Susan Hanlon - Lovely Ride

Size: 92,5 MB
Time: 39:36
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art: Front

01. Bye Bye Blackbird (Feat. Shelley Carrol) (5:40)
02. Secret O' Life (4:44)
03. Just Squeeze Me (3:42)
04. Afro Blue (Feat. Shelley Carrol) (4:58)
05. Honeysuckle Rose (4:00)
06. Dahil Sa Iyo (3:46)
07. Moanin' (3:51)
08. I'm Old Fashioned (Feat. Addison Frei) (3:33)
09. Take It With Me (5:17)

Susan Hanlon is a dedicated and talented voice teacher and singer in Plano, TX. While teaching Commercial Voice at Collin College, Susan maintains a private vocal studio of aspiring artists and young singers.

Susan earned her M.A in Voice at The University of North Texas. Her graduate studies centered around vocal pedagogy and various commercial vocal techniques. She has had the honor of studying voice science and pedagogy under Dr. Stephen Austin and Jennifer Glidden. Susan has also focused on commercial vocal technique extensively with Jazz Artist and Jingle Singer, Rosana Eckert.

As a vocal coach and teacher, Susan primarily focuses on building a solid foundation and maintaining vocal health in various commercial music styles. Her students work on pop, jazz, country, folk, singer/songwriter, rock and musical theater styles in addition to choral music and classical repertoire. She is highly sought after as an adjudicator and clinician in the Dallas/Ft. Worth area. Her students consistently win top honors and perform frequently throughout the Metroplex.

Lovely Ride

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Dr. John Meets Donald Harrison - New Orleans Gumbo

Size: 117,9 MB
Time: 50:50
File: MP3 @ 320K/s
Released: 2013
Styles: New Orleans Jazz/Blues
Art: Front

01. You Ain't So Such A Much (6:35)
02. Ja-Ki-Mo-Fi-Na-Hay (6:54)
03. Shave 'em Dry (5:17)
04. Big Chief (5:17)
05. Mamzelle Zizi (5:44)
06. Livin' On Borrowed Time (9:19)
07. Hu-Ta-Nay (9:16)
08. Walkin' Home (2:23)

This particular New Orleans Cookbook has two of the finest Crescent City chefs in the business cooking up some serious gumbo together! Donald Harrison Jr. and Dr. John got together with Donald's band for this culinary event up at New York's Birdland - one of many live albums recorded for Candid at the club, located at the time Uptown at 2745 Broadway and 105th Street. Donald is of course well known as one of the finest saxophonists of his generation-a long time member of Art Blakey's Jazz Messengers, co- leader of a fine band with trumpeter Terence Blanchard and young veteran of scores of albums under his own name-this being one of five on Candid. During his career he has been involved with many diverse aspects of the jazz idiom embracing the whole history of classic New Orleans music from second-line parade music of traditional jazz and the music of the Mardi Gras Indians tribe to the pioneering R&B of Professor Longhair and the contemporary funk of the Neville Brothers and Dr.John. Add to these ingredients his involvement with be-bop, post bop, nouveau swing and smooth jazz and one can understand why the Times-Picayune called him “A complex keeper of local culture “ ,“I travel through so many different styles of music, it's all part of me,” said Donald. As the son of Guardians of the Flame Big Chief Donald Harrison Sr., Harrison has made his way in the wider world of jazz beyond New Orleans much like the fictional character loosely based on him - Delmond Lambreaux in the hit U.S. Television series Tremé.

Malcolm John “Mac” Rebennack a.k.a. Dr. John the Night Tripper found early inspiration from being exposed to records of jazz stars of the day along with hearing piano playing and minstrel tunes sung by his family. In his early teens he went to hear Professor Longhair who made a tremendous impression on the lad. He took up music lessons, concentrated on the guitar and started gigging around with local bands. He worked extensively as a session musician and all the time his style continued to evolve until eventually it incorporated as well as vocals, blues, jazz, pop, zydeco, boogie R&B and Funk. His profile increased with the success of his recordings and in the late sixties he gained a cult following with his album Gris Gris. And so it goes on - he has made scores of albums and had innumerable hits. He now has six Grammys to his name and in 2011 he was inducted into the Rock and Roll Hall of Fame and two years later was the recipient of an honorary Doctorate of Fine Arts from Tulane University.

Dr. John was certainly in the Right Place at the Right Time in 1991 though when he appeared in this collaboration with Donald Harrison and his fine band. Cousin Joe's 1946 classic You Ain't So Such A Much gets this late night Birdland session into a down home groove right away propelled by Harrisons boppish alto. Likewise Donald soars through Ja-Ki-Mo a New Orleans standard sometimes known as Iko Iko. Shave 'em Dry is referred to as a “wild and woolly song” which Mac learned from Big Chief Jolly-this version enlivened by some choice lyrics from Roosevelt Sykes' Mother Fuyer. One of Professor Longhair’s best known songs is Big Chief, expertly worked over here by both leaders. Howard “Smiley” Ricks the noted percussionist featured on Mamzelle Zizi was brought up on the famous New Orleans second line rhythm. Dr. John tells it like it is on Livin' on Borrowed Time, which is a slow and soulful expression of the eternal problem which besets all over-spenders. Stephen Scott and the aforementioned Smiley get their chance for an extended blow on Hu-Ta-Nay before we all go Walkin Home.

And the two true sons of America’s most unique city have upheld its tradition once again with joyous flair and pride.

New Orleans Gumbo

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Jeff 'Skunk' Baxter - Plays The Hits

Bitrate: 320K/s
Time: 50:26
Size: 115.5 MB
Styles: Rock-jazz guitar
Year: 2008
Art: Front

[4:50] 1. Breathe (In The Air)
[6:27] 2. Babe I'm Gonna Leave You
[3:46] 3. Honey, I'm Home
[4:08] 4. Same Old Song And Dance
[3:48] 5. Don't Be Stupid
[4:17] 6. Something To Fall Back On
[4:20] 7. Whose Bed Have Your Boots Been Under
[3:59] 8. St. James Infirmary
[3:56] 9. That Don't Impress Me Much
[6:33] 10. Babe I'm Gonna Leave You (Instrumental)
[4:17] 11. I Won't Leave You Lonely

Best-known for his work with Steely Dan and the Doobie Brothers, Jeff "Skunk" Baxter's versatility and highly developed technique as a soloist made him a hugely in-demand session guitarist from the '70s on. Perhaps because he's never recorded a solo album, Baxter isn't quite a household name, but his talent and taste have never been in question. Born December 13, 1948, in Washington, D.C., Baxter (who refuses to discuss the origins of his nickname) landed his first recording gig in 1969 with the psychedelic pop group Ultimate Spinach. In 1972, he began his association with Steely Dan, playing on their debut album, Can't Buy a Thrill; his ability to blend rock's visceral power with smooth, sophisticated jazz-pop made him an important element of the group, until Walter Becker became accomplished enough to handle the guitar leads himself. Following 1974's Pretzel Logic, Baxter moved on to the Doobie Brothers, debuting later that year on What Once Were Vices Are Now Habits and continuing on for several more albums through 1978; he also frequently doubled on steel guitar. During the mid-'70s, Baxter also began to expand his session work, eventually playing everything from rock to folk to pop to country to fusion to R&B; he also went on to work with the likes of Dolly Parton, Barbra Streisand, Rod Stewart, Bryan Adams, Ringo Starr, Carly Simon, Donna Summer, Joni Mitchell, Rick Nelson, Hoyt Axton, and Freddie Hubbard, among many others. Baxter's general interest in technology led him into production, most notably helming several albums for hard rockers Nazareth. In keeping up with technological advances, though, Baxter also developed an interest in military hardware and weapons systems, which he developed an amazing grasp of; thanks to his self-education and staunch Republican politics, he was hired in 2001 by the Bush administration as a defense analyst, also serving as a consultant to several U.S. congressmen (and continuing his music career). ~bio by Steve Huey

Plays The Hits

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Cannonball Adderley & Ernie Andrews - Live Session!

Bitrate: 320K/s

Time: 42:32

Size: 97.4 MB

Styles: Saxophone jazz, Vocal jazz

Year: 1964/2004

Art: Front

[0:27] 1. Cannoball Adderley's Introduction

[3:19] 2. Big City

[3:53] 3. Next Time I See You

[3:20] 4. I'm Always Drunk In San Francisco

[2:48] 5. Ten Years Of Tears

[3:07] 6. Bill Bailey

[3:28] 7. I'm A Born World Shaker

[2:53] 8. Don't Be Afraid Of Love

[2:13] 9. Since I Fell For You

[2:56] 10. If You Never Fall In Love With Me

[4:19] 11. Come On Back

[4:48] 12. Work Song

[4:55] 13. Green Door

While Cannonball Adderley is a fine and well-known alto saxophonist, his equal partner on Live Session!, vocalist Ernie Andrews, is a more obscure figure. Andrews recorded frequently during the late '40s and throughout the '50s, but retained a lower profile during the '60s. That's one reason why Live Session!, recorded in 1964, is such a special work. Backed by Adderley, cornetist Nat Adderley, pianist Joe Zawinul, bassist Sam Jones, and drummer Louis Hayes, Andrews' warm, rich vocals offer lovely interpretations of an even dozen songs. The material cuts a wide swath across non-jazz genres, from the bluesy "Next Time I See You," to the popular "Since I Fell for You," to the fun nonsense of "Green Door." Although the instrumental work takes a backseat to the vocals, both Adderleys find room to offer pithy solos that spice up the proceedings. The accompaniment is an active one, too, with intricate piano and horns highlighting and underlining Andrews as needed. Interestingly, the songs were recorded live on two different dates, two years apart. The album nonetheless flows as a piece. Three tracks, "Come on Back," "Work Song," and "Green Door" have been added to the 2004 reissue, providing yet another reason to pick up Live Session! ~ Ronnie D. Lankford, Jr.

Recorded at The Lighthouse, Hermosa Beach, California on October 4, 1964; Memory Lane, Los Angeles, California on September 19, 1962.

Cannonball Adderley (alto saxophone); Nat Adderley (cornet); Joe Zawinul (piano); Sam Jones (bass); Louis Hayes (drums).

Live Session!

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Various - As Time Goes By: In And Out Of The Ordinary Vol 1

Bitrate: 320K/s
Time: 77:47
Size: 178.1 MB
Styles: Various jazz styles
Year: 2007
Art: Front

[4:09] 1. Jermaine Landsberger - Hammond Eggs
[5:37] 2. Roberta Ganbarini - On The Sunny Side Of The Street
[4:32] 3. Buster Williams - Something More
[2:47] 4. Flora Purim & Airto Moreira - Escape
[6:08] 5. Lester Brown's Brass Fantasy - For Louis
[7:04] 6. James Blood Ulmer's Blues - Crying
[3:51] 7. Toots Thielemans - Hard To Say Goodbye
[5:15] 8. Woody Shaw - Estaté
[2:31] 9. Viviane De Farias - Na Hora De Paixao
[3:31] 10. Paul Kuhn - Heading South
[5:57] 11. Lynn Arriale - Home
[4:45] 12. Lenny Andrade - Chega De Saudade
[5:20] 13. Billy Cobham - You Know, You Know
[5:24] 14. Max Hacker - Upper Manhattan Medical Group
[5:39] 15. Joachim Kuhn Trio - Angel Dust
[3:01] 16. Larry Coryell - She's Leaving Home
[2:08] 17. Paul Kuhn - As Time Goes By

As Time Goes By: In And Out Of The Ordinary Vol 1

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Ashley Brown - Speak Low

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 53:01
Size: 122,3 MB
Art: Front

(4:14)  1. Speak Low
(3:01)  2. If I Were A Bell
(5:29)  3. As Time Goes By
(3:28)  4. Smile/Make Someone Happy
(2:57)  5. Falling In Love With Love
(4:32)  6. My Funny Valentine
(4:35)  7. Saturday Night Is The Loneliest Night Of The Week
(4:13)  8. How Long Has This Been Going On
(3:17)  9. I've Got The World On A String
(4:39) 10. My One And Only Love
(4:47) 11. The Very Thought Of You
(3:05) 12. Let's Fall In Love
(4:40) 13. I'll Be Seeing You

In the great tradition of multitalented stars, Broadway's newest diva Ashley Brown makes her solo record debut with her jazz vocal album, "Speak Low."

Speak Low is the title track on a thoughtfully curated collection of American Songbook standards that also includes a sexy and imaginative medley of two great standards, "Smile" and "Make Someone Happy". The album is filled with passionate, seductive interpretations of a wide range of songs covering jazz and Broadway standards. Speak Low is a collection of Ashley's personal favorites and will consist of new arrangements of such well known classics as "My Funny Valentine", "I'll Be Seeing You", "My Only Love" and "The Very Thought of You." 

The creative team includes Emmy Award-winning conductor, pianist, composer, and arranger Lee Musiker (Tony Bennett, Barbara Cook), World Renowned Keyboardist, Arranger & Composer Yaron Gershovsky (Manhattan Transfer), and 2008 Grammy nominee and Sony artist, Eldar. Speak Low is produced by Grammy nominated Sony Masterworks producer, David Lai (South Pacific, Allegro).

Brown is currently playing the title character in the United States national tour of Mary Poppins after originating the role on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress. "Even for those of us who spend our lives working in the performing arts there are those moments when an artist simply takes your breath away and makes you think, ‘now THAT'S how it's done!' Ashley Brown is one such artist," said Thomas Schumacher, producer and president of Disney Theatrical Productions. "Ashley is a class act; charming, witty, smart, stunning and possessing a voIce That makes you understand the true meaning of heaven."

Brown has one of the most celebrated voices on Broadway and in the concert and cabaret worlds today. As a concert artist, she has performed with many of the most prestigious orchestras in the U.S. including the Boston Pops (with Keith Lockhart), the New York Philharmonic (with Marvin Hamlisch), The Pittsburgh Symphony opposite Shirley Jones (with Marvin Hamlisch), the New York Pops at Carnegie Hall, the Cincinnati Pops (with Erich Kunzel), the Indianapolis Symphony (twice with Jack Everly), and the Hollywood Bowl Orchestra (with John Mauceri) at Disney Hall. http://www.broadwayworld.com/article/Ashley-Browns-Speak-Low-Availible-for-Purchase-in-Stores-112-20100112

Speak Low

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Billie Joe Armstrong & Norah Jones - Foreverly

Styles:  Folk Pop

Year: 2013
File: MP3@320K/s
Time: 45:41
Size: 104,6 MB
Art: Front

(4:10)  1. Roving Gambler
(3:30)  2. Long Time Gone
(5:01)  3. Lightning Express
(3:15)  4. Silver Haired Daddy of Mine
(4:33)  5. Down in the Willow Garden
(2:57)  6. Who's Gonna Shoe Your Pretty Little Feet?
(3:05)  7. Oh So Many Years
(4:48)  8. Barbara Allen
(3:01)  9. Rockin' Alone (In an Old Rockin' Chair)
(4:21) 10. I'm Here To Get My Baby Out of Jail
(3:26) 11. Kentucky
(3:28) 12. Put My Little Shoes Away

Last week, I wrote about “Under the Covers, Vol. 3,” a duet album by Susannah Hoffs and Matthew Sweet that extended the pair’s tradition of covering their favorite pop songs of the sixties, seventies, and eighties. Now, there’s another duo act out there paying tribute to artists from an earlier era, but it’s radically different from “Under the Covers.” It’s “Foreverly,” a joint project of the Green Day front man Billie Joe Armstrong and the chanteuse Norah Jones.

As the not-bad pun of the title suggests, “Foreverly” is an homage to Don and Phil Everly, who, as the Everly Brothers, racked up more than a dozen Top Ten hits between 1957 and 1962, and influenced a generation of rock-and-rollers in the process. While the “Under the Covers” series is a natural extension of the solo work Hoffs and Sweet are known for, “Foreverly” seems like a surprising departure. Jones, though she came to fame as a pop-jazz vocalist, has always maintained an interest in country music, principally through her side band the Little Willies. But “Foreverly” started with Armstrong, who is known almost exclusively for Green Day’s snotty punk-pop. (The band’s only substantial departure, a side album recorded under the name Foxboro Hot Tubs, leaned a little more heavily on garage rock, but otherwise didn’t fall especially far from the tree.) Armstrong first met Jones when they both made guest appearances with Stevie Wonder’s band; when Armstrong conceived of the Everly Brothers tribute, he brought her aboard.

Everly tributes aren’t an especially rare thing. The Chapin Sisters released a full album’s worth, “A Date With the Everly Brothers,” earlier this year, and artists from the Beatles on have tried to match the duo’s preternaturally close harmonies. Paul Simon and Art Garfunkel were early graduates of the Everly academy (they would later cover “Bye Bye Love” on “Bridge Over Troubled Water”), and Nick Lowe and Dave Edmunds tacked an EP of Everly covers onto the end of the 1980 Rockpile album “Seconds Of Pleasure.” But Armstrong, a fan of the Everlys since childhood, didn’t choose to dive into the covers pool by re-recording any of the duo’s huge pop-country hits, most of which were written by Boudleaux and Felice Bryant. There’s no “Wake Up, Little Susie” here, no “Cathy’s Clown,” no “Bird Dog,” no “All I Have To Do Is Dream.” Rather, “Foreverly” is based on the duo’s 1958 album “Songs Our Daddy Taught Us,” which in turn consisted of covers of traditional and country songs originally performed by the likes of Charlie Monroe (“Down in the Willow Garden”), Tex Ritter (“Long Time Gone”), and Gene Autry (“That Silver Haired Daddy Of Mine”). Released in the wake of the brothers’ breakout debut album, “Songs Our Daddy Taught Us” was an early departure that established their country bona fides. And while “Foreverly” shifts around the track order a bit, it’s otherwise a faithful re-creation of the earlier record.

This choice of a commercially marginal (if artistically superb) record from the Everly canon works to the project’s advantage. Rather than go head to head with the brothers on their most recognizable material, Armstrong and Jones can instead focus attention on their own vocals. With the Everly Brothers, Don (the older of the two) sang the baritone parts in harmonies, as well as most of the solos, while Phil provided a tenor counterpoint. On “Foreverly,” Armstrong plays the role of Don, while Jones steps into Phil’s shoes.

From the first track, the traditional “Roving Gambler” (also recorded by Simon and Garfunkel), the remakes work in compelling ways. Armstrong does an excellent job with straightforward country singing he’s especially good at conveying loneliness and Jones provides skilled harmonies. Still, the dynamic here is considerably different from the source material. Armstrong and Jones just aren’t as close in blood, in age, in upbringing, in harmony as Don and Phil were. In addition, they’re both lead vocalists by training. And then there’s the fact that Jones, as female singers go, has a rich, sensual tone that’s quite different from Phil’s high keening. The result is a sound that leans a little more toward traditional country duets, and a little away from the unearthly harmonic choreography of the Everly originals.

On the other hand, the male-female dynamic adds a layer of romantic intrigue and sexual tension to mysterious, dark, traditional ballads like “Who’s Gonna Shoe Your Pretty Little Feet?” and “Barbara Allen” (which is augmented with a fiddle part by Charlie Burnham). Armstrong and Jones are also a bit more leisurely in approach while the Everlys put their twelve songs across in forty minutes, “Foreverly” takes fifty-three minutes. In the end, though, these are points of distinction that do not detract from the pleasures of the new record, and which in fact help it in its central mission, which is to recast Armstrong and Jones as conservators of the past and send listeners back to “Songs Our Daddy Taught Us.”~ Ben Greenman  http://www.newyorker.com/online/blogs/culture/2013/11/norah-jones-and-billie-joe-armstrong-cover-the-everly-brothers.html

Foreverly

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