JOHN COLTRANE AND JOHNNY HARTMAN - John Coltrane and Johnny Hartman (1963-2008) RM / FLAC (tracks+.cue), lossless

John Coltrane's matchup with singer Johnny Hartman, although quite unexpected, works extremely well. Hartman was in prime form on the six ballads, and his versions of "Lush Life" and "My One and Only Love" have never been topped. Coltrane's playing throughout the session is beautiful, sympathetic, and still exploratory; he sticks exclusively to tenor on the date. At only half an hour, one wishes there were twice as much music, but what is here is classic, essential for all jazz collections. by Scott Yanow

Tracklist:

1 They Say It's Wonderful 5:20
Irving Berlin
2 Dedicated to You 5:32
Sammy Cahn / Saul Chaplin / Hy Zaret
3 My One and Only Love 4:55
Robert Mellin / Guy Wood
4 Lush Life 5:29
Billy Strayhorn
5 You Are Too Beautiful 5:36
Lorenz Hart / Richard Rodgers
6 Autumn Serenade 4:19
Peter DeRose / Sammy Gallop
Credits:
Bass – Jimmy Garrison
Drums – Elvin Jones
Engineer – Rudy Van Gelder
Piano – McCoy Tyner
Tenor Saxophone – John Coltrane
Vocals – Johnny Hartman

CHET BAKER - Sings And Plays With Bud Shank, Russ Freeman And Strings (1955-1987) MONO / FLAC (tracks+.cue), lossless

With the growing popularity of Chet Baker's first vocal album, Chet Baker Sings, Pacific Jazz producer Richard Bock wanted to capitalize on both facets of his young star's abilities. Hence, the trumpeter turned vocalist entered the studio in 1955 with both his quartet featuring pianist Russ Freeman and an expanded sextet including bassist Red Mitchell, Bud Shank on flute, and various string players. The resulting album, Chet Baker Sings and Plays, helped set in stone the image of Baker as the jazz world's matinee idol and icon of '50s West Coast cool. His laid-back style -- a mix of '30s crooner and Miles Davis' nonet recordings -- appealed in its immediacy to a jazz public tiring of the hyper, athletic musicality of bebop. Similarly, his plaintive, warm trumpet sound was the more sensitive antidote to such brassy kings as Dizzy Gillespie and Clifford Brown. Others artists had performed many of these standards before, but as with "My Funny Valentine" on Chet Baker Sings, tracks like "Let's Get Lost," "Long Ago and Far Away," and "Just Friends" became definitively associated with Baker for the rest of his career. Chet Baker Sings and Chet Baker Sings and Plays are not only the two most important albums of Baker's career, but are classics of jazz. [The 2004 EMI reissue of Chet Baker Sings and Plays includes an EP version of "Let's Get Lost" not included on the original album.] by Matt Collar  
Tracklist:
1 Let's Get Lost 3:43
Frank Loesser / Jimmy McHugh
2 This Is Always 3:06
M. Gordon / Harry Warren
3 Long Ago and Far Away 3:57
Ira Gershwin / Jerome Kern
4 Someone to Watch Over Me 3:01
George Gershwin / Ira Gershwin
5 Just Friends 2:43
John Klenner / Sam M. Lewis
6 I Wish I Knew 3:59
M. Gordon / Harry Warren
7 Daybreak 2:41
Harold Adamson / Ferde Grofé
8 You Don't Know What Love Is 4:50
Gene DePaul / Don Raye
9 Grey December 3:41
Frank Campo
10 I Remember You 3:15
Johnny Mercer / Victor Schertzinger
Credits:
Bass – Carson Smith (tracks: 1, 3, 5, 7, 8, 10), Red Mitchell (tracks: 2, 4, 6, 9)
Drums – Bob Neel
Flute – Bud Shank (tracks: 2, 4, 6, 9)
Harp – Corky Hale (tracks: 2, 4, 6, 9)
Piano – Russ Freeman
Trumpet, Vocals – Chet Baker

LOUIS ARMSTRONG - Louis Armstrong Plays W. C. Handy (1954-1999) SACD / DSF-WV STEREO

This recording was not only Louis Armstrong's finest record of the 1950s but one of the truly classic jazz sets. Armstrong and his All-Stars (trombonist Trummy Young, clarinetist Barney Bigard, pianist Billy Kyle, bassist Arvell Shaw, drummer Barrett Deems, and singer Velma Middleton) were clearly inspired by the fresh repertoire, 11 songs written by W.C. Handy. Their nearly nine-minute version of "St. Louis Blues" -- with witty vocals, roaring Young trombone, and a couple of long majestic trumpet solos -- is arguably the greatest version of the oft-recorded song. Other highlights include "Loveless Love," "Beale Street Blues," and a romping version of "Ole Miss Blues." Essential music for all serious jazz collections. [Some reissues also include rehearsal versions of three songs, Louis Armstrong telling a joke, and a brief George Avakian interview with W.C. Handy.] by Scott Yanow 
Tracklist:
1. St Louis Blues 8:52
W.C. Handy 

Vocals – Louis Armstrong, Velma Middleton

2. Yellow Dog Blues 4:17 

Vocals – Louis Armstrong

W.C. Handy 

3. Loveless Love 4:29 

Vocals – Louis Armstrong, Velma Middleton

W.C. Handy 

4. Aunt Hagar’s Blues 4:58
Tim Brymn / W.C. Handy 
5 .Long Gone (From Bowling Green) 5:10
W.C. Handy / Chris Smith 
6. The Memphis Blues (Or Mister Crump) 3:00
W.C. Handy / George Norton 
7. Beale Street Blues 4:57

Vocals – Louis Armstrong

W.C. Handy 

8. Ole Miss Blues 3:26 

Vocals – Louis Armstrong

 W.C. Handy 

9. Chantez Les Bas (Sing ‘Em Low) 4:49

Vocals – Louis Armstrong

W.C. Handy 

10. Hesitating Blues 5:21 

Vocals – Louis Armstrong, Velma Middleton

W.C. Handy 

11. Atlanta Blues (Make Me One Pallet On Your Floor) 4:34 

Vocals – Louis Armstrong

David Elman / W.C. Handy 

12. George Avakian’s Interview With W.C. Handy 2:45
David Elman / W.C. Handy 
13. Loveless Love (rehearsal sequence) 5:56

W.C. Handy 

14. Hesitating Blues (rehearsal sequence) 5:40 

W.C. Handy 

Vocals – Louis Armstrong, Velma Middleton

15. Alligator Story 0:47 

16. Long Gone (From the Bowlin' Green)

W.C. Handy / Chris Smith

Credits:

Bass – Arvell Shaw

Clarinet – Barney Bigard

Drums – Barrett Deems

Piano – Billy Kyle

Trombone – Trummy Young

Trumpet, Vocals – Louis Armstrong

Vocals – Velma Middleton

LOUIS ARMSTRONG AND HIS ALL STARS - Satch Plays Fats : A Tribute To The Immortal Fats Waller (1955) lp / 24-192 / FLAC (tracks), lossless

In 1955, Louis Armstrong, along with vocalist Velma Middleton, got into the studio to pay tribute to the late Fats Waller. All the standards are here: "Honeysuckle Rose," "Squeeze Me," "Ain't Misbehavin," rendered in fine and mellow but gently, genially swinging fashion. Armstrong's trumpet is superb and his voice carries the good-time spirit of Waller's music.
Louis Armstrong and Fats Waller only worked together twice, briefly in 1925 in Erskine Tate's band and four years later in the New York revue Connie's Hot Chocolates. But Waller made an indelible enough impression for Satchmo to record the tribute album Satch Plays Fats: The Music of Fats Waller in 1955, when such ideas were new. The nine tracks feature Armstrong ably supported by his All-Stars on such classics as "Honeysuckle Rose," "Squeeze Me," and "Ain't Misbehavin'." The mid-'50s was a fertile time for Armstrong, and this makes for a stellar package. by Cub Koda
Tracklist
A1     Honeysuckle Rose    2:53
    Written-By – Razaf, Waller
A2     Blue Turning Grey Over You    4:53
    Written-By – Razaf, Waller
A3     I'm Crazy 'Bout My Baby    4:26
    Written-By – A. Hill, Waller
A4     Squeeze Me    5:04
    Written-By – C. Williams, Waller
A5     Keepin' Out Of Mischief Now    3:20
    Written-By – Razaf, Waller
B1     All That Meat And No Potatoes    5:14
    Written-By – Kirkeby, Waller
B2     I've Got A Feeling I'm Falling    3:10
    Written-By – B. Rose, Waller, Link
B3     (What Did I Do To Be So) Black And Blue    4:37
    Written-By – Razaf, Waller, Brooks
B4     Ain't Misbehavin'    3:59
    Written-By – Razaf, Waller, Brooks

Credits
    Bass [String Bass] – Arvell Shaw
    Clarinet – Barney Bigard
    Drums – Barrett Deems
    Piano – Billy Kyle
    Trombone – Trummy Young
    Trumpet – Louis Armstrong
    Vocals – Louis Armstrong (tracks: A1, A2, A4 to B4), Velma Middleton (tracks: A1, A4)

LOUIS ARMSTRONG / OSCAR PETERSON - Louis Armstrong Meets Oscar Peterson (1957-1997) APE (image+.cue), lossless

By 1957, hard bop was firmly established as the "jazz of now," while pianist Oscar Peterson and his ensemble with bassist Ray Brown and guitarist Herb Ellis were making their own distinctive presence felt as a true working band playing standards in the swing tradition. Louis Armstrong was more recognizable to the general public as a singer instead of the pioneering trumpet player he was. But popularity contests being the trend, Armstrong's newer fans wanted to hear him entertain them, so in retrospect it was probably a good move to feature his vocalizing on these tracks with Peterson's band and guest drummer Louie Bellson sitting in. The standard form of Armstrong singing the lead lines, followed by playing his pithy and witty horn solos based on the secondary melody, provides the basis for the format on this charming but predictable recording. What happens frequently is that Armstrong and Peterson play lovely ad lib vocal/piano duets at the outset of many tunes. They are all songs you likely know, with few upbeat numbers or obscure choices. It is, however, the familiarity of songs like the midtempo "Let's Fall in Love," with Armstrong's gravelly scat singing, and his marvelous ability to riff off of the basic songs, that make these offerings endearing. A classic take of "Blues in the Night" is the showstopper, while choosing "Moon Song" is a good, off-the-beaten-path pick as the trumpeter plays two solo choruses, and he leads out on his horn for once during the slightly bouncy, basic blues "I Was Doing All Right." Some extremely slow tunes crop up on occasion, like "How Long Has This Been Going On?," an atypically downtempo take of "Let's Do It," and "You Go to My Head," featuring Peterson's crystalline piano. There are the dependable swingers "Just One of Those Things," "I Get a Kick Out of You," and "Sweet Lorraine," with Peterson at his accompanying best. There's a ramped-up version of the usually downtrodden "Willow Weep for Me" and a duet between Armstrong and Ellis on the sad two-minute ditty "There's No You." All in all, it's difficult to critique or find any real fault with these sessions, though Peterson is subsumed by the presence of Armstrong, who, as Leonard Feather notes, really needs nobody's help. That this was their only collaboration speaks volumes to how interactive and communal the session really was, aside from the fairly precious music. by Michael G. Nastos
 Tracklist:
 1    That Old Feeling 2:43
Written-By – Lew Brown, Sammy Fain
2    Let's Fall In Love 3:16
Written-By – Harold Arlen, Ted Koehler
3    I'll Never Be The Same 3:30
Written-By – Frank Signorelli, Gus Kahn, Matty Malneck
4    Blues In The Night (My Mama Done Tol' Me) 5:17
Written-By – Harold Arlen, Johnny Mercer
5    How Long Has This Been Going On 5:58
Written-By – George Gershwin, Ira Gershwin
6    I Was Doing All Right 3:21
Written-By – George Gershwin, Ira Gershwin
7    What's New 2:40
Written-By – Bob Haggart, Johnny Burke
8    Moon Song 4:33
Written-By – Arthur Johnston, Sam Coslow
9    Just One Of Those Things 4:03
Written-By – Cole Porter
10    There's No You 2:16
Written-By – Hal Hopper, Tom Adair
11    You Go To My Head 6:25
Written-By – Haven Gillespie, J. Fred Coots
12    Sweet Lorraine 5:12
Written-By – Cliff Burwell, Mitchell Parish
13    I Get A Kick Out Of You 4:17
Written-By – Cole Porter
14    Makin' Whoopee 3:56
Written-By – Gus Kahn, Walter Donaldson
15    Willow Weep For Me 4:17
Written-By – Ann Ronell
16    Let's Do It / Blues In The Night (outtake) 11:45
Written-By – Cole Porter
Credits:
Bass – Ray Brown (tracks: 1 to 6, 8, 9, 11 to 16)
Drums – Louis Bellson (tracks: 1 to 6, 8, 9, 11 to 16)
Guitar – Herb Ellis (tracks: 1 to 6, 8 to 16)
Piano – Oscar Peterson (tracks: 1 to 9, 11 to 16)
Trumpet – Louis Armstrong (tracks: 2, 4, 6, 8, 9, 11, 12)
Vocals – Louis Armstrong

HENRI SALVADOR - Henri ! (2001) 3CD / FLAC (tracks+.cue), lossless

Tracklist 1:
1. Le petit indien 3:13
2. Le loup, la biche et le chevalier 2:28
3. Elle me donne 2:42
4. Margaret 2:58
5. Papa loves mambo 3:20
6. Le roi des Caves 3:54
7. Pierrot et Colombine 2:56
8. Cendrillon 3:49
9. L'abeille et le papillon 2:33
10. Rock and roll mops 2:43
11. Dis-moi qu'tu m'aimes rock 2:38
12. Rock hoquet 2:29
13. Va t'faire cuire un oeuf, man ! 2:52
14. Salvador plays the blues 7:02
15. Don't blame me 3:27
16. Stompin' at the Savoy 3:40
17. Y a rien d'aussi beau 2:56
18. Eh ! Mama ! 2:40
19. Oh ! si y'avait pas ton père 2:27
20. C'était hier 2:40
21. Quand je monte chez toi 3:04
22. As-tu vu Adèle ? 2:52
23. Amour perdu 2:43
24. T'es à peindre 3:34
Tracklist 2:
1. Mazurka pour ma mie 2:58
2. Ça pince 2:22
3. Cécilia 3:03
4. Dans mon île 3:22
5. Marianne 3:01
6. Mathilda 2:28
7. Je peux pas travailler 3:08
8. Blouse du dentiste 3:28
9. Moi j'préfère la marche à pied 2:31
10. Trompette d'occasion 2:40
11. Le gosse 3:09
12. Sarah 3:08
13. Le langage des fleurs 2:54
14. Barbarie 2:50
15. Une île au soleil 2:25
16. Riobamba 2:45
17. Bora Bora 2:39
18. Ma jolie petite fleur 2:21
19. Come prima 2:04
20. Bal de Vienne 2:36
21. J'aimerais tellement ça 2:50
Tracklist 3:
1. Un certain sourire 2:50
2. Je me souviens de vous 2:32
3. Gigi 2:49
4. C'était pour jouer 2:37
5. Amour de Saint-Tropez 2:35
6. Rendez-vous au Lavandou 2:40
7. A Cannes cet été 2:38
8. La fin des vacances 2:52
9. Mon ange gardien 2:34
10. Chiche 1:55
11. Place Blanche 1:56
12. Maman 2:24
13. Tout doux, tout doucement 2:18
14. Ne dis plus rien 3:10
15. Petite fleur 2:45
16. Ne sois pas méchante 2:22
17. Ma Louise 2:22
18. Pas mon papa 2:34
19. Soleil de minuit 2:52
20. Verte campagne 3:02
21. Les Papous 2:25
22. Le soleil, ton visage et la mer 2:05
23. L'amour est là 2:33

JOHNNY HARTMAN - The Voice That Is (1965-1994) APE (image+.cue), lossless

Ballad singer Johnny Hartman's third and final Impulse session is not quite on the same level as the first two. Although the earlier of the two sessions has several near-classic performances (including "My Ship," "Waltz for Debby," and "It Never Entered My Mind"), the second date has weaker material, primarily several songs from movies or shows, including "Sunrise, Sunset." Hartman is in fine form whether backed by the Hank Jones quartet or accompanied by an octet arranged by pianist Bob Hammer, but this set is not as essential as his earlier meetings with John Coltrane and Illinois Jacquet. by Scott Yanow
Tracklist:
1 My Ship 3:08
2 The More I See You 2:26
3 These Foolish Things 4:17
4 Waltz For Debbie 3:44
5 It Never Entered My Mind 3:35
6 The Day The World Stopped Turning 2:29
7 A Slow Hot Wind 3:20
8 Funny World 4:08
9 Joey, Joey, Joey 4:24
10 Let Me Love You 1:45
11 Sunrise, Sunset 2:48
Credits:
Arranged By – Bob Hammer
Bass – Richard Davis
Drums – Osie Johnson
English Horn, Flute – Dick Hafer (tracks: 2 to 4, 7 to 9)
Guitar – Barry Galbraith, Howard Collins (tracks: 2 to 4, 7 to 9)
Marimba – Phil Kraus (tracks: 2 to 4, 7 to 9)
Percussion [Latin] – Willie Rodriguez (tracks: 2 to 4, 7 to 9)
Piano – Hank Jones (tracks: 1, 5, 6, 10, 11)
Vocals – Johnny Hartman

VICTOR FELDMAN - Suite Sixteen (1958-1991) RM / APE (image+.cue), lossless

This interesting set features Victor Feldman shortly before he left England for the United States. Feldman, mostly heard on vibes but also making strong appearances on piano and drums, heads several groups filled with English All-Stars, including such notable musicians as trumpeters Jimmy Deuchar and Dizzy Reece, tenors Ronnie Scott and Tubby Hayes, and pianist Tommy Pollard. The music is boppish with some surprises in the consistently swinging arrangements, giving one a definitive look at Victor Feldman near the beginning of his  by Scott Yanow
Tracklist:
1 Cabaletto 2:52
2 Elegy 3:32
3 Suite Sixteen 8:45
4 Sonar 6:40
5 Big Top 3:38
6 Duffle Coat 5:18
7 Brawl For All 4:16
8 Sunshine On A Dull Day 5:51
9 Maenya 3:49
Credits:
Alto Saxophone – Derek Humble (tracks: 3,4,7,8)
Baritone Saxophone – Harry Klein (tracks: 1,2,5,9)
Bass – Eric Peter (tracks: 3), Lennie Bush (tracks: 1,2,4 to 9)
Congas – Victor Feldman (tracks: 9)
Drums – Phil Seamen (tracks: 1,2,5,9), Tony Crombie (tracks: 3,4,6,7,8,), Victor Feldman (tracks: 1)
French Horn – John Burden (tracks: 1,2,5,9)
Piano – Norman Stenfalt (tracks: 1,2,5,9), Terry Pollard (tracks: 1 to 6, 8,9), Victor Feldman (tracks: 7)
Tenor Saxophone – Ronnie Scott (tracks: 1,2,5,9), Tubby Hayes (tracks: 1,2,5,9)
Trumpet – Dizzy Reece (tracks: 1,2,4,5,7,8,9), Jimmy Deuchar (tracks: 1,2,4,5,7,8,9)
Vibraphone – Victor Feldman (tracks: 2 to 6, 8)

JON HENDRICKS - ¡Salud! João Gilberto [1963] FLAC (image+.cue), lossless

 Jon Hendricks idolizes João Gilberto -- he has spoken fondly of their first meeting where they scatted to each other before ever speaking a word -- and he wasted little time putting together a tribute album at the height of the first bossa nova wave. It ought to come as no surprise that he would display total sympathy with the bossa nova manner here, singing softly and smoothly -- and Hendricks' English wordplay is quite faithful to the original tunes and meanings of the Portuguese lyrics, in contrast to his usual whimsical work with jazz improvisations. Hendricks is particularly winning, and irresistibly swinging on the rare occasions ("Voce E Eu," "Samba Da Minha Terra") when he scats to the Brazilian rhythm; he should have done more of that here. But then, his versions of Gilberto's repertoire are carefully based on Gilberto's early EMI/Odeon recordings (now available on The Legendary João Gilberto); even Antonio Carlos Jobim's string and wind charts for the originals are preserved by adapter Johnny Mandel. Alas, the only Hendricks lyric that has become a universal standard is Jobim's "Chega de Saudade" ("No More Blues"). As Hendricks' only album-length encounter with bossa nova, Salud! João Gilberto Originator of the Bossa Nova is essential. by Richard S. Ginell   
Tracklist:
1     The Duck (O Pato)    1:55
Jon Hendricks / Jayme Silva / Neuza Teixeira
2     Quiet Nights (Corcovado)    2:06
Antônio Carlos Jobim / Gene Lees
3     You and I (Voce E Eu)    3:06
Jon Hendricks / Carlos Lyra
4     Love in Peace (O Amor Em Paz)    2:34
Jon Hendricks / Antônio Carlos Jobim
5     Little Paper Ball    1:16
Jon Hendricks
6     Longing for Bahia    2:26
Dorival Caymmi / Jon Hendricks
7     Little Train of Iron (Trem de Ferro)        1:55
Jon Hendricks
8     No More Blues (Chega de Saudade)    2:06
Jesse Cavanaugh / Jon Hendricks / Antônio Carlos Jobim / Vinícius de Moraes
9     Rosa Morena    2:11
Dorival Caymmi / Jon Hendricks
10     The Most Beautiful Thing (Coisa Mais Linda)    3:06
Jon Hendricks / Carlos Lyra / Jimmy Eat World
11     Samba of My Land (Samba da Minha Terra)    2:29
Dorival Caymmi / Jon Hendricks
12     Once Again (Outra Vez)    1:57
Jon Hendricks / Antônio Carlos Jobim
13    Jive Samba      2:18
Nat Adderley / Jon Hendricks
 Credits:
Milt Bernhart     Trombone
Pete Candoli     Trumpet
Buddy Collette     Flute
Conte     Trumpet
Jon Hendricks     Vocals
Antônio Carlos Jobim     String Arrangements
Gildo Mahones     Piano
Frank Messina     Accordion
Ray Sherman     Organ
Jimmie Smith     Drums  

JON HENDRICKS - ¡Salud! João Gilberto [1963] 

[2002] Collectables / FLAC (image+.cue), lossless

O Púbis da Rosa

BOBBY McFERRIN - The Voice [1984] APE (image+.cue), lossless

The Voice was a milestone in jazz history; it was the first time a jazz singer had recorded an entire album solo, without accompaniment or overdubbing, for a major label. Bobby McFerrin's amazing ability to switch back and forth between bass notes and falsetto, along with his talent for jumping octaves, made this record quite a virtuoso showcase. For those interested in the potential of the human voices and in an important jazz talent, The Voice is recommended without reservations.  by Scott Yanow 
Tracklist 
1 Blackbird 2:49
John Lennon / Paul McCartney 
2 The Jump 4:49
Bobby McFerrin 
3 El Brujo 4:11
Bobby McFerrin 
4 I Feel Good 3:02
James Brown 
5 I'm My Own Walkman 3:58
Bobby McFerrin 
6 Music Box 3:40
Bobby McFerrin 
7 Medley: Donna Lee/Big Top/We're in the Money 7:01
Al Dubin / Bobby McFerrin / Charlie Parker / Harry Warren 
8 I'm Alone 4:37
Bobby McFerrin 
9 T.J. 3:47
Bobby McFerrin 
10 Take the "A" Train 3:40
Billy Strayhorn 
Credits:
Vocals [Live Acapella], Bobby McFerrin

BOBBY McFERRIN - The Voice

 [1984] Elektra / APE (image+.cue), lossless

O Púbis da Rosa

OSCAR BROWN JR - Sin & Soul ... and Then Some [1961]

Oscar Brown, Jr.'s debut recording, Sin & Soul, is a true classic. A brilliant lyricist, a dramatic singer, and a highly individual genius in his own way, Brown performed a dozen memorable selections for this album. His lyrics to "Work Song," "Watermelon Man," "Afro-Blue," and particularly "Dat Dere" are famous; "But I Was Cool" and "Signifyin' Money" are humorous; "Bid 'Em In" is a chilling depiction of a slave auction; and "Rags and Old Iron" is quite touching. Essential music from an underrated great.  by Scott Yanow 
Tracklist
1 Work Song 2:31
2 But I Was Cool 2:54
3 Bid 'Em In 1:28
4 Signifyin' Monkey 3:59
5 Watermelon Man 2:38
6 Somebody Buy Me A Drink 3:06
7 Rags And Old Iron 3:42
8 Dat Dere 2:51
9 Brown Baby 3:06
10 Humdrum Blues 2:02
11 Sleepy 2:29
12 Afro-Blue 2:39
13 Mr. Kicks 2:03
14 Hazel's Hips 2:41
15 World Of Grey 3:31
16 Forbidden Fruit 3:31
17 Straighten Up And Fly Right 1:41
Credits
Bass – Frank Carroll, George Duvivier, Joe Benjamin
Drums – Bobbie Rosengardner, George Devens, Osie Johnson, Panama Francis
Guitar – A. Chernet, Don Arnone, Everett Barksdale
Piano – Alonzo Levister, Bernie Leighton, Floyd Morris
Saxophone – Joe Solde, Phil Bodner, Walt Levinsky
Trumpet – Billy Butterfield, Joe Wilder

 OSCAR BROWN JR - Sin & Soul ... and Then Some [1961]

RM [1996] COLUMBIA / CBR320 / scans

O Púbis da Rosa

NEW YORK VOICES - A Day Like This [2007] MCG / FLAC

With ensemble vocal jazz, the danger is always that tight and complex harmony writing will come across as too smooth and too sweet -- for some reason, chords that sound sharp and bracing when distributed among reed instruments can sound cloying and overly slick when sung by human voices. The vocal/instrumental quartet New York Voices don't avoid that trap entirely on their latest album (and their first as an ensemble in seven years), but they continue to demonstrate their mastery of the genre with a solid program of new and old songs and innovative arrangements. Their take on "Darn That Dream" is startlingly new (and features a fine bass clarinet solo by Bob Mintzer), and the lyrics that group members added to John Coltrane's "Moment's Notice" work very nicely. Not everyone will agree that the world needed a vocal jazz version of Laura Nyro's "Stoned Soul Picnic," but the New York Voices' version is really lots of fun and is sure to bring a nostalgic tear to more than one baby-boomer eye. Apart from a couple of saccharine moments on "In the Wee Small Hours of the Morning," A Day Like This is a pleasure from start to finish. by Rick Anderson   
Tracklist
1   Darn That Dream 3:31
Eddie DeLange 
2   The World Keeps You Waiting 6:08
Peter Eldridge / Lauren Kinhan 
3   In the Wee Small Hours of the Morning 5:30
Bob Hilliard 
4   On a Clear Day 5:02
Burton Lane / Alan Jay Lerner 
5   For All We Know 4:02
J. Fred Coots 
6   Love You Madly 4:20
Duke Ellington 
7   As We Live and Breathe  4:23
Lauren Kinhan / Eve Nelson 
8   No Moon at All 4:51
Redd Evans 
9   Chamego (Betty's Bossa) 4:00
Jack Donahue / Peter Eldridge 
10   Noticing the Moment 4:36
John Coltrane / Peter Eldridge / Kim Nazarian 
11   Don't You Worry 'Bout a Thing 4:33
Stevie Wonder 
12   Stoned Soul Picnic 3:44
Laura Nyro 
13   A Day Like This 4:49
Peter Eldridge / Darmon Meader 
14   Jackie  4:31
Hampton Hawes / Annie Ross
Credits 
Voice – Kim Nazarian, Lauren Kinhan
Voice, Piano – Peter Eldridge
Voice, Tenor Saxophone – Darmon Meader

NEW YORK VOICES - A Day Like This

 [2007] MCG / FLAC / scans

O Púbis da Rosa

MINA AGOSSI - Well You Needn't [2005] CANDID

Mina Agossi offers listeners her unique singing talents on Well You Needn't, a 12-track recording that features songs as varied as her creative muse. Five tracks written by Agossi feature the rarely heard African kamala n' goni played to perfection by Bachir Sanogo while the other side of Agossi's musical personality pays tribute to such versatile musicians as Jimi Hendrix on "Voodoo Chile" and to Thelonious Monk on "Well You Needn't." Known throughout Europe for the use of her voice as an instrument and charismatic personality, Agossi's renditions of these songs have sparked a new interest in her vocal, drum, and bass style, which was evident in her first two recordings released in France. Agossi's free improvisations are what make this recording memorable and her fresh approach to vocal jazz (the use of her voice as a horn and guitar) is reminiscent of Carla Cook's and Suzanne Pittson's innovative vocal eccentricities. However, "Why Don't You Do Right?" is the sexiest and probably the best song on this record.  by Paula Edelstein
Tracklist
1 Why Don't You Do Right? 2:40
Written-By – Joe McCoy
2 Don't Look At Me 3:53
Written-By – Mina Agossi
3 Well You Needn't 2:41
Lyrics By – Mike Ferro
Music By – Thelonious Monk
4 Drive 5:15
Written-By – Alex Hiele, Mina Agossi
5 May I Sit At Your Table? 4:39
Written-By – Mina Agossi
6 Father's Talk 6:07
Written-By – Mina Agossi
7 Ghost Of Yesterday 4:05
Written-By – Arthur Herzog, Jr., Irene Wilson
8 You 4:15
Written-By – Alex Hiele, Mina Agossi
9 Voodoo Chile 4:23
Written-By – Jimi Hendrix
10 Rose Petals 3:40
Written-By – Mina Agossi
11 After You've Gone 2:18
Written-By – Henry Creamer, Turner Layton
12 Laundry Man Blues 2:56
Written-By – Mina Agossi
Bonus Track
13 Au Bois De Boulogne 2:34
Written-By – Francis Lemarque, H. Spade
Credits
Bass – Alex Hiele
Drums – Ichiro Onoe
Percussion, Kora [Kamale N'goni] – Bachir Sanogo
Trumpet – Rob Henke
Vocals, Jew's Harp [Guimbarde], Guiro, Producer – Mina Agossi

MINA AGOSSI - Well You Needn't 

[2005] CANDID / CBR320 / scans

O Púbis da Rosa

PEGGY LEE - Dream Street (1957-1999) RM / FLAC (tracks+.cue), lossless

Dream Street captures Peggy Lee at her most intimate and melancholy -- a song cycle exploring love and loss in uncompromisingly frank terms, it strips away the saccharine and schmaltz so common among the singer's Decca sessions to effectively create the first truly adult music of her career. Lee occupies the same harrowing emotional territory staked out by Frank Sinatra via the landmark In the Wee Small Hours, investing the material with the kind of heartbreak and longing that belies the whole "easy listening" tag -- this is music shorn of pretense and artifice, as intense as a primal scream yet beautiful in the way only art of this magnitude can be.  by Jason Ankeny
Tracklist 
1 Street Of Dreams  3:17
Written-By – S.M. Lewis, V. Young
2 What's New  2:55
Written-By – B. Haggart, J. Burke
3 You're Blase  2:46
Written-By – B. Sievier, O. Hamilton
4 It's All Right With Me  2:20
Written-By – C. Porter
5 My Old Flame  2:35
Written-By – A. Johnston, S. Coslow
6 Dancing On The Ceiling  3:36
Written-By – L. Hart, R. Rogers
7 It Never Entered My Mind  2:57
Written-By – L. Hart, R. Rogers
8 Too Late Now  3:44
Written-By – A. J. Lerner, B. Lane
9 I've Grown Accustomed To His Face  2:42
Written-By – A. J. Lerner, F. Lowe
10 Something I Dreamed Last Night  2:25
Written-By – H. Magidson, J. Yellen, S. Fain
11 Last Night When We Were Young  2:51
Written-By – E.Y. Harburg, H. Arlen
12 So Blue  2:11
Written-By – DeSylva, Brown, Henderson
Credits
Larry Bunker - Percussion, Vibraphone
Nick Fatool - Drums
Peggy Lee - Primary Artist, Vocals
Lou Levy - Piano

SAMMY DAVIS JR Sings, LAURINDO ALMEIDA Plays [1966] CCM / FLAC

The intimacy inherent in this collection places 1966's Sammy Davis, Jr. Sings and Laurindo Almeida Plays in a class unto itself. As he had done on the highly conceptual All-Star Spectacular in 1962 and California Suite in 1964, multi-talented entertainer Sammy Davis Jr. has created a unique and thoroughly fascinating outing. The ten selections feature Davis and Brazilian instrumentalist/arranger Laurindo Almeida, who made a name for himself as an accompanist for Carmen Miranda before delving into the decidedly American art form of West Coast cool jazz with saxophonist Bud Shank in the mid-'50s. Here, the pair effortlessly complement each other inside the very intonation and tenor of their respective crafts. Davis' incisive abilities as an emotive performer bring a pervasive dramatic quality to the wide range of material covered. When compared to fellow Rat Packer Frank Sinatra's reading of "Here's That Rainy Day," Davis' vocals lean into the song, resulting in a palpable sense of melancholia. He evokes a similar sentiment on the achingly poignant version of Cole Porter's "Ev'ry Time We Say Goodbye" as well as the hopelessly optimistic "I'm Always Chasing Rainbows." However, the real magic woven into this collaboration is without a doubt Davis' incorporation of several significant Broadway melodies. "Where Is Love" -- taken from Lionel Bart's Oliver -- is a stunning, if not mesmerizing, interpretation. "Joey, Joey, Joey" bears an earthy closeness, offering what is arguably a defining moment as the tune transcends its place within the stage production Most Happy Fella, becoming an exceptional and exquisite ballad. [In 2004, Collectors' Choice Music reissued Sammy Davis, Jr. Sings and Laurindo Almeida Plays as part of the label's complete restoration of Davis' 1960s Reprise Records catalog.]  by Lindsay Planer 
Tracklist 
1 Here's That Rainy Day  2:15
Written-By – Burke/Van Heusen
2 Two Different Worlds  3:21
Written-By – Frisch, Wayne
3 The Shadow Of Your Smile  4:12
Written-By – Mandel, Webster
4 Where Is Love   3:00
Written-By – Lionel Bart
5 Ev'ry Time We Say Goodbye  4:01
Written-By – Cole Porter
6 I'm Always Chasing Rainbows  2:20
Written-By – Carroll, McCarthy
7 We'll Be Together Again  3:14
Written-By – Fischer, Laine
8 Joey, Joey, Joey  4:18
Written-By – Frank Loesser
9 The Folks Who Live On The Hill  3:40
Written-By – Kern/Hammerstein
10 Speak Low  3:32
Written-By – Weill, Nash
Credits
Classical Guitar – Laurindo Almeida
Vocals – Sammy Davis Jr.

SAMMY DAVIS JR Sings LAURINDO ALMEIDA Plays [1966]

[2004 RE] Collectors' Choice Music / FLAC / scans

O Púbis da Rosa

KEELY SMITH - Little Girl Blue / Little Girl New (1963-2017) 24bits-96hz / FLAC (tracks), lossless

Following her split with husband and creative partner Louis Prima, vocalist Keely Smith signed with Frank Sinatra's Reprise Records for a series of finely curated and well-received albums designed to showcase her voice and relaunch her career. The first of these, 1963's Little Girl Blue/Little Girl New, featured arrangements by Sinatra's longtime collaborator, the illustrious Nelson Riddle, and was conceptualized in two parts with Side A, "Little Girl Blue," featuring ballads and Side B, "Little Girl New," focusing on more upbeat numbers. The result was a tour de force of an album that presented Smith as the solo star she deserved to be -- and which Sinatra had known she could be for many years prior. Thankfully, as per all of Sinatra's Reprise contracts, the artists kept the rights to the master recordings, which is where they remained until Smith struck her own deal with Real Gone Music for a series of reissues, including this 2017 expanded edition of Little Girl Blue/Little Girl New. Though she had recorded solo albums for Dot during her years with Prima, she had been somewhat overshadowed by the kitschy, flamboyant tone (and Grammy-winning success) of their performances, which often found her playing the cheeky straight man to her trumpeter husband's swing-era clown. Afforded far greater freedom on Sinatra's label, she was presented on Little Girl Blue/Little Girl New as an urbanely sophisticated hipster and a clarion diva in the mold of such similarly inclined contemporaries as June Christy, Anita O'Day, and Kay Starr. Cuts like her yearning take on "Here's That Rainy Day" and her languorously sensual reading of "I'll Never Be the Same Again" reveal her as a mature and knowing performer in contrast to the lighter, more comedic tone of her work with Prima. That said, she can still knock 'em dead as she does on the latter half of the album, her highly resonant voice slicing through uptempo swinger's like "I'm Gonna Live 'til I Die" and "I've Got a Lot of Livin' to Do." Ultimately, listening to Smith and her pointed yet dusky, golden-toned voice pouring out of Riddle's shimmering, sky-blue arrangements, one can easily see why Sinatra jumped at the chance to work with her.  by Matt Collar  
Tracklist:
1 Little Girl Blue  3:56
Lorenz Hart / Richard Rodgers
2      Here's That Rainy Day  3:20
Johnny Burke / James Van Heusen
3 Gone With the Wind  3:13
Herbert Magidson / Allie Wrubel
4 Willow Weep for Me  3:51
Ann Ronell
5 I'll Never Be the Same  3:09
Gus Kahn / Matty Malneck
6 Guess I'll Hang My Tears Out to Dry  2:57
Gus Kahn / Jule Styne
 7 I'm Gonna Live Till I Die  2:16
Al Hoffman / Walter Kent
8 It's Good to Be Alive  2:38
Bob Merrill
9 A Lot of Livin' to Do  2:15
Lee Adams / Charles Strouse
10 Once in a Lifetime  2:44
Leslie Bricusse / Anthony Newley
11 New Sun in the Sky  1:43
Howard Dietz / Arthur Schwartz
12 Blue Skies  2:27
Irving Berlin
13 Going Through the Motions  3:00
Bob Brass / Al Kooper / Al Levine / Irwin Levine
14 When You Cry  3:06
Ray Allen / Wandra Merrell
Credits
Arranged & Conductor – Nelson Riddle

 

ERNESTINE ANDERSON - Never Make Your Move Too Soon [1980] FLAC

The title cut of this near-classic album became a sort of theme song for Ernestine Anderson, but it is not the only high point. The singer sounds in top form on such fine material as "As Long As I Live," a touching "Old Folks," "My Shining Hour," and "Poor Butterfly." With fine assistance from pianist Monty Alexander, bassist Ray Brown, and drummer Frank Gant, Ernestine Anderson is heard throughout in prime form, sounding quite enthusiastic and powerful. Highly recommended.  by Scott Yanow

Tracklist:

1 Never Make Your Move Too Soon 3:31  

Stix Hooper / Will Jennings

2 What a Diff'rence a Day Made 4:47

Stanley Adams / María Mendez Grever

3 As Long as I Live 4:40

Harold Arlen / Ted Koehler

4 Old Folks 7:17

Dedette Lee Hill / Willard Robison

5 Just One More Chance 5:30

Sam Coslow / Arthur Johnston

6 My Shining Hour 3:34

Harold Arlen / Johnny Mercer

7 Why Did I Choose You? 4:22

Michael Leonard / Herbert Martin

8 Poor Butterfly 5:35

John Golden / Raymond Hubbell

Credits

Bass – Ray Brown

Drums – Frank Gant

Piano – Monty Alexander

Vocals – Ernestine Anderson

ERNESTINE ANDERSON - Never Make Your Move Too Soon

 [1980] CONCORD / FLAC / scans

O Púbis da Rosa

THE MANHATTAN TRANSFER - The Manhattan Tranfer [1975] FLAC

The Manhattan Transfer first came to the general public's attention as a retro act, a nostalgic throwback in a era consumed with nostalgia -- the early/mid-'70s -- and their debut Atlantic album, as well as their 1975 summer replacement TV series, catered unashamedly to that market. As a result, this record seemed old when it came out, and it still sounds more than a little sappy, especially when one considers the astonishing growth of the Transfer since. True, "You Can Depend Upon Me" is a lively precursor of vocalese triumphs to come, enlivened by a brief solo from Zoot Sims, and there are subdued reminders of their jazz roots on "Tuxedo Junction." But the object of the latter exercise was to bring back sweet memories, specifically of a wartime era evoked more explicitly by the unctuous, sugary rendition of "Candy." Nothing if not eclectic even then, the Transfer also evokes the Ink Spots, 1940s jive, 1950s doo wop, New Orleans funk, even 1975 with the proto-disco "Clap Your Hands." Yet the net results usually seem calculated, not fresh and innocent. Best bet: Seek out the originals and sample later Transfer projects first.  Allmusic

1. Tuxedo Junction [03:07]

2. Sweet Talking Guy [02:29]

3. Operator [03:14]

4. Candy [03:31]

5. Gloria [03:01]

6. Clap Your Hands [02:58]

7. That Cat Is High [02:55]

8. You Can Depend On Me [03:34]

9. Blue Champagne [02:25]

10. Java Jive [02:48]

11. Occapella [03:08]

12. Heart's Desire [02:36]

Performer [The Manhattan Transfer] 

– Alan Paul, Janis Siegel, Laurel Massé, Tim Hauser -

O Púbis da Rosa

BOBBY McFERRIN & CHICK COREA - The Mozart Sessions [1996] FLAC

The informal title says a great deal about the contents of The Mozart Sessions, which could have been called Concerti for Piano and Orchestra, Nos. 23 and 20, since that is, for the most part, what it is. But of course the conductors, vocalist Bobby McFerrin and jazz keyboard player Chick Corea, are not your average classical musicians. Nor is there any doubt about the non-traditional

nature of the recording, when it starts with McFerrin's patented improvisational vocals followed

by Corea's piano inventions under the title "Prelude." So, for a start, purists should be warned away. On the other hand, the more adventurous may be slightly disappointed, since after they get the preliminaries out of the way, McFerrin and Corea, aided and abetted by the St. Paul Chamber Orchestra, turn in pleasant but unexceptional readings of the concerti, with Corea especially eschewing any attempt at dazzle in what are usually showcase pieces. The piano work is fluid and the orchestral accompaniment delicate, but the principals seem sufficiently concerned about getting anything wrong not to really take off. At the end, as Corea once again improvises in tandem with McFerrin's voice, one longs for more of their interaction, perhaps in a less restrictive context. by William Ruhlmann 

Tracklist:

1. Concerto For Piano And Orchestra No 23 In A Major K 488-1-Prelude-Allegro

2. Concerto For Piano And Orchestra No 23 In A Major K 488-2-Adagio

3. Concerto For Piano And Orchestra No 23 In A Major K 488-3-Allegro Assai

4. Concerto For Piano And Orchestra No 2 In D Minor K 466-1-Prelude-Allegro

5. Concerto For Piano And Orchestra No 2 In D Minor K 466-2-Romance

6. Concerto For Piano And Orchestra No 2 In D Minor K 466-3-Rondo (Allegro Assai)

7. Song For Amadeus-Improvisation On Sonata No 2 In F Major K 28-189E-2 Adagio

1. Concerto for Piano no 23 in A major, K 488 by Wolfgang Amadeus Mozart 

Performer: Chick Corea (Piano)

Conductor: Bobby McFerrin

Orchestra/Ensemble: St. Paul Chamber Orchestra

Written: 1786 

Date of Recording: 1996

Length: 29 Minutes 36 Secs.

Notes: This selection begins with an improvisation entitled "Prelude" (Bobby McFerrin, vocals; Chick Corea, piano).

2. Concerto for Piano no 20 in D minor, K 466 by Wolfgang Amadeus Mozart 

Performer: Chick Corea (Piano)

Conductor: Bobby McFerrin

Orchestra/Ensemble: St. Paul Chamber Orchestra

Written: 1785 

Date of Recording: 1996

Length: 34 Minutes 0 Secs.

Notes: This selection begins with an improvisation entitled "Prelude" (BobbyMcFerrin, vocals; Chick Corea, piano).

3. Song for Amadeus by Chick Corea 

Performer: Bobby McFerrin (Voice), Chick Corea (Piano)

Period: 20th Century

Written: USA 

Date of Recording: 1996

Length: 2 Minutes 29 Secs.

Notes: This work is an improvisation on the Adagio (2nd) movement of W. A. Mozart's "Sonata for Piano no. 2 in F Major, K. 280 (189e)".

BOBBY McFERRIN & CHICK COREA 

 The Mozart Sessions 

[1996] Sony / FLAC / scans

O Púbis da Rosa