VA - Beautiful: The Carole King Musical (Original Broadway Cast Recording)

Size: 126,4 MB
Time: 53:05
File: MP3 @ 320K/s
Released: 2014
Styles: Pop/Rock, Soundtrack
Art: Front

01. Beautiful Orchestra - Overture (1:11)
02. Jessie Mueller - So Far Away (1:40)
03. Beautiful Ensemble - 1650 Broadway Medley (1:58)
04. Jessie Mueller - It Might As Well Rain Until September (1:44)
05. Jessie Mueller, Jake Epstein, E. Clayton Cornelious, James Harkness, Douglas Lyons & Alan Wiggins - Some Kind Of Wonderful (2:59)
06. Anika Larsen - Happy Days Are Here Again (1:03)
07. Jake Epstein & Jessie Mueller - Take Good Care Of My Baby (1:34)
08. Jessie Mueller - Will You Love Me Tomorrow (3:03)
09. Anika Larsen & Jarrod Spector - He's Sure The Boy I Love (1:15)
10. Ashley Blanchet, Alysha Deslorieux, Carly Hughes & Rashidra Scott - Will You Love Me Tomorrow (2:21)
11. E. Clayton Cornelious, James Harkness, Douglas Lyons & Alan Wiggins - Up On The Roof (2:09)
12. E. Clayton Cornelious, James Harkness, Douglas Lyons & Alan Wiggins - On Broadway (2:08)
13. Ashley Blanchet & Beautiful Ensemble - The Locomotion (2:08)
14. Jarrod Spector, Josh Davis, Kevin Duda & Beautiful Ensemble - You've Lost That Lovin' Feeling (3:15)
15. Rashidra Scott, Ashley Blanchet, Alysha Deslorieux, Carly Hughes & Jessie Mueller - One Fine Day (2:47)
16. Jessie Mueller & Beautiful Ensemble - Chains (1:41)
17. Anika Larsen & Jarrod Spector - Walking In The Rain (2:18)
18. Sara King, Jake Epstein & Beautiful Ensemble - Pleasant Valley Sunday (2:05)
19. Alysha Deslorieux, Douglas Lyons, E. Clayton Cornelious & Josh Davis - We Gotta Get Out Of This Place (1:57)
20. Jessie Mueller, Douglas Lyons, E. Clayton Cornelious & Josh Davis - Uptown (1:33)
21. Jessie Mueller, Douglas Lyons, E. Clayton Cornelious & Josh Davis - It's Too Late (2:43)
22. Jessie Mueller, Jarrod Spector, Anika Larsen & Jeb Brown - You've Got A Friend (2:34)
23. Jessie Mueller & Beautiful Company - (You Make Me Feel Like) A Natural Woman (2:08)
24. Jessie Mueller & Beautiful Company - Beautiful (2:39)
25. Jessie Mueller & Beautiful Company - I Feel The Earth Move (2:00)

Among the most successful and celebrated pop songwriters of the '60s and '70s, Carole King started her career pitching tunes to publishers and producers in New York's celebrated Brill Building; by 1971, she had become a successful performer who released what would become one of the biggest-selling albums of the decade, Tapestry. King's personal and professional lives reflected the shifting mores of the '60s and the changing place of women in American culture, and her music and the stories behind her songs come to the stage in Beautiful: The Carole King Musical. Dealing with King's remarkable career in music, her often tumultuous relationship with husband and collaborator Gerry Goffin, and their friendly rivalry with fellow tunesmiths Barry Mann and Cynthia Weil, Beautiful features a score assembled from classic songs of the era, including "One Fine Day," "It Might as Well Rain Until September," "Will You Love Me Tomorrow," "It's Too Late," "Chains," "I Feel the Earth Move," and many more. ~Review by Mark Deming

Beautiful: The Carole King Musical

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Allan Vaché Big Four - Strike Two!

Bitrate: 320K/s
Time: 66:58
Size: 153.3 MB
Styles: Clarinet jazz, Swing
Year: 2003
Art: Front

[4:25] 1. That's A Plenty
[4:46] 2. Goin' South
[5:42] 3. Egyptian Fantasy
[3:27] 4. Minor Swing
[4:57] 5. When My Dreamboat Comes Home
[4:21] 6. Squeeze Me
[5:53] 7. Dinah
[4:11] 8. Love Me With A Feeling
[3:39] 9. Sweetie Dear
[3:57] 10. Doin' The New Lowdown
[4:58] 11. Wild Man Blues
[2:46] 12. Eccentric
[2:54] 13. There'll Come A Time
[5:37] 14. Brother, Can You Spare A Dime
[5:19] 15. Beale Street Blues

When Allan Vaché plays swing on his clarinet, the smooth sounds invite comparisons to a young Benny Goodman, which isn't surprising since the King of Swing was one of Vaché's chief influences. Vaché can be downright blistering as well as warm and inviting and his graceful playing makes even complicated pieces seem easy. Critics also compare him to jazz clarinetist Peanuts Hucko. ~ Linda Seida

Allan Vaché (clarinet); David Jones (cornet); Bob Leary (guitar); Phil Flanigan (bass).

Recorded on July 18 & 19, 1999.

Strike Two!

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Lisa Nilsson with Joao Castilho & Sebastian Notini - Sambou Sambou

Bitrate: 320K/s
Time: 34:34
Size: 79.1 MB
Styles: Brazilian jazz vocals
Year: 2009
Art: Front

[3:24] 1. Wave
[3:13] 2. A House Is Not A Home
[1:55] 3. Sambou Sambou
[3:59] 4. Corcovado (Quiet Nights Of Quiet Stars)
[3:10] 5. Madalena
[2:05] 6. O Samba Da Minha Terra
[2:51] 7. Modina
[3:31] 8. Linha De Passe
[3:15] 9. Extase
[3:32] 10. Para Raio
[3:33] 11. Moon River

In May of 2005 the Polar music prize was awarded to the Brazilian artist and Minister of Culture, Gilberto Gil. In connection with this a Brazil festival was organised in Stockholm and Lisa was asked to participate with a concert at Mosebacke as well as being asked to honour Gil during the award ceremony. For this occasion three of the musicians that Lisa had worked with in Rio were flown to Sweden and together with two Swedish musicians they performed three concerts. In order to create a repertoire for a Swedish audience Lisa began to write Swedish lyrics to some of the songs that had taken her fancy in Brazil. The tour was greeted with great enthusiasm and praised in reviews. From this was born the idea of a collaboration and creation of an album.

Lisa returned to Rio six months later and made preparations for the recording. After a few months of searching for a studio, gathering song material, trying to raise financial support and writing the Swedish lyrics she started rehearsing with the Rio band. Lisa produced for the second time and built up the album out of live sessions and through a democratic process with all involved.

Sambou Sambou

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Nat King Cole - Just One Of Those Things (And More)

Bitrate: 320K/s
Time: 33:30
Size: 76.7 MB
Styles: Vocal
Year: 1957/2012
Art: Front

[2:29] 1. When Your Lover Has Gone
[2:57] 2. A Cottage For Sale
[2:56] 3. Who's Sorry Now
[2:47] 4. Once In A While
[3:46] 5. These Foolish Things
[2:34] 6. Just For The Fun Of It
[3:10] 7. Don't Get Around Much Anymore
[2:23] 8. I Understand
[2:12] 9. Just One Of Those Things
[2:44] 10. The Song Is Ended (But The Melody Lingers On)
[2:45] 11. I Should Care
[2:42] 12. The Party's Over

Just One of Those Things is a theme album comparable to one of Frank Sinatra's uptempo swing albums of the same period (Come Fly With Me, etc.), and employs the same arranger/conductor, Billy May. Nat King Cole is a bit less effective than Sinatra at uptempo material; he tends to undersing these sprightly standards, and May saves his dramatic horn charts and percussion shots for moments when Cole is away from the microphone. Even so, by the fifth track, "These Foolish Things Remind Me of You," May has retreated to ballad time, and though his embellishments threaten to break out behind the singer, Cole gives an assured, unhurried performance. And that's the point: that Cole has tamed the rambunctious May does not mean he doesn't give wonderful interpretations to some wonderful songs: "Don't Get Around Much Anymore," "Just One of Those Things," "The Song Is Ended (But the Melody Lingers On)." And the light-handed swing supports those efforts well. ~William Ruhlmann

Just One Of Those Things (And More)

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Yerba Buena Stompers - San Francisco Bay Blues

Bitrate: 320K/s
Time: 59:26
Size: 136.1 MB
Styles: Dixieland
Year: 2005
Art: Front

[3:15] 1. Come On And Stomp, Stomp, Stomp
[3:19] 2. Take Me To The Land Of Jazz
[3:22] 3. Dusky Stevedore
[3:42] 4. Bluin' The Blues
[3:11] 5. Doin' The Hambone
[3:34] 6. Wang Wang Blues
[5:01] 7. Trouble In Mind
[4:17] 8. When Erastus Plays His Old Kazoo
[3:13] 9. Bees Knees
[3:57] 10. Sobbin' Blues
[2:38] 11. San Francisco Bay Blues
[2:41] 12. Black And White Rag
[3:53] 13. Tom Cat Blues
[3:05] 14. Duff Campbell's Revenge
[2:55] 15. Blue Moon Of Kentucky
[3:30] 16. Yellow Dog Blues
[3:44] 17. Buddy's Habits

"The Yerba Buena Stompers certainly have that slightly disreputable and noisy approach to revivalism which was the Lu Watters trademark, and they make a rowdily compelling case for the continued relevance of this sort of jazz. I doubt if I'll hear anything more enjoyable all year." ~Floyd Levin

San Francisco Bay Blues

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Michela Lombardi & Phil Woods - Sing & Play The Phil Woods Songbook Vol 2

Styles: Vocal And Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 48:30
Size: 111,2 MB
Art: Front

(6:24)  1. And When Were Young/The World Is Like a Playground
(3:40)  2. Beside the Sea
(4:48)  3. Beloved Elis
(5:05)  4. Labor of Love
(3:57)  5. This Is True Love
(5:44)  6. Such a Lovely Place (Medley Randi), Such a Lovely Place (Medley Randi)
(5:46)  7. Our Love
(4:57)  8. Sittin' Here
(3:25)  9. Sunset in Urbino
(4:38) 10. Where Do We Go from Here

One of the true masters of the bop vocabulary, Phil Woods had his own sound beginning in the mid-'50s and stuck to his musical guns throughout a remarkably productive career. There was never a doubt that he was one of the top alto saxophonists in jazz, and he lost neither his enthusiasm nor his creativity through the years. Woods' first alto was left to him by an uncle, and he started playing seriously when he was 12. He gigged and studied locally until 1948, when he moved to New York. Woods studied with Lennie Tristano, at the Manhattan School of Music, and at Juilliard, where he majored in clarinet. He worked with Charlie Barnet (1954), Jimmy Raney (1955), George Wallington, the Dizzy Gillespie Orchestra, Buddy Rich (1958-1959), Quincy Jones (1959-1961), and Benny Goodman (for BG's famous 1962 tour of the Soviet Union), but mostly headed his own groups after 1955, including co-leadership of a combo with fellow altoist Gene Quill in the '50s logically known as "Phil & Quill." Woods, who married the late Charlie Parker's former wife Chan in the 1950s (and became the stepfather to singer Kim Parker), was sometimes thought of as "the new Bird" due to his brilliance in bop settings, but he never really sounded like a copy of Parker.

Woods popped up in a variety of settings in the 1960s  on Benny Carter's classic Further Definitions record, touring Europe with the short-lived Thelonious Monk Nonet, and appearing on studio dates like the soundtracks to The Hustler and Blow Up. Always interested in jazz education (although he believed that there is no better way to learn jazz than to gig and travel constantly), Woods taught at an arts camp in Pennsylvania in the summers of 1964-1967. Discouraged with the jazz scene in the U.S., he moved to France in 1968. For the next few years, Woods led a very advanced group, the European Rhythm Machine, which leaned toward the avant-garde and included pianist George Gruntz. Their recordings still sound fresh and exciting today, although this venture would only be a detour in Woods' bebop life. In 1972, he returned to the U.S. and tried unsuccessfully to lead an electronic group that featured keyboardist Pete Robinson. In 1973, Woods formed a quintet with pianist Mike Melillo, bassist Steve Gilmore, drummer Bill Goodwin, and guitarist Harry Leahey that had much greater success. Their recording Live at the Showboat officially launched the band, which, after a few personnel changes, toured the world. After Leahey left in 1978, it was known as the Phil Woods Quartet until trumpeter Tom Harrell (1983-1989) joined; his spot was then assumed by trombonist Hal Crook (1989-1992) and trumpeter Brian Lynch. Pianist Melillo went out on his own in 1980, and his successors were Hal Galper (1980-1990), Jim McNeely (1990-1995), and Bill Charlap; Gilmore and Goodwin were with Woods from the group's start. Not just bebop repertory bands, Woods' ensembles developed their own repertoire, took plenty of chances, and stretched themselves while sticking to his straight-ahead path.

Woods contributed the famous alto solo to Billy Joel's hit recording of "Just the Way You Are" and was one of Michel Legrand's favorite artists, guesting with Legrand on an occasional basis; he made dozens of rewarding recordings himself through the years. After debuting as a leader in the mid-'50s, he recorded for Prestige, Savoy, RCA, Mode, Epic, Candid (the brilliant The Right of Swing in 1961), Impulse, MGM, Verve, Embryo, Testament, Muse, Omnisound, Enja, and Chesky, and recorded with his Quintet/Quartet for RCA, Gryphon, Adelphi, Clean Cuts, SeaBreeze (two sets adding Chris Swansen's inventive synthesizer to the band), Red, Antilles, Palo Alto, BlackHawk, Denon, and quite extensively for Concord. Some key sets include 1960's Rights of Swing on Candid, 1974's Musique Du Bois on 32 Jazz, 1981's Birds of a Feather from Antilles, and 2002's Americans Swinging in Paris from EMI. An Italian label, Philogy (which has some broadcasts and live performances from Woods' bands), is named after the popular and brilliant altoist. Still going strong into the 21st century, Woods cut a live session with the Los Angeles Jazz Orchestra in 2005 that was released by Jazz Media in 2006. American Songbook, which features Woods' treatment of pop and jazz standards, appeared from Kind of Blue later that same year. In 2009, after years of attempting to secure the rights to interpret the work of writer A.A. Milne, Woods released Children's Suite a tribute to Milne's classic book Winnie the Pooh. Phil Woods died from complications of emphysema in September 2015 at the age of 83. https://itunes.apple.com/eg/artist/phil-woods/id124283#fullText

Sing & Play The Phil Woods Songbook Vol 2

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Hank Mobley - Music For Lovers

Styles: Saxophone Jazz

Year: 2005

File: MP3@320K/s

Time: 53:32

Size: 122,7 MB

Art: Front

(5:05)  1. The Good Life

(6:07)  2. Darn That Dream

(7:39)  3. I Should Care

(5:24)  4. I See Your Face Before Me

(5:37)  5. No More Goodbyes

(5:57)  6. Deep In A Dream

(6:49)  7. My Sin

(6:36)  8. Fin De L'Affaire

(4:13)  9. Alone Together

These nine ballads were recorded by Hank Mobley between 1955 and 1967. Apart from being a genuinely wonderful set of romantic tunes, Music for Lovers showcases a different side of the great hard bop tenor's playing. Mobley's approach to ballads was reverent, but it was loose, too. Mobley brought a big helping of soul to his readings of standards such as "Darn That Dream," "I Should Care," and even the ethereal "Deep in a Dream." However, as this small collection illustrates, it is in his own tunes that Mobley shines brightest. First, there's the beautiful "No More Goodbyes," recorded with Bob Cranshaw, Billy Higgins, and John Hicks from a late date in 1967. His solo touches on Ben Webster's breathy tone for a moment, and then winds out gently with blues accents in each chorus. But perhaps the finest moment here is on his "My Sin," recorded in 1965 with Freddie Hubbard (a wonderful match for Mobley on the front line), bassist Paul Chambers, Barry Harris, and Higgins once again. Here is where Mobley actually sings though his horn, as Hubbard and Harris prod him to go deeper. For the price, this is a solid little comp that achieves its objective and then some. ~ Thom Jurek   http://www.allmusic.com/album/music-for-lovers-mw0000259006.

Personnel: Hank Mobley (tenor saxophone); Hank Mobley (saxophone); Pepper Adams (baritone saxophone); Lee Morgan (trumpet); John Hicks, Sonny Clark, Barry Harris , Wynton Kelly (piano); Art Blakey, Art Taylor, Billy Higgins (drums); Donald Byrd, Freddie Hubbard, Art Farmer (trumpet); Herbie Hancock, Horace Silver (piano); Philly Joe Jones (drums).

Music For Lovers

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Johnny Mathis - Let It Be Me - Mathis In Nashville

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 46:14
Size: 105,8 MB
Art: Front

(4:01)  1. What a Wonderful World
(3:26)  2. Let It Be Me
(3:14)  3. Make The World Go Away
(3:24)  4. Crazy
(3:30)  5. Southern Nights
(3:26)  6. You Don't Know Me
(3:02)  7. Lovin' Arms
(4:32)  8. Shenandoah
(3:29)  9. We Must Be Lovin' Right
(3:10) 10. I Can't Stop Loving You
(3:34) 11. Love Me Tender
(2:53) 12. Please Help Me, I'm Falling
(4:28) 13. What a Wonderful World - Christmas Version

For Let It Be Me: Mathis in Nashville, Johnny assembled a handpicked group of the finest musicians in Nashville to record an album that is devoid of modern studio tricks. The tracks which include What a Wonderful World featuring Lane Brody and Let it be me featuring Alison Krauss were recorded live in the studio over the course of a week. The approach to these country standards is sympathetic to the original arrangements, the manner in which the players musically interrelate allows for a refreshing openness and transparency that supports, but never overwhelms the vocal performance. Mathis in Nashville makes the point that sometimes simplicity is the ultimate in sophistication.    ~ Editorial Reviews   http://www.amazon.com/Let-It-Be-Me-Nashville/dp/B003WKA85M

Personnel: John Willis (acoustic guitar, electric guitar); Bryan Sutton (acoustic guitar, banjo, mandolin); Fred Mollin (acoustic guitar, electric sitar, percussion); Brent Mason (electric guitar); Paul Franklin (pedal steel guitar); Stuart Duncan (mandolin, fiddle); Jim Hoke (harmonica); Jeff Taylor (accordion); John Jarvis (piano, Wurlitzer organ); Gary Prim (organ, Wurlitzer organ, synthesizer); Eddie Bayers (drums); Jaime Babbitt, Troy Johnson, The Johnsonaires, Lane Brody, Russell Terrell, Tania Hancheroff (background vocals).

Let It Be Me - Mathis In Nashville

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Clifford Brown - Clifford Brown With Strings

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 39:55
Size: 91,9 MB
Art: Front + Back

(2:57)  1. Yesterdays
(3:24)  2. Laura
(3:23)  3. What's New
(3:12)  4. Blue Moon
(3:42)  5. Can't Help Lovin' Dat Man
(2:59)  6. Embraceable You
(3:22)  7. Willow Weep For Me
(3:30)  8. Memories Of You
(3:11)  9. Smoke Gets In Your Eyes
(3:22) 10. Portrait Of Jenny
(3:26) 11. Where Or When
(3:22) 12. Stardust

Recordings setting soloists alongside string ensembles were not a staple of the bop years, but, when trumpeter Clifford Brown recorded With Strings, he had two illustrious predecessors. In 1946, trumpeter Dizzy Gillespie recorded four Jerome Kern standards with an ensemble arranged by Johnny Richards. Kern's estate, horrified at the "desecration," blocked their release (they were finally issued in 1980 on Phoenix Records). In 1949, saxophonist Charlie Parker recorded with strings arranged by Jimmy Carroll, returning to the idea a year later, this time with arranger Joe Lipman. In 1955, Brown's string ensemble was arranged by Neal Hefti, on a session which also employed Brown's regular touring band Richie Powell (piano), George Morrow (bass), Max Roach (drums) augmented by guitarist Barry Galbraith. Brown's With Strings may not have been the first album in the field, but it is surely among the most beautiful of jazz discs ever to be made with strings or, come to that, without them. It benefits, too, from the advances in studio technology made in the 1950s, after the Gillespie and Parker recordings: the sound is deep and lush, and the six violins, two violas and a cello sound like an ensemble larger than its actual size.  

Brown's sunny, lyrical style was as well suited to a strings setting as that of tenor saxophonist Stan Getz, whose Eddie Sauter-arranged masterpiece, Focus (Verve), was recorded in 1961. Unlike Getz, Brown's approach was not improvisation-focused; the 12 tracks on With Strings are all around three minutes long and Brown's solos are restricted, in the main, to theme embellishments during the second half of each performance. Hefti's gorgeous arrangements aside, the magic comes from the way Brown reads the tunes. What great tunes they are. Three composed by Jerome Kern, two by Richard Rodgers, and others by George Gershwin, Eubie Blake, Bob Haggart, David Raksin, Ann Ronell and Joseph Russel Robinson. The disc closes with Hoagy Carmichael's "Stardust." Every one of the tracks is a gem, but "Stardust," by a neck, is the most lustrous, a reading to set alongside Carmichael's own privately made, intensely poignant solo piano recording of 1944. If any criticism can be leveled at With Strings, it is a small one. Had the number of tracks been limited to ten, allowing a chorus or so of full-on trumpet improvisation, with the album still coming in at the then-maximum 40 minutes' playing time, we would, perhaps, have perfection. But that is to cavil. With Strings is as close to perfection as makes no difference. A year after the album was made, Brown (along with Richie Powell) was killed in an auto crash, aged 26. ~ Chris May  http://www.allaboutjazz.com/clifford-brown-with-strings-clifford-brown-by-chris-may.php#.U2u69CiwVOk 

Personnel: Clifford Brown: trumpet; Richie Powell: piano; Barry Galbraith: guitar; George Morrow: bass; Max Roach: drums; uncredited string nonet arranged by Neal Hefti.

Clifford Brown With Strings

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