Lady Antebellum - On This Winter's Night

Bitrate: 320K/s
Time: 40:52
Size: 93.6 MB
Styles: Holiday, Country
Year: 2012
Art: Front

[2:01] 1. A Holly Jolly Christmas
[3:07] 2. Christmas Baby (Please Come Home)
[3:33] 3. All I Want For Christmas Is You
[3:19] 4. I'll Be Home For Christmas
[3:17] 5. This Christmas
[3:21] 6. The First Noel
[4:00] 7. On This Winter's Night
[2:30] 8. Let It Snow! Let It Snow! Let It Snow!
[4:07] 9. Have Yourself A Merry Little Christmas
[3:09] 10. Silent Night (Lord Of My Life)
[3:25] 11. Blue Christmas
[4:57] 12. Silver Bells

Lady Antebellum have previously released a holiday EP, but 2012 brings On This Winter's Night, a full-length Christmas album recorded with deliberation and care by the country-pop trio. Working once again with their longtime producer Paul Worley, Lady Antebellum have written a new song in the record's title track but otherwise devote themselves to Christmas classics and carols, including "A Holly Jolly Christmas," "Christmas (Baby Please Come Home)," "All I Want for Christmas," "The First Noel," "Have Yourself a Merry Little Christmas," and "Blue Christmas."

Recording information: Warner Studios, Nashville, TN.

On This Winter's Night

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Larry Coryell, Victor Bailey, Lenny White - Electric

Bitrate: 320K/s
Time: 57:33
Size: 131.7 MB
Styles: Jazz-rock, Jazz guitar
Year: 2001
Art: Front

[6:05] 1. Wolfbane
[5:01] 2. Bb Blues
[6:17] 3. So What
[7:17] 4. Sex Machine
[6:15] 5. Black Dog
[7:24] 6. Footprints
[7:49] 7. Born Under A Bad Sign
[7:11] 8. Low Blow
[4:12] 9. Rhapsody And Blues

This trio set featuring guitarist Larry Coryell, drummer Lenny White, and bassist Victor Bailey is issued by Chesky, purveyor of uncompressed audiophile recordings. And while the sound is wondrous, it's the performances here that take front and center. The mix of jazz, funk, and rock tunes on Electric is infectious, especially when played with such incendiary inspiration. Members of this trio wrote four of the nine tunes here. White's furied funk freak-out "Wolfsbane" opens the proceeding on a hot note, and Coryell's "BB Blues" takes the jazz-inflected blues to a new intensity. But it is the covers here that really resonate, from a skeletal and edgy reading of Miles Davis' "So What," to Wayne Shorter's signature tune "Footprints," the jazz chops and expansive improvisation are present everywhere. On Sly and the Family Stone's "Sex Machine" and the Page & Plant nugget "Black Dog," the pedal to the metal aesthetic really works. Elsewhere, "Born Under a Bad Sign" is dragged kicking and screaming into the 21st century without losing its blues fire. This is not a recording for those looking for Coryell's jazz technique and subtle artistry in interpreting music from the days of yore. Listeners looking for a balls-out charge of electric jazz-rock will be more than delighted by this outing. ~ Thom Jurek

Larry Coryell (electric guitar); Larry Coryell (guitar); Victor Bailey (electric bass, bass guitar); Lenny White (drums).

Electric

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Nancy Wilson - But Beautiful

Bitrate: 320K/s
Time: 39:01
Size: 89.4 MB
Styles: Easy Listening, Vocal jazz
Year: 1969/2013
Art: Front

[2:41] 1. Prelude To A Kiss
[2:47] 2. For Heaven's Sake
[2:51] 3. Happiness Is A Thing Called Joe
[3:31] 4. I'll Walk Alone
[3:50] 5. Supper Time
[4:10] 6. But Beautiful
[2:19] 7. Oh! Look At Me Now
[3:14] 8. Glad To Be Unhappy
[2:55] 9. In A Sentimental Mood
[2:01] 10. I Thought About You
[3:03] 11. Easy Living
[2:44] 12. Do It Again
[2:49] 13. Darn That Dream

Nancy Wilson has been on the fringes of jazz throughout her career, mostly performing middle-of-the-road pop and R&B. Most of her albums were major productions, but this CD reissue of But Beautiful is quite different.

On a relaxed and tasteful program of ballads (including three previously unreleased numbers), Wilson sounds properly expressive and a bit influenced by Dinah Washington while backed by a flawless rhythm section comprised of pianist Hank Jones, guitarist Gene Bertoncini, bassist Ron Carter, and drummer Grady Tate. Her performances are straightforwrd, a little soulful, and very mindful of the melody and the lyrics. There is little of jazz interest, but this is superior ballad singing and one of Nancy Wilson's finest recordings to date. ~ Scott Yanow

Recorded in New York City on November 4-6, 1969.

Nancy Wilson (vocals); Hank Jones (piano); Gene Bertoncini (guitar); Ron Carter (bass); Grady Tate (drums).

But Beautiful

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Jerry Weldon & Bobby Forrester - The Second Time Around

Bitrate: 320K/s
Time: 44:27
Size: 102.6 MB
Styles: Saxophone jazz, Organ jazz
Year: 1995
Art: Front

[5:35] 1. There Goes My Heart
[5:29] 2. Mr. Lucky
[5:21] 3. One Mint Julep
[6:13] 4. The Things We Did Last Summer
[8:20] 5. Con Alma
[6:47] 6. Bloomdido
[6:39] 7. The Second Time Around

"The little track, 'The Second Time Around' seems to bring everything full circle. The playing is fresh and lively with no one ever stepping further out than needed. John's guitar is fresh and both Jerry and Bobby say what's necessary with confidence and poise. This one fades to a calm finish but certainly not to an ending as I"m sure you'll be pressing the 'play' button soon enough for that 'Second Time Around'." ~Pete Fallico/Jazz Now

"...a fine display of their wares....Forrester plays with rhythmic intensity and lush shadings that mine the full possibilities of the B-3 and make this session a real burner of standard blues and ballads with a nod to bop." ~Jazz Times

Jerry Weldon (tenor saxophone); Bobby Forrester (organ); John Hart (guitar); Tootsie Bean (drums).

The Second Time Around

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Jean Frye Sidwell - Tenderly : The Great American Songbook

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 51:19
Size: 117,5 MB
Art: Front

(5:25)  1. As Time Goes By
(4:08)  2. Pure Imagination
(6:09)  3. I Left My Heart In San Francisco
(5:18)  4. Nature Boy
(4:41)  5. Don't Get Around Much Anymore
(5:08)  6. Sophisticated Lady
(5:42)  7. How Long Has This Been Going On
(5:53)  8. That's All
(3:24)  9. There Will Never Be Another You
(5:26) 10. Tenderly

With her rich contralto voice and smooth, soulful phrasing, Jean is truly a jazz singer's, jazz singer. The consummate performer, she beams with honesty and passion, delivering silky nuances and vocal shadings that captivate even the most sophisticated music lovers. Her dramatic vocal expression renders new shape and meaning to some of our most beloved classic jazz treasures, be it Gershwin, Ellington or Jobim. A native of Southern California, Jean received music, voice and dance training in Los Angeles. Her professional singing career has spanned 30 years and culminated in the recording of six self-produced CDs. Partnered with husband, bassist/composer Chris Sidwell, she is co-creator and co-owner of Pacific Coast Music, an independent record label. Due to the overwhelming success of her CD’s Jean is recognized today as an international recording artist.  http://www.pacificcoastmusic.com/about2.html

Tenderly

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Liane Carroll - Slow Down

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 64:42
Size: 148,9 MB
Art: Front

(6:10)  1. Memphis In June
(4:38)  2. All The Way
(3:22)  3. Lazy Susan
(3:51)  4. You Can't Slow My Heart Down
(4:50)  5. Let Me Be What You Be To Me
(5:34)  6. Catch The Wind
(4:28)  7. In My Solitude
(5:28)  8. Willow Weep For Me
(3:54)  9. The World Stopped Turning
(4:21) 10. All Of Me
(5:31) 11. One Fine Day
(5:02) 12. If I Loved You
(3:18) 13. Lazy Afternoon
(4:08) 14. Take It With Me

Liane Carroll's third CD for Splash Point Records is an album of exquisite ballads, returning to the "stripped down" format of solo piano and voice. It is an album of intimate and personal songs - all of which have great meaning to her. The performances are heartfelt and truthful; she is wearing her heart on her sleeve here. Already being hailed as her most perfect album yet, the performances defy anyone to listen without being overwhelmed by the beauty, honesty and emotion of the music. Recorded "live" in the studio, it is Liane at her most powerful, giving her own intense treatment to a range of composers' tunes.

Following hot on the heels of her Best UK Female Singer accolade from Ronnie Scott's, Slow Down was recorded in just a few studio hours, and it confirms that Liane Carroll is all things to all ballads.
With just her piano and her voice (and a little help from fellow singer Ian Shaw on one track) Liane conjures up an amazing range of expression to match her huge vocal range. The standards "Memphis In June" and "All Of Me" are given a bluesy makeover and sound astonishingly fresh and celebratory, while Donovan's "Catch The Wind" is in turn heart-rending and life-loving.

On Slow Down Liane sings her way through the whole spectrum from jazz diva to fragile victim. Van Heusen and Cahn's "All The Way" and Duke Ellington's "In My Solitude" are remade as torch songs, with vulnerability oozing out of every verse, while "Lazy Afternoon" perfectly captures her molasses low tones and silken high ones -her sparse electric piano accompaniment creating a brooding, hypnotic tension.

Liane dedicates the tender "If I Loved You", from the film Carousel, to her grandmother who sang it with her when Liane was a child. Ian Shaw helps out on piano here, and Liane's almost-whispered, lump-in-throat intro develops into a thumping soul ballad. A natural storyteller, Liane gives Tom Waits' ''Take It With Me'' a dose of Kirsty MacColl-like understated passion, personality and dry humour.

Slow Down doesnt just tug at your heart strings, it rips them out by the roots (then apologises with a sheepish grin).~Kathryn Shackleton – Editorial Reviews  

http://www.amazon.co.uk/Slow-Down-Liane-Carroll/dp/B000VEA2QC

Slow Down

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Harry Allen - Cole Porter Songbook

Styles: Jazz
Year: 2007
File: MP3@320K/s
Time: 66:54
Size: 153,1 MB
Art: Front

(3:47)  1. You Do Something to Me
(4:04)  2. I Get a Kick Out of You
(5:28)  3. In the Still of the Night
(3:28)  4. Goodbye Little Dream Goodbye
(4:10)  5. Use Your Imagination
(5:48)  6. It's All Right With Me
(3:36)  7. Dream Dancing
(3:22)  8. I Concentrate On You
(3:26)  9. You're the Top
(3:27) 10. Do I Love You
(3:17) 11. Night and Day
(4:39) 12. I Love You Samantha
(3:06) 13. Why Shouldn't I
(3:36) 14. Silk Stockings
(3:41) 15. Begin the Beguine
(2:56) 16. Everything I Love
(4:55) 17. All of You

Harry Allen's Tenaman like most of the (... or not be said to be young again) the current young. Because it is born in 1966, 41-year-old wonder.  Take up actively jazz number old to young, young sensation because it contains also in its performance, it is possible to listen fresh. Tone is great and ad lib sing well.Moreover, it is easy to understand.  Feel the impact of Stan Getz apparently listening to play. Himself has said was influenced from Zoot Sims to another. I feel the influence of Ben Webster.  It's here where I think, young players to return to the jazz style as orthodox as he has increased Come to think of it is I wonder just me? Scott Hamilton of the same tenor as well Yeah, and it's an outstanding performance (which also participated in this album) Benny Green piano. I said that after the death Ray Brown, Christian McBride on bass and most good heir.  Influence of Coltrane was so big too jazz world, there is a feeling that mode playing and Coltrane style has become mainstream, the flow that respects traditional jazz as they came out healthy and I think it's. Also be good, no matter how (once but it was a crazy Coltrane ...) flow was too biased is not good.  This album's a collection of works of Cole Porter is a great composer. 17 tracks in all, 13 songs's duo with Benny Green on piano.Guitar and bass are participating in the remaining four songs.  Piano of green to support Harry great. Drive full of feeling really, dynamic.. Translate by google    http://stg.seesaa.net/article/81914286.html

Harry Allen (Ts), Benny Green (P), Russel Malone (Gt), Peter Washington (B)

Cole Porter Songbook

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Thelonious Monk - Jazz After Midnight

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 149:27
Size: 343,4 MB
Art: Front

(10:35)  1. Friday the Thirteenth
( 3:06)  2. Little Rootie-tootie
( 5:15)  3. The Way You Look Tonight
( 5:18)  4. Nutty
( 2:58)  5. Just a Gigolo
( 2:50)  6. Trinkle Tinkle
( 4:42)  7. I Don't Mean a Thing If Ain't
( 7:43)  8. Bemsha Swing
(13:08)  9. Bar-lue Bolivar Ba-lues-are
( 7:45) 10. I Wan't to Be Happy
( 3:27) 11. Black and Tan Fantasy
( 5:43) 12. I Let a Song Go Out of My Hear
( 2:47) 13. These Foolish Things
( 5:55) 14. I Got It Bad and That Ain't Go
( 2:46) 15. Bye-ya
( 3:45) 16. Solitude
( 7:46) 17. Brilliant Corners
( 4:30) 18. Sophisticated Lady
( 3:36) 19. Sweet and Lovely
( 3:08) 20. Monk's Dream
( 5:28) 21. I Surrender, Dear
( 3:11) 22. Bemsha Swing
( 5:20) 23. Work
( 2:48) 24. Reflections
( 3:15) 25. Mood Indigo
( 8:51) 26. Pannonica
( 7:38) 27. Blue Monk
( 5:58) 28. Caravan

The most important jazz musicians are the ones who are successful in creating their own original world of music with its own rules, logic, and surprises. Thelonious Monk, who was criticized by observers who failed to listen to his music on its own terms, suffered through a decade of neglect before he was suddenly acclaimed as a genius; his music had not changed one bit in the interim. In fact, one of the more remarkable aspects of Monk's music was that it was fully formed by 1947 and he saw no need to alter his playing or compositional style in the slightest during the next 25 years.

Thelonious Monk grew up in New York, started playing piano when he was around five, and had his first job touring as an accompanist to an evangelist. He was inspired by the Harlem stride pianists (James P. Johnson was a neighbor) and vestiges of that idiom can be heard in his later unaccompanied solos. However, when he was playing in the house band of Minton's Playhouse during 1940-1943, Monk was searching for his own individual style. Private recordings from the period find him sometimes resembling Teddy Wilson but starting to use more advanced rhythms and harmonies. He worked with Lucky Millinder a bit in 1942 and was with the Cootie Williams Orchestra briefly in 1944 (Williams recorded Monk's "Epistrophy" in 1942 and in 1944 was the first to record "'Round Midnight"), but it was when he became Coleman Hawkins' regular pianist that Monk was initially noticed. He cut a few titles with Hawkins (his recording debut) and, although some of Hawkins' fans complained about the eccentric pianist, the veteran tenor could sense the pianist's greatness.

The 1945-1954 period was very difficult for Thelonious Monk. Because he left a lot of space in his rhythmic solos and had an unusual technique, many people thought that he was an inferior pianist. His compositions were so advanced that the lazier bebop players (although not Dizzy Gillespie and Charlie Parker) assumed that he was crazy. And Thelonious Monk's name, appearance (he liked funny hats), and personality (an occasionally uncommunicative introvert) helped to brand him as some kind of nut. Fortunately, Alfred Lion of Blue Note believed in him and recorded Monk extensively during 1947-1948 and 1951-1952. He also recorded for Prestige during 1952-1954, had a solo set for Vogue in 1954 during a visit to Paris, and appeared on a Verve date with Bird and Diz. But work was very sporadic during this era and Monk had to struggle to make ends meet.... More Bio  https://itunes.apple.com/ca/artist/thelonious-monk/id45058#fullText

Jazz After Midnight

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