Mulgrew Miller - Forget Me Nots

Size: 245,6 MB
Time: 105:57
File: MP3 @ 320K/s
Released: 2013
Styles: Piano Jazz, Contemporary Jazz
Art: Front

01. One Fine Day In May (7:01)
02. Summertime (9:25)
03. No Moon At All (6:59)
04. What's New (4:59)
05. The Survivor (8:46)
06. Come Rain Or Come Shine (5:36)
07. Cool Breeze (5:17)
08. Twerk It (8:40)
09. I Concentrate On You (6:26)
10. Sincerely Yours (9:22)
11. One For Mulgrew (4:32)
12. Willow Weep For Me (7:36)
13. The Hook Up (9:05)
14. I Fall In Love Too Easily (8:21)
15. Let's Face The Music And Dance (3:44)

Mulgrew Miller with Christian Scott, Donald Harrison, Harry Allen & Randy Sandke

An excellent pianist who played in a style influenced by McCoy Tyner, Mulgrew Miller was quite consistent throughout his career. He was with Mercer Ellington's big band in the late '70s and had important stints with Betty Carter (1980), Woody Shaw (1981-1983), and Art Blakey's Jazz Messengers (1983-1986). For a long period, he was a member of the Tony Williams Quintet (1986-1994). In addition, Miller led his own sessions for Landmark (starting in 1985) and Novus. Sadly, Mulgrew Miller died of a stroke in Allentown, Pennsylvania on May 29, 2013; he was 57 years old. ~Biography by Scott Yanow

Forget Me Nots

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Magos & Limon - Dawn

Size: 127,0 MB
Time: 54:40
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Flamenco, Fusion
Art: Front

01. Afro Blue (4:41)
02. Dawn (3:41)
03. Skylark (4:23)
04. La Martiniana (4:42)
05. My Love For You (5:11)
06. Wild Is The Wind (3:36)
07. O Que Tinha De Ser (3:24)
08. Tierra Movida (5:28)
09. Oraçao Ao Tempo (4:14)
10. La Llorona (6:04)
11. Nature Boy (4:33)
12. Blue In Green (4:37)

It’s seven p.m., in an indistinguishable neighborhood bar in New York City. There’s a man sitting alone with a cup of coffee, his guitar leaning against the wall. A tall, thin, young woman with a slow, elegant gait walks through the door. Without saying a word she approaches him, and sits down next to him.

This could be the opening scene of a novel or a French thriller from the 50s, but in reality, it is the start of an extraordinary musical adventure – a first encounter between two musicians destined to fall in love.

Magos Herrera, renown Mexican-born jazz singer and resident of New York City, has worked with the best jazz musicians from around the world for many years, combining her Latin roots with the sound of contemporary American jazz, thus, positioning herself among a musical elite.

The man sitting in the bar, Javier Limón, is a laureate composer, guitarist and internationally recognized producer, known for his collaboration with Paco de Lucia, Bebo and Chucho Valdes, Buika, Avishai Cohen and Wynton Marsalis, among others. He has become an indispensable reference in the genre of Flamenco and future international music.

DAWN represents an encounter between the profound, sophisticated voice of Magos Herrera and the intricate Flamenco guitar of Javier Limón, the convergence of vanguard jazz and minimalist Flamenco, a summit of sound for the 21st century.

It is an intimate trek through a repertoire of select American and Latin jazz masterpieces including songs such as Afroblue, Skylark and Blue in Green by Miles Davis and O que tinha de ser (What Has to Be) by Antonio Carlos Jobim, among others, while flirting with some new and surprisingly original compositions by the duo.

Be it in English, Spanish or Portuguese, the self-control of Magos’ interpretation and the power of her words and voice combined with Limón’s refined simplicity and harmony, in addition to the careful rendering of this project make DAWN a cutting-edge, revolutionary approach to Flamenco-jazz.

A blanket of silence in the air, fragile words, glances and emotions which mark the momentum of the recording production coupled with a live performance experience give pause to time affording a trek through an eternal DAWN.

Dawn

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New Orleans Organ Trio - Organ Transplant

Size: 135,6 MB
Time: 57:45
File: MP3 @ 320K/s
Released: 2006
Styles: New Orleans Jazz Blues
Art: Front

01. Vinny's Blues (5:21)
02. 15 Hours Of Your Love (3:52)
03. Second Line Fever (2:36)
04. Worried Man Blues (3:53)
05. Ease Back (5:57)
06. Fried Neckbones (6:15)
07. Hey Pocky A-Way (4:09)
08. The Smell Of Paradise (3:53)
09. Get The Money (5:00)
10. I`ve Been Hoodood (4:58)
11. Jockomo (4:28)
12. Soul Shakedown Party (3:46)
13. I Don`t Wanna Say Best Wishes (3:32)

Raphael Wressnig - Hammond B3 organ, backing vocals
Paul Griesbach - sax, backing vocals
Matthias Peuker - drums, vocals

Organ Transplant

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Libby York - Memoir

Size: 122,8 MB
Time: 53:38
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Give Me The Simple Life (Feat. Russell Malone) (5:39)
02. When In Rome (I Do As The Romans Do) [Feat. John Dimartino] (5:37)
03. Put It There, Pal (Feat. Warren Vache) (2:45)
04. Thanks For The Memory (Feat. Russell Malone & Warren Vache) (6:31)
05. Take Me Back To Manhattan (Feat. Warren Vache) (4:31)
06. I Was Doing Alright (Feat. John Dimartino) (4:04)
07. My Little Boat (O Barqueno) (Feat. Russell Malone) (5:27)
08. Let's Call The Whole Thing Off (Feat. Warren Vache) (5:02)
09. On A Slow Boat To China (Feat. Warren Vache) (5:36)
10. How Long Has This Been Going On (Feat. John Dimartino) (5:41)
11. Walk Between The Raindrops (Feat. Greg Sergo) (2:40)

While Diana Krall continues to top vocal polls and rack up platinum album sales, Chicagoan Libby York remains comparatively obscure. So consider this open invitation to all Krall fans to dip into York’s meager—just four albums across 15 years—but mighty oeuvre. Memoir, a terrific collection of standards, is an ideal place to start. What you’ll discover is an interpreter who is not only every inch Krall’s equal but also bears a strong vocal resemblance to the Canadian superstar: warm, intimate and imbued with a fogbound sexiness.

York has always demonstrated superb taste in both song selection and sidemen. Here, traveling from a tender “How Long Has This Been Going On?” and a sly “When in Rome” to a shimmering “My Little Boat” and sprightly “Walk Between the Raindrops,” she is seamlessly supported by pianist John di Martino (her co-arranger on all 11 tracks), bassist Martin Wind, drummer Greg Sergo and cornet player Warren Vaché. Guitarist Russell Malone joins on three tracks, including a misty “Thanks for the Memory,” and Vaché twice contributes vocal accompaniment, adding gravel-filled joy to “Let’s Call the Whole Thing Off” and a cleverly updated take on the Bing Crosby-Bob Hope chestnut “Put It There, Pal.” ~Review by Christopher Loudon

Memoir

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Count Basie - Chairman Of The Board

Bitrate: 320K/s
Time: 47:23
Size: 108.5 MB
Styles: Big band
Year: 1959/2011
Art: Front

[3:10] 1. Blues In Hoss' Flat
[2:37] 2. H.R.H (Her Royal Highness)
[6:11] 3. Segue In C
[3:31] 4. Kansas City Shout
[3:24] 5. Speaking Of Sounds
[3:12] 6. T.V. Time
[5:10] 7. Who Me
[4:46] 8. The Deacon
[3:22] 9. Half Moon Street
[3:35] 10. Mutt And Jeff
[3:32] 11. Fair And Warmer
[4:48] 12. Moten Swing

Although it appeared at a time when Count Basie was enjoying respect from all quarters (as evidenced by the pop acclaim of several Grammy awards and the jazz faithful's enthusiasm for his concert at Newport), Chairman of the Board was, comparatively, a low-profile session. The record was surrounded in Basie's discography by several prize-winners and a parade of studio collaborations -- with vocalists Tony Bennett, Lambert, Hendricks & Ross, and Billy Eckstine, plus arranger Neal Hefti. This 1958 date for Roulette was a rare chance for the orchestra to perform on its own, and listeners to hear how powerful the band could be when its concentration was undiverted. Of course, Basie's band already possessed three fine arrangers (Frank Foster, Thad Jones, and Frank Wess) and at least a dozen solo voices. Each of the ten songs on Chairman of the Board were originals by Foster, Jones, Wess, or Ernie Wilkins, all of them arranged by the composer. The record is admittedly heavy on the blues, but it's a brassy, powerful vision of the blues; Foster's "Blues in Hoss' Flat" and Wilkins' "Kansas City Shout" take the band back to its hometown, beginning with a subtle swing but ending with a raucous display of power from each section. The contributions by Jones and Wess provide a necessary complement to that forceful swing. Jones' "Speaking of Sounds" employs the woodwinds to provide color and texture, while Wess' "Segue in C" relies on bassist Eddie Jones and Basie's piano to lead the band while Wess himself takes several choruses on alto sax. A dynamic date, it shows the "new testament" edition of Basie's orchestra in top form. ~John Bush

Chairman Of The Board

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Kristine Mills - Bossanovafied

Bitrate: 320K/s
Time: 34:23
Size: 78.7 MB
Styles: Bossa Nova
Year: 2009
Art: Front

[4:03] 1. I Wish
[3:45] 2. That Was Yesterday
[4:34] 3. Sweet Sorrow 2
[5:06] 4. Sasha's Lullaby
[4:51] 5. Burden Of Choice
[3:33] 6. Fallin' In Love
[4:24] 7. You Are
[4:05] 8. Inspiracao

Brazil has a very special allure—not only for the Bacchanalian enjoyment of its Carnival in Rio, but for artists as well. Swinging musicians from all over North America have found the rhythmic seduction of the samba and the urbane swish and sway of bossa nova quite irresistible for decades. Lately, however, North American musicians appear to have discovered that seduction alone is not the prerequisite for making music in an authentic Brazilian idiom, even in the most popular one of all: the bossa nova.

Houston-born vocalist Kristine Mills is one of those North American musicians who has shown she can sashay with the best, with a moving record soaking in the spirit of Brazil's most popular urban export: bossa nova. The appropriately entitled Bossanovafied is a short yet beautiful collection of songs done in the rhythm of this urban mélange of jazz and samba, made internationally popular by Joao Gilberto, Vinicius de Moraes and Antonio Carlos Jobim. Mills and musicians like her appear to have also been influenced by a slew of other more contemporary musicians from Brazil's tropicalia movement.

Mills sings with child-like charm, recalling the guileless wonder of Blossom Dearie's annunciation and phrasing. Despite a flatter, slightly oblique attack, Mills' lyrical approach is to soak the words and phrases in the emotion of their poetry. Her sense of tone is sharp, and she can make subtle changes in inflection to alter the color of the song, with minute changes in breath or dallying over end-words or phrases to create just the effect she wants. ~Raul D'Gama Rose

Bossanovafied

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Patrick Saussois & Rhoda Scott - The Look Of Love (A Tribute To Burt Bacharach)

Bitrate: 320K/s
Time: 55:27
Size: 127.0 MB
Styles: Soul jazz, Gypsy jazz
Year: 2010
Art: Front

[3:34] 1. The Look Of Love
[4:12] 2. Alfie
[5:20] 3. Walk On By
[4:09] 4. Wives And Lovers
[4:12] 5. Don't Make Me Over
[3:03] 6. Raindrops Keep Fallin On My Head
[5:04] 7. Close To You
[6:12] 8. I Will Never Fall In Love
[4:24] 9. This Girl Is In Love With You
[4:29] 10. What The World Needs Now Is Love
[6:45] 11. A House Is Not A Home
[3:58] 12. Don't Go Breaking My Heart

I stand at the forefront of Jazz Manouche. As a musician he is one of the few able to navigate between styles and genres, whether it's playing bebop with Richie Cole, musette with Jo Privat or jazz Manouche with my own band, Alma Sinti, never letting one style bleed into the other and always maintaining my own identity. It is with the latter group that I has risen above the rest of my contemporaries. Alma Sinti uses Jazz Manouche as a base to incorporate swing, Latin, bop and valse Manouche and musette all without losing their unique guitar/accordion driven sound and all supported with “le pompe”, the Manouche style of rhythm guitar that gives the music its unique flavor. A gifted and prolific composer and improviser par excellence whose originals “Jojo Swing” and “Just One for Babik” have become standards in the jazz Manouche lexicon. I am at the top of a very short list of Jazz Manouche's most important and respected players. My record company, Djaz Records has released a slew of acclaimed CD's highlighting some of today's finest artists including Dorado and Tchavolo Schmitt and Dino Mehrstein. They swing- three guitarists, acoustic bassist, and button accordionist - offer a heady mix of tzigane (music in the gypsy style), musette (post-1910, accordion-driven music played for public balls), and jazz associated with Belgian gypsy guitarist Django Reinhardt , Stephan Grappelli and the Quintette du Hot Club de France during the '30s and '40s. I am perhaps best known for my work with accordionists, having in the past accompanied the late great accordion legend Jo Privat for years, and later he has collaborated with other fine players of piano des bretelles, like Jean-Claude Laudat and Daniel ... ~ All About Jazz

The Look Of Love (A Tribute To Burt Bacharach)

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John Bunch - Do Not Disturb

Bitrate: 320K/s
Time: 71:24
Size: 163.4 MB
Styles: Post bop, Standards, Piano jazz
Year: 2010
Art: Front

[6:56] 1. John's Bunch
[6:37] 2. Doxy
[2:43] 3. Bill
[6:30] 4. Do Not Disturb
[2:57] 5. My Ideal
[6:28] 6. Anthropology
[5:40] 7. I've Just Seen Her
[5:01] 8. Four
[3:11] 9. My Man's Gone Now
[6:20] 10. In Your Own Sweet Way
[6:03] 11. Come Sunday
[6:22] 12. You're My Everything
[6:29] 13. Get Out Of Town

While veteran jazz pianist John Bunch has always been of the swing era, he readily embraces bebop, the music of Duke Ellington and Dave Brubeck, and great show tunes. With a trio of guitarist Frank Vignola and bassist John Webber and no drummer, Bunch envisioned this combo ten years prior, recorded but did not release a session with them, and he revisits this format in 2009 with a wonderful result. Vignola fits perfectly with Bunch's highly melodic ideas, and gets him to improvise or accompany more than most "leaders," while they swim effortlessly through these timeless and full-bodied melodies of familiar mainstream jazz tunes and ballads. You might not expect Bunch to be adept at boogie-woogie, but there it is on the opening track, his original "John's Bunch," nor might you expect him to do a note-for-note perfect version of Charlie Parker's "Anthropology" in lockstep with Vignola. He unearths the title track, an Ellington blues/ballad, and pristinely interprets "Come Sunday," while versions of "Four" and "Doxy" are as laid-back and simplified as a relaxing day at the beach. There's absolutely no forced movement on Do Not Disturb, but rather an effortless swing and good feelings between these three excellent musicians, a testament to Bunch's long-lasting viability in authentic and substantive jazz modes. ~Michael G. Nastos

Do Not Disturb

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Janis Siegel - I Wish You love

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 48:21
Size: 111,6 MB
Art: Front

(4:48)  1. Just A Little Lovin'
(2:38)  2. I Want You To Be My Baby
(4:52)  3. Go Away Little Boy
(5:05)  4. Dream A Little Dream Of Me
(3:39)  5. The Late Late Show
(5:05)  6. Don't Go To Strangers
(5:56)  7. The Masquerade Is Over
(4:43)  8. Where Are You?
(3:24)  9. Guess Who I Saw Today?
(4:28) 10. I Wish You Love
(3:38) 11. The Big Hurt

Janis Siegel has to be the envy of many singers on today's scene. She commands two performing platforms; one as a member of the popular singing group Manhattan Transfer and the other as a soloist which she has been since 1987. Her latest solo release, this time for the Telarc label, is devoted to songs made popular (or almost popular) by other female performers, not all of whom were singers. She is joined by a top rated trio of Cedar Walton, David Williams and Winard Harper who anchor the session. They are also joined from time to timeby the likes of David "Fathead" Newman on tenor, Tom Harrell on trumpet and Bill Ware on vibes. Sometimes you have to dig deep to recall the female who was connected with each tune. The female associated with "I Want You to Be My Baby" was Lillian Briggs, who supplemented her trombone playing career with a job driving a laundry truck. Siegel is joined on this fun cut by a singing group with another unlikely moniker, Baby Konehead and Her Fatty Tumors. 

Then there are the Chordettes who made a name for themselves as part of the old Arthur Godfrey show who came up with their biggest hit "Mr. Sandman". I just wish Siegel had seen fit to not make this track such a big production and sang it simply. But it is clever how she interpolates the tune with the other half of the medley, "Dream a Little Dream of Me". One of the wildest tracks is "The Masquerade Is Over" which features Newman's tenor as well as his soaring flute playing and Siegel scatting. Every track is a pleasure to listen to as you remember which lady first sang that song. But this little game does not detract an iota from Siegel's consummate artistry and of those she brought into the studio with her. This is A-one graded stuff. ~ Dave Nathan   http://www.allaboutjazz.com/i-wish-you-love-janis-siegel-telarc-records-review-by-dave-nathan.php#.U3upnSi9a5w

Personnel: Janis Siegel - Vocals/Backup Vocals; Cedar Walton - Piano; David Williams - Bass; Winard Harper - Drums; Bill Ware - Vibes; Baby Konehead and her Fatty Tumors, Aaron Franz - Vocals; David "Fathead" Newman - Tenor Sax/Flute; Frank Colon - Wind Chimes/Congas; Roger Treece, Lincoln Briney, - Background Vocals; Tom Harrell - Trumpet /Flugelhorn

I Wish You love

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Celia Berk - You Can't Rush Spring

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 51:59
Size: 120,0 MB
Art: Front

(2:40)  1. I've Been Waiting All My Life
(4:51)  2. Penthouse Serenade / Stairway to the Stars
(3:50)  3. Friendly Star
(2:34)  4. You're All the World to Me
(2:42)  5. Sometimes I'd Dream
(4:15)  6. Sand
(2:56)  7. This Dream
(3:57)  8. It's the Strangest Thing
(5:39)  9. The Folks Who Live On the Hill
(3:36) 10. Go, My Love
(2:54) 11. Rain Sometimes
(3:22) 12. You Can't Rush Spring
(6:09) 13. I'm Glad There Is You
(2:27) 14. The Broken Record

Warm, sophisticated and wise, this is music for a Manhattan penthouse under the stars, in the lushly orchestrated tradition of Sinatra, Streisand and Clooney.
You Can't Rush Spring is Celia Berk’s first solo album, arranged and conducted by Alex Rybeck and co-produced by Tony Award-winning sound designer Scott Lehrer. Influenced by the recordings of such iconic artists as Barbra Streisand, Barbara Cook, Lena Horne and Rosemary Clooney, it features a blend of familiar and lesser-known songs by Stephen Sondheim, Jerome Kern & Oscar Hammerstein II, Ann Hampton Callaway, Jimmy Dorsey, Kander & Ebb, Bricusse & Newley, Harry Warren & Mack Gordon and even J.S. Bach.  Even before its release, the album began attracting attention from some of the most prominent proponents of The Great American Songbook. 

Michael Feinstein said, "I so enjoy Celia's beautiful vocal sound and style, and her taste in song choices." Jonathan Schwartz added a selection to his playlist on WNYC/93.9 FM and The Jonathan Channel.org. Amanda McBroom described Celia’s style as “Splendid, unique and wonderful. Celia delivers the message and heart behind each song with velvet intelligence.” Ann Hampton Callaway, whose song serves as the title track, added, “It's so lovely what Celia Berk did with my song You Can’t Rush Spring, with its lilting soft swing feel and the tender breeze of guitar. You can almost feel the crocuses and daffodils starting to bloom!" In addition to recording, Celia frequently appears in and around New York, often under the auspices of Broadway Concerts Direct. Together with Rich Flanders, she also performs Double Standards, a program of duets and personal favorites.  http://www.cdbaby.com/cd/celiaberk

You Can't Rush Spring

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Saxophone Summit - Gathering of Spirits

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 65:54
Size: 151,1 MB
Art: Front

( 6:51)  1. Alexander The Great
( 9:56)  2. The 12th Man
(14:14)  3. India
( 5:05)  4. Peace On Earth
(17:29)  5. Tricycle
(12:16)  6. A Gathering Of Spirits

The spirit of John Coltrane looms heavy over the proceedings of Saxophone Summit: Gathering of Spirits , where saxophonists Michael Brecker, Dave Liebman and Joe Lovano commit to disc the occasional grouping that they have participated in since '96. The result is something a little surprising in this era of "super groups": a trio whose collective whole is clearly greater than the sum of the parts, representing an uncompromising ensemble that gets more exciting and adventurous as the one hour set progresses. Making it easy to differentiate the players by placing them in specific aural positions Lovano on the left, Liebman in the centre and Brecker on the right what becomes increasingly apparent over the course of the programme is exactly how influential Coltrane has been on all three players. And yet, that being said, each player has taken that influence and developed something distinctly personal and unique. There is absolutely no mistaking each player, regardless of where they are positioned in the mix. Probably the most overtly informed is Liebman, who is arguably the foremost proponent of the soprano saxophone performing today, and plays the straight horn on three of the six tracks. Brecker's roots are also in evidence, although he has developed so many identifiable signatures that, like Liebman, comparisons ultimately become meaningless; still, both players clearly lean towards the expressionistic "sheets of sound" approach that Coltrane first introduced. Less direct is Lovano, whose style is as much Dexter Gordon's richness and Sonny Rollins' lyrical elegance and dignity as it is Coltrane's boldness. 

Starting the set with Lovano's reworking of "Bye Bye Blackbird," "Alexander the Great" gives the players, ably supported by pianist and long-time Liebman associate Phil Markowitz, bassist Cecil McBee and drummer Billy Hart, a chance to warm up before heading into more Coltrane-esque modal territory on Markowitz's 7/4 piece, "The 12th Man." Coltrane's "India" is reharmonized, using the cycle of fourths to draw richer harmonies from the simple theme than Coltrane likely envisioned. "Peace on Earth" is a rubato tone poem that is a moving tribute to Coltrane's more spiritual side. But the most risks are taken on the last half of the set. The seventeen-minute "Tricycle" was written by Liebman to give the rhythm section a chance to develop unencumbered a capella solos, and give the three saxophonists different musical contexts over which to solo a rubato section for Liebman, a free-time section for Lovano's alto clarinet, and a burning in-time duet for Brecker with Hart. Opening with all three horns in full-out multiphonics mode, Brecker's title track finishes the album with a series of bare structures that serve as rallying points for free excursions from everyone involved. Saxophone Summit proves that an idea with some commercial appeal doesn't have to sacrifice integrity or free-spiritedness. Brecker, Liebman and Lovano have crafted an album that easily stands amongst the best recordings of their collective careers, and makes one hope this isn't just a one-time affair. ~ John Kelman   http://www.allaboutjazz.com/saxophone-summit-gathering-of-spirits-dave-liebman-telarc-records-review-by-john-kelman.php#.U3a8zii9a5w

Personnel: Michael Brecker (tenor saxophone, kaval), Dave Liebman (tenor and soprano saxophones, Indian flute), Joe Lovano (tenor saxophone, alto clarinet, tarogato)

Saxophone Summit: Gathering of Spirits

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Thilo Wolf Big Band - Love Me Gershwin

Styles: Jazz, Big Band
Year: 2011
File: MP3@320K/s
Time: 53:33
Size: 122,8 MB
Art: Front

(3:37)  1. Nice Work If You Can Get It
(2:37)  2. They Can't Take That Away from Me
(5:00)  3. The Man I Love
(3:33)  4. S'wonderful
(3:42)  5. I Was Doin' Alright
(4:03)  6. I've Got a Crush On You
(2:48)  7. Somebody Loves Me
(2:58)  8. Delishious
(4:20)  9. Embraceable You
(3:37) 10. Our Love Is Here to Stay
(3:04) 11. Strike Up the Band
(5:07) 12. But Not for Me
(1:36) 13. Walkin' The Dog
(5:06) 14. Do What You Do
(2:16) 15. I Got Rhythm

Always keep open eyes and ears a credo that accompanies the Big Band of the Fürthers Thilo Wolf for 20 years now. Variability seems to move through the everyday life of 45-year-olds in all respects: As a leader of a big band who engages on Latin arrangements as well as playing cameos in musical atmosphere or as a musical composer and arranger Thilo Wolf received his musical accomplishments versatile. But this is just a large constant of his daily life, its own advertising and marketing operation leads the graduate businessman as well. As a young accordionist come through a spontaneous note purchase his father with the music Gershwin in contact, drum lessons with Charly Antolini, first big-band arrangements in adolescence a guide for Thilo Wolf's musical career in the direction of symphonic jazz already distinguished themselves from a young age. 1992 follows a big step: setting up your own Big Band and line the same as Television Orchestra in BR format "Swing It" a childhood dream of now at the piano, the band conducting wolf is realized. The possibility, some with well-known names of the scene to present their music in the context of the ongoing television coverage, Wolf is still one of the biggest success and key experiences of his career. 

The cooperation also in the anniversary year levels, the BR devoted to the band in 2012 numerous formats. Performances at the Bavarian Film and Television Award, the records of the anniversary concerts and a portrait of the big band could be seen in the current year in the program, the latter will be broadcast again on July 22. Even beyond the television stage rests the band in the anniversary year not: In June, the double-CD "Big Band fed up" with Latin grooves and original, the musical "Love me Gershwin" comes to reissue, connected to the same CD. In addition, Thilo Wolf has again operated in the role of composer and arranger for the musical stage, "Death in the Tower" celebrated this May as part of the International Hansa Lüneburg in Premiere. A "cross-over" by the genre, the Thilo Wolf not want to miss. One must "go with open eyes through the scene and also pay attention to things that do not seem typical." To scenic As musical director of "Love Me Gershwin," the seasoned instrumentalists or to make singing performers of musical theater to design as an arranger and composer, musical-compatible pop music, the big band repertoire to expand a rock band or a solo bassoonist: These things accompany Thilo Wolf this year, and just for that one must be always awake and spontaneously. So is 2013 a cooperation with the Nuremberg Symphony Orchestra at the detailed planning, such cooperation outside the studio still lacks in the "Collection". 

To targeted implement their own projects, Thilo Wolf is since last year, also owner of the specially founded Wave House Studios. But a studio exclusively for its own use, it should not be, but also a focal point for musicians with good ideas, a way to professionally produce good music - not fear associated with the willingness of the owner, in budget issues the call. In short, another major project of the CEO and big band leader  in this case, in the role of promoter - who wants to look at this multiple taxation not counterproductive. As radio big bands the fixed budgeting, so he had the opportunity, to a certain extent to sponsor themselves and enjoy the freedom in the artistic sense of not having to consider any concerns regarding the financial and existential component. Probably a good position to "easy to make" sometimes. ~ Benjamin Burkhart   http://www.jazzzeitung.de/jazz/2012/03/portrait-thilo-wolf.shtml  (translate by google)

Love Me Gershwin

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