop fusion, and Brazilian and Afro-Cuban styles as well. Born in Portland, OR in 1984, Spalding was not well served by the public school system and soon dropped out of classes to be home-schooled. Returning to the public school system at 15, she encountered her first acoustic bass (she had already been playing violin for several years) and immediately took to the instrument. Dropping out of school again, Spalding enrolled in classes at Portland State University as a 16-year-old, and earned her B.A. in just three years and was immediately hired as an instructor in … » Read more~ Steve Leggett, All Music Guide |
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1937-1938: Billy Kyle - Billy Kyle 1937-1938 |
Music » Jazz » Swing |
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 Artist: Billy Kyle Album: Billy Kyle 1937-1938 Label: Chronological Classics 919 Year: 1937-1938, release 1996 Format, bitrate: MP3@320 kbit/s Time: 54:56 Size: 98,8 Mb AMG Rating:  Pianist Billy Kyle spent most of his career as a sideman (most notably with John Kirby's Sextet and the Louis Armstrong All-Stars) and led relatively few sessions, all of which were formerly rare. That fact makes this CD reissue a major event for small-group swing collectors. Kyle's eight selections from 1937 with his "Swing Club Band" (which hints at times at the Kirby group) include two vocals apiece by the Palmer Brothers and Leon Lafell, but are most notable for the playing of trumpeter Charlie Shavers and altoist Tab Smith on the instrumentals. In addition, Kyle is prominent with the Spencer Trio (a group with clarinetist Buster Bailey and drummer O'Neil Spencer), Timme Rosenkrantz's Barrelhouse Barons (which include cornetist Rex Stewart, trombonist Tyree Glenn, tenorman Don Byas, and singer Inez Cavanaugh), and with Jack Sneed & His Sneezers. Sneed was a jazz-influenced calypso singer who was wise enough to use a backup quartet (which included Shavers) taken from the Kirby sextet. Overall, an excellent set of rarities. ~ Scott Yanow, Rovi |
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1959: Rosemary Clooney & Perez Prado - A Touch of Tabasco |
Music » Jazz » Latin |
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 Artist: Rosemary Clooney & Perez Prado Album: A Touch of Tabasco Label: RCA Year: 1959 Genre: vocal jazz, latin jazz Format, bitrate: mp3, 320 kbps Time: 27:07 Size: 64,5 MB AMG rating On paper, this unlikely pairing of American popular vocalist Rosemary Clooney (who nearly defined the 1950s as a stylist) and Cuban percussionist and bandleader Pérez Prado seemed to be a disaster in the making. The end result is quite the opposite. Recorded during two sessions in July and August of 1959, this is simply one of the loveliest albums in either artist's catalog. The music is lively and colorful but retains Clooney's smooth and mellow character, and Prado's trademark arrangements and experiments with percussion, texture, and harmony. Apparently, Clooney had some trouble with pronunciation initially, but was coached by her husband, Puerto Rican actor Jose Ferrer (who wrote the original album's liner notes) and became a quick study. This merging of Latin and American standards is a tour de force that features some of the hottest session players in the biz including drummers Leo Acosta and Earl Palmer, as well as horn players Paul Horn and Ollie Mitchell. Highlights of the set include "Mack the Knife," "Sway," a pair of Cole Porter tunes -- "Bali Hai," and "You Do Something to Me" -- as well as highly original readings of "Corazon de Melon," "Cu-Cu-Rru-Cu-Cu Paloma," and "Adios." ~Thom Jurek, All Music Guide |
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