Karl Barthel And His Bavaria-Brass-Band - Bayern LP 1978 / Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made​​ 2012 th.

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01 - Fanfare Dance
02 - Der Froliche Vanderer
03 - Fortuna Tango
04 - Trompeten-Echo
05 - Die Blumenkonigin
06 - Floss-Party Im Isartal
07 - Einzug Der Musikanten
08 - Schneemarsch
09 - Brass Patrol
10 - Der PostillionVom Konigsee
11 - Prost Bavaria
12 - Auf Wiederseh'n

Jouko Anttilan Quintet - Whispering

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Jouko Anttilan Quintet - 01 - Softly As In The Morning Sunrise
Jouko Anttilan Quintet - 02 - I Love To Love You
Jouko Anttilan Quintet - 03 - Whispering
Jouko Anttilan Quintet - 04 - It s Only A Paper Moon
Jouko Anttilan Quintet - 05 - September In The Rain
Jouko Anttilan Quintet - 06 - As Time Goes By
Jouko Anttilan Quintet - 07 - Lady Be Good
Jouko Anttilan Quintet - 08 - Never Set Midnight Sun
Jouko Anttilan Quintet - 09 - Jockes Tune
Jouko Anttilan Quintet - 10 - Dream
Jouko Anttilan Quintet - 11 - Charmaine
Jouko Anttilan Quintet - 12 - The In Chance Love

Ákos Stefi - Pest felé szökik a nyár LP Digital transferred, noise cleaning and mixed, at Audio Design Studio home sound recording studio 2006

  

FONTOS!!!!!!!!!!

Aki ezt az albumot 2012 04 26 előtt töltötte le, az ismét töltse le az anyagot mert a régi tele volt hanghibákkal!!!

Ez a jó verzió

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01 - Pest fele szokik a nyar ( Szenes Iván*, Zsoldos László )

02 - Semmi az egesz ( Nádas Béla )

03 - Csokolade ( G. Dénes György, Harsányi Béla, Milton Drake, Vic Mizzi)

04 - Ugy szeress ( Behár György*, Szenes Iván*)

05 - Valaki miatt ( Horváth Jenő, Szenes Iván* )

06 - Csak egy filmkocka volt ( G. Dénes György, Kárpáti József )

07 - Brazil (Ary Barroso, G. Dénes György )

08 - Csak egy kis emlek ( Bacsó Péter, Fényes Szabolcs )

09 - Szeretnek meg egyszer beszelni veled ( Dávid Rózsa, Vécsey Ernő )

10 - Mariguana Cha Cha Cha ( Szombathy István*, René Dubianski )

11 - Szeretlek ( Gyulai Gaál Fivérek )

12 - Ne nezz a csillagok fele (  Rédei Iván, Vély Róbert )

13 - Szalmalang ( Breitner János, Szenes Iván* )

14 - Gyakran a muzsika pompas gyogyszer ( Halász Rudolf, Orlay Jenő )

LPX 17689  Mono 1982 Pepita

A Mariguana cha-cha-cha hallatán ma inkább az Anima Sound system jut eszünkbe, pedig valaha Ákos Stefi énekelte. Valaha, nem sokkal azután, hogy a Budapestet benépesítő lokálok, orfeumok, revüszínpadok, bárok és mulatók aranykora lejárt, és csak gondosan felülvizsgált buzdító, tiszta és nemes dalokat volt szabad énekelni, melyek nem voltak giccsesek, nem tobzódtak "zeneietlenségben", nem építettek hazug álomvilágot és nem rontották az öntudatos dolgozók ízlését. Eközben Amerikában már a rock and roll felett bábáskodtak, 1954. április 12-én pedig Billy Haley hangszalagra énekelte Around the Clok című számát, mi azóta is korszakjelző dátum a szórakoztatózene történelmében, Elvis Presley pedig nem győzte takaríttatni Cadillacjairól a sikoltozó lányok rúzsfoltjait.

Felbolydult a világ, itthon pedig mintha semmi sem történt volna. Mintha. Mert míg a szülők andalogva borultak össze a Hajmási Péter, az Akácos út és a Schneider Fáni dallamaira, a fiatalok a zongora-dob-bőgő felállású zenekaraikkal már várták a "nyugat" betörését, mi 1957-től (erősen megszűrve ugyan) lassan csordogálni is kezdett. A jó példát, a kézcsókos, szertartásos jómodort és az ízléses táncokat (slowfox, foxtrott, tangó, cha-cha-cha) természetesen továbbra is a tánciskolákban lehetett elsajátítani, melyek ajtajára gondosan kifüggesztették a táblát: "Rock and rollt nem tanítunk". Mert a "lázadók" arra vártak. Az ötórai teákon és délutáni házibulikban még ingben és élére vasalt nadrágban roptak az ifjak és a kicsit már kevésbé fiatalok, a hangulat tetőfokra hágását pedig a nyakkendő levétele jelentette, és még igazi lázadásnak számított a megengedettnél kicsit hosszabb haj, vagy egy coca-cola elfogyasztása. A kettőről együtt nem is szólva...

Azokra az időkre mi már legfeljebb csak a Csinibaba című filmből emlékezhetünk, és a kor zenés presszóira, kerthelyiségeire is. Pedig micsoda idők lehettek!
A Holéczy zenekar és a vele oly gyakran fellépő Ákos Stefi külön korszakot jelentettek az ötvenes évek magyar könnyűzenéjében. Nyíltan lehetett énekelni, hogy "Pest felé szökik a nyár", kérni, hogy "Úgy szeress, hogy sose múljon el", vagy táncolni a Brazil és a Csoko-csoko-csokoládé ütemére. Ákos Stefi a táncdalok mellett elismert dzsezzes múltat is magáénak tudhatott, de a korszak viharos szele mégsem kegyelmezett karrierjének. A vécédeszkákból gitárt fabrikáló "nyugatmajmoló jampik" elsöpörték a még jómodort ismerő dalokat és előadóikat, kikhez később nem voltak restek visszanyúlni, de teret újra már csak a nosztalgiaműsorokban kaphattak.
Ákos Stefi, a zeneakadémiai gyémántdiplomás művésznő a Magyar Rádióban helyezkedett el, ahol hangképző tanárként egyengette az új generáció tagjainak útjait.
Visszatérésre nem volt lehetősége, de örökzöld slágereit minden korosztály dúdolja. 2005. február 21-én, nyolcvanhat éves korában érte a halál.

1. PEST FELE SZÖKIK A NYAR
/Zsoldos László — Szenes Ivan!
2. SEMMI AZ EGESZ
/Nádas Bela!
3. CSOKOLADE /HOTA CHOCOLOTA/
Nic Mizzi — Milton Drake — Harsányi Bela — G. Dénes György/
4. UGY SZERESS!
/Behár György — Szenes Ivan!
5. VALAKI MIAT
/Horváth Jenö — Szenes Ivan!
6. CSAK EGY FILMKOCKA VOLT
!Kárpáti József — G. Dénes György/
7. BRAZIL
/Ary Barroso — G. Dénes György/

1. CSAK EGY KIS EMLEK
/Fényes Szabolcs — Bacsó Peter!
2. SZERETNEK MEG EGYSZER BESZELNI VELED Nécsey Ernö — David Rózsa/
3. MARIGUANA CHA-CHA-CHA
IRene Dubianski — Szombathy István/
4. SZERETLEK
/Gyulai Gaál fivérek!
5. NE NEZZ A CSILLAGOK FELE!
!Rédei Ivan — Vély Robert!
6. SZALMALANG
/Breitner János — Szenes Ivan!
7. GYAKRAN A MUZSIKA POMPAS GYOGYSZER !Orlay Jenä — Halász Rudolf!

Körmendi együttes /8 2/ Módos vokál lB 2/

A Magyar Rádió Tánczenekara Vezényel
Bágya András /A 1,3/
Gyulai Gaál János /A 4, 7, B
Zsoldos lmre /A 6, B 5/
Martiny Lajos /B 4, 7/
Jereb együttes IA 2/ 1,3/

MHV Vonós Tánczenekara
Vezényel: Hidas Frigyes IA 5/

Berki Géza együttese lB 6/

A 40-es és 50-es évek dalai, 78-as fordulaton Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made​​ 2012th.

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Download_Photos disk labels / LEMEZ CÍMKÉK FOTÓI....

BÓNUSZ TRACK
 

Seifert Dezső Schachmeister Efim tánczenekara - Az én babám egy fekete nő 1927 Berlin

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A felvételek mindegyike restaurált hang anyag. Természetesen ezek a lemez anyagok nincsenek úgymond túl restaurálva azért, hogy megmaradjon a felvételek eredetisége. Tehát egy kicsit serceg, meg néhol recseg.

De gyakorlatilag így az igazi. Egy viszont fontos, hogy az évszámok - minőségi jelzők - a felvételek hallgatásához!

Azok az ötvenes évek     ------>>>>>> Bővebben


01 - Akos Stefi - Az első percben 1954                      
02 - Akos stefi - M R Tánczenekara - Gyakran a muzsika pompás gyógyszer 1954  
03 - Akos Stefi - MHV Tánczenekar - Huppan a szekér 1948  ( körül )  
04 - Akos Stefi - MHV Tánczenekar - Magát nagyon szerettem 1948 ( körül )   
05 - Feller Sándor, Dubán-Feller jazz együttes - Fa-furulya 1946 ( körül )   
06 - Feller Sándor, Dubán-Feller jazz együttes - Nincsen olyan lány 1946 ( körül )
07 - Holéczy együttes, Martiny zenekar - Az én babám egy fekete nő 1948
08 - Holéczy együttes, Martiny zenekar - Bőbeszédű nem leszek én 1948     
09 - Holéczy együttes, Martiny zenekar - Hétre ma várom a nemzetinél 1948 
10 - Holéczy együttes, Martiny zenekar - Hogyha szól a zene 1948  
11 - Holéczy együttes, Martiny zenekar - Lehoznám neked a csillagokat 1948
12 - Holéczy együttes, Martiny zenekar - Manci a kis pesti lány 1946 ( körül )
13 - Holéczy együttes, Martiny zenekar - Megjósolták énnekem 1948  
14 - Holéczy együttes, Martiny zenekar - Tampico 1946 (körül )      
15 - Katal László - Kisebb lett a kalapom 1948  ( körül )           
16 - Kurz Károly, Chappy tánczenekara - Az ember szíve 1943 
16 - Kurz Károly, Chappy tánczenekara - Ma még azt hiszed 1943     
17 - Kurz Károly, Polydor tánczenekar - Amapola 1944 ( körül )      
18 - Kurz Károly, Polydor tánczenekar - Már nincsenek flörtjeim 1944 ( körül )
19 - Lantos Olivér, Bágya-énekegyüttes, Radiola tánczenekar - Tizenhat éves volt és szőke 1948 ( körül )
20 - Solymossy Lulu Lajos (zongora) - Medley from the Film ( Snow White and The Seven) 1938
21 - Solymossy Lulu Lajos (zongora) - Medley from the Film (Alexander's Ragtime Band) 1938
22 - Solymossy Lulu zenekara - Az egész csak egy szívdobbanás 1940
23 - Szabó-Quitter tánczenekar - A lámpa zöld 1943          
24 - Szabó-Quitter tánczenekar - Ó, gondolj rám 1943        
25 - Tabányi Mihály - Én még nem hiszem el neked 1949       
26 - Tabányi Mihály - Szívügyem a könnyűzene 1949

Holéczy Ákos igazi csodagyerek volt.... 

Énekhangját az édesanyjától, fantasztikus zenei tehetségét az édesapjától örökölte. Ákos Stefi, a kitűnő, közkedvelt énekesnő és Dr. Holéczy Ákos, a klarinét virtuóz mestere méltán lehettek büszkék fiukra, aki már gyerekkorában velük énekelt és mindig a műsor egyik fénypontja volt. Tizenhét éves korában a szaxofon lett kedvenc hangszere. Szoprán, alt, bariton, mindegy volt neki, csak játszhasson! Később “On the Road” (Úton) nevű zenekarával bejárta egész Európát. Egy svájci fellépésük alkalmával úgy döntött, hogy elég volt az utazásból. Baselben telepedett le, azóta is ott van “főhadiszállása”. Szülei klasszikus zenei képzésben részesültek, Ákos nem akart elmaradni mögöttük. Sikeresen felvételizett a baseli Zeneakadémiára, ahol Iwan Roth professzor több szemeszteren át gondos szeretettel irányította a tanulmányait. A kemény munkára Daniel Deffayet, a párizsi Konzervatórium professzor tette rá a koronát. Szokatlan dolog, hogy egy sikeres jazz-muzsikus klasszikus tanulmányokat folytasson, Ákos azonban mindvégig úgy érezte, hogy ez is hozzátartozik a zenei műveltségéhez. Sokoldalú tehetségének hamar híre futott, klasszikus zenekarok versengtek a művészetéért és Ákos sikert sikerre halmozott Baselben, Zürichben, Bernben, Luzernben és Frankfurtban. Iwan Roth beleegyezett, hogy diploma koncertjén Ákos mindkét oldaláról bemutatkozzon. A műsor egyik felében klasszikus műveket, a másikban jazzt játszott. Ilyesmire még nem volt példa a patinás Akadémia történetében! Ám a tanárok, s természetesen a közönség is lelkesen fogadták a műsort. “Summa cum laude”, Ákos a legnagyobb dicsérettel vizsgázott.

Az elmúlt húsz év során Holéczy Ákos a “Stage Four” zenekar vezetőjeként a szórakoztató ipar népszerű, nemzetközi muzsikusa lett. Egy időben tagja a Svájci Nemzeti Zenekarnak és szívesen játszik kamarazenét Iwan Roth szaxofon quartettjében. Hírneve már régen túllépte Európa határait, sikeresen turnézott Japánban, Szingapúrban, Szenegálban és Hongkongban. Választott hazájában, Svájcban szabadúszó muzsikusként több formációban is csillogott a rock, a pop és a salsa terültén. A “Destinations” (Célállomások) című CD az első szóló produkciója. Ez az a célállomás, amihez hosszú évek utazása vezetett. Az út hosszú volt és olykor göröngyös, de megérte. Ákos zenéje friss és magával ragadó. Tegye be a CD-t a kocsijába és utazzon együtt Ákossal. Hová is? Talán a következő célállomásig.

 ( info : Underground magazin )

Osmo Seppälä Trio - Sunday Jam 2005

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Osmo Seppälä Trio - More Today Than Yesterday
Osmo Seppälä Trio - Sunday Jam
Osmo Seppälä Trio - Pink Panther Theme
Osmo Seppälä Trio - La Samba
Osmo Seppälä Trio - I Didn't Know What Time It Was
Osmo Seppälä Trio - Afro Blue
Osmo Seppälä Trio - I Want To Hold Your Hand
Osmo Seppälä Trio - Maggie

Dr. Lonnie Smith - Rise Up

 

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01 - Dr. Lonnie Smith - A Matterapat
02 - Dr. Lonnie Smith - Come Together
03 - Dr. Lonnie Smith - Pilgrimage
04 - Dr. Lonnie Smith - Daper Dan
05 - Dr. Lonnie Smith - And The World Weeps
06 - Dr. Lonnie Smith - People Make The World Go Round
07 - Dr. Lonnie Smith - Tyrone
08 - Dr. Lonnie Smith - Sweet Dreams
09 - Dr. Lonnie Smith - Voodoo Doll

Dr. Lonnie Smith - David Fathead Newman - Boogaloo To Beck

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01 paper tiger
02 tropicalia
03 mixed buziness
04 the new polution
05 devil's haircut
06 sexx laws
07 loser
08 jack ass
09 where it's at
10 he's a mighty good leader
11 Nobody's Fault

Lonnie Smith - Move Your Hand (US 1969) Japan mastering

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01. Charlie Brown

02. Layin' In The Cut

03. Move Your Hand

04. Sunshine Superman

05. Dancin' In An Easy Groove

Anyone that has listened to Lonnie Smith should know that Dr. Smith is at his best when performing the slow and grinding ilk of funk. While his album "Live at Club Mozambique" is a great and funky disc, it tends towards the faster and more energized groves; it only gives us a taste of the grinding slow stuff. This album, however, gives us a lot more of the slow grinders that Dr. Smith is rightly known for.
......................
Just as Lou Donaldson's albums broke loose of many blues cliches a few years before, introducing a new funky boogaloo rhythm into Jazz, Lonnie breaks free of the boogaloo funk cliche's of the '60s and absorbs the funk of JB and then contemporary black radio. In fact, this is probably the least dated B3 CD of that era. He even does a bit of singing visa vis the enormously funky "Move Your Hand" which could of just as easily been taken up by George Clinton and P-Funk.
Cool, Funky and Groovin', this album along with Jimmy Smith's ROOT DOWN and Lou Donaldson's Midnight Creeper are definitely top picks for the true Hammond B-3 funkateer.
......................
Lonnie has that essential groove that remains through the whole album. Right from the first track you realise you are on one of Blue notes very special albums. "Charlie Brown" sets the scene while "Layin in the Cut" builds up the pace to an awe inspiring state on one of the greatest groove organ tracks I have ever heard. On the Title track "Move Your Hand" Lonnie matches his organ brilliance with unique heart felt vocals. On "Sunshine Superman" Lonnie continues the saga. The man is backed by awesome performances on guitar by Larry Mcgee and Rudy Jones on Tenor Saxaphone as well as many other musicians also giving excellent performances. This is an album that always remains by the stereo, mainly in it. You will always return to it. This is the exact music you would want to listen to in your favourite bar with dim lights a groovy armosphere and your favourite drink in your hand...[net]

Sunshine Terrace Swing Band - The Swinging In A New Mood LP 1976 - Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made​​ 2012th.

Original recording loungelegends.blogspot.com

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01 - American Patrol
02 - In The Mood
03 - Chattanooga Choo Choo
04 - Bandstand Boogie
05 - Jumpin' At The Woodside
06 - String Of Pearls.
07 - Andrew Sisters' Medley.
08 - Two O'Clock Jump

Original Tracklist:

A1 American Patrol

    Written-By – F. W. Meacham

    3:04    
A2 In The Mood

    Written-By – Andy Razaf, Joe Garland

    3:51    
A3 Chattanooga Choo Choo

    Written-By – Warren*, Gordon*

    3:07    
A4 Bandstand Boogie

    Written-By – Albertine*

    3:33    
B1 Jumpin' At The Woodside

    Written-By – Count Basie

    3:56    
B2 String Of Pearls

    Written-By – deLange*, Gray*

    4:08    
 
Andrews Sisters' Medley (2:33)   

B3.1 A-Tisket A-Tasket

    Written-By – Ella Fitzgerald, Van Alexander

    0:35    
B3.2 Three Little Fishes

    Adapted By – Saxie Dowell

    0:43    
B3.3 Swinging On A Star

    Written-By – Van Heusen*, Sonny Burke*

    0:30    
B3.4 Three Litle Fishes (Reprise)

    Adapted By – Saxie Dowell

    0:45    
      -
B4 Two O'Clock Jump

    Written-By – Count Basie

The followlng muslcians can be heard in these recordings:

• Trumpets:

Pete Candoli,
Buddy Childers,
Tony Terran,
Paul Hubinon,
Bill Berry,
Shorty Sherock

• Trombones:

Charlie Loper,
Britt Woodman,
Lew McCreary,
Tom Shepard,
Bobby Knight,

• Saxophones:

WiII Schwartz,
Justin Gordon,
Bill Green,
Jay MIgIiori,
Buddy Collette,
Plas Johnson,

• PLano:

Mike Melvoln 1,
David Foster 2, 3,

• Gultar:

Larry Carlton 1,
Tom Rotella 2,3,

• Drums:

Hal Blaine 1, 3,
Mike Baird 2,

• Percussion:

Frank Capp,
Emil Richards’,

• Singers:

• Chattanooga Choo Choo:

Gene Merlino,
B.J. Baker
Sue McCune,
Stan Beard,
Tom Kenny

• Andrews Si:t.rs’ MedIey:

B.J. Baker
Sue McCune.
Sue AlIan

Produced by Joe Renzetti,
Co-producer by Davd ChackIer

All titles where recorded In Los Angeles, California. USA The recordings were done as foflows: American Patrol and Chattanooga Choo Choo on March 28,1976; Bandstand Boogie, Two O'Clock, Jump and Andrew Sisters' Medley
March 31.1976, In The Mood, Jumpin’ At The Woodslde and Swing Of Pearls on April 5.1976 ,

Sharon Jones & The Dap-Kings - Soul Time! LP - Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made​​ 2012th.

With every album Sharon Jones and the Dap-Kings release, the suspicion increases that the recordings might be superfluous to proceedings: that what really counts with this band is the blistering live show. Soul Time! feels like merchandise-stall fodder: stacks of tracks have been issued before, and even those making their first appearance on disc are far from new – most glaringly Longer and Stronger, written to celebrate Jones's 50th birthday in 2006. Then again, newness is a relative concept for a band trading in funk and soul licks patented decades ago, whose avowed aim is to party like it's 1969. And even if the production job by Dap-Kings' frontman/bassist/chief songwriter Bosco Mann is too pristine, there is a crackle in the band's playing that, in the best songs, fans to a full-scale blaze. There is a filthy energy to the thrusting When I Come Home, while New Shoes bounces along with so much fierce attitude, it hardly matters that the song is an amalgam of cliches.

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01 - Genuine Pt 1
02 - Genuine Pt 2
03 - Longer And Stronger
04 - He Said I Can
05 - I'm Not Gonna Cry
06 - When I Come Home
07 - What If We All Stopped Paying Taxes
08 - Settling In.
09 - Ain't No Chimneys In The Projects
10 - New Shoes.
11 - Without A Trace
12 - Inspiration Information

 

Edition of 5000 copies only. Released for the Record Store Day Black Friday 2011 event.

Recorded at Daptone's House of Soul.

Exclusively licensed by Daptone Recording Co., 115 Troutman St., Brooklyn, NY 11206.

Released:   25 Nov 2011

    Artwork [Watercolor] – Dale Dreiling
    Executive Producer – Roth, Sugarman
    Liner Notes – Elijah Shatwell
    Mastered By – J J Golden
    Producer – Bosco Mann

 .............................

BBC Review

Forty very happy minutes in SJDK’s discrete funk universe.

Daryl Easlea 2011-11-07

Few acts have created their own universe as successfully as Brooklyn-based Sharon Jones and the Dap-Kings. Forming in 1996, the band’s quest to create bona-fide funk-soul has long outlived their original critics’ view that the 10-piece band was merely some form of extended pastiche. Using only original instruments from the 60s and 70s and recording in glorious analogue, they eschew any post-modern references and create full-on, joyous grooves which achieve their aim of sounding like they were dug up in some dusty old vinyl shop.

Having cemented their reputation in the UK as being Mark Ronson’s house band and featuring strongly on Amy Winehouse’s Back to Black album, their albums have never quite captured their full force as a live act. Soul Time!, a compilation of singles, B sides and live favourites of the past decade comes pretty close though, and serves as a perfect introduction to the band. Showcasing bandleader Bosco Mann’s soulful writing, Soul Time! scores with its note-perfect emotion and keening brass arrangements.

Genuine (Parts 1 and 2), a single in 2004, opens here, complete with its fade and return; it sounds like something from James Brown’s People label, and sets the album’s relentless, upbeat tone. New Shoes, written by guitarist Binky Griptite, is a pounding northern soul-influenced stomper. The 2009 Christmas single, Ain’t No Chimneys in the Projects, is the most successful track here and underlines their formula perfectly – taking a beguiling title and subject matter (how a little girl receives Christmas presents in a chimney-less flat) with sensitive, nostalgic arrangements. Co-writer Jones, of course, is the star, and sings of her mother, soulfully conveying her emotion and strength.

The Dap-Kings have also recorded cover versions sparingly (remember their version of Janet Jackson’s What Have You Done for Me Lately?) – and were therefore able to dodge carefully the Live Lounge-inspired tribute craze of the mid-00s. The lone cover on Soul Time! is a beautiful, tender reading of Shuggie Otis’ Inspiration Information that fills out the sketchiness of the original without losing any of its tentative, fragile wonder.

There is nothing modern about Soul Time!, yet it sounds both refreshing and contemporary. The exceptional musicianship and impeccable vocals may not be to everyone’s taste, but for 40 very happy minutes, you can revel in SJDK’s very discrete world.

Mary Stallings - Manhattan Moods

Mary Stallings DATA

01 - This Can't Be Love          
02 - Sweet And Lovely            
03 - I Have A Feeling            
04 - How High The Moon           
05 - Lullaby Of The Leaves       
06 - I Wish I Knew               
07 - Surrey With The Fringe On Top
08 - You Go To My Head           
09 - He Was Too Good To Me       
10 - Willow Weep For Me          
11 - I Don't Stand A Ghost Of A Chance With You    
12 - I Love You Madly          

Social Dance Volume 5 (Samba)

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01 Festival Of The Flowers
02 Mexical Hot Dance
03 Samba De Orfeu
04 Cielto Lindo
05 Copacabana
06 Brazil
07 Cumana
08 Picadero
09 Samba Medley
10 More
11 El Bimbo
12 Rio Rita
13 Tiger Rag
14 Mambo Jambo
15 Cancion De Orfeon
16 So Wie Do
17 Samba For You
18 Cala Bussa De Rio
19 Rio

Social Dance Volume 4 (Rumba)

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01 Over The Rainbow
02 Super Star
03 Casablanca
04 I Like Chopin
05 Love Story
06 Spanish Eyes
07 Up Where We Belong
08 Historia De Un Amor
09 Im Missing You
10 Mr Lonely
11 Jamaica Forenwell
12 Chariots Of Fire
13 Hey
14 Beunos Noches Mi Amor
15 To Love Again
16 Concerto Pour Une Voix
17 Mexican Moonlight
18 Besame Mucho
19 All Of You
20 The Beeze And I

Social Dance Volume 2 (Cha Cha)

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01 What A Feeling (Flash Dance)
02 Careless Whisper
03 Mulata
04 Puerto De La Cruz
05 Forever And Ever
06 Theme Form (A Summer Place)
07 Say Goodbye To Hollywood
08 Melody Fair
09 A Lovers Concerto
10 Ai No Corrida
11 I Could Have Danced All Night
12 You Dont Know
13 Diana
14 Like A Virgin
15 Olympia
16 Quite Village
17 Sun Of Jamaica
18 Tom Hark
19 Wheels
20 Manhattan Cha Cha Cha

Social Dance Collection (Cha Cha)

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01 Isle Of Capri
02 El Bimbo
03 Cachito
04 Wheels
05 Los Morenos
06 Sun Of Jamaica
07 Maria Elena
08 Tea For Two
09 Mona Lisa
10 Fascination
11 Estrellita
12 Pretty Little Boy
13 Blue Skies
14 The Third Man Theme
15 Mucha Cha
16 Mulata
17 A Summer Place
18 Say Goodbye To Hollywood
19 A Lovers Concerto
20 I Could Have Danced All Night

Rare Earth - In Concert Oroginal LP - 1971 Digital transfer, noise cleaning and mixed, at Audio Design Studio 2012.

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Rare Earth - 01 - I Just Want to Celebrate
Rare Earth - 02 - Hey Big Brother
Rare Earth - 03 - Born to Wander
Rare Earth - 04 - Get Ready
Rare Earth - 05 - What'd I Say
Rare Earth - 06 - Houghts
Rare Earth - 07 - ( I Know) I'm Losing You
Rare Earth - 08 - Nice to Be With You ( Bonus Track )

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A Rare Earth - In Concert című lemeze, amely 1971-ben került kiadásra, egy igazán klasszikusnak mondható rock zenei produkció. Ez a zenekar is arról volt híres, hogy igazán nagyszerű koncerteket tudtak a rajongóknak produkálni. A studió lemezeik is jók voltak de az élő produkciók mégis maradandóbbak voltak a rajongók számára. A napokban találtam rá erre az albumra, amiről már rég elfeledkeztem, Pedig ezek a régi lemezek a régi szép időket hozzák vissza. A zenekar szinte a legnagyobb slágereit játsza ezen a lemezen. Az album természetesen élő felvétel volt.
Ezt a zenei anyagot írtam át, és javítottam ki. A lemez eredetileg folyamatos hanganyag, Ezért a fileok egybeírását egy NÉRÓ-val O szünettel egybe lehet írni, hogy folyamatos legyen a lemezanyag
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The Rare Earth entitled disc of In Concert , which in 1971 cost onto an expenses, one can be said rock musical production is to classic . I came across the loose-leaf album , in the days which I forgot for a long time . These old discs bring the old fair weathers back . His largest number ones let the military band almost play hereupon on disc . He was the loose-leaf album living taking up .
I sent a note to this musical matter , and I coopered it up . The printing plate originally ongoing volume of voice , so serially written , pilfer it 200 msecs he is strictly between number , the he is asking what as crack he may hear that because of mp3 .

Juicy Lucy - Lie Back And Enjoy It LP ( P ) 1970

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Juicy Lucy - 01 - Mississippi Woman
Juicy Lucy - 02 - Who Do You Love
Juicy Lucy - 03 - She's Mine She's Yours
Juicy Lucy - 04 - Just One Time
Juicy Lucy - 05 - Chicago North Western
Juicy Lucy - 06 - Train
Juicy Lucy - 07 - Nadine
Juicy Lucy - 08 - Are You Satisfied
Juicy Lucy - 09 - Thinking Of My Life
Juicy Lucy - 10 - Built For Comfort
Juicy Lucy - 11 - Pretty Woman
Juicy Lucy - 12 - Whisky In My Jar
Juicy Lucy - 13 - Hello L.A. Bye Bye Birmingham
Juicy Lucy - 14 - Changed My Mind
Juicy Lucy - 15 - That Woman's Got SOmething
Juicy Lucy - 16 - Willie The Pimp
Juicy Lucy - 17 - Lie Back And Enjoy It

`Juicy Lucy' was formed in 1969 by ace steel guitarist Glen `Ross' Campbell out of the ashes of 'The Misunderstood'. During its life span Juicy Lucy had two saxophonists, two keyboard players, three guitarists, two vocalists, and four bass players going through the ranks. By the time of the fourth album 'Pieces', there was not one founder member left. Even Glen `Ross' Campbell had left in despair. Regardless of all these musical chairs, on release this album went into the charts on the crest of a wave as Juicy Lucy had just had a hit single with `Who Do You Love'. The single reached #14 in the British Top Thirty and stayed there for three months. Then 'Lie Back And Enjoy It' (their next album was called 'Get A Whiff Of This', wonderfully funny titles, nearly as good as my favorite album title of all time - Spooky Tooth's `You Broke My Heart So I Busted Your Jaw' who says romance is dead?) was released on the progressive rock label Vertigo. Vertigo had the marvelously hypnotic record label that when it whizzed round on your turn table, would send you dizzy. Vertigo was the home record label for most of the bands that were considered underground or cult at the time such as 'Black Sabbath', `Uriah Heep', 'The Sensational Alex Harvey Band', 'Gentle Giant', and `Status Quo' to name but a few. Fortunately Repertoire Records have released this C.D. version of 'Lie Back and Enjoy It ' and a very good job of it they have done, too. They gave the buying public a very good deal with a full reproduction of the foldout cover and two extra bonus tracks to add onto the original nine tracks. But for those of you who miss the hypnotic record label, try your hand at the double C.D. 'Still Dizzy After All These Years', a fine collection of the Vertigo years featuring many bands that went onto bigger and better things, and some that for reasons only known by the masters of rock 'n' roll didn't. With the C.Ds and cover printed with the correct squiggles, 'Lie Back and Enjoy It' went straight into the British charts at #53 in November 1970.

The passage of time has not been kind to some of the songs on this album. Standard blues material with plenty of embellishments from the musicians currently find a home within the ranks. Hereby lays the most pressing problem. With such a liquid lineup it was hard for `Juicy Lucy' to actually sound like a band, not just a group of musicians thrown together in the recording studio. Half the band plays as if they were worried that they would soon be booted out of the band (they were), whilst the other half play as if they had the knowledge that after this recording they were going to move onto new fresh pastures (which they did - notably Micky Moody to 'WhiteSnake', Rod Coombes to `Stealers Wheel & then the Strawbs' and Keith Ellis to `Spooky Tooth').

Yet, there are some astounding performances from the guitar works of Micky Moody, the steel guitar works of Glenn `Ross' Campbell, the occasional saxophone break from Chris Mercer, and the ever impressive vocals of Paul Williams (one of the most underrated blues singers to ever tread the boards and bend a microphone. The first seven tracks are fair compositions including a cover of the old Willie Dixon Blues Classic 'Built for Comfort'. The band aimlessly stumbles through many genres of the rock 'n' roll spectrum, from blues to country, and heavy rock to pop. However, it's not until they crack open the Frank Zappa jewel from Hot Rats 'Willie the Pimp' that the band really jell, let their hair down, giving it a go with the confidence that these superior musicians should have. The results are startling with Paul Williams singing at his most Beefheartesque (I do not know if that's a word or not, but if it isn't, it should be) and Micky Moody laying down two smokin' slide guitar solos, while the whole band joins in the fun with a truly rumbustious display.

All in all a pretty average display (apart from the magnificent 'Willie The Pimp'), but worth the while if you fancy some of that early seventies feel.

Jazz Hot Swing - Jazz in Norway 1920 - 1940

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01 - Orpheum Duo - Chatterbox, ragtime (xxx)
02 - Knstian Haugers Jazzorkester - Norsk Jazz fantasi I. del (arr. K. Hauger)
03 - Kristian Haugers Jazzorkester - Norsk jazz fantasi 2. del (arr. K. Hauger)
04 - Kristian Haugers Jazzorkester - Syd Georgia hvalfanger (Karl Tast)
05 - WilIie Vieths Orkester - Med litte granne humor (J. Book Jenssen/H. Woode)
06 - Kristian Haugers Orkester - Jubilation rag (Bowsher)
07 - Kristian Haugers Orkester - Mr. Rhythm man (GiffordiWatts/Grady)
08 - Vieths Trekkspillorkester - Honolulu LuIu (WilIysIValde)
09 - Kristian Haugers Orkester - Caravan (Juan Tizol)
10 - Funny Boys - Tiger rag (Nick LaRocca)
11 - Funny Boys - Cocktail (Funny Boys)
12 - Freddie Valiers String Swing - Nobody’s sweetheart (Meyers/Schoebel)
13 - Freddie Valiers String Swing - I found a new baby (Spencer Williams)
14 - Finn Westbyes Kvartett - Once upon a time (Benny Carter)
IS - Cecil Aagaard 8 his Swingsters - Honeysuckle rose (Fats WalIer)
16 - Gunnar Sonstevolds Swing Four - Hansen’s siste (G. Sonstevold)
17 - Gunnar Sonstevolds Swing Four - Oslo jump (G. Sonstevold)
18 - Gunnar Sonstevolds Swing Four - Bel ami (Theo Mackeben) -
19 - Oslo Swingklubbs Band - l’m coming Virginia (CooklHeywood)
20 - Jacques Butler 8 his Swing Patrol - - After the ball (K. Harris)
21 - Sonstevolds Swing Four - You’ve got me woodoo’d (L. Armstrong/L. Russell)
22 - String Swing - Farewell blues (Rappolo/Mares/Schoebel)

Jazz Cool Klovet and Dixie 1950 - 1960

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01 - Orkester sammensatt av Lau - A ghost of a chance (V. Young/N. Washington)
02 - Orkester sammensatt av Lau - Tickie toe (Lester Young)
03 - Rowlands Kvintett - After you’ve gone (Henry CreamerlTurner Layton)
04 - Niis Bertil Dahlanders Kvartett - Take the A-train (Biily Strayhorn)
05 - Verden Rundt’s Ali Star Band 1953 - Perdido (Juan Tizol)
06 - The Anthony Ortega Quartet - Sweet Georgia Brown (M. Pinkard/B. Bernie)
07 - Herman’s Norwegian Jazz Group - Crazy rhythm (J. Mayer/R. W. Kahn)
08 - Herman’s Norwegian Jazz Group - I surrender dear (Harry Barris)
09 - The Modern Swing Group - Flying home (B. Goodman/L. Hampton)
10 - Tore Fayes Kvartett - Lover come back to me (Sigmund Romberg)
11 - Carsten Kloumarss Trio - Shine (Ford Dabney)
12 - Kjeil jol-iansens Orkester - Takin’ a chance on love (Vernon Duke)
13 - Atie Hammers Orkester - Seven eleven (Richard Carpenter)
14 - The Big ChiefJazzband - Wrap your troubles in dreams (Harry Barris)
15 - Verden Rundt’s Ali Star Band 1954 - Jumpin’ at The Woodside (C. Basie)
16 - Frank Ottersens Orkester - Soft sound (Frank Ottersen)
17 - Verden Rundt’s Ali Star Band 1955 - Swingtime in Norway (E Monn-iversen)
18 - Bjarne Nerems Kvartett - Takin’ a chance on love (Vernon Duke)
19 - Eiiif Holms Kvartett - Dinah (Harry Akst)
20 - The Hot Saints Jazzband - Savoy biues (Kid Ory)
21 - Norwegian Ali Star Concert 1958 - V. R. blues (Eiiif Hoim)
22 - Norwegian Ali Star Concert 1958 - Indiana (James Haniey)
23 - Mikkei Fiagscads Kvartett - Ali the things you are (Jerome Kern)

The Puppini Sisters - Betcha Bottom Dollar Digital transferred, noise cleaning and mixed, at Audio Design Studio home sound recording studio 2012

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The Puppini Sisters - 01 - Sisters
The Puppini Sisters - 02 - Mr Sandman
The Puppini Sisters - 03 - Boogie Woogie Bugle Boy (Form Company B)
The Puppini Sisters - 04 - Java Jive
The Puppini Sisters - 05 - Bei Mir Bist Du Schon
The Puppini Sisters - 06 - Wuthering Heights
The Puppini Sisters - 07 - Jeepers Creepers
The Puppini Sisters - 08 - I Will Survive
The Puppini Sisters - 09 - Tu Vuo Fa L'Americano (Recitative)
The Puppini Sisters - 10 - Tu Vuo' Fa L'Americano
The Puppini Sisters - 11 - Falling in Love Again
The Puppini Sisters - 12 - Heart Of Glass
The Puppini Sisters - 13 - Sway
The Puppini Sisters - 14 - Panic
The Puppini Sisters - 15 - Heebie Jeebies
The Puppini Sisters - 16 - In the Mood

Egy album, amely a régi idők hangulát idézi fel, teljesen új és mai előadásban. Ami viszont a leborzasztóbb, hogy ez az album az eklatáns minta arra, hogy egy cd-n megjelent hanganyagot hogyan lehet dilettáns módon úgy lemásolni, hogy az egész album ugy szóltjon, mintha legalább 1960-ban készült volna. Tehát mivel nem állt rendelkezésre egy jó másolat igy ebből kellett faragni egy jó verziót. Hát talán sikerült egy halgathatót alkotni....... Ime !


The Puppini Sisters are a musical trio specializing in 1940s-style close harmony vocal music.
The members are Italian Marcella Puppini and English Stephanie O'Brien and Kate Mullins. Although the three are not related, they chose their name in tribute to The Andrews Sisters. Puppini first studied fashion design at St. Martins School of Art, and later joined Stephanie O'Brien and Kate Mullins at Trinity College of Music in London. The Puppini Sisters are currently supported by a three-piece band featuring Martin Kolarides on guitar, Henry Tyler on drums/percussion and upright bassist Henrik Jensen.
The group was founded by Puppini after she was inspired by the animated film Belleville Rendez-vous. The Puppini Sisters' debut single, "Boogie Woogie Bugle Boy", is a cover of the iconic hit single by The Andrews Sisters. One of the more unusual songs in their repertoire is Kate Bush's "Wuthering Heights".
The Puppini Sisters' second album, The Rise and Fall of Ruby Woo, followed in the tongue-in-cheek footsteps of Betcha Bottom Dollar, and included original compositions by Puppini, O'Brien and Mullins. The Ruby Woo of the album title is a reference to MAC Cosmetics' 'Ruby Woo' lipstick: a favourite of the rockabilly scene and of the Puppini Sisters themselves. 'Ruby Woo' is also the preferred lipstick of The Cure frontman Robert Smith, a singer Marcella Puppini has admitted she would love to duet with.
The Puppini Sisters were originally scheduled to appear on Making Your Mind Up, the United Kingdom's preselection show for the Eurovision Song Contest 2007, however their submitted material was deemed inappropriate.[citation needed]

Singles
"Boogie Woogie Bugle Boy" (2006)
"Jingle Bells/Silent Night (Little Match Seller)" (December 2006) iTunes only release
"Spooky" (2007)
"Crazy in Love" (2007)
"Jilted" (2008)

Albums
Betcha Bottom Dollar (July 31, 2006 U.K., May 1, 2007 U.S., March 2008 France. According to the official website the album as of May 2, 2007 was ranked in the number two position on the amazon.com bestsellers list and as of May 9 number two on the U.S. Jazz Charts and number nine on the U.S. new artist chart
The Rise and Fall of Ruby Woo (October 1, 2007 U.K.), (February 2008 U.S.) featuring classic covers, 1940s style reworkings of contemporary music, and a selection of original compositions

Compilations
The Jazz Album 2006 UCJ (2006)
Now That's What I Call Xmas Virgin (2006)
The Very Best of Latin Jazz UCJ (2007)
Magicians OST Universal (2007)
Lost Vagueness OST Universal (2007)
Bolero Fashion Sound compiled by Olivier Rohrbach Universal (2007)
Jazziz 8 compilation by Jazziz Magazine (2007)

Collaboration
The group recorded a close harmony version of the song "Apart of Me", by Stephen Coates of The Real Tuesday Weld, and acted in the video for the song, playing "a corpse, murdering waitresses, worms and chickens". The group used period piece costumes based on a painting of Madame de Pompadour designed by Vivienne Westwood in their video for Jilted, an original song written by Marcella Puppini (not to be confused with the 1954 Theresa Brewer country number).


Performances
2007 Their first American television appearance occurred on June 12, 2007 when the group performed "Tu Vuo Fa L'Americano" on The View a daytime talk show.
The group completed a two-week engagement that started on May 29 in the Oak Room at the Algonquin Hotel in New York City, where audience members included Frankie Avalon, Rex Reed and Danny Aiello. In the summer of 2007, they performed at the Lattitude Festival, the Glastonbury Festival, the Quebec City International Summer Festival and the Montreal Jazz Festival. In the second half of August 2007, they completed a United States club tour that included a stop at the World Famous Roxy Theatre in Los Angeles on August 18th. On September 30th 2007 they performed at The Ritz Ballroom in Manchester, England, before moving on to a sell out show at the Shepherds Bush Empire in London, England, on October 3 2007, where they were presented with a gold CD to commemorate 100,000 sales of their first CD.
According to the trio one of the unusual shows the group has played was a private party in a millionaire’s penthouse apartment in Moscow “at the top of this incredibly tall building"
2008 The Sisters international touring schedule intensifies with the release of Ruby Woo in the US and Canada. Tours of Germany, the Middle East and dates around Europe increase, and a major gig in London's Koko is planned for April. 2008 concerts include the Dubai International Jazz Festival and the Super Bowl Pre-Game Show. According to their website they will tour the United States in June as guests of Cyndi

The Dirty Dozen Brass Band - Jelly ( plays Jelly Roll Morton 1992 )

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Tracklist

The Dirty Dozen Brass Band - 01 - Jelly's Jazz
The Dirty Dozen Brass Band - 02 - Georgia Swing
The Dirty Dozen Brass Band - 03 - Freakish
The Dirty Dozen Brass Band - 04 - Sidewalk Blues
The Dirty Dozen Brass Band - 05 - The Red Light District
The Dirty Dozen Brass Band - 06 - Milneberg Joys
The Dirty Dozen Brass Band - 07 - Mr. Ray -J- - Dead Man Blues
The Dirty Dozen Brass Band - 08 - Jungle Blues
The Dirty Dozen Brass Band - 09 - Shoe Shiner's Drag
The Dirty Dozen Brass Band - 10 - Wolverine Blues
The Dirty Dozen Brass Band - 11 - Jelly Roll's Misgiving
The Dirty Dozen Brass Band - 12 - The Pearls
The Dirty Dozen Brass Band - 13 - New Orleans Blues
The Dirty Dozen Brass Band - 14 - Kansas City Stomp
The Dirty Dozen Brass Band - 15 - The One And Only - Georgia Swing Reprise

The Dirty Dozen Brass Band in its prime successfully mixed together R&B with the instrumentation of a New Orleans brass band. Featuring Kirk Joseph on sousaphone playing with the agility of an electric bassist, the group revitalized the brass band tradition, opening up the repertoire and inspiring some younger groups to imitate its boldness. Generally featuring five horns

 New Orleans music ushered in the 20th century with the wail of a joyful noise: collective improvisation, syncopated rhythms, eclectic stylization's, and an infectious joie de vivre that was exhilarating. Indeed, thanks to New Orleans musicians such as King Oliver, Jellyroll Morton, the ODJB, and, above all, Louis Armstrong, the 1920s became known as the "jazz age."
Just like early jazz was an amalgamation of the music of its era, The Dirty Dozen Brass Band's musical revolution was actually a reintroduction of the basic eclecticism that made jazz the most dynamic music of the 20th century. With the release of their new Mammoth Records recording Buck Jump, The Dirty Dozen Brass Band is poised to extend New Orleans music into the 21st century.
Founded in April of 1977, the formation of the Dirty Dozen created a musical revolution in New Orleans. For over seventy-five years, the brass band tradition existed largely unchanged until this forward looking, bebop influenced ensemble completely changed both the style and the repertoire of brass band music.
Trumpeter and bandleader Gregory Davis points out, "The concept of the Dirty Dozen is to play and experiment with all types of music. We will take a song - and not worry about if it is a jazz song or any particular type of song - we'll just take a song and see what we can do with it as The Dirty Dozen."
This time around the band has called on the services of John Medeski of Medeski, Martin & Wood to produce their new recording. "It's the first time we worked with a producer who actually plays an instrument on the record and is making a living as a musician. The company went for the first take concept. For them funky meant if it had a mistake in it, so what. And that was cool because it was like doing it live on a gig," commented Gregory Davis.
The results are impressive, Buck Jump offers a broad range of Dirty Dozen stylizations. From to a rollicking interpretation of "Run Joe," a song associated with jump blues master Louis Jordan all the way to a sax-heavy, hard blowing interpretation of Marvin Gay's anthem "Inner City Blues." Other tracks like "Unclean Waters" and "Pet the Kat" pack the same punch that the band is legendary for delivering in concert. There is no question that John Medeski's influence has helped The Dirty Dozen finally record an album that sounds like it catapults you into the middle of one of their live performances.
This spirit of experimentation has led to the Dirty Dozen playing songs as diverse as the jump blues war horse "Night Train," Thelonious Monk's modern jazz classic "Blue Monk" (which is now part of the standard New Orleans brass band repertoire), folk music such as "Little Liza Jane" and even television cartoon music such as the "Flintstones" theme. "We not only do jazz shows, we do rhythm and blues festivals, rock and roll gigs, blues festivals. Because we play a variety of music, it allows us to get into different venues that we probably would not have been invited to otherwise."
For over two decades the Dirty Dozen has literally been barnstorming the world (more than thirty countries on five continents) - they once knocked out 72 gigs in 90 days. They've played all the major festivals - Newport, New York, New Orleans Jazzfest, Playboy, Montreaux - and they have played one-nighters in no name venues in small towns you need a local map to find. If they didn't love the music, they couldn't keep up the pace, but, as their signature song exclaims, they roll on, confident that their "Feet Can't Fail Me Now."
Davis believes, "being a New Orleans band has marquee value. The other side of that coin is that people expect you to do a good job. The audience expects something special. So our challenge is, every night, to make sure that you are not only playing some good music, you have to also put on a good show."
Moreover, it's not just been dancers and the general public who have embraced the Dirty Dozen. The band is received broad critical acclaim including a "Jazz Album of the Year" award from CMJ, five star ratings from Downbeat and Jazz Times. Additionally, they have performed and/or recorded with an assortment of established musical giants: jazz greats Dizzy Gillespie, Danny Barker and Brandford Marsalis; New Orleans legends Dr. John, The Neville Brothers and Dave Bartholomew; pop stars Elvis Costello, The Black Crowes, and the Cajun two-stepping of Buckwheat Zydeco.
With Buck Jump the Dirty Dozen have added another stellar chapter to their growing legend. The Dirty Dozen Brass Band are the quintessential New Orleans band and Buck Jump is their testament.
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The Dirty Dozen Play Jelly Roll Morton (Columbia)
by Ric Stewart

The Jelly Roll Morton legend has grown by leaps and bounds in the 90's with re-issues of Morton's recordings, Jelly's Last Jam, a Broadway musical starring Gregory Hines, and now 'Jelly', the sixth release from The Dirty Dozen Brass Band. Morton's compositions are in good hands with the New Orleans octet who make it sound easy to hold onto the beat, the sense of play, and the sense of place embedded in these well-travelled tunes. This is essential New Orleans music, made more irresistable than ever by a timely, rich, digital recording. The Dirty Dozen pay a faithful tribute taking in Jelly's repertoire and putting out earbending re-arrangements complete with fanciful sycopated solos. All the tunes are recognizably both Dirty and Jelly.

While a few tracks on Jelly stand out due to sparkling arrangements by Gregory Davis, Roger Lewis, et al., it is a proper experience to let the whole cd wash over you in one listening. The group plays like a team with help from sidemen such as Eddie Bo on piano on "Dead Man's Blues", and 'Big Chief' and Smiley Ricks on the distinctive conga intro to "Jungle Blues". On 'Jelly', the Dirty Dozen creates aural and thematic unity and takes it in stride, most other recording artists these days would be doing well to perceive this as a potential goal.

The Dirty Dozen commemorate the importance of tradition as part of their job as a New Orleans Brass Band. For them to tackle an interesting one-off project, like 'Jelly', shows their respect for the history of the tunemaker as well as the tunes. Jelly Roll Morton deserves it- always flashy and brilliant as a composer, performer, pimp, pool-shark, card shark, racehorse owner, outrageous dresser and comedian- he stands out as a 20th Century music giant. Appropriately added details flesh out this historical project and set the composer's life and times against the background relief of his sounds. For example, in order to establish the feel of the tawdry late night atmosphere of the Red Light District during Jelly's time, on track five the late Danny Barker paints a picture in words of those wild, drunken times. He ought to know, he played with Jelly back in 1930! Jelly would be glad to be making such a strong comeback as he is on 'Jelly'.

THE DIRTY DOZEN ARE:
Gregory Davis - trumpet & vocals
Roger Lewis - baritone & soprano sax
Kevin Harris - tenor sax
Efrem Towns - trumpet
Julius McKee - sousaphone
Terence Higgins - drums
Richard Knox - keyboards

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DISCOGRAPHY:
Buck Jump (Mammoth 1999)
Ears To The Wall (Mammoth 1996)
Jelly (The Dirty Dozen Brass Band Plays Jelly Roll Morton) (Columbia 1993)
Open Up (Columbia 1991)
The New Orleans Album (Columbia 1990)
Voodoo (Columbia 1989)
Mardi Gras In Montreux (Rounder 1986)
My Feet Can't Fail Me Now (Concord Jazz 1984)