16.6.25

KATHLEEN FERRIER — Edition (2004) 10xCD BOX-SET | Kathleen Ferrier Edition Series | APE (image+.cue), lossless

Although her career was tragically short, Kathleen Ferrier was among the most famous English singers of the twentieth century. Her contralto voice -- a rarity in itself -- was characterized by a firm, warm tone that found its expressive niche in the great works of oratorio and art song, as well as in her two operatic roles (only two!): Lucretia in Britten's The Rape of Lucretia and Orfeo in Gluck's Orfeo ed Euridice.

Born in Lancashire on April 22, 1912, Ferrier studied the piano with great success as a child and intended a concert career; her concurrent vocal studies were considered more recreational in nature. In her mid-20s, however, after taking two first prizes at the 1937 Carlisle Festival -- one for piano and one for singing -- she made the decision to pursue singing as her vocation. She studied with J.E. Hutchinson in Newcastle upon Tyne, then with Roy Henderson in London.

During the years of WWII Ferrier toured widely in England, gaining a reputation as an especially fine concert artist. She joined the Bach Choir in London, and was alto soloist for a 1943 performance of Handel's Messiah at Westminster Abbey. Benjamin Britten first put her on the operatic stage at Glyndebourne on July 12, 1946, in the premiere of his chamber opera The Rape of Lucretia. She then toured with the work throughout England and appeared on an historic recording of major extracts from the work conducted by the composer. Britten would later compose the alto part in his Canticle No. 2 for her.

She appeared in the United States for the first time in Mahler's Das Lied von der Erde with the New York Philharmonic and Bruno Walter; her subsequent recording of the work -- also under Walter's direction -- remains a classic. Walter also appeared as her accompanist in lieder recitals in Edinburgh and London. Another of Ferrier's notable successes was the part of the Angel in Elgar's The Dream of Gerontius.
In February 1953, Covent Garden staged Gluck's Orfeo ed Euridice specifically for Ferrier, who was deemed ideal for the part of Orpheus. However, she was able to appear in only two of the scheduled four performances because of weakness caused by her already advanced cancer. These were her last appearances; she died in London on October 8, 1953. Before she died she was made a Commander of the Order of the British Empire. Rovi Staff
Tracklist :
CD01 Gluck - Orfeo ed Euridice
CD02 Bach St Matthew Passion
CD03 Kathleen Ferrier
CD04 Schumann-Brahms-Schubert
CD05 Chausson-Brahms-Ferguson-Wordsworth-Rubbra-Ferrier
CD06 Purcell-Handel-Bach-Wolf-Stanford-Warlock
CD07 Historical Recordings 1947-1952
CD08 Blow the Wind Southerly - Traditional Songs
CD09 Bruno Walter - The Legendary Edinburgh Festival
CD10 Mahler-Brahms

15.6.25

LAMBERT, HENDRICKS & ROSS — Everybody's Boppin (1989) RM | Columbia Jazz Masterpieces Series | Two Version | APE + FLAC (image+.tracks+.cue), lossless

Lambert, Hendricks and Ross made their debut on Columbia in 1959, and this CD contains not only all of the music from their first CBS album, but five titles from two later records. This set has many memorable classics from the great singers Dave Lambert, Jon Hendricks (the top vocalese lyricist) and Annie Ross. Highlights include the upbeat "Charleston Alley," a remake of Ross' "Twisted," the heated "Cloudburst," Hendricks' humorous "Gimme That Wine," "Summertime" (a recreation of Miles Davis' version with Gil Evans), and "Come on Home." Although Lambert, Hendricks and Ross only lasted a few years, their influence on other vocal groups was enormous. This set is a perfect place for collectors to begin to explore their vocal magic. Scott Yanow
Tracklist :
1. Charleston Alley 3:18
 Horace Henderson / Jon Hendricks / Leroy Kirkland 
2. Moanin' 2:34
 Bobby Timmons 
3. Twisted 2:15
 Wardell Gray / Annie Ross 
4. Bijou 3:16
 Ralph Burns / Jon Hendricks 
5. Cloudburst 2:15
 Jimmy Harris / Leroy Kirkland 
6. Centerpiece 2:26
 Harry "Sweets" Edison / Jon Hendricks 
7. Gimme That Wine 2:58
 Jon Hendricks 
8; Sermonette 3:47
 Cannonball Adderley / Jon Hendricks 
9. Summertime 1:43
 George Gershwin / Ira Gershwin / DuBose Heyward 
10. Everybody's Boppin' 4:11
 Jon Hendricks 
11. Home Cookin' 4:25
 Horace Silver 
12. Blue 3:48
 Gildo Mahones 
13. Come On Home 5:26
 Horace Silver 
14. Cottontail 2:55
 Duke Ellington 
15. Midnight Indigo 2:33
 Duke Ellington 
Credits :
Bass – Charles "Ike" Isaacs
Drums – Jimmy Wormworth (tracks: 4, 7 to 15), Walter Lee Bolden (tracks: 1 to 3, 5, 6)
Performer – The Ike Isaacs Trio (tracks: 11 to 14)
Piano – Gildo Mahones
Trumpet – Harry 'Sweets' Edison (tracks: 1 to 10)
Vocals – Annie Ross, Dave Lambert, Jon Hendricks

ANOUAR BRAHEM – بعد السماء الأخيرة = After The Last Sky (2025) FLAC (tracks+.cue), lossless

Oudist and composer Anouar Brahem has kept a low profile since 2017's Blue Maqams. He appeared with Anja Lechner and Francois Couturier on Lontano, but has otherwise been absent. Brahem enlists longtime collaborator/bassist Dave Holland and pianist Django Bates -- both appeared on Blue Maqams. Lechner appears in place of the last album's drummer, Jack DeJohnette, and is the first cellist to appear on one of Brahem's LPs. Recorded in Switzerland, it was produced by Manfred Eicher. The album's name echoes the title of a 1986 book by cultural critic, activist, and author Edward Said, and was derived from a line by Palestinian poet Mahmoud Darwish: "Where should the birds fly, after the last sky?" Begun before October 6, 2023, it is nonetheless deeply inspired by the horror and suffering experienced by Palestinians in Gaza. Brahem wrote new compositions and reworked some of the earlier ones to communicate and evoke raw emotion about this situation. Lechner's poignant cello is primary, up front. She and Brahem move through Eastern modes and motifs, blurring the lines between folk, classical, and jazz.

Opener "Remembering Hind" is a case in point. Under two minutes, the cello and piano deliver Brahem's minor-key melody with nearly processional grace and, despite the relative quiet, rippling emotion. The title track, at nearly six minutes, commences with an oud solo that foreshadows the melody. When Bates enters, he accedes to the restraint, at least until the cellist joins in, and it becomes a melancholy fantasia. The interplay between Holland and Brahem is almost symbiotic. "The Eternal Olive Tree," an oud/bass duet, showcases warmly dissonant harmonies in a celebration of survival and resilience. The duo embrace the blues directly in highlighting Gaza's struggle alongside modal and jazz motivics in their improvisation. "Awake," the set's hinge track, melds classical crossover, Tunisian folk styles, and restrained improv. The bass pattern that introduces "Dancing Under the Meteorites" is a constant pulse that evolves into a tango vamp. Lechner and Bates play around it, touching on the style in their joint conversation until Brahem's contrapuntal solo cements the tune as gorgeous tango-jazz fusion. He offers another lengthy improvisation on the bittersweet, musically riveting "The Sweet Oranges Of Jaffa"; Lechner joins him and delivers her own. Her long experience of improvised music guides her interaction with Brahem and underscores the harmonic invention in her solo. It and the labyrinthine, poignant, inventive "Never Forget" are offered here as hymns of remembrance, adding depth and dimension. It's followed by the tender piano and cello duet "Edward Said's Reverie." The set closes with his beloved "Vague," marking the third time he's recorded it.

The release also includes a long liner essay (for ECM) by U.S. editor of The London Review of Books Adam Schatz, who is also a noted journalist and critic. He offers key reflections on Brahem's music, the Palestinians' fight to exist, and the culture around both. After the Last Sky is a reflective, yet powerfully emotional and virtuosic listening experience. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1.    Remembering Hind 1:52
Composed By [Composition By] – Anouar Brahem
2.    After The Last Sky 5:42
Composed By [Composition By] – Anouar Brahem
3.    Endless Wandering 8:11
Composed By [Composition By] – Anouar Brahem
4.    The Eternal Olive Tree 4:00
Composed By [Composition By] – Anouar Brahem, Dave Holland
5.    Awake 8:49
Composed By [Composition By] – Anouar Brahem
6.    In The Shades Of Your Eyes 4:27
Composed By [Composition By] – Anouar Brahem
7.    Dancing Under The Meteorites 4:25
Composed By [Composition By] – Anouar Brahem
8.    The Sweet Oranges Of Jaffa 7:13
Composed By [Composition By] – Anouar Brahem
9.    Never Forget 7:49
Composed By [Composition By] – Anouar Brahem
10.    Edward Said's Reverie 2:58
Composed By [Composition By] – Anouar Brahem
11.    Vague 3:13
Composed By [Composition By] – Anouar Brahem
Credits :
Double Bass – Dave Holland
Oud – Anouar Brahem
Piano – Django Bates
Producer [Produced By] – Manfred Eicher
Violoncello – Anja Lechner

DOHNÁNYI : Piano Quintet Nº. 1 · Sextet (András Schiff · Takács Quartet) (1988) Two Version | FLAC (image+.tracks+.cue), lossless

Ernst von Dohnányi  (1877-1960)
1-4.    Piano Quintet In C Minor, Op. 1 (29:13)
5-8. Sextet In C Major, Op. 37 (29:45)
Credits :
Piano – András Schiff
Clarinet – Kálmán Berkes 
Horn – Radovan Vlatković 
Ensemble – Takács Quartet :
Cello – András Fejér
Viola – Gábor Ormai
Violin – Gábor Takács-Nagy, Károly Schranz 

FREAKS = a.k.a. "Monstros" (1932) Dir. Tod Browning | VIDEO (ISO)

Synopsis :
In a circus of bizarre attractions, Cleopatra (Olga Baclanova) is a beautiful trapeze artist who is courted by a dwarf. She doesn't respond to his advances until she discovers that he is heir to a fortune. She then devises a plan with her lover Hercules (Henry Victor), to marry the dwarf and then despise and poison him. But on her wedding day, Cleopatra repudiates her future husband's circus friends, calling them disgusting and dirty. The freaks come together to take revenge on Cleopatra, transforming her into a person who is half woman, half chicken, without legs and almost blind.

A bela trapezista de um circo concorda em se casar com o líder dos artistas do show paralelo, mas seus amigos deformados descobrem que ela só se casará com ele por causa de sua herança.

Original title : Freaks  (1932)
Directed :  Tod Browning
Artists : Wallace Ford, Leila Hyams, Olga Baclanova
Legends : English, Spanish, Português 
Duration :  1h 2min
Genre : Drama
Country  : USA
Note : This video contains only a short intro due to YouTube's restriction on its content.

HÄNDEL : Suites for Keyboard (Keith Jarrett) (1995) Two Version | FLAC (image+.tracks+.cue), lossless

Having paid tribute to Johann Sebastian Bach in a sequence of New Series recordings of the Well-tempered Clavier, the Goldberg Variations and the French Suites, Keith Jarrett now turns his attention to Bach’s near contemporary, Georg Friedrich Händel. The project, in fact, has been in preparation for a long time; Jarrett’s liner note informs us that he first began to record Händel’s keyboard suites some 20 years ago. The present recording is of particular interest for a number of reasons and not least because it is the first of his albums of baroque music to feature the piano – as opposed to harpsichord – since Book One of the Well-tempered Clavier was issued in 1988. Where, in his Bach recordings, Keith Jarrett has striven to obliterate his musical personality ("This music does not need my assistance"), he feels Händel’s "basically unknown" solo keyboard music needs a measure of special pleading. And, though he has gone to "the least tampered with editions" of the suites in the interests of "correctness both musicological and musical", in making the case for their reassessment he permits himself some interpretive leeway in matters of tempi and phrasing. The result is an extremely attractive reading of seven of the Suites for Keyboard that can perhaps be more readily related – particularly in the adagio movements, where Jarrett takes full advantage of the lyrical warmth and textural richness of the material – to aspects of the pianist’s improvised recordings than can his Bach interpretations. (Or, to put it another way, these pieces, in the right hands, retain the freshness of improvisation). "Händel was a keyboardist, " Jarrett notes, "and his keyboard works should occupy a higher position in our awareness than they do." Keith Jarrett’s playing on this recording invites comparison with his interpretation of Dmitri Shostakovich’s 24 Preludes and Fugues Op. 87 (a work that creates a bridge, via Bachian inspirational sources, from the baroque to the "modern"). Jarrett’s Shostakovich prompted John Rockwell to declare, in the pages of the New York Times: "With this recording, Mr. Jarrett has finally staked an indisputable claim to distinction in the realm of classical music. Even in our multicultural, multistylistic age, it is extremely difficult to cross over from one field to another. Mr. Jarrett, having long since established himself in jazz, can now be called a classical pianist of the first rank." ECM
Georg Friedrich Handel  (1685-1759)
1-4.    Suite HWV 452 (G Minor)
5-8.    Suite HWV 447 (D Minor)
9-12.    Suites II / No.7 HWV 440 (B-flat Major)
13-16. Suites I / No.8 HWV 433 (F Minor)
17-20. Suites I / No.2 HWV 427 (F Major)
21-25. Suites I / No.4 HWV 429 (E Minor)
26-29. Suites I / No.1 HWV 426 (A Major)
Piano – Keith Jarrett

14.6.25

JACO PASTORIUS BIG BAND — Word Of Mouth Revisited (2003) Two Version | FLAC (image+.tracks+.cue), lossless

Back before he turned everyone's idea of bass playing inside out, Jaco Pastorius spent five years on the bandstand with the Peter Graves Orchestra at Bachelors III, a swanky spot in his hometown of Ft. Lauderdale. Nearly three decades after the future star's departure in 1975, and 16 years after his brutal murder, Graves got the guys back together, christened them in their former colleague's name, and invited the most prominent bass guitarists of the early 21st century down to join them in a project dedicated to Pastorius' legacy. Throughout these polished performances, the bass parts testify to how profoundly Pastorius altered that instrument's role. Bottom line (so to speak): he gave them the option of playing from a soloist mentality and blowing all over the beat, as fast and free as any saxophonist, as long as he or she had chops and didn't subvert the groove. The guest bassists on this collection absorbed this lesson long ago. Each can scatter quick licks, some of them even faster than Pastorius himself. So why does a vague disenchantment haunt these performances? Perhaps it's because these players, great as they are, are still emulating more than discovering. Some imitate even the nuances of the Pastorius tone and phrasing, as does Richard Bona on "Punk Jazz" -- which, of course, may be a form of tribute in this context. On an opposite extreme, the light-speed, staccato hailstorm unleashed by Victor Wooten on "Teen Town" is fundamentally unmusical, focusing on the player more than the material being played -- which is, come to think of it, the real revelation here. Pastorius' tunes reflect a compositional maturity that wasn't always evident in the more improvisational context of Weather Report, and his arrangements -- notably an idiosyncratic treatment of "Killing Me Softly" and the marimba-flavored exotica of "Opus Pocus" -- suggest that had he had more time, he would have written history with his pen as much as his performance. One complaint: the samples of Pastorius' voice, chopped into microbits that carry no meaningful content and seem intended to function as objects of postmodern reflection, if not reverence. All these interruptions accomplish is to remind you that some artists speak most eloquently without words. Robert L. Doerschuk
Tracklist :
1. Jaco Speaks 0:07
2. Havona 5:19
 Arranged By – Larry Warrilow
Bass – Jimmy Haslip
Written-By – Jaco Pastorius

3. Teen Town 4:10
 Arranged By – Larry Warrilow
Bass – Victor Wooten
Written-By – Jaco Pastorius 

4. Jaco Speaks 0:04
5. Punk Jazz 5:03
 Bass – Richard Bona
Tenor Saxophone – Mike Scaglione
Written-By, Arranged By – Jaco Pastorius

6. Jaco Speaks 0:05
7. Barbary Coast 5:55
 Arranged By – Larry Warrilow
Bass – Gerald Veasley
Written-By – Jaco Pastorius

8. Killing Me Softly 4:22
 Arranged By – Jaco Pastorius
Bass – Jeff Carswell
Written-By – Charles Fox, Norman Gimbel

9. Jaco Speaks 0:05
10. (Used to Be A) Cha Cha 6:54
 Arranged By – Dan Bonsanti
Bass – Victor Bailey
Written-By – Jaco Pastorius

11. Wiggle Waggle 5:46
 Arranged By – Stan Webb
Bass – Jaco Pastorius
Written-By – Herbie Hancock

12. Jaco Speaks 0:10
13. Continuum 3:23
 Bass – Jimmy Haslip
Written-By, Arranged By – Jaco Pastorius 

14. Jaco Speaks 0:04
15. Elegant People 6:29
 Arranged By – Jaco Pastorius
Bass – Gerald Veasley
Drums [Hand Drums] – Bobby Thomas Jr.
Written-By – Wayne Shorter

16. Opus Pocus 5:16
 Arranged By – Larry Warrilow
Bass – David Pastorius
Marimba – Gary Mayone
Written-By – Jaco Pastorius

17. Peter & Jaco Speak 0:47
18. Domingo 6:44
 Bass – Victor Bailey
Written-By, Arranged By – Jaco Pastorius

19. Forgotten Love 4:01
 Arranged By – Larry Warrilow
Bass – Christian McBride
Flute – Mike Scaglione
Written-By – Jaco Pastorius

20. Jaco Speaks 7:18
21. Punk Jazz Revisited
 Arranged By – Marcus Miller
Bass, Bass Clarinet, Drums, Clavinet, Soprano Saxophone, Scratches – Marcus Miller
Soprano Saxophone – Roger Byman
Trumpet – Michael "Patches" Stewart
Written-By – Jaco Pastorius, Marcus Miller 

Line-up / Musicians
Victor Bailey, Jaco Pastorius, Jimmy Haslip, Gerald Veasley, Marcus Miller, Christian McBride, Victor Wooten, Richard Bona, Jeff Carswell
, Dave Pastorius - Bass 
Randy Bernsen - Guitar, Koto 
Peter Graves - Conductor 
Joe Zawinul - Keyboards 
Michael Brignola - Flute, Bass Clarinet, Baritone Sax, Woodwinds
Ed Calle - Clarinet, Soprano Sax, Tenor Sax, Woodwinds
Kenneth Faulk - Trumpet, Flugelhorn, Brass 
Michael Levine - Synthesizer, Piano, Keyboards 
Billy Ross - Flute, Piccolo, Alto Sax, Soprano Sax, Woodwinds
Dana Teboe - Trombone, Brass 
John Kricker - Bass Trombone, Brass 
Mike Scaglione - Flute, Tenor Sax 
Jason Carder, Jeff Kievit - Trumpet, Flugelhorn 
Mark Griffith - Drums
Gary Keller - Clarinet, Flute, Alto Sax, Tenor Sax 
Gary Mayone - Marimba 
Michael "Patches" Stewart - Trumpet 
Bobby Thomas, Jr. - Hand Drums
Roger Byman - Soprano Sax

LIZZIE MILES — Complete Recorded Works In Chronological Order • 1 (1922-1923) DOCD-5458 (1996) FLAC (tracks), lossless

 Lizzie Miles is better-known than most of the classic blues singers of the '20s because she made a comeback in the '50s when she emerged still in prime form. Actually her earliest recordings are quite obscure, making this first of three Document CDs a valuable acquisition for vintage blues collectors. Miles' initial 22 recordings feature her during 1922-23, mostly backed by unknown musicians in combos ranging from five to seven pieces on such numbers as "She Walked Right Up and Took My Man Away," "He May Be Your Man, But He Comes to See Me Sometimes," "Hot Lips," "The Yellow Dog Blues," "Aggravatin' Papa" and "You've Gotta Come and See Mama Every Night." Miles sounds quite comfortable both on vaudeville-type numbers and blues. The last three selections find her backed only by pianist Clarence Johnson, and on "Haitian Blues" she takes a kazoo solo that is surprisingly advanced for March 1923, a period of time when there were few horn solos on record. Recommended. Scott Yanow

Tracklist :
1 Muscle Shoals Blues 3:12
Lizzie Miles
2 She Walked Right up and Took My Man Away 3:16
Lizzie Miles
3 Virginia Blues 3:00
Lizzie Miles
4 State Street Blues 3:17
Lizzie Miles
5 Wicked Blues 2:55
Lizzie Miles
6 He May Be Your Man, But He Comes to See Me Sometimes 3:02
Lizzie Miles
7 Lonesome Monday Morning Blues 3:09
Lizzie Miles
8 Please, Don't Tickle Me, Babe 3:09
Lizzie Miles 
9 Hot Lips 2:58
Lizzie Miles
10 Take It, 'Cause It's All Yours 3:03
Lizzie Miles
11 The Yellow Dog Gal Blues 3:08
Lizzie Miles
12 The Black Bottom Blues 2:53
Lizzie Miles
13 He Used to Be Your Man (But He's My Man Now) 3:06
Lizzie Miles
14 Sweet Smellin' Mama 3:00
Lizzie Miles
15 The Trixie Blues 3:00
Lizzie Miles
16 Four O'Clock Blues 3:15
Lizzie Miles
17 Aggravatin' Papa 2:45
Lizzie Miles
18 Tell Me Gypsy 3:10
Lizzie Miles
19 You've Gotta Come See Mama Every Night 2:52
Lizzie Miles
20 Your Time Now 3:10
Lizzie Miles
21 Haitian Blues 2:59
Lizzie Miles
22 Sweet Smellin' Mama 2:34
Lizzie Miles
Credits :
Clarence Johnson - Kazoo, Piano
Lizzie Miles - Composer, Vocals
Bob Ricketts - Sax (Alto) 

LIZZIE MILES — Complete Recorded Works In Chronological Order • 2 (1923-1928) DOCD-5459 (1996) FLAC (tracks), lossless

The second of three CDs that reissue all of Lizzie Miles' recordings from the 1922-39 period features the versatile singer in 1923 (being accompanied by either Clarence Johnson or J. Russell Robinson on piano), and during 1927-28, after a successful period spent as a cabaret singer in Paris. For the latter recordings, Miles is assisted by Clarence Johnson, Louis Hooper or Porter Grainger on piano, cornetist Louis Metcalf on two fine numbers and the dated gaspipe clarinet of Bob Fuller on the final four selections (which include two versions of "A Good Man Is Hard to Find"). One of the finer singers of the '20s, Miles' delivery was quite accessible and one can always understand the words she sings. Highlights of this excellent set include "You're Always Messin' Round with My Man," "Cotton Belt Blues," "Lonesome Ghost Blues" and "If You Can't Control Your Man." Virtually all of the material on this 1996 CD was formerly very rare. Scott Yanow

Tracklist :
1 Haitian Blues (A Wild Weepin' Moan) 3:14
Piano – Clarence Johnson  
Written-By – Lizzie Miles, Spencer Williams  
2 You're Always Messin' Round With My Man 3:24
Piano – Clarence Johnson
Written-By – Spencer Williams
3 Family Trouble Blues 3:22
Piano – Clarence Johnson
4 Triflin' Man 3:00
Piano – Clarence Johnson 
5 My Pillow And Me 3:08
Piano – Russel Robinson
Written-By – Chris Smith, Clarence Williams, Tim Brymn
6 Black Man (Be On Yo' Way) 3:17
Kazoo – Lizzie Miles
Piano – Russel Robinson
Written-By – Spencer Williams 
7 Keep Yourself Together Sweet Papa (Mama's Got Her Eyes On You) 2:57
Piano – Clarence Johnson 
8 Cotton Belt Blues 3:06
Piano – Clarence Johnson 
9 Slow Up Papa 2:57
Cornet – Louis Metcalf
Piano – Louis Hooper
10 Grievin' Mama Blues 2:49
Cornet – Louis Metcalf
Piano – Louis Hooper
11 Mean Old Bedbug Blues 3:00
Clarinet – Unknown Artist
Piano – Unknown Artist
Written-By – Jack Wood 
12 You Can't Have It Unless I Give It To You 2:53
Clarinet – Unknown Artist
Piano – Unknown Artist
Written-By – Andy Razaf
13 When You Get Tired Of Your New Sweetie 2:49
Piano – Clarence Johnson 
14 Police Blues 3:01
Piano – Clarence Johnson 
15 Don't Let Your Love Control Your Man 2:54
Piano – Clarence Johnson
16 Shootin' Star Blues 2:50
Piano, Written-By – Porter Grainger
17 Lonesome Ghost Blues 2:51
Piano – Porter Grainger
Written-By – Andy Razaf
18 If You Can't Control Your Man 2:55
Piano – Porter Grainger
19 Nobody Shows What My Baby Shows 2:53
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Andy Razaf
20 Second Hand Daddy 2:55
Clarinet – Bob Fuller
Piano – Louis Hooper
21 A Good Man Is Hard To Find (Take 2) 2:55
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Eddie Green  
22 A Good Man Is Hard To Find (Take 3) 2:50
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Eddie Green  
Credits :
Bob Fuller - Clarinet
Porter Grainger, Louis Hooper - Piano
Louis Metcalf - Cornet
Lizzie Miles - Kazoo, Vocals 

LIZZIE MILES — Complete Recorded Works In Chronological Order • 3 (1928-1939) DOCD-5460 (1996) FLAC (tracks), lossless

The third of three Document Lizzie Miles CDs has some of the finest recordings of the singer's career, particularly on the first half of this disc. After three numbers with a trio not helped by the presence of clarinetist Bob Fuller, Miles performs two superior songs ("You're Such a Cruel Papa to Me" and "My Dif'rent Kind of Man") while joined by cornetist King Oliver, Albert Socarras (doubling on flute and alto) and pianist Clarence Williams. Miles fits right in with a hot combo led by the unknown Jasper Davis (probably a pseudonym) that includes cornetist Louis Metcalf, altoist Charlie Holmes and pianist Cliff Jackson. She is also featured on two songs in duet with the great pianist Jelly Roll Morton, three tunes with pianist Harvey Brooks (including "My Man O' War" and "Electrician Blues") and joined by the trio of pianist Porter Grainger, guitarist Teddy Bunn and bassist Pops Foster (highlighted by "Yellow Dog Gal Blues") in 1930. Nine years passed before Lizzie Miles had an opportunity to record again. At the age of 44 she sounds fine on seven numbers with the Melrose Stompers (a Chicago swing septet whose personnel is long lost) from 1939; the band is also heard taking "Mellow Rhythm" as an instrumental. Highly recommended, particularly for the 1928-30 recordings, this CD has Lizzie Miles' last recordings before she began her comeback in 1952. Scott Yanow  

Tracklist :
1 –Lizzie Miles
         Shake It Down 2:40
Banjo – Unknown Artist
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Spencer Williams  
2 –Lizzie Miles
          Banjo Papa (Stop Pickin' On Me) 2:48
Banjo – Unknown Artist
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Andy Razaf
3 –Lizzie Miles
 Your Worries Ain't Like Mine 2:49
Banjo – Unknown Artist
Clarinet – Bob Fuller
Piano – Louis Hooper
Written-By – Andy Razaf
4 –Lizzie Miles
         You're Such A Cruel Papa To Me 3:10
Cornet – King Oliver
Flute, Alto Saxophone – Albert Socarras
Piano – Clarence Williams
5 –Lizzie Miles
          My Dif'rent Kind O' Man 3:03
Cornet – King Oliver
Flute, Alto Saxophone – Albert Socarras 
Piano – Clarence Williams
Written-By – Jack Palmer 
6 –Lizzie Miles
Georgia Gigolo 2:54
Alto Saxophone – Charlie Grimes
Banjo – Elmer Snowden
Clarinet, Alto Saxophone – Charlie Holmes
Cornet – Louis Metcalf, Unknown Artist
Leader – Jasper Davis
Orchestra – Jasper Davis And His Orchestra
Piano [Poss.] – Cliff Jackson
Sousaphone [Bb] – Bass Moore
Trombone – Henry Hicks
Written-By – Spencer Williams 
7 –Lizzie Miles
          It Feels So Good 3:01
Alto Saxophone – Charlie Grimes 
Banjo – Elmer Snowden
Clarinet, Alto Saxophone – Charlie Holmes
Cornet – Louis Metcalf, Unknown Artist
Leader – Jasper Davis
Orchestra – Jasper Davis And His Orchestra
Piano [Poss.] – Cliff Jackson
Sousaphone [Bb] – Bass Moore
Trombone – Henry Hicks
Written-By – Spencer Williams 
8 –Lizzie Miles
I Hate A Man Like You 3:22
Piano, Written-By – Jelly Roll Morton
9 –Lizzie Miles
Don't Tell Me Nothin' 'Bout My Man 2:57
Piano, Written-By – Jelly Roll Morton
10 –Lizzie Miles My Man O' War 3:28
Piano – Harvey Brooks  
Written-By – Andy Razaf, Spencer Williams  
11 –Lizzie Miles
Electrician Blues 3:12
Piano – Harvey Brooks 
12 –Lizzie Miles
Good Time Papa 3:36
Piano – Harvey Brooks 
Written-By – Lizzie Miles
13 –Lizzie Miles
The Man I Got Ain't The Man I Want 2:54
Bass – Pops Foster
Guitar – Teddy Bunn
Piano – Porter Grainger
14 –Lizzie Miles
Yellow Dog Gal Blues 2:55
Bass – Pops Foster
Guitar – Teddy Bunn
Piano – Porter Grainger
15 –Lizzie Miles And The Melrose Stompers
Mellow Rhythm 2:34
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
16 –Lizzie Miles And The Melrose Stompers
He's My Man  2:49
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
17 –Lizzie Miles And The Melrose Stompers
That's All Right Daddy 2:56
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
18 –Lizzie Miles And The Melrose Stompers
Hold Me, Parson 2:46
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
19 –Lizzie Miles And The Melrose Stompers
         Keep Knockin' No. 2 (But You Can't Come On) 2:50
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
20 –Lizzie Miles And The Melrose Stompers
          Stranger Blues 3:00
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
21 –Lizzie Miles And The Melrose Stompers
Twenty Grand Blues 2:49
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
22 –Lizzie Miles And The Melrose Stompers
          He's Red Hot To Me 2:49
Alto Saxophone – Unknown Artist
Bass – Unknown Artist
Clarinet – Unknown Artist
Drums – Unknown Artist
Piano – Unknown Artist
Tenor Saxophone – Unknown Artist
Trumpet – Unknown Artist
Credits :
Teddy Bunn - Guitar
Pops Foster - Sax (Baritone)
Bob Fuller - Clarinet
Porter Grainger, Louis Hooper - Piano
Charlie Grimes - Sax (Alto)
Henry Hicks - Trombone
Charlie Holmes - Clarinet, Sax (Alto)
King Oliver - Conductor
Lizzie Miles - Composer, Vocals (tracks: 1 to 14, 16 to 22) 
Jelly Roll Morton - Composer, Piano
Albert Socarras - Flute, Sax (Alto)
Clarence Williams - Composer, Piano

LARRY CORYELL — Live From Bahia (1992) FLAC (tracks+.cue), lossless

Nice Afro-Latin set with Coryell on acoustic guitar, recorded in Bahia. The assembled cast includes drummer Billy Cobham, alto saxophonist Donald Harrison, and several Brazilian musicians, notably vocalist Dori Caymmi. Ron Wynn
Tracklist :
1.The Harbor (5:41)
  Dori Caymmi 
2. Old City new City (4:48) 
  Larry Coryell 
3. The Crab Peddler (3:42) 
 Dori Caymmi 
4. Oshum, Goddess Of Love (4:09)
 Donald Harrison 
5. Bloco Loco (7:08)
  Larry Coryell 
6. Panama (3:37)
  Billy Cobham 
7. Bahian Night Walk (10:13)
 Nico Assumpção / Luiz Avellar / Márcio Montarroyos 
8. Gabriela's Song (3:00)
 Dori Caymmi 
9. Vera Cruz (9:01)
  Milton Nascimento 
 Line-up / Musicians
Larry Coryell  - Acoustic and Electric Guitars
Dori Caymmi - Acoustic Guitar and Vocals
Romero Lubambo - Acoustic and Electric Guitar
Billy Cobham - Drums
Donald Harrison - Soprano and Alto Sax
Marcio Montarroyos - Trumpet
Luiz Avellar  - Keyboards
Nico Assumpcao - Electric Bass
Monica Millet, Tiao Oliveira - Percussion
Bashiri Johnson - Additional Percussion
Francisco Centeno - Additional Electric Bass 

BARTÓK : Sonata for 2 Pianos & Percussion • STRAVINSKY : Concerto for 2 Solo Pianos · Sonata for 2 Pianos (Alfons & Aloys Kontarsky) (1977-1992) RM | 20th Century Classics Series | Two Version | FLAC (image+.tracks+.cue), lossless

Béla Bartók (1881 – 1945)
Sonata for 2 Pianos and Percussion
Alfons Kontarsky, Aloys Kontarsky, Christoph Caskel, Heinz Koenig
Igor Stravinsky (1882 – 1971)
Concerto for 2 Pianos
Sonata for two Pianos
Alfons Kontarsky, Aloys Kontarsky

AL JARREAU — All I Got (2002) Two Version | FLAC (image+.tracks+.cue), lossless

Al Jarreau hits you with all he's got on his second release for the GRP/Verve recording label. The 11-song program, appropriately titled All I Got, features Jarreau's imaginative vocal stylings, lots of innovative urban sensibilities, and top-tier performances from a stellar band that includes his longtime musical director, Freddie Ravel, and a duet with guest star Joe Cocker. Urban innovation is more than a buzzword here. The urban sound of producer Paul Brown imparts a soulful message on such songs as "Random Act of Love,""Secrets of Love," the title track, and the very hip a cappella rendition of "Route 66," each of which reflects Jarreau's pioneered use of unfolding a musical story layer by layer. A prime example is his reverse take on street violence called "Random Act of Love," something this world desperately needs. Instead of just another range of excessive scatting and vocal gymnastics, Jarreau presents his listeners with real-world concepts that make a difference in your interpretations of these aural pleasures. He becomes a vehicle of revelation on the gospel-tinged "Feels Like Heaven to Me." On the other side of his musical personality is the lovely fullness of "Until You Love Me" and "Jacaranda Bougainvillea," both of which feature a string orchestra set against an oasis of vocal skills. Overall, All I Got showcases the award-winning Jarreau's unmistakable stylistic diversity in settings that are fluid, soulful, jazzy, and romantic. In some ways, the music even exceeds the versatility heard on the critically acclaimed Tomorrow Today. Paula Edelstein  
Tracklist :
1.    Random Act Of Love 4:45
Arranged By – Steven Dubin
Producer [Produced By] – Steven Dubin
Written-By – Nelson Jackson, Siedah Garrett, Steven Dubin

2.    Life Is 4:00
Arranged By, Co-producer [Co-produced By] – David "Kahlid" Woods, Paul Brown
Written-By – Al Jarreau, David "Kahlid" Woods, Paul Brown

3.    Never Too Late 4:04
Arranged By – Jerry Hey, Paul Brown
Written-By – Al Jarreau, John Stoddart, Paul Brown

4.    Feels Like Heaven 4:38
Arranged By – Steven Dubin
Arranged By [Vocal Arrangement] – Sherree Ford
Producer [Produced By] – Paul Brown, Steven Dubin
Written-By – Manuel Seal, Siedah Garrett, Steven Dubin

5.    Lost And Found 4:52
Arranged By – Paul Brown
Arranged By [Horns Arranged By] – Jerry Hey
Written-By – Al Jarreau, Tom Canning

6.    Secrets Of Love 4:36
Arranged By – Rex Rideout
Co-producer – Rex Rideout
Written-By – Milton Davis, Rex Rideout

7.    All I Got 5:31
Arranged By – Al Jarreau
Arranged By [Horns Arranged By], Co-producer [Co-produced By] – Jerry Hey
Written-By – Al Jarreau, Arno Lucas, Chris Walker, Freddie Ravel, Joe Turano, Jota Morelli, Ross Bolton

8.    Until You Love Me 4:40
Arranged By [Orchestra] – Bill Meyers
Arranged By, Co-producer [Co-produced By] – Rex Rideout
Concertmaster – Bruce Dukov
Strings – Berj Garabedian, Bruce Dukov, Charlie Bisharat, Dan Smith, Darius Campo, David Stenske, Denyse Buffum, Evan Wilson, Eve Butler, Haim Shtrum, John Wittenberg, Larry Corbett, Margaret Wooten, Mark Robertson (3), Matt Funes, Michele Richards, Peter Kent, Steve Richards, Susan Chatman, Suzie Katayama
Written-By – Rex Rideout

9.    Oasis 6:20
Arranged By – Paul Brown, Ricky Peterson
Arranged By [Additional Arrangement By] – Jerry Hey
Written-By – Al Jarreau, Ricky Peterson

10.    Jacaranda Bougainvillea 4:46
Arranged By – Jerry Hey, Paul Brown
Arranged By [Strings Arranged By], Co-producer [Co-produced By] – Jerry Hey
Concertmaster – Bruce Dukov
Strings – Berj Garabedian, Bruce Dukov, Charlie Bisharat, Dan Smith, Darius Campo, David Stenske, Denyse Buffum, Evan Wilson, Eve Butler, Haim Shtrum, John Wittenberg, Larry Corbett, Margaret Wooten, Mark Robertson, Matt Funes, Michele Richards, Peter Kent, Steve Richards, Susan Chatman, Suzie Katayama
Written-By – Al Jarreau, Arno Lucas, Chris Walker, Freddie Ravel, Joe Turano, Jota Morelli, Ross Bolton

11.    Route 66 2:34
Arranged By – Al Jarreau
Written-By – Bobby Troup

13.6.25

HERBIE MANN · BUDDY COLLETTE — Flute Fraternity (1957-1997) RM | FLAC (tracks+.cue), lossless

In the 1950s, Herbie Mann frequently shared the spotlight on record dates with other flutists. This V.S.O.P. LP, a reissue of a set originally for Mode and also out for awhile on Premier, matches Mann (who here also plays piccolo, clarinet and tenor) with Buddy Collette (switching between flute, clarinet, tenor and alto) in a quintet with pianist Jimmy Rowles, bassist Buddy Clark and drummer Mel Lewis. The results are generally pleasing, if somewhat lightweight, with such obscure tunes as "Here's Buddy," Rowles' "Pop Melody," "Here's Pete" and Mann's "Theme from 'Theme From'" alternating with three standards and Chico Hamilton's "Morning After." The most interesting aspect to this lightly swinging music is the constant switching around of the lead voices on their various horns. Scott Yanow
Tracklist :
1.    Herbie's Buddy    4:08
 Herbie Mann 
2.    Perdido    4:13
 Ervin Drake / Hans Lengsfelder / Juan Tizol 
3.    Baubles, Bangles And Beads 4:20
 George Forrest / Robert Wright 
4.    Give A Little Whistle    3:35
 Leigh Harline / Ned Washington 
5.    Here's Pete 2:40
 Pete Rugolo 
6.    Theme From "Theme From"    6:44
 Herbie Mann 
7.    Nancy With The Laughing Face    3:57
 James Van Heusen / Phil Silvers 
8.    Morning After    2:38
 Herbie Mann 
Credits :
Bass – Buddy Clark
Drums – Mel Lewis
Flute, Alto Flute, Clarinet, Tenor Saxophone – Herbie Mann
Flute, Alto Flute, Clarinet, Tenor Saxophone, Alto Saxophone – Buddy Collette
Piano, Celesta – Jimmy Rowles

YELLOWJACKETS — The Spin (1989) FLAC (tracks+.cue), lossless

Smooth jazz with some rough edges, you can actually sink your teeth into The Spin. Yellowjackets haven't completely taken pop/jazz out of their diet -- Marc Russo's "Blues for Nikki" and Russell Ferrante's "Whistle While You Walk" will skip a little too lightly for some tastes -- but most of the songs find a satisfying midway point between the sweet and the sour. "Geraldine," "Dark Horses," and "Storytellers" all have some meat on them, with keyboardist Russell Ferrante leading a musical discussion that steers clear of the banal. Leaving Russo to carry the melodies, Ferrante is free to pursue a more discursive dialogue (notably on "Enigma"), with punctuation provided by the brisk percussion of William Kennedy (who shines on "Dark Horses"). Jimmy Haslip's bassline gives "The Spin" its shape, but he continues to fade in and out of the mix, and fails to make the most of his one solo. The compact disc features a great bonus track: a medley of Billy Strayhorn's "A Flower Is a Lovesome Thing" and Bud Powell's "Hallucinations." What their version may lack in soul they make up for in stride. The Spin has more on its mind than an album like Shades, and Yellowjackets' willingness to create and resolve musical problems will give some listeners pause to think. At least on this occasion, Yellowjackets show that light jazz doesn't have to be a guilty pleasure. Dave Connolly  
Tracklist :
1     Geraldine 6:43
Russell Ferrante
2     The Spin 4:46
Russell Ferrante / Jimmy Haslip / William Kennedy / Marc Russo
3     Storytellers 6:44
Russell Ferrante
4     Prayer for El Salvador 6:00
Russell Ferrante
5     Whistle While You Walk 5:14
Russell Ferrante
6     Enigma 4:48
Russell Ferrante / Jimmy Haslip
7     Dark Horses 5:00
Barry Coates / Russell Ferrante / Jimmy Haslip
8     Blues for Nikki 4:20
Marc Russo
9     A Flower Is a Lovesome Thing/Hallucinations 8:48
Bud Powell / Billy Strayhorn
Credits :
Arranged By [Percussions] – Alex Acuna
Bass – Jimmy Haslip
Drums, Percussion – William Kennedy
Keyboards – Russell Ferrante
Producer – Yellowjackets
Saxophone [Saxophones] – Marc Russo

INGER MARIE GUNDERSEN – Make This Moment (2006) Two Version | FLAC (image+.tracks+.cue), lossless

Anyone hearing the debut album of IMG, "Make This Moment", will realise that this is an artist belonging to the elite of this styl...