The John East Project - Live At The 606

Size: 125,2 MB
Time: 53:55
File: MP3 @ 320K/s
Released: 2012
Label: First Jazz Records
Art: Front

01. Comin' Home Baby (Live) (3:01)
02. Señor Blues (Live) (5:45)
03. Here's To Life (Live) (5:15)
04. All The Way (Live) (4:48)
05. Wave (Live) (3:08)
06. Mercy, Mercy, Mercy God Bless The Child (Live) (5:54)
07. I Love Being Here With You (Live) (3:30)
08. Blues For Steve (Live) (5:11)
09. In The Wee Small Hours Of The Morning (Live) (4:16)
10. I'll Be Your Baby Tonight (Live) (3:42)
11. Vinyl (Live) (4:17)
12. Your Mind Is On Vacation (Live) (5:03)

Personnel:
John East - Hammond Organ and vocals
Mark Fletcher - drums
Neville Malcolm - double bass
Carl Orr - Guitar
Max Grunhard - alto saxophone
Scott Baylis - trumpet, flugelhorn and piano

John East’s love for the music has been evident over the many years that I have known him. Not only a great Jazz enthusiast, however, John is also a successful corporate financier, whose practical assistance to the Club has been invaluable. But he also has another string to his bow, as a Jazz Hammond organ player, which led me to suggest that he might like to do a gig at the Club sometime. John’s response was typically enthusiastic and he immediately set about organising a band. His first choice was bassist Neville Malcolm, a wonderful player who includes work with the likes of “Incognito” and Tom Jones on a stellar cv and is a musician I admire enormously. Next was Mark Fletcher, a brilliant world class drummer, as his work with the likes of Liane Carroll, Dizzy Gillespie and Michel LeGrand shows. I recommended an old friend on guitar and the John East Project was born.

The gig was excellent, everyone loved it and regular dates soon followed. Over the following months the guitarist dropped out and the terrific Carl Orr (formerly with Billy Cobham) was drafted in; shortly after that two horn players were added to complete the line up that you hear on this CD, which was recorded live at the Club. The music is swinging and compelling. John’s vocals on a mix of songs from up-tempo Blues to gentle ballads are sensitive and to the point and the playing is universally impressive. The horn section, with Max Grunhard’s searing alto sax a great counterpoint to the beautiful tone and lovely melodic lines of trumpeter Scott Baylis (who also pops up on piano) is thoughtfully crafted. Carl’s incisive guitar lines sparkle and the rhythm section swings mightily, demonstrating exactly why Mark and Neville are considered to be amongst the best in Europe. And not forgetting the Hammond organ driven by John, prodding and guiding, an ever present but never overbearing force that comes into its own most notably on the instrumental blues, highlighting the jazz credentials of this excellent band.

This is a lovely album and one to savour for the individual contributions as well as the impressive sum of the parts. So should you see a dapper, middle aged gent with a constant smile and friendly manner making his way to work in the City don’t jump to conclusions; it could be a fine Jazz organist on his way to his day job…..Enjoy. ~Steve Rubie

Live At The 606

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Pamela Hines Trio - Thrive!

Size: 120,5 MB
Time: 52:00
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Ella's Room (4:30)
02. While We Can (4:14)
03. Armory (4:35)
04. Good Change (6:06)
05. Across The Room (5:06)
06. Alteration (4:19)
07. Philippe (6:05)
08. There's More (5:45)
09. Across The Room (Vocal Version Feat. Suzanne Cabot) (6:06)
10. Groove Trip (5:11)

Personnel:
Pianist/Composer- Pamela Hines
Bass- David Clark
Drums- Les Harris, Jr.

Pianist/composer Pamela Hines has been a prolific and consistent presence in the world of jazz. Her creative stamina has established her as an artist who presents to her audiences a newness, individuality and freshness that have made her piano style and originals identifiable. She has received critical acclaim for edgy instrumental compositions and originals for jazz vocalists that are more at home in the modern American Songbook.

New release! “Thrive!” is a project of all original compositions by Hines with lyrics penned to the tune,” From Across the Room.” It features Dave Clark on bass and Les Harris, Jr. on drums and the vocal tune features Suzanne Cabot.

Thrive!

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Mitch Winehouse - But Beautiful

Size: 108,6 MB
Time: 46:47
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Label: Lioness Records
Art: Front

01. Suit & Tie (3:51)
02. The Nearness Of You (4:12)
03. Learning The Blues (3:44)
04. Once I Loved (3:58)
05. But Beautiful (4:08)
06. Never Too Far From A Song (3:07)
07. I'm A Fool To Want You (2:42)
08. Please Baby Don't (4:17)
09. Only The Lonely (2:38)
10. Wave (3:20)
11. Goodbye (4:11)
12. Meditation (2:52)
13. We'll Be Together (3:41)

Amy Winehouse’s father and swing crooner, Mitch, is releasing a new album with songs that his late daughter had helped him carve out.

It follows his debut album Rush of Love released in 2011, for which he sought the help of Amy months prior to her death.

The new instalment, But Beautiful, will include further songs they had chosen together but which didn’t make the debut’s cut. It goes on sale 29 September.

It will also raise funds for the Amy Winehouse Foundation, which was set up in the late singer’s name “to prevent the effects of drug and alcohol misuse on young people,” the charity states.

Winehouse senior said: “It's something I can do that connects with Amy's memory and raises money for what we believe in.”

“Even now it's very painful and emotional, but you just got to get on with it. If we don't, no one else will do what we do.

“We don't have the luxury of thinking we can stop. It's not sexy, it's people struggling with drug addiction, it's homeless kids, people who don't get chance otherwise.

Mitch has previously said that his childhood was full of “Jazz, swing, lots of Sinatra,” where his relatives would belt out tunes all day while his mum and aunt would waltz around the family-owned barber shop in east London.

He also said that being able to make his own music brings him closer to Amy, who died in July 2011 at the age of 27 of alcohol poisoning.

“It's just great to be able to get out and sing, it's something I love to do. I feel that when I'm on stage, Amy's on stage. She wouldn't let a little thing like not being here stop her from jumping on stage.”

“She’s in here now saying, ‘Just get on with it, Dad’. I’m always speaking to her, all day, every day,” he said in an interview.

But Beautiful

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Anna Wilson - Jazzbird/Songbird

Size: 100,9 MB
Time: 43:31
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Little Jazzbird (4:31)
02. Champagne (3:22)
03. Show Me Love (3:51)
04. On A Summer's Day (4:32)
05. The Shadow Of Your Smile (4:31)
06. Inconsolably Blue (5:19)
07. Polaroid (4:32)
08. How Do You Measure A Life (4:20)
09. While The Music's Still In Me (4:38)
10. Songbird (3:49)

Among the many recent jazz-vocalist recordings I've heard, jazz singer/songwriter Anna Wilson's new album stands out for its mingling of classic jazz sensibility with skillful songwriting. Its title, Jazzbird/Songbird, in addition to naming the Gershwin and Fleetwood Mac songs that bookend the 10-song set, accurately reflects Wilson's musical identity on this disk and the nature of her art.

In a velvety, breathy voice both girlish and sophisticated, Wilson lives the songs, standards and originals alike, more like a cabaret singer than a cooler-than-thou jazz cat. The way she slides up to the second syllable of the word "champagne" in the song by that title, one of the six originals on the disc, is a small thing of beauty. "On a Summer's Day," another original, is a little bit Billy Joel and a little bit Marvin Hamlisch (the melody echoes the latter's "What I Did For Love" in jazzier style). And Wilson's understated take on the standard "The Shadow of Your Smile" demonstrates her way of putting her own interpretive stamp on a good melody without bending it all out of shape.

The original, vintage-style ballad "Inconsolably Blue," a gem of accessible pop-jazz songwriting, forms the centerpiece of the album. "While the Music's Still In Me," Wilson's declaration of the preeminence of music in her life, sounds like sophisticated 1970s pop in a jazz setting. It leads into a slim, airy, tasteful version of one of that era's loveliest songs, Christine McVie's "Songbird" from Fleetwood Mac's legendary Rumours album. Wilson sings the hit fairly straight, proving, as if this needed further proof, that a great song remains a great song in any era.

Jazzbird/Songbird

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Bobby Jaspar - Clarinescapade

Bitrate: 320K/s
Time: 51:12
Size: 117.2 MB
Styles: Post bop, Saxophone jazz
Year: 2007/2011
Art: Front

[3:06] 1. Clarinescapade
[4:19] 2. How Deep Is The Ocean
[3:43] 3. What's New
[2:44] 4. Tutti Flutti
[4:51] 5. I Remember You
[3:35] 6. Spring Is Here
[6:24] 7. Wee Dot
[3:54] 8. I Won't Dance
[3:36] 9. In A Little Provincial Town
[5:30] 10. The Lock Alike
[5:00] 11. Barry's Tune
[4:25] 12. Minor Drop

Belgian multi-instrumentalist Bobby Jaspar was hitting his stride in 1956, with great recognition in Europe and a budding reputation in the U.S. via his membership in the J.J. Johnson combo. This CD, a Fresh Sound compilation derived from French Columbia Records LP and EP releases, shows why he was a well-liked and respected cool-to-bop post-Lester Young-influenced tenor saxophonist. The seven tracks where he emphasizes tenor show him breaking away from his influences and exercising voicings of his own, quite similar at that time to peers Stan Getz and Zoot Sims. He ably extrapolates on melodies of the standards "How Deep Is the Ocean" and "I Remember You," and Johnson's hard bopper "Wee Dot," while circling the wagons around the line in an unusual rendition of "I Won't Dance." His fluidity and innate melodic sense are impeccable. The numbers on flute, "Tutti Flutti" and "In a Little Provincial Town," also demonstrate his abilities as a composer, the former bright and sunny with clean unison playing astride masterful Detroit pianist Tommy Flanagan, the latter a near third stream ballad with shining, shimmering modal voicings courtesy of Barry Galbraith. The opener is the title track, a nice bop romp on clarinet, the only tune where he plays the black woodwind, making the title of the CD misleading. Drummer Elvin Jones cements the Detroit connection on the first eight tracks in a more popping, heady, restrained (for him) rhythmic fashion, and it's a rare chance to hear the legendary Nabil Totah on bass in an extended setting. The first ten tracks (eight by quintet and two by quartet formations) were originally on LP, and the last two bop quintet numbers were on EP only. One always wonders if the Manny Albam counterpoint-infused composition "They Lock Alike" was/is misspelled. Shouldn't it be "They Look Alike?" At any rate, this is a first-class date from unsung jazz hero Jaspar, sonically a very well-recorded and remastered effort, and highly recommended. ~Michael G. Nastos

Clarinescapade

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Boz Scaggs - Speak Low

Bitrate: 320K/s
Time: 52:16
Size: 119.7 MB
Styles: Adult contemporary
Year: 2008
Art: Front

[5:24] 1. Invitation
[3:51] 2. She Was Too Good To Me
[5:23] 3. I Wish I Knew
[3:42] 4. Speak Low
[4:03] 5. Do Nothing Till You Hear From Me
[4:03] 6. I'll Remember April
[5:14] 7. Save Your Love For Me
[5:33] 8. The Ballad Of The Sad Young Men
[4:01] 9. Skylark
[3:26] 10. Senza Fine
[3:51] 11. Dindi
[3:39] 12. This Time The Dream's On Me

From his late 1960s days as the lead singer of the Steve Miller Band, Boz Scaggs has always had an undercurrent of jazz influence in his phrasing. Therefore, SPEAK LOW should come as no surprise to longtime fans. No mere raid on the Great American Songbook in the manner of Rod Stewart's adult contemporary albums, SPEAK LOW is a personal, canny follow-up to 2003's collection of standards, BUT BEAUTIFUL. These 12 tracks offer less familiar tracks like Duke Ellington's "Do Nothing Till You Hear From Me" and Chet Baker's "She Was Too Good To Me," given abstract, cerebral arrangements in the manner of 1950s Gil Evans charts. ~Charity Stafford

Speak Low

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Urbie Green - All About Urbie Green: His Quintet And Big Band

Bitrate: 320K/s
Time: 71:00
Size: 162.5 MB
Styles: Trombone jazz, Big band
Year: 2011
Art: Front

[3:15] 1. Reminiscent Blues
[3:18] 2. Thou Swell
[4:19] 3. You Are Too Beautiful
[2:59] 4. Paradise
[2:45] 5. Warm Valley
[1:48] 6. Frankie And Johnny
[2:44] 7. One For Dee
[2:02] 8. Limehouse Blues
[3:02] 9. Am I Blue
[2:43] 10. Dirty Dan
[3:09] 11. Too Late Now
[2:51] 12. Sleep
[6:28] 13. Soft Winds
[3:09] 14. With The Wind And The Rain In Your Hair
[3:30] 15. I Ain't Got Nobody
[3:03] 16. Stella By Starlight
[3:05] 17. Little John
[3:20] 18. Home
[2:36] 19. Cherokee
[3:20] 20. 'round Midnight
[3:15] 21. Springsville
[4:11] 22. Plain Bill From Bluesville

Featuring: Urbie Green (tb, v-tb), Joe Wilder, Johnny Carisi, Phil Sunkel (tp), Chauncey Welsh, Jack Satterfield, Lou McGarity, Rex Peer (tb), Hal McKusick, Al Cohn, Sol Schlinger (saxes), Dave McKenna (p), Jimmy Raney (g), Percy Heath (b), Kenny Clarke (d)

This CD presents Urbie Green, one of the most versatile of all top-ranking trombonists in two facets. On the first quintet recordings we hear him playing relaxed, modern mainstream jazz with strong roots in the blues. His tone is full, his ideas personal and imaginative, and his beat equal to that of his gassing rhythm section.

Urbie’s role on the remaining tracks is that of the leader of a big band. He had often expressed a desire to front a large dance band of his own before he had this opportunity. His choice of Johnny Carisi as chief arranger and unofficial musical director was made because of a rather mutual agreement between the two about the purposes of a band of this kind and the methods of achieving them. Johnny was among the group of writers—like Gil Evans, Gerry Mulligan, Tiny Kahn, et al.—who were setting new stepping-stones in band and small-group arranging. Carisi’s writing in this set is clean and functional— achieving the prime purposes of providing a good jazz and dance-band style and setting a foundation upon which Urbie can project himself as leader-soloist.

All About Urbie Green: His Quintet And Big Band

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Andrew P Done - She Moves

Bitrate: 320K/s
Time: 44:09
Size: 101.1 MB
Styles: Blues-Jazz
Year: 2014
Art: Front

[4:11] 1. Signs
[4:25] 2. Birthday Call
[3:37] 3. Midnight Train
[6:31] 4. Sun Face
[3:19] 5. Different Kind
[3:31] 6. Meadows
[6:36] 7. She Moves
[3:49] 8. On The Road
[1:28] 9. Momma
[4:57] 10. Hey Momma
[1:38] 11. Stones

Andrew has spent the last year gigging this material. It was after 12 months he decided to record. The Album was recorded and produced in August 2014 by Mr "M" at 3legg Birmingham England.

"In the past i have kinda written the songs in the studio then gigged..this time its different we have totally nailed the live set, when we recorded we did not do any drop ins. Each tune was played from start to finish so we could achieve that live sound as much as possible."Sonic UK Rated the Album 5 Stars. "Great Guitar and Voice Almost Rockabilly in Places, then Switches to melodic Blues Folk Fusion with some Awesome Harp Playing, Recommended"

She Moves

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Eileen Joyce - Life Is Too Short

Styles: Vocal Jazz

Year: 2013
File: MP3@320K/s
Time: 31:42
Size: 73,0 MB
Art: Front

(2:54)  1. Life Is Too Short
(3:45)  2. No Time At All
(3:53)  3. Ain't It Sad Sister
(3:08)  4. Just Me and the Boys
(3:57)  5. He's Got the Power
(3:25)  6. When You've Fallen Out of Love
(4:01)  7. Tired of Daydreams
(3:08)  8. I'm Not Coming Back
(3:28)  9. One Vision

Eileen Joyce is undeniably Nova Scotia's Lady of The Blues. Eileen brings a soulful energy to her singing, songwriting, producing and performing. Her passion comes from the depths of her strength, perseverance and love of music. Born in Halifax, Eileen was inspired and encouraged by her father and brother, both jazz drummers, Lou Williamson Sr., and Lou Williamson Jr. Eileen has spread her inspiration and gifts as creator and founder of Blues East, and Ladies In Blues. Also in 2002, became co founder of The East Coast Blues Society. Eileen's fourth and strongest CD to date “Life Is Too Short” is a collection of originals, mostly co-written with her pianist Bill Harvey, and brings out the very best of her determination and abilities. Eileen also collaborate with Woody Woods from Las Vegason a few songs. She has drawn on her hearts desire and will inspire you with her energetic yet sophisticated Jazz, Blues, R&B style. Special guests include the Nova Scotia Mass Choir , Jackie Richardson, Reeney Smith Lela Coles and Lisa MacDougall.  http://www.cdbaby.com/cd/eileenjoyce3

Life Is Too Short

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Eric Alexander Quartet - In Europe

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 62:43
Size: 143,9 MB
Art: Front

( 8:58)  1. What A Difference A Day Made
( 6:50)  2. The Edge
( 6:04)  3. Stay On It
( 6:37)  4. To Be With You
(10:03)  5. Trippin'
( 8:09)  6. Spank That Pig
( 8:07)  7. Good Morning Heartache
( 7:52)  8. That's All

For a change of pace, Eric Alexander recorded this set with an organ trio. The fact that it was cut in Europe is not too relevant, since the musicians are all Americans. With stimulating backing by organist Melvin Rhyne, guitarist Bobby Broom, and drummer Joe Farnsworth, Alexander plays five originals by bandmembers (including three of his own) and a trio of standards. However, the originals all swing and mostly sound as if they could have been veteran standards, too. With the underrated Rhyne keeping the rhythm grooving and lightly funky, Alexander often tears into the pieces, while playing the ballads with a great deal of warmth. Virtually all of Eric Alexander's recordings are easily recommended. ~ Scott Yanow  http://www.allmusic.com/album/eric-alexander-in-europe-mw0000084712

Personnel: Eric Alexander (tenor saxophone); Bobby Broom (guitar); Melvin Rhyne (organ); Joe Farnsworth (drums).

In  Europe

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Jim Hall - Fame And Fortune

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 75:04
Size: 172,2 MB
Art: Front

(4:30)  1. Deep in a Dream
(5:19)  2. Romain
(3:55)  3. Stella By Starlight
(5:19)  4. Skating in Central Park
(4:43)  5. I Was Doing All Right
(5:14)  6. Thanks for the Memory
(5:06)  7. Darn That Dream
(5:19)  8. My Funny Valentine
(6:21)  9. Willow Weep for Me
(4:36) 10. I Hear a Rhapsody
(2:47) 11. This Is Always
(5:45) 12. Things Ain't What They Used to Be
(4:31) 13. Dream Gypsy
(5:03) 14. Look for the Silver Lining
(6:29) 15. When I Have You

A harmonically advanced cool-toned and subtle guitarist, Jim Hall was an inspiration to many guitarists, including some (such as Bill Frisell) who sound nothing like him. Hall attended the Cleveland Institute of Music and studied classical guitar in Los Angeles with Vicente Gómez. He was an original member of the Chico Hamilton Quintet (1955-1956), and during 1956-1959 was with the Jimmy Giuffre Three. After touring with Ella Fitzgerald (1960-1961) and sometimes forming duos with Lee Konitz, Hall was with Sonny Rollins' dynamic quartet in 1961-1962, recording The Bridge. He co-led a quartet with Art Farmer (1962-1964), recorded on an occasional basis with Paul Desmond during 1959-1965 (all of their quartet performances are collected on a Mosaic box set), and then became a New York studio musician. 

He was mostly a leader during the following years and, in addition to his own projects for World Pacific/Pacific Jazz, MPS, Milestone, CTI, Horizon, Artist House, Concord, MusicMasters, and Telarc, Jim Hall recorded two classic duet albums with Bill Evans. A self-titled collaboration with Pat Metheny followed in 1999. A flurry of studio albums, reissues, and compilations followed throughout the next few years, with the exceptional Jim Hall & Basses standing out for its bass/guitar duet format. Jim Hall died at his apartment in Manhattan on December 10, 2013; he was 83 years old. ~ Bio  https://itunes.apple.com/us/artist/jim-hall/id125367#fullText

Fame And Fortune

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Gato Barbieri - New York Meeting (Feat. Carlos Franzetti, David Finck & Nestor Astarita)

Size: 116,5 MB
Time: 49:59
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz
Art: Front & Back

01. Equinox (6:57)
02. It's Over (5:48)
03. Preparense (8:12)
04. Straight No Chaser (6:12)
05. Blue In Green (6:09)
06. Someday My Prince Will Come (7:24)
07. So What (9:15)

Gato Barbieri is the second Argentine musician to make a significant impact upon modern jazz -- the first being Lalo Schifrin, in whose band Barbieri played. His story has been that of an elongated zigzag odyssey between his homeland and North America. He started out playing to traditional Latin rhythms in his early years, turning his back on his heritage to explore the jazz avant-garde in the '60s, reverting to South American influences in the early '70s, playing pop and fusion in the late '70s, only to go back and forth again in the '80s. North American audiences first heard Barbieri when he was a wild bull, sporting a coarse, wailing John Coltrane/Pharoah Sanders-influenced tone. Yet by the mid-'70s, his approach and tone began to mellow somewhat in accordance with ballads like "What a Diff'rence a Day Makes" (which he always knew as the vintage bolero "Cuando Vuelva a Tu Lado") and Carlos Santana's "Europa." Still, regardless of the idiom in which he works, the warm-blooded Barbieri has always been one of the most overtly emotional tenor sax soloists on record, occasionally driving the voltage ever higher with impulsive vocal cheerleading.

Though Barbieri's family included several musicians, he did not take up an instrument until the age of 12 when a hearing of Charlie Parker's "Now's the Time" encouraged him to study the clarinet. Upon moving to Buenos Aires in 1947, he continued private music lessons, picked up the alto sax, and by 1953 had become a prominent national musician through exposure in the Schifrin orchestra. Later in the '50s, Barbieri started leading his own groups, switching to tenor sax. After moving to Rome in 1962 with his Italian-born wife, he met Don Cherry in Paris the following year and, upon joining his group, became heavily absorbed in the jazz avant-garde. Barbieri also played with Mike Mantler's Jazz Composers' Orchestra in the late '60s; you can hear his fierce tone unleashed in the "Hotel Overture" of Carla Bley's epic work "Escalator Over the Hill."

Yet after the turn of the next decade, Barbieri experienced a slow change of heart and began to reincorporate and introduce South American melodies, instruments, harmonies, textures, and rhythm patterns into his music. Albums such as the live El Pampero on Flying Dutchman and the four-part Chapter series on Impulse -- the latter of which explored Brazilian and Afro-Cuban rhythms and textures, as well as Argentine -- brought Barbieri plenty of acclaim in the jazz world and gained him a following on American college campuses.

However, it was a commercial accident, his sensuous theme and score for the controversial film Last Tango in Paris in 1972, that made Barbieri an international star and a draw at festivals in Montreux, Newport, Bologna, and other locales. A contract with A&M in the U.S. led to a series of softer pop/jazz albums in the late '70s, including the brisk-selling Caliente! He returned to a more intense, rock-influenced, South American-grounded sound in 1981 with the live Gato...Para los Amigos under the aegis of producer Teo Macero, before doubling back to pop/jazz on Apasionado. Yet his profile in the U.S. was diminished later in the decade in the wake of the buttoned-down neo-bop movement.

Beset by triple-bypass surgery and bereavement over the death of his wife, Michelle, who was his closest musical confidant, Barbieri was inactive through much of the 1990s. But he returned to action in 1997, playing with most of his impassioned intensity, if limited in ideas, at the Playboy Jazz Festival in Los Angeles and recording a somewhat bland album, Que Pasa, for Columbia. Che Corazon followed in 1999.

As the 21st Century opened, Barbieri saw a steady stream of collections and reissues of his work appear. A new album, Shadow of the Cat, appeared from Peak Records in 2002. ~Biography by Richard S. Ginell

New York Meeting

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Mink Stole & Her Wonderful Band - Do Re Mink

Size: 84,3 MB
Time: 36:01
File: MP3 @ 320K/s
Released: 2013
Styles: Blues, Pop, Rock, Swing
Art: Front

01. Female Trouble (3:02)
02. Bang Bang (2:33)
03. Thank You, Baby (3:39)
04. Baltimore (Feat. Jamie Wilson) (3:49)
05. Waiting For The World (2:20)
06. Born Of A Restless Spirit (Feat. Dave Chappell) (2:19)
07. God, If Any (2:42)
08. If You Were To Wake Up (Feat. John Irvine) (4:45)
09. Yours And So Am I (Feat. Michael Raitzyk & Arty Hill) (3:31)
10. What Can I Say After I Say I'm Sorry (2:17)
11. No Nose Nanook (1:56)
12. Sometimes I Wish I Had A Gun (3:04)

Swingy, bluesy, rocky, poppy, a little bit sweet, a little bit sad, and plenty of attitude: no one category completely describes this album that has taken my Wonderful Band (Walker Teret, Skizz Cyzyk, Glenn Workman) and me nearly three years to produce. It really began more than 10 years ago when I first started singing in small clubs in Los Angeles. Many of the songs on the album are reworkings of songs I performed in my one-woman cabaret show "Do Re MiNK," which is why I kept the name for the CD. Not a songwriter myself, I've been lucky to work with terrific musician/songwriters, and several cuts on the CD were written by bandmembers Kristian Hoffman and George Baby Woods from the Los Angeles incarnation of my Wonderful Band, and Skizz Cyzyk from the Baltimore incarnation. "No Nose Nanook" is a song I performed way back in the early '70s with the amazing Cockettes in a show called Vice Palace. "Female Trouble" is a cool reworking of the title song (performed by the late, great Divine) of the 1975 John Waters film, in which I played the disturbed Taffy Davenport. "Born of a Restless Spirit" is a full on rock song. The others are tunes I have fallen in love with over the years. "Sometimes I Wish I Had A Gun," written by my friend and musical mentor Brian Grillo, was previously released in 2007 on the compilation disc "A Date With John Waters."

Do Re Mink

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Malonie Carre Quartet - Forever (With Gianny Laredo)

Size: 66,9 MB
Time: 28:33
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Why (2:35)
02. Round And About (4:02)
03. Forever (3:40)
04. Do It Her Way (3:25)
05. Do I Love Him (3:17)
06. In The Sky (3:20)
07. My Heart (3:06)
08. Out Of The Blue (5:04)

Bringing a Latin sensibility to jazz vocal, Carre fuses this date with some Broadway/cabaret ideas the underscore the dramatic element in a lot of Latin music that gringos would automatically think of as cabaret. There's plenty of jazz vocal here to make the jazz vocal fan be satisfied with the proceedings, this is something a little out of the usual pale and might just be what jaded ears in the genre are looking for. Probably a good bet for urbane tastes that like to be first on their block.

“Malonie´s voice is exquisite, her interpretation of these jazz songs and the unique presence of the Gianny Laredo (piano), has created a very special energy, creative sensitivity, for this project. This Album (Forever) has tremendous quality and above all an overflow of tremendous energy.” — Joaquin Betancourt Jackman, Grammy Award Winning Producer

Forever

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Jesper Thilo Quartet - Stardust (Feat. Olivier Antunes & Bo Stief)

Size: 148,4 MB
Time: 63:27
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Cool Jazz, Trumpet Jazz
Art: Front

01. Let's Fall In Love (5:29)
02. Let's Face The Music And Dance (4:51)
03. Bewitched (6:26)
04. Hoe Down (4:45)
05. I'm Confessin' That I Love You (7:22)
06. Jessica's Day (4:39)
07. Strike Up The Band (8:50)
08. Stardust (4:59)
09. If I Could Be With You (3:50)
10. The Man I Love (5:57)
11. Soul Sister (6:14)

One of the top European straight-ahead jazz musicians from 1970 onward, Danish reedman Jesper Thilo has appeared on many records with American artists in addition to recording with his fellow countrymen. His tenor sound is reminiscent of Zoot Sims. Thilo, who has also occasionally played alto and clarinet, first recorded as a leader for Storyville in 1973, and in the 1980s and 1990s on Storyville his sidemen at various times included Hank Jones, Kenny Drew, Clark Terry, Roland Hanna, and Harry "Sweets" Edison. Thilo also appeared on Miles Davis' Aura (with compositions and arrangements by fellow Dane Palle Mikkelborg), released by Columbia in 1989. After the turn of the millennium Thilo has continued recording for a variety of labels, including several releases on Stunt Records: Remembering Those That Were (2009), On Clarinet (2010), and Scott Hamilton Meets Jesper Thilo (2011). ~Biography by Scott Yanow

Stardust

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Jerome Epps - Eclectic Fusion

Size: 104,6 MB
Time: 44:52
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz
Art: Front

01. Smooth Funk (6:16)
02. Midnight Groove (5:16)
03. Rumba Salsa Rump (3:51)
04. Too Hip 2 Hop (5:02)
05. Enigma (5:42)
06. Celebracion (4:13)
07. Bossa De Nova (4:31)
08. Awakening (9:58)

Born in Washington DC, Jerome Epps began to embrace music at a very young age. With his father being an accomplished jazz saxophonist, Jerome would listen to his dad practice for hours to the likes of Miles, Coltrane, Bird, Sergio Mendes, Antonio Carlos Jobim, and the virtual who’s who of jazz. Yet there would take a slight detour on the path to fully appreciating jazz. And that detour was called: “Jimi Hendrix”. The Jazz world was put on hold while performed in numerous rock bands, influenced by Eric Clapton (Cream), Terry Kath (Chicago), Jimmy Page (Zepplin), and the original Santana band. Later his interests would shift back towards r&b, soul and funk, only to make the ultimate migration to more progressive jazz-rock fusion artists like Chick Corea, Al Dimeola, John McLaughlin’s Mahavishnu Orchestra, and Weather Report.

Oddly enough, as a youngster Jerome’s first music teacher was Roberta Flack (of “Killing Me Softly” fame) who taught him within the D.C. public school system. Years later he studied Music Education at Howard University where he met Dizzy Gillespie at a Latin-Jazz seminar. A priceless experience indeed.

Later, after moving west, Jerome finished his education at San Jose State University where he studied classical and jazz guitar. Hence, this musical path has led to Jerome’s new CD release “Eclectic Fusion” which embraces his eclectic roots in jazz, r&b, funk, latin, rock and fusion, while blending this sound with contemporary dance beats. Hence we give you “Eclectic Fusion”. Enjoy!

Eclectic Fusion

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Yuko Ito - O Cantador

Size: 103,0 MB
Time: 44:14
File: MP3 @ 320K/s
Released: 2014
Styles: Brazilian Rythms
Art: Front

01. Mas Que Nada (4:55)
02. Samba De Verao (4:56)
03. Travessia (4:50)
04. Sina (4:49)
05. Batucada Surgiu (3:09)
06. Guerrilla (Eu Nao Sou Ninguem) (4:35)
07. Eu So Quero Um Xodo (3:14)
08. O Cantador (5:02)
09. Takeda No Komori- Uta (4:07)
10. Serrado (4:32)

New York based vocalist Yuko Ito's second Album "O Cantador" co-produced by great pianist / Composer Cidinho Teixeira. The recording is a collection of Brazilian songs by Jorge Ben, MarcosValle, Miton Nascmento, Djavan Dominguinhos, Dori Caymmi. She also recorded Japanese traditional song"Takeda No Komoriuta". She put original melody with african chant.
Also she recorded Japanese Rock Band Red Warriors's song "Guerrilla" She made Brazilian Portugeses lyrics on it.

Bio:
A native of Tokyo, Japan, she has been performing publicly in wide range of styles: pop, rock, R&B, jazz funk, gospel, free jazz and various forms of Brazilian music since high school. Her early musical career began when she founded the girl’s rock band Sissy Boy, which produced two CDs: Marcy’s Factory, with Vaan Media, and Kick Off Boy’s, with Crown Records Japan. Even with her early success in Japan, Yuko's musical vision was broad and she chose to move to New York in 1994. A vocal coach soon encouraged her to explore jazz and eventually this led to her receiving B.F.A degree from City College of New York in music (Jazz Vocal Performance). After a jam session Yuko attended while still in school, she was invited by jazz artist Sabir Mateen to perform with him. This encouraged her to continue to draw deeply from the jazz tradition in her work. She has performed with the Harlem Gospel Choir and appeared at Blue Note (New York), She has also performed with the Harlem Gospel Choir in Times Square on Good Morning America (ABC) and “New Yorker”( NHK BS1).

Having been lured by positive lyrics, unique beats and passionate movement, Yuko grew with her rebellious rock attitude into a mature songstress and it shows on her new album Mania De Você . Yuko Ito, originally from Japan, has evolved into a born again Brazilian New Yorker.

O Cantador

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Barrelhouse Chuck - Combo Classics

Size: 108,2 MB
Time: 43:51
File: MP3 @ 320K/s
Released: 2014
Styles: Blues, Rock
Art: Full

01. Hot & Heavy (2:53)
02. Time Is Tight (3:12)
03. Depression Blues (3:27)
04. Chuckabilly (Live) (3:00)
05. Pacific Blue (3:37)
06. My Dog Don't Bow Wow (Perry Weber Vocals) (4:47)
07. Bright Sounds Of Big Moose (3:23)
08. Walk Don't Run 69 (2:09)
09. Porchlight (Nick Moss Vocals) (4:12)
10. Wah Wah Blues (5:04)
11. Farfisa B3 Boogie For Winwood (1:05)
12. Don't Go To Dallas (Oscar Wilson Vocals) (4:22)
13. Slam Hammer (2:35)

When I was growing up a lower middle class Irish-Italian kid in New York City, few families could afford big Wurlitzer or other in home organs. Much to their chagrin, many an Italian kid who had aspirations to play something with a keyboard were awarded an accordion. But then came the combo organ. Vox, Farfisa and others took the concepts of the organ, accordion, transistors and bright colored plastic to create a portable organ that musical combos could use. Those were heady days; with the advent of the transistor replacing the old vacuum tubes, equipment and electronics got lighter and easier to move and transport. No longer would keyboard players have to rely on the old out of tune house piano at their gigs. A new age was upon us musically.

Blues musicians embraced and adopted this new fangled device as did the rockers like Steve Winwood from the Spencer Davis Group and Traffic, the Doors and others. In the liner notes Chuck comments on the fab song of his youth, ”96 Tears”, by ? and the Mysterions that he played in every juke box he saw. Later on, Otis Spann became his Farfisa role model with his recording of “Ain’t Nobody’s Business” with drummer S.P. Leary. Chuck includes a passionate and lilting version of this (with S.P. again on drums!) on this album.

Barrelhouse Chuck pays homage to that 1960’s classic instrument by packing up all his great songs featuring the combo organ and giving us this great new CD “Combo Classics”! A very 1960’s looking photo of a combo organ adorns the CD cover, and inside and on back we have a beautiful, bright red compact combo organ of Chuck’s. Behind the CD in the jewel box we have a classic advertisement for “the new Rheem stereo compact combo electronic organ.” What a cool package, but cooler yet is what’s on the silver disc inside the package. All designed by Harmonica Todd Levine!

Chuck offers up thirteen prime and classic cuts of his combo organ virtuosity. He’s got hot newer stuff along with some of his older works on the combo and they are all hot stuff. The Spann classic includes Billy Flynn on guitar along with exquisite vocals by Chuck and Bethany Thomas. He lends his unique Farfisa sound to the Ventures “Walk Don’t Run 69” where he, Flynn and Kenny Smith give us that beach classic Lake Michigan styled!

“Depression Blues” written by Sunnyland Slim gives us some relevant commentary on today’s economic woes, where Chuck laments about people being laid of by the thousands as he makes the Farfisa sing also to us. Backing him again are Flynn and Leary along with Hash Brown on guitar, Todd Levine on fat tone harp and Rick Holmes on bass. He offers up the Farfisa on two newer cuts with the Swedish Trickbag group to open the album. Earl Hooker’s “Hot and Heavy” and what I like to call an original Swedish-Chicago surf tune called “Pacific Blue” a Goering original.

Good stuff just oozes from all over this CD.

The Goering-Flynn original “Chuckabilly-Live” features two amazing instrumentals where the instruments actually seem to talk to us. Chuck’s organ and Flynn’s guitar seemingly sing out to and grab us in this cut. Chuck goes to the Lowry organ to do the “Bright Sound of Big Moose”, a super tribute to Johnny “Moose” Walker. Nick Moss joins Chuck on two tracks and sings on one of them, his own “Porchlight”. James Cotton’s “Slam Hammer" by Benny Rickun on harp” from Perry Weber & The DeVilles. Perry plays nice guitar on two cuts. Curtis Salgado’s wicked harp adds so much to these tracks, too. Lynwood Slim does the singing on the other song, the J. Haliday-Ray Charles classic “I Choose to Sing the Blues”. Chuck hits us with an R.M.I. and Rheem on the first two and a Vox on the third. Classic stuff done by a man who has exerted full mastery over the combination organ, perhaps even more so than he has the piano! Space does not permit comments on every track, but suffice it to say all thirteen are equally special. I do have to mention, though, the Barrelhouse Chuck tribute to the great Stevie Winwood that he closes with, where Chuck plays the Farfisa on his “Farfisa B3 Boogie for Winwood”; along with Jim Mckaba on B3 it's classic stuff!

Run, do not walk, to the CD store (or even faster, run to your computer) and get this CD today. You won’t regret it. This is blues and early rock organ at its’ finest and no one- NO ONE!- does it better than Barrelhouse Chuck! ~by Steve Jones from The Crossroads Blues Society of Northern Illinois.

Combo Classics

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The Asian Jazz All Stars Power Quartet - Live At The Living Room

Bitrate: 320K/s
Time: 71:45
Size: 164.3 MB
Styles: Fusion
Year: 2012
Art: Front

[13:54] 1. Carrot Cake
[19:22] 2. African Skies
[ 8:48] 3. This Guy's In Love
[11:49] 4. Wrappin' It Up
[17:50] 5. Tiramisu (For Hino)

The name says it all; four of Asia's leading jazz musicians—Singaporean pianist/organist Jeremy Monteiro, Philippine saxophonist Tots Tolentino, Hong Kong guitarist Eugene Pao and Thai drummer, Hong Chanutr Techatana-nan—combine to produce a powerful, electro-acoustic jazz fusion which draws inspiration from the Larry Goldings/Peter Bernstein/Bill Stewart trio. Recorded at the Living Room, Bangkok during a month-long jazz festival in June 2011 to celebrate the venue's tenth anniversary, this recording captures the quartet in exuberant mood.

After thirty years at the piano, Monteiro returned to his early love, the Hammond organ, in recording Groovin' at Groove Junction (Jazznote Records, 2009)—nominated for an Independent Music Award—and his organ sound leaves a large imprint on the session. Peter Bernstein's grooving, Blue Note-flavored "Carrot Cake" opens proceedings with strong solos from tenor player Tolentino and Monteiro. Gigging with his organ trio Organamix these last couple of years has sharpened Monteiro's organ chops, and his playing is confident and imaginative. Pao in turn stretches his digits, showing the kind of tasteful attack that has seen him work with pianists Chick Corea and Herbie Hancock, guitarist Joe Pass , saxophonist Jackie McLean, and drummers Jack DeJohnette and Bill Bruford.

A nineteen-minute interpretation of "African Skies" pays homage to its creator, saxophonist Michael Brecker. Pao, Tolentino and Monteiro all performed and/or recorded with Brecker, and the quartet really cooks on this free-spirited workout. Tolentino wisely follows his own path on a rousing tenor exploration, rather than trying to emulate the foremost post-Coltrane tenorist that Brecker was. Monteiro ratchets up the intensity a notch with a searching, extended solo before the quartet shifts down a gear, setting Pao loose with the task of bringing things back to the boil, which he does with a fluid, bluesy solo with plenty of bite. Chanutr Techatana-nan's effervescent, driving rhythms are a key to the dynamism of this track, and the quartet's energy throughout the recording.

Burt Bacharach/Hal David's "This Guy's in Love" provides a beautiful oasis of slowly swinging calm, with Tolentino and Pao's lyricism to the fore. Another fine Monteiro solo opens Larry Goldings "Wrappin' it Up," before Tolentino picks up the reins with a snaking solo which gains gradually in potency. This mid-tempo number showcases more measured, though no less impressive playing from the quartet and Pao in turn shines with a mazy run.

Tolentino's swinging "Tiramisu"—dedicated to Japanese trumpeter Terumasa Hino—clocks in at almost eighteen minutes and is perhaps the most ambitious and satisfying tune of the CD. The quartet burns on this hard-grooving number for the first eight minutes. Monteiro then unfolds a vaguely spacey solo over a drone before launching into adventurous improvised waters. Pao's liveliest playing of the session sets the seal on a powerful performance.

Jazz-fusion—for want of a better term—is alive and kicking in Asia, as this excellent recording demonstrates. So far, only Asian audiences have been fortunate to see this incendiary quartet on tour. Hopefully, it will go into the studio with some original material soon and launch itself beyond Asia. ~Ian Patterson

Jeremy Monteiro: organ; Eugene Pao: guitar; Tots Tolentino: tenor saxophone; Hong Chanutr Techatana-nan: drums.

Live At The Living Room

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Charlier/Sourisse - Eleven Blues

Bitrate: 320K/s
Time: 63:43
Size: 145.9 MB
Styles: Bebop, Blues-jazz
Year: 2010
Art: Front

[5:50] 1. Congo Square
[5:12] 2. Way Back Home
[4:20] 3. Meeting At Douglaston
[4:30] 4. Mingus Street Blues
[3:11] 5. Singin'drum
[7:05] 6. Tribute To Mister H
[9:40] 7. Couleurs Nuit
[4:43] 8. Celebration Station
[5:32] 9. Two And Four Driving
[7:34] 10. Used To Be A Waltz
[6:00] 11. La Seconde Danse

THIS album demonstrates yet again the elasticity of the blues form.

Each of the French duo's compositions explores a different angle, from the pastoral Couleurs Nuit, via the stately Mingus Street Blues to the pulsating Meeting At Douglaston. Benoit Sourisse's keyboard work is nimble and imaginative throughout, while co-leader Andre Charlier's subtle and swinging playing reaches a peak on his feature, Singin' Drum. Guitarist Jean-Marie Ecay and guest saxophonist Kenny Garrett turn in superior solos.

Eleven Blues

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Halie Loren - Stages

Bitrate: 320K/s

Time: 64:21

Size: 147.3 MB

Styles: Vocal

Year: 2010

Art: Front

[3:15] 1. Danger In Loving You

[3:24] 2. Sunny Afternoon

[5:40] 3. I Still Haven't Found What I'm Looking For

[4:03] 4. More

[4:47] 5. Cry Me A River

[4:29] 6. The Girl From Ipanema

[3:53] 7. Free To Be Loved By Me

[4:21] 8. Is You Is Or Is You Ain't My Baby

[3:34] 9. Love Me Like A River Does

[3:35] 10. They Oughta Write A Song

[3:40] 11. High Heel Blues

[6:00] 12. Summertime

[3:30] 13. My Rainbow Race

[5:04] 14. I'd Rather Go Blind

[4:57] 15. Nearness Of You

The studio is a safe place for musicians looking to birth an album in a controlled environment, but the stage is the real proving ground for performers. These people make their mark when lights are low, nerves are tested and safety nets are removed. This is where the real deal musicians get separated from the great pretenders and vocalist Halie Loren is as real as they come.

Loren, who may be the best-kept vocal secret in the Pacific Northwest, put out this low-key live album in 2010, but her reach was limited and it went largely unnoticed. Now, with the release of her head-turning Heart First (Justin Time, 2012), Loren's new label is fanning the flames of interest by reissuing this album with a few bonus tracks tacked on for good measure.

Her three-pronged approach to programming, which includes standards, pop pieces co-opted for jazzier purposes and originals, serves her well here. She jumps from U2 ("I Still Haven't Found What I'm Looking For") to Antonio Carlos Jobim ("The Girl From Ipanema") to Hoagy Carmichael ("The Nearness Of You") with apparent ease. She delivers classic material like "Cry Me A River" with polish, unlocks the potential that exists within The Kinks' "Sunny Afternoon" and taps into her inner-Sarah McLachlan on "Free To Be Loved By Me," which proves to be the most memorable original on display. Risky material choices occasionally meet with mixed results, as "High Heel Blues" proves to be a triumph while a tropically-infused take on Pete Seeger's "My Rainbow Race" is a bit too sugary, but Loren's willingness to move beyond the overdone is ever admirable.

Loren occupies the space that exists between pop and jazz, but that dual allegiance hasn't done her any favors in the past. Neither camp seemed willing to stake claim on her, but she deserves to be embraced by both. Now, with this live reissue following on the heels of her strongest studio album to date, this matter will hopefully be rectified. ~Dan Bialwsky

Halie Loren: vocals; Matt Treder: keyboards; Mark Schneider: bass; Tim McLaughlin: trumpet; Brian West: drums.

Stages

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Red Norvo - Pretty Is The Only Way To Fly

Bitrate: 320K/s
Time: 31:26
Size: 72.0 MB
Styles: Cool jazz
Year: 1962/2010
Art: Front

[4:38] 1. I'll Remember April
[4:06] 2. Spider's Nest
[3:39] 3. Tenderly
[3:51] 4. Lullaby Of Birdland
[3:14] 5. Stella By Starlight
[3:52] 6. Scorpion's Nest
[3:47] 7. Funny Valentine
[4:16] 8. Love For Sale

Red Norvo was an unusual star during the swing era, playing jazz xylophone. After he switched to vibes in 1943, Norvo had a quieter yet no-less fluent style than Lionel Hampton. Although no match for Hampton popularity-wise, Norvo and his wife, singer Mildred Bailey, did become known as "Mr. and Mrs. Swing."
Red Norvo had a long and interesting career. He started on marimba when he was 14 and soon switched to xylophone. Active in vaudeville in the late '20s as a tap dancer, Norvo joined Paul Whiteman's orchestra in the early '30s (meeting and marrying Mildred Bailey). He recorded some extraordinary sides in the early to mid-'30s that showed off his virtuosity and imagination; two numbers (the atmospheric "Dance of the Octopus" and "In a Mist") had Benny Goodman playing bass clarinet, remarkably. Norvo led his own band during 1936-1944 which, with its Eddie Sauter arrangements (particularly in the early days), had a unique ensemble sound that made it possible for one to hear the leader's xylophone. In 1944, Norvo (who by then had switched permanently to vibes) broke up his band and joined Benny Goodman's Sextet. Through recordings and appearances, he showed that his style was quite adaptable and open to bop. Norvo welcomed Charlie Parker and Dizzy Gillespie to a 1945 record date, was part of Woody Herman's riotous first Herd in 1946, and recorded with Stan Hasselgard in 1948. At the beginning of the 1950s, Norvo put together an unusual trio with guitarist Tal Farlow (later Jimmy Raney) and bassist Charles Mingus (later Red Mitchell). The light yet often speedy unisons and telepathic interplay by the musicians was quite memorable. Norvo led larger groups later in the decade, had reunions with Benny Goodman, and made many fine recordings. The 1960s found Red Norvo adopting a lower profile after he had a serious ear operation in 1961. He worked with the Newport All-Stars later in the decade, and from the mid-'70s to the mid-'80s was once again quite active, making several excellent recordings. However, his hearing eventually worsened and a serious stroke put Red Norvo out of action altogether after 55 years of music. He died on April 6, 1999, at the age of 91.

Pretty Is The Only Way To Fly

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Cris Barber - This Moment To Be Free

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 61:32
Size: 141,3 MB
Art: Front

(4:17)  1. My Foolish Heart
(5:47)  2. I Got It Bad
(4:13)  3. I Only Have Eyes For You
(3:12)  4. Be Sure
(4:42)  5. Family Line
(3:51)  6. Sunny
(4:59)  7. Love For Sale
(5:06)  8. Going In
(3:31)  9. Blackbird
(4:44) 10. What Is It
(4:24) 11. Nature Boy
(3:55) 12. Devil May Care
(4:03) 13. What A Little Moonlight Can Do
(4:41) 14. Calling You

Southern California award-winning jazz vocalist Cris Barber has released her fourth album with “This Moment To Be Free” and it’s another winner of a recording. Often compared to Diana Krall, Barber uses her warm smooth vocals to interpret a terrific selection of pop and jazz standards like Victor Young’s “My Foolish Heart,” Cole Porter’s “Love For Sale,” and Paul McCartney’s “Blackbird” to name a few. All together the CD boasts fourteen tunes where the lady swings and voices love ballads to the heart. What makes this album a success is not only Barber’s vocal talents but her phenomenal backup. Assisting the Singer here is a core quintet comprised of first-call Los Angeles studio and concert players among them, Karen Hammack (piano), Barry Cogert (bass), Aldo Bentivegna (drums), Kurt Rasmussen (percussions), Jamie Findlay (guitar) and Greg Vail (sax and flute). Also appearing as special guest is guitarist Laurie Morvan performing on her original, “Family Line,” and Mark Barnes playing the Hammond B3 on “Family Line” and “What Is It.” Eden Ahbez’s classic standard “Nature Boy” is given one heck of an overhaul here as Barber voices the lyrics to a splendid Latin jazz rendition for one of the finer tunes on the disc. 

The lady and the band swing on the jazz staple “Devil May Care” with superb piano chops from Hammack. This tune is followed up by another sizzler in “What A Little Moonlight Can Do” where saxophonist Vail scorches one behind the singer’s lead. Barber shows a bit of her tender side on Duke Ellington’s “I Got It Bad,” and the love tune “Be Sure,” then turns a bit funky on the pop finale of “Sunny” completing one fine session of wonderful light hearted contemporary jazz with a twist. “This Moment To Be Free” is one of the finer jazz vocals recordings you’ll find this year and Cris Barber’s splendid performance is one reason why. ~ Edward Blanco  Ejazznews.com   http://www.cdbaby.com/cd/crisbarber4

This Moment To Be Free

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Gigi Gryce - Doin' The Gigi

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 68:20
Size: 157,2 MB
Art: Front

(11:24)  1. Blues In Bloom
( 4:40)  2. A Premoniton Of You
( 7:37)  3. A Night In Tunisia
( 5:34)  4. Down Home
( 3:01)  5. Blues In Bloom
( 2:30)  6. Dancing the Gigi (A.K.A Strange Feelin')
( 3:32)  7. Sonor (A.K.A Sonar)
( 4:15)  8. Down Home
( 3:59)  9. Take The A Train
( 2:37) 10. Stompin' at the Savoy
( 4:31) 11. I'll Walk Alone
( 4:57) 12. Caravan
( 1:46) 13. All The Things You Are
( 0:08) 14. Announcements By Al 'Jazzbo' Collins & Hugh Downs
( 0:19) 15. Movin'
( 2:34) 16. There Will Never Be Another You
( 2:45) 17. Man Of Moods
( 2:02) 18. The Blues Walk (A.K.A Somebody Done Stole My Blues, Loose Walk)

Gigi Gryce had a short but productive career, which lasted roughly a decade before he abruptly left jazz in the early 1960s to become a teacher. This compilation of unissued performances is an important addition to his legacy, particularly the 1961 Birdland broadcast, which features the working band he used for his Rat Race Blues album (pianist Richard Wyands, trumpeter Richard Williams, bassist Julian Euell, and drummer Mickey Roker), plus the addition of vibraphonist Eddie Costa (who died tragically in a car wreck the following year). Beginning with an extended workout of Norman Mapp's "Blues in Bloom" (though it is actually a modal work, not a blues), the sextet's loping treatment is full of inventive solos. Gryce tackles "A Night in Tunisia" at a brisk clip, taking a sparkling two chorus solo, while also featuring each member of the band in turn. The sextet is also heard in two studio tracks from 1961, a brief "Blues in Bloom" and Gryce's sassy blues "Doin' the Gigi" (also known as "Strange Feeling"). 

The credits have been lost to another studio date with Williams and Wyands, though the bassist and drummer are unknown. The introduction of Gryce's setting of "Take the 'A' Train" transforms the famous theme from a subway to a locomotive, showcasing Williams and Wyands before the leader opens his solo with a humorous, unexpected quote from "Dixie." Gryce's ballad playing is the highlight of "I'll Walk Alone" (a Sammy Cahn-Jule Styne piece from a '40s film), with a fine open horn solo by Williams and muted work behind the saxophonist at the conclusion. A 1957 TV broadcast is the source of several performances, featuring Gryce leading a band with baritone saxophonist Cecil Payne, pianist Duke Jordan, bassist Wendell Marshall, and drummer Art Taylor. 

They are all fairly concise due to the time constraints of the television program, but they hint at the strengths of the quintet. Stand-out tracks include the abbreviated version of Gryce's brisk "Movin'," and a midtempo rendition of the standard "There'll Never Be Another You." The detailed liner notes by Noel Cohen and Michael Fitzgerald, which were adapted from their biography of Gigi Gryce, plus the numerous photos, are added bonuses to this valuable collection of essential bop. ~ Ken Dryden  http://www.allmusic.com/album/doin-the-gigi-mw0002166656

Doin' The Gigi

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George Barnes - Don't Get Around Much Anymore

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 55:13
Size: 127,2 MB
Art: Front

(2:08)  1. Fascinatin' Rhythm
(4:26)  2. Don't Get Around Much Anymore
(2:42)  3. Pick Yourself Up
(6:48)  4. Moonglow
(4:07)  5. Perdido
(4:08)  6. I Can't Get Started
(3:29)  7. Blues Goin' Up
(0:40)  8. Introductions
(2:54)  9. Why Was I Born?
(5:29) 10. When Sunny Gets Blue
(3:52) 11. Sweet Georgia Brown
(3:26) 12. Cheerful Little Earful
(3:07) 13. Theme From The Flinstones
(3:26) 14. I May Be Wrong
(4:24) 15. Three Little Words

George Barnes has been unjustly overlooked by fans of jazz guitar, since he spent a good portion of his career as a studio musician, but the initial appearance in 2003 of this previously unreleased 1977 concert (recorded just a few months prior to his death) adds an important final chapter to his recorded legacy. 

Barnes leads his brand new quartet (with fellow guitarist Duncan James, bassist Dean Reilly, and drummer Benny Barth) through a delightful program of standards ("Sweet Georgia Brown," "Moonglow," and "Why Was I Born?"), gems from the vast Duke Ellington band book ("Don't Get Around Much Anymore" and "Perdido"), as well as the popular "Theme From the Flintstones." Barnes' fluid playing and that of his group make them sound as if they had been together far longer. The excellent sound by engineer Larry Cummings is identical to the mix heard by the audience that very evening. The warm, detailed liner notes by Barnes' daughter, Alexandra Barnes Leh, add a nice touch to this highly recommended release. ~ Ken Dryden  

http://www.allmusic.com/album/dont-get-around-much-anymore-mw0000019616

Personnel: George Barnes, Duncan James (electric guitar); Dean Reilly (bass); Benny Barth (drums).

Don't Get Around Much Anymore

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François Raulin - Echoes Of Spring

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 55:22
Size: 126,8 MB
Art: Front

(4:03)  1. Carolina Shout (James P. Johnson)
(4:37)  2. Morning Air (Willie Smith "The Lion")
(8:55)  3. Aunt Hagar's Blues (W.C. Handy) (tribute to Art Tatum)
(1:35)  4. The Second Portrait of the Lion (Duke Ellington) - Portrait of the Duke (Willie Smith "The Lion")
(2:02)  5. Echoes of Spring (Willie Smith "The Lion")
(5:24)  6. Kitten on the keys (Zez Confrey)
(4:44)  7. Ain't Misbehavin' (Thomas "Fat's" Waller, Andy Razaf)
(1:38)  8. Child of a Disordered Brain (Earl "Fatha" Hines) - Zig Zag (Willie Smith "The Lion")
(5:28)  9. In the Dark - Flashes (Bix Beiderbecke)
(4:04) 10. In a mist (Bix Beiderbecke)
(4:07) 11. Boogie Woogie on St Louis Blues (W.C. Handy)
(5:15) 12. Tonk (Duke Ellington, Billy Strayhorn)
(3:23) 13. Fast and Furious (Duke Ellington)

To say that they were waiting, the Echoes of Spring , released on the label of the young pianist Edouard Ferlet , Melissa, about the Harlem stride piano, after the happiness felt in concert: the program of the two great pianists, François Raulinand Stephan Oliva , turned into effect in a number of festivals since its inception in Grenoble in March 2006. Thanks to the network so AFIJMA have supported and carried such a creation in the various festivals of Bordeaux to Nevers, program which have evolved over time and gain fluency. No current pianist is probably able to play as James P. Johnson , true "tickler" evil ticklers key. Starting from ragtime, but also inspired by the great Romantic composers like Liszt, he hoisted above the style he invented, the stride , where the left hand is powerful and metronomic while the right goes up in refinement improvisation and ornamentation. Fats Waller, Oscar Peterson, Earl Hines, Count Basie, Art Tatum, Duke Ellington , Monk ... all modern pianists would pay tribute tostride , be inspired while diverting. 

This music full of polyrhythms and reefs is a real challenge, a recreation of every moment, very elaborate despite the apparent fluidity, simmering subtlety of certain passages, the other filament. It was seasoned musicians to make this tradition alive. The quintet of Raulin and Oliva, whose musicians have long known, is the ideal training: the energies released will always deploy generously. Nothing more beautiful than the work of arrangement and intelligent complementarity of the two pianists who play all registers; nothing more disturbing than sweet counterpoints blowers, unite their sensual. Monniot Christophe plays all saxophones, the sharp angle between the gap and the arabesque, cuddly baritone, fiery alto, sopranino to the flickering . As for the clarinetist Lawrence Outside , it is one of the few to be able to balance its cheeky turbulence, sometimes exceeded its rowdy stridency, including the well because they practice both the "lag ear" while Sébastien Boisseau provides only a rhythmic Burning bass. The program starts with a bang on with the truculent "Carolina Shout" by James P. Johnson, the workhorse reminiscent of banjo drilled on "piano rolls" from 1918. Then it's delicious "Morning Air" Willie The Lion Smith , musician steeped in Chopin and Rachmaninoff who loved embroidery precious melodies with a sense of color which is found in Duke Ellington [ 1 ]. In fact, it should list all the songs, the assembly is very convincing. 

Changes tones, breaks the alarming climate "A Child of Disordered Mind" (a solo 's Earl Hines (1940), beautifully rearranged by Oliva) or bright roughness of "Boogie Woogie on St. Louis Blues" dedicated to the same Earl Hines. We listen to a stroke this time music loudly seasons - breakaway "Is not Misbehaving" by Fats Waller reviewed by Raulin, ripping blues "Aunt Hagar's Blues" introduces bass and clarinet, or the final played four hands, "Fast and Furious" as in the time of Duke and Billy Stayhorn. But how not to be moved to listen to "Flashes / In the Dark" by Bix Beiderbecke , or "In A Mist", only written for the piano by the young white cornetist Davenport (Iowa) composition? "A guy who had the atmosphere in the fingers" said Boris Vian . A visionary melody in many ways, where pianists find unusual agreements, a penchant for the phrase in arabesque. As for the title composition, "Echoes of Spring", it illuminates its melancholy sweetness that jazz of the past, the quintet has managed to make incredibly current. This fragile melody of January 1939, including the arrangement of François Raulin has kept the harmonies and swinging the left hand, also reminds us that the poet TS Eliot that sometimes the spring is not synonymous with renewal and that "April is the month Cruellest" ...Translate by google  ~ Sophie Chambon   http://www.citizenjazz.com/Francois-Raulin-Stephan-Oliva.html

Echoes Of Spring

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Michael Gray & Pearl Django - Souvenirs: Stephane Grappelli Remembered

Bitrate: 320K/s
Time: 39:42
Size: 90.9 MB
Styles: Gypsy swing
Year: 1999
Art: Front

[3:27] 1. Minor Swing
[3:10] 2. Souvenirs De Villengen
[3:19] 3. Pent-Up House
[4:30] 4. Splendor In Feathers
[4:15] 5. Saskia
[4:02] 6. In My Solitude
[5:15] 7. It's Only A Paper Moon
[4:14] 8. I'll Remember April
[3:04] 9. Sweet Lorraine
[4:21] 10. Tears

Neil Andersson, Guitar; Michael Gray, Violin; Dudley Hill, Guitar; Rick Leppanen, Bass; Shelley D. Park, Guitar.
New Stories: appears on Splendor in Feathers and I'll Remember April. John Bishop, Drums (tracks 4 & 7); Doug Miller, Bass (tracks 4 & 7); Marc Seales, Piano (tracks 4 & 7).
Special guests: Will Dowd, Drums (track 8); David Lange, Accordion (track 2); Paul Sawyer, Electric Guitar (track 8).

Initially a self-taught instrumentalist, Michael Gray learned to play violin while homesteading in Alaska. Michael is originally from Philadelphia. Since moving to the Puget Sound area, he has kept busy performing and recording with groups including Highwire, Grass Backwards, Quo ad Hoc, Point No Point and Odd Men Out. Michael is an accomplished composer and has recently acquired part-time teaching positions at Cornish College and the University of Washington.

With a performance history spanning almost two decades, Pearl Django endures as one of the most highly regarded Hot Club style groups working today. Although the band’s roots are firmly in the music made famous by Django Reinhardt and Stephan Grappelli, its extensive repertoire includes traditional jazz classics and original compositions. Pearl Django has performed at festivals, dances and nightspots throughout the U.S. and abroad. They have played at the prestigious Festival Django Reinhardt in Samois sur Seine and have been featured on NPR’s “All Things Considered.” The band’s signature style is marked by pristine and dexterous string work, colors of Bal Musette, the steady pulse of rhythm guitar and an unmistakable swing that delights audiences of all musical sensibilities. Throughout the years, Pearl Django has cultivated a devoted and enthusiastic following and they continue to play to packed houses wherever they perform.

Souvenirs: Stephane Grappelli Remembered

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Jill Barber - Mischievous Moon

Bitrate: 320K/s

Time: 41:15

Size: 94.5 MB

Styles: Vocal jazz, Jazz-pop

Year: 2011

Art: Front

[3:39] 1. Chances

[2:57] 2. Be My Man

[2:55] 3. Never Quit Loving You

[4:10] 4. Mischievous Moon

[4:07] 5. Took Me By Surprise

[4:06] 6. Tell Me

[4:40] 7. Oh My My

[3:48] 8. Tenderness

[2:38] 9. Old Flame

[2:05] 10. A Wish Under My Pillow

[3:26] 11. If It Weren't For Loving You

[2:38] 12. All My Dreams

The first notes of the first song on this album fill you with foreboding: brushed drums, a simple string bassline, and even simpler piano chords played in pulsing eighth notes, Fats Domino style. Sweet Mother of Claudine Longet, you wonder, what have I gotten myself into? Then Jill Barber's voice comes in, with that unmistakable mid-century blend of little-girl timbre and orotund vowels, and you have your answer: you've gotten yourself into a mess of nostalgia, and the only thing that will deliver you to the other side of these 41 minutes with your sanity intact will be the quality of the songs. Luckily for you, these are great songs. Also luckily for you, Jill Barber and her co-conspirators recognize no functional difference between torch ballads, Patsy Cline-era country music, and cocktail jazz. Best of all, if their love of these various musical anachronisms is ironic, it's impossible to tell -- the wordless background vocals, the plinking pianos, the string sections, and Barber's little-girl-about-town singing style all combine to create what sounds like a purely and sincerely loving pastiche of musical elements that, for anyone under the age of 60, will sound both eerily familiar (from movies your parents like) and utterly foreign. From the decorous cha-cha of "Took Me by Surprise" (with its unbelievably cheesy horn chart) to the torchy orchestral pop of "Tenderness," the music is certainly gimmicky, but the pleasure is real. And this is pop music, people: pleasure is pretty much all that counts. ~Rick Henderson
 

Mischievous Moon

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Rossano Sportiello & Matthias Seuffert - Swingin' Duo By The Lago

Bitrate: 320K/s
Time: 69:21
Size: 158.8 MB
Styles: Stride piano jazz, Saxophone jazz
Year: 2007
Art: Front

[4:52] 1. Rifftide
[5:32] 2. Ask Me Now
[5:13] 3. The Man I Love
[6:26] 4. Blue Five Jive
[4:41] 5. You Go To My Head
[4:14] 6. Diga Diga Doo
[4:20] 7. Imagination
[4:37] 8. Lester Leaps In
[6:55] 9. Chelsea Bridge
[3:50] 10. Swingin' By The Lago
[7:48] 11. After Supper
[6:16] 12. Cherokee
[4:32] 13. Body And Soul

After several encounters with Rossano, our first opportunity to perform together arose with Marc Richard´s European Swing Allstars in 2003.We thoroughly enjoyed the encounter both personally and musically, so we planned right then to do a recording together. Thanks to our Australian friend and drummer Anthony Howe, this duo-CD is now available. He recorded us at the Ascona Jazz Festival 2006 during two afternoon sessions - therefore the title “Swingin´ By The Lago”. Because of the rigid time schedule, the duos were developed spontaneously and without detailed prearrangements. The intimate ensemble playing of two balanced voices confronts the musicians with a special task, but if it works it is a great pleasure. It is inspiring and very exiting to play together with Rossano! We consider swing and feeling the main ingredients of our music.

During the second afternoon Anthony joined us on drums and one of the world´s best jazz saxophone players sat in: Harry Allen. We think, the three quartet tunes somehow reflect the typical atmosphere you experience during the Ascona Jazz Festival when musicians meet at the jam session after their concerts at night. Thanks a lot for your cooperation, Rossano, Anthony and Harry! I´m much obliged to Nicolas Gilliet, musical director of the Ascona Jazz Festival, who provided the room and a concert grand piano for the recording session. Over the years, he has repeatedly given us the chance to present jazz in its many facets. You´ll find three bonus tracks on this CD. They were recorded live during a concert performance of my quartet at Bungertshof in Königswinter near Bonn. Many thanks to Johannes, Michael and Meikel! Walter and Stefan Schlund used a radio-transfer-van to record the concert. Michael Schneider and Stefan mastered both sessions. Evidently, they got great ears and know what to do, so the mastering was great fun as well.

About the musicians:
Rossano Sportiello is one of the world´s leading stride, swing and bebop piano players. The French institution, L’Académie du Jazz, recognized his work on solo piano as the “Prix du Jazz Classique 2005”. He has played with such jazz luminaries as Slide Hampton, Gerry Mulligan, Bucky Pizzarelli, Dick Hyman, Houston Person, Dado Moroni,Eddie Locke, Dan Barrett, Harry Allen, Scott Robinson, Carl Fontana, Rebecca Kilgore, Reggie Johnson, Scott Hamilton, Bob Wilber, Kenny Davern,Warren Vaché, Ken Peplowski, Butch Miles, Jake Hanna and Johnny Frigo.

Matthias Seuffert is internationally considered a versatile and multi-faceted Jazz clarinetist and saxophonist from early jazz through to bebop. He has recorded with some of the best jazz players on both sides of the Atlantic Ocean and lectured at the jazz faculty of Trinity College of Music, London. Musicians he has worked with include Red Holloway, Eddie Locke, Jimmy Woode, Herb Hardesty, Warren Vaché, Dan Barrett, Tom Baker, Kenny Davern, Harry Allen, Marty Grosz, Jon-Erik Kellso, Keith Nichols, Alan Barnes, Trevor Richards, The European Swing Allstars and The European Saxophone Quartet.

Swingin' Duo By The Lago

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Barbra Lica - That's What I Do

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 47:54
Size: 110,4 MB
Art: Front

(2:14)  1. Because I Say So
(3:05)  2. You Are My Sunshine
(2:33)  3. Pretend
(4:52)  4. The Graduation Blues
(3:41)  5. That's What I Do
(3:37)  6. Quiet  Nights
(4:25)  7. Vienna
(4:33)  8. P.S. I Love You
(3:18)  9. A Million Miles
(3:39) 10. Scarlett O'Hara
(4:15) 11. Going Away
(3:54) 12. But Not For Me
(3:40) 13. Young At Heart

Barbra Lica has a classy kewpie-doll voice like jazz-singers Blossom Dearie and Stacey Kent.Touches of class are all over her debut CD That’s What I Do, starting with the jazz all-stars of her band: Archie Alleyne on drums or Steve Heathcote; Reg Schwager or Rob Piltch on guitars; Brian Dickinson, Joe Sealy or Robi Botos on piano; Paul Novotny on bass; Kevin Turcotte on trumpet; Bob DeAngelis and Tom Szczesniak respectively on clarinet and bass a line-up as good as it gets.Barbra’s set-list is a bold and tasteful dish of high end standards (Gershwin, Mercer, Jobim, Billy Joel), pop chestnuts (“You are My Sunshine,” “P.S. I Love You.” “Pretend,” “Young at Heart”), and half a dozen originals. If you like these standards and chestnuts done with a true jazz flair you are going to love listening to Barbra do them. Her voice and singing style are captivating, and the arrangements are impeccable. Just listen and feel better, like letting in sunshine and fresh air. Barbra’s lucid phrasing and pacing are markedly intelligent, like most of the instrumental solo’s, especially Perry White’s tenor sax solo on “But not for me.” The opening original, “Because I Say So,” and the closing (album title song) “That’s What I Do,” (both co-written with guitarist Colin Story) are typical of Barbra’s work:  distinct melody, naturally flowing lyric lines, stylish structure, clever rhymes(“sweater/weather, enjoyment/employment), and a positive, out-front, confidence. It’s a pleasure to be around any tune Barbra is singing. Bring it on.

~ Stanley Fefferman  http://opusonereview.com/p=1787

That's What I Do

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Gene Ludwig Trio With Bill Warfield Big Band - Duffs Blues: Live From The Zoellner Arts Center

Styles: Soul Jazz, Big Band
Year: 2008
File: MP3@320K/s
Time: 71:38
Size: 165,3 MB
Art: Front

( 9:00)  1. Duff's Blues (Live)
( 7:46)  2. Totem Pole  (Live)
( 6:26)  3. The Organ Grinder  (Live)
( 7:22)  4. The Circuit  (Live)
( 9:40)  5. Naked City  (Live)
( 8:31)  6. Dance Of The Coal Cars  (Live)
(11:35)  7. Dolphin Dance  (Live)
(11:14)  8. Breakin' The Ice  (Live)

It’s too bad the Hammond B3 organ isn’t showcased more often with a big band. It’s a terrific combine producing a big, deep, meaty sound. Case in point: this CD, putting together veteran B3 organist Gene Ludwig, who got his start four decades ago in Pittsburgh, and Big Apple trumpeter Bill Warfield’s Big Band. Ludwig’s trio provides guitarist Bob DeVos and drummer Rudy Petschauer, while Warfield provides arrangements and fields the brass, reeds and bassist Bob Bowen. This isn’t one of those either/or situations where big band or organ trio play; there’s a lot of interaction between the two, with Warfield providing ensemble riffs, shout choruses, solos and composed interludes to keep the big-band feel alive even during long solos and tracks. 

Ludwig’s “Duff’s Blues” kicks things off with a dollop of soul jazz: a B3 lead segues into churning big band and organ, Joe Wilder blows a zesty trumpet solo, Tim Sessions offers brash trombone, and the band fades to choruses of B3 licks traded with guitar (catch the “Killer Joe” allusions) before a drum-break finale. The amazing Wilder (an octogenarian since 2002) brings his burnished tone and articulate ideas to a long solo on Lee Morgan’s Latin-with-4/4 bridge “Totem Pole,” while Warfield takes the trumpet solo on Woody Shaw’s “The Organ Grinder.” Ludwig, who favors the resonant middle register of the B3 and avoids the repetitive clichés of soul organ, is a robust presence throughout the CD as both soloist and ensemble fattener. Warfield’s arrangements swing and/or groove with exhilarating authority, from a classic take on “Dolphin Dance” to the funky percolation of his own “Dance of the Coal Cars.” The tenor saxophones of Dave Riekenberg and Glenn Cashman, who also arranged his own rippling, jumpy “The Circuit,” fit right in the brawny B3 combo tradition, and it’s good to hear such yeomen in the New York big-band trenches as baritone saxophonist Ed Xiques and bass trombonist Sam Burtis stretch out on solos. ~ George Kanzler  http://jazztimes.com/articles/20824-duff-s-blues-live-from-the-zoellner-arts-center-gene-ludwig-trio-with-the-bill-warfield-big-band

Personnel: Gene Ludwig (organ, Hammond b-3 organ); Bob DeVos (guitar); Ben Ken (alto saxophone); Jon Owens, Bill Warfield, Danny Cahn (trumpet); Tim Sessions (trombone); Randy Petshauer (drums); Glenn Cashman (tenor saxophone); Ed Xiques (baritone saxophone); Dave Spier, Joe Wilder (trumpet); Sam Burtis (trombone).

Duffs Blues:Live From The Zoellner Arts Center

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