Gipsy Kings - Roots

Bitrate: 320K/s
Time: 57:09
Size: 130.8 MB
Styles: European traditions, Flamenco, Gypsy
Year: 2004
Art: Front

[4:37] 1. Aven, Aven
[4:10] 2. Legende
[1:27] 3. Fandango (Patchai)
[4:34] 4. Bolerias
[4:08] 5. Rhythmic
[3:20] 6. Como Siento Yo
[3:43] 7. Amigo
[2:54] 8. Tarantas
[2:36] 9. Fandango (Nicolas)
[3:20] 10. Boogie
[3:11] 11. Nuages
[3:23] 12. Como Ayer
[5:55] 13. Soledad
[3:05] 14. Tampa
[3:01] 15. Hermanos
[3:35] 16. Petite Noya

On ROOTS, the Gipsy Kings deliver on the promise suggested by the title, completely forgoing the synthesizers, bass guitars, and drum kits that have added a contemporary touch to many of the ensemble's previous releases. Instead, the group has gone back to basics in grand style, not only concentrating on the purity of acoustic instrumentation, but also playing with a fire and passion rarely heard in modern music of any genre.

Though nearly all the 16 songs here are self-penned (the odd man out being a composition by the legendary gypsy guitarist Django Reinhardt), they sound utterly timeless, as if the group were channeling the material directly from the vintage black & white photos that grace the album's stunning packaging. The emotionally charged vocals of Nicolas and Canut Reyes are perfectly matched by the fleet-fingered, genre-bending lead guitar of Tonino Baliardo throughout, and the album's sound quality is absolutely pristine. One of several high-water marks in an accomplished career, ROOTS is recommended to anyone desirous of the glorious rapture only afforded by the purest of music.

Nicolás Reyes (vocals, guitar, palmas); Andre Reyes (vocals, guitar, background vocals); Canut Reyes (vocals, guitar); Paco Baliardo, Tonino Baliardo (guitar, palmas); Yacouba Sissoko (kora); Garth Hudson (accordion); Greg Cohen (double bass); Cyro Baptista (washboard, shaker, percussion); Diego Baliardo (palmas).

Recording information: Le Mas De Gourgoubes, St-ANdre-De-Bueges, France (06/09/2003-06/26/2003).

Roots

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Cat Conner - Cat Tales

Bitrate: 320K/s
Time: 50:12
Size: 114.9 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[5:20] 1. Hello Ma Baby
[6:27] 2. I Want To Talk About You
[2:43] 3. Them There Eyes
[6:27] 4. If You Could See Me Now
[7:45] 5. In A Mellow Tone
[7:34] 6. Some Other Time
[3:38] 7. Caravan
[6:29] 8. Embraceable You
[3:44] 9. I Hear A Rhapsody

One of the greatest jazz performance challenges is playing and singing ballads slow...sometimes called "calendar slow." The trick is playing slowly without dragging or stalling. It is simple physics, the difference between velocity and momentum. Simple tempo may be understood in terms of speed (or velocity) but swing, swing has the added element of musical weight about it, ensuring that once motion is started, no matter how slow, it is properly maintained by the spirit of the delivery.

The mistress of the slow ballad was the late Shirley Horn, who trumpeter Miles Davis, after hearing her debut, Embers and Ashes (Stereo-Craft Records, 1960), told Horn he like her music, but ..."she played awfully slow."

This was no dig at Horn as Davis himself, inspired by Ahmad Jamal's "less is more" approach to piano playing, preferred a lot of "space" within which to play. Horn calmly blazed a trail in this most demanding performance form. But, while Horn was a slow ballad beacon, she was far from the last of them. Vocalists Rebecca Parris and Patti Wicks have also mastered this mercurial method and produced many fine recordings of the same.

Add to this school a voice that has been a long time coming. West Coast vocalist Cat Conner has been performing the better part of her adult life as part of her rather impressive collection of creative talents that include body art and performance art. After enduring a considerable amount of encouragement from her friends in the music industry, Conner brings her light from beneath the basket on her long overdue debut, Cat Tails. This recording is a collection of mostly 1930s and '40s standards performed with a minimum of instrumentation and haste.

Cat Tails compares only with Rebecca Parris' phenomenal My Foolish Heart for sheer ballad performance. Conner's well-structured voice and delivery beg the question of what took so long for this talent to be recorded. Thankfully, that question is moot. ~Michael Bailey

Cat Tales

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Stan Kenton - Artistry In Bossa Nova

Bitrate: 320K/s
Time: 36:22
Size: 83.3 MB
Styles: Big band, Bossa nova
Year: 1963/2013
Art: Front

[2:42] 1. Artistry In Rhythm
[3:06] 2. Opus In Charteuse
[2:23] 3. Interlude
[3:49] 4. Kentonova
[3:29] 5. Eager Beaver
[3:13] 6. Concerto To End All Concertos
[2:18] 7. Brasilia
[3:21] 8. Painted Rhythm
[2:57] 9. Opus In Pastels
[3:25] 10. Jump For Joe
[2:47] 11. Loco-Nova
[2:48] 12. Artistry In Bossa Nova

This LP features the Stan Kenton Orchestra (during the period when it had a mellophonium section) performing some of its familiar standards and a few newer songs with a light Brazilian rhythm provided by percussionists Frank Guerrero and Milt Holland (Larry Bunker fills in for Holland on three songs). Although one might consider this project to be an example of Kenton jumping on the bandwagon (since the bossa nova fad was at its peak at the time), the music is quite enjoyable. Kenton on piano is the main soloist throughout, with Conte Candoli having a couple solos on trumpet and high-note trumpeter Bud Brisbois getting a few spots. Kenton's "Brasilia" is a charming piece deserving to be revived. Otherwise, it is interesting to hear such songs as "Interlude," "Concerto to End All Concertos," "Eager Beaver," and even "Artistry in Rhythm" in this setting. ~ Scott Yanow

Limited Japanese CD pressing of this album from the Jazz great. Recording information: 04/16/1963/04/17/1963.

Artistry In Bossa Nova

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Sofia Laiti - The Midnight Sun Will Never Set

Styles: Jazz Vocals
Label:  Midnight Sun Music
Year: 1996
File: MP3@320K/s
Time: 48:32
Size: 111,1 MB
Art: Front

(2:15)  1. I Can't Believe That You're In Love With Me
(4:57)  2. The Say It's Wonderful
(3:39)  3. I Gotta Right To Sing the Blues
(4:45)  4. The Midnight Sun Will Never Set
(4:21)  5. Fever
(3:46)  6. For Heaven's Sake
(4:38)  7. New York State of Mind
(4:20)  8. I'll Close My Eyes
(3:02)  9. When Your Lover Has Gone
(4:11) 10. But Beautiful
(3:30) 11. A Place In The Sun
(5:02) 12. Everytime We Say Goodbye

Houston Person is a superb musician a soulful tenor saxophonist with a big, attractive tone that isn't hard to recognize. Person has a track record, so when he produces an album, one wants to check it out. It was Person who, in 1995, produced Sofia Laiti's third album, The Midnight Sun Will Never Set, which the Finnish singer released on her own Midnight Sun label the following year. Person's presence is definitely a plus; in addition to providing his share of warm, soulful tenor solos, he helps guide a group of New York-based jazzmen that includes pianist James Weidman, bassist Essiet Essiet, and drummer Mark Johnson. But the main attraction is Laiti, who is undeniably expressive on standards that range from "For Heaven's Sake" to "But Beautiful" and "I Can't Believe That You're in Love With Me." Laiti  who handles ballads and up-tempo material equally well  is also appealing on Billy Joel's "New York State of Mind" (a gem that many other jazz singers wouldn't think to record), the title track (a Quincy Jones song), and the Peggy Lee hit "Fever." Like Lee's original '50s recording, Laiti's version of "Fever" is downright sexy. However, Laiti brings a charisma of her own to the song. Although Laiti sings with a Scandinavian accent, she is understandable and her accent proves to be a plus because it gives these performances a lot of character. All of the pieces fall into place nicely on The Midnight Sun Will Never Set, which is well worth searching for.~Alex Henderson http://www.allmusic.com/album/the-midnight-sun-will-never-set-mw0000244088.

The Midnight Sun Will Never Set

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Bennie Wallace - Someone to Watch over Me

Styles: Jazz
Label: Enja
Year: 1999
File: MP3@320K/s
Time: 54:48
Size: 125,4 MB
Art: Front

( 5:13)  1. Nice Work If You Can Get It
( 5:46)  2. The Man I Love
( 6:53)  3. Who Cares
( 5:11)  4. Someone To Watch Over Me
( 7:21)  5. I Was Doing All Right
( 5:20)  6. How Long Has This Been Going On
(12:18)  7. It Ain't Necessarily So
( 6:42)  8. I Loves You Porgy

There will be those fans of Tennessee tenor saxophonist Wallace who may hear this as an anomalous aside in his career of playing mostly progressive modern jazz. Others may view it a logical step, a concept album dedicated to the music of George Gershwin. What this reviewer finds fascinating about it is that Wallace plays so flexibly within the melodic intent of these well-worn lines, yet always finds a way to make them all his own. There's a certain restraint, and the simple approach is more refined due to the centered focus provided by the always brilliant pianist Mulgrew Miller, rock-solid bassist Peter Washington, and witty drummer Yoron Israel.

Miller's attention-grabbling persona is most clearly present on his arpeggiated intros of the warm waltz take on "Who Cares?" and the mad love-tinged ballad "I Loves You Porgy." Songs such as the ballad version of "How Long Has This Been Going On?" and the easy swing of "The Man I Love" seem like sleepwalking, when in fact these expert musicians can easily play them with effortless elegance. Wallace evokes sonic images of the masters with similar aplomb; he uses wonderful Coleman Hawkins-like embellishments during the title track played with Miller sans rhythm section, and goes into deep blue Ben Webster territory during the lightly swung "I Was Doing Alright." Wallace cannot be completely tamed, though; the 12-minute-plus piece, churning Afro-Cuban switching to steady, driving swing in the bridge, has Wallace in fever pitch with stretched, angular, rambling melodicism, and Miller similarly all over the place as well. Wallace practices typical octave leaping on his solo of the fairly straight-laced melody line of "Nice Work If You Can Get It," proving he can embrace both cool and animated aspects of improvisation.

There's little chaos or bombast, which might disappoint longtime listeners, but instead a nice balance that Wallace attains while retaining the unique flourishes that have made him one of the more recognizable players in jazz.~Michael G. Nastos  http://www.allmusic.com/album/someone-to-watch-over-me-mw0000246401 .

Personnel: Bennie Wallace (tenor saxophone); Mulgrew Miller (piano); Peter Washington (bass); Yoron Israel (drums).

Someone to Watch over Me

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Denzal Sinclaire - Denzal Sinclaire

Styles: Vocal
Label: Universal/Verve
Year: 2003
File: MP3@320K/s
Time: 55:16
Size: 126,8 MB
Art: Front

(3:23)  1. Day in day out
(3:00)  2. Exactly like you
(2:28)  3. Tofu & greens
(4:01)  4. Where or when
(4:27)  5. You and the night and the Music

(2:46)  6. You treat me so good
(3:53)  7. The art of living
(0:37)  8. I got rhythm (verse)
(3:39)  9. I got rhythm (refrain)
(4:31) 10. Never let me go
(2:48) 11. This is my lucky day
(3:34) 12. (You don't know) how glad I am
(3:31) 13. If I should lose you
(3:11) 14. Be my love
(3:46) 15. Having found you
(4:21) 16. A peaceful soul
(1:14) 17. Still got it

Toronto-born vocalist/pianist/composer, Denzal Sinclaire has earned his reputation as Canada’s most popular male jazz vocalist. Sinclaire is a graduate of Montreal’s McGill University where he received a Bachelor’s Degree in Jazz Performance. Denzal’s vocal timbre is similar to some of the great singers. Nat King Cole, Johnny Hartman and there are even glimpses of Johnny Mathis’ jazz days. However, Denzal does have what every artist strives for. After singing just a few notes you know it is him. His trademark is the joyfulness in his voice and a special approach to phrasing a lyric or pushing or laying back on a beat. He is blessed with exquisite delivery, sensitivity to melody and a lyrical imagination. For Denzal,singing is as natural as breathing. A multiple Juno Award nominee, and recipient of the 2004 National Jazz Award for “Best Album”, he has graced the stages of numerous high-profile jazz festivals , performed with symphony orchestras, and starred in his own one hour television special for BRAVO! In 2005, Denzal was inducted into the British Columbia Entertainment Hall of Fame. Among Denzal’s admirers are Diana Krall, who was introduced to Denzal at the 1995 Jazz Winnipeg Festival and Diane Reeves, who became a fan after Denzal opened for her at the 2002 Vancouver International Jazz Festival. He has recorded three albums for Universal Music, I Found Love(EmArcy); the self-titled, Denzal Sinclaire (Verve); and his highly anticipated new release, My One and Only Love (Verve).

~ http://www.theagencygroup.com/artist/denzal-sinclaire/

Denzal Sinclaire

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Richie Havens - Richard P. Havens, 1983

Styles: Pop/Rock
Label:  Raven
Year: 1969
File: MP3@320K/s
Time: 71:48
Size: 164,4 MB
Art: Front

(1:51)  1. Stop Pulling and Pushing Me
(7:05)  2. For Heaven's Sake
(3:39)  3. Strawberry Fields Forever
(4:39)  4. What More Can I Say, John?
(3:10)  5. I Pity the Poor Immigrant
(1:59)  6. Lady Madonna
(5:16)  7. Priests
(3:04)  8. Indian Rope Man
(4:02)  9. Cautiously
(3:00) 10. Just above my Hobby Horse's Head
(4:06) 11. She's Leaving Home
(2:53) 12. Putting Out the Vibration, and Hoping It Comes Home
(7:48) 13. The Parable of Ramon
(5:19) 14. With a Little Help from My Friends
(4:55) 15. Wear Your Love Like Heaven
(2:11) 16. Run Shaker Life
(6:41) 17. Do You Feel Good?

Havens' third Verve album was an ambitious double LP, using about a couple dozen backing musicians in various combinations on instruments ranging from conga and sitar to steel guitar and organ. Though recorded for the most part in the studio, it also included several live recordings from a July 1968 concert. As with many double albums, it perhaps could have used some pruning, although in general it was a worthy expansion of his sound as captured on record. Divided almost equally between originals and covers, the music has the moving and melancholy vibe, yet also somewhat rambling feel, typical of Havens' prime. Certainly his "What More Can I Say John?" is a subtle and admirable anti-Vietnam war song, while his interpretations of Leonard Cohen's "Priests" and Maurey Hayden's (aka Lotus Weinstock's) "Cautiously" are unusual cover choices that are imaginatively done. An Indian influence makes itself heard occasionally, as on "Just Above My Hobby Horse's Head" and "Putting Out the Vibration, and Hoping It Comes Home"; "Indian Rope Man," with Jeremy Steig on flute, is one of his better compositions. However, there's an over reliance on Beatles covers (there are four here). And the live stuff on side four, with its cutesy five-minute version of "With a Little Help From My Friends" (in which Havens wordlessly scats the lyrics), seems like an afterthought to push the set to double-LP length. ~Richie Unterberger  http://www.allmusic.com/album/richard-p-havens-1983-mw0000195918 .

Richard P. Havens, 1983

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