Sonny Rollins - The Standard Sonny Rollins

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 56:15
Size: 166,6 MB
Art: Front

( 2:59)  1. Autumn Nocturne
( 3:17)  2. Night and day
( 3:26)  3. Love Letters
( 5:58)  4. My one and Only Love
( 2:13)  5. Three Little Words
( 4:06)  6. Trav'lin' Light
( 1:36)  7. I'll be Seeing you
( 4:11)  8. My Ship
( 4:18)  9. It Could Happen to you
( 2:47) 10. Long ago (and far Away)
( 5:17) 11. Winter Wonderland
( 3:16) 12. When you Wish Upon a Star
(12:44) 13. Trav'lin'  Light

I tend to think of Sonny Rollins in terms of his tenures with the various labels he has recorded for over the past almost 50 years. In the '50s it was Prestige, Blue Note, Riverside, and Contemporary. The saxophonist would then drop off the scene in the early '60s, followed by a brief stay with RCA Victor that was followed up with three albums for Impulse and then his lengthy and often disappointing stay with Milestone. Clearly, the RCA period was one of the finest of his career, yet is has also proven to be the one most difficult to collect thanks to RCA's hodge-podge approach to reissues (remember those Bluebird compilations with the ugly drawings on the covers from the '80s?). Of course, if you're a Rollins nut then you'll have all the RCA recordings as collected on a recent boxed set. On the other hand, the task of collecting the individual albums has gotten easier with a new Classic Edition version of The Standard Sonny Rollins. While The Bridge has got to be the quintessential accomplishment of the period, this collection of standards is worthy of praise too. The cast assembled is sure to sound familiar- Herbie Hancock, Bob Cranshaw, Mickey Roker, and Jim Hall. 

Each standard is given a brief performance that basically gives us a solid dose of Rollins waxing rhapsodic, sometimes backed by just bass and drums, with guitar and piano added sparingly. Exceptions are two takes (one long and one short) of "Trav'lin' Light" with Hancock, Hall, bassists Teddy Smith and David Izenson, and drummer Stu Martin. Izenson's bowed work makes each one of the performances unique and beautiful. Three additional performances from the same sessions that made up the original vinyl release are added, putting all this music under one roof for the first time on CD. It all adds up to a mighty package that contains small, but ample doses of undiluted Rollins. Enjoy! 

~ C.Andrew Hovan https://www.allaboutjazz.com/the-standard-sonny-rollins-sonny-rollins-rca-victor-review-by-c-andrew-hovan.php

Personnel:  Sonny Rollins, tenor saxophone; Herbie Hancock, piano; Bob Cranshaw, Teddi Smith, David Izenson, bass; Jim Hall, guitar; Stu Martin, Mickey Roker, drums

The Standard Sonny Rollins

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Joe La Barbera Quintet - Silver Streams

Styles: Jazz
Year: 2012
Time: 62:16
File: MP3 @ 320K/s
Size: 142,6 MB
Art: Front

( 7:59) 1. Afluencia
( 7:08) 2. Bradley's, 2am
( 6:50) 3. Monkey Tree
( 7:03) 4. Bite Your Grandmother
( 6:21) 5. Jade Visions
(13:37) 6. Silver Streams
( 4:47) 7. Grace
( 8:27) 8. E.J.'s Blues

If there is a stream of any kind that runs through Silver Streams by The Joe La Barbera Quintet, it is the flow of energy—intense to the point of ignition—that is tapped. No meandering "Old Man River," this team drinks from the source with gusto and unified creativity. That shouldn't be a surprise, since La Barbera and his mates—each a Los Angeles first call musician—have performed together for decades.

La Barbera, one-third of a celebrated jazz family, with brothers saxophonist Pat La Barberaand composer/arranger/educator John La Barbera, is one of the busiest, most respected and beloved drummers in the business. He's performed worldwide with singer Tony Bennett, pianist Bill Evans and others in the jazz pantheon. Here he takes the leader's role and performs with his usual meticulous time, brilliant cymbal and set work and total immersion into the creative forces around him.

The eight selections, all superb originals, provide a diverse platform from which frontline performers and rhythm section deliver. The groove gamut is covered from classic hard bop ("Afluencia," "E.J.'s Blues") and straight-ahead stroll ("Bradley's, 2 AM?") to Frank Zappa-esque quirk ("Bite Your Grandmother"). Throughout the session the intensity and creative energy never let up.

The interplay between these superb players, elegantly subtle at times and in-your-face intense at others, is a joy. Front-liners Bob Sheppard (saxophones) and Clay Jenkins (trumpet) deliver ideas and interpretations which flitter back and forth with little or no regard for their respective instruments' limitations. Each pushes the other's envelope relentlessly, but never in a competitive manner.

Sheppard's saxophones blow from the serene ("Jade Visions") to sublime ("Grace"). His is a creative approach of sustained surprise and rhythmic invention. Jenkins, playing in a highly stylized manner, unabashedly channels Miles Davis and startles with his sound, technical gymnastics, lyric lines and utterly intelligent approach. Pianist Bill Cunliffe beautifully explores tonalities from the Impressionist to the post-Modern and bassist Tom Warrington is a rock throughout. The ensemble's moments of freer group play are a veritable highlight show.

Bill Evans talked about a "Universal Mind Force," into which the finest musicians tap. Silver Streams demonstrates what is ultimately possible when five stellar players merge to simultaneously access that force and deliver its awesome power through their magnificent music.

https://www.allaboutjazz.com/silver-streams-jazz-compass-review-by-nicholas-f-mondello

Personnel:

Joe La Barbera: drums;

Clay Jenkins: trumpet;

Bob Sheppard: tenor and soprano saxophone;

Bill Cunliffe: piano;

Tom Warrington: bass.

Silver Streams

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Scott Silbert Quartet - Dream Dancing: Celebrating Zoot Sims At 100

Styles: Jazz
Year: 2025
Time: 73:28
File: MP3 @ 320K/s
Size: 169,6 MB
Art: Front

(7:19) 1. Dream Dancing
(5:15) 2. Louisiana
(5:51) 3. It's That Ole Devil Called Love
(6:34) 4. Deep In A Dream
(5:39) 5. All Too Soon
(5:50) 6. You Go To My Head
(3:39) 7. Blues For Louise (feat. Scott Silbert & Amy Shook)
(4:17) 8. Someday Sweetheart
(7:09) 9. Low Life
(5:20) 10. Round My Old Deserted Farm
(5:33) 11. Shadow Waltz
(6:22) 12. Ballad for Very Tired and Very Sad Lotus Eaters
(4:35) 13. Wee Dot

Eighty-one years after his recording debut, 44 years following his last recording session and 100 years since his birth, the music of John Haley “Zoot” Sims comes to life on Dream Dancing, Celebrating Zoot Sims at 100.

Like any Sims performance, the music of Scott Silbert and his quartet of Robert Redd on piano, Amy Shook on bass and Chuck Redd on drums is melodically rich, unassumingly timeless and unapologetically swinging.

Silbert, who spent 15 years as a woodwind player and arranger in the U.S. Navy Band, does an admirable job of capturing the warmth and soul of Sims on a set of familiar and some obscure standards as well as one original. Silbert floats over the bossa nova beat of Cole Porter’s “Dream Dancing” and Harry Warren’s “Shadow Waltz.” His ballad playing on familiar tunes such as “Deep in a Dream,” You Go to My Head” and “All Too Soon” is pure and honest as is his playing on under recoded ballads such as “It’s That Ole Devil Called Love,” “Low Life” and “Round My Old Deserted Farm.” He and the band swing hard on up-tempo numbers such as J.C. Johnson’s “Louisiana” and J.J. Johnson’s “Wee Dot.”  Like Sims, Silbert shows his soprano sax prowess on ‘Someday Sweetheart” as well as his ability to play the blues on a composition he wrote in honor of Sim’s wife — “Blues for Louise.” The rhythm section of Redd, Shook and Redd are in synch with Silbert much like folks such as Oscar Peterson, Jimmy Rowles, George Mraz, Jake Hanna and Mel Lewis who supported Sims on his numerous recordings.

One suggestion for volume 2 of Celebrating Zoot Sims at 100 would be to include some of the memorable tunes Sims wrote or tunes he made famous as a member of the Woody Herman Band or working with Al Cohn or Gerry Mulligan. Although Silbert’s Dream Dancing,

Celebrating Zoot Sims at 100 is a pleasant way to remember the warm sound and style Sims brought to jazz, a more meaningful way to celebrate Sim’s 100th years is to pick up one of the more than 100 recordings he appeared on during his four decades as a melodically rich, unassumingly timeless and unapologetically swinging jazz musician.

https://papatamusredux.com/2025/11/07/scott-sibert-dream-dancing-celebrating-zoot-sims-at-100/

Personnel:

Scott Silbert - tenor and soprano saxes

Amy Shook - acoustic bass

Robert Redd - piano

Chuck Redd - drums

Dream Dancing: Celebrating Zoot Sims At 100

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Joe La Barbera Quintet - Mark Time

Styles: Jazz
Year: 2003
Time: 67:12
File: MP3 @ 320K/s
Size: 153,8 MB
Art: Front

( 6:26) 1. Chick It Out
( 6:57) 2. Suite Sixteen
(10:12) 3. Automaton
( 8:47) 4. For Gillian
( 9:25) 5. Mark Time
( 8:42) 6. Contour
( 7:44) 7. Bella Luce (For Conte Candoli)
( 8:56) 8. S'Matta

Drummer Joe La Barbera leads an all-star group of top Los Angeles-based players on Mark Time. Trumpeter Clay Jenkins, pianist Bill Cunliffe, and bassist Tom Warrington all contribute many colorful statements along the way while Bob Sheppard (on tenor and soprano) often takes solo honors. The quintet performs two songs by La Barbera (including a melancholy ballad for the late trumpeter Conte Candoli called "Bella Luce"), a pair of numbers from Cunliffe, and selections by Kenny Wheeler, John Abercrombie, and Kenny Drew ("Contour"). The music includes some adventurous post-bop explorations (Sheppard is excellent on "Automaton" and "Suite Sixteen") and boppish renditions of "Contour" and Cunliffe's up-tempo blues "Chick It Out." The musicians were clearly inspired by each other and this moody and modern straight-ahead set has many bright moments along the way. ~ Scott Yanow

https://catalog.ccclib.org/?section=resource&resourceid=1093102577&currentIndex=2&view=fullDetailsDetailsTab

Personnel:

Bass – Tom Warrington

Drums – Joe La Barbera

Photography By – James Frank Dean

Piano – Bill Cunliffe

Soprano Saxophone, Tenor Saxophone – Bob Sheppard

Trumpet – Clay Jenkins

Mark Time

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Peter O´Mara - SYMMETRY

Styles: Jazz
Year: 1995/2025
Time: 66:06
File: MP3 @ 320K/s
Size: 152,1 MB
Art: Front

(5:52) 1. Fifth Dimension
(7:31) 2. The Gift
(7:50) 3. Catalyst
(7:32) 4. Seven Up
(5:41) 5. Chances
(8:08) 6. Symmetry
(7:35) 7. Steppin Out
(9:02) 8. Expressions
(6:51) 9. Blues Dues

Born in Sydney, Australia in 1957. Early Studies at Academy of the Guitar under George Golla, Sydney Conservatorium as well as jazz clinics with Jamey Aebersold, Dave Liebman, Randy Brecker, John Scofield & Hal Galper.

Professional work around Australia 1976-81. Prizewinner for Jazz Composition 1980 & 1982, awarded by the NSW Jazz Action Society. First record album "Peter O´Mara" released 1980, receiving widespread critical acclaim. Awarded the "Don Banks Memorial Fellowship" for overseas study. 1981 studies in New York under Dave Liebman, John Scofield, Roland Hanna, Jimmy Raney & Attila Zoller.

Moved to Munich, Germany in late 1981 and has since worked with many musicians on the European Jazz scene including... Kenny Wheeler, Jon Christensen, Joe Nay, Maria Joao, Uli Beckerhoff, John Marshall,John Taylor, Anders Jormin, Adelhard Roidinger, Randy Brecker, Rainer Brüninghaus, David Friedman, Peter Herbolzheimer, Charlie Mariano, Benny Bailey, Robben Ford, Mike Nock, Albert Manglesdorf, Ack van Rooyen, Herman Breuer, Johnny Griffin...

1995 CD "Symmetry" on GLM Records, featuring Bob Mintzer, Marc Johnson & young German drummer Falk Willis. Tour in March/April with this group to promote the CD. European festival tour with own quartet, performing at Northsea,Munich, Düsseldorf & Wiesen, Austria. , European tour & CD with "Passport". A brief return to Australia end of the year brought him together with Adam Armstrong (bass) & Andrew Gander (drums). This trio was acclaimed by Peter Jordan (SMH) as "scintillating" and O´Mara "one of our less well-known success stories...startling!"

https://www.allaboutjazz.com/musicians/peter-omara/

Personnel:

Acoustic Bass – Marc Johnson (2)

Acoustic Guitar, Electric Guitar, Composed By [All Compositions By] – Peter O'Mara

Drums – Falk Willis

Recorded By, Mixed By – Joe Marciano, Mike Marciano*

Tenor Saxophone, Soprano Saxophone – Bob Mintzer

Symmetry

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The Rein de Graaff trio with Herb Geller & John Marshall - Blue Lights: The Music of Gigi Gryce

Styles: Jazz

The Joe La Barbera Quintet - The Joe La Barbera Quintet Live !

Styles: Jazz
Year: 2002
Time: 70:07
File: MP3 @ 320K/s
Size: 160,6 MB
Art: Front

(10:04) 1. On the Q.T
(11:29) 2. Speak Softly
(10:14) 3. Evidence
( 9:17) 4. Soul Eyes
( 8:43) 5. East Broadway Rundown
( 9:41) 6. Kind of Bill (For Bill Evans)
(10:36) 7. Message from Art (For Art Blakey)

Stung too often by inscrutable contracts and creative bookkeeping, a growing number of jazz musicians are taking matters into their own hands, producing and distributing albums on their own independent labels as an alternative to the bondage in which they’ve long been held by corporate overseers. Four of these artists trumpeter Clay Jenkins, guitarist Larry Koonse, bassist Tom Warrington and drummer Joe LaBarbera have come together to form Jazz Compass Records, an online label whose mandate is to “provide the serious listener with outstanding improvisational music,” presented “as they envision it, without compromise.”

This is the second Jazz Compass album I’ve heard, and each of them upholds the admirable standards expressed in that statement. Bassist Warrington, who led the other one ( Corduroy Road ), is a sideman this time with drummer LaBarbera’s quintet, recorded in concert nearly four years ago at Rocco, which I presume is a nightclub somewhere in the US (most probably California). Trumpeter Jenkins is there too, manning the front line with saxophonist Bob Sheppard, while pianist Bill Cunliffe rounds out the rhythm section. This is a roomy blowing session (the seven tracks average around ten minutes apiece) and everyone makes the most of the opportunity to stretch.

LaBarbera opens with engaging tunes by Freddie Hubbard (“On the Q.T.”), Phil Dwyer (“Speak Softly”), Thelonious Monk (“Evidence”), Mal Waldron (“Soul Eyes”) and Sonny Rollins (“East Broadway Rundown”), then wraps things up with his soulful ballad “Kind of Bill (Evans)” and swinging “Message for Art (Blakey).” Cunliffe and Sheppard (soprano) are mesmerizing on “Kind of Bill,” which salutes the drummer’s membership in Evans’ last trio, while LaBarbera is surprisingly reserved on “Blakey,” comping superbly but earmarking no solo space for himself. In fact, LaBarbera solos at length only on “Q.T.,” which he introduces with an exciting two-and-one-half-minute enfilade that prefaces cogent remarks by Cunliffe, Sheppard (tenor) and Jenkins.

Elsewhere, LaBarbera seems content to play a supporting role, which he does extremely well. Warrington, another resourceful cast member, takes an impressive solo on “Speak Softly,” with Sheppard shining again on soprano. Jenkins, whose bright sound and broad vocabulary serve him well, is featured on “Soul Eyes” as Sheppard sits that one out, returning to offer a hot-blooded impression of Rollins on “Rundown.”

This is an admirable quintet, one whose members work extremely well together and have strong voices of their own (but you probably already knew that). The excellent sound and generous 70- minute playing time help make this endorsement clear-cut and simple. By Jack Bowers https://www.allaboutjazz.com/live-joe-labarbera-jazz-compass-review-by-jack-bowers

The Joe La Barbera Quintet Live !

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Lex Jasper Trio with Orchestra - Lexpression

Styles: Jazz
Year: 2008
Time: 37:21
File: MP3 @ 320K/s
Size: 86,4 MB
Art: Front

(5:25) 1. A Time for Love
(4:05) 2. Up with the Lark
(4:05) 3. There Is No Greater Love
(5:36) 4. Two for the Road
(3:37) 5. The First Steps
(5:29) 6. Once Is Not Enough
(4:48) 7. In the Wee Small Hours
(4:12) 8. Invitation

Lex Jasper, the hard groover known as the "Dutch Oscar Peterson," joins Ed Sigpen, the drummer of the Peterson Trio, and swings with an orchestra in the background on this Jasper masterpiece! Recorded in 1986.

Lexpression

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Fats Navarro - Goin' to Minton's

Styles: Jazz
Year: 1999
Time: 72:07
File: MP3 @ 320K/s
Size: 167,2 MB
Art: Front

(5:32) 1. Boppin' A Riff
(5:45) 2. Fat Boy
(5:52) 3. Everything's Cool
(5:38) 4. Webb City
(2:50) 5. Calling Dr. Jazz
(2:53) 6. Fracture
(2:42) 7. Hollerin' & Screamin'
(2:49) 8. Stealing Trash
(2:16) 9. Just A Mystery
(3:06) 10. Red Pepper
(2:33) 11. Spinal
(3:03) 12. Maternity
(2:21) 13. Fat Girl
(2:41) 14. Ice Freezes Red
(2:25) 15. Eb Pob
(2:52) 16. Goin' to Minton's
(3:00) 17. A Be Bop Carroll
(2:53) 18. The Tadd Walk
(2:44) 19. Nostalgia
(2:40) 20. Barry's Bop
(2:37) 21. Be Bop Romp
(2:48) 22. Fats Blows

This 22-track collection is a nearly comprehensive view of trumpeter Fats Navarro's recordings for the Savoy label in 1946 and 1947. Because he died in 1948 at age 26 Navarro's influence is often overlooked today. But, along with Miles Davis, he was one of the primary disciples of bebop trumpet avatar Dizzy Gillespie, and was the more technically polished player of the two. Navarro's first recording session follows the trail blazed by the Charlie Parker-Gillespie group, with Sonny Stitt on alto sax and Bud Powell on piano. In his next session, Navarro is somewhat miscast as a foil for "hollerin' and screamin'" tenor saxophonist Eddie "Lockjaw" Davis. His personal voice emerges in a series of 1947 sessions with pianist-arranger Tadd Dameron, where Navarro's strong tone and immaculate phrasing define him as the first link in a thoroughbred chain of modern jazz trumpeters that extends through Clifford Brown, Lee Morgan, and Freddie Hubbard (By Rick Mitchell)
https://www.amazon.co.uk/Goin-Mintons-Fats-Navarro/dp/B0000206AT

Goin' to Minton's

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Judy Wexler - What I See

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 49:23
Size: 112,9 MB
Scans: Front

(6:30)  1. Tomorrow Is Another Day
(3:15)  2. The Moon Is Made of Gold
(4:17)  3. Convince Me
(4:46)  4. They Say It's Spring
(5:25)  5. A Certain Sadness
(5:11)  6. The Long Goodbye
(3:49)  7. Just for Now
(5:35)  8. Follow
(3:28)  9. Another Time, Another Place
(3:21) 10. A Kiss to Build a Dream On
(3:37) 11. Laughing at Life

Vocalist Judy Wexler is more than a mere singer of songs. She's an actress, mood painter, song archaeologist and vocalist par excellence, and those designations shouldn't be taken as independent virtues; they all merge in her marvelous musical pursuits.

When I See is Wexler's fourth album, but it only took two Easy On The Heart (Jazzopolis, 2005) and Dreams & Shadows (Jazzed Media, 2008)  to establish her as one of the most highly respected vocal artists on the West Coast. She furthered her sterling reputation with the all-encompassing Under A Painted Sky (Jazzed Media, 2011), and she's likely to do the same with this one; it's a real beaut.

What I See finds Wexler covering a lot of ground again, as she moves from Benny Carter to John Williams to King Pleasure. She's in familiar company, working with some longtime colleagues like multi-reedist Bob Sheppard, drummer Steve Hass and pianist/arranger Jeff Colella, but she continually avoids the familiar in all other aspects of her work; she doesn't radically reinterpret anything or purposely pounce on never-before-heard numbers, but she also doesn't tread over well-worn ground.

Wexler kicks off the album with a comfortably swinging take on Pleasure's "Tomorrow Is Another Day." Her reading of this better-things-are-on-the-horizon statement is neither depressed nor sunny; it's matter-of-factly honest about the topic at hand. A similar sense of clarity and truthfulness shines through on every number. Wexler's acting credentials no doubt help her in this regard, but it never sounds like she's acting. When Judy Wexler sings a song, it becomes her song and her story, period. She's more than convincing on "Convince Me," a slow jam-of-a-song if ever there was one, and her voice rises to the occasion on "The Moon Is Made Of Gold." The mere mention of spring on "They Say It's Spring" and "Just For Now" brings a blooming quality to her voice, and she carries "Follow" forward in her own inimitable fashion.

The A-list musicians that join Wexler on this journey also do their part to make this a magical listen. Sheppard is ever-impressive, delivering the goods on bass clarinet ("Tomorrow Is Another Day") and adding warmth with his alto flute ("A Certain Sadness"), and Ron Stout adds a touch of brass beauty to the proceedings ("The Moon Is Made Of Gold"). Colella and guitarist Larry Koonse match Wexler in the sensitivity department and prove to be the instrumental MVPs on the project.

What I See, much like Wexler's prior album, is a marvel of sincerity and beauty.~ Dan Bilawsky  http://www.allaboutjazz.com/php/article.php?id=45314#.UlHATRDNn8o

Personnel: Judy Wexler: vocals; Jeff Colella: piano; Larry Koonse: guitar, ukulele; Chris Colangelo; bass; Steve Hass: drums; Ron Stout: flugelhorn, trumpet; Bob Sheppard: bass clarinet, alto flute; Scott Whitfield: trombone; Billy Hulting: percussion.

What I See

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Cozy Cole - Cozy Cole Hits!

Styles: Jazz, Swing 
Year: 2005
File: MP3@224K/s
Time: 64:24
Size: 104,9 MB
Art: Front

(3:22)  1. Topsy I (Original Version)
(2:29)  2. Bad
(2:24)  3. Turvy I
(4:58)  4. Afro-Caravan
(2:36)  5. Topsy-Turvy I
(3:30)  6. Topsy II (Original Version)
(2:09)  7. Charleston
(2:31)  8. Turvy II
(2:16)  9. Late & Crazy
(2:24) 10. Topsy-Turvy II
(2:44) 11. Crescendo
(3:16) 12. Topsy (Part I)*
(3:29) 13. Topsy (Part II)*
(2:19) 14. North Beach
(2:13) 15. Let There Be Drums
(2:45) 16. Ol' Man Mose
(2:08) 17. Sing! Sing! Sing! (With A Swing)
(2:27) 18. Big Noise From Winnetka (PartI)
(2:40) 19. Big Noise From Winnetka (PartII)
(2:20) 20. Christopher Columbus
(2:16) 21. A Cozy Beat
(2:10) 22. Rockin' Drummer
(2:23) 23. Indian Love Call (Part I)
(2:24) 24. Big Noise from Winnetka 2

William Randolph "Cozy" Cole (October 17, 1909 – January 9, 1981) was an American jazz drummer who had hits with the songs "Topsy I" and "Topsy II". "Topsy II" peaked at No. 3 on the Billboard Hot 100, and at No. 1 on the R&B chart. It sold over one million copies and was awarded a gold disc. The track peaked at No. 29 in the UK Singles Chart in 1958.The recording contained a long drum solo and was one of the few drum solo recordings to make the charts at Billboard magazine. The single was issued by Love Records, a small record label in Brooklyn, New York. Cole's song "Turvy II" reached No. 36 in 1959. William Randolph Cole was born in 1909 in East Orange, New Jersey. His first music job was with Wilbur Sweatman in 1928. In 1930 he played for Jelly Roll Morton's Red Hot Peppers, recording an early drum solo on "Load of Cole". He spent 1931–33 with Blanche Calloway, 1933–34 with Benny Carter, 1935–36 with Willie Bryant, 1936–38 with Stuff Smith's small combo, and 1938–42 with Cab Calloway. In 1942, he was hired by CBS Radio music director Raymond Scott as part of network radio's first mixed-race orchestra. After that he played with Louis Armstrong's All Stars. Cole appeared in music-related films, including a brief cameo in Don't Knock the Rock. Throughout the 1960s and 1970s he continued to perform in a variety of settings. Cole and Gene Krupa often played drum duets at the Metropole in New York City during the 1950s and 1960s. Cole is cited as an influence by many contemporary rock drummers, including Cozy Powell, who took his nickname "Cozy" from Cole. In 1981, he died of cancer in Columbus, Ohio. https://en.wikipedia.org/wiki/Cozy_Cole

Cozy Cole Hits album for sale by Cozy Cole was released Jun 07, 2005 on the Love label. Lyrical is a word sometimes used to describe Cozy Cole's drumming style because his melodious technique goes far beyond mere beat-keeping. Cozy Cole Hits buy CD music The recordings that appeared under his name in the late '50s and '60s are mostly big-band jazz instrumentals that emphasize the drums. "Topsy II," a remake of an old Benny Goodman tune, became a left-field hit on the pop and R&B charts in 1958, introducing the veteran Cole to a new generation of listeners and presaging the rise of rock & roll drummers such as Sandy Nelson and Preston Epps.

Cozy Cole Hits assembles 24 of Cole's recordings for the Love and Coral labels from 1958-1965, including all of his chart hits from the period. In addition to "Topsy II" and its many sequels, Cole steps behind the microphone to sing "Ol' Man Mose," covers Sandy Nelson's "Let There Be Drums," and is joined by a girl group that sings the praises of the "Rockin' Drummer." Most of the music follows in the big-band style of "Topsy II," but several of Cole's later recordings are clearly aimed at the rock & roll audience. Love Records is still in operation and owns Cole's masters, so Cozy Cole Hits is a legitimate release created from the original tapes. However, because it was produced in small quantities, it is available only as a CD-R with poor-quality inserts. The cheap appearance may lead some buyers to assume that their copy of Cozy Cole Hits is a counterfeit or a bootleg, when actually it is the official product as sold through major retailers and directly from Love Records. ~ Greg Adams.http://www.cduniverse.com/search/xx/music/pid/6878006/a/cozy+cole+hits.htm

Cozy Cole Hits!

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Fats Navarro - Fats Blows 1946-1949

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 70:54
Size: 166,1 MB
Art: Front

(2:53)  1. Dance Of The Infidels
(2:49)  2. 52nd St. Theme
(5:34)  3. Double Talk
(2:35)  4. Move
(2:41)  5. Hollerin' And Screamin'
(2:54)  6. The Tadd Walk
(3:09)  7. Jumpin' For Jane
(2:50)  8. Lady Bird
(2:53)  9. Goin' To Minton's
(2:45) 10. Nostalgia
(2:25) 11. Eb Pob
(2:59) 12. Our Delight
(3:16) 13. Bouncing With Bud
(3:04) 14. Wail
(3:05) 15. Symphonette
(3:07) 16. Boperation
(2:49) 17. Fats Blows
(4:02) 18. Stop
(2:52) 19. Sid's Delight
(2:53) 20. Jahbero
(2:57) 21. The Skink
(2:59) 22. The Squirrel
(3:13) 23. Groovin' High

A 23-track overview of Fats' brief moments of brilliance in the jazz skyline. The groups are varied, as was Navarro's wont, featuring such luminaries as Eddie "Lockjaw" Davis, Tadd Dameron, Leo Parker, Art Blakey, Howard McGhee, Bud Powell, Sonny Rollins, Kenny Clarke, Milt Jackson, and Fats' idol, Charlie Parker. Navarro was a brilliant musician, done in by drugs and tuberculosis. This disc gives you an idea of how tragic his loss was to the jazz world. ~ Cub Koda http://www.allmusic.com/album/fats-blows-1946-1949-mw0000051021

Personnel includes: Fats Navarro (trumpet); Leo Parker (alto & baritone saxophones); Charlie Parker, Ernie Henry, Budd Johson, Sahib Shihab, Ernie Henry (alto saxophone); Eddie Davis, Charlie Rouse, Don Lamphere, Allen Eager, Coleman Hawkins, Dexter Gordon, Sonny Rollins, Wardell Gray (tenor saxophone); Cecil Payne, Marion De Veta (baritone saxophone); Howard McGhee (trumpet); Kai Winding (trombone); Milt Jackson (vibraphone); Al Haig, Tadd Dameron, Lennie Tristano, Linton Garner, Bud Powell (piano); Huey Long, Billy Bauer, Chuck Wayne (guitar); Gene Ramey, Curley Russell, Nelson Boyd, Tommy Potter, Jimmy Johnson, Jack Lesberg (bass); Denzil Best, Kenny Clarke, Art Blakey, Shadow Wilson, Buddy Rich, Max Roach, Roy Haynes (drums); Chano Pozo, Diego Ibarra (bongos); Vidal Bolado (conga).

Fats Blows 1946-1949

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Alma Micic/Eric Alexander - Lilac Wine -Tribute to Helen Merrill

Styles: Vocal And Saxophone Jazz
Year: 2025
Time: 46:34
File: MP3 @ 320K/s
Size: 107,3 MB
Art: Front

(5:10) 1. You'd Be So Nice To Come Home To
(4:35) 2. Lilac Wine
(4:34) 3. All Of Me
(4:21) 4. Comes Love
(6:47) 5. I Haven't Got Anything Better To Do
(5:25) 6. Wild Is The Wind
(4:18) 7. Lover Man
(4:06) 8. Night And Day
(2:46) 9. 'S Wonderful
(4:27) 10. The Masquerade Is Over

Dedicated to Helen Merrill & Clifford Brown! The thrilling romantic jazz vocals of Alma Micich, a rising New York favorite! Recorded at Rudy Van Gelder Studios, the mecca of the jazz sound, with full feature by Eric Alexander.

Personnel : Alma Micicci ( vocals ), Eric Alexander ( tenor & alto saxophones ), Lale Micicci ( guitar ), Brandan McKeown ( piano ), Alexander Claffey ( bass ), Jason Tiemann ( drums )

Lilac Wine -Tribute to Helen Merrill

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Judith Owen - Mopping Up Karma

Styles: Vocal
Year: 2009
Time: 53:56
File: MP3 @ 320K/s
Size: 123,5 MB
Art: Front

(3:24) 1. Creatures Of Habit
(3:49) 2. Let's Hear It For Love
(3:22) 3. Ruby Red Lips
(4:35) 4. I Promise You
(3:41) 5. Get Into It
(4:20) 6. Message From Heaven
(4:12) 7. Shine
(4:00) 8. Inside You
(3:16) 9. She's Alright
(5:43) 10. Who's That Girl
(3:49) 11. Extraordinary
(4:37) 12. Mother Mercy
(5:02) 13. The Wide Road

The American music industry may not understand the Welsh-born singer Judith Owen, but at least Richard Thompson appreciates her remarkable voice and decidedly non-easy listening approach to songwriting. These songs were originally recorded for the Capitol label in the late 1990s, after Owen had moved to California. But the album was never released, forcing her to buy back the recordings, which now (after suitable reworking) are released on her own label, just in time for her extensive tour with Thompson on his 1,000 Years of Popular Music project.

She may be married to actor Harry Shearer, responsible for several of the voices on The Simpsons, but this is most certainly not a comedy album. Her vocal style is intimate, acrobatic and theatrical and the songs are pleasantly tuneful or slinky, with occasional jazz influences and backing dominated by her own confident keyboard work. But what's special about Owen is the bravery of her lyrics, from edgy stories of vanity and unfaithfulness to tales of love and brutality, and lines such as: "I don't want to be worshipped and kissed I just want to hurt you." And that's before she embarks on pained and personal songs about her mother. Owen is an intriguing chanteuse who must be a delight to the psychoanalysts of LA. By Robin Denselow https://www.theguardian.com/music/2009/jan/09/judith-owen-mopping-up-karma

Mopping Up Karma

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Monique DiMattina - Monique DiMattina In New Orleans: NOLA's Ark

Size: 131,2 MB
Time: 56:17
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals, New Orleans Jazz
Art: Front

01. Young At Heart (4:04)
02. Dig A Hole (3:58)
03. No More Coffee (3:59)
04. Let's Do Something Bad (4:33)
05. What's In A Kiss (3:55)
06. C'est Tout (3:23)
07. I'll Be Seeing You (2:31)
08. Bring On The Rain (6:23)
09. Numb Fumblin' (3:03)
10. Black Cat (5:08)
11. Godzilla (4:29)
12. You Fool You (5:08)
13. Black Cat (Reprise) (5:37)

Personnel:
Eric Bolivar - Drums
Matt Perrine - Acoustic bass and sousaphone
Leroy Jones - Trumpet
Rex Gregory - Clarinet
Loren Pickford - Sax
Richard Scott- Accordion
Anthony Cuccia - Percussion
June Yamagishi - Guitars

Monique diMattina is back, this time with Nola’s Ark, her most inspired album to date. Recorded in the thriving metropolis and birthplace of Jazz, New Orleans, during the hottest month of the year whilst twenty weeks pregnant, accompanied by a talented ensemble of musicians, this album will lead you on an unforgettable musical journey.

That aside, the recording is hot and a result of stellar musicianship with New Orleans good time sensibility. Deeply inspired by the roots music tradition, Monique paid homage to the history of New Orleans, Louisana, known to locals as NOLA and crafted her fourth studio album whilst living and breathing the deep music culture.

The famed downtown Piety Studios (Elvis Costello, John Scofield, Allen Toussaint) the vessel for this masterpiece, with an all-star crew including trumpeter Leroy Jones (Harry Connick Jnr Band) and bass/sousaphone man Matt Perrine (Dr John, Jon Cleary) and masterfully steered by producer Mark Bingham (R.E.M., Cassandra Wilson). Zonked from jet-lag and baby-growing, diMattina fell asleep randomly, and often, but the magic of the moment pulled them through. The outcome? Her best album yet!

Nola’s Ark is Monique’s fourth album and follows the critical success of 2010’s Welcome Stranger, the songwriters’ first foray into the vocal realm – inspired by overseas and hometown experiences alike. This new recording draws on the strong and poignant experiences of motherhood - the juggle and the struggle. Nola’s Ark also includes songs written on her unique 3RRR segment 'Shaken Not Rehearsed', writing and performing original songs, within the hour, live to air according to listener requests.

Nola’s Ark draws together echoes of Ramsey Lewis, Dr John, Nina Simone, Blossom Dearie and, the influence from a mother of two juggling it all, a panorama from sweet sonority to chaos and back. Superb.

Monique DiMattina In New Orleans: NOLA's Ark

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Gene Estes & Dick Grove - West Coast Series/ Jazz & Swing Orchestras, Westful Big, Bad & Beautiful

Styles: Jazz
Year: 2020
Time: 77:09
File: MP3 @ 320K/s
Size: 178,3 MB
Art: Front

( 3:57) 1. Sharly My Boy
( 3:36) 2. All About Henry
( 4:09) 3. Poca Nada
( 3:27) 4. Big “P”
( 3:03) 5. Pot Luck
( 3:03) 6. D.A.V.
( 4:10) 7. Sweet Lump
( 5:02) 8. Bésame Mucho
( 4:34) 9. Goodbye
( 4:17) 10. The Call
( 4:13) 11. Dead Ringer
( 5:22) 12. Dill Pickles
( 3:27) 13. My Lady
( 3:42) 14. Good 'n Plenty
( 4:15) 15. Big, Bad & Beautiful
( 6:26) 16. Ain't No Doubt About It
(10:20) 17. Trilogy for a Boy

When the dust from the collapse of the Swing Era settled, there were few big bands left that had survived. Yet, because they loved the swinging drive of a full-on jazz orchestra, a series of adventurous and unsung bandleaders optimistically organized some fine, but short-lived, new orchestras that were packed with jazz and studio musicians, holding the flag of Swing high.

Gene Estes (1931-1996) had a richly varied and successful musical career as a drummer, vibraphonist, composer and arranger, writing for, and performing equally well with small groups and big bands. His career went through several stages, not the least of which was his attempt to keep a big band going in Hollywood during the ‘60s. He organized it in the fall of 1964 to play his own compositions and arrangements. The first iteration lasted only one year, but in 1966 he reorganized it and was able to keep it active until the end of 1968. “Over the years we’ve had many different good players and always a good band,” Estes mentioned, but then he also recognized that this particular version of the band was his favorite. This is the only recording that exists of this magnificent big band.

Dick Grove (1927-1998) was a rare and unique composer-arranger-conductor, and just as Clare Fischer, Gil Evans and other arrangers of renown, he had to wait until he was in his thirties before he could make any impact on the jazz scene. This album proves he was an inventive, polished arranger, who scored a wide sampling of contemporary musical styles beyond the then accepted boundaries of jazz. All are Grove originals, in a program that jumps from straight-ahead driving tunes, to bossa nova grooves, blues and jazz rock pieces. The interesting performances are spiced by the brilliant solo work of saxophonists Lanny Morgan, Bill Perkins, Bob Hardaway and Bill Hood; trumpeters Joe Burnett and Jay Daversa; pianist and organist Pete Jolly; trombonist George Bohanon; and the brilliant drummer Roy Burns (1935-2018), who adds to the music his masterful technique and rhythmical drive.

Sources: Tracks #1-9, from the album “Westful” (Nocturne Hollywood NRS-701)
Tracks #10-17, from the album “Big, Bad & Beautiful” (First Priority Music FPM 1001)

Personnel on "Westful":
Conte Candoli, Ollie Mitchell, Ralph Osborn, trumpets; Herbie Harper, trombone; Bob Enevoldsen, valve trombone; Dick Leith, bass trombone; Med Flory, alto sax; Tom Scott, alto sax & clarinet; Bob Hardaway, tenor sax & clarinet; Jay Migliori, tenor sax; Bill Hood (#1,3,4,5) or Meyer Hirsh (#2,6,7,8 & 9) baritone sax & clarinet; Joyce Collins, piano; Alan Estes, vibes (#3,4,8); Jim Hughart, bass; Gene Estes, drums, arranger & conductor.
Recorded in two sessions at the MGM Sound Stages, Culver City, Cal. March 23, 1968

Personnel on "Big, Bad & Beautiful":
Buddy Childers, Jack Feierman, Hal Espinosa, trumpets; Joe Burnett, Jay Daversa, trumpet & flugelhorn; Charles Loper, George Bohanon, Bob Edmondson, Dick McQuarry, trombones; Lanny Morgan, Bill Perkins, alto saxes; Bob Hardaway, soprano & tenor sax; Bill Robinson, clarinet & tenor sax; Bill Hood, baritone sax; Pete Jolly, piano, Fender Rhodes & organ; Norm Jeffries, vibes; Al Viola, guitar; Gene Cherico, double bass & Fender bass; Roy Burns, drums; Dick Grove, composer, arranger & conductor.

Recorded at TTG Studios, Hollywood, Cal., summer of 1973

West Coast Series - Jazz & Swing Orchestras, Westful/Big, Bad & Beautiful

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Mark Turner - Reflections on: The Autobiography of an Ex-Colored Man

Styles: Jazz
Year: 2025
Time: 73:41
File: MP3 @ 128K/s
Size: 68,8 MB
Art: Front

( 4:04) 1. Movement 1. Anonymous
( 9:37) 2. Movement 2. Juxtaposition
( 5:31) 3. Movement 3. Pulmonary Edema
(12:03) 4. Movement 4. New York
( 9:46) 5. Movement 5. Europe
( 8:26) 6. Movement 6. The Texan...The Soldier
( 6:59) 7. Movement 7. Mother...Sister...Lover
( 8:37) 8. Movement 8. Pragmatism
( 6:11) 9. Movement 9. Identity Politics
( 2:22) 10. Movement 10. Closure

“I once heard a colored man sum it up in these words: ‘It’s no disgrace to be black, but it’s often very inconvenient’”. The quote, wry, lightly expressed yet heavily charged, is typical of the text that inspires saxophonist Mark Turner’s ambitious new suite here, as of his own playing and composition.

It comes from the novel in the title, a meditation on race in the USA 100 years ago from the point of view of a black man able to pass as white. A penetrating work by the remarkable author and civil rights activist (also diplomat, lawyer, and university professor) James Weldon Johnson, it grabbed Turner’s attention because members of his own family including his mother were able to pass, so the issues of presentation, perception, identity, status, and self-determination it poses were intensely familiar.

Twenty years later, the ten movement suite he presents here uses words from the book on around half the tracks. The leader’s brief passages of measured narration – in keeping with the prose style set the scene for long musical responses. Bringing words and music together not as songs but as separate strands of the work is always risky. The music or the words may not quite work, or they may not work together. Here, the combination succeeds brilliantly. ‘I wanted to have music that was enhanced with words, not words that were enhanced by music’, Turner tells us in the notes. That is just what he has achieved.

And such music it is. The state of the art quintet assembled here includes Turner’s closest recent associate Jason Palmer on trumpet, David Virelles on piano and – here and there – synthesisers, Matt Brewer on bass and Nasheet Waits on drums. The compositions generally begin simply, gathering complexity as they go. Piano, bass and drums furnish an atmospheric backdrop much of the time, with occasional more prominent contributions. Saxophone and trumpet do most of the heavy lifting, and provide one of the most striking twin horn leads on a connected suite of compositions I can recall since Bobby Bradford joined David Murray on the former’s deeply affecting Death of a Sideman.

Like Bradford, Turner displays a cherishable ability to unroll long lines each of which sounds like someone following a fresh train of thought. Some in the past (not me) have suggested that his playing can be stronger on intellect than emotion. If that ever happened, it is certainly not the case here. Every piece fizzes with feeling that the understated narrative preludes mostly prime but do not let loose until the music allows it to emerge.

That culminates in part 9, Identity Politics. For once, the music sets the mood first, Turner and Palmer playing as one in a through-written duet, at once slightly fretful and ruefully resigned, for four minutes. Then Turner voices the protagonist’s closing regret at turning away from his heritage, and the struggle that comes with it, to live in relative security, while Virelles underpins the words with the chords of Lift Every Voice and Sing, for which Johnson also wrote the words to go with his brother’s music.

It’s an indelible moment from a work that lodged firmly in the mind from first hearing.

I thought Turner’s previous release, Live at the Village Vanguard, from 2023 was perfectly achieved music. Reflections, though, feels like a new high water mark for an artist at the peak of his powers.

Mark Turner appears with Jason Palmer’s quartet at Ronnie Scott’s on Weds 15 Nov and Birmingham Conservatory’s East Side Jazz Club on 16 Nov.https://ukjazznews.com/mark-turner-reflections-on-the-autobiography-of-an-ex-colored-man/

Personnel: Mark Turner - Tenor Sax & Narration; Jason Palmer - Trumpet; David Virelles - Piano, Profit & Organ; Matt Brewer - Acoustic & Electric Bass; Nasheet Waits - Drums

Reflections on: The Autobiography of an Ex-Colored Man

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Cozy Cole - Swinging Drums

Bitrate: MP3@320K/s
Time: 56:21
Size: 129.0 MB
Styles: Swing, Bebop
Year: 2016
Art: Front

[2:31] 1. Comes The Don
[2:39] 2. Take It On Back
[3:01] 3. I Don't Stand A Ghost Of A Chance
[2:46] 4. Willow Weep For Me
[2:47] 5. Smiles
[3:11] 6. Now's The Time
[2:53] 7. Why Regret
[2:43] 8. Look Here
[2:36] 9. Through For The Night
[2:41] 10. Lover Come Back To Me
[2:42] 11. Stompin' At The Savoy
[2:42] 12. All Of Me
[3:11] 13. Dat's Love
[3:04] 14. Night Wind
[2:48] 15. Memories Of You
[2:31] 16. Beat
[2:40] 17. Strictly Drums
[3:09] 18. Hallelujah
[2:48] 19. They Didn't Believe Me
[2:51] 20. When Day Is Done

He was born William Randolph Cole in East Orange, New Jersey in 1909. Cozy had studied music from childhood and his career spanned the entire history of jazz with debut records made with Jelly Roll Morton between 1927-1930 continuing to play until the week of his death. Primarily known as a swing drummer, Cozy Cole worked with some of the best big bands including Benny Carter, Stuff Smith, Cab Calloway, Benny Goodman, Louis Armstrong, Jack Teagarden, Earl Hines, Jelly Roll Morton, Teddy Wilson, Bunny Berigan, Bud Freeman, Lionel Hampton, and Coleman Hawkins.

Between 1938 and 1942 Cozy was featured with the dynamic Cab Calloway band, on three drum pieces which may be the earliest drum feature recordings. They were Paradiddle, Ratamacue, and Crescendo In Drums. Cole was featured in two Broadway musicals, Carmen Jones (1954) and Seven Lively Arts (1946). He was also the first black musician to work as a CBS Studio staffman. His drumming bridged the swing to bebop gap when he recorded with Charlie Parker and Dizzy Gillespie between 1945-1946. In fact, in a 1960 issue of Down Beat, Don DeMicheal noted that Cozy’s “major addition to the jazz drummer’s frame of reference was a technical one: hand and foot independence. He was one of the first—if not the first—to develop and master this coordination, which is such a necessity for today’s drummer.” ~Scott Fish

Swinging Drums

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Nicki Parrott - After Midnight

Styles: Vocal Jazz
Year: 2025
Time: 56:20
File: MP3 @ 320K/s
Size: 129,7 MB
Art: Front

(4:09) 1. I Love Being Here With You
(4:19) 2. Unchain My Heart
(3:52) 3. All I Do Is Think About You
(5:13) 4. Crazy He Calls Me
(4:13) 5. After Midnight
(3:54) 6. The Thrill Is Gone
(3:58) 7. What Becomes Of The Brokenhearted?
(3:54) 8. I Don't Need No Doctor
(3:59) 9. Your Cheatin' Heart
(3:34) 10. Wild Women Don't Have The Blues
(4:31) 11. He Called Me Baby
(4:15) 12. You Don't Know
(3:29) 13. Let The Good Times Roll
(2:54) 14. Somewhere Over the Rainbow

This release captures Nicki Parrott's sultry and soulful voice in a deeply evocative session that blends jazz sophistication with the raw emotion of blues. Parrott delivers a sexy and melancholic blues night, drawing on the rich traditions of American roots music. Influences from Ray Charles, B.B. King, and others shine through as she seamlessly fuses elements of jazz, blues, and country into a fresh, expressive sound.

Personnel: Nicki Parrott - vocals and bass; Steve Russell - piano; Dave Sanders - drums; Martha Baartz - tenor & alto saxophones; Jim Kelly - guitar

After Midnight

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Boz Scaggs - Detour

Styles: Guitar Jazz
Year: 2025
Time: 48:45
File: MP3 @ 320K/s
Size: 112,9 MB
Art: Front

(4:28) 1. It’s Raining
(4:46) 2. Angel Eyes
(3:53) 3. Once I Loved
(5:10) 4. The Very Thought Of You
(4:47) 5. I'll Be Long Gone
(5:24) 6. Detour Ahead
(4:40) 7. I Could Have Told You
(3:56) 8. The Meaning Of The Blues
(4:27) 9. Tomorrow Night
(3:47) 10. Too Late Now
(3:23) 11. We'll Be Together Again

Sometimes in life, an unexpected detour leads you right where you belong. Boz Scaggs’ captivating new album is proof of that.

“I had no intention of making a record when I started singing these songs,” the Grammy-winner confesses. “It was all very casual at first, just an opportunity to explore a style of music I’ve always liked, to get together with a friend and play for the sheer joy of it.”

Detour, Scaggs’ first new studio album in seven years, is more than just a sonic diversion, though; it’s a love letter to the Great American Songbook. Recorded over the course of the last several years with pianist Seth Asarnow, the collection finds Scaggs interpreting timeless standards with tender insight and profound emotional sophistication. The tracks here began life as a series of demos for Scaggs’ personal use as he expanded his vocal stylings, but it soon became apparent that there was something magical about the performances and arrangements, something undeniable that deserved to see the light of day. The result is an eclectic mix of the familiar and the obscure that tips its hat to everything from Frank Sinatra and Ella Fitzgerald to Irma Thomas and Lonnie Johnson, an elegant reimagining of old favorites and new discoveries delivered with both reverence and a fresh perspective.

“There are as many different approaches to these songs as there are singers who’ve taken them on over the years,” says Scaggs. “It’s a wonderful feeling to be able to join their harmonic ranks and contribute my renditions to this rich musical legacy.”

Hailed by Rolling Stone as “one of rock and roll’s most soulful vocalists,” Scaggs has his own rich musical legacy dating back to the 1960s, when he took on the role of guitarist and singer with the Steve Miller Band. His tenure with the group was short-lived, though, and after just two albums, he left to pursue his own solo career with Atlantic Records, who released his self-titled American debut (produced by Jann Wenner and featuring a young Duane Allman) in 1969. By the ’70s, Scaggs had made the leap to Columbia, releasing a series of critically acclaimed records leading up to 1976’s Silk Degrees, which would make him a household name on the strength of smash singles like “Lido Shuffle,” “It’s Over,” and “Lowdown.” (The five-times platinum album also spawned the band Toto, which featured several musicians Scaggs assembled for the recording sessions.) In the years to come, Scaggs would go on to share bills with the likes of Fleetwood Mac and the Eagles, play everywhere from SNL and The Tonight Show to Austin City Limits, and tour as The Dukes of September with Donald Fagan and Michael McDonald. Along the way, he would sell millions of records worldwide and crack the Top 40 eight more times while carving out a distinctive and enduring path that’s endeared him to six decades of fans.

“If I look at myself as a musician over the years, I’d have to consider my primary instrument to be my voice,” says Scaggs. “Early on I was really influenced by rock and roll guys like Chuck Berry and Elvis Presley and R&B and soul singers like Curtis Mayfield and Bobby ‘Blue’ Bland, but there was something about jazz and standards that always fascinated me.”
More..............https://concord.com/concord-albums/detour-2/

Detour

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