Hilde Louise Asbjornsen - Sound Your Horn / Never Ever Going Back

Album: Sound Your Horn
Size: 96,4 MB
Time: 41:17
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz Vocals, Jazz Pop
Label: Sweet Morning Records
Art: Front

01. Let's Stay In (3:21)
02. It Ain't Friday (3:11)
03. Sweet Morning (3:39)
04. All You Are To Me (3:16)
05. Prelude To The Stars (0:40)
06. The Room (4:13)
07. This Winter (3:56)
08. Look To The Stars (4:01)
09. Desert Song (4:00)
10. The Darkest Hour (4:33)
11. This Love (3:16)
12. Sound Your Horn (3:06)

Produced by Anders Aarum, this album is a poetic cocktail of jazz, cabaret and pop-music. Featuring some of the hottest horns in Norway!

It presents a darker, more characteristic side of Hilde Louise. Recorded on tape in a boathouse on the west coast of Norway, featuring an energetic Hilde Louise Orchestra, from the top of the Norwegian jazz league.

Sound Your Horn

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Album: Never Ever Going Back
Size: 109,5 MB
Time: 47:01
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz Vocals, Jazz Pop
Art: Front

01. Trans Siberia (4:17)
02. Dragon Fly (3:56)
03. Till I Die (4:20)
04. Come Summer (4:07)
05. When You Are Gone (3:41)
06. Wartime (5:16)
07. Big And Black (5:14)
08. Echo (3:42)
09. Yellow Days (3:32)
10. Undeceivable (4:36)
11. Never Ever Going Back (4:15)

Norwegian singer, songwriter and actress Hilde Louise Asbjørnsen released her fifth album ‘Never Ever Going Back’ on her own label Sweet Morning Records in Norway to solid critical acclaim. Admittedly I don’t know Asbjørnsen’s earlier releases, from what I’ve read all jazz, so I can’t say if this is a step upwards or the opposite. What I can say is that I’m digging what I hear.

Jazz is still very much part of her music, not least in her expressive vocal delivery, but adding blues, pop and rock elements she creates an enticing combo with a 1920s cabaret feel in the spirit of Tom Waits (only prettier in every sense) and sharing the playfulness of her Finnish sister in arms Astrid Swan (album opener ‘Trans Siberia’ could’ve been a Swan track).

As said I don’t know her previous albums, but by the looks of it ‘Never Ever Going Back’ is a step in a new direction for Hilde Louise Asbjørnsen. And by the sound of it she doesn’t have to go back… ~Peter Krogholm

Never Ever Going Back

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Jeremy Shrader & Ed Finney - The Moon Is In Love

Size: 73,9 MB
Time: 31:35
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. The Moon Is In Love (2:58)
02. Embraceable You (2:36)
03. East Of The Sun (2:38)
04. Daytime, Nighttime (3:24)
05. Lovers In Love (3:00)
06. A Kiss To Build A Dream On (4:25)
07. Life Is What You Make It (3:03)
08. How Deep Is The Ocean? (3:06)
09. True (3:57)
10. Blue Moon (2:23)

"It may be time to work the martini shaker and stare at the moon. If that's the case, Jeremy Shrader and Ed Finney have got you covered. The Moon Is in Love is a collection of originals and jazz standards from the 1930s. Shrader sings and plays trumpet over Finney's jazz guitar. The pairing is spare, but it gives them room to play. And do they ever.

The duo's compositions stand up to some heavy comparisons too. They cover the Gershwins, Berlin, and Rodgers and Hart. The standards give the instruments an opportunity to interplay in a way that's engaging. The original songs carry the load based on a couple of virtues:

Shrader's voice bounces along fine on the standards and also keeps up with Finney's compositional workout in "Lovers in Love." "Daytime, Nighttime" is a Shrader original that divines the mood and harmonic textures of the age into a masterfully written song. It's a case study of a golden age in American songcraft.

Shrader's tune "True" veers off the program a bit with a nod to the 1960s. The song incorporates the virtues of '30s songwriting but puts an R&B energy behind it. What Finney does on this great set of chord changes is phenomenal. His guitar tone is so full and powerful and his phrasing so precise and lyrical that it's like watching a rodeo bull dance ballet. You almost can't believe it." - Joe Boone, Memphis Flyer

The Moon Is In Love

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John Denver & The Muppets - A Christmas Together

Bitrate: 320K/s
Time: 34:51
Size: 79.8 MB
Styles: Holiday
Year: 1990
Art: Front

[4:23] 1. The Twelve Days Of Christmas
[1:53] 2. Have Yourself A Merry Little Christmas
[2:45] 3. The Peace Carol
[1:12] 4. Christmas Is Coming
[2:52] 5. A Baby Just Like You
[1:35] 6. Deck The Halls
[2:38] 7. When The River Meets The Sea
[2:22] 8. Little Saint Nick
[2:51] 9. Noel Christmas Eve, 1913
[3:27] 10. The Christmas Wish
[4:34] 11. Medley Alfie, The Christmas Tree Carol For A Christmas Tree It's ..
[3:08] 12. Silent Night
[1:05] 13. We Wish You A Merry Christmas

The Crown Prince of Christmas Specials, John Denver, probably did his best Yuletide work with the Muppets. There is some great fun here, particularly for kids, although the TV special has aged a little faster than most of the Muppet material. The songs use electric piano far too much, and have a kind of dated sentimentality about them, but they are entertaining nonetheless. the Muppets' loud rendition of "Little St. Nick" and Miss Piggy's folky "Christmas is Coming" are lively fun. Two or three of the quieter songs achieve a sort of poignant fireside prettiness (especially "It's In Every One of Us"). Denver is typically over-earnest, even when surrounded by talking animals, but younger listeners won't mind. ~Darryl Carter

A Christmas Together

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Bill O'Connell - Rhapsody In Blue

Bitrate: 320K/s
Time: 59:53
Size: 137.1 MB
Styles: Latin jazz
Year: 2010
Art: Front

[6:26] 1. Monk's Cha-Cha
[5:54] 2. Pocket Change
[5:09] 3. Rhapsody In Blue
[6:13] 4. It Never Entered My Mind
[6:53] 5. J-Man
[6:01] 6. Off-Center
[6:02] 7. Two Worlds
[5:22] 8. Log-A-Rhythm
[6:36] 9. Rose Hill
[5:12] 10. Bye Bye Blackbird

Pianist Bill O'Connell is no stranger to the world of Latin jazz. O'Connell has played for greats like Mongo Santamaria and Dave Valentin, but his range as an artist has taken him well beyond a Latin-only orbit. He's worked with jazz heavyweights like Sonny Rollins and Chet Baker, too, but his greatest asset isn't his résumé. O'Connell possesses a classicist's touch that, thanks to a melding of his conservatory training with his life experiences, can be altered at will. O'Connell might be waxing rhapsodic—pun intended—at one point, but in the next moment he might be sizzling through a salsa-like section of music with a more aggressive attack. On various occasions, he manages to conjure these seemingly opposed ideals simultaneously, but none of this comes off as preplanned maneuvering. Good taste, fast reflexes, killer technique and a fluid ability to shift between Latin and swing mediums at will help to make Rhapsody In Blue one of the most engaging and enjoyable Latin jazz records of 2010.

O'Connell and saxophonist Steve Slagle are at the center of virtually all of the action, but the pianist also invites some A-list friends to join him on various tracks. The percussion section adds vibraphonist Dave Samuels and percussionist Richie Flores, on "Monk's Cha-cha" and the title track: the former, opening the album and hinting at Thelonious Monk's music ("Well You Needn't"), while maintaining its own identity; the latter, a Latin-ized take on George Gershwin's classic, featuring some sizzling alto work from Slagle. Trombonist Conrad Herwig makes the most of his appearance on "J-Man," delivering some awe-inspiring solo work.

While the guests add variety to the program, O'Connell doesn't need any big names to carry the load. He delivers expressive tides of sound on ballads ("It Never Entered My Mind"), provides explosive solo work on intense and irrepressible Latin numbers ("Off Center"), and lends solid support for his crew throughout the program. While O'Connell is a tough act with which to keep up, his band more than meets the challenge. Two bassists—David Finck and Luques Curtis—split the material, and both men bring their unique gifts to the table. Finck, with a focused, but not fat tone, is tremendous on his solo spot during "Pocket Change." At the other end of the spectrum, he provides rock solid support during the emotionally riveting "It Never Entered My Mind." Curtis, with a wider sound and affinity for sliding in and out of different grooves, anchors some of the most intense rhythmic numbers on the album.

Drummer Steve Berrios is brimming with energy, taking the band in myriad directions, often within the same song. Slagle is so focused, frenetic and ever-present that he virtually deserves co-billing. During the lone piano-saxophone presentation ("Rose Hill"), the pair is alternately romantic, restless, ruminative and relaxed, but always engrossing.

Like the Gershwin masterpiece giving this album its name, Rhapsody In Blue is a masterful musical creation that transcends any one given style that resides within the work. ~Dan Bilawsky

Recording information: Knoop Studios (02/2009).

Bill O'Connell (piano); Steve Slagle (saxophone, soprano saxophone, alto saxophone); Conrad Herwig (trombone); Dave Samuels (vibraphone); Steve Berrios (drums); Richie Flores (percussion).

Rhapsody In Blue

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Tianna Hall & Danny McKnight - Ballads & Bossas

Bitrate: 320K/s
Time: 64:01
Size: 146.6 MB
Styles: Bossa Nova, Easy Listening
Year: 2010
Art: Front

[5:26] 1. Moonlight Serenade
[3:57] 2. Dindi
[5:25] 3. My Foolish Heart
[2:48] 4. So Danco Samba
[4:33] 5. That's All
[5:59] 6. Nearness of You
[3:58] 7. Hallelujah
[3:31] 8. L'il Darlin' [Instrumental]
[5:00] 9. Embraceable You
[4:50] 10. I'm Thru With Love
[3:48] 11. Gone With the Wind
[3:51] 12. What'll I Do
[6:11] 13. A Nightingale Sang In Berkely Square
[4:37] 14. I'll Be Seeing You

This sumptuous collection of ballads & bossa novas features some of Houston's finest including Dennis Dotson, Tim Solook, Aric Nitzberg and percussionist Fernando Ledesma. The album was produced by Vocalist Tianna Hall, Guitarist Danny McKnight and Bassist/Engineer Aric Nitzberg, mastered by Mike Tristan.

A Grammy recognized collection of some of Tianna's favorite Ballads & Bossa Novas with an easy going, laid back feel. Perfect for a relaxing evening with a bottle of wine. Featuring Guitarist/Arranger Danny McKnight with guest appearances from Trumpet legend Dennis Dotson & Bassist/Producer Aric Nitzberg.

Ballads & Bossas

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Vinicius Cantuaria & Bill Frisell - El Camino

Bitrate: 320K/s
Time: 40:36
Size: 93.0 MB
Styles: Latin jazz
Year: 2013
Art: Front

[1:51] 1. Forinfas
[5:00] 2. Calle 7
[1:32] 3. Cafezinho
[7:01] 4. Mi Declaracion
[2:31] 5. La Curva
[4:34] 6. Lagrimas Mexicanas
[4:57] 7. Lagrimas De Amor
[3:28] 8. El Camino
[5:07] 9. Aquela Mulher
[4:32] 10. Briga De Namorados

Bill Frisell's trajectory has spanned the paths of jazz and Americana, becoming one of the most respected guitarists in the business. A fine guitarist in his own right, but more noted for his heartthrob vocals, Brazilian singer-songwriter Vinicius Cantuaria has released a number of popular recordings and worked with names ranging from Marc Ribot to Ryuichie Sakamoto .

Influenced by New York City's diverse Spanish-speaking culture, the timing was right for Cantuária and Frisell, who had worked together in the past, to fully develop the project. Their unique hybrid, which includes improvisational music and songs with lyrics mixed in Portuguese, Spanish, and English, is at once intriguing, yet surprisingly mellow, in contrast to Cantuária's Horse and Fish (Bar None Records, 2004) and Frisell's The Intercontinentals (Nonesuch, 2003). But it's the artists' careful attention to detail—delicate layers of electronica juxtaposed with acoustic instruments and Cantuária's sultry incantations—that creates an affable listening experience.

El Camino

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Heather Masse & Dick Hyman - Lock My Heart

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 55:43
Size: 128,0 MB
Art: Front

(5:00)  1. Bewitched, Bothered and Bewildered
(4:20)  2. Lullaby of Birdland
(5:21)  3. Since I Fell for You
(4:09)  4. Love is Here to Stay
(5:31)  5. September Song
(4:09)  6. Lost in the Stars
(2:54)  7. Love for Sale
(3:57)  8. If I Called You
(6:38)  9. I Got It Bad and That Ain't Good
(4:44) 10. Flower is a Lovesome Thing
(5:09) 11. Morning Drinker
(3:45) 12. I'm Gonna Lock My Heart (and Throw Away the Key)

Vocalist/songwriter Heather Masse received her didactic training at the New England Conservatory of Music and her practicum on Garrison Keillor's A Prairie Home Companion. Her academy training was in jazz vocals, but her practical experience reflects more folk- flavored fare. Her previous recording, Bird Song (Red House, 2009), was a well- received collections of folk originals, solidifying Masse's folk bona fides established with the wildly popular Wailin' Jennys. Her voice is user friendly, neither over-practiced nor hyper-informed by her education. She is comfortable in her voice. It was inevitable that Masse would return to jazz in the studio, only a matter of time.  That said, only a most impeccable talent could have been tapped for Masse's jazz disc. Not some flashy pianist like the late Oscar Peterson nor an impressionistic player like Brad Mehldau; no, neither of those would do. What Masse's talent and vision requires is an equally informed and experienced musician who could bring a broad horizontal knowledge of jazz piano...and she found that in Dick Hyman. As a mainstay in the music for 60 years, Hyman is proficient in every jazz piano style and brings exactly the skills set necessary for a Heather Masse recording of standards.

From the outset, this recital is something out of the ordinary. First, Masse is liberal and permissive with her treatment of the material. However, that is not to say that she is reckless. Quite the opposite: Masse's superb training has enabled her to bring out the commonalities in music, from the doo wop in "Since I Fell For You" to the stride-blues extravaganza of "Our Love Is Here To Stay." Hyman easily falls into the groove and even guides Masse empathically through these songs, a coalescence of musical vision and sound.

Masse's voice is perfectly natural and fresh lush and supple. She is neither married to the melody nor has the compulsion to show off vocal fireworks. She is relaxed as opium and honey, yet is as exacting as a mathematical equation. Her treatment of Kurt Weill's "September Song" and "Lost In The Stars" reveal Masse's soft touch for difficult material. It does the same for Hyman's playing, which is as impressionistic as it is expressionistic. 

Hyman can simply play anything...well. He gives Cole Porter's "Love For Sale" a barrel-house flavor with a walking left hand. His solo is all 1960s soul jazz crossed with James P. Johnson. Masse belts it out with a commanding sexuality and aplomb. Lock My Heart is a beginning...a beginning of a survey Masse will be making expertly through the Great American Songbook. To think that this is all there will be from the jazzy Heather Masse is unacceptable. ~ C.Michael Bailey   

http://www.allaboutjazz.com/php/article.php?id=43717#.Up--LeJc_vs

Personnel: Heather Masse: vocals; Dick Hyman: piano.

Lock My Heart

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Scotty Barnhart - Say It Plain

Styles: Straight-Ahead Jazz
Year: 2009
File: MP3@320K/s
Time: 70:56
Size: 162,9 MB
Art: Front

(5:47)  1. Giant Steps
(6:04)  2. Say It Plain
(7:20)  3. The Burning Sands
(5:14)  4. Haley's Passage
(2:23)  5. Dedicated To You
(7:29)  6. Put On A Happy Face
(8:58)  7. Con Alma (Featuring Wynton Marsalis)
(5:25)  8. Jnana
(5:25)  9. Young At Heart
(6:02) 10. I've Never Been In Love Before
(7:13) 11. I'm Glad There Is You
(3:30) 12. Pay Me My Money (Featuring Clark Terry)

Jazz tradition is a tricky thing. Play too far within it, and there's the risk of being called limited or unimaginative. Venture too far away, and critics worry more about finding a label than hearing the sound. It leads to headaches and debates, which trumpet player Scotty Barnhart avoids completely with a debut album that is unquestionably listenable, superbly technical, and, without a doubt, jazz. Anything that turns Coltrane's "Giant Steps" into a bobbing New Orleans second line march, complete with street whistles, deserves props. When combined with "Say It Plain," a tune full of growling, testifying trumpet and allusions to the rich canon of jazz gospel, it's raw fun. "The Burning Sands" then delves into more progressive territory, with a mix of easy swing, rapid tempo shifts, and dark undertones that evoke classic Blue Note.  If the music seems almost like a mini jazz history, that's because Barnhart is a scholar of the music. A professor at Florida State University, as well as the author of a book on jazz trumpet, he's also a 17-year veteran of the Count BasieOrchestra. His work here is steeped in the blues, soaked full of soul, and simmering with chops. He also brings out great guests like Marcus Roberts, Clark Terry, and Wynton Marsalis. 

But despite the many quality cameos, Barnhart has himself to thank for the infectiously joyful quality of Say It Plain. His potent mix of vocal effects, finger pyrotechnics, and sultry balladry, matched with his gorgeous, soaring tone, provide the fuel for a thoroughly enjoyable album.  It sounds like the cool brass fire of Freddie Hubbardreally influences the sound here. But there's also a lot of Wynton in Barnhart's playing, which makes their encounter on Dizzy Gillespie's "Con Alma" something of a trumpet extravaganza. Amidst Latin percussion and Bruce Barth's fine piano work, the tune develops a call-and-response between the horns. And while both guys show off their 24-karat tones and flawless technique, the improvisation never spirals away from the warm lyricism that's the backbone of the album.

As a whole, there's a great sense of balance on display. The ballad "Haley's Passage" has just the right warmth, and never turns too smooth. "Put On a Happy Face" fits some upper register squeals and groovy runs into the classic upbeat swing. And the up-tempo "Jnana" moves from a simple, bluesy horn figure into a wailing, talkative solo from Barnhart. He gives way to an exultant, foot stamping statement from Roberts, and the track closes with high octane stuff from tenor player Todd Williams. "Pay Me My Money," with Terry, serves as a great coda. It's full of late night road house blues, from Terry's growling vocals and talkative muted trumpet, to the euphoric shouts of Barnhart's squawking horn. It's the sound of tradition parading downtown, fresh and lively as ever. ~ Warren Allen  http://www.allaboutjazz.com/php/article.php?id=32930#.UqJF-uJc_vs

Personnel: Scotty Barnhart: trumpet, flumpet (4); Clark Terry: trumpet and vocal (12); Wynton Marsalis: trumpet (7); Todd Williams: tenor and soprano saxophone (1, 3, 4, 8); Ellis Marsalis: piano (5, 11); Marcus Roberts: piano (1, 3, 8); Lindsey Sarjeant: piano (4); Bill Peterson (2, 6, 9, 10, 12); Bruce Barth (7); Rodney Jordan: bass (all except 7); Greg Williams: bass (7); Leon Anderson, Jr.: drums, whistle (1); Herlin Riley: tambourine (2); Etienne Charles: percussion (7); Marion Felder: percussion (7); Rock Lollar: guitar (2, 4, 12); Jamie Davis: vocal (9).

Say It Plain

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Geri Allen - Grand River Crossings

Styles: Piano Jazz
Year: 2013
File: MP3@VBR ~224K/s
Time: 54:34
Size: 90,3 MB
Art: Front

(2:21)  1. Wanna be Startin' Somethin'
(5:31)  2. Tears of a Clown
(6:05)  3. That Girl
(0:47)  4. Grand River Crossings 1
(2:53)  5. The Smart Set
(3:57)  6. Let it be
(5:35)  7. Space Odyssey
(1:04)  8. In Appreciation
(4:29)  9. Baby I Need Your Lovin'
(1:55) 10. Itching in My Heart
(3:40) 11. Stoned Love
(0:51) 12. Grand River Crossings 2
(4:26) 13. Inner City Blues
(7:15) 14. Save the Children
(3:39) 15. Nancy Joe

Geri Allen's Grand River Crossings pays homage to the music and historic example of her hometown of Detroit. It is named for the pre-interstate, 216-mile thoroughfare that connects the Motor City to Lansing and Grand Rapids. For Allen, Grand River signifies many things, among them a rite of passage, crossing the eight-lane street as a young girl, and later attending the famed Cass Technical High School located on it the city's shining educational jewel that has graduated more artists, musicians, engineers, architects, and writers than can adequately be summed up here. The album is also the third in a series of standalone, largely solo, piano-based works that began with 2010's Flying Toward the Sound and continued with 2011's A Child Is Born. The program, largely populated with well-known compositions from Motown artists, Detroit jazz icons, fellow Cass Tech alumni, and the pianist, is an exploratory one. Commencing with a physical, busy reading of Michael Jackson's "Wanna Be Startin' Somethin'," where she extrapolates on the changes, finding numerous subtleties inside the melody, gives way to a gorgeous, speculative intro to a symbiotic take on Smokey Robinson's "Tears of a Clown" before gliding gracefully and elegantly through the various shades and depths in Stevie Wonder's "That Girl." Allen reinvigorates these songs as models for investigation and improvisation. After her brief title interlude, she turns her attention to Roy Brooks' "The Smart Set" with Marcus Belgrave on trumpet. He also guests on her deeply intuitive reading of his own Fantasia-esque "Space Odyssey," from his 1974 classic Gemini. Allen's expansive, inverted harmonic version of Holland-Dozier-Holland's "Baby I Need Your Lovin'" proves that a great jazz musician can unlock the complex secrets from the simplest melody. 

She proves more than her brilliance; she reveals the sophistication in the layers underneath a hallmark of Motown tunes. This is followed by the brief "Itchin' in My Heart," another tune by the team that features saxophonist David McMurray. Allen layers deep blues inside its funky groove. The tenderness in her version of the Supremes' "Stoned Love" is paramount. She exposes the traces of gospel and the black spirituals at the heart of the Civil Rights movement, and reveals the seed of Curtis Mayfield's "People Get Ready" in its melody. She simultaneously reflects on the continued struggle for civil rights and the numerous problems currently oppressing Detroit. 

First there's the aggressive, almost militant reading of Marvin Gaye's "Inner City Blues." It's followed by a confident, extended, harmonically revisioned version of his "Save the Children," which is an exhortation, not a plea. Allen and Belgrave close the set with a breezy duet take on famed jazz arranger and native Detroiter Gerald Wilson's "Nancy Joe" (sic) from his paramount 1962 set Moment of Truth, revealing the glorious swing in Detroit's jazz tradition. Of her 19 offerings, Grand River Crossings is certainly her most personal. It's also among her very best. ~ Thom Jurek  http://www.allmusic.com/album/grand-river-crossings-motown-motor-city-inspirations-mw0002564359

Grand River Crossings

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Nick Lowe - Quality Street

Styles: Holidays
Year: 2013
File: MP3@320K/s
Time: 35:56
Size: 82,8 MB
Art: Front

(2:39)  1. Children Go Where I Send Thee
(3:28)  2. Christmas Can't Be Far Away
(3:47)  3. Christmas at the Airport
(2:58)  4. Old Toy Trains
(2:43)  5. The North Pole Express
(3:31)  6. Hooves On the Roof
(3:21)  7. I Was Born in Bethlehem
(0:46)  8. Just to Be with You (This Christmas)
(2:55)  9. Rise up Shepherd
(2:38) 10. Silent Night
(2:43) 11. A Dollar Short of Happy
(4:21) 12. I Wish It Could Be Christmas Every Day

Quality Street: A Seasonal Selection For All The Family is a twinkling blend of traditional hymns, forgotten gems and Lowe originals. From the opening rockabilly-charged "Children Go Where I Send Thee" and the comfy hush of "Christmas Can't Be Far Away," the record includes the beatnik bop of "Hooves on the Roof" (written especially for the project by Ron Sexsmith), Roger Miller's wistful classic "Old Toy Trains," before wrapping up with a ska-flavored take on "I Wish It Could Be Christmas Every Day." Of course, it's all performed in Nick's singular style and, as Nick would say, "in a sleigh-bell free zone!" http://nicklowe.com/

Quality Street

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