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jasapaal
 Into the Rhythm
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1993: Clusone 3 - I Am An Indian |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Clusone 3 Album: I Am An Indian Label: Gramavision Year: 1993; release: 1994 Format: FLAC Size: 378,52 mb Total time: 1:07:26 The trio of Michael Moore (on clarinet, alto and bass clarinet), cellist Ernst Reijseger and percussionist Han Bennink mixes together very explorative playing with a full knowledge of the tradition and a wacky sense of humor. For the often-eccentric series of live performances, the trio alternates group originals with works from Duke Ellington, Irving Berlin, Herbie Nichols, Dewey Redman, Bud Powell and Misha Mingelberg. This is one of the most accessible of all avant-garde groups due to the humor and there are many highlights to the enjoyable (if nutty) program. ~ Scott Yanow, All Music Guide |
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1997: Clusone Trio - Rara Avis |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Clusone Trio Album: Rara Avis Label: Hat Hut Year: 1997; release: 1999 Format: FLAC Total time: 56:50 Size: 288 Mb AMG Rating:  Rara Avis represents the final chapter in the ten year, five recording life of the Clusone Trio. Choosing bird song themes was a natural for this band of ruffians and pranksters. Their idiomatic use of joke, anger, and argument toward one another is all put into perspective on a session where all the originals and covers all reflect the influence of heaven's own creatures. The set kicks off with the most bluesed-out reading of Gershwin's "Buzzard Song" ever recorded. Moore slips from blues to swing imperceptibly, and then back again. Bennink follows him with brushes on the toms and high-hat as Reijseger plays chords in harmony and then bass on his cello before plucking out a blues counterpoint to Moore. Truly wonderful. This is followed by two beautifully crazy "bird jams," or improvisations, one of which, "Yellow Bird," is supposedly adapted from a West Indian folk song -- adapted being the key word in the phrase. There is much anarchy a before and after the tune's melodic body exerts itself, and then almost ghostly, transparent, and then gives way to the Clusone's wildly inventive read of "El Condor Pasa" -- not the version Paul Simon sang on Bridge Over Troubled Water, this one retains the original melody and becomes a taut jazz workout for Bennink and Reijseger to paint upon in quadruple time. But it doesn't stop here. Clusone, who were all powerful musically and could arrange and play virtually anything ever written between them, sing "bird songs" by composers from MacGregor Woods (they play a vaudevillian "When The Red, Red, Robin...") to Steve Lacy, from Johnnie Mercer and Hoagy Carmichael (the smoky tenderness in "Baltimore Oriole" is almost heartbreaking) to Saint-Saens to Irving Berlin (their inside-out "My Bird of Paradise" could have been played by Ben Webster's quartet and sung by Bing Crosby it's so seamless). And there are a couple of Moore originals tossed in for measure. What it means is simple: that Clusone were the rarest of birds, they knew no home territory; the world of music was their nest, which they built from all of its elements. Humor and flight are what kept them refreshed before they, like all things impermanent, exhausted themselves personally and musically. If you are a Clusone fan, this will not disappoint you; if you are Clusone curious, this is a very fine place to start. ~ Thom Jurek, All Music Guide |
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1983; 1991: Evan Parker - The Ayes Have It |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Evan Parker Album: The Ayes Have It Label: Eminem Records Years: 1983 and 1991; release: 2001 Style: Free Improvisation Format: FLAC Total Time: 68:39 Size: 370 Gb According to producer Martin Davidson, these two recordings (tracks one through four, and track five) were not released earlier because each was simply too short to fill an entire CD. Each features a group led by Evan Parker that only performed once as a unit. Parker is in his usually good form at both sessions, which were recorded more than seven years apart. Nonetheless, the two recordings are very different, due to the personalities of his colleagues. The first four tracks (recorded in 1983) are less than ten minutes each, and, without detracting from Parker's fine efforts, the distinguishing characteristics come from Paul Rogers' energetic bass and Jamie Muir's unusual contributions on percussion and toys -- the latter of which, although used highly selectively, adds a fascinating dimension. The 36-minute track (recorded in 1991) with the superb Dutch trombonist Wolter Wierbos offers an extremely rare opportunity to hear him with Parker in a small group. The results do not disappoint in the least -- although apparently due to the extreme heat and humidity, the trombonist stopped playing midway through the nearly 40-minute performance because of problems with his contact lens. Until then, Wierbos is in top form, the similarities to the playing of trombonist George Lewis evident in part, but with this artist displaying a more primitive-sounding approach. While the two sessions have ostensibly little in common (other than the common appearances of Parker and Rogers, and both having been recorded in London, England), each easily stands on its own as an excellent example of the free improvisational spirit of the period. ~ Steve Loewy, All Music Guide |
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1973-74: Dewey Redman - The Ear of the Behearer |
Music » Jazz » Modern Jazz |
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 Artist: Dewey Redman Album: The Ear of the Behearer Label: Impulse Years: 1973-74 (1998 reissue) Format: FLAC Time: 1:04:47 Size: 398 Mb This 1998 CD reissues Dewey Redman's entire The Ear of the Behearer album (although it leaves out an alternate take of "Interconnection" that was released on a different set), plus four of the seven selections from his Coincide record of a year later. Some of the music is quite adventurous and free, while other tracks include some freebop, a struttin' blues ("Boody"), and quieter ballads. Redman, a distinctive tenor saxophonist, actually plays alto on five of the first six selections; he is less memorable (although no less exploratory) on the smaller horn. Redman is joined on most cuts by trumpeter Ted Daniel, throughout the Behearer date by cellist Jane Robertson, and on the full set by bassist Sirone and drummer Eddie Moore; violinist Leroy Jenkins and percussionist Danny Johnson also make guest appearances. These two albums were Redman's only sets as a leader for Impulse. Intriguing music. ~ Scott Yanow, All Music Guide |
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1997-1998: Don Byron - Nu Blaxploitation |
Music » Jazz » Fusion |
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 Artist: Don Byron Album: Nu Blaxploitation Label: Blue Note Years: 1997-1998 Format: FLAC Time: 1:15:06 Size: 468 Mb AMG rating  Jazz clarinetist Don Byron likes to focus on specific musical styles. He's released albums filled with Latin jazz (Six Musicians), the klezmer music of Mickey Katz (Don Byron Plays the Music of Mickey Katz), and the repertory works of Duke Ellington, John Kirby, and Raymond Scott (Bug Music). Now for his sixth solo release, Nu Blaxploitation, Byron offers up a musical evocation of '70s funk, including a nod to hip-hop by way of a Biz Markie guest spot. The poet Sadiq is prominently featured, recalling his fine performance on Byron's debut, Tuskeegee Experiments, with ruminations on Princess Diana's vilified boyfriend Dodi Al Fayed ("Dodi") and Haitian immigrant Abner Louima's brutal interrogation by N.Y.C. police ("Blinky"), among other topics. Byron mirrors Sadiq's wide-ranging commentary via some somber, chamber jazz arrangements and a bevy of funky, swinging charts, bolstering the overall mix with fine renditions of songs by '70s Latin-funk group Mandrill ("Mango Meat," "Fencewalk," "Hagalo"). Other highlights include the humorous and intelligent discussions of black life heard on "Domino Theories, Parts 1 & 2" and an inventive cover of Hendrix's "If 6 Was 9." The disc is topped off with stellar performances by both Byron and Existential Dred band members pianist/organist Uri Caine, drummer Ben Wittman, and bassist Reggie Washington. Highly recommended. ~ Stephen Cook. All Music Guide |
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1997: Pierre Dorge & New Jungle Orchestra - China Jungle |
Music » Jazz » BeBop » Post-bop |
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 Artist: Pierre Dorge & New Jungle Orchestra Album: China Jungle Label: DaCapo Year: 1997 Quality: FLAC Time: 1:18:05 Size: 469 Mb Pierre Dørge´s New Jungle Orchestra is one of the most renowned danish jazzbands. For three years they were ambassadors for Denmark as official Danish State ensemble and their name has been widely established abroad. Where jazz was born, in the US, they are known as one of the most sophisticated and innovative mini big bands of Europe.
In between thay have recorded 13 CD´s.
The most recent, China Jungle, was released in june 1997 from the Danish record company DACAPO.
In August the CD will also be released in cooperation with the renowned classical company NAXOS, which has just started out as a jazzlabel. Thus the orchestra´s CDs are distributed worldwide, though in the beginning only in the markets of Europe, USA and China.
The new CD contains 15 new compositions, which, in the jungle-tradition, are impossible to label. Thus some of the music is chinese style with a touch of souljazz and twist. Two chinese musicians participate on the album, - the harpist Yu Jun and volinist Ben Zhao -, as do the Greenland-Danish singer Aviaja. The fresh music is played by one of the most able and best integrated jungleteams ever. The junglemusic is insistingly extrovert with the inspiration of "grooves" and rythmes from all over the world. Based firmly in the jazztradition, the orchestra freely mixes the notes and rythmes of Africa, Arabia, China and of the odd song af Danish composer Rued Langgaard.
Even though the orchestra isn´t the state ensemble, they still tour extensively. Recently they represented Denmark at two big, international jazzfestivals of Beijing and Shanghai. Later this year they give concerts Paris, Reykjavik, New York, Philadelphia, Chicago, The Baltic countries and Denmark. ~ Pressrelease , newjungleorchestra.com (Translation from Danish) |
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1994: D.D. Jackson - Peace-Song |
Music » Jazz » BeBop » Post-bop |
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 Artist: D.D. Jackson Album: Peace-Song Label: Justin Time Records Year: 1994, release: 1995 Quality: FLAC Size: 370 Mb Total time: 1:05:52 AMG Rating: On his debut as a leader, 27-year-old pianist D.D. Jackson often plays overcrowded chords in catchy rhythmic phrases that are very reminiscent of the late great pianist Don Pullen, although on some of the slower pieces he shows more originality. Jackson's compositions are sometimes soulful, but his inside/outside playing (on quartets, trios, and a solo "Funerale") is quite unpredictable. Tenor saxophonist David Murray throws everything he can into his solo on the opener, "Waltz for a New Life," evolving from screams and honks to upper-register screeches; all of his other improvisations seem anticlimatic and almost mellow in comparison. Bassist John Geggie and drummer Jean Martin (who, as with the pianist, are from Ottawa, Canada) are fine in support, but one's attention is constantly drawn to the often-outlandish solos of Murray and Jackson. ~ Scott Yanow, All Music Guide |
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1961: Bill Barron - Modern Windows Suite |
Post-bop, Modern Jazz |
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 Artist: Bill Barron Album: Modern Windows Suite Label: Savoy Year: 1961 Format: FLAC Time: 1:13:10 Size: 447 Mb AMG Rating:  
The first four cuts comprise "The Modern Windows Suite" with baritone saxophonist Jay Cameron, bassist Eddie Khan, and drummer Pete LaRoca Sims helping. They seg into one another; "Men at Work" is a sweet and sour hard bopper a la Sun Ra with a slowed tempo and Eastern flavor, and merging into "Tone Colors," a swirling, bluesy, swinging line promoing many solos with a young Kenny Barron's chiming chords as the highlight. "Dedication to Wanda" is a slow, pensive ballad with the leader's solo comprising the bulk of the piece, and the straight, no-chaser-needed bopper "Keystone" is portrayed accurately as being Charles Mingus-like in its original unison, with galloping phrases and inventive writing. Bassist Jimmy Garrison really lights the fuse on the seven quintet recordings, where drummer Frankie Dunlop stokes the rhythmic fire. A ballad head and waltz bridge for "Ode to an Earth Girl" utilizes a suspended animation feel from Kenny Barron's piano and the rhythm section for tenor and trumpet solos. You really hear the empathy between the leader and Curson on this, and on "Fox Hunt," as Curson's muted trumpet calls participants to the chase at the outset, outro, and in the middle of a good swinging romp. "Oriental Impressions" uses an attractive modal, two-chord motif to easy swing and back device. "Backlash" is a straight up-and-down easy bopper with the tenor's tone and approach more agitated. "Nebulae," again in a Mingus mode, is a good unison-lined swinger with a march waltz insert, and the tenor that signifies Barron's originality as Curson's trumpet pulls the band along on a "Tea for Two" quote near the coda. This is a rich, fulfilling modern jazz window into the soul of one of the most underappreciated masters of the idiom, and is clearly Bill Barron's best work in his criminally miniscule discography. ~ Michael G. Nastos, All MUsic Guide |
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2000: Dave Douglas - Soul On Soul |
Post-bop, Modern Jazz |
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 Artist: Dave Douglas Album: Soul On Soul Label: RCA Victor Year: 2000 Format: Flac Time: 1:09:36 Size: 444 Mb AMG Rating: Trumpeter Dave Douglas continues on his remarkable journey to document some of his primary musical influences. This one, a celebration of Mary Lou Williams, comes on the heels of similar tributes to Booker Little and Wayne Shorter. While only four of the 13 compositions were penned by Williams (the rest are by Douglas), her uniquely upbeat, sophisticated style is well captured. For those who know Douglas only for his forays into the avant-garde, this recording should open some eyes; the trumpeter has a strong handle on the tradition. Actually, this is nothing new, as he has been remarkably at home with a broad collection of styles for years. Douglas leads one of his most versatile and exciting groups here: pianist Uri Caine (who improvises all over the map), bassist James Genus, drummer Joey Baron, trombonist Joshua Roseman, and tenor saxophonist/clarinetist Chris Speed. Greg Tardy sits in on clarinet, bass clarinet, and tenor saxophone on a few numbers. ~ Steve Loewy, All MUsic Guide |
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1971: Howlin' Wolf - The London Howlin' Wolf Sessions |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Howlin' Wolf Album: The London Howlin' Wolf Sessions Label: Chess Year: 1971 Format, bitrate: Flac Time: 41:25 Size: 231 MB A supersession with a conscience, or maybe just a reason for being, in which a whole raft of rich English rock and rollers--the cream: the core band is Clapton, Winwood, Wyman, and Watts--get behind the man who taught them their shit if anyone did. The material is classic, the playing early Stones with chops--committed to a slightly speedy shuffle, a little lighter and more ornate (horns on two cuts) than the old Chess stuff. Wolf's voice sounds a little light as well--doesn't threaten to shatter the bones. Maybe he didn't want to scare the white boys. ~ Robert Christgau, Dean of American Rock Critics For the casual blues fan with a scant knowledge of the Wolf, this 1971 pairing, with Eric Clapton, Bill Wyman and Charlie Watts from the Rolling Stones, Ringo Starr, and other British superstars, appears on the surface to be one hell of a super session. But those lofty notions are quickly dispelled once you slip this disc into the player and hit play. While it's nowhere near as awful as some blues purists make it out to be, the disparity of energy levels between the Wolf and his U.K. acolytes is not only palpable but downright depressing. Wolf was a very sick man at this juncture and Norman Dayron's non-production idea of just doing remakes of earlier Chess classics is wrongheaded in the extreme. The rehearsal snippet of Wolf trying to teach the band how to play Willie Dixon's "Little Red Rooster" shows just how far off the mark the whole concept of this rock superstar mélange truly is. Even Eric Clapton, who usually welcomes any chance to play with one of his idols, has criticized this album repeatedly in interviews, which speaks volumes in and of itself. ~ Cub Koda, All Music Guide |
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1969: Captain Beefheart & His Magic Band - Trout Mask Replica |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Captain Beefheart & His Magic Band Album: Trout Mask Replica Label: Reprise Records Year: 1969 Quality: FLAC Size: 475 mb Total time: 1:18:51 AMG Rating:   Trout Mask Replica is Captain Beefheart's masterpiece, a fascinating, stunningly imaginative work that still sounds like little else in the rock & roll canon. Given total creative control by producer and friend Frank Zappa, Beefheart and his Magic Band rehearsed the material for this 28-song double album for over a year, wedding minimalistic R&B, blues, and garage rock to free jazz and avant-garde experimentalism. Atonal, sometimes singsong melodies; jagged, intricately constructed dual-guitar parts; stuttering, complicated rhythmic interaction -- all of these elements float out seemingly at random, often without completely interlocking, while Beefheart groans his surrealist poetry in a throaty Howlin' Wolf growl. The disjointedness is perhaps partly unintentional -- reportedly, Beefheart's refusal to wear headphones while recording his vocals caused him to sing in time with studio reverberations, not the actual backing tracks -- but by all accounts, the music and arrangements were carefully scripted by the Captain (aided by John "Drumbo" French), which makes the results even more remarkable. As one might expect from music so complex and, to many ears, inaccessible, the influence of Trout Mask Replica was felt more in spirit than in direct copycatting, as a catalyst rather than a literal musical starting point. However, its inspiring reimagining of what was possible in a rock context laid the groundwork for countless future experiments in rock surrealism, especially during the punk/new wave era. ~ Steve Huey, All Music Guide |
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1994: Paul Bley, Evan Parker, Barre Phillips - Time Will Tell |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artists: Paul Bley, Evan Parker Barre Phillips Album: Time Will Tell Label: ECM Year: 1994, release: 1995 Format: FLAC; Time: 1:07:08 Size: 260 MB This CD contains a series of mostly thoughtful free improvisations featuring three of the giants of the idiom: pianist Paul Bley, Evan Parker (doubling on tenor and soprano) and bassist Barre Phillips. Surprisingly enough, Bley and Parker had never played together before (although Phillips had performed often with both musicians), but they communicate very well including on the lengthy "Poetic Justice," their initial meeting. Nothing was preplanned for the set, and in general, it is very much a Paul Bley session. The emphasis is on free ballads and mood pieces with Parker sounding somewhat restrained. He actually cuts loose much more on his two duets with Phillips than he does on the trios. Although the results overall are not classic, the music never fails to hold on to one's interest as the three musicians continually think and evolve together. ~ Scott Yanow, All Music Guide |
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1988: Available Jelly - In Full Flail |
Music » Jazz » Modern Jazz |
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 Artist: Available Jelly Album: In Full Flail Label: Ramboy Year: 1988; release: 2005 Quality: FLAC Time: 1:03:49 Size: 315 Mb The 1989 album from Available Jelly, In Full Fail narrowed down the band's physical lineup while extending its musical reach. Down to a quartet, the band included Michael Moore on saxophones and piano, Gregg Moore on tuba, trombone, electric bass, and mandolin, Michael Vatcher as master drummer, and the new addition of Eric Boer en on trumpet and cornet. The music here was composed by Moore and Boeren, respectively, their different compositional styles all ironing out in the arrangement stages of tunes such as Boeren's dreamy, song-like "Stars Fell On Zaandam," which becomes a swinging, slow grooving blues number in grand Jack Teagarden cum Euro vanguard cum funky street-style. Moore's own "Beauty," that figures the sweet squawk of the free improviser's gait against the simmering, slow stroll of the frontline in a parade before it mutates into a simmering little groover graced by a murky and funky marimba, before changing again -- to cop a phrase from Robert Fripp and King Crimson's "Larks Tongues in Aspic, Part 1." Elsewhere there's a cover of Brian Wilson's "Catch a Wave," done without poking fun at the tune while having a ball with the arrangement. There is also a delightful cover of Misha Mengelberg's "Kneebus" that lasts under three minutes! Once again, Available Jelly combine the absurd with the sublime, and bring to bear all of the facets of jazz and various popular musics from the Middle East, Europe, and America, to posit their own take on the present and future of jazz. ~ Thom Jurek, All Music Guide |
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2001:Don Byron - You Are #6 |
Music » Jazz » Modern Jazz |
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 Artist: Don Byron Album: You Are #6 Label: Bluenote Year: 2001 Format, bitrate: FLAC (EAC) Time: 57:37 Size: 373 MB AMG rating: Don Byron's fourth Blue Note album is a belated follow-up to 1995's Music for Six Musicians. Six musicians are once again featured here, but they're joined by a large number of guests, bringing the cumulative total to 20. As always, Byron looks to unlikely sources for inspiration, beginning with Henry Mancini's theme from the 1962 John Wayne flick Hatari. (The artist is a diligent student of Mancini's music in general.) The rest of the tracks are originals, save for "Shake 'Em Up," a calypso party song that features Don Byron, Sr. on bass and Designer on vocals. Byron emphasizes an Afro-Carribean vibe throughout, often setting up dense, harmonically ambiguous vamps for group interplay, as on "Klang," "B-Setting," the extended piece "Dark Room," and the fragmentary "You Are #6," the last of which is reprised later in the program as "You Are #6.5." By the time we get to "A Whisper in My Ear" the sonorities are a bit more consonant and familiar, though no less evocative. Pianist Edsel Gomez and trumpeter James Zollar turn in strong solos. This being Latin music, the percussionists also loom large; they are Milton Cardona and Ben Wittman, along with guests Johnny Almendra and Mauro Refosco. The clarinet/piano duet "No Whine," hauntingly beautiful but a bit out of place, recalls what Byron and Uri Caine did with Puccini and Schumann on 2000's A Fine Line: Arias and Lieder. There are also the requisite Byron-esque oddities, like "Dub-Ya," a 58-second taunt directed at President Bush the younger. Julie Patton's vocalizing toward the end of "B-Setting" is quirky in the extreme, yet strangely compelling, as is the sample of seemingly overheard conversation that interrupts and ends the title track. Here Byron evinces an interest in album programming as sound collage, in the manner of a hip-hop artist (compare 1998's Nu Blaxploitation). In this light, it's all the more fitting that he concludes the record with a DJ Spooky remix of the infectious bossa nova "Belmondo's Lip." ~ David R. Adler, All Music Guide |
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1992: Don Byron - Tuskegee Experiements |
Music » Jazz » Modern Jazz |
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 Artist: Don Byron Album: Tuskegee Experiements Label: Elektra/Nonesuch Year: Nov 1990 - Jul 1991 Release: Feb 11, 1992 Format, bitrate: FLAC Time: 61:19 Size: 331 MB AMG rating: Clarinetist Don Byron immediately became famous in the jazz world after the release of his debut CD as a leader. The strong themes (all but a melody apiece from Robert Schumann and Duke Ellington are originals), the advanced yet logical improvising, and the often-dramatic music make this a particularly memorable set. Byron, doubling on clarinet and bass clarinet, is heard in settings ranging from an unaccompanied solo and duets with bassist Reggie Workman and pianist Joe Berkovitz to medium-size groups with such sidemen as guitarist Bill Frisell, bassist Lonnie Plaxico, drummer Ralph Peterson Jr., pianist Edsel Gomez, and others. Although several songs involve justifiable social protest (including the title cut, which has a poem by Sadiq), the music also stands alone outside of the issues. Highly recommended. ~ Scott Yanow, All Music Guide |
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1998: NOJO (Neufeld-Occhipinti Jazz Orchestra) with Don Byron - You Are Here |
Music » Jazz » Big Band » Modern Big Band |
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 Artists: NOJO with Don Byron Album: You Are Here Year: 1998 Label: True North / Koch Records Format: FLAC Time: 1:17:06 Size: 400 Mb AMG rating NOJO stands for the Neufeld/Occhipinti Jazz Orchestra, which is a chance-taking, Toronto-based big band led by pianist Paul Neufeld and guitarist Michael Occhipinti. Released by Auracle in Canada in 1998 and reissued by Koch Jazz in the U.S. in 2000, You Are Here is an excellent CD that underscores the orchestra's risk-taking nature. Neufeld and Occhipinti can hardly be accused of leading one of those faceless, conventional big bands that spends its time sounding like a poor man's version of the Buddy Rich Orchestra-NOJO strives for originality, and the quirky, left-of-center compositions of Neufeld and Occhipinti combine a love of Charles Mingus with influences that range from world music to funk and Mississippi Delta blues. During the course of this CD, one hears NOJO bringing elements of Arabic, Jewish and North African music to its post-bop foundation. On You Are Here, NOJO has a very special guest soloist in clarinetist Don Byron, who is featured prominently and proves to be a major asset. Byron is quite adventurous himself; so it isn't surprising that he fits in so perfectly on this 1998 session, which is enthusiastically recommended to anyone who likes to hear a big band taking chances. ~ Alex Henderson, All Music Guide |
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1947-1950: Toni Harper - Candy Store Blues |
Boogie-Woogie, Rhythm-n-Blues |
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 Artist: Toni Harper Album: Candy Store Blues (A bootleg compilation of recordings from 1947-1950) Years: 1947-1950 Label: Originally, Columbia. Bootleg reissued on "Official" Format: FLAC (Lossless vinyl rip, but this LP was made from old 78s) Time: 45:43 Size: 248 Mb Toni Harper's childhood was made of the magic any aspiring adult artist would kill for: a platinum record, a performance at Carnegie Hall, evenings spent sharing a stage with such performers as Cab Calloway, and invitations to appear on television with Frank Sinatra, Perry Como, Milton Berle, and Ed Sullivan. And all of the magic unfolded before she'd turned 12 years old.
The jazz vocalist, who now goes by the name Toni Dunlap, got her big break in 1945 when she went up against a couple hundred other kids at an audition held by choreographer Nick Castle. Harper, who had been a dance student of Maceo Anderson, passed muster as far as her dancing, but when she sang "Waitin' for the Train to Come In," she had the audition sewn up on the spot. Castle cast her in his production of Christmas Follies, which was staged at Los Angeles' Wilshire Ebell Theatre. Harper drew enthusiastic reviews and went on to earn a platinum record when she was eight years old with "Candy Store Blues."
Harper paired with Herb Jeffries for "You're Too Tall 'n' I'm Too Small," the number for which she later paired live with Calloway at Los Angeles' Million Dollar Theatre. Television beckoned the young singer and she was a guest on numerous programs, among them Sullivan's weekly variety show. When she wasn't appearing on television, she was singing at numerous New York hot spots that included the Apollo, the Strand, and the Paramount. At the age of 11, Harper topped it all off by singing at Carnegie Hall.
Like many child stars, Harper's career slowed down as she began to mature. As a teenager, she was too old for the childhood image that had given her a great start, but too young to effectively take on a more adult image. She attended high school in Los Angeles, involving herself in such extracurricular activities as drama, choir, and the glee club. She continued to take professional singing jobs during the school's summer break. Having completed high school in the mid-'50s, and still hampered by her youth, she sang for the teenaged record-buying public. For a young woman of her age, "One Hamburger to Go" was more acceptable in the public eye than any of the more sophisticated songs that she would record in later years, such as "Love for Sale."
The vocalist got her chance to sing the more adult songs when she recorded for Verve. In addition to "Love for Sale," Harper recorded such songs as "I Could Write a Book" and "Bewitched, Bothered, and Bewildered." Backing Harper on her self-titled first recording for Verve were pianist Oscar Peterson, drummer Alvin Stoller, guitarist Herb Ellis, and bassist Ray Brown. The vocalist later signed with RCA Victor, recording for the label for about four years and ending in 1963. Harper quit the business in 1966 after devoting more than 20 years to her singing career. ~ Linda Seida, All Music Group |
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1947-1950: Toni Harper - Candy Store Blues |
Music » Blues » Rhythm-n-Blues |
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 Artist: Toni Harper Album: Candy Store Blues (A bootleg compilation of recordings from 1947-1950) Label: Originally, Columbia. Bootleg reissued on "Official" Format: FLAC (Lossless vinyl rip, but this LP was made from old 78s) Time: 45:43 Size: 248 Mb Toni Harper's childhood was made of the magic any aspiring adult artist would kill for: a platinum record, a performance at Carnegie Hall, evenings spent sharing a stage with such performers as Cab Calloway, and invitations to appear on television with Frank Sinatra, Perry Como, Milton Berle, and Ed Sullivan. And all of the magic unfolded before she'd turned 12 years old.
The jazz vocalist, who now goes by the name Toni Dunlap, got her big break in 1945 when she went up against a couple hundred other kids at an audition held by choreographer Nick Castle. Harper, who had been a dance student of Maceo Anderson, passed muster as far as her dancing, but when she sang "Waitin' for the Train to Come In," she had the audition sewn up on the spot. Castle cast her in his production of Christmas Follies, which was staged at Los Angeles' Wilshire Ebell Theatre. Harper drew enthusiastic reviews and went on to earn a platinum record when she was eight years old with "Candy Store Blues."
Harper paired with Herb Jeffries for "You're Too Tall 'n' I'm Too Small," the number for which she later paired live with Calloway at Los Angeles' Million Dollar Theatre. Television beckoned the young singer and she was a guest on numerous programs, among them Sullivan's weekly variety show. When she wasn't appearing on television, she was singing at numerous New York hot spots that included the Apollo, the Strand, and the Paramount. At the age of 11, Harper topped it all off by singing at Carnegie Hall.
Like many child stars, Harper's career slowed down as she began to mature. As a teenager, she was too old for the childhood image that had given her a great start, but too young to effectively take on a more adult image. She attended high school in Los Angeles, involving herself in such extracurricular activities as drama, choir, and the glee club. She continued to take professional singing jobs during the school's summer break. Having completed high school in the mid-'50s, and still hampered by her youth, she sang for the teenaged record-buying public. For a young woman of her age, "One Hamburger to Go" was more acceptable in the public eye than any of the more sophisticated songs that she would record in later years, such as "Love for Sale."
The vocalist got her chance to sing the more adult songs when she recorded for Verve. In addition to "Love for Sale," Harper recorded such songs as "I Could Write a Book" and "Bewitched, Bothered, and Bewildered." Backing Harper on her self-titled first recording for Verve were pianist Oscar Peterson, drummer Alvin Stoller, guitarist Herb Ellis, and bassist Ray Brown. The vocalist later signed with RCA Victor, recording for the label for about four years and ending in 1963. Harper quit the business in 1966 after devoting more than 20 years to her singing career. ~ Linda Seida, All Music Group |
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1995: Don Byron - Music for Six Musicians |
Music » Jazz » Modern Jazz |
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 Artist: Don Byron Album: Music for Six Musicians Label: Nonesuch Year: 1995 Format/bitrate: FLAC time: 1:00:11 Size: 291 Mb ”A brilliant clarinetist, Byron explores the nuances of Latin and Carribean styles through tunes that unfold with surgical precision. The emotional flavors of salsero Eddie Palmieri, merengue singer Juan Luis Guerra, and calypso star Mighty Sparrow waft through these hothouse arrangements…” - Spin Magazine |
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1996: Don Byron Quintet - No Vibe Zone: Live At The Knitting Factory |
Music » Jazz » Modern Jazz |
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 Artist: Don Byron Quintet Album: No Vibe Zone - Live At The Knitting Factory Label: Knitting Factory Works Year: 1996 Format: FLAC (EAC rip; multiple files) Total size: 359 Mb AMG rating Don Byron is the quintessential clarinetist of the modern mainstream, and this is a tolerably good example of his work as an improvisor, composer, and bandleader. Byron swings and grooves well in a conventional sense, yet his slippery phrasing runs clear of rhythmic cliché. His tone is clear and pure, as well, but what's even more important than his considerable instrumental skill is the manifest originality and inspiration that drives his art. Byron's tendency to quote other musics and musicians is a bit off-putting, but such appropriation is an aspect of the jazz tradition that Byron embraces convincingly and creatively. His bandmates operate on a similarly high level. Guitarist David Gilmore is an intelligent and very exciting player, possessing an inherently lyrical approach that's compromised a bit by forays into heavy metal timbres. Drummer Marvin "Smitty" Smith has a comprehensive technique, and sets incredible grooves, but tends to overplay in the ensemble. Pianist Uri Caine is a versatile, resourceful accompanist and soloist, as is bassist Kenny Davis. A strong, loose, exciting performance by one of straightahead jazz's most able exponents. ~ Chris Kelsey, All Music Guide |
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