Marti Mendenhall - An Evening Of Live Jazz

Size: 165,2 MB
Time: 70:58
File: MP3 @ 320K/s
Released: 2012
Styles: Vocal Jazz
Art: Front

01. Destination Moon ( 5:20)
02. Believe ( 4:36)
03. Book Of Love ( 3:49)
04. Halloween Spooks Intro ( 0:51)
05. Halloween Spooks ( 4:46)
06. Love Song For A Vampire ( 4:24)
07. Brasilia ( 8:16)
08. All The Cats Join In ( 5:12)
09. Bennie's From Heaven ( 5:15)
10. Sarah's Intro ( 0:42)
11. Sarah's Hushabye ( 6:42)
12. Angel Eyes (10:10)
13. Everybody's Boppin' ( 5:50)
14. Lullaby Of Birdland ( 4:58)

Marti Mendenhall is a classical and jazz vocalist from Portland Oregon, who has been working towards her first solo CD for many years. That CD, "An Evening of Live Jazz", was all recorded from a single live performance. A true soprano, she flies on high notes through improvised jazz solos with ease and inspiration, her voice like a beaming trumpet. Mendenhall's classical roots and vibrato come through during her lyrical delivery. Her expression is akin to a pop or musical theatre style, which is especially evident when she belts in her high range. The CD has the feel of a variety album with a wide range of styles. "Halloween Spooks" has a relaxed groove, resting on walking bass, paired with a quirky spookiness. The incorporation of sound effects, coming from the band and the audience, adds flavor and fun. The key works with Mendenhall's high voice, bringing the cackling witch-like character to life. I appreciate Mendenhall's openness to fun and silly subject matter, which makes her accessible, likable, and playful.

"Brasilia" is a Latin tune written by Mendenhall. The lyrics are generally unsophisticated, but it contains the exceptional line, "I have so many memories of someone I've yet to meet." This poetic moment simply and eloquently expresses how our imaginations can be so vivid that the images and scenarios they conjure are like actual memories. Drawing from her childhood memories, Mendenhall and arranger Adrian Baxter created the haunting marriage of two children’s songs, “Hushabye Mountain” and “Sarah’s Theme.” It is an entrancing change-of-pace. Mendenhall truly shines on "Angel Eyes." Her improv juices are flowing, and she executes her solos with tasty note choices that work well in her high tessitura. George Mitchell provides solid accompaniment and a melodic solo on piano. This is the longest tune on the album, but feels like the shortest, and it is also my favorite track on the album. "Everybody's Boppin'" gets us dancing in our seats, and includes another winning scat solo. Scott Steed's bass solo was also strong - melodic, clear, and interesting. The drum solo by Todd Strait is exceptional. He grooves hard without pushing, and maintains an easy sound. This recording is a promising debut by Mendenhall, including a wide range of moods. I look forward to her future endeavors. ~Review by Stacy Riley

An Evening Of Live Jazz

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Natasha Miller - What Christmas Means To Me

Size: 90,3 MB
Time: 38:48
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz, Easy Listening, Holidays
Art: Front

01. Winter Wonderland (4:43)
02. God Rest Ye Merry Gentlemen (3:18)
03. What Christmas Means To Me (3:26)
04. White Christmas (4:33)
05. Baby It's Cold Outside (3:38)
06. Christmas Time Is Here (3:48)
07. It Snowed (3:27)
08. The Secret Of Christmas (2:39)
09. My Favorite Things (4:50)
10. Somewhere Over The Rainbow (4:22)

Natasha Miller is an American vocalist who grew up in Des Moines, Iowa then hightailed it out to San Francisco as fast as she could load up her U-Haul. Having saved up $4,000 from playing the violin at weddings, she made her way to the west coast and has never looked back.

To date, Natasha has released 6 CD's on the Poignant Records label. The first is in the "singer/songwriter" category and she wrote all of the material. There are two "Great American Songbook" jazz recordings (Talk to Me Nice and SpinVintage), two recordings of material written by her dear friend Bobby Sharp (I Had a Feelin', Don't Move), and one holiday album (The Season). There is one more holiday album on the way. Why two holiday albums? Well, it's really Sam Bevan's fault.

Natasha plays the guitar and piano, but mostly uses those instruments as writing tools. It is rare that you'll see her performing in front of people on either instrument. She once was a very talented violinist, serving as concert master of orchestras and earning a full-ride scholarship to college. Fast forward to present day, and Natasha occasionally plays her violin on her recordings and concerts.

Natasha has had the privilege and thrill of performing at such great venues as Yoshi's (Oakland & San Francisco), The Plush Room. The Monterey Jazz Festival, The Jazz Standard in NYC, and Blues Alley in Washington, DC to name a few.

Natasha has been asked often who she considers her musical influences (usually "in jazz"), and she loves giving the following answer, "The Police, Itzhak Pearlman, Edie Brickell & the New Bohemians, Rickie Lee Jones (Pirates), Bonnie Raitt, Shawn Colvin, and now... Allen Stone. This always throws people off, especially when she notes she's not a fan of Billie Holiday's performances. Nonetheless, this is who she listens to still to this day.

What Christmas Means To Me

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Walt Weiskopf - Sleepless Nights

Bitrate: 320K/s
Time: 53:07
Size: 121.6 MB
Styles: Saxophone jazz
Year: 1998
Art: Front

[7:10] 1. Inner Loop
[6:02] 2. Come Rain Or Come Shine
[6:51] 3. Mind's Eye
[8:12] 4. Jazz Folk Song
[7:36] 5. Wishing Tree
[5:33] 6. Liberian Lullaby
[4:33] 7. With You, With Me
[7:07] 8. Sleepless Nights

Walt Weiskopf's "Sleepless Nights" CD leaves one wondering why the jazz world doesn't hear more about this accomplished composer and tenor player. He spent the 1980's as a staple in the big bands of Buddy Rich, Toshiko Akiyoshi, and Frank Sinatra before starting his own quartet at the end of that decade. Walt's tenor voice is absorbing, to say the least, running the spectrum from beautifully lyrical ("With You, With Me") to New York hardcore at its absolute zenith ("Jazz Folk Song"). He continues to surround himself with superb musicians such as Andy Fusco on alto; Conrad Herwig, trombone (astounding playing on "Inner Loop"); his brother Joel on piano; James Genus on bass; and Billy Drummond, drums. This combination proves to be formidable indeed. Following closely on the heels of his 1996 nonet release "Song For My Mother," this latest offering is a textbook example of a modern jazz sextet. Gerry Teekens and the rest of the folks at the Criss Cross label are, I'm sure, ecstatic to to be associated with such talent. Walt's "Sleepless Nights" has no equal. ~Jim McFalls/amazon

Walt Weiskopf (tenor saxophone); Andy Fusco (alto saxophone); Conrad Herwig (trombone); Joel Weiskopf (piano); Billy Drummond (drums).

Recording information: Systems Two Studios, Brooklyn, NY (12/16/1996).

Sleepless Nights

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Nellie Lutcher - Two Sides Of Nellie Lutcher

Bitrate: 320K/s
Time: 52:41
Size: 120.6 MB
Styles: R&B, Vocal
Year: 1995/2010
Art: Front

[2:57] 1. He's A Real Gone Guy
[2:54] 2. Fine Brown Frame
[2:24] 3. Hurry On Down
[2:49] 4. Come And Get It, Honey
[3:15] 5. Let Me Love You Tonight
[3:04] 6. The Lady's In Love With You
[3:13] 7. My Little Boy
[2:29] 8. Alexander's Ragtime Band
[2:43] 9. Cool Water
[2:25] 10. That's A Plenty
[3:10] 11. (All Of A Sudden) My Heart Sings
[2:41] 12. Have You Ever Been Lonely (Have You Ever Been Blue)
[2:42] 13. On The Sunny Side Of The Street
[2:30] 14. You Made Me Love You
[1:44] 15. This Can't Be Love
[2:37] 16. Someone To Watch Over Me
[2:30] 17. Blue Skies
[2:25] 18. Three Little Words
[2:01] 19. It Had To Be You
[1:58] 20. Ole Buttermilk Sky

Nellie Lutcher was born in Lake Charles, Louisiana. As a teenager she learned piano and played in local bands along with her father who played bass. Soon she developed her vocal style as a member of the Southern Rhythm Boys. In 1947 she moved to Los Angeles and entered a local talent show there, and caught the ear of a representative of Capitol Records. She auditioned for the label and they liked what they heard and soon she was offered a recording contract and into the studio she went. Her first outing was Capitol #40002 - "Hurry On Down" and "The Lady's In Love With You". "Hurry" was an immediate hit being constantly played on area radio stations and was was a hard tune to corner, as it was a favorite in the jazz, R & B, and pop music fields. Nellie enjoyed huge success with her first record and it seemed to be a reward for all the years of hard work and scuffling that she had known. Now in her thirties with children of her own, Nellie Lutcher had arrived at last.The second session for Capitol Records resulted in #40017 - "He's A Real Gone Guy" and "Let Me Love You Tonight". Lightening indeed did strike twice as "Guy" was a huge hit just as the first Capitol release had been.

Besides both being hits on R & B stations, her first two records cracked the national pop charts top twenty best sellers. Her next outing for Capitol was her version of the pop standard "My Mother's Eyes" backed with a more contemporary tune "Watch Yourself Bub". In less than a year Nellie Lutcher had catapulted herself into the rarefied atmosphere of a successful crossover artist who had wide appeal to all segments of the listening public. Her stylistic piano playing based on jazz phrasings and boogie woogie and blues figures, coupled with her personalized vocal abilities combining elements of jazz scatting, syllable bending, and snappy asides, was her signature sound and made her a unique performer in the late forties.

Nellie Lutcher remains in our memory as one of the founders of the sound of America, as it has been for the last fifty years. She was there at the beginning and although fame and recognition is not as widespread as it should be, there are enough of us around today that KNOW Nellie Lutcher-our real gone gal.

Two Sides Of Nellie Lutcher

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Harry Allen & Keith Ingham - The Back Room Romp

Bitrate: 320K/s
Time: 66:33
Size: 152.3 MB
Styles: Saxophone jazz, Piano jazz
Year: 1995
Art: Front

[3:52] 1. The Back Room Romp
[5:30] 2. Sweet Lotus Blossom
[5:22] 3. One Sweet Letter From You
[3:56] 4. Elephant Stomp
[4:57] 5. Rap City In Blue
[3:37] 6. San Juan Hill
[3:40] 7. That Blue Eyed Baby From Memphis
[6:24] 8. Linger Awhile
[4:56] 9. Ev'ntide
[5:59] 10. Bulldog Kitty From Union City
[4:31] 11. Have A Heart
[5:53] 12. Willow Tree
[4:22] 13. Blues For You Johnny
[3:27] 14. Old Man Blues

Although pianist Keith Ingham and tenor-saxophonist Harry Allen are billed as co-leaders, the main star of these 14 swing-based tunes is Scott Robinson who is well showcased on clarinet, soprano and baritone. Trumpeter Peter Ecklund also gets some good spots and the rhythm section (guitarist James Chirillo, bassist Murray Wall and drummer Jackie Williams) is perfect for this style of music. The emphasis is on obscure songs played in the vein of Duke Ellington's small groups of the 1930s and there are plenty of heated moments along with arranged ensembles. Well worth investigating. ~ Scott Yanow

Recording information: Kampo Studio, New York, NY (01/02/1995-01/03/1995).

Keith Ingham (piano); Harry Allen (tenor saxophone); Jackie Williams (drums); Scott Robinson (clarinet); Peter Ecklund (trumpet); James Chirillo (guitars); Murray Wall (bass).

The Back Room Romp

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Stevie J - The Diversity Project

Bitrate: 320K/s
Time: 74:56
Size: 171.5 MB
Styles: Soul-blues
Year: 2011
Art: Front

[4:19] 1. Same Thang But A Different Game
[5:39] 2. Standin' At The Station
[4:03] 3. Born Again Bluesman
[4:41] 4. Middle Of The Road
[5:48] 5. The Rivers Invitation
[3:08] 6. Yes I Love Da Blues
[4:44] 7. Baby Come Home To Me
[4:58] 8. Play The Blues Son
[3:31] 9. Mississippi Po Boy
[3:59] 10. Married Girlfriend
[4:27] 11. Dam Near Crazy
[4:20] 12. Stolen Wine
[4:32] 13. Because Of Me
[3:20] 14. Without You In My Life
[4:42] 15. Cosmic Slop
[4:11] 16. Gravity
[4:26] 17. Born And Raised

"The Diversity Project" began as two separate cd's written and recorded over the same period of time. The blues cd, "Standin at the Station" was inspired by my first appearance on the Legendary Rhythm and Blues Cruise as part of the Mel Waiters Band. The thrill of jamming with Tommy Castro, Michael Burks, Ronnie Baker Brooks, Preston Shannon, Susan Tedeschi, and many other respected musicians planted the seed to pursue my blues career. My early gospel background is evident in the song "Mississippi Po' Boy". The soul cd, "Soul Sessions", is a compilation of my works in Mississippi as a southern soul artist. I never want to give up my southern soul family and fans. My diversity in music includes my bonus track- "Born and Raised", a hip hop collaboration with G. Cavino. My love for blues, soul, hip hop, gospel, and everything else is defined in this project. ~Stevie J

Stevie J. (vocals, guitar); Kimbal Funches (trumpet); Will Brow (trombone); Joe Banks (piano); Steve Lewis (keyboards); Anthony Rimmer (bass guitar); Chuck "Popcorn" Louden (drums); Angela Walls, Tonya Youngblood, Sonya Youngblood (background vocals).

Recording information: Back Yard Productions; Blue Room Studios; D'Mar Studios, Jackson, MS; Fundimentalz Studios; Gold Key Studios, Memphis, TN; Jukes Juke Box; Terry's 1stop, Dallas, TX.

The Diversity Project

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Ann Crumb - A Broadway Diva Swings

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 68:56
Size: 158,5 MB
Art: Front + Back

(4:32)  1. Blues in the Night
(4:04)  2. I'm Gonna Go Fishin'
(4:41)  3. Lover Man
(4:10)  4. Come Rain or Come Shine
(7:45)  5. Lover Come Back (Instrumental)
(6:46)  6. Soon It's Gonna Rain
(6:36)  7. Ruby
(3:16)  8. I'm a Stranger Here Myself
(7:35)  9. Smoke Gets in Your Eyes (Instrumental)
(4:44) 10. Cry Me A River
(2:26) 11. Deedle's Blues
(3:51) 12. All Right, Okay, You Win (I'm in Love With You)
(8:24) 13. Sent For You Yesterday (Instrumental)

When one of Broadway's (and London's West End's) best known divas teams up with internationally known jazz musician Harry Allen (and his hot-as-a pistol saxophone), the result is pure musical magic. Add to that mix a trio of some of the country's most talented sidemen and what we have is this fantastic new CD of traditional jazz and blues recordings.From the sultry "Blues in the Night" to the favorite instrumental "Smoke Get's in Your Eyes", You will love every minute of this live session. ~ Editorial Reviews  http://www.amazon.com/Broadway-Diva-Swings-Ann-Crumb/dp/B00004Y6HE

Personnel: Ann Crumb (vocals); James Williamson (recorder); Harry Allen (saxophone); Larry Ham (piano); Duffy Jackson (drums).

A Broadway Diva Swings

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Biréli Lagrène & Sylvain Luc - Duet

Styles: Gypsy Jazz
Year: 1999
File: MP3@320K/s
Time: 55:28
Size: 127,0 MB
Art: Front

(4:16)  1. Time After Time
(4:03)  2. Douce Ambiance
(4:12)  3. Estate
(3:20)  4. Made In France
(6:43)  5. La Ballade Irlandaise
(4:04)  6. Isn't She Lovely
(4:20)  7. Road Song
(4:14)  8. Zurezat
(5:45)  9. Stompin' At The Savoy
(4:39) 10. Les Amoureux Des Bancs Publics
(3:24) 11. Blackbird
(4:23) 12. Syracuse
(1:58) 13. Looking Up

“Relaxed” isn’t the word used to describe jazz at the close of the 20th century. Whether you’re a Wynton, Anti-Wynton, M-BASE, free jazz, Swing, post-bop, etc. fan, jazz is/has been about attitude and posturing. Although the rest of the world is oblivious to it, the wars that rage around modern jazz prove to be wearisome. Then along comes an unassuming document like Sylvain Luc and Bireli Lagrene’s Guitar duets. I bet they don’t even call this music jazz. We won’t either, because it would automatically lose numerous listeners sure to enjoy it. The French born Sylvain Luc has studied guitar, cello, violin and mandolin. His Paris jazz career has taken him through rock-fusion to classical and South American music. Like Luc, Bireli Lagrene was born in France but his Gypsy heritage was inspiration for his Django Reinhardt guitar style. 

As a child prodigy, he recorded at age 13. Soon he shed Gypsy jazz for rock fusion and after several albums (and tours with Jaco Pastorious) his music seemed to dead end. His rebirth came with a return to his Django’d roots. Luc and Lagrene’s duets range from pop tunes like Cindy Lauper’s “Time After Time,” Lennon/McCartney’s “Blackbird,” to Stevie Wonder’s “Isn’t She Lovely.” They swing a bit with “Stompin’ At The Savoy,” touch on jazz guitarist Wes Montgomery “Road Song,” a waltz “La Ballade Irlandaise,” and a bit of Django “Douce Ambiance.” When all is said and done, they haven’t shaken the world, but this relaxed session was never meant to be anything but comfortable-jazz (maybe not an oxymoron!). ~ Mark Corroto  

http://www.allaboutjazz.com/php/article.php?id=5500#.Uo0MG-Jc_vs

Duet

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Jordana Talsky - Standard Deviation

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 32:26
Size: 75,1 MB
Art: Front

(4:48) 1. Black Velvet
(4:02) 2. Murder By Numbers
(3:18) 3. Old Devil Moon
(4:19) 4. Whogonnahold
(4:29) 5. Love Me (Lovefool)
(3:32) 6. Devil May Care
(3:18) 7. Panta Niwas
(4:37) 8. When the Sun Comes Out

Jordana Talsky's debut album, Standard Deviation, marks the arrival of a serious young talent in Canadian jazz. The vocalist/songwriter has been turning heads (and ears) on the Toronto scene for the last three years, and her musical career now takes a giant leap forward with this superb solo record. Standard Deviation features a seamless mix of pop and jazz material. Jordana succinctly describes the style of the record as "jazzy takes on pop songs and poppier takes on jazz songs. I am always attracted to new combinations, rather than strictly sticking to a genre." As the album title suggests, this is not just another conventional album of Great American Songbook standards. She does breathe vibrant new life into a few such classics, giving a bossa twist to "Old Devil Moon" and a breezy feel to "Devil May Care," while these tunes nestle snugly alongside fresh reinterpretations of pop-rock hits by Alannah Myles (her signature tune "Black Velvet"), The Police (a sly take on "Murder By Numbers") and The Cardigans' "Love Me (Lovefool)." The funky and infectiously upbeat "Panta Niwas" is, she explains, "based on some of my experiences in Nepal, when I lived there in my year between undergraduate and law school studies." The other original, "Whogonnahold," is a more introspective and philosophical look at life, but one delivered with delightful exuberance. No matter the repertoire, Talsky consistently displays an eloquent and fluent voice. Her phrasing is impeccable, and she never succumbs to the temptation of trying to impress with the technical ability she clearly possesses. The accompaniment of her ace band is always empathetic. Standard Deviation? A high standard sensation! http://www.cdbaby.com/cd/jordanatalsky1

Standard Deviation

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Wynton Marsalis - The Spiritual Side of Wynton Marsalis

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 50:06
Size: 116,5 MB
Art: Front

(0:51)  1. I Hear A Knockin' (Solo)
(2:45)  2. All Rise XII: I Am (Don't You Run From Me)
(1:40)  3. If I Hold On
(4:34)  4. Processional
(1:37)  5. Psalm 26
(2:19)  6. Awakening
(4:12)  7. Hymn
(6:24)  8. Precious Lord, Take My Hand (Previously Unreleased)
(6:58)  9. In The Sweet Embrace Of Life Sermon: Holy Ghost
(3:14) 10. Flee As A Bird To The Mountain
(2:50) 11. Sing On
(3:27) 12. Benediction
(1:41) 13. Oh We Have A Friend In Jesus
(4:47) 14. To Higher Ground
(2:40) 15. Pot Blessed Dinner

As a New Orleans native, trumpeter/composer Wynton Marsalis has long incorporated a wide array of spiritual music into his own straight-ahead jazz. Even his earliest recordings, such as Black Codes (From the Underground) and The Majesty of the Blues, evinced the influence of gospel music, religious hymns, and New Orleans funeral processionals. Though raised in the Catholic church, Marsalis' professed take on religion has always been a holistic invocation of God, a sense of spirituality that connects all human beings -- at least as far as his music and liner notes have revealed. Inspired by the social activism of Martin Luther King, Jr., and directly influenced by the spiritually and socially conscious jazz of John Coltrane (A Love Supreme) and Duke Ellington (Sacred Concerts), Marsalis began writing his own explicitly spiritual-themed compositions beginning with 1994's In This House, On This Morning. 

The 2013 compilation The Spiritual Side of Wynton Marsalis brings together tracks off that album, as well as other divinely themed tracks Marsalis recorded during the '90s and 2000s. Formatted to evoke the rhythms and flow of a New Orleans funeral function, the compilation works as a soulful overview of this vital side of Marsalis' career. Included here are both small and large ensemble recordings from such albums as 1997's Pulitzer Prize-winning Blood on the Fields, 1999's Reeltime, 2002's All Rise, and more. ~ Matt Collar 

http://www.allmusic.com/album/the-spiritual-side-of-wynton-marsalis-mw0002581071

The Spiritual Side of Wynton Marsalis

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