Natalie Douglas - Not That Different / To Nina... Live At Birdland

Album: Not That Different
Size: 119,6 MB
Time: 51:20
File: MP3 @ 320K/s
Released: 1999
Styles: Vocals Jazz/Blues
Art: Front

01. Ain't Got Nothing But The Blues (4:55)
02. Georgia Rose (3:06)
03. Not That Different (4:42)
04. Experiment (2:23)
05. Small Day Tomorrow (4:10)
06. I Was Telling Him About You (2:51)
07. Bewitched, Bothered And Bewildered (5:10)
08. Where've You Been (4:14)
09. Wheelers And Dealers (2:56)
10. Until It's Time For You To Go (4:10)
11. Standing Knee Deep In A River (4:25)
12. Satan's Li'l Lamb (4:04)
13. Jonah Man (4:09)

NATALIE DOUGLAS was born in Los Angeles, California and began her singing career at the ripe old age of four in her mother's kitchen. Given a song to learn while her mother was preparing dinner (really in order to get Natalie out of her hair), Natalie then performed the song for her parents after the meal. Since that auspicious beginning, this performer has garnered rave reviews with multiple awards and nominations for her unique mix of jazz, blues, standards, pop, folk and country music blended together with the assistance of her Musical Director, Broadway, Off-Broadway & Regional Conductor Mark Hartman.

She is a seven-time MAC (Manhattan Association of Cabarets and Clubs) Award Winner, a Nightlife Award Winner and a Backstage Bistro Award Winner with appearances at Birdland Jazz Club (her NYC home), Carnegie Hall, The Café Carlyle, Kennedy Center, Jazz at Lincoln Center, The Herbst Theatre, Town Hall and other New York City, National and International venues. In addition, there is Natalie’s annual New Year’s Eve collaboration with Mark Hartman – a Greenwich Village tradition - which materializes each December 31st at the Duplex Cabaret Theatre.

Natalie’s has two recordings to date: her debut CD, “Not That Different,” which was nominated for a 2000 MAC Award for Outstanding Recording and “To Nina...Live At Birdland” (a live recording of her one woman show, To Nina: A Tribute to Nina Simone) Both CDs are available at amazon.com or via this website and selections from the CDs continue to be featured on NPR and Sirius Radio. She also appears on Fine and Dandy for PS Classics and Broadway By The Year: 1940 on Bayview Records.

She is married to her gorgeous husband, private personal trainer, Billy Joe Young (and can be seen with said husband, showing off the good education her parents paid for on The Discovery Channel's Cash Cab.)

Natalie is also an actor and is featured in feature film “The Camera’s Eye,” has appeared on ABC’s “Cupid” and many theatrical productions, including "The People vs. Mona", "Thalia Follies", “theATrainplays (series 5-22)” with The Neighborhood Playhouse, "Hillside in Hell" with 13th Street Rep and was a featured soloist at the York Theatre Company’s benefit production of "Children Of Eden" at Riverside Church.

Natalie is a Visiting Artist specializing in numerous diversity programs that she presents at Tri-State area public and private schools.

She is a Phi Beta Kappa graduate of USC with a Magna Cum Laude Bachelor of Arts Degree in Psychology with certificates in Theatre and Women's Studies and holds a Master's Degree in Psychology from UCLA.

Awards:
Natalie has received the following awards and nominations from the Manhattan Associations of Cabarets and Clubs (MAC), Siegel Presents! and from Backstage Publications, Inc.:
2008 MAC Award Winner: Outstanding Major Jazz Artist
2008 Nightlife Award Winner: Outstanding Piano Bar Entertainer
2005 MAC Award Winner: Outstanding Female Vocalist
2004 MAC Award Winner: Outstanding Jazz Vocalist
2003 MAC Award Winner: Outstanding Jazz Vocalist
2001 MAC Award Winner: Outstanding Jazz Vocalist
1998 MAC Award Winner: Outstanding Female Jazz Vocalist
1996 MAC Hanson (Critic's) Award Winner
1992 Back Stage Bistro Award Winner: Outstanding Female Vocalist
2002, 2000, 1999 & 1997 MAC Award Nominee: Outstanding Jazz Vocalist
2000 MAC Award Nominee: Recording of the Year, "Not That Different"

Not That Different

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Album: To Nina... Live At Birdland
Size: 141,4 MB
Time: 61:02
File: MP3 @ 320K/s
Released: 2004
Styles: Vocals Jazz/Blues
Art: Front

01. I Wish I Knew How It Would Feel To Be Free (3:02)
02. Summertime - I Loves You Porgy (5:29)
03. Work Song (4:02)
04. House Of The Rising Sun (4:46)
05. I Put A Spell On You (3:12)
06. Forbidden Fruit (4:25)
07. My Baby Just Cares For Me (4:33)
08. You Can Have Him (4:54)
09. Four Women (3:50)
10. Intro To Why (0:55)
11. Why (The King Of Love Is Dead) (5:28)
12. Children Go Where I Send You (4:43)
13. Natalie Tells A Story (3:43)
14. His Eye Is On The Sparrow (7:53)

AHH!!! Music with a purpose!!! Captured "in the moment" at Birdland in New York City on August 8th, 2004, the setting is live and Natalie Douglas captures a "real performance". The audience is a part of the evening and Ms. Douglas develops a close connection with them. Music mixed with personal insight. She even gets them to participate on "Forbidden Fruit"

The music of Nina Simone conjures up deep emotions creating a mood and reaction through both sounds and lyrics. Passion, Anger, Love, just scratching the surface here. This is more than a tribute recording. Ms. Douglas holds Nina Simone in high regard both as an artist and as a person.

Offering a tribute to anyone’s music is difficult. But choosing a person who has strongly influenced your development musically and personally presents an even higher challenge. How do you frame a tribute, get to the root of what you want to say without getting sappy and losing the audience? How do you get deep enough to communicate the passion you feel?

Natalie Douglas tackles this challenge perfectly. First, she lets the emotion and passion come from the music. She decided to: Just Sing It!!! Second, she cracks the door to her feelings for Nina and her music by giving the audience personal stories that make the evening "real".

The rest of her ensemble supports her wonderfully whether with the tune is jazz, blues, or gospel.

This project comes from the heart and provides great music and personal insight to the artist. Check it out.

Thanks Natalie!

Musicians: Piano: Mark Hartman, Tenor Saxophone: Patience Higgins, Percussion: Sean McDaniel, Bass: Steve Doyle

To Nina... Live At Birdland

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Lisa Young Quartet - Grace

Size: 122,6 MB
Time: 53:01
File: MP3 @ 320K/s
Released: 2007/2013
Styles: Jazz Vocals, Brazilian Rhythms, World Fusion
Art: Front

01. Grace (6:22)
02. 'cause I Weep (4:52)
03. Sa Ri Ga (5:21)
04. A Change Of Plea (5:37)
05. Free Flow (6:25)
06. If We Be (4:02)
07. Drifting (5:21)
08. Mani's Samba (2:56)
09. The Moon Has Made Other Plans (6:11)
10. Overflow (5:52)

The award winning Lisa Young Quartet (‘Bell Awards’ Best Australian Jazz Vocal Album), is well known to Jazz and World Music listeners as an ensemble of creative improvisers incorporating Indian and African elements in their work. Renown as an exceptionally creative vocal stylist and improviser, Lisa is a long time student of mridangam maestro Karaikudi Mani in Chennai, and specialises in ‘konnakol’ – South Indian vocal percussion.

The quartet features the intuitive musicality of Ben Robertson (Double Bass), Steve Magnusson (Guitar) and Dave Beck (Drums).

Lisa Young’s new CD “The Eternal Pulse” was nominated for “Best Australian Jazz Vocal Album 2012”.
Her CD “Grace” won the “Best Australian Jazz Vocal Album 2007” award.

Grace

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Rosie Carlino - So In Love With You

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 56:04
Size: 129,4 MB
Art: Front

(5:20)  1. That Old Black Magic
(5:40)  2. But Beautiful
(5:59)  3. So in Love
(3:59)  4. My Foolish Heart
(4:16)  5. Old Devil Moon
(5:48)  6. Bewitched
(4:06)  7. Fools Rush In
(4:55)  8. Unforgettable
(6:02)  9. In The Still Of The Night
(4:13) 10. My Romance
(5:41) 11. They Say It's Wonderful

So In Love With You from the acclaimed new performer Rosie Carlino is the most romantic thing to come out of the music industry since Rosemary Clooney. It is a lushly orchestrated collection of old standards made new again. Sultry, sexy and smooth, this CD awakens the smoldering poignancy of classic songs by Gershwin, Porter and Rodgers, and brings romance to a whole new generation. 

http://www.amazon.com/So-In-Love-With-You/dp/B0009FUV00

So In Love With You

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Spitfire Band - Make Believe Ballroom

Styles: Big Band
Year: 1995
File: MP3@320K/s
Time: 77:40
Size: 179,1 MB
Art: Front

(3:07)  1. Sing Sing Sing
(4:46)  2. I Can't Get Started
(2:46)  3. St. Louis Blues
(5:11)  4. Medley: You Made Me Love You - I'll Never Smile Again - For All We Know
(3:07)  5. After You've Gone
(2:53)  6. Marie
(3:03)  7. Tuxedo Junction
(3:31)  8. Medley: Green Eyes - Amapola - Tangerine
(3:04)  9. American Patrol
(2:56) 10. Sentimental Journey
(2:53) 11. Leap Frog
(2:43) 12. I've Got A Gal In Kalamazoo
(2:23) 13. Let's Dance
(2:59) 14. Near You
(4:32) 15. Medley: Basin Street Blues - Stars Fell On Alabama - Georgia On My mMnd
(3:08) 16. Cherokee
(2:35) 17. Medley: Accentuate The Positive - On the Atchison, Topeka, and The Santa Fe
(3:34) 18. G.I. Jive
(2:47) 19. Pennsylvania 6-5000
(2:54) 20. Shanty In Old Shanty Town
(2:34) 21. Bugle Call Rag
(3:01) 22. Stompin' At The Savoy
(2:51) 23. Make Believe Ballroom Time
(4:11) 24. No More Dancin'

If there was ever a TIME to get on the new big band bandwagon, the TIME is now! The Spitfire Band is a happening band. And it's happening BIG TIME! "The greatest band in the world today! Big Time! With today's recorded sound and Micky Erbe's arrangements, just phenomenal." - Bill Randle, WRMR, Cleveland, OH. Timely hits include: "Just in Time," "Time After Time," "As Time Goes By," "Witchcraft," and "Hey There." 

~ Editorial Reviews   

http://www.amazon.com/Make-Believe-Ballroom-Spitfire-Band/dp/B000001H43

The Spitfire Band includes: Jackie Rae (vocals); Arnie Chycoski (trumpet).

Make Believe Ballroom

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Rachel Z Trio - First Time Ever I Saw Your Face

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 53:37
Size: 123,2 MB
Art: Front

(4:34)  1. Time To Say Goodbye (Con Te Partiro)
(6:17)  2. Fragile
(8:02)  3. First Time Ever I Saw Your Face
(8:03)  4. Autumn Leaves
(4:57)  5. Heart-Shaped Box
(4:09)  6. Crestfallen
(6:13)  7. Hurt
(4:35)  8. In The Wee Small Hours Of The Morning
(6:45)  9. Don't Give Up

Over the latter half of the '90s, pianist/keyboardist Rachel Z blossomed into one of the top female performers in contemporary mainstream jazz. Because of her work in fusion and jazz-pop, she hasn't always enjoyed universally high critical regard, but it's clear that commercial accessibility doesn't constitute the full breadth of her ambition. Plus, the more she came into her own as a solo artist, the more committed she became to spotlighting and collaborating with other female jazz players.  Rachel Z was born Rachel Nicolazzo in Manhattan; her mother was an opera singer, and so Rachel began voice training at the mere age of two, adding classical piano lessons at seven. At 15, she began playing in a Steely Dancover band, and discovered jazz when she heard Miles Davis' Miles Smileswhile attending a summer program at Boston's Berklee School of Music. Upon returning to Manhattan, she formed her own quintet, Nardis; she later graduated from the New England Conservatory of Music, where she studied with Joanne Brackeen, and gigged with several prominent artists in the Boston area, including George Garzone, Miroslav Vitous, and Bob Moses. She returned to Manhattan once again in 1988, first touring with Conservatory classmate Najee and then joining the fusion group Steps Ahead. Drawn to fusion because that was where the gigs were, Nicolazzo also played with Al DiMeola (Kiss My Axe), Larry Coryell,Special EFX, and Angela Bofill during this period, and also collaborated with Najee on 1990's big-selling smooth jazz hit Tokyo Blue, co-writing the title track and playing on the supporting tour. 

It was Steps Ahead leader/vibraphonistMike Mainieri who suggested Nicolazzo change her name to Rachel Z, which was simply easier to spell.  In 1993, a year after she debuted with Steps Ahead on Yin-Yang, Mainieriproduced Rachel Z's first album as a leader, Trust the Universe. Released on Columbia, it displayed the influence of Herbie Hancock and Chick Corea, and also spawned a smooth jazz radio hit in "Nardis." In 1994, she began collaborating heavily with saxophone legend Wayne Shorter on his Verve debut and comeback effort, High Life, orchestrating his compositions (mostly on synth) and adding her own synthesizer and piano work. Released in 1995, the results were a commercial and (for the most part) critical success, winning a Grammy for Best Contemporary Jazz Album. 

After serving as musical director on the supporting tour, Z officially left Steps Ahead and signed with Mainieri's NYC label as a solo artist. Her label debut, A Room of One's Own, was a series of compositions dedicated to the female artists (in all fields) who'd inspired her. Appropriately, her backing group  which featured, among others, her regular trio of the time in bassist Tracy Wormworth and drummer Cindy Blackman  was heavily weighted toward female musicians. Released in 1996, the accessible acoustic jazz of A Room of One's Own was generally well-reviewed. For her next project, Z signed with GRP and cut a hip-hop-flavored smooth jazz outing dubbed Love Is the Power, which was informed by her recent divorce and released in 1998. The following year, she participated in the fusion supergroup Vertú with former Return to Forever rhythm sectionStanley Clarke and Lenny White, and subsequently returned to acoustic jazz with her next album for Tone Center. 

On the Milkyway Express: A Tribute to the Music of Wayne Shorter featured her young new trio of bassist Miriam Sullivan and drummer Allison Miller, with whom she'd been playing for several years and now made her primary group. Additionally, she and Sullivan began playing together in a rock-oriented outfit called Peacebox.  Although her own career was going quite well, an invitation from Peter Gabriel to perform on his 20 city U.S. tour in 2002 was too much to resist. She found herself going on the road at the same time her newest solo album, Moon at the Window, was arriving in stores. A disc of Joni Mitchell covers and interpretations, the album was very personal to Rachel, but the chance to work with Gabriel was one of the few reasons she would purposefully not tour behind her own record. ~ Steve Huey  (http://www.allmusic.com/artist/rachel-z-mn0000380614)

Personnel : Rachel Z, Nicki Parrot.

First Time Ever I Saw Your Face

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Ehud Asherie & Harry Allen - Upper West Side

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 58:51
Size: 138,2 MB
Art: Front

(5:36)  1. Learnin' The Blues
(4:38)  2. It Had To Be You
(5:58)  3. O Pato
(5:17)  4. Our Love Is Here To Stay
(5:11)  5. Have You Met Miss Jones?
(5:39)  6. Passion Flower
(5:05)  7. I Want To Be Happy
(6:04)  8. Wrap Your Troubles In Dreams
(4:07)  9. I'm In The Mood For Love
(6:30) 10. Love Will Find A Way
(4:42) 11. My Blue Heaven

The closing track on pianist Ehud Asherie's Modern Life (Posi-Tone, 2010), whether intentional or not, came to serve as musical foreshadowing for this album. Modern Life has Asherie leading a crack quartet through a program of largely lesser-performed gems by cream-of-the-crop composers like George Gershwin, Jerome Kern and Tadd Dameron, but when the album reaches its conclusion the rhythm section is relieved of its duties, while tenor saxophonist Harry Allen stays onboard for an emotionally riveting two-man take on Billy Strayhorn's "A Flower Is A Lovesome Thing." Three months later, this pair would find itself in a Brooklyn recording studio, ready to make more duo magic with the music of Gershwin, Strayhorn and many others. 

That music from that session, which would come to be called Upper West Side, sat on the shelves for two-and-a-half years, but it couldn't have been due to a lack of quality. This is Grade A jazz performed by two consummate, classy musicians with an intimate knowledge of this repertoire and each other's mannerisms. They casually work their way through the Frank Sinatra-associated "Learnin' The Blues," turning up the heat and grit as they go, deliver playful lines when they visit Brazil (Jayme Silva's "O Pato"), fly through "I Want To Be Happy," and converse via traded solos at various points throughout the album. While Asherie has shown his (post) bop chops and organ abilities on other albums, he has built his reputation on his skills as a practitioner of the lost piano arts which are on display here. He's often a man out of time, performing in a style that one would sooner associate with the early twentieth century than now, but that's what makes him so special. 

Allen, who has his own throwback sound that occasionally touches on stylistic hallmarks of early masters like Ben Webster and Coleman Hawkins, is in a similar headspace and, though both men can hold their own in modern digs, it's a pleasure to hear two musicians of this caliber, willing to stop and take a look back. While the pair finds success on every track, the emotional and literal centerpiece of the album comes with another Strayhorn made musical scenario. Allen is Johnny Hodges to Asherie's Duke Ellington on "Passion Flower" and despite Allen playing a larger horn he still manages to capture the mood and spirit that surrounded the famous Ellington-associated altoist. Viewed in its entirety, Upper West Side is a program of delightful duo music that doesn't try to win anybody over with outré ideals, surprise twists or forced displays of showmanship. Allen and Asherie simply play the music, and they do so with clarity, class and charm. ~ Dan Bilawsky   

http://www.allaboutjazz.com/php/article.php?id=41385#.UuwVTrSgsis

Personnel: Ehud Asherie: piano; Harry Allen: tenor saxophone.

Upper West Side

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