Artist - Chet Baker
Album - The Touch Of Your Lips
Genre - Vocal Jazz, Cool, West Coast Jazz
Release Date: Jun 21, 1979
Label - Steeple Chase
Quality - mp3, 320
Size: 85 Mb
Total time: 48:27
Хотелось бы предложить вашему вниманию альбом Chet Baker позднего периода, где он играет стандарты в составе трио. На двух вещах он также поет. Спокойный, приятный альбом. 4 звезды от AMG. Приятного прослушивания.
Track Listings:
1. I Waited for You
2. But Not for Me
3. Autumn in New York
4. Blue Room
5. Touch of Your Lips
6. Star Eyes
7. Autumn in New York [Take 2][#]
Personnel:
Chet Baker - Trumpet, Vocals
Doug Raney - Guitar
Niels-Henning Orsted Pedersen - Bass
Продолжение текста / More text
Review Chetbakertribute.com:
The minimalist setting is perfect for this collections pretty tunes. Chet's playing is inspired and almost flawless, and Doug Raney adds some great solos. This same trio would later record the famous October 4, 1979 concert that spawned 3 great SteepleChase CD's.
Review Scott Yanow, AMG:
This was the perfect setting during his later years. The trumpeter (who also sings on two of the six songs) sounds very relaxed and comfortable while accompanied by the duo of guitarist Doug Raney and bassist Niels Pedersen, taking some consistently lyrical solos on the six standards.
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пятница, 29 августа 2008 г.
Chet Baker - The Touch Of Your Lips (1979)
Frank Sinatra - Songs For Swingin' Lovers! (1956)
Artist: Frank Sinatra
Album: Songs for Swingin' Lovers!
Rating AMG: 5+
Recording Date: Oct 17, 1955-Jan 16, 1956
Label: Capitol
Genre: Jazz, Styles: Vocal Jazz, Jazz-Pop, Big Band, Swing, Traditional Pop, Standards
Time: 43:59
Format/Bitrate: mp3, 256 kbps
Size: 85 Mb
Вашему вниманию предлагается один из лучших дисков Фрэнка Синатры. Есть такая забавная серия книг с названием "1000 и 1 книга (фильм/альбом) которые вы должны прочитать перед тем как умереть". Ну в общем, если прослушаете этот альбом - останется всего 1000 альбомов.
Titles:
1. You Make Me Feel So Young
2. It Happened In Monterey
3. You're Getting To Be A Habit With Me
4. You Brought A New Kind Of Love To Me
5. Too Marvelous For Words
6. Old Devil Moon
7. Pennies From Heaven
8. Love Is Here To Stay
9. I've Got You Under My Skin
10. I Thought About You
11. We'll Be Together Again
12. Makin' Whoopee
13. Swingin' Down The Lane
14. Anything Goes
15. How About You?
Personel:
Frank Sinatra - Performer,
Nelson Riddle - Arranger, Conductor,
Pete Welding - Liner Notes, Compilation,
Voyle Gilmore - Producer.
Продолжение текста / More text
Review Stephen Thomas Erlewine, AMG:
After the ballad-heavy In the Wee Small Hours, Frank Sinatra and Nelson Riddle returned to up-tempo, swing material with Songs for Swingin' Lovers!, arguably the vocalist's greatest swing set. Like Sinatra's previous Capitol albums, Songs for Swingin' Lovers! consists of reinterpreted pop standards, ranging from the ten-year-old "You Make Me Feel So Young" to the 20-year-old "Pennies From Heaven" and "I've Got You Under My Skin." Sinatra is supremely confident throughout the album, singing with authority and joy. That joy is replicated in Riddle's arrangements, which manage to rethink these standards in fresh yet reverent ways. Working with a core rhythm section and a full string orchestra, Riddle writes scores that are surprisingly subtle. "I've Got You Under My Skin," with its breathtaking middle section, is a perfect example of how Sinatra works with the band. Both swing hard, stretching out the rhythms and melodies but never losing sight of the original song. Songs for Swingin' Lovers! never loses momentum. The great songs keep coming and the performances are all stellar, resulting in one of Sinatra's true classics.
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Gene Ammons - Up Tight! (1961)
Artist: Gene Ammons
Album: Up Tight!
Recording Date: Oct 17, 1961-Oct 18, 1961
Label: Prestige
Genre: Jazz; Style: Soul-Jazz, Hard Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 74:43
Size: 75+67 Mb
Искренне надеюсь, что я не надоел вам выкладывая альбомы одного исполнителя - Gene Ammons. По мнению критиков, этот альбом очень хорош для тех, кто хочет составить представление о стиле игры Аммонса. Приятного прослушивания.
Tracks:
1. The Breeze And I
2. Carbow
3. Moonglow
4. I'm Afraid The Masquerade Is Over
5. I'm Beginning To See The Light
6. Jug's Blue Blues
7. Lester Leaps In
8. The Five O'Clock Whistle
V9. I Sold My Heart To The Junkman
10. Song Of The Islands
11. Up Tight
12. Travelin'
13. Soft Summer Breeze
14. Don't Go To Strangers
Personnel: Gene Ammons (tenor saxophone); Walter Bishop, Jr., Patti Brown (piano); Arthur Davis, George Duvivier (bass); Arthur Taylor (drums); Ray Barretto (congas).
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on October 17 & 18, 1961. Originally released on Prestige (7208).
Digitally remastered by Phil De Lancie (1994, Fantasy Studios, Berkeley, California).
Продолжение текста / More textReview Scott Yanow, AMG:
Gene Ammons recorded many albums for Prestige but, if this CD is a good start for listeners unfamiliar with his playing. A reissue of two LPs (Up Tight and Boss Soul) recorded during the same two-day period, these performances find Ammons backed by a pair of four-piece rhythm sections (with either Walter Bishop or Patti Bown on piano and Ray Barretto's congas a major asset) and taking the lion's share of the solo space. Ammons sounds particularly warm and emotional throughout this CD, particularly on such numbers as "The Breeze and I," "I'm Afraid the Masquerade Is over," a cooking "Lester Leaps In" and "Song of the Islands." His sound and style effectively bridged the gap between bop and soul jazz.
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Jimmy Smith - The Sounds Of Jimmy Smith (1957)
Artist: Jimmy Smith
Album: The Sounds of Jimmy Smith
Rating AMG: 3
Recording Date: Feb 11, 1957-Feb 13, 1957
Release Date: Feb 11, 1957
Label: Blue Note
Genre: Jazz, Styles: Soul-Jazz, Hard Bop, Jazz Blues
Time: 61:26
Format/Bitrate: mp3, 320 kbps
Size: 75+56 Mb
Очередной диск Джимми Смита.
Titles:
1. There Will Never Be Another You
2. Fight, The
3. Blue Moon
4. All The Things You Are
5. Zing Went The Strings Of My Heart
6. Somebody Loves Me
7. First Night Blues - (bonus track)
8. Cherokee - (bonus track)
9. The Third Day - (bonus track)
Personnel: Jimmy Smith (organ); Eddie McFadden, Thornel Schwartz (guitar); Donald Bailey, Art Blakey (drums).
Liner Note Authors: Leonard Feather; Bob Blumenthal.
Recording information: Manhattan Towers, New York, New York (02/1957).
Продолжение текста / More test
In 2005 Blue Note reissued this Jimmy Smith date from 1957, with superbly remastered sound and new liner notes. The session is classic Smith, with plenty of deep, bluesy grooves, swirling, bop-influenced Hammond, and a sultry, nightclub vibe. Backed only by a drummer and guitarist (axeman Eddie McFadden deserves mention), Smith tackles a range of originals and standards, including two solo organ pieces, a church-like rendition of "All the Things You Are," and a frenetic original entitled "The Fight." THE SOUNDS will make a welcome addition to the library of any soul-jazz fan.
Review Scott Yanow, AMG:
This LP, which has been included as part of a Mosaic Jimmy Smith three-CD box set, features the organist taking a pair of rare unaccompanied solos on "All the Things You Are" and a fairly free "The Fight" and jamming several songs ("Zing Went the Strings of My Heart," "Somebody Loves Me" and "Blue Moon") with his trio. Art Blakey fills in for drummer Donald Bailey on "Zing" while guitarist Eddie McFadden is heard throughout the three selections. Excellent straightahead jazz from the innovative organist.
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четверг, 28 августа 2008 г.
Milt Jackson - Statements (1961)
Artist: Milt Jackson
Album: Statements
Recording Date: Dec 14, 1961-Aug 6, 1964
Label: Impulse!
Genre: Jazz Style: Mainstream Jazz, Hard Bop, Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 53:49
Size: 75 + 50 Мб
Предлагаю вашему вниманию альбом вибрафониста MJQ Милта Джексона. B альбом вошли вещи записанные с разными музыкантами в составах от трио до квинтета. Приятного прослушивания.
Tracks:
1. Statement (Jackson) 5:28
2. Slowly (Goell, Raksin) 3:02
3. A Thrill from the Blues (Jackson) 5:42
4. Paris Blues (Ellington) 2:54
5. Put Off (Jackson) 5:34
6. A Beautiful Romance (Jackson) 2:26
7. Sonnymoon for Two (Rollins) 5:57
8. The Bad and the Beautiful (Raksin) 3:07
9. Blues for Juanita (Jackson) 5:38
10. I Got It Bad (And That Ain't Good) (Ellington, Webster) 2:38
11. Big George (Jackson) 4:43
12. Gingerbread Boy (Heath) 3:41
13. Anything I Do (Conn, Douglas) 2:59
Personel: Milt Jackson - Vibraphone, Hank Jones - Piano, Jimmy Heath - Sax (Tenor), Tommy Flanagan - Piano, Richard Davis - Bass, Paul Chambers - Bass, Connie Kay - Drums.
Продолжение текста / More text
Review:
Vibraphonist Milt Jackson has been so consistent throughout his lenghty career that his excellence can be taken for granted. This Impulse recording features Bags with a quartet (including pianist Hank Jones) from 1961 and leading a quintet (with tenor-saxophonist Jimmy Heath and pianist Tommy Flanagan) in 1964; the latter was originally half of the album Jazz 'N' Samba. In addition there is a feature for Flanagan in a trio without the vibraphonist that was originally on an Impulse sampler. The blues, ballads, standards and originals are typical of Jackson's recordings as is the high-quality of the swinging music. Nothing too unusual occurs but the results are pleasing.
Scott Yanow, AMG
Review 2:
Along side Lionel Hampton and Red Norvo, Milt Jackson stands as the defining personality for the vibraphone in jazz. Statements was recording in 1961 during the middle of his twenty year tenure with the now legendary Modern Jazz Quartet. Hank Jones, who played piano on the session said, "The biggest thing about Milt is his feeling. He gets more emotional mileage out of a melody than any other vibist. Others may feel a song as deeply as he does, but he somehow can express more emotion. It's fantastic what he can make out of the most simple line."
Connie Kay, Milt's drummer-bandmate from the Modern Jazz Quartet, joined the session as well as bassist Paul Chambers. The resulting tracks were considered to be some of Milt's best as evidenced by the easy-going, free spirited performances heard throughout. Jones later commented on the success of the session, "I've never seen Bags [Milt's nickname], so relaxed."
Vervemusicgroup.com
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Gerry Mulligan & Thelonious Monk - Mulligan Meets Monk (1957)
Artist: Gerry Mulligan & Thelonious Monk
Album: Mulligan Meets Monk
Recording Date: Dec 14, 1961-Aug 6, 1964
Label: Impulse!
Genre: Jazz Style: West Coast Jazz, Cool, Post-Bop, Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 59:01
Size: 75 + 61 Мб
В конце 50-х - начале 60-х годов Gerry Mulligan провел несколько "meetings" (по современному, забивал стрелки) с известными музыкантами (Дж. Ходжесом, Ст. Гетцем и др.).
Tracks:
1. 'Round Midnight
2. Rhythm-A-Ning
3. Sweet And Lovely
4. Decidedly [Take 4]
5. Decidedly [Take 5]
6. Straight, No Chaser [Take 3]
7. Straight, No Chaser [Take 1]
8. I Mean You [Take 4]
9. I Mean You [Take 2]
Personel: Thelonious Monk (piano); Gerry Mulligan (baritone saxophone); Wilbur Ware (bass); Shadow Wilson (drums).
Продолжение текста / More text
Review:
In the late 1950's/early 1960's, baritonist Gerry Mulligan participated in several recorded "meetings" with jazz musicians who he admired. For this set (reissued on CD in the OJC series), Mulligan teams up with pianist Thelonious Monk (who shares co-leadership), bassist Wilbur Ware and drummer Shadow Wilson on a surprisingly successful date. Monk and Mulligan blend together quite well on what was essentially Thelonious' repertoire of the era including "'Round Midnight," "Rhythm-A-Ning," "Sweet And Lovely" and "I Mean You"; the CD reissue also includes three alternate takes and has plenty of joyful spirit.
Scott Yanow, AMG
Review 2:
Critics thought the pairing of Gerry Mulligan and Thelonious Monk a strange one when this 1957 session was originally released, Mulligan's light baritone saxophone strongly identified with the cool school and Monk's percussive piano, fractured rhythms, and dissonant tunes the last word in bop. It's an interesting combination, though, with Mulligan's melodic focus actually working fairly well with Monk and his regular band, drummer Shadow Wilson and bassist Wilbur Ware. Common roots in swing are apparent on Mulligan's "Decidedly," a variant of "Undecided," while the baritonist acquits himself well on some of Monk's best-known tunes. Monk was at his peak as a player in 1957 -- working steadily for the first time in years in a long tenure at the Five Spot -- and it shows everywhere here, including the splashing chords and asymmetrical runs of "Sweet and Lovely." Ware, one of the most significant bassists in jazz history, is a perfect accompanist and as commanding a soloist as Mulligan or Monk, using subtle rhythmic shifts and double stops in an almost minimalist way. The alternate takes of several tunes are genuinely different approaches to the material, revealing just how spontaneous the meeting was. --Stuart Broomer
Amazon.com reviewer:
This disc combines Monk & his rhythm-section of the time -- Wilbur Ware & Shadow Wilson -- with the baritonist Gerry Mulligan, a stylistically unusual pairing that works out very well. Monk's skeletal chording & frequent preference to have his sidemen "stroll" (play without piano accompaniment) make a natural common ground with Mulligan, who had developed the pianoless quartet in his 1950s groups with Baker & Brookmeyer. Though this session was an informal blowing session, & thus doesn't feature any of Mulligan's sophisticated arrangements, he nonetheless frequently plays quiet counterlines to Monk like he did with Chet -- it's an interesting sound, & I've never heard anyone else do this with Monk.
The album is a bit uneven, but what pushes it into the first rank is the version of "Round Midnight", which is probably the single best group reading of the tune I've heard by Monk. Certainly it's the best version he did for Riverside except for the solo version on _Thelonious by Himself_. As usual with Monk in this period, his flow of compositions was slowing down, & there's only one new tune on the disc, "Rhythm-a-Ning" (first recorded by Monk for Atlantic a few months before on his collaboration with Art Blakey). The version here is very different from Monk's later recordings of the tune: it has a double-length bridge which seems to give Mulligan a little trouble (he goofs up a little at the end of the bridge on his first chorus); the performance isn't quite together, but nonetheless has lots of meat in the solos & a good vibe, which is I presume why they didn't do retakes. I'm not sure why "I Mean You" needed 3 complete takes, as they all sound pretty good to me -- but I certainly won't complain about getting the bonus tracks. "Decidedly" is Mulligan's variant on Shavers' "Undecided", and features a stoptime solo by Mulligan & some of Ware's most intriguing playing -- check out his very offbeat solo on the master take, in particular. "Sweet and Lovely" is a favourite tune of mine, & despite Monk's covering it in other places I would again name this as the best group reading Monk gave it.
A fine disc. Originally it was intended that the album be split between quartet tracks & a big band arranged by Mulligan, but because the 1st recording session went so well the producer & the band decided to go back into the studio the next day to complete the album with just the quartet. I think that was the right decision. This remains one of the high points of Monk's Riverside tenure.
Amazon.com
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Gene Ammons - Big Sound (1958)
Artist: Gene Ammons
Album: Big Sound
Recording Date: Jan 3, 1958
Label: Prestige/OJC (Original Jazz Classics)
Genre: Jazz Style: Soul-Jazz, Hard Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 49:20
Size: 75+35 Мб
День 3 января 1958 года был удачным для Gene Ammons. В этот день он и его состав All Stars записали материал для двух альбомов: этого и "Groove Blues". Хороший альбом, в записи принимали участие John Coltrane, Art Taylor и другие.
Приятного прослушивания.
Tracks:
1. Blue Hymn
2. The Real McCoy
3. Cheek To Cheek
4. That's All
Personnel:
Gene Ammons (tenor saxophone);
John Coltrane (alto saxophone);
Paul Quinichette (tenor saxophone);
Pepper Adams (baritone saxophone);
Jerome Richardson (flute);
Mal Waldron (piano);
George Joyner (bass);
Arthur Taylor (drums).
Recorded at the Van Gelder Studio, Hackensack, New Jersey on January 3, 1958. Originally released on Prestige (7132).
Digitally remastered by Gary Hobish (1991, Fantasy Studios, Berkeley, California).
Продолжение текста / More text
Review (cduniverse.com):
THE BIG SOUND is a companion to GROOVE BLUES. Both albums were recorded on a single day in 1958 and feature an impressive array of players. Ammons' tenor saxophone is joined here by John Coltrane's alto, Paul Quinichette's tenor, Pepper Adams' alto, and Jerome Richardson's flute. The rhythm section is anchored by the piano of Mal Waldron. The set opens with the slow blues "Blue Hymn," an Ammons original. Waldron's "The Real McCoy" then kicks things into higher gear with an excitingly propulsive arrangement. The massed horns state the tune's main theme before breaking off into furious soloing. Likewise, Irving Berlin's "Cheek to Cheek" swings at a clip at once laid back and relentless. As with GROOVE BLUES, the album closes with a ballad, the song form forever linked with Ammons.
Review (Scott Yanow, AMG):
Along with its fellow CD, Groove Blues, this reissue fully documents all of the music recorded by tenor saxophonist Gene Ammons on the busy day of January 3, 1958. Although there were many guest soloists, only one of the four songs on this half of the set (Mal Waldron's "The Real McCoy") has appearances by John Coltrane (on alto) and the tenor of Paul Quinichette. However, baritonist Pepper Adams is aboard for two of the performances, and flutist Jerome Richardson (along with pianist Mal Waldron, bassist George Joyner, and drummer Art Taylor) are on all four. Ammons is easily the main star (he really excelled in this setting) and is in generally fine form on the two standards ("That's All" and "Cheek to Cheek"), his own "Blue Hymn," and the Waldron original.
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Complete Blue Note Lee Morgan Fifties Sessions (1956-58)
Artist: Lee Morgan
Album: Complete Blue Note Lee Morgan Fifties Sessions (1956-58) 4-CD Box Set
Label: Mosaic
Style: Hard Bop
Reсording Date: Nov 4, 1956-Feb 2, 1958
Format: MP3 @ 320 Kbps
Time: 256 m:18 s
Size: 6x100 + 8 Мб
Вашему вниманию предлагается компиляция на 4-х CD записей Lee Morgan сделанных на лейбле Blue Note в период 1956-58 годов.
Tracks:
CD1:
1. Gaza Strip 3:57
2. Reggie of Chester 4:55
3. Little T 8:24
4. Little T [alternate Take] 8:10
5. Stand By 5:51
6. Roccus 8:18
7. The Lady 6:47
8. Latin Hangover 6:45
9. Whisper Not 7:21
10. His Sister 6:30
CD2:
11. D's Fink 7:44
12. Slightly Hep 6:28
13. Where Am I? 5:50
14. Hasaan's Dream 8:44
15. I Remember Clifford 7:09
16. Mesabi Chant 6:11
17. Tip-Toeing [alternate Take] 6:42
18. Tip-Toeing [alternate Take] 6:43
19. Domingo 9:19
CD3:
20. Just by Myself 9:26
21. City Lights 5:46
22. You're Mine You 6:03
23. Temp de Waltz 6:24
24. Kin Folks 9:45
25. Just One of Those Things [alternate Take] 7:52
26. Just One of Those Things 7:17
27. Heavy Dipper 7:06
CD4:
28. A Night in Tunisia 9:24
29. Lover Man 6:52
30. New-Ma 8:16
31. Since I Fell for You 5:36
32. Personality 6:15
33. All at Once, You Love Her 5:29
34. Who Do You Love, I Hope 4:59
35. Candy 7:04
36. C. T. A. 5:06
37. All the Way 7:22
Personel: Ray Bryant - Piano, Paul Chambers - Bass, Sonny Clark - Piano, George Coleman - Sax (Alto), Sax (Tenor), Curtis Fuller - Trombone, Benny Golson - Arranger, Sax (Tenor), Gigi Gryce - Flute, Sax (Alto), Philly Joe Jones - Drums, Wynton Kelly - Piano, Hank Mobley - Sax (Tenor), Lee Morgan - Trumpet, Charlie Persip - Drums, Kenny Rodgers - Sax (Alto), Clarence Sharpe - Sax (Alto),
Horace Silver - Piano, Art Taylor - Drums, Bobby Timmons - Piano, Wilbur Ware - Bass.
Продолжение текста / More text
Review Stephen Thomas Erlewine, AMG:
Lee Morgan recorded for Blue Note in the late '50s, playing seven dates between 1956 and 1958. Morgan was still in his teens at the time and half of the joy of The Complete Blue Note Lee Morgan Fifties Sessions is hearing the trumpeter develop at a rapid rate. The four-disc box set The Complete Blue Note encompasses sessions with Horace Silver, Paul Chambers, Benny Golson, Wynton Kelly, Sonny Clarke, Doug Watkins, and Art Taylor. Morgan may have been young at the time these were recorded, but he was impressive even at the beginning, playing blistering hard bop and lyrical ballads with equal ease. He may have gone on to record greater, more influential albums but this music remains exciting, vital, and simply joyous.
Bio:
Lee Morgan was a stalwart of the driving jazz-meets-funk-meets-blues grooves produced by Blue Note in the 1960's. A flashy player of enormous technique and invention, he became the natural successor to Clifford Brown, emerging on the jazz scene shortly after Brownie's death in 1956. Morgan quickly developed his own style, fusing classic bebop motifs with more modern rhythms, harmonies and melodies.
Born in Philadelphia on July 10, 1938, he began his trumpet studies with a private instructor, and continued them at Mastbaum High School for the Arts, where he also played the alto horn. A fan of jazz from an early age, he was exposed to a wide variety of live music in the vibrant Philadelphia music scene, which had produced such notables as John Coltrane, Benny Golson, the Heath brothers, and many others.
By the time he was 15, Morgan was leading his own group with bassist James "Spanky" DeBrest as his partner. He was also taking part in Tuesday night workshops at the Music City club, which brought him into early contact with Miles Davis and his primary early influence, Clifford Brown. After Morgan graduated from Mastbaum in 1956, he and DeBrest subbed with the Jazz Messengers when Art Blakey arrived in Philadelphia short two musicians. "Spanky stayed on," Morgan explained in the liner notes to his first Blue Note album. "I could have stayed too, but I didn't want to sign a contract, so I left after two weeks. Very soon after that, Dizzy Gillespie returned from his South American tour. Morgan's career took off when he joined Dizzy’s big band at the age of 17.
Dizzy was always a generous teacher, and allowed his young protege plenty of solo space. This provided Morgan an excellent opportunity to gain experience before his return to Blakey's group in 1958 after Dizzy’s group disbanded. That year he recorded, Candy, his first of twenty-five Blue Note recordings as a leader, and though he was only 18 at the time, Morgan had already attracted attention with brassy acrobatic solos that heralded the arrival of a significant, new talent. While working with the Jazz Messengers, Morgan formed a great partnership with tenorist Benny Golson, and their shared sense of timing and musical rapport is obvious on the album Moanin', both on the title track and on numbers such as Blues March. Morgan shared the Messengers frontline with Golson, Hank Mobley and then Wayne Shorter until a heroin problem forced him to leave the band in 1961, (when he was replaced by Freddie Hubbard).
He returned to his native Philadelphia for a few years, where he maintained a low profile while battling his addiction, working occasionally with saxophonist Jimmy Heath. He returned to New York in 1963, where he recorded, The Sidewinder, on the Blue Note label with sideman Joe Henderson, This was Morgan’s greatest commercial success. He entered his greatest period, recording one memorable album after another, writing "Ceora" and "Speedball" and spending a second period with Blakey (1964-65).
He also recorded widely as a sideman on many classic jazz albums such as Gillespie's Night In Tunisia, John Coltrane's Blue Trane, Grachan Moncur's Evolution and dates for others, including Curtis Fuller, Philly Joe Jones, Wynton Kelly, Clifford Jordan, Hank Mobley and Wayne Shorter. Morgan was as comfortable unleashing dynamic displays of instrumental virtuosity on triple time blues as he was displaying controlled sensitivity and passion on ballads. His style included elements drawn from Dizzy Gillespie and Clifford Brown, but his own wide, crackling tone, his use of bluesy phrasing and effects, searing high register, human-voiced half-valve effects, and his dancing, funky, timing, was the essence of hard-bop.
Morgan's later bands featured Bennie Maupin or Billy Harper on saxophone, and while the modal jazz direction taken by many other bands became more prominent in his compositions, Morgan remained at heart a hard-bop trumpet player.
Lee Morgan’s fast lane lifestyle ended on February 19, 1972, when he was shot dead by his common-law wife, Helen More, during a performance at Slug's in New York, ending his life at the age of 33.
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Gene Ammons - Groove Blues (1958)
Artist: Gene Ammons
Album: Groove Blues
Recording Date: Jan 3, 1958
Label: Prestige/OJC
Genre: Jazz Style: Soul-Jazz, Hard Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 44:30
Size: 100 Mb
День 3 января 1958 года был удачным для Gene Ammons. В этот день он и его состав All Stars записали материал для двух альбомов: этого и "Big Sound". Хороший альбом, 4 звезды от AMG, в записи принимали участие John Coltrane, Art Taylor и другие.
Приятного прослушивания.
Tracks:
1. Ammon Joy
2. Groove Blues
3. Jug Handle
4. It Might As Well Be Spring
Personnel:
Pepper Adams - Sax (Baritone),
Gene Ammons - Sax (Tenor),
John Coltrane - Sax (Alto), Sax (Tenor),
George Joyner - Bass,
Jamil Nasser - Bass,
Paul Quinichette - Sax (Tenor),
Jerome Richardson - Flute, Sax (Tenor),
Art Taylor - Drums,
Arthur Taylor - Drums,
Mal Waldron - Piano.
Recorded at the Van Gelder Studio, Hackensack, New Jersey on January 3, 1958.
Digitally remastered by Phil De Lancie (1992, Fantasy Studios, Berkeley, California).
Продолжение текста / More text
Review:
On January 3, 1958, Gene Ammons had a good day-a very good day. Recording sessions from that date resulted in two albums with his All Stars, GROOVE BLUES and the equally impressive THE BIG SOUND. On GROOVE BLUES, the All Stars stretch out on four tunes: Ammons' own "Jug Handle," two numbers by pianist Mal Waldron, and one song by Rogers & Hammerstein.
The All Stars boast four saxophonists and represent the cream of the post-bop crop. John Coltrane's alto, Pepper Adams' baritone, and Paul Quinichette's tenor trade off with Ammons' tenor with fire and grace. Their massed sound, along with Jerome Richardson's flute, is a dazzling force as it flies over the piano and rhythm section gently pushing "Groove Blues." The closing ballad, "It Might as Well be Spring," is built around the lush tones of Ammons' solitary horn and the piano-anchored trio, its 11 minutes of passionate romanticism drifting by like a hypnotic reverie.
cduniverse.com
Review II:
On Jan. 3, 1958, Gene Ammons led one of his last all-star jam sessions for Prestige. The most notable aspect to this date (which resulted in two albums of material) is that it featured among its soloists John Coltrane, on alto. This CD, a straight reissue of one of the original LPs, includes baritonist Pepper Adams, the tenor of Paul Quinichette and Coltrane on two of the four selections and Jerome Richardson's flute during three of the songs in addition to a fine rhythm section (pianist Mal Waldron, bassist George Joyner and drummer Art Taylor). This set consists of three of Waldron's originals in addition to the standard ballad "It Might as Well Be Spring" and it (along with the CD The Big Sound) fully documents the productive day.
Scott Yanow, AMG
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Gene Ammons - Angel Eyes (1962)
Artists: Gene Ammons with Frank Wess and Art Taylor
Album: Angel Eyes
Recording Date: Jun 17, 1960-Sep 25, 1962
Release Date: Jun 17, 1960
Label: Prestige
Genre: Jazz; Style: Soul-Jazz, Hard Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 36:25
Size: 85 Mb (rapidshare)
В этот диск вошли две сессии Gene Ammons записанные в 1960 и 1962 годах. Хороший альбом, 4 звезды от AMG, Scott Yanow рекомендует.
Приятного прослушивания.
Tracks:
1. Gettin' Around
2. Blue Room
3. You Got To My Head
4. Angel Eyes
5. Water Jug
6. It's The Talk Of The Town
Personnel:
Gene Ammons (tenor saxophone);
Frank Wess (tenor saxophone, flute);
Mal Waldron (piano);
Johnny "Hammond" Smith (organ);
Doug Watkins, Wendell Marshall (bass);
Arthur Taylor, Ed Thigpen (drums).
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 17, 1960 and September 5, 1962.
Digitally remastered by Phil De Lancie (1998, Fantasy Studios, Berkeley, California).
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Review:
Gene Ammons was one of the great tenor saxophone stylists of jazz. His big, breathy, swaggering and slightly rough tone, rich with more than just a hint of blues and R&B, was popular with both big band jazz and soul-jazz audiences through the funk/fusion era. Ammons was also an influence on a couple of generations of R&B players, including King Curtis, Big Jay McNeely and Willis "Gator Tail" Jackson.
ANGEL EYES consists of two sessions from 1960 and 1962, where Ammons works out on some jazz standards, accompanied by such talents as Johnny "Hammond" Smith, Art Taylor, and Mal Waldron. On the tunes featuring organ ("Blue Room"), the music is rooted firmly in the relaxed, smoky, funky soul-jazz sound of Jimmy Smith, Jimmy McGriff and Joey DeFrancesco. On the piano ballads, Ammons and company favor a sentimental, straight-ahead approach in the Dexter Gordon/Sonny Rollins/Ben Webster tradition. ANGEL EYES is an ideal way to experience jazz at a crossroads in the early '60s, as well as Ammons in peak form.
cduniverse.com
Review II:
Music from two different occasions are combined on this CD reissue. The four songs from 1960 match the great tenor Gene Ammons with Frank Wess (doubling on flute and tenor), organist Johnny "Hammond" Smith, bassist Doug Watkins, and drummer Art Taylor. Wess, one of jazz's great flutists, battles Ammons on tenor to a draw on "Water Jug," while the leader takes "Angel Eyes" as his memorable feature. In addition, Ammons is heard in 1962 with pianist Mal Waldron, bassist Wendell Marshall, and drummer Ed Thigpen playing with great warmth on the ballads "You Go to My Head" and "It's the Talk of the Town." The latter set was one of Ammons' final ones before serving a long prison sentence (drug-related), yet his interpretations are full of optimism. Recommended.
Scott Yanow, AMG
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Eva Cassidy - Live At Blues Alley (1996)
Artist: Eva Cassidy
Album: Live At Blues Alley
Genre: Contemporary Singer/ Songwriter, Adult Alternative Pop/ Rock
Label: Eva Music
Recording Date: Jan 2, 1996, Jan 3, 1996
Release Date: Sep 23, 1997
Size: 75 + 62 Мб (rapidshare, mp3, 320)
Total time: 57:58
Предлагаю вашему вниманию альбом Eva Cassidy. Концертная запись, сделанная в конце карьеры певицы. Альбом получил 4.5 звезд и галочку на AMG. Приятного прослушивания!
Tracks:
1. Cheek To Cheek
2. Stormy Monday
3. Bridge Over Troubled Water
4. Fine And Mellow
5. People Get Ready
6. Blue Skies
7. Tall Trees In Georgia
8. Fields Of Gold
9. Autumn Leaves
10. Honeysuckle Rose
11. Take Me To The River
12. What A Wonderful World
13. Oh, Had I A Golden Thread
Personnel:
Chris Biondo - Guitar (Bass), Producer
Eva Cassidy - Guitar (Acoustic), Guitar (Electric), Producer
Hilton Felton - Organ (Hammond)
Keith Grimes - Guitar (Electric)
Raice McLeod - Drums
Recorded in Los Angeles, California on August 14, 1954. Includes liner notes by Michael Bourne.
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Review:
The late Eva Cassidy gained a loyal following in the Washington, D.C., area through appearances in small clubs, utilizing her pitch-perfect singing voice to interpret a variety of tunes ranging from standards to modern-era pop songs. A notoriously shy performer, Eva Cassidy had a somewhat stiff stage presence, but she endeared herself to her audiences by performing songs she obviously loved, combining elements of soul, gospel, blues, and jazz. Live at Blues Alley is an excellent showcase for her vocal talents and her ability to make even the most familiar tune uniquely her own. Admittedly, the titles on Live at Blues Alley seem like a set list for a bad Vegas lounge act; songs such as Irving Berlin's "Cheek to Cheek" and Louis Armstrong's "What a Wonderful World" have been done to death for decades. Fortunately, Eva Cassidy had an obvious affection for these standards. She sounds as if she had a ball performing the Irving Berlin number, while her subtle reading of the Louis Armstrong tune is nothing less than extraordinary. She was equally successful with more contemporary pop classics like "Bridge Over Troubled Water" and "Take Me to the River." Ultimately, the slower songs are the most stirring, particularly her rendition of "Fields of Gold." Her tear-jerking version of the Sting tune could very well be one of the greatest cover songs ever recorded. Eva Cassidy's popularity slowly began to spread outside of the D.C. area upon the release of this album in early 1996. Unfortunately, Eva Cassidy passed away later that year, just as she began laying the groundwork for what could have been a stellar career in music. However, her posthumous success has been astonishing, with worldwide critical acclaim and extensive exposure on British television that helped her album Songbird climb to number one on the British album chart in March, 2001. Live at Blues Alley was the only solo album released during Eva Cassidy's lifetime (an album recorded with Chuck Brown, The Other Side, was also released), and it's an excellent introduction to a performer who never lived to witness the impact her voice made on her fans all over the world.
William Cooper, AMG
Singer Eva Cassidy achieved posthumous fame with SONGBIRD, an anthology of her finest moments. During her lifetime, however, Cassidy made a name for herself in Washington, D.C., where she lived and regularly performed. LIVE AT BLUES ALLEY captures Cassidy in her element running through a list of standards like "What a Wonderful World" and contemporary favorites like "Bridge Over Troubled Water."
While Cassidy's choice of material might seem somewhat stock, her singing is anything but. Her clear, guileless voice dazzles in both its technical facility and its emotional expressiveness, and it is easy to hear why she had a dedicated local following (and would have broken through to a wider audience had it not been for her death in 1996). Fans of SONGBIRD should seek out LIVE AT BLUES ALLEY for a taste of Cassidy as she sounded in intimate quarters.
cduniverse.com
"Ева была сложным человеком, - рассказывали о ней друзья. - Болезненно скромная, ранимая, подверженная депрессии, но самоуверенная и упрямая во всем, что касалось личных убеждений и творческих принципов. Профессиональная карьера ее мало занимала, она предпочитала жить в окружении близких друзей, которые понимали и поддерживали ее". Недоверие к музиндустрии было взаимным, найти общий язык им так и не удалось. Не помог даже "божественный голос" Евы Кэссиди. Собственно, только стараниями ближнего круга единомышленников наследие Евы Кэссиди стало достоянием миллионов людей. К сожалению, уже после ее смерти.
Каждая записанная Евой Кэссиди мелодия, каждый перепетый хит - это всегда маленькое чудо. Десятки таких маленьких чудес, почти никому неизвестных при жизни певицы, оказались сильнее косности и инерции шоу-бизнеса, обманув даже смерть, которая не только не убавила интереса к ее творчеству, но, собственно, и спровоцировала его по-настоящему. Жизнь победила."
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Dinah Washington - Dinah Jams (1954)
Artist: Dinah Washington
Album - Dinah Jams
Genre - Vocal Jazz, Classic Female Blues, Standards
Label: Polygram
Recording Date: Aug 15, 1954
Size: 92 Мб
Total time: 38:32
Предлагаю послушать диск известной певицы джаза, блюза, R&B Dinah Washington. Запись сделана на концерте в 1954 году, когда певица поднималась к известности. Обратите внимание на звездный состав сопровождающих музыкантов и то, что альбом получил 5 звезд на AMG. Приятного прослушивания.
Tracks:
1. Lover Come Back To Me
2. Alone Together
3. Summertime
4. Come Rain Or Come Shine
5. No More
6. I've Got You Under My Skin
7. There Is No Greater Love
8. You Go To My Head
Personnel: Dinah Washington (vocals); Herb Geller (alto saxophone); Harold Land (tenor saxophone); Clifford Brown, Clark Terry, Maynard Ferguson (trumpet); Junior Mance, Richie Powell (piano); Keeter Betts, George Morrow (bass); Max Roach (drums).
Recorded in Los Angeles, California on August 14, 1954. Includes liner notes by Michael Bourne.
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Review:
Recorded at the start of Dinah Washington's climb to fame, 1954's Dinah Jams was taped live in front of a studio audience in Los Angeles. While Washington is in top form throughout, effortlessly working her powerful, blues-based voice on both ballads and swingers, the cast of star soloists almost steals the show. In addition to drummer Max Roach, trumpeter Clifford Brown, and other members of Brown and Roach's band at the time -- tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow -- trumpeters Maynard Ferguson and Clark Terry, alto saxophonist Herb Geller, and pianist Junior Mance also contribute to the session. Along with extended jams like "Lover Come Back to Me," "You Go to My Head," and "I'll Remember April" -- all including a round of solos -- there are shorter ballad numbers such as "There Is No Greater Love" and "No More," the last of which features excellent muted, obbligato work by Brown. Other solo highlights include Land's fine tenor solo on "Darn That Dream" and Geller's alto statement on the disc's standout Washington vocal, "Crazy." And even though she's in the midst of these stellar soloists, Washington expertly works her supple voice throughout to remain the star attraction, even matching the insane, high-note solo blasts trumpeter Ferguson expectedly delivers. A fine disc. Newcomers, though, should start with more accessible and more vocal-centered Washington titles like The Swingin' Miss D or The Fats Waller Songbook, both of which feature top arrangements by Quincy Jones.
Stephen Cook, AMG
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Nina Simone - Released (1997)
Artist - Nina Simone
Album - Released
Genre - Standards, Vocal Jazz
Label - Camden
Year - 1997
Quality - MP3, 320kbs/s
Size: 100+53 Mb
Total time - 1:10:05
Хочу предложить вашему вниманию диск Nina Simone "Released". На нем собраны песни исполняемые в период 1967-1968 годов.
Tracks:
01. Backlash Blues
02. Blues for Mama
03. Go to Hell
04. I Shall Be Released
05. It Be's That Way Sometimes
06. I Want a Little Sugar in My Bowl
07. My Man's Gone Now
08. Why? (The King of Love Is Dead)
09. I Wish I Knew (How It Would Feel to Be Free)
10. Do What You Gotta Do
11. Do I Move You?
12. In the Dark
13. Look of Love
14. Since I Fell for You
15. Mr. Bojangles
16. Just Like a Woman
17. Turn Me On
18. Nobody's Fault But Mine
19. Ain't Got No (I Got Life) [Live]
20. I Loves You, Porgy
21. Gin House Blues [Live]
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Review:
This Australian compilation gathers 21 songs from a small period in the career of Nina Simone, the 1967-1968 era of the British hit "Ain't Got No (I Got Life)" and LPs like 1967's Silk & Soul. Those looking for a tight collection of Simone's crossover period will find much to love here, from "It Be's That Way Sometimes" and "The Backlash Blues" to covers of "I Shall Be Released," "Just Like a Woman," and "The Look of Love." The big caveat, however, is the presence of "Ain't Got No (I Got Life)" only in a live version, which makes this collection much more difficult to justify. It's worth picking up on a whim, but definitely not a careful search.
John Bush, AMG
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Stacey Kent - Breakfast On The Morning Tram (2007)
Artist - Stacey Kent
Album - Breakfast On The Morning Tram
Recording Date - Mar-Apr 2007
Release Date - Oct 2, 2007
Label - Blue Note
Genre - Vocal, Vocal Jazz, Contemporary Blues Music
Format/Bitrate - mp3, 320 kbps
Size - 85 + 47,5 Mb
Хочу предложить вашему вниманию альбом выпущенный в октябре 2007 года "Breakfast On The Morning Tram" выпущенный после перехода Стейси на лейбл Blue Note. Альбом по мнению критиков получился весьма удачным. Приятного прослушивания.
Track List:
1. Ice Hotel
2. Landslide
3. Ces Petits Riens
4. I Wish I Could Go Travelling Again
5. So Many Stars
6. Samba Saravah
7. Breakfast on the Morning Tram
8. Never Let Me Go
9. So Romantic
10. Hard-Hearted Hannah
11. Saison des Pluies
12. What a Wonderful World
Personnel: Stacey Kent (vocals); John Parricelli (guitars); Jim Tomlinson (alto saxophone); Graham Harvey (Fender Rhodes piano); Dave Chamberlain (double bass); Matt Skelton (drums).
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Review:
JazzTimes (p.111) - "The angel-voiced Kent is paralleling a change in labels with an alteration musical direction that is as welcome as it is exciting."
Kent is what men used to call a classy broad. Her elegant fashion sense and understated vocal style make her sound like a woman from another time, a unflappable, sophisticate with a warm, slightly world-weary persona. She was born in the United Sates, but after a trip to France decided to become a jazz singer. In the early 90s she landed in Oxford where she met her husband and musical director sax player Jim Tomlinson. Tomlinson also produces Kent's albums, and this time, composed several charming tunes that sound like potential standards, collaborations with lyricist Kazuo Ishiguro, author of Remains of the Day. Original tunes like "The Ice Hotel" and "I Wish I Could Go Traveling Again" are full of wry humor and Kent delivers them with her usual effortless grace. "The Ice Hotel" is a samba that talks of forsaking the tropics for a room that keeps the temperature at a "steady five degrees." The ambivalent lyric is perfectly suited for Kent's unassuming style. Is she chiding a lover for his detached demeanor or promising a passionate night that will raise the temperature and put a sizzle in the air? It's hard to tell, and with the music is as warm as the lyric is cool, the tune has a delicious tension. "I Wish I Could Go Traveling Again" sounds like the kind of tune Noel Coward used to write, full of urbane humor and references to "overpriced hotels devoid of charm". Its melancholy meditation on lost love is enhanced by John Parricelli's rippling guitar and Graham Harvey's subtle bluesy piano. Kent slows down "What a Wonderful World" making it sound more blue than celebratory. Her wistful phrasing imbues the song with a painful melancholy. Each player steps out for brief impressive solos, but mainly they lay back and support their boss's unobtrusive style.
j. poet, AMG
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Katie Melua - Call Off The Search (2003)
Artist: Katie Melua
Album: Call off the Search
Label: Dramatico Entertainment Ltd.
Original Release Date: Nov 3, 2003
Genre: Vocal Style: Adult, Alternative Pop/ Rock, Vocal Jazz, Jazz Blues
Format, bitrate: MP3@320 kbit/s
Time: 41:16
Size: 95 MB
Предлагаю вашему вниманию альбом "Call off the Search" 2003 года. На данный момент он считается наиболее успешным в карьере певицы.
Tracks:
01. Call Off The Search 03:23
02. Crawling Up A Hill 03:25
03. The Closest Thing To Crazy 04:13
04. My Aphrodisiac Is You 03:33
05. Learnin' The Blues 03:24
06. Blame It On The Moon 03:46
07. Belfast (Penguins And Cats) 03:22
08. I Think It's Going To Rain Today 02:29
09. Mockingbird Song 03:07
10. Tiger In The Night 03:08
11. Faraway Voice 03:13
12. Lilac Wine 04:13
Personnel:
Katie Melua - vocals, guitar
Jim Cregan - guitar
Mike Batt - piano, organ
Tim Harries - bass instrument
Michael Kruk - drums
Chris Spedding - guitar
Henry Spinetti - drums
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Review:
English listeners went mad for Katie Melua with the release of her debut album there in late 2003. Issued domestically in June 2004, Call Off the Search posits the lovely Melua pristinely in between pop, adult contemporary, and traditional American musical forms, with savvy marketing handling the finishing touches. (Think Norah Jones.) It's a comfortable, lightly melodic affair that drinks red wine safely in the middle of the road. Raised in Soviet Georgia and the United Kingdom, Melua has a beguiling accent that colors the ends of her phrases, adding character to her velvety, if occasionally only satisfactory singing voice. She has a nice time with the understated R&B sashay of John Mayall's "Crawling Up a Hill," as well as Mike Batt's "My Aphrodisiac Is You," which is spiced up with barrelhouse piano, muted trumpet, and sly references to opium and the Kama Sutra. The singer's own "Belfast (Penguins and Cats)" opens nicely with a few measures of solo acoustic guitar before it's joined by the orchestral maneuvers that sweep through the majority of Call Off the Search's after-dark cabaret. (Melua also penned a dedication to Eva Cassidy, who she's been compared to vocally.) While the instrumentation is never overbearing, a stoic version of Randy Newman's "I Think It's Going to Rain Today" and a couple of late-album pop vocal entries do dawdle a bit in the soft-focus halo that hovers over Search's more easygoing stretches. These selections are perfectly capable, yet pretty obvious, as if the decision was made to sprinkle Melua's debut equally with safety and variety, in case a particular style didn't stick. Still, despite a few detours down easy street, Call Off the Search is a promising debut, and comfortable like the first drink of the evening.
Johnny Loftus, AMG
Any notions of Katie Melua being a calculated Norah Jones knockoff fly out the window within seconds of listening to the jazzy chanteuse's wispy, sultry voice on her debut CALL OFF THE SEARCH. Like her idol, the late Eva Cassidy, in tribute to whom Melua penned the fetching "Faraway Voice," the young singer is clearly one of those fortunate souls who feels music in every fiber of their being.
It's somewhat surprising to note that the songs, which have the feel of Gramophone antiquity, were actually written by the singer herself or her mentor Mike Batt. Mixed in with the originals are some truly lovely covers including a heart-wrenching rendition of Randy Newman's "I Think It's Going to Rain Today" and a soulful version of John Mayall's "Crawling Up a Hill." Melua's vocals lie somewhere between the introverted pop quiver of Sarah McLachlan and the debauched croon of Billie Holiday, an otherworldly and appealing voice that makes CALL OFF THE SEARCH an intriguing first outing.
cduniverse.com
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среда, 27 августа 2008 г.
Al DiMeola - Orange and blue (1994)
Artist: Al Di Meola
Album: Orange and blue
Label: Bluemoon
Original Release: 1994
Release Date: 12/27/2006
Format, bitrate: MP3@320 kb/s
Time: 59:25
Size: 75 + 57 MB
Один из самых известных джазовых гитаристов мира с очень интересным альбомом. Критики Allmusic не особенно высоко оценивают этот альбом, хотя мне этот диск нравится.
Track list:
1. Paradisio
2. Chilean Pipe Song
3. Ta'alina Chant
4. Orange And Blue
5. This Way Before
6. Summer Country Song
7. If We Meet Again, Part One
8. If We Meet Again, Part Two
9. Cyprus
10. Theme Of The Mother Ship
11. Precious Little You
12. Casmir
13. On My Own
Personnel: Al DiMeola (acoustic, electric, classical & 12-string guitars, Kurzweil piccolo flute, pipes, violin, Hawaiian string harp, santour, piano, synthesizer, drums, tablas, cymbals, shakers, percussion, finger snaps); Hernan Romero (vocals, acoustic guitar, double-neck charango, piano, synthesizer, bells, finger snaps); George Dalaras, Noa (vocals); Andres Boyarski (saxophone); Mike Pinella (trumpet); Conrad Herwig (trombone); Simon Shaheen (violin); Mario Parmisano (strings, piano, Fender Rhodes piano, Hammond organ, keyboards, bass, finger snaps); Marc Johnson (acoustic bass); Pino Palladino (electric & fretless basses); Peter Erskine, Manu Katche, Steve Gadd (drums); Gumbi Ortiz (congas, bongos).
Principally recorded at The Power Station, The Hit Factory and Manhattan Center Studios, New York, New York.
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Al di Meola's passion for the acoustic guitar has not diminished his love of electric music. Upon collaboration with Gibson, the Al di Meola Jazz Guitar was issued. In stark contrast to his customary Les Paul, this guitar is a large hollow-body similar to an L-5. The jazz guitar allows di Meola to achieve a warmer tone; however, he seemed to be going through a Pat Metheny stage at the time of this recording. The upside is that di Meola's solos combine his remarkable control with a newfound sense of swing, the downside being that he seems to have lost some of his identity. "Chilean Pipe Song" stands as one of di Meola's most memorable compositions. The supporting cast of Mario Parmisano and Peter Erskine greatly enhance the music, as each is a distinguishable and tasteful musician. Erskine particularly shines on "Summer Country Song." The one burner here is "Casmir," a fast-paced tune reminiscent of the Elegant Gypsy days. "On My Own" features di Meola's debut on piano. It is by no means anything spectacular, but it does reaffirm his continued exploration and growth. The strong playing and quality of the compositions make this recommended despite the Metheny flavorings.
Review by Robert Taylor, AMG
Down Beat (11/94, p.50) - 3.5 Stars - Good - "...mines the Metheny motherlode (lilting Brazilian-flavored pop-jazz with falsetto vocals doubling guitar lines) while interjecting his own trademark bravado along the way..."
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Dexter Gordon Quartet - Heartaches (1965)
Artist - Dexter Gordon Quartet
Album - Heartaches
Recording Date - 5 August 1965
Type - Compilation, Live
Label - Steeplechase
Genre - Jazz, Style - Hard Bop
Format/Bitrate - MP3/320 kbps
Size - 75 + 37 Mb
Хотелось бы предложить вашему вниманию два альбома Dexter Gordon Quartet, относящихся к тому периоду творчества, когда Dexter Gordon после проблем с наркотиками покинул Штаты и жил в Европе.
Tracks:
1. Heartaches 14:15
2. Devilette 12:26
3. You've Changed 10:20
4. Introduction 0:58
5. So What? 9:44
Personnel:
Dexter Gordon - tenor saxophone
Kenny Drew - piano
Niels Pedersen - bass
Alex Riel - drums
Recorded live at Monmartre Jazzhus, Copenhagen, August 1965.
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Review:
This Steeplechase set features Dexter Gordon during his long European sojourn. Recorded live in 1965 in Paris, Gordon is accompanied by the great bassist Niels-Henning Ørsted Pedersen, pianist Kenny Drew, and drummer Alex Riel. There are four cuts here, and they include the title track, a standard set to a burning tempo, a gorgeous balladic read of "You've Changed," a swaggering swinger in Ben Tucker's "Devilette", and a strutting, bluesed-out version of Miles Davis' "So What." The recording quality can be a tiny bit iffy at times, but the performance is stellar and more than makes up for the few rough spots in the session. Recommended.
Thom Jurek, Allmusic.com
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Jimmy Smith - In a Plain Brown Wrapper (1971)
Artist: Jimmy Smith
Album: Jimmy Smith in a Plain Brown Wrapper
Label: Verve
Genre: Jazz
Style: Soul-Jazz, Hard Bop
Recording Date: 1971, MGM Recording Studios, Hollywood, California
Recording Time: 41:50
Format, bitrate: MP3@320 kbit/s
Size: 89 MB
Рад предложить вашему вниманию еще один альбом "Jimmy Smith in a Plain Brown Wrapper". Запись сделана в 1971 году в несколько нетипичной манере для Джимми Смита. Кроме того, на всех вещах Джимми Смит еще и поет.
Tracklist:
1. Recession Or Depression 3:24
2. Jimmy Smith Is A Midnight Cowboy 4:20
3. Freedom And Justice 4:36
4. Zodiac Song 8:54
5. Number One 3:43
6. Love Is Mission Impossible 6:00
7. No Substitute For Love 4:48
8. I Don't Know 6:05
Performer:
The Latin Jazz Quintet - Performer
Shirley Scott - Performer
Jimmy Smith - Organ, Vocals
Larry Williams - arranger, producer
Dave Blumberg - arranger (strings and horns)
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Review:
Another album, another style. From this vantage point, it's something of a mystery as to what was going on with Jimmy Smith's career here. Was he getting restless with what he was playing, or was Verve behind the continually changing styles, fearing declining sales? Was the chopping and changing, in fact, causing declining sales? It's not an answer that is easy to find. The results, however, are a schizophrenic series of albums. No one style is adhered to for more than one album at a time. Take this one, for example. Previously, I'm Gon' Git Myself Together saw Jimmy's first move into jazz funk, with a heavy rockish sound. This time he's moved entirely into funk, but it sounds nothing like the funk of the previous album. There is no evolution at all, which does cause many of the above questions to arise. That aside, it is a funky album and rather a rare one, although one that has so much of Larry Williams stamp on it (he writes, arranges and produces here) as to make it seem more of a joint album. The biggest shock is that Jimmy sings on every song, which was a first and something never to be repeated. As far as old jazz hands adapting to the funk, it's a pretty good album. In terms of Jimmy's overall career, it is a lesser effort. If you like the funk and you like Jimmy, you'll probably get a kick out of it.
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Dexter Gordon Quintet - Ladybird (1965)
Artist - Dexter Gordon Quintet
Album - Ladybird
Release Date - Feb 15, 2005
Recording Date - Aug 19, 1965
Type - Complation, Live
Label - Steeplechase
Genre - Jazz, Style - Bop, Hard Bop
Format/Bitrate - MP3/320 kbps
Size - 75 + 38 Mb
Tracks:
1. Ladybird Dameron 2:03
2. So What Davis 12:37
3. Who Can I Turn To (When Nobody Needs Me) Bricusse, Newley 1:21
4. Blues by Five Davis 4:12
Personnel:
Dexter Gordon, tenor saxophone
Donald Byrd, trumpet
Kenny Drew, piano
Niels Pedersen, bass
Alex Riel, drums
Nils Winther, Producer, Restoration
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Review:
The latest offering from the seemingly bottomless Danmarks Radio Archive, this disc presents another air shot of Gordon’s lengthy mid-1960s Cafe Montmarte stint. Dex’s sizable cachet as an expatriate jazz icon prompted a nightly spooling of the tape machines. The resulting cache, so far doled out one set at a time, documents a particularly fertile time for the saxophonist. Shortly after arriving on European shores he teamed with pianist Kenny Drew and a topflight pair of locals in the persons of Pedersen and Riel, set up shop and enjoyed a more relaxed lifestyle than the scuffling of his earlier Big Apple years. This package is a bit different from the previous ones in that it presents trumpeter Donald Byrd, a fellow NYC emigre, sitting in with the working group.
The top-heavy program revolves around extended readings of two standards: the Tad Dameron-penned title track and a blue-chip modal number from the best-selling jazz album of all-time. After a brief ensemble stroll through theme Gordon essays a hungry, if slightly boilerplate solo that swallows up a healthy string of choruses. Byrd follows, cooler in cast and surfing across Riel’s frothy snare and cymbal-driven fills with a succession of slightly smeared runs. Pithy Drew and Pedersen statements follow. Riel lends steady hi-hat and sharp, textured brushwork to the latter’s deft pizzicato exposition and the two wear their advanced postbop pedigrees proudly. The piece winds up with a short spate of robust exchanges between Riel and the rest. These closing minutes are marred by a recurring and intrusive tape warble that ends up sounding oddly like a third remedial horn.
“So What” receives a comparably elongated reading with Pedersen paying homage to and capaciously expanding on Paul Chambers’ original epochal role. After the familiar bass invocation and riffing theme Gordon breaks away and spools out a sultry solo flanked briefly by just Pedersen and Riel at a brisk, but effervescent tempo. As on the previous cut, Drew delivers deft complementary chords that push the action without prodding it. Byrd’s improvisation unfolds in the leader’s wake, displaying a bit of the gelid clarity that was the composer’s calling card. Pedersen brings up the rear with another compact colloquium on killer contrabass technique. The horns wisely abstain from reentry and let it stand as the denouement.
Byrd sits out on a luxurious “Who Can I Turn To?”, but the band returns to full-size for the closer, another Miles Davis’ tune, “Blues By Five.” The trumpeter’s presence and the high degree of rapport shared by the rhythm section make this date one of note. Coupled with a tune choice that strays dexterously in more challenging directions than the band’s usual diet of bop standards it’s a welcome program that finds Gordon in a limber and exploratory mode. Foibles in fidelity aside, Dex aficionados will be sold on the disc’s face value. But casual listeners will probably also be pleasingly surprised by the caliber of this classic conclave.
Bagatellen.com
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Jean-Luc Ponty - Individual Choice (1983)
Artist: Jean-Luc Ponty
Album: Individual Choice
Label: Atlantic
Release Date: Mar 1983-May 1983
Genre: Jazz, Style: Fusion, Post-Bop, Crossover Jazz
Format, bitrate: MP3@320 kbit/s
Time: 37:05
Size: 87,5 MB
Tracklisting:
1. Computer Incantations for World Peace (5:41)
2. Far from the Beaten Paths (5:59)
3. In Spiritual Love (7:01)
4. Eulogy to Oscar Romero (2:32)
5. Nostalgia (5:02)
6. Individual Choice (4:56)
7. In Spite of All (5:55)
Total Time: 37:06
Personnel:
Jean-Luc Ponty (violin, keyboards, organ, synthesizer, programming);
Allan Holdsworth (guitar);
George Duke (Mini-moog);
Randy Jackson (bass);
Rayford Griffin (drums).
Principally recorded at The Music Grinder and Cherokee Recording Studio, Los Angeles, California from March to May 1983.
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Review:
Here is Ponty's radical break with his past, one that further tightened his control over his craft while ironically liberating his muse. In laying out his attractive new music on synthesizers and sequencers, emphasizing revolving ostinato patterns, Ponty rejuvenated his melodic gift, and as a result, even in this controlled setting, his violin solos take on a new freshness and exuberance. Except for two tracks, Ponty does without a formal rhythm section — and on two other tracks, he goes it completely alone. Indeed, he does best of all when he has no one but himself to play with on "Computer Incantations for World Peace" and the lovely mood piece "Eulogy to Oscar Romero." Guest interloper George Duke (a fellow refugee from Frank Zappa's band) contributes a Minimoog solo to "In Spiritual Love," where Ponty provides his own percussive backing on rhythm computer. Even if one grumbles on principle about the reduction of spontaneity in Ponty's music over the Atlantic years, the musical end here absolutely justifies the means. Don't miss it.
Richard S. Ginell, All Music Guide
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вторник, 26 августа 2008 г.
Hound Dog Taylor & The Houserockers - Natural Boogie (1973)
Artist: Hound Dog Taylor and the HouseRockers
Album: Natural Boogie
Release Date: 1973
Label: Alligator
Genre: Blues
Style: Slide Guitar Blues, Electric Chicago Blues, Chicago Blues
Quality: mp3, 320 kbps
Time: 40:18
Size: 82 Мб + Covers
Хочу сказать, что данный альбом - это нечто удивительное. Я был дважды удивлен. Посмотрев на обложку, я подумал, что ветеран блюза будет исполнять что-то грустно-печальное. И ошибся: ветеран отжигает блюз/рок не хуже Элвиса. Заинтересовавшись, посмотрел биографию: второе удивление: родился в 1915 году, умер в 1975, первый альбом выпустил в 1971(!), что, согласитесь, не типично. "Natural Boogie" - второй альбом, записанный в 1973 году. Желаю всем приятного прослушивания.
Track list:
1. Take Five 2:44
2. Hawaiian Boogie 2:42
3. See Me In The Evening 5:08
4. You Can't Sit Down 3:25
5. Sitting At Home Alone 4:19
6. One More Time 2:26
7. Roll Your Moneymaker 4:02
8. Buster's Boogie 3:22
9. Sadie 6:13
10. Talk To My Baby aka I Can't Hold Out 3:17
11. Goodnight Boogie 3:24
Credits:
Hound Dog Taylor (Guitar), Hound Dog Taylor (Vocals), Hound Dog Taylor (Producer), Hound Dog Taylor (Main Performer), Stu Black (Engineer), Stu Black (Mixing), Ted Harvey (Drums), Bruce Iglauer (Producer), Brewer Phillips (Guitar), Tom Coyne (Mastering), Michael Trossman (Cover Design)
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Album Review:
Hound Dog Taylor's second album was every bit as wild as the first, bringing with it a fatter sound and a wider range of emotions and music. A recut here of Taylor's first single, "Take Five," totally burns the original while the smoldering intensity of "See Me in the Evening" and "Sadie" take this album to places the first one never reached.
Cub Koda, AMG
(Hound Dog Taylor - g, voc; Brewer Phillips - g; Ted Harvey or Levi Warren - dr)
Шеф «Аллигатор Рекордз» Брюс Иглауэр называл Хаунд Дог Тэйлора и его группу The Houserockers самыми искренними и непосредственными блюзменами, которых он когда-либо слышал. Он говорил: «Ни один другой блюз-бэнд не получал столько буквально детского удовольствия от игры перед публикой. Причем совершенно неважно, сколько этой публики было — десять ли человек в чикагском баре, несколько ли тысяч на фестивале — они всегда вели себя одинаково и, казалось, сами получали большее наслаждение от концерта, чем слушатели». Собственно говоря, Иглауэр и основал свой лейбл в 1971 году для того, чтобы издать альбом Хаунд Дог Тэйлора.
К сожалению, гитарист и вокалист неожиданно умер в 1975 году, успев записать всего три альбома. В 1982 году на «Аллигаторе» выходит четвертый альбом с неизданными ранее записями, в 1999 — сборка лучших вещей Deluxe Edition, и вот теперь Брюс Иглауэр, покопавшись в концертных старых записях группы, понял, что многие песни абсолютно достойны переиздания в таком варианте, несмотря на все технические огрехи. Так что перед вами — концертный альбом со знакомыми вещами, но исполненными в гораздо более бесшабашной и отвязной манере по сравнению со студийными версиями. И опять же говорит сам Иглауэр: «Как только я начинаю слушать эти старые концертники, у меня на губах появляется улыбка, голова начинает кивать в такт музыке и я вновь понимаю, что это был самый жизнерадостный блюз, который мне только доводилось слышать».
Евгений ДОЛГИХ
© 2007 Jazz-Квадрат
Biography:
Birth Name: Theodore Roosevelt Taylor
Born: Apr 12, 1915 in Natchez, Mississippi
Died: Dec 17, 1975 in Chicago
Genre: Blues
Active: '60s, '70s
Instruments: Slide Guitar, Vocals, Guitar
Alligator Records, Chicago's leading contemporary blues label, might never have been launched at all if not for the crashing, slashing slide guitar antics of Hound Dog Taylor. Bruce Iglauer, then an employee of Delmark Records, couldn't convince his boss, Bob Koester, of Taylor's potential, so Iglauer took matters into his own hands. In 1971, Alligator was born for the express purpose of releasing Hound Dog's debut album. We all know what transpired after that.
Named after President Theodore Roosevelt, Mississippi-native Taylor took up the guitar when he was 20 years old. He made a few appearances on Sonny Boy Williamson's fabled KFFA King Biscuit Time radio broadcasts out of Helena, AR, before coming to Chicago in 1942. It was another 15 years before Taylor made blues his full-time vocation, though. Taylor was a favorite on the South and West sides during the late '50s and early '60s. It's generally accepted that Freddy King copped a good portion of his classic "Hide Away" from an instrumental he heard Taylor cranking out on the bandstand.
Taylor's pre-Alligator credits were light -- only a 1960 single for Cadillac Baby's Bea & Baby imprint ("Baby Is Coming Home"/"Take Five"), a 1962 45 for Carl Jones's Firma Records ("Christine"/"Alley Music"), and a 1967 effort for Checker ("Watch Out"/"Down Home") predated his output for Iglauer.
Taylor's relentlessly raucous band, the HouseRockers, consisted of only two men, though their combined racket sounded like quite a few more. Second guitarist Brewer Phillips, who often supplied buzzing pseudo-bass lines on his guitar, had developed such an empathy with Taylor that their guitars intertwined with ESP-like force, while drummer Ted Harvey kept everything moving along at a brisk pace.
Their eponymous 1971 debut LP contained the typically rowdy "Give Me Back My Wig," while Taylor's first Alligator encore in 1973, Natural Boogie, boasted the hypnotic "Sadie" and a stomping "Roll Your Moneymaker." Beware of the Dog, a live set, vividly captured the good-time vibe that the perpetually beaming guitarist emanated, but Taylor didn't live to see its release -- he died of cancer shortly before it hit the shelves.
Hound Dog Taylor was the obvious inspiration for Alligator's "Genuine Houserocking Music" motto, a credo Iglauer's firm still tries to live up to today. He wasn't the most accomplished of slide guitarists, but Hound Dog Taylor could definitely rock any house he played at.
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Gene Ammons - Jammin' With Gene (1956)
Artist: Gene Ammons
Album: Jammin' With Gene
Recording Date: Jul 13, 1956
Label: Prestige/OJC (Original Jazz Classics)
Genre: Jazz Style: Soul-Jazz, Hard Bop
Format mp3, bitrate: mp3, 320 Kbps
Time: 40:21
Size: 89 Mb
Предлагаю вашему вниманию одну из джем-сейшн тенор-саксофониста Gene Ammons записанную в 1956 году. Приятного прослушивания.
Tracks:
1. Jammin' With Gene
2. We'll Be Together Again
3. Not Really The Blues
Personnel Gene Ammons All Stars: Gene Ammons (tenor saxophone); Jackie McLean (alto saxophone); Art Farmer, Donald Byrd (trumpet); Mal Waldron (piano); Doug Watkins (bass); Art Taylor (drums).
Recorded at the Van Gelder Studio, Hackensack, New Jersey on July 13, 1956. Originally released on Prestige (7060). Includes liner notes by Doug Ramsey and Ira Gitler. Digitally remastered by Phil De Lancie (1991, Fantasy Studios, Berkeley, California).
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Review:
This tenor-saxophonist led a series of excellent all-star jam sessions for the Prestige label during the mid-'50s that took advantage of the extra time available on LPs (as opposed to the three-minute 78). This album features versions of "Jammin' with Gene" (a blues), "We'll Be Together Again" (which evolves from being an Ammons ballad feature into a group jam and then back again) and "Not Really the Blues" that clocks in between ten and over 16 minutes. With such sidemen as trumpeters Art Farmer and Donald Byrd, altoist Jackie McLean, pianist Mal Waldron, bassist Doug Watkins and drummer Art Taylor, this is an excellent (and rather spontaneous) straightahead session.
Scott Yanow, AMG
Ammons recorded quite a few dates with a varying cast of All Stars. JAMMIN' WITH GENE is from a session recorded in July of 1956. The album features the trumpets of Art Farmer and Donald Byrd, Jackie McLean on alto sax, Mal Waldron on piano, and a rhythm section comprised of bass player Doug Watkins and drummer Art Taylor. A decidedly relaxed vibe runs through the three extended tunes. The opening title cut gives plenty of room to the distinctive soloists before slowing down for the ballad "We'll Be Together Again." Things tpick up to with the propulsive, 16-minute "Not Really the Blues." Taylor absolutely sparkles on this one, his high hat and snare galloping along as he punctuates the soloing horn players with ecstatic hits and rolls on his toms.
cduniverse.com
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Gene Ammons - Blue Gene (1969)
Artist: Gene Ammons
Album: Blue Gene
Recording Date: May 2, 1958
Release Date: May 3, 1958
Year: 1947 - 1964, release 1996
Label: Original Jazz Classics
Genre: Jazz Style: Soul-Jazz, Hard Bop
Format mp3, bitrate: mp3, 320 Kbps
Time: 40:31
Size: 95 Mb
Стал известен, работая в 1944–47 в оркестре Билли Экстайна. В 1949 заменил Стэна Гетца в биг-бэнде Вуди Германа. В 1950 организовал ансамбль, в котором постоянно устраивал "бои" двух тенор-саксофонистов (партнером был Сонни Стит), о чем свидетельствуют альбомы Boss Tenor и Soul Summit. После распада ансамбля в 1952 работал в чикагских клубах, выезжая в Нью-Йорк только на записи. В 1958 начались неприятности — у него обнаружили наркотики, последовал арест. После скорого освобождения вновь начал играть с Сонни Ститом, но недолго. В 1962 году при втором задержании с партией наркотиков угодил на семь лет в тюрьму, где ему через некоторое время разрешили создать джазовый ансамбль. Это помогло ему выйти из заключения в хорошей форме и сразу же записать несколько успешных альбомов.
Tracks:
1. Blue Gene
2. Scamperin'
3. Blue Greens And Beans
4. Hip Tip
Personnel:
Gene Ammons (tenor saxophone)
Pepper Adams (baritone saxophone)
Idrees Sulieman (trumpet)
Mal Waldron (piano)
Doug Watkins (bass)
Art Taylor (drums)
Ray Barretto (congas)
Recorded in New York, New York on May 2, 1958. Originally released on Prestige (7146). Includes original release liner notes by Ira Gitler. Digitally remastered by Joe Tarantino (Fantasy Studios, Berkeley, California).
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Review:
The final of his series of jam sessions for Prestige features an excellent septet (the leader on tenor, trumpeter Idrees Sulieman, baritonist Pepper Adams, pianist Mal Waldron, bassist Doug Watkins, drummer Art Taylor and Ray Barretto on congas) stretching out on three original blues and the ballad "Hip Tip"; all four pieces were written by Waldron. Few surprises occur but everyone plays up to their usual high level. This enjoyable straightahead CD is a reissue of the original LP.
Scott Yanow, AMG
Another of the mid-1950s Ammons studio jam sessions for Prestige, Blue Gene lives up to its title by utilizing blues changes as the basis for three of its four selections. Pianist Mal Waldron wrote all these lines and the minor-key ballad, "Hip Tip." Ammons was one of the most expressive saxophonists and, in Idrees Sulieman and Pepper Adams, he found soulmates among the other horns. Each man had jammed with Gene on Prestige previously.
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Gene Ammons - Funky (1957)
Artist: Gene Ammons
Album: Funky
Recording Date: Jan 11, 1957
Label: OJC (Original Jazz Classics)
Genre: Jazz Style: Soul-Jazz, Hard Bop
Format mp3, bitrate: mp3, 320 Kbps
Time: 39:24
Size: 87 Mb
Предлагаю вашему вниманию еще одну джем-сейшн тенор-саксофониста Gene Ammons записанную в 1957 году в составе Gene Ammons All Stars.
Tracks:
1. Funky (Burrell ) 9:01
2. Pint Size (Mundy ) 12:23
3. Stella By Starlight (Washington, Young) 8:57
4. King Size (Mundy) 9:16
Personnel:
Gene Ammons (tenor saxophone);
Jackie McLean (alto saxophone);
Art Farmer (trumpet);
Mal Waldron (piano);
Kenny Burrell (guitar);
Doug Watkins (bass);
Art Taylor (drums).
Recorded at the Van Gelder Studio, Hackensack, New Jersey on January 11, 1957.
Digitally remastered by Kirk Felton (1992, Fantasy Studios, Berkeley, California).
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Review:
The Gene Ammons all-star jam session recordings of the 1950's are all quite enjoyable and this one is no exception. The great tenor is matched with trumpeter Art Farmer, altoist Jackie McLean, guitarist Kenny Burrell, pianist Mal Waldron, bassist Doug Watkins and drummer Art Taylor for lengthy versions of "Stella By Starlight," the Burrell blues "Funky" and a pair of numbers by arranger Jimmy Mundy. All of the horns plus Burrell and Waldron get ample solo space and Ammons seems to really inspire his sidemen on these soulful bop jams.
Scott Yanow, AMG
The cast of FUNKY resembles that of Ammons' THE HAPPY BLUES, recorded a year earlier. Ammons' varying All Stars lineup again features a rich frontline, with his tenor saxophone joined by Jackie McLean's alto and Art Farmer's trumpet. This time out, the All Stars sail over a quartet of guitarist Kenny Burrell, pianist Mal Waldron, bass player Doug Watkins, and drummer Arthur Taylor.
The four extended tunes allow ample space for each of the richly charismatic soloists. Burrell's title tune starts things off with a relaxed groove pretty much characteristic of the whole set. Things slow down for the lush balladry of "Stella by Starlight," which shows off Waldron's stylish support to great effect. Shortly after this session, Waldron would be heard accompanying Billie Holiday for the last two years of her life.
cduniverse.com
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Chuck Brown & Eva Cassidy - The Other Side (1992)
Artist: Chuck Brown & Eva Cassidy
Album: The Other Side
Release Date: 1992
Label: Liason
Genre: R&B Style: R&B
Format/bitrate: mp3/320 Kbps
Time: 53:17
Size: 75 + 55 Mb
Предлагаю вашему вниманию интересный альбом, на котором записан дуэт вокалистов Chuck Brown & Eva Cassidy. Стиль исполнения мягкий, подходящий для отдыха или романтического ужина.
Приятного прослушивания.
Tracklist:
1. Let The Good Times Roll
2. Fever
3. You Don't Know Me
4. I Could Have Told You So
5. Gee Baby, Ain't I Good To You
6. I'll Go Crazy
7. You Don't Know What Love Is
8. Drown In My Own Tears
9. God Bless The Child
10. Red Top
11. Dark End Of The Street, The
12. Shadow Of Your Smile, The
13. Over The Rainbow
14. You've Changed
Personnel: Chuck Brown (vocals, guitar); Eva Cassidy (vocals, guitar, keyboards); Keith Grimes, Dave Lourim (guitar); Dan Cassidy (violin); Matthew Allen (strings); Philip Jehle (clarinet); Tom Crawford, Donnell Floyd, C.J. (saxophone); Gilbert Pryor, The Reverend Pope, "Little" Benny Harley (trumpet); Roy Battle (trombone); Lenny Williams (piano, vibes); Mark "Godfather" Lawson (organ); Kent Wood (organ, synthesizer); Chris Biondo (bass, congas); Keter Betts (upright bass); Raice McLeod, Jim Campbell, Ju Ju House (drums); William Cook (congas); Darryl Andrews (percussion).
Recorded at Chris Biondo's, Glendale, Maryland.
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Online CD shops where you can sample tracks before purchasing the disc are especially helpful with Chuck Brown, whose music is rarely programmed on radio. The Other Side consists of '40s and '50s supper-club sounds. Eva Cassidy sings on more than half of the tracks, soloing and performing a number of duets, including "You Don't Know Me," "I Could Have Told You So," and "I'll Go Crazy." The '60s deep soul classic "Dark End of the Street" is the most modern song. Lovers of '50s MOR will love this release; everyone else, will not.
Andrew Hamilton, AMG
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