Nina Simone - Nina Simone Sings The Blues

Bitrate: 320K/s

Time: 37:31

Size: 85.9 MB

Styles: Jazz/blues vocals

Year: 1967/2006

Art: Front

[2:43] 1. Do I Move You?

[2:32] 2. Day And Night

[2:55] 3. In The Dark

[2:19] 4. Real Real

[4:15] 5. My Man's Gone Now

[2:28] 6. Backlash Blues

[2:31] 7. I Want A Little Sugar In My Bowl

[1:50] 8. Buck

[2:49] 9. Since I Fell For You

[3:50] 10. The House Of The Rising Sun

[3:56] 11. Blues For Mama

[2:16] 12. Do I Move You (version 2)

[3:01] 13. Whatever I Am (You Made Me)

Originally released in 1967, SINGS THE BLUES marks the beginning of Nina Simone's tenure on the RCA label. True to its title, the album is steeped in the blues, with Simone's passionate vocals and nuanced piano lines evoking a beautifully bittersweet world of sultry love and inevitable heartache. Backed on many tracks by an ensemble that's intuitive enough to play it loose, Simone settles into a deep groove on songs such as the stirring "Do I Move You?" and the slowburning "In the Dark," while getting lightly funky on "Day and Night." The record's showstopper, however, is a haunting solo rendition of "My Man's Gone Now," one of the most powerful versions of the Gershwin classic ever recorded. A fascinating snapshot of the legendary performer, SINGS THE BLUES is an essential Simone album. Entertainment Weekly (p.68) - "With its blues-guitar vamps, harmonica wails and Willie Dixon remake, 1967's SINGS THE BLUES lives up to its title."

Nina Simone Sings The Blues

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Q'd Up - Q'd Up 3

Bitrate: 320K/s
Time: 72:34
Size: 166.1 MB
Styles: Cool jazz, Vocal jazz
Year: 2006
Art: Front

[5:15] 1. The Dayley Dash
[5:16] 2. In A Mellow Tone
[7:01] 3. Yoruba Land
[6:33] 4. Sole Marks
[6:57] 5. Take A Break, Jake
[4:40] 6. In Another Time And Place
[7:12] 7. Perilous Passage
[5:46] 8. Amazon Rhapsody
[7:55] 9. Your Heart's Timeless Charms
[3:16] 10. Right-Side Drive
[6:13] 11. Blue Daniel
[5:31] 12. Gee Baby, Ain't I Good To You
[0:53] 13. Farewell Fontana

Q’d Up has a unique and infectious sound that is a product of the personalities of the players, the arrangements and compositions of Steve Lindeman and Jay Lawrence and Kelly Eisenhour, the blend of a wide variety of sounds and styles stemming from the impressive versatility of each of the group members, and the energy and synergy that come with the love of the music and of each other. Q’d Up has existed in various incarnations since 1983 and has established itself as a musical force in Utah and the West. Quintessential is the fourth CD project since the group began using the Q’d Up name. The first is self-titled Q’d Up. The second is SQ’d Horizons, and the third is simplyQ’d Up 3. The second, third, and fourth albums include vocals by Kelly Eisenhour, and the third album also includes the amazing trombone wizardry of Andy Martin, top call trombonist from Los Angeles. The CD’s have received much critical acclaim and have enjoyed considerable airplay around the country.

Q'd Up 3

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Gerry Mulligan & Jane Duboc - Paraiso

Styles: Brazilian Jazz
Label: Telarc Distribution
Year: 1993
File: MP3@320K/s
Time: 59:55
Size: 137,2 MB
Art: Front + Back

(5:36)  1. Paraiso
(4:10)  2. No Rio
(5:39)  3. Sob a Estrela
(5:06)  4. O Bom Alvinho
(8:25)  5. Willow Tree
(6:15)  6. Bordado
(5:05)  7. Tarde Em Itapoan
(5:55)  8. Amor Em Paz
(4:31)  9. Wave
(4:31) 10. Tema pra Jobim
(4:35) 11. North Atlantic Run

Although baritonist Gerry Mulligan is listed as the leader of this date, vocalist Jane Duboc is really the main star. The Brazilian-oriented set consists of eight Mulligan originals (including "Tema Pra Jobim," which finds him switching to piano, and "Willow Tree") and three other numbers, with "Wave" being the only standard. Duboc sings well, although her voice never sticks in one's mind, and Mulligan has short solos and mostly sticks to the background; they are joined by a couple of Brazilian rhythm sections. Pleasant music that mostly stands out as a historical curiosity in Gerry Mulligan's discography.~Scott Yanow http://www.allmusic.com/album/paraiso-jazz-brazil-mw0000113076 .

Personnel: Jane Duboc (vocals); Emanuel Moreira (guitar); Gerry Mulligan (baritone saxophone); Clifford Korman, Charlie Ernst (piano); Duduka Da Fonseca, Peter Grant (drums); Norberto Goldberg, Valtinho Anastacio (percussion). Arranger: Gerry Mulligan. Personnel: Gerry Mulligan (baritone saxophone), Jane Duboc (vocals), Emanual Moreira (guitar), Charlie Ernst, Cliff Korman (piano), Rogerio Maio, Leo Traversa (bass), Duduka DaFonesca, Peter Grant (drums), Norberto Goldberg (percussion).

Recorded at Clinton Recording Studios, Studio A, New York from July 5-7, 1993.

Paraiso

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Judy Niemack - Jazz Singers' Practice Session

Styles: Jazz, Brazilian Jazz
Label: Gam
Year: 2003
File: MP3@320K/s
Time: 50:09
Size: 116,3 MB
Art: Front

(4:12)  1. Bye Bye Blackbird
(4:47)  2. Misty
(4:10)  3. Lullaby at Birdland
(3:10)  4. How High the Moon
(5:10)  5. Wave
(3:17)  6. You’d Be So Nice to Come Home to
(5:11)  7. All of Me
(3:38)  8. My Funny Valentine
(3:15)  9. Teach me Tonight
(2:59) 10. One Note Samba
(3:28) 11. Summertime
(3:44) 12. Lover Man
(3:03) 13. I Got Rhythm

A talented and adventurous jazz singer, Judy Niemack has long had an underground reputation in jazz, although she finally began to receive more recognition for her abilities. She sang regularly in school, starting at age seven in a church choir, and at 17 decided to become a professional singer. After meeting Warne Marsh the following year, Niemack became dedicated to jazz. She attended Pasadena City College, had several years of classical study, and also attended the New England Conservatory in Boston and the Cleveland Institute of Music, in addition to private lessons with Marsh. In 1977, she moved to New York and the following year made her recording debut for Sea Breeze. Since that time, Niemack has freelanced with many top advanced musicians, including Toots Thielemans, James Moody, Lee Konitz, Clark Terry, Kenny Barron, Fred Hersch, Kenny Werner, Joe Lovano, and Eddie Gomez, among others, written lyrics to other musicians' compositions (in addition to writing songs of her own), and has toured Europe regularly. In addition, she has been a top jazz educator, teaching throughout Europe. Judy Niemack, a colorful improviser, has recorded as a leader for Sea Breeze, Stash, and Freelance. ~ Scott Yanow, Rovi  http://www.artistdirect.com/artist/bio/judy-niemack/473472 .

Jazz Singers' Practice Session

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Lennie Tristano - Live In New York

Styles: Jazz
Label: Jazz Door
Year: 2004
File: MP3@320K/s
Time: 49:48
Size: 114,3 MB
Art: Front

(3:22)  1. Wow
(2:50)  2. Crosscurrent
(2:47)  3. Yesterdays
(3:06)  4. Marionette
(3:01)  5. Sax Of A Kind
(2:29)  6. Intuition
(3:04)  7. Digression
(3:01)  8. Glad Am I
(2:44)  9. This Is Called Love
(2:45) 10. Blame Me
(2:42) 11. I Found My Baby
(7:43) 12. Remember
(5:44) 13. Indiana
(4:23) 14. I'm No Good Without You

The history of jazz is written as a recounting of the lives of its most famous (and presumably, most influential) artists. Reality is not so simple, however. Certainly the most important of the music's innovators are those whose names are known by all  Armstrong, Parker, Young, Coltrane. Unfortunately, the jazz critic's tendency to inflate the major figures' status often comes at the expense of other musicians' reputations men and women who have made significant, even essential, contributions of their own, who are, for whatever reason, overlooked in the mad rush to canonize a select few. Lennie Tristano is one of those who have not yet received their critical due. In the mid-'40s, the Chicago-born pianist arrived on the scene with a concept that genuinely expanded the prevailing bop aesthetic. Tristano brought to the music of Charlie Parker and Bud Powell a harmonic language that adapted the practices of contemporary classical music; his use of polytonal effects in tunes like "Out on a Limb" was almost Stravinsky-esque, and his extensive use of counterpoint was (whether or not he was conscious of it at the time) in keeping with the trends being set in mid-century art music. Until relatively recently, it had seldom been acknowledged that Tristano had been the first to perform and record a type of music that came to be called "free jazz." In 1949 almost a decade before the making of Ornette Coleman's first records Tristano's group (which included Lee Konitz, Warne Marsh, and Billy Bauer) cut the first recorded example of freely improvised music in the history of jazz. The two cuts, "Intuition" and "Digression," were created spontaneously, without any pre-ordained reference to time, tonality, or melody. The resultant work was an outgrowth of Tristano's preoccupation with feeling and spontaneity in the creation of music. It influenced, among others, Charles Mingus, whose earliest records sound eerily similar to those of Tristano in terms of style and compositional technique. Mingus came by the influence honestly; he studied with the pianist for a period in the early '50s, as did many other well-known jazz musicians, such as Sal Mosca, Phil Woods, and the aforementioned Konitz and Marsh....More Bio https://itunes.apple.com/ca/artist/lennie-tristano/id47528618#fullText

Live In New York

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