Sam Bevan - The Fine Line

Bitrate: 320K/s
Time: 50:25
Size: 115.4 MB
Styles: Contemporary jazz
Year: 2005
Art: Front

[6:13] 1. Zap Monk
[6:09] 2. Walking Stick
[3:41] 3. Shapeshifter
[6:45] 4. Attack Of The Mudbugs
[6:52] 5. Bayou Melodie
[3:27] 6. Ennui
[0:56] 7. Merman (Interlude)
[4:58] 8. Slap In The Face
[6:25] 9. Swashbucket
[4:53] 10. Disgruntled Patriot

Bay Area bassist Sam Bevan's debut CD, "The Fine Line" features his original compositions that strive to strike a balance between strong simple melodies, sophisticated jazz harmonies, polyrhytmic textures and the energetic drive of rock music. At the heart of the music is the raw energy of a guitar trio that vacillates between open floating textures and syncopated grooves. At the forefont is the atypical trombone lead that paints with wide greasy strokes while softly complimenting the music with haunting melodies.

Articulate, focused and highly musical, Bevan's sense of melody and rhythmic thrust showcase his talent. Tight arrangements and well conceived writing goes to show that Bevan is a multi-dimensional artist with much to offer. ~Randy McElligot

The Fine Line

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Chita Rivera - Chita! And Now I Sing!

Bitrate: 320K/s
Time: 65:56
Size: 151.0 MB
Styles: Vocal
Year: 2013
Art: Front

[3:33] 1. Ten Cents A Dance
[3:11] 2. The Lady's In Love With You
[3:19] 3. Love, Look Away
[2:35] 4. An Occasional Man
[3:33] 5. Moanin' Low
[2:11] 6. Get Me To The Church On Time
[3:08] 7. The Surrey With The Fringe On Top
[3:24] 8. In Other Words
[2:41] 9. Small Fry
[2:51] 10. Old Devil Moon
[3:28] 11. Something I Dreamed Last Night
[2:28] 12. Let's Put Out The Lights And Go To Sleep
[2:05] 13. I Hear Music
[2:49] 14. You're Mine You
[2:43] 15. Hit The Road To Dreamland
[2:31] 16. The Nearness Of You
[1:57] 17. Easy To Remember
[2:19] 18. There Is Nothing To Say But Goodbye
[2:40] 19. Moon River
[2:15] 20. Isn't It Romantic
[2:49] 21. Falling In Love Again
[4:21] 22. It's Always You
[2:55] 23. Lonesome Road

Digitally remastered two-fer containing a pair of albums from the Tony Award winning actress and performer: Chita! (1962) and And Now I Sing! (1963). Presented in glorious stereo sound, these remastered recordings make their debut on CD. Both albums present an eclectic mix of showtunes and standards alongside more obscure material handpicked for the sessions. `Chita!' was recorded in London in October 1961 when Rivera was wowing audiences in the West End production of `Bye Bye Birdie'. The album features lavish orchestrations by renowned arranger Alyn Ainsworth while `And Now I Sing!' is a more intimate collection, recorded in New York with Latin producer and arranger Joe Cain. These early 1960s albums clearly demonstrate that Chita Rivera is as versatile a performer in the recording studio as on the Broadway and London stage.

Chita! And Now I Sing!

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Big John Patton - Got A Good Thing Goin'

Bitrate: 320K/s
Time: 36:36
Size: 83.8 MB
Styles: Hard bop, Organ jazz, Guitar jazz
Year: 1966/2003
Art: Front

[8:14] 1. The Yodel
[7:47] 2. Soul Woman
[6:43] 3. Ain't That Peculiar
[7:44] 4. The Shake
[6:06] 5. Amanda

Grant Green always brought out the best in Big John Patton. Almost any record that featured the guitarist and organist was dominated by their scintillating interplay, and it always sounded like they were trying to top each other's blistering, funky solos. Patton and Green rarely sounded better than they did on Got a Good Thing Goin', a 1966 session that functioned as a showcase for the pair's dynamic interaction and exciting, invigorating solos. In particular, the duo's mastery is evident because there are no horns to stand in the way -- only drummer Hugh Walker and conga player Richard Landrum provide support, leaving plenty of room for Green and Patton to run wild. All five numbers -- two originals by Patton and Green, two pop covers ("Ain't That Peculiar," "Shake"), and Duke Pearson's "Amanda" -- are simple blues and soul-jazz songs that provide ample space for the guitarist and organist to stretch out. And they do stretch out -- as a pair, they have never sounded so fiery or intoxicating. Fans of hard bop may find the songs a little too simple, but hot, up-tempo soul-jazz rarely comes any better than it does on Got a Good Thing Goin'. ~ Stephen Thomas Erlewine

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 29, 1966.

John Patton (organ); Grant Green (guitar); Richard Landrum (conga); Hugh Walker (drums).

Got A Good Thing Goin'

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Annie Kozuch - Mostly Jobim

Bitrate: 320K/s
Time: 37:50
Size: 86.6 MB
Styles: Bossa Nova, Brazilian jazz
Year: 2013
Art: Front

[3:34] 1. Waters Of March (Aguas De Marco)
[4:24] 2. Wave
[3:43] 3. A Felicidade
[3:36] 4. Eu Sei Que Vou Te Amar (I Know I'll Love You So)
[2:56] 5. So Nice
[3:12] 6. Desafinado
[3:47] 7. Someone To Light Up My Life
[3:46] 8. Girl From Ipanema
[4:59] 9. How Insensitive (Insensatez)
[3:48] 10. Agua De Beber

"I believe I learned my songs from the birds of the Brazilian rain forest". ~Antonio Carlos Jobim. Antonio Carlos Brasileiro de Almeida Jobim (1927-1994), known as Tom Jobim, was responsible for writing dozens of unforgettable bossa nova songs that made their way to the US in the early 60s. I was a teenager lying on my bedroom floor in Mexico City, when I first heard of this composer through his collaboration with Joao Gilberto. Although I didn't appreciate or understand it at the time, his soft music and lyric spoke directly to my heart.

Little did I know, years later, living in New York City, I would be collaborating with some of the best musicians a girl could ask for. After performing MOSTLY JOBIM live at Feinstein's at the Lowes Regency, musical director, Frank Ponzio (piano) and I, brought in Vito Lesczak (drums) and Saadi Zain (bass) to collaborate and set some arrangements as we explored his music further. We were fortunate to have Cecilia Tenconi (saxophone and flute) and Sean Harkness (guitar) lend their wonderful musicianship and sensitivity to the material and to our delight, Edson 'Cafe' Aparecido da Silva completed the sound we were seeking with some authentic Brazilian percussion and color.

I am humbled and honored to have worked with such incredible musicians and hope ACJobim is smiling. Thank you for the gift of your music. Your music lives on! ~A.Kozuch

Mostly Jobim

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Steve Hooks & Too Cold - 66 Minutes Of Joy

Bitrate: 320K/s
Time: 64:12
Size: 147.0 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[4:59] 1. Blue Wine
[5:52] 2. Cajun Railway
[4:12] 3. Sean
[5:50] 4. Coming Around Again
[5:39] 5. Horn Cases
[5:37] 6. La Banda Loca
[5:36] 7. Berrus
[5:49] 8. Brazilian Love Song
[5:10] 9. Don't Give Up
[4:45] 10. A Song For Angela
[5:16] 11. Kattin' Around
[5:20] 12. Lost Love

At age 5, Steve started piano lessons. At age 9, he started clarinet lessons and played in the school band thereafter. Switched to saxophone in 1962 and played baritone sax in the school big band. Won many awards at the Wisconsin State Music Competition. In 1964, was chosen for the All-West Tennessee Band and the Tennessee State Chorus. After graduation (1964), he went to Memphis State University with a music scholarship but soon dropped out to play professionally full time. From 1964 to 1966,he performed and recorded in the Memphis area during the glory days of the Memphis soul music scene. In 1969, started developing the technique of playing the alto and tenor saxes simultaneously, and has become well known in Germany for this.

Some of the jazz people he has played with along the way in America include Al Aarons, Slyde Hyde, Jimmy Smith, Paul Humphreys, Ray Drummond, "Buddy" Jones, Billy Childs, Ernie Andrews, Johnny Hammond Smith, Moses Armstrong (nephew of Louis), Gary Willis, The Platters, The Drifters, The Ink Spots, Gabor Szabo, Raoul De Souza, John Patitucci, Rita Graham, and others. Some of the jazz people he has played with in Europe include Charly Antolini, Alador Pege, Tony Lakatos, Max Greger Jr., Krzysztof Scieranski, David Gazarov, and others.

66 Minutes Of Joy

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Caroll Vanwelden - Don't Explain

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 56:58
Size: 132,3 MB
Art: Front

(4:01)  1. All or Nothing At All
(5:28)  2. Don't Explain
(7:02)  3. Black Coffee
(3:21)  4. Frim Fram Sauce
(4:08)  5. God Bless the Child
(3:54)  6. C'est Si Bon
(3:13)  7. Baby, It's Cold Outside
(3:00)  8. Lush Life
(3:13)  9. Perdido
(3:45) 10. The Surrey With the Fringe On Top
(2:49) 11. Strange Fruit
(3:30) 12. No Moon at All
(4:51) 13. Speak Low
(4:37) 14. You Don't Know What Love Is

After a lot of succes with her previous album 'Cheek to Cheek' (with standards of the thirties), Caroll Vanwelden is back with a new album 'Don't Explain'.
With 3 top musicians - Thomas Stabenow on double bass, Daniel Prandl on the piano and Bernhard Sperrfechter on guitar-, vocalist Caroll Vanwelden succeeded in recreating that lovely 1940’s sound with just the right retro touch. Her warm and touching voice, together with a very minimalistic set-up, gives you a very fresh and inspiring album that guides you through all the atmospheres of the 40's. Caroll was really made to bring that good old jazzy style as jazz has always been her first love and this compilation of her all-time favourite standards of the 40's resulted in a fantastic album! ‘Don't Explain' is a jazz album that brings back cherished and emotional memories of that great decade. http://www.cdbaby.com/cd/carollvanwelden2

Don't Explain

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The Hot Club Of Cowtown - What Makes Bob Holler

Styles: Gypsy Jazz
Year: 2011
File: MP3@320K/s
Time: 41:07
Size: 94,2 MB
Art: Front

(2:44)  1. She's Killing Me
(2:56)  2. It's All Your Fault
(2:29)  3. Time Changes Everything
(3:43)  4. Maiden's Prayer (Album)
(3:14)  5. Oklahoma Hills
(2:33)  6. Big Ball In Cowtown (Album)
(3:53)  7. Keeper Of My Heart
(1:53)  8. Smith's Reel
(2:35)  9. The Devil Ain't Lazy
(3:05) 10. Along the Navajo Trail
(3:32) 11. Faded Love
(2:33) 12. What's the Matter With The Mill
(2:47) 13. Osage Stomp
(3:04) 14. Stay A Little Longer

It's hard to imagine why it's taken the Hot Club of Cowtown so long to record a tribute album to Bob Wills. Their Django-meets-Wills style makes the idea a natural, and when they've covered Wills in the past  either tunes he wrote or tunes associated with the Texas Playboys  they've always brought a modern sensibility to the tunes that makes them sound brand new. As a trio, they have to be resourceful to get the kind of full sound Wills got with his ensemble, but they're up to the task. When this album was released in the U.K. in November of 2010, it jumped into the Top Ten and stayed there for weeks. "Big Balls in Cowtown" is a good example of the trio's method. Elana James lays out three impressive fiddle solos and Whit Smith's nimble guitar captures the essence of Eldon Shamblin's Django-esque lines, but finds his own way of making the strings sing. The band rewrites the lyrics using verses from other cowboy tunes, and a few of their own which are in keeping with their suggestive renaming of the song. Smith and James duet on "Time Changes Everything" then Smith drops a solo that brings to mind the electric mandolin work of Tiny Moore. Smith's guitar solo takes "Oklahoma Hills" to Paris, then drops a quote from "Dixie" into his run. James is just as inventive and slips a bit of "The Hawaiian War Chant" into her solo. Bass man Jake Erwin shines on "Stay a Little Longer," his double-time slap bass solo closes the set on a high note. ~ J.Poet  http://www.allmusic.com/album/what-makes-bob-holler-mw0002059420

What Makes Bob Holler

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Deborah Latz - Fig Tree

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 77:29
Size: 177,4 MB
Art: Front

(6:41)  1. Blue Skies
(3:55)  2. Hi-Fly
(6:43)  3. You'd Be So Nice To Come Home To
(4:20)  4. É Luxo Só
(5:48)  5. I'm Having A Good Time
(4:49)  6. You Are
(5:06)  7. Fevgo
(6:10)  8. S'Wonderful
(5:13)  9. Fig Tree
(2:55) 10. Embraceable You
(5:20) 11. Corcovado (Quiet Nights Of Quiet Stars)
(5:31) 12. I'll Wind
(7:34) 13. She Was
(7:19) 14. Moon River

West Coast/East Coast vocalist Deborah Latz has release two well- received CDs to date: 2004's Toward Love and 2008's Lifeline (both on June Moon Productions). Coming from a stage background, Latz has no problem instilling drama into her interpretations and does so without sounding like she is trying too hard, a pitfall of many of her contemporaries. Latz has a probing and brilliant alto voice that can achieve several ends at the same time. She can readily conquer the sharp edges of progressively arranged standards like the opening "Blue Skies" while sustaining an always challenging, ultra-slow tempo as on the wholly transformed Cole Porter, "You'd Be So Nice To Come Home To." Latz's approach to the standard material is fiercely unique and comparable only to the Tierney Sutton Band's recent recordings, American Road (BFM, 2011) and Desire (Telarc, 2008).

"Blue Skies" is given a nervous, urban instrumental treatment, with Latz stretching the phrasing dramatically to the point where the phrasing threatens to lose momentum. But there is no loss, the power velocity is rock steady. Guitarist John Hart provides a jagged edge in his solo, as well as his obligato behind Latz. Jon Davis' piano adds a taste of the islands bolstered by Willard Dyson's deft drumming. "You'd Be So Nice..." is completely reimagined as a Shirley Horn blues slow-drag, introduced with piano and arco bass before establishing its reharmonized direction. Davis channels Gene Harris' blues sensibility in his solo.

In "I'm Having A Good Time," Latz finds her Billie Holiday muse, bolstered by Hart's tasty blues guitar and Davis' two-fisted piano playing. "Embraceable You" and "Corcovado" make an interesting internal diptych, the former experimental and bracing (Latz and bassist Parker duet) and the latter sleek and smooth, as breezy as it should be, again featuring Hart's handy guitar work. The closing "Moon River" is somber and slightly dissonant and easily the slowest tempo on the record. Singing slow is one of the most challenging things for a singer to do. Latz with there with the best of them: Horn and Rebecca Parris.

Latz's original compositions are provocative. "You Are" features Peter Apfelbaum tenor saxophone sparing with Latz to a draw, giving equal attention to both voices in this unusual duet. Edgy and unsettled "You Are" only anticipates the equally challenging "She was." Latz is not a devoted genre-breaker, opting to color within the lines, just sometimes she moves those lines. ~ C.Michael Bailey  http://www.allaboutjazz.com/php/article.php?id=44411#.UldTgBBsidk

Personnel: Deborah Latz: vocals; Jon Davis: piano; John Hart: acoustic and electric guitars; Ray Parker: bass; Willard Dyson: drums, percussion; Peter Apfelbaum: tenor and soprano saxophones, flute, percussion; Abdoulaye: voice (13).

Fig Tree

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Ramsey Lewis - Between The Keys

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 51:39
Size: 118,3 MB
Art: Front

(7:30)  1. Sun Goddess 2000
(5:50)  2. Cold And Windy
(3:50)  3. I'll Always Be About You
(4:31)  4. Secret Place
(4:01)  5. Between The Keys
(5:12)  6. Les Fleur
(5:44)  7. Just A Little Lovin'
(6:08)  8. Hearts Of Fire
(4:09)  9. All Around The World
(4:41) 10. I'll Always Be About You (Remix)

Although Ramsey Lewis gained his initial fame as a jazz pianist, many of his records (including this one) are really more in the R&B field. The soul vocals, acid jazz rhythms and tinkling piano result in superior background music and there are some good moments (such as Grover Washington, Jr.'s soprano on "Sun Goddess 2000") but Ramsey Lewis is capable of much better. A strictly commercial effort that succeeds more as dance music than as creative jazz. ~Scott Yanow http://www.allmusic.com/album/between-the-keys-mw0000183620

Between The Keys

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