Quarteto Jobim-Morelenbaum - S/T

Bitrate: 320K/s
Time: 49:41
Size: 113.7 MB
Styles: Brazilian jazz
Year: 2000/2006
Art: Front

[2:36] 1. Agua De Beber
[4:30] 2. Meditation
[3:01] 3. Ela E Carioca
[3:53] 4. So Tinha De Ser Com Voce
[5:01] 5. A Felicidade
[4:07] 6. Eu E O Meu Amor Lamento No Morro
[4:06] 7. Falando De Amor
[2:52] 8. A Correnteza
[4:40] 9. O Boto
[2:58] 10. Mantiqueira Range
[4:26] 11. Corcovado
[4:25] 12. Desafinado
[3:02] 13. Aguas De Marco (Waters Of March)

This 2000 release by Brazilian artists Quarteto Jobim Morelenbaum features 13 tracks and includes "Agua De Beber" and "Falando De Amor." The Jobim in Quarteto Jobim-Morelenbaum isn't the late Antonio Carlos Jobim, who was rightly exalted as "The George Gershwin of Brazil" and wrote such well known standards as "Wave," "The Girl from Ipanema," "Chega de Saudade (No More Blues)," "One Note Samba," and "Triste." However, this Brazilian foursome does boast two of Jobim's relatives, including his son Paulo and his grandson Daniel. With Paulo on guitar and vocals, Daniel on piano and vocals, Paula Morelenbaum on vocals, and Jacques Morelenbaum on cello, Quarteto Jobim-Morelenbaum provides an enjoyable, if conventional, bossa nova CD that isn't unlike the recordings that Joao and Astrud Gilberto, Stan Getz, Charlie Byrd, and others provided in the early '60s. You won't find a lot of surprises on this tribute to Antonio Carlos Jobim -- "Corcovado," "Desafinado," "Agua de Beber," and "Waters of March" are standards that jazz and Brazilian pop artists have recorded countless times over the years, and Quarteto Jobim-Morelenbaum doesn't bring anything new or out of the ordinary to them. The most chance-taking track is Paolo's "Mantiqueira Range," a jazz instrumental that gives Jaques a chance to let loose on cello. Nonetheless, this is a pleasant and sincere tribute, if a generally predictable one; but because Paula and Daniel sing with such soul and charisma, you're inclined to be forgiving. These artists have a lot of talent; hopefully, they'll take more chances on future albums. ~ Alex Henderson 2000 release by a quartet of musicians who were closest to the late Brasilian master at the time of his death. Members includes Jobim's son, guitarist/vocalist Paulo Jobim, his grandson, pianist/vocalist Daniel Jobim, as well as cellist Jacques Morelenbaum and his wife, vocalist Paula Morelenbaum. This disc is a loving tribute to their lost father and friend and performed with the sort of passion that Jobim inspired in them.

Recorded at Mega Studio, Rio De Janeiro, Brazil between April and June 1999.

Paulo Jobim (vocals, guitar); Daniel Jobim (vocals, piano); Paula Morelenbaum (vocals); Jaques Morelenbaum (cello). Additional personnel: Zeca Assumpcao (bass); Marcelo Costa (drums, percussion); Marcos Suzano (percussion).

Quarteto Jobim-Morelenbaum

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Janis Carnes - Hoagy & Me

Bitrate: 320K/s
Time: 118:00
Size: 270.2 MB
Styles: Easy Listening
Year: 2008
Art: Front

[2:52] 1. Vagabond Dreams
[2:47] 2. Wha'll They Think Of Next
[4:09] 3. Irresistible
[3:44] 4. Memphis In June
[2:42] 5. Up With Love
[3:25] 6. Moonburn
[3:27] 7. Someday Soon
[4:27] 8. Am I Naive
[2:24] 9. Ooh! What You Said
[3:32] 10. One Morning In May
[5:00] 11. Georgia On My Mind
[4:25] 12. Winter Moon
[1:34] 13. I Walk With Music
[3:49] 14. Be Careful What You Wish For
[2:51] 15. I Get Along Without You Very Well
[3:38] 16. You're Someone Else's Heartache Now
[4:05] 17. Skylark
[2:52] 18. Vagabond Dreams (Inst)
[2:47] 19. What'll They Think Of Next (Inst)
[4:10] 20. Irresistible (Inst)
[3:44] 21. Memphis In June (Inst)
[2:42] 22. Up With Love (Inst)
[3:24] 23. Moonburn (Inst)
[3:27] 24. Someday Soon (Inst)
[4:27] 25. Am I Naive (Inst)
[2:24] 26. Ooh! What You Said (Inst)
[3:32] 27. One Morning In May (Inst)
[5:00] 28. Georgia On My Mind (Inst)
[4:25] 29. Winter Moon (Inst)
[1:34] 30. I Walk With Music (Inst)
[3:49] 31. Be Careful What You Wish For (Inst)
[2:51] 32. I Get Along Without You Very Well (Inst)
[3:39] 33. You're Someone Else's Heartache Now (Inst)
[4:05] 34. Skylark (Inst)

Hoagy Carmichael is one of the most important jazz composers of all time. With hits like "Georgia On My Mind" and "Skylark," Carmichael etched his name in the history of Jazz. This collection, is sung by Janis Carnes (hit songwriter for such artists as Trisha Yearwood, Reba McYntire, Alabama, Steve Wariner, The Whites, and many more) and blends some of Hoagy's finest jazz compositions with some of Carnes' originals. "Hoagy 'n' Me" is brought to life with the definitive, warm, clear vocal stylings of Janis Carnes. Her style is at one moment soft and sensual and the next thick and powerful. Each of the original compositions matches the impact and beauty of the Carmichael standards. This CD celebrates standards that are part of the backbone of jazz and evolves with new songs that yearn to remember the craft of the past and break into the future.

Janis entered the music business with a bang as a hit songwriter for such artists as Trisha Yearwood, Reba McYntire, Alabama, Steve Wariner, The Whites, and many more. Even though Janis' success has been primarily in country music, she has always had a deep connection with jazz and swing music. One of the key hits she wrote (with Rick Carnes and Chip Hardy) was "Hangin' Around," a bluegrass-swing song recorded by The Whites and Dean Martin, which helped bring mainstream awareness to the jazz influenced style. After forming a duo with husband and fellow songwriter Rick Carnes, Janis was signed as an artist to Elektra Asylum by the infamous Jimmy Bowen (one of the most influential figures in the Nashville music scene).

Hoagy & Me

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Johnny Lytle - S/T

Bitrate: 320K/s
Time: 36:49
Size: 84.3 MB
Styles: Vibraphone jazz
Year: 1970/2008
Art: Front

[3:58] 1. Memphis To K.C.
[7:21] 2. Mine
[3:12] 3. Walk A Soul Mile
[3:34] 4. Bag A Bones
[5:44] 5. Babo
[5:33] 6. One For Carter
[3:26] 7. Big Wheel
[3:58] 8. Save Your Love For Me

This LP has never been on CD before, and the original LP was never released outside of Europe. This was one of a series of European-only LPs featuring various jazz musicians. Fans have been clamoring for this album for quite some time. The date of this release is thought to be around 1970.

Johnny Lytle (vibes); Albert Dailey (keys); Chester Thompson (drums). The rest of the musicians are unknown, though instruments include piano, organ, conga, drums, electric guitar, and upright bass. Not every instrument is featured on every track.

What we have is a collection of funky soul-jazz/R&B, much of it with a distinctly down-home feel. "Mine" is somewhat of a departure, as it wades heavily into Cal Tjader-esque Latin-jazz territory, and it's a real pleasure, clocking in at a satisfying 7:20. "Babo" is a uptempo funky mod workout, which has appeared on some funky compilations. "Walk A Soul Mile" is a easy-grooving funk excursion that could have been a contender for a Sanford & Son theme song, and has been confirmed as a Johnny Lytle composition. It's not unlike Organ Combo music which is being played in some bars to this very day. The tracks I've mentioned are fantastic, but in reality every track is a winner. ~Jasper/amazon

Johnny Lytle

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Lisa Lindsley - Everytime We Say Goodbye

Styles: Jazz Vocals
Year: 2011
File: MP3@320K/s
Time: 48:25
Size: 110,9 MB
Art: Front

(5:58)  1. Nearness of You
(4:24)  2. Don't Explain
(3:48)  3. Alice in Wonderland
(4:55)  4. Inside a Silent Tear
(6:35)  5. The Very Thought of You
(3:08)  6. It's Only a Paper Moon
(8:30)  7. Everytime We Say Goodbye
(3:35)  8. Why Don't You Do Right
(7:29)  9. Girl from Ipanema

The jazz vocals standard repertoire is a durable one because it is populated with well-conceived and finely-crafted songs from the Great American Songbook. Of equal importance are the song's lyrics, cleverly constructed, and the melody, hook-filled. This song collection exists as a mountain to be climbed by any singer who believes him- or herself capable, willing and worthy. It is an assemblage of songs that has flooded the vocals market so that it is hard to separate the truly exceptional from the merely okay because of an unfavorable signal-to-noise ratio.

One way to separate jazz singing wheat from chaff is the presence of elegant simplicity. It is this quality that Lisa Lindsley's debut, Every Time We Say Goodbye, has in copious amounts, due to the fortunate intersection of a music savvy/recording naive singer in Lindsley; the availability of empathetic support in pianist George Mesterhazy and bassist Fred Randolf; and the presence of emotional challenge in the singer's life. The result is a sonic alchemy that is simple and pure a quicksilver and equally elusive.

Lindsley comes to singing later in life than most of her peers. This benefits her in that she has a lifetime of experiences through which to sing these familiar tunes, revealing new elements in the songs. She sings them simply, presenting the melodies in a relaxed and listener-friendly way. Her exquisitely balanced voice is what gives Lindsley license for such straight and compelling interpretation, interpretation that would be banal and boring in less talented voices. Lindsley's take on Hoagy Carmichael's "The Nearness of You" is so perfect, and Mesterhazy's arrangement and support so certain and nuanced, that it is hard to believe that such a performance level can be sustained for an entire disc.

But Lindsley manages to do exactly that. "The Very Thought of You," "It's Only A Paper Moon" and the title song all are delivered as in "Nearness," evenly measured, cool with a slight finish of melancholy. Mesterhazy and Randolf fit hand-in-glove in their accompaniment and encouragement. Mesterhazy's experience with another noted singer, the late Shirley Horn, is very evident as he sprinkles all of his playing with the blues; but it is only a distilled whiff that never overpowers the direction of the pieces.  There is always room for more standards recordings, specifically when they are as finely forged as Every Time We Say Goodbye. ~C.Michael Bailey  http://www.allaboutjazz.com/php/article.php?id=38833#.UjSpFT8kI5c

Personnel: Lisa Lindsley: vocals; George Mesterhazy: piano, melodica, keyboards; Fred Randolf: bass.

Everytime We Say Goodbye

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Luis Miguel - Mis Boleros Favoritos

Styles: Latin World
Year: 2002
File: MP3@320K/s
Time: 47:30
Size: 108,8 MB
Art: Front

(3:31)  1. No Me Platiques Mas
(3:27)  2. La Barca
(3:20)  3. La Gloria Eres Tu
(3:48)  4. No Sé Tú
(3:52)  5. Historia De Un Amor
(3:09)  6. Somos Novios
(3:00)  7. Solamente Una Vez
(3:59)  8. El Dia Que Me Quieras
(3:00)  9. El Reloj
(3:02) 10. Por Debajo De La Mesa
(3:17) 11. Encadenados
(3:03) 12. Sabor A Mi
(3:24) 13. Perfidia
(3:32) 14. Hasta Que Vuelvas

This compilation album reunites on one CD all the greatest boleros from the "Romances" series (six albums, starting with 1989's Romance and ending with 2001's Mis Romances). After four albums in which Luis Miguel recreated the classic tunes from the genre, this album is supposed to close this era. Some of the greatest hits in Spanish, in any genre, are included here, like "No Sé Tú," "Somos Novios," "El Día Que me Quieras," and "Solamente una Vez."

There's only one new song: the bonus track "Hasta Que Vuelvas." The first edition included a bonus DVD with seven videos. For any die-hard fan, this is the only reason to buy this album. If you don't have any of the "Romances" series' boleros, and you are looking for classic songs and good vocal performances, then this is the right album for you.~ Iván Adaime  

http://www.allmusic.com/album/mis-boleros-favoritos-mw0000662437

Mis Boleros Favoritos

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Red On Blue - A Place of Hope and Mysteries

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 44:55
Size: 103,7 MB
Art: Front

(3:07)  1. A Place of Hope and Mysteries
(5:20)  2. The Last One
(3:22)  3. The Peacock
(3:26)  4. Family Tree
(3:41)  5. Summer Storms
(4:50)  6. Shaky Way
(4:15)  7. Ocean
(4:51)  8. A Certain Feeling
(4:13)  9. Close to You
(3:40) 10. Shaky Way (Radio Edit)
(4:04) 11. The Last One (Radio Edit)

The singer-songwriter Bernadette Kube was born in East Berlin as the child of two artists. Her mother was a classic dancer, her father did pantomime. Most of her turbulent childhood, she spent in the theatre or on the Baltic Sea. Was it the mute art of her parents which drove her to the microphone? The family is still puzzling it over. She did not start singing secretly in the bath, but out loud in Toms Blues Band, a wild Blues group, whose drummer repeatedly fell into his instrument – tactfully indeed but drunk as a skunk. After this excessive time, she recovered with Jazz’n Kids, an old time jazz band. The specific tonality of the older men was thoroughly charming but unalterable. She learnt to be brave and dutiful – musically of course. She devotedly eavesdropped on stories told with the wisdom of age, and she was allowed to go on tour to Italy twice. It is not only her love of handmade pasta which has stood the test of time. She is still firm friends with the older men. It is the film director Michael Schorr („Schultze gets the blues“), who challenged her and brought her into contact with the world of jazz once again. In a short film he cast her as his protagonist’s „the singing girlfriend”. The difficult but appealing art of interpreting standards was part of her programme from then on. She joined the Swinghouse Jazz Band of Wolfgang Riemer. There she learnt how to sing alongside brass and stand her ground against wild pianists. „What, that was too fast? You aint seen nothing yet girl!” At the same time, she studied dramatics and New German Literature in Berlin and Paris. During her studies already, she founded the Bernadette Kube Quartett. By now, she had more than a dozen standards in her repertoire. She appeared in relevant Berlin clubs like A-Trane, b-flat, Grüner Salon, Quasimodo, Schlot and Zapata. When a graphic artist and equally incorruptible jazz expert she was friends with shouted “write something of your own!” in a heated discussion, she took it to heart. And in fact, she started plotting her own songs. In 2006 Bernadette Kube founded Red On Blue. Just a year later, they contributed two songs to the sound track of the film "Schröders wunderbare Welt" (Schröder's wonderful world) by director Michael Schorr a success, which Red On Blue owe to their stylistic experiment in the area of trip hop and downbeat. With Red On Blue Bernadette Kube regularly appears on the Berlin club scene. Gigs with striking large instrumentation were interspersed with duo appearances in an intimate atmosphere. She searches and collects. She seems to be on a journey. She really enjoys this work.~Bio  https://www.facebook.com/RedOnBlue.de/info.

Bernadette Kube – vocals;  Hein Schneider – piano; Marcus Klossek – guitar; Jan Lange – bass; Sascha Bachmann - drums

A Place of Hope and Mysteries

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Michael Feinstein & George Shearing - Hopeless Romantics

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 59:37
Size: 137,1 MB
Art: Front + Back

(3:01)  1. I Had The Craziest Dream
(3:26)  2. You're Getting To Be A Habit With Me
(4:23)  3. This Heart Of Mine
(4:01)  4. At Last
(4:13)  5. I'll String Along With You
(4:04)  6. You're My Everything
(4:12)  7. The More I See You
(4:37)  8. Serenade In Blue
(4:37)  9. I Know Why (And So Do You)
(4:11) 10. September In The Rain
(3:43) 11. Shadow Waltz
(3:19) 12. There Will Never Be Another You
(4:45) 13. I Only Have Eyes For You
(3:52) 14. You'll Never Know
(3:05) 15. You're My Everything (Alternate Version)

It's a shame that songwriter Harry Warren's name is not as well known as some of his contemporaries like Cole Porter or Irving Berlin. For whatever reason, writing dozens of hit songs like "Chattanooga Choo-Choo" and winning three Academy Awards wasn't enough to get the name recognition he deserved. Hoping to change that, Michael Feinstein pays tribute to the often-ignored composer on Hopeless Romantics, a collection of Warren songs performed by Feinstein and pianist George Shearing. With both musicians quite familiar with the Warren catalog, Feinstein and Shearing decided to focus their attention specifically on Warren's more romantic songs. Therefore, popular upbeat hits like "Jeepers Creepers" and "Lullaby of Broadway" were set aside in favor of softer tunes like "At Last" and "I Only Have Eyes for You." Of course, this approach is a perfect fit for Feinstein, who has crooned thousands of American standards in his subdued cabaret style. The bonus this time around, though, is to have famed jazz pianist Shearing provide the accompaniment. The pairing works fine, especially when Shearing gets to riff a little on slightly more midtempo songs like "You're Getting to Be a Habit with Me," but no matter how impeccable and gorgeous Shearing's work is, the album's low-key approach leaves little room for him to shine. Even one of Shearing's most famous snappy songs, "September in the Rain," is reduced to a maudlin ballad. It still works, but the magic of this pairing is something that would be more appreciated in a concert setting where each performer has room to move. As it is, working within the romantic theme and the confines of the studio provides little variety in either tone or tempo. But rising above it all are Warren's songs, and it is beneficial that Feinstein resurrects beautiful yet forgotten tunes like "Shadow Waltz." Of course, Feinstein is pitch-perfect and squeezes every ounce of good sentimentality out of each lyric, much in the way he did on his brilliant 2003 disc, Only One Life: The Songs of Jimmy Webb. This collection, however, is a little too quiet and mannered, but Feinstein and Shearing still do a great service by bringing these tunes back to the forefront. After hearing Hopeless Romantics, the name of Harry Warren should remain imbedded in the listener's memory.~ Aaron Latham  

http://www.allmusic.com/album/hopeless-romantics-mw0000168692

Hopeless Romantics

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