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Jazz Blues Club » Articles for 30.10.2010
1999: Terry Blaine: Too Hot For Words Music » Jazz » Vocal Jazz

1999: Terry Blaine: Too Hot For Words
Artist: Terry Blaine
Album: Too Hot For Words
Label: Jukebox Jazz
Year: 1999
Format, bitrate:MP3-320
Size: 135 MB
AMG Rating: 1999: Terry Blaine: Too Hot For Words

With this album of 16 "blasts from the past," Terry Blaine solidifies her position as one of the leading contemporary practitioners of the traditional/swing vocal style. The subtitle for this album is "Great Ladies of Swing," a tribute to those song birds of the past who enthralled the public and, in doing so, set the standards for singers of this musical genre who were to follow. The technique Terry Blaine and Mark Shane use in presenting this tribute is as fascinating as the tribute itself. On most of the cuts, Blaine refines a technique she used in her earlier album, Whose Honey Are You?, by over-dubbing her voice to create background singers. Here she manages to sound as if she is accompanied by the Boswell Sisters, giving each of them a separate and distinct voice. The result is some very interesting vocal combinations, which is Blaine and Shane's objective. On "Looking at You," Cole Porter's under-recorded gem, it's as if Lee Wiley has the Boswell Sisters backing her. An unlikely combination is Mae West backed by these harmonious siblings on "I'm No Angel." On "My Very Good Friend the Milkman," made famous by the inimitable Fats Waller, Shane does Waller's piano while Blaine and her "background singers" do a jivy version of this perky tune. While most of the cuts are indeed "hot," there are some slowly turned-out ballads. Alan Vache's clarinet noodles behind Blaine's poignant delivery of "You Go to My Head" before he takes a patented soft, Benny Goodman-like solo. Blaine's interpretation and style on this tune recalls Bea Wain's with the Larry Clinton Orchestra. Another slow-tempo tune, "It's Easy to Remember," showcases Russell George's arco bass. Many other singers of the past are recalled on this entertaining album, among them Mildred Bailey, Peggy Lee, Ethel Waters, and, of course Ella Fitzgerald on the kick-off song "A-Tisket A-Tasket." Blaine does not imitate the voices of these singers of the past; rather, she sings in a similar style. She has garnered an extraordinary and likeminded set of musicians to work with her on this album. The Texas tailgate trombone of Joel Helleny and Ed Polcer's cornet go a long way in recreating the swing aura of the 1920s-1940s. Mark Shane's piano, however, is the glue which holds the set together. He sets exactly the right mood and pace, promoting Blaine's delivery and phrasing. That these two are musical soulmates is apparent.

Too Hot for Words serves as a reminder of how enduring the works of the great stylists of the past (and some from the relatively recent past) are, and of the very rich vocal legacy they left behind. In the hands of talented professionals, the reminder is a very entertaining one indeed.
~ Dave Nathan, All Music Guide

1967: Duke Pearson - The Right Touch Music » Jazz » BeBop » Hard-bop
1967: Duke Pearson - The Right TouchArtist: Duke Pearson
Album: The Right Touch
Label: Blue Note
Year: 1967, release: 1994
Format, bitrate: FLAC (cue, log, scans)
Size: 271 MB
Time: 43:00
AMG Rating: 1967: Duke Pearson - The Right Touch

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Duke Pearson rises to the challenge of writing for an all-star octet (with trumpeter Freddie Hubbard, trombonist Garnett Brown, altoist James Spaulding, Jerry Dodgion on alto and flute, Stanley Turrentine on tenor, bassist Gene Taylor, drummer Grady Tate, and the leader/pianist), contributing colorful frameworks and consistently challenging compositions. The set is full of diverse melodies (the CD reissue has a previously unissued take of "Los Malos Hombres") played by a variety of distinctive soloists; many of these songs deserve to be revived. This is one of the finest recordings of Duke Pearson's career.
~ Scott Yanow, All Music Guide
The Real Group - Varför får man inte bara vara som man är? Music » Jazz » BeBop » Vocalese
The Real Group - Varför får man inte bara vara som man är?
Artist: The Real Group
Album: Varför får man inte bara vara som man är?
Year: 1994
Label: Gazzel Records
Format, bitrate: mp3;160kbps
Size :57 MB
Genre :acappella

Again, we are behind in our Swedish lessons and must rely on our ears and hearts to enjoy this 1994 release. Do you realize that it's been ten years since the Real Group got together! It seems like only yesterday. Their horizons are continually expanding. That title track is rock 'n roll or my name isn't This Reviewer. Hey who slipped in the piano on that one track? That sounds suspiciously like Maurice Chevalier. Familiar to our ears are "Dancing Queen." The total scat and bass rendition of "The Flight Of The Foo-Birds" is extra special! "Boogie-Woogie Tango" in Swedish? Yes, right here!
1959: Cannonball Adderley/John Coltrane - Quintet in Chicago 2LP/1CD Music » Jazz » BeBop » Hard-bop
1959: Cannonball Adderley/John Coltrane - Quintet in Chicago 2LP/1CD
Artists: Cannonball Adderley/John Coltrane
Album: Cannonball Adderley Quintet in Chicago/Cannonball Takes Charge
Label: Poll Winners Records
Year: 1959, release: 2010
Quality: MP3320 kbps
Size: 154 mb
Total time: 71:46
Down Beat 1959: Cannonball Adderley/John Coltrane - Quintet in Chicago 2LP/1CD Album

Digitally remastered two-fer from the Jazz great containing two complete albums on one CD. This release contains the classic album Cannonball Adderley Quintet In Chicago in its entirety. The LP showcases Cannonball and John Coltrane sharing the frontline at a time when both saxophonists were members of the Miles Davis Sextet. As a bonus, Cannonball's next album Cannonball Takes Charge, presenting nearly the same personnel minus Coltrane.
~ Poll Winners. 2010.
2009: Ben Goldberg - Go Home Music » Jazz » Modern Jazz
2009: Ben Goldberg - Go Home Artist: Ben Goldberg
Album: Go Home
Label: Bag Productions Records
Year: 2009
Format, bitrate: mp3, 320
Time: 72:19
Size: 158 mb
AMG Rating: 2009: Ben Goldberg - Go Home

"Eclectic and loose, but with grooves that will make believers out of even the most improv-averse, Go Home is the perfect combination of music for the head, the heart...and the feet." - John Kelman, All About Jazz

Ben Goldberg emerges larger than life as a premier progressive jazz clarinetist, wise beyond his years, and savvy in making original music with a sensual nature. Alongside brass player Ron Miles and guitarist Charlie Hunter, Goldberg has a band that can slink around melodies and suggest more than they are playing from a deep, emotional level. Scott Amendola's sparse, loose, and implicative drumming adds further to their concept, with the music showing ethnic underpinnings not far removed from Goldberg's work with Tin Hat. Recorded in the studio, the tuneful "TGO" infuses tango with New Orleans flavors, with "Heads & Tails" and "Inevitable" upping the mystery quotient exponentially. Included are four live tracks at the Throckmorton Theatre in Mill Valley, CA, with Hunter's resonant and pronounced guitar taking the up bulk of space during "Root & Branch," while a more bluesy stance from the seven-string electric guitarist comes out in processed sounds for "Isosceles," less so on the deliberate, light funk of "Papermaker." Miles continues to develop unique voicings on the cornet or G-trumpet, while Goldberg's facile, lithe, attractive clarinet never wavers from track to track as one of the more substantive representatives in new jazz-influenced music, and they sound incredible together every step of the way. Go Home is a recording to be sought and savored, a memorable musical experience for both creative music listeners and the modern mainstream alike.
~ Michael G. Nastos, All Music Guide
2005: Maria Schneider Jazz Orchestra - Days of Wine and Roses (Live at the Jazz Standard) Music » Jazz » Mainstream
2005: Maria Schneider Jazz Orchestra - Days of Wine and Roses (Live at the Jazz Standard)
Artist: Maria Schneider Jazz Orchestra
Album: Days of Wine and Roses (Live at the Jazz Standard 2000)
Label: ArtistShare
Year: 2000, release:2005
Format,Bit Rate: Mp3 320 Kbps
Time: 64:23
Size: 113 Mb
AMG rating: 2005: Maria Schneider Jazz Orchestra - Days of Wine and Roses (Live at the Jazz Standard)

Repost with a new link from mr. Gibson L5

Maria Schneider won the Grammy award in 2004 for her Concert in the Garden recording and has chosen to follow that accomplishment with the reissue of her long-awaited, hard-to-find recording released in 2001 titled Days of Wine and Roses. The CD was recording "live" at the Jazz Standard in New York City in 2000, and was originally packaged with a bottle of Riesling wine which bore Schneider's name. This CD-only reissue boasts the raw essence of the orchestra's "live" performance and is comprised of original compositions and five jazz standards including Henry Mancini's"Days of Wine and Roses." The song features great solos by Tim Ries on soprano sax and Rich Perry on tenor sax. "Somewhere Over the Rainbow" is a great vehicle for altoist Charles Pillow, while "That Old Black Magic" leaves you spellbound as a result of Rick Margitza's enchanting tenor saxophone solo. All of Schneider's arrangements are brilliant and provide excellent blowing vehicles for every section of the orchestra. Most notable are the excellent brass and reed solos on "Bird Count," a song named in honor of Charlie Parker and Count Basie. The set swings, sways, and seduces. Highly recommended ~ Paula Edelstein, All Music Guide
1981: Count Basie - Kansas City 6 Swing, Basie Count

1981: Count Basie - Kansas City 6
Artist: Count Basie
Album: Kansas City 6
Label: OJC (20bit Remastered)
Year: 1981
Quality: MP3@320 Kbps
Size: 88 MB (+ covers)
Total time: 38:22

REPOST with a new link from Mr.Gibson L5

This is one of many small-group jam sessions organized by Norman Granz to feature pianist Count Basie. This time around the proceedings (utilizing a sextet) have plenty of solo space for trumpeter Willie Cook, altoist Eddie "Cleanhead" Vinson (who also takes a vocal) and guitairist Joe Pass. As usual, when Basie had his way, the emphasis is on the blues and the music always swings. ~ Scott Yanow, All Music Guide
1949: Cole Porter - Kiss Me, Kate (1949 Broadway Cast Recording) Music » Classical music » Pop classics
1949: Cole Porter - Kiss Me, Kate (1949 Broadway Cast Recording)
Artists: VA
Album: Kiss Me, Kate
Label: Columbia
Year: 1949
Genre: Musical, Soundtrack
Format, bitrate: MP3, 160 kbps (LP-rip)
Time: 43:34
Size: 50.49 mb
AMG Rating: 1949: Cole Porter - Kiss Me, Kate (1949 Broadway Cast Recording)

British budget reissue label Prism Leisure takes advantage of European copyright law, which releases recordings more than 50 years old into the public domain, to put out its own version of the original Broadway cast album of Kiss Me, Kate, originally issued on Columbia Records in early 1949 and still claimed by Sony for the U.S. (Notwithstanding this legality, the Prism Leisure set was easily available from American mail-order companies upon release, listing for only about $8.00) Sonically and in terms of annotations, this album is no competition to the still-in-print Columbia version; the sound is not bad, but clearly does not come from original sources, and Tony Watts' brief liner notes are rudimentary. What may interest musical theater buffs, however, are the bonus tracks, eight songs from the show recorded by members of the original London cast in 1951. Julie Wilson and Patricia Morison reprise their performances in the Broadway show, and Bill Johnson makes a good, if not equal substitute for Broadway's Alfred Drake. Since these recordings previously only turned up on British 78s, then collected on the long-out-of-print U.K. LP Cole Porter in London (World Records SHB-26), they are a welcome addition, especially at the budget price, and American Porter fans may want to snap up this album just for them. Otherwise, the Columbia disc is far superior, as it should be with its much higher price. ~ William Ruhlmann, All Music Guide
1974: Dusko Gojkovic - Slavic Mood Music » Jazz » BeBop » Hard-bop
1974: Dusko Gojkovic - Slavic Mood
Artist: Dusko Goykovic
Album: Slavic Mood
Label: Sony/BMG
Year: 1974, release: 2006
Quality: MP3 CBR 192
Size: 62 MB

REPOST with a new link from Mr. pora51

An excellent bop-based soloist who has recorded rewarding sets for Enja, Dusko Goykovich played in Yugoslavia and Germany before visiting the U.S. for the first time with Marshall Brown's International Youth Band (playing at the 1958 Newport Jazz Festival). Goykovich attended Berklee (1961-1963) and played with the orchestras of Maynard Ferguson (1963-1964) and Woody Herman (1964-1966) before deciding to return to Germany, leading a group with Sal Nistico (1966). He was with the Kenny Clarke-Francy Boland Big Band (1968-73) and had a 12-piece band with Slide Hampton (1974-1975). Miles Davis is his main influence, but Dusko Goykovich (who has been quite active during the '80s and '90s in Europe) has his own extroverted style. ~ Scott Yanow, Rovi
1945-1946: Vido Musso & Stan Getz & Kai Winding - Loaded Music » Jazz » Swing
1945-1946: Vido Musso & Stan Getz & Kai Winding - Loaded
Artist: Vido Musso & Stan Getz & Kai Winding
Album: Loaded
Label: Savoy Jazz
Year: 1945-1946
Format, bitrate: mp3, 320 Kb/s
Time: 36:14
Size: 84,4 MB
AMG rating: 1945-1946: Vido Musso & Stan Getz & Kai Winding - Loaded

1945-1946: Vido Musso & Stan Getz & Kai Winding - Loaded

Three different four-song sessions are reissued on this fine CD. The rambunctious and thick-toned tenor-saxophonist Vido Musso leads the first session, heading a septet that also includes both Kai Winding and Gene Roland on trombones, altoist Boots Mussuli, pianist Marty Napoleon, bassist Eddie Safranski and drummer Denzil Best. "Moose in a Caboose" and the heated "Moose on the Loose" are most memorable. The second date is under bassist Safranski's leadership and he uses a similar group with Musso, altoist Lem Davis, Roland, pianist Sanford Gold, Best and on one song trumpeter Leonard Hawkins. Safranski is well-featured (Musso is a strong co-star) and often recalls Jimmy Blanton in his short solos. The last session on this CD is unrelated to the others, an outing by trombonist Kai Winding that also features the young tenor Stan Getz (who in 1945 already sounds reconizable) and trumpeter Shorty Rogers. This final date is more common than the other two (it was formerly included on a Getz LP) but on a whole the CD gives listeners some fine rarities from the 1945-46 period that straddle the boundaries between swing, bop and even cool jazz.
~ Scott Yanow, AMG
2007:Portico Quartet - Knee-Deep In The North Sea Music » Jazz » Fusion » Contemporary Jazz
2007:Portico Quartet - Knee-Deep In The North Sea
Artist: Portico Quartet
Album: Knee-Deep In The North Sea
Label: The Vortex
Year: 2007
Format: FLAC
Size: 256 MB

2007:Portico Quartet - Knee-Deep In The North Sea

Portico Quartet are currently le dernier cri in Londonawards nominations, MTV sync deals and top-end TV and radio sessions are being thrown their way like confetti. Knee Deep In The North Sea is the quartet's debut album and it proves to be great stuff, deserving of much of the media cavalcade.
Portico's USP is the inclusion of two hangs in the line-up. Two whats? Invented in the late 1990s by a pair of Swiss-based world music enthusiasts, the hang is a tuned percussion instrument which is a cross between gongs, gamelan and various other drums and bells. It can play up to nine notes tuned around a central deep tone. It looks like an elaborate Chinese cooking implement and sounds like a refined Trinidadian steel drum.
The musicians are youngaged between 20 and 22and not long out of college, and Portico was originally conceived as a busking group. Their regular pitch was inside London's National Theatre and South Bank Arts Centre complex, a good place to win influential friends if you've got something unusual to offer.
The music, all of it original, is a cross between jazz and modern classical. It's mellifluous, exuberant and jaunty, full of catchy tunes and strong hooks. It's mostly through-written, with relatively little space given to solos (most of these by saxophonist Jack Wyllie), but it swings and has an informal, otherwise indefinable, jazz attitude.
The overall effect is light and feel-good, but it isn't bland. Wyllie from time-to-time essays convincingly, if briefly, into Albert Ayler-esque harmonics and multiphonics; there's a wide dynamic range (most of the tunes are mini-suites, each containing vividly contrasting sections); and the rhythms are sharp. And the hang is tuneful and fun.
The closest comparison, though it isn't an exact one, is perhaps with the late Penguin Cafe Orchestra. The crucial difference is that multi-instrumentalist Simon Jeffes wrote for a wider range of instruments than Portico's saxophone, bass, drums and hangs. Whether Portico would be able to sustain interest over a second album without broadening their line-up is a moot point. Meanwhile, there's plenty to enjoy in Knee Deep In The North Sea.

~ Chris May
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