Sally Night - Ballads For You

Size: 166,8 MB
Time: 71:26
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art: Front

01. More Than You Know (3:55)
02. It Amazes Me (4:50)
03. Everything I've Got Belongs To You (4:59)
04. In Love In Vain (4:02)
05. Fascinating Star (4:31)
06. Everything Happens To Me (4:47)
07. Good Morning Heartache (5:05)
08. I Hadn't Anyone Till You (4:12)
09. London By Night Is A Wonderful Sight (5:17)
10. Close To You-The Shadow Of Your Smile-It's Impossible (7:23)
11. Prelude To A Kiss (4:50)
12. Round Midnight (5:54)
13. Blame It On My Youth (3:22)
14. Speak Low (4:10)
15. Yes I Do (4:03)

Sally Night-Vocals , Jon Davis-Piano, Dezron Douglas-Double Bass, Steve Williams-Drums

”Sally Night is a great new Singer, Songwriter & Performer with a beautiful full voice”- Billboard Live Club, Tokyo, Japan

Since her recent arrival in New York & USA Sally Night has recorded 2 new albums for Venus Records, made an opening performance at the 1st Miami- Nice Jazz Festival in Miami, Florida, made several appearances at Birdland Jazz Club NYC, performed in Tokyo at the Billboard Live Club for AXN TV and has been invited to sing as a guest singer with Jazz legends Cedar Walton, Buster Williams, Bucky Pizzarelli & performed and recorded with a polithera of other Internationally acclaimed musicians.

“Sally Night is a Sassy swing vocalist with excellent technique and a powerful voice” - TIME OUT, London

“An effervescent live performer with echoes of Ella and Sarah, innately gifted vocalist Sally Night swings like a true diva”- JAZZ CLUB SOHO, Pizza Express, London

“Ms. Night is that rare new singer who backs up the chutzpah, talent and confidence needed to succeed in the jazz scene in New York & America. It didn’t take me long to start programming Ms. Night’s music on Real Jazz, Sirius XM and I think the jazz scene is better for it. Believe me there aren’t enough good singers around” -MARK RUFFIN, Real Jazz, SIRIUS XM, North America & Canada

Ballads For You

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Zizi Possi - Tudo Se Transformou

Size: 88,3 MB
Time: 37:50
File: MP3 @ 320K/s
Released: 2014
Styles: Brazilian Jazz, MPB, Brazilion Traditions
Art: Front

01. Filho De Santa Maria (2:54)
02. Disparada (3:58)
03. Contrato De Separaçao (3:09)
04. Explode Coraçao (3:03)
05. Tudo Se Transformou (2:52)
06. Morena Dos Olhos D'agua (3:11)
07. Cacos De Amor (3:28)
08. Meu Mundo E Nada Mais (3:26)
09. No Vento (3:15)
10. Porta Estandarte (4:57)
11. Sem Voce (3:32)

Zizi Possi opened different paths during her career. She had her first hit with an MPB tune ("Pedaço de Mim" by Chico Buarque) and then with a series of pop ballads during the '80s; but finally in the '90s, she found her way with a repertory of classics of Brazilian music in highly polished acoustic renditions. There are variations apply, as in Per Amore, which is completely devoted to Italian romantic songs (sung in the original idiom).

Singing alone since she was a child, Possi started to take piano classes at five. At 20, she abandoned the strong composition program at the State University of Bahia and started working as an actress in a musical when she discovered herself as a singer. In 1978, she left for Rio, where she was invited by Roberto Menescal to record (at the time he was Polygram's A&R) her first album (Flor do Mal). Possi' first hit was the title track of the second album, Pedaço de Mim (Chico Buarque), from Buarque's musical A Ópera do Malandro, in which she participated that same year. In the '80s, Possi expanded her pop repertory at the expenses of MPB, having success with "Asa Morena" (Zé Caradípia, 1982). Other hits of that decade were "Perigo" (Nico Resende/Paulinho Lima, 1986), "A Paz" (Gilberto Gil/João Donato, 1987); "É A Vida Que Diz" (Marina), and "O Amor Vem Pra Cada Um" (a version for "Love Comes to Everyone" by George Harrison). The LP Estrebucha Baby (1989) represented a different, almost experimental phase, being the first time that "Meu Erro" (Herbert Vianna) was recorded not as rock or pop (as it was written), but as a densely interpreted song, which worked as an endorsement for a genre that was being incorporated into MPB under mixed feelings.

In 1990, the show Sobre Todas As Coisas (piano/voice/percussion) represented the finding of an internal coherence after taking different paths. Rewarded by the success enjoyed during the tour, she accepted Marcos Suzano's suggestion of incorporating Lui Coimbra's cello, recording the album Sobre Todas As Coisas (1991). The esthetics of an acoustic sound and the classics of Brazilian music were paid even further tribute on Valsa Brasileira (1993) and on her subsequent albums. Valsa Brasileira had two hits, "Bom Dia" (Swami Jr./ Paulo Freire) and "Lamento" (Pixinguinha).

Tudo Se Transformou

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Spike Wilner - Portraits

Bitrate: 320K/s
Time: 65:54
Size: 150.9 MB
Styles: Piano jazz
Year: 1999
Art: Front

[6:03] 1. Wonderful! Wonderful!
[8:01] 2. For The Girl
[6:30] 3. Forever Young
[8:26] 4. Three To Go
[4:33] 5. A Tale Thrice Told
[6:13] 6. In The Still Of The Night
[7:39] 7. The Dennis Jeter (Bug) Waltz
[4:19] 8. Everything I Have Is Yours
[6:07] 9. A Stitch In Time
[7:57] 10. Slow Blues

Michael “Spike” Wilner was born in New York City and started playing piano at an early age. He was inspired by a television program about the life of Scott Joplin to learn to play Ragtime Music. He perused this art form throughout high school and performed Joplin’s “Maple Leaf Rag” at the St. Louis Ragtime Festival. Although it was an informal appearance it, nonetheless, profoundly affected him and drove him to peruse a career in music. In his high school jazz program he met pianist Peter Martin who introduced him and inspired him to learn more modern jazz.

Wilner decided to enter into the New School For Social Research’s Jazz and Contemporary Music department, which was then in it’s first year. Headed by the late saxophonist Arnie Lawrence, this was an experimental forum where young jazz musicians were introduced to masters and left on their own to interact and play together. In this fertile musical environment Wilner met and became friends with many of today’s leading jazz musicians. Students at that time included: Peter Bernstein, Jesse Davis, Larry Goldings, Brad Mehldau, Roy Hargrove, Sam Yahel, Joe Strasser and many others. It was there that Wilner had the good fortune to become the student of the late pianist Walter Davis Jr. as well as the late great Jaki Byard. At this same time Wilner became involved at the Jazz Cultural Theater under the direction a Barry Harris and spent several years studying there.

It was also at this time that Wilner began to work professionally on the New York City jazz scene. He began to play gigs in the various clubs and throughout the years has held down many steady engagements in well-known clubs. Wilner was a house pianist at the legendary, now defunct, Village Gate as well as other long-gone clubs such as Visiones, The Angry Squire and The Village Corner. In 1995, Wilner became involved with the jazz club Smalls under the direction of owner Mitch Borden. At Smalls, Wilner has developed his music and his career.

Portraits

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Alexis Cole - I Carry Your Heart: Alexis Cole Sings Pepper Adams

Bitrate: 320K/s

Time: 60:28

Size: 138.4 MB

Styles: Vocal jazz

Year: 2012

Art: Front

[ 7:47] 1. In Love With Night

[ 3:38] 2. I Carry Your Heart

[ 5:52] 3. Now In Our Lives

[ 7:53] 4. Urban Dreams

[10:54] 5. Julian

[ 7:41] 6. Civilization And Its Discontents

[ 8:07] 7. Lovers Of That Time

[ 8:32] 8. I Carry Your Heart (Reprise) [duo Vers]

I Carry Your Heart; Alexis Cole Sings Pepper Adams is a stunning piece of work. The lyrics, pure poetry; the music, cerebral and swinging. This creation is even more amazing when seen as part of a five-volume production covering all of baritone sax legend Pepper Adams' work. Producer Gary Carner got the idea for a digital box set, Joy Road: The Complete Works of Pepper Adams (Volumes 1-5), to be put out on Motéma Music. Subsequent to Cole's vocal CD was Joy Road Sampler (Motéma, 2012), which contains highlights from all four volumes. All discs will be available at a later date.

Carner became interested in the project in the mid-eighties. "Now," he says, "after 28 years of research, it has become a crusade...to maintain the historical record of his [Pepper's] life and work" Also a meticulously researched Pepper Adams' Joy Road: An Annotated Discography (2012), has been published by Scarecrow Press.

Adams' compositions are sung by the highly rated Cole. The New York-based vocalist was recommended by saxophonist Eric Alexander, who had recorded with her on a Fred Hersch album. For this first ever pairing of his music with words, Carner got poet/lyricist Barry Wallenstein, his friend and mentor at City College of New York (CCNY). Rearranging Adams' seven ballads to various speeds and styles, and pairing them with Wallenstein's richly literary lyrics, was the task. Cole comes up a winner here with her straightforward interpretations, honoring the integrity of the poetry and always swinging. The band also deserves special mention, especially the two tenor sax performers, Alexander and Pat La Barbera. Whether soloing or blending their sound, they excel in mostly long takes.

I Carry Your Heart: Alexis Cole Sings Pepper Adams

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Taylor Eigsti - Lucky To Be Me

Bitrate: 320K/s
Time: 58:47
Size: 134.6 MB
Styles: Piano jazz
Year: 2006
Art: Front

[5:11] 1. Giant Steps
[5:07] 2. Get Your Hopes Up
[3:11] 3. Love For Sale
[5:28] 4. I've Seen It All
[4:29] 5. Argument
[4:29] 6. True Colors
[5:34] 7. Woke Up This Morning
[5:32] 8. Promenade
[6:52] 9. Adventure One
[4:49] 10. Darn That Dream
[4:52] 11. Freedom Jazz Dance
[3:07] 12. Lucky To Be Me

It must indeed be a lucky thing to be Taylor Eigsti, a 21-year-old pianist who has already been performing for over a decade. After a handful of independent discs comes his Concord debut, Lucky to Be Me, a collection of originals, standards and unexpected interpretations featuring bassist Christian McBride, drummer Lewis Nash and guitarist Julian Lage.

From the very top, his reharmonized arrangement of John Coltrane's "Giant Steps" bears all the indications of a mature talent with an adventurous spirit. The cohesiveness of the assembled musicians is instantly apparent as they blow through the "new" changes with frenetic grace. Eigsti also contributes three originals. "Get Your Hopes Up" is a breezy up-tempo tune with a strong Latin inflection and an alternating two chord major/minor vamp that allows the pianist to stretch out. "Argument" is aptly titled and fitfully executed with bassist James Genus and drummer Billy Kilson. Although the hyperactive syncopation and licks-per-minute rate is fairly high, the Fender Rhodes solo offers a nice contrast to the otherwise difficult ensemble workout. The lightness of his touch certainly counterbalances the gravity of his phrasing throughout the disc, and his third composition, "Adventure One," takes his technical abilities to expressive heights. McBride's bass solo is a highlight.

Both rhythm sections on this album sound relaxed and comfortable, and the addition of guitarist Julian Lage offers a pleasing extension of Eigsti's natural affinity for strong melody. The choice of material and tight arrangements make me look forward to future releases by this young talent. Although not an earth-shattering opus, Lucky to Be Me is nonetheless a worthy endeavor that should attract listeners who are curious about a new voice in jazz with something original to say. We'll keep listening. ~Ken Kase

Taylor Eigsti: piano; Christian McBride, James Genus: bass; Lewis Nash, Billy Kilson: drums; Julian Lage: guitar; Greg Adams: trumpet; Eric Marienthal: alto saxophone; Adam Schroeder: baritone sax; Garrett Smith: trombone; Brian Swartz: trumpet; Ben Wendel: tenor sax.

Lucky To Be Me

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Cannonball Adderley Sextet - Jazz Workshop Revisited

Recorded: 1962
Released: 1963,1986,1992
Reissue: 2001 (Remastered)
Size: 128,4 MB
Time: 55:38
File: MP3 @ 320K/s
Styles: Hard Bop,Soul Jazz,Saxophone
Art: Front,Back,Tray

01. An Opening Comment By Cannonball... [ 0:51]
02. Primitivo [ 9:13]
03. Jessica's Day [ 6:30]
04. Marney [ 6:52]
05. A Few Words... [ 0:13]
06. Unit Seven [ 9:06]
07. Another Few Words... [ 0:26]
08. The Jive Samba [11:02]
09. Lillie [ 4:43]
10. Mellow Bruno [ 6:00]
11. Time To Go Now - Really! [ 0:36]

Adderley's burning 1959 live recording "In San Francisco" was something of a hit for the altoist and his quintet. Fully aware of the high standards they'd set, Cannon and producer Orrin Keepnews decided to return to the Jazz Workshop three years later for another hard-swinging affair. By then, Adderley's band had been fleshed out to a sextet distinguished by the presence of a second wind player in Yusef Lateef. Joe Zawinul had settled into the piano chair a year earlier, while Adderley's cornetist brother Nat and the rhythm team of Sam Jones and Louis Hayes were all holdovers from the previous S.F. record. The exotic, ominous one-chord vamp "Primitivo" makes effective use of Lateef's evocative flute and oboe touches. Another highlight is Nat's 11-minute "Jive Samba," a bossa-nova-based groove that actually found its way onto jukeboxes in severely abridged form. Here Lateef's flute proves to be a dynamic addition to the solo procession.(~~Marc Greilsamer)

In 1963 Cannonball Adderley signed with the Capitol label, retaining the rights to some master tapes recorded earlier while he was with Riverside. This CD (a straight reissue of an earlier LP) therefore contains music much closer to the altoist's freewheeling Riverside period than to his R&Bish Capitol dates. Adderley's greatest band -- his sextet with cornetist Nat Adderley, Yusef Lateef (on tenor, flute and oboe), pianist Joe Zawinul, bassist Sam Jones, and drummer Louis Hayes -- is featured on such exciting numbers as "Jessica's Day," Jones' "Unit 7," and "The Jive Samba." A special treat of this live date is hearing the leader's introductory words to several of the songs.(~~Scott Yanow)

Here we are again with Cannonball and associates in The Jazz Workshop . . and it sounds like a very good place to be. Which is exactly the way it sounded while this warm and happy album was being recorded before a warm and happy, no-empty-seats audience.A great many thousands of listeners must feel very much at home in this setting even though most of them may never even have set foot in the city of San Francisco. For the Workshop, one of the best-known and most relaxed of the nation's jazz nightspots, was of course also the scene of the Adderley's group's very first LP: the remarkable, phenomenally best-selling "Cannonball Adderley Quintet in San Francisco," which helped catapult this band to the top and has become something of a landmark among on-the-job jazz records.The idea of again capturing the band in action in this room is one that, naturally enough, all concerned have had in mind for quite some time. It wasn't just a matter of wanting to return to the scene of the band's initial triumph - although the club will always have a special sentimental value, something like a good-luck charm, for Cannonball and for Riverside. It was also a matter of a long-standing awareness that this is a band that responds magnificently to the stimulus of the right crowd. And, with no offense intended to any other place or people, it has been my experience that audiences in San Francisco in general and at The Jazz Workshop in particular are just about the rightest crowds possible!The group has of course been back several times since that momentous first engagement in 1959. But it wasn't until roughly the third anniversary of that occasion that all the circumstance fell into place to bring about the present album. And although this is not and could not be intended as a 'duplication" of the earlier LP, there are some rather remarkable similarities to be noted. For one thing, no less than four members of the original quintet are still very much on hand: the Adderley brothers themselves, and the unbeatable rhythm team of Sam Jones and Lou Hayes. (In jazz today, such band longevity is in itself something special.) The only changes are that Joe Zawinul, from Austria, has for some time been on piano, and that the group has been augmented to sextet size by the addition of the deep-toned tenor sax and vivid flute of Yusef Lateef.For another thing, there is the inclusion of what seems clearly destined to be another of those rare, all-pervading tunes. The first album had, (do we need to remind anyone?) Bobby Timmons' memorable This Here. Other LPs have introduced other stand-outs (several of which have been assembled on "Cannonball's Greatest Hits"). Now we have Nat Adderley's richly low-down Jive Samba. There was no difficulty in spotting this one: the first time I heard it, and heard the reaction it provoked (such as you can hear on the record), it was obvious that this tune had what it takes. Which was no more than what the band had been telling me since I arrived in town. And even before the release of this album, a short 45-rpm single version of The Jive Samba (extracted from this recording) had sky-rocketed into nation-wide "hit" status.
The very mean Samba is scarcely alone here. There is Cannon's thoroughly unique and gripping "Primitivo"; Lateef's swinging, Ellington. tinged "Mellow Bruno"; and Sam Jones' very pretty ballad, "Lillie" - a total of four quite varied examples of the composing talents of this group. Plus a wonderfully buoyant treatment of a Quincy Jones tune, and an intriguing, adventurous new number contributed by Donald Byrd. Small wonder that, after a night of music like this, the audience gave Cannonball a hard time about leaving the stand.Fortunately, however, there is no curfew hour for recorded club dates. All you have to do is to start listening all over again, from the top.(~~Orrin Keepnews)

Line-Up:
Julian 'Cannonball' Adderley - Alto Saxophone
Nat Adderley - Cornet
Yusef Lateef - Tenor Saxophone, Flute and Oboe
Joe Zawinul - Piano
Sam Jones - Double Bass
Louis Hayes - Drums

Recorded "live" at The Jazz Workshop , San Francisco, September 22 & 23 , 1962

Jazz Workshop Revisited    Mega


Jazz Workshop Revisited Zippyshare

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Cassandre McKinley - Right In Front Of You

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 34:01
Size: 78,3 MB
Art: Front

(2:54)  1. Anyone But You
(4:47)  2. A Beautiful Friendship
(2:49)  3. Never To Return
(3:28)  4. Our Journey (Lexi's Song)
(4:43)  5. Watch Yourself Go By
(3:26)  6. Cravin' Spring
(3:40)  7. It's Alright With Me
(4:30)  8. Right In Front Of You
(3:43)  9. Hit Me With A Hot Note And Wat

Cassandre McKinley has never been compared to another famous singer “before her time”. Instead, McKinley has enriched her musical surroundings with something honest and refreshing. Her approach to jazz is organic, instinctual and from the heart  most simply describe her as “authentic”. Drawing from a diverse group of influences, McKinley has developed a sound and style that is so unique, there’s no comparisons. Her voice is a blend that is true “soul” at it’s core a sound that is pure, yet sophisticated and distinctive. Many will tell you that McKinley gives every ounce of herself to the music and the strength in her vocal performance, while dynamic and clear, leaves one wondering where this seemingly endless reserve of vocal power and prowess comes from.

McKinley grew up 20 minutes outside of Boston. She trained as a singer, dancer and actress at a very young age, but was never extreme in her focus for one or the other. The dance company she studied and performed with kept her well rounded and allowed her frequent trips to Boston and NYC where she could fulfill her passion for the arts. She began working with a vocal coach; Beatrice was a European opera singer who had retired professionally and was teaching students at The Boston Conservatory of Music. McKinley went on to attend the college and formed a special bond with the teacher. After college, McKinley rooted herself in the city where she spent time cultivating her music skills. She frequented musical venues  listening and absorbing. Occasionally, she would have the opportunity to sit in and sing which lead to a few guest appearances in larger venues (The House of Blues, Ryles Jazz Club). It had become clear to those that had worked with McKinley, to her growing number of local fans, and McKinley herself that Jazz was not only something she had a special knack for  she felt more passion for it than any other style of music.  Her first legitimate jazz gig McKinley took a leap of faith and asked some of Boston’s most well known players to accompany her on the gig. They obliged. From that point on, she would continue building musical relationships that would strenthen her artistically. Dick Johnson (Artie Shaw Orchestra), Herb Pomeroy, Al Vega and a list of local legends world class performers all spent time with McKinley with a willingness to advise and educate the young singer. “Friendships like these are a gift those gentlemen shared thier philosophies with me  they each taught me to trust my instincts”. McKinley admits that the jazz form and the art of “improvisation” appeals to her. “I love the freedom that comes with singing jazz although there is still a form to the music, it can move and bend it all depends on what’s inside the soul and how you happen to apply it”.

When asked who her influences are, she answers with a surprising mix. “Dinah Washington, Anita O’Day, Miles Davis, Sam Cooke, Marvin Gaye, Cat Stevens, Ray Charles, Stevie Wonder, Nancy Wilson  even Elvis. Drawing from this diverse group, McKinley has developed a sound and style that is unique to her like leaves on a tree. Her soulful blend is simple, yet sophisticated true and distinctive. Cassandre has just released her debut album under the MAXJAZZ label titled TIL TOMORROW – REMEMBERING MARVIN GAYE. In this body of work, McKinley delivers her interpretation of selected music Gaye wrote, co-wrote and performed throughout his career. From inception to execution, McKinley’s sensitivity to Gaye’s message and her rich, warm sound combine to pull this project far, far away from the ordinary. Creating a genre that just fits between Jazz, Smooth Jazz and R & B, “Til Tomorrow” is a rich exploration into Nu-Jazz and Soul focusing on the “soul”. 

“Making this album was like reading over old pages from my journals  it was a beautiful opportunity to see where it is I’ve been and then, take a moment to anticipate what may be ahead.”  http://www.cassandremckinley.com/about/

Right In Front Of You

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Nikki Loney - Falling in Love

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 61:23
Size: 142,1 MB
Art: Front

(4:59)  1. At Last
(4:12)  2. Will You Still Love Me Tomorrow?
(4:09)  3. Summer Wind
(3:12)  4. I Only Have Eyes for You
(3:49)  5. Since I Fell for You
(4:11)  6. Makin' Whoopee
(5:03)  7. Smoke Gets in Your Eyes
(4:29)  8. These Arms of Mine
(4:36)  9. Somewhere over the Rainbow
(5:00) 10. Lover Man
(4:59) 11. Summertime
(4:18) 12. Crazy
(4:32) 13. Black Coffee
(3:48) 14. In the Wee Small Hours of the Morning

Nikki Loney is a professional vocalist and Registered Music Teacher from Hamilton, Ontario Canada. She is an honours graduate of the Humber College Music Program. She works with professional and amateur vocalists ages 6 to 63, preparing them for examinations, post secondary auditions, competitions and professional singing endeavours. Nikki has over twenty years of recording studio experience and her vocals have been featured on television and radio jingles, and commercial recording releases.  http://thefullvoice.com/fvauthors.html

Falling in Love

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Kathleen Grace - Sunrise

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 46:48
Size: 107,4 MB
Art: Front

(4:47)  1. Blackbird
(3:56)  2. I've Got the World on a String
(3:20)  3. The Summer Knows
(3:43)  4. The Lady is a Tramp
(4:06)  5. Cool
(5:32)  6. Softly as in a Morning Sunrise
(3:04)  7. But Not for Me
(3:59)  8. Beautiful Love
(4:39)  9. Emily
(3:30) 10. Armageddon
(6:07) 11. Small Day Tomorrow

Kathleen Grace hails from Tucson, Ariz., and wails in Los Angeles. She boasts a three-octave voice, and her self-released debut album deserves a wider audience so major labels, step up. Her range of feelings embraces straightahead, theater, cabaret and smoky, intimate, small hours vocalizing. Mood swings and tricky modulations are effortless thanks to the disciplined backing by pianist Tamir Hendelman, bassist Darek Oles and drummer Jamey Tate. Grace oozes self-confidence and has the sort of intonation that allows her to introduce two tunes a cappella: “But Not for Me,” propelled by brushes (she gamely sings in unison with piano during brief exchanges with drums), plus her solo introduction of Johnny Mandel’s gorgeous “Emily.” She effortlessly juggles 5/4 and 4/4 in “I’ve Got the World on a String” and exhibits her personal scat on Wayne Shorter’s “Armageddon.” A passionate highlight for piano and voice is “Softly, As in a Morning Sunrise,” a great study in dynamic shadings, all evolving from a sensuous tango figure. ~ Harvey Siders   http://jazztimes.com/articles/17132-sunrise-kathleen-grace

Sunrise

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The Pasadena Roof Orchestra - Licensed to Swing

Styles: Big Band
Year: 2011
File: MP3@320K/s
Time: 50:27
Size: 119,5 MB
Art: Front + Back

(3:41)  1. You´re the top
(3:12)  2. At the Jazz Band Ball
(3:16)  3. Bel Ami
(3:10)  4. No strings
(2:59)  5. Futuristic rhythm
(2:54)  6. Polka dot rag
(3:26)  7. About a quater to nine
(2:25)  8. I heard
(3:22)  9. Without a certain thing
(2:36) 10. Am Sonntag will meine Süsse mit mir segeln gehn
(3:02) 11. Jungle nights in Harlem
(2:56) 12. Happy feet
(3:20) 13. Singing in the rain
(3:34) 14. A cheerful little earful
(3:13) 15. Where the blue of the nicht (meets the gold of the day)
(3:11) 16. Yes! We have no bananas

It´s the Year 1969. A man makes the first step on the moon. The BEATLES play their last concert. The first Woodstock happens ….

… and The Pasadena Roof Orchestra gets its licence to swing when over 1000 original dance band arrangements are discovered in an attic by founder-member, John Arthy. But you know that story, don´t you? And the rest - as they say – is history!
More than 40 years on from that incredible find, the orchestra´s reportoire has been shaken again – not stirred! The best 1920´s and 30´s tunes are the simple ingredients fort hat cocktail. So, sit back and take a sip of the orchestra´s new programme LICENCE TO SWING .

For over forty years the Pasadena Roof Orchestra, based in the UK, has delighted audiences all over the world with its mix of swing and hot dance music. Swing is much more than a musical genre, it personifies a lust for life, with its infectious beat. Its roots lie in the pre war dance bands, and the roaring twenties which inspired the later big swing bands. In contrast to many other musical genres swing has never really gone out of fashion over the decades, particularly in recent years. The Pasadena Roof Orchestra has played an important role in this resurgence of popularity.
In the past, the orchestra’s kind of music provided a boost in the background to some calamitous times, pre and post war. Today, not only is the orchestra bringing its music to young audiences all over the world, it is introducing new generations of young musicians to the music. 

The reputation of the orchestra is as legendary in its own right, as the bands from the 1920’s and 1930’s that inspired it. 40 recorded vinyl LPs, singles, CDs, and DVDs containing over 300 titles have been released since 1974. The timeless sound of the orchestra has led to ever more recordings. In Japan the orchestra's first five vinyl albums have recently been rereleased in a CD format. When it comes to authentic swing music the orchestra has no equal. The orchestra performs year-round with a line up of eleven excellent jazz musicians who have perfected their craft and studied jazz at the top conservatories. Many years of working together with top class arrangements, result in the ensemble sound for which the orchestra is renowned. The show is presented in a way that not only showcases this talent, but adds some wit and humour. Duncan Galloway is the band-leader and vocalist and is also responsible for the musical direction. With a background in theatre and music, Duncan has been part of the orchestra for over ten years. The repertoire currently comprises over 200 titles of jazz, early swing and dance music from the era. The orchestra was founded in 1969 by the master baker John Arthy... 

http://www.painteddogrecords.com/pasadenarooforchestra.html

Licensed to Swing

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