Tuesday, May 27, 2014

Call for help!

Dear friends,

I want to inform you, if you don't know already, about this horrible situation that is happening in my little country Serbia. There is a link where you can read something more about it. I want to ask you to help by sharing this story with anyone who can help. Situation is really serious and we need any help we can get. Read more

You can donate at http://www.floodrelief.gov.rs/eng/

Thank you in advance,
muddy

Man Overboard - All Hands On Deck (Bonus Tracks)

Size: 191,3 MB
Time: 82:03
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals, Gipsy Swing
Art: Front

01. Honeysuckle Rose (3:11)
02. That Old Feeling (4:50)
03. It Ain't Right (3:46)
04. On The Sunny Side Of The Street (4:03)
05. I Found A New Baby (4:13)
06. All Of Me (3:41)
07. Avalon (3:26)
08. Lullaby Of The Leaves (4:18)
09. Me Myself And I (3:38)
10. St James' Infirmary (6:11)
11. Hummin' To Myself (4:09)
12. Jubilee (2:30)
13. Topsy (4:17)
14. I'll See You In My Dreams (4:06)
15. The Old Man Of The Mountain (3:40)
16. How High The Moon (4:12)
17. You're A Heavenly Thing (3:15)
18. Premier Bal (2:49)
19. Tu Djaial (4:28)
20. Palm Springs Jump (2:51)
21. Puttin' On The Ritz (4:19)

Swing. But which swing? According to London-based quintet Man Overboard, debut album All Hands On Deck is full of "Hot Vintage Swing." According to Duke Ellington, it don't mean a thing if it ain't got that swing. Which begs the crucial question, does Man Overboard have that swing?

Man Overboard (not to be confused with the American pop punk band of the same name) formed in January 2011. It's the brainchild of guitarist Jean Marie Fagon, who moved from Paris to the UK in 1980. Violinist Thomas Gould is classically trained—a heritage that's readily apparent on his intro to "I Found A New Baby." Clarinetist Ewan Bleach and singer Louisa Jones have worked together in a range of outfits from the folkier end of the spectrum including Whiskey Moon Face.

Jones' voice is a wonderous thing. At once plaintive and hard-edged it's a distinctive and engaging sound—Billie Holiday meets Betty Boop? Fagon is happy with the role of rhythm guitarist, for which thanks should be given long and loud. His swinging, bright, chords are at the heart of Man Overboard, keeping the beat and driving the tempos. Bassist Dave O'Brien grabs the chance to create some fluid, melodic lines, secure in the knowledge that Fagon has things covered.

Bob Rothberg and Joseph Mayer's "It Ain't Right," made famous by Stuff Smith, is perhaps the finest example of the Man Overboard sound. It gets its groove from Fagon and O'Brien, Bleach and Gould add two fiercely swinging solos and trade four bar phrases with relish (apparently the clarinetist and violinist were getting extremely competitive during the recording of this track). Jones delivers the lyric with a breathless fervour: so eager to pour out her feelings that she seems to nstart one word before finishing the previous one—Sebastian Scotney of LondonJazz describes it in his sleeve notes as "Northumberland glottal stop." Whatever it is that's being done may not be right but it seems to be doing the trick.

Things calm down for instrumental versions of "On The Sunny Side Of The Street" and "How High The Moon," the band's relaxed approach to both of these classics suggestive of lazy, gin-soaked afternoon parties.

"Lullaby Of The Leaves" and "I'll See You In My Dreams" showcase the band's more romantic side. "St James Infirmary"—let's face it, not the world's greatest party tune—is as downbeat and gloomy as it should be, Bleach's clarinet and the instrumentalists' backing vocals adding to the despair Jones so readily transmits. Even in the midst of this despair the sheer quality of the performances is uplifting.

All Hands On Deck is 18 tracks of pure joy. Hopefully Ellington is sitting somewhere with his own copy, tapping his foot, smiling and thinking "Ah, yes. It's got that swing." ~Bruce Lindsay,

Personnel: Louisa Jones: vocals; Thomas Gould: violin, whistling (6), backing vocals; Ewan Bleach: clarinet, vocals (7), backing vocals; Jean-Marie Fagon: guitar, backing vocals; Dave O'Brien: double bass, backing vocals.

All Hands On Deck

Jeff Cascaro & Hr-Bigband - Any Place I Hang My Hat Is Home

Size: 108,9 MB
Time: 46:55
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Soul
Art: Front

01. That Old Black Magic (3:14)
02. A Sleepin' Bee (4:35)
03. My Shining Hour (5:30)
04. Any Place I Hang My Hat Is Home (3:24)
05. Let's Fall In Love (4:24)
06. Stormy Weather (4:38)
07. I've Got The World On A String (3:51)
08. Over The Rainbow (5:38)
09. Come Rain Or Come Shine (3:32)
10. One For My Baby (4:14)
11. Two Ladies In De Shade Of De Banana Tree (3:53)

Jeff Cascaro, born in 1968, started his career at the young age of 18 as the winner of a youth jazz contest. He gained experience as a background singer and guest musician with the NDR and Rias Big Bands, as well as with German stars like Ute Lemper, die Fantastischen Vier, Sasha, Joe Sample of the Crusaders, Götz Alsmann, Klaus Doldinger's band Passport, the Guano Apes, and Paul Kuhn – just to name a few, as they stand for Cascaro's wide spectrum in music of different genres. One thing that has never changed about him is that he unmistakebly wears his heart right next to his soul. Since 2000 the versatile practicioner also works academically: he is a professor of jazz singing at the "Franz List" Conservatory in Weimar. His CD debut in his own name was carefully prepared by Cascaro – here he showed at last what it means to him to have the Soul of a Singer. His 2nd album "Mother and Brother" was released in 2008. This album dealt with the fateful ups and downs in life. His 3rd LP "The Other Man" will be released in February 2012.

Any Place I Hang My Hat Is Home

Jamie Saft, Steve Swallow, Bobby Previte - The New Standard

Size: 134,4 MB
Time: 57:38
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Art: Front

01. Clarissa (4:06)
02. Minor Soul (6:18)
03. Step Lively (6:45)
04. Clearing (4:50)
05. Trek (4:09)
06. The New Standard (6:34)
07. I See No Leader (5:38)
08. Blue Shuffle (6:40)
09. All Things To All People (6:08)
10. Surrender The Chaise (6:26)

From a record label that’s decidedly askance from the mainstream, RareNoise dispenses with the noisy (Mumpbeak) and the experimental (Chat Noir) to release a record that’s, well, pretty darn jazzy. Entitled The New Standard, it features young New York Downtown pianist Jamie Saft as bandleader and chief composer, working out a handful of straight-ahead jazz charts with the venerable rhythm section of bassist Steve Swallow and drummer Bobby Previte.

Recorded and mixed on the fly, direct to ½-inch analog tape, The New Standard feels like a late night eavesdropping session from behind the living room drapes, as if the listener were a 12-year old kid, sneaking down the midnight stairs to hear the grownups kicked back with a little food, maybe a little wine and a whole lot of inspiration.

From Previte’s point of view, that’s very much how the session felt in the studio. "It was the simplest, chillest record I have ever done. We set up, went out and had a nice lunch, went back to the studio and three hours later it was all done in one take. It's kind of incredible it actually worked out as it did. And my 1965 Rogers Holiday model tubs, which I got when I was 14 years old, have never, and probably will never sound better. The sound is so full, so creamy I feel like licking it!"

For Saft, whose Plymouth collaboration with Joe Morris we reviewed back in April, the relaxed atmosphere of the recording session started with Previte’s idea they’d work off of simple strong structures. "Bobby suggested that I put together simple structures for us to use as starting points," he explains. "I tried to put together pieces that were super soulful and honest. I wanted compositions that would highlight Steve's absolute mastery of melody and Bobby's incredibly soulful approach to groove. They took my simple pieces and made them into grand structures on which to improvise. Beginnings and endings were all improvised and this gives the album a special type of magic."

The New Standard begins with “Clarissa,” the first of seven Saft compositions included in this 10-song set. As with all the tunes on the record, it’s a compact no-nonsense, sparsely appointed jazz tune, this one built on Previte’s shuffling brushes and Swallow’s easy going electric bass in support of Saft cuddling up to all the notes he could find behind the back beat. “Minor Shuffle” is a head-bobbing, body-weaving waltz that’s not really a waltz, anchored by the booming bass drum of Previte’s Rogers Holidays, a comfortably melodic tune with no overtly showy improvisational choices from Saft’s corner of the room.

“Step Lively,” one of three trio-penned tunes of The New Standard, boasts Previte’s heavy right foot and Swallow’s subtle yet gritty bass playing in a modified Latin blues configuration…until they kick into a straight swing groove about midway through the tune. "Clearing," another band co-write, is a straight-ahead slow blues hallelujah, a time to get religion, with Saft wheeling out the B3 and the swirling Leslie cabinet. “Trek” sounds like a tall walk up a slow hill, around the corner from that restaurant in Chinatown, Saft’s flittery piano playing the part of the noodles and Previte’s bass drum going “kung pow.” The title cut’s not the most interesting tune on the record but its successor, “I See No Leader” is a fun, double-time swing set that may well be an homage to that white plastic tape that spins around the recording hub before the session rolls in earnest.

Though it was the first musical meeting of these three players – and their stellar engineer Joe Ferla – it sounds as if they’ve been playing together for years. So it goes with the legacy of jazz music, where like minds are usually meeting in spirit before they meet in person.

The New Standard is a classy record of cool compositions, played with style and fun and spirit. ~By Michael Verity

The New Standard

Mindi Abair - Wild Heart

Size: 114,4 MB
Time: 49:10
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz, Pop/Rock, Soul
Art: Front

01. Amazing Game (With Tronbone Shorty) (4:20)
02. I Can't Lose (3:34)
03. Wild Heart (4:06)
04. Haute Sauce (3:16)
05. Train (3:26)
06. Kick Ass (5:36)
07. I'll Be Your Home (With Keb' Mo') (4:17)
08. The Shakedown (With Max Weinberg & Waddy Watchel) (3:48)
09. Kiddo's Revenge (4:25)
10. Addicted To You (With Booker T. Jones) (6:45)
11. Just Say When (With Gregg Allman) (5:32)

Mindi Abair is one of the most recognizable saxophonists on the music scene today. In addition to great solo albums over the years, she has been seen on American Idol as well as joining Aerosmith on their US tour over the past 2 years. Her new solo album will feature guests; Booker T, Greg Allman, Joe Perry, Keb Mo and Waddy Wachtel to name a few. As the guest list would suggest, this album plays on her jazz roots while expanding into a horn based pop/soul sound.

Wild Heart

Kendra Shank & John Stowell - New York Conversations

Size: 135,6 MB
Time: 57:49
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Blue Skyes (6:15)
02. Throop (3:56)
03. Hard Travelin'/Motherless Child (5:25)
04. Rush Hour (1:24)
05. New York Conversations (4:28)
06. Ghost (3:35)
07. Silent Photographer (4:25)
08. My Romance (4:03)
09. Za-Zoh (3:55)
10. Songs & Lullabies (5:44)
11. Like Someone In Love (3:37)
12. Simple Pleasures (4:21)
13. Walk Talk (3:32)
14. I'll Be Seeing You (1:51)
15. Glad Mango (1:10)

At a time when it is often difficult to tell the difference between a supposed jazz vocalist and a run-of-the-mill Las Vegas lounge singer, when it comes to an artist like Kendra Shank there is never any question. Listen to her latest album, New York Conversations, a collaboration with guitarist John Stowell, due for an April 8 release. This is a jazz singer who plays her voice the way a Miles plays his trumpet, a Monk his piano, and Stowell is a musical match. They have put together an inventive hour of music that shows what a creative team can do when they have the confidence in each other to let themselves work freely outside the lines.

New York Conversations is not an album for those looking for the ordinary, the safe. This is music pushing the edge, and when you work near the edge, there is always the danger of falling off. Not to worry when it comes to Shank and Stowell. They push; they don’t jump. Of course when your set list includes completely improvised sink-or-swim pieces, you had better be on your game. With the exotic vocal phrasing and rhythmic strains of tracks like “Za-Zoh” and “Glad Mango,” the duo is clearly on the very top of its. As Shank describes the duo’s process in the liner notes, they find themselves “just sitting in silence until one of us hears a sonic idea that leads us down an unfolding, shape-shifting path,” in what she calls “the alchemy of collaboration.”shank and stowell

Still, the joy of inventive collaboration is not limited to the completely improvised pieces. Their original compositions and their work on standards is equally imaginative. Whether the skat opening to Rodgers and Hart’s “My Romance” or the haunting introduction to Irving Berlin’s “Blue Skies,” which opens the album, Stowell and Shank take no prisoners. They work their magic from the songs’ openings to their conclusions.

Shank, an adept looper, uses her skills to add a variety of textures and colors to the performance even in the moment. Stowell, points to her skill “in using a loop station to create multiple voices and harmonies in real time.” Again, the emphasis is on spontaneity.

Original compositions range from the title song, which is simply a playful list of New York City neighborhoods leading to some vocal gyrations which some may find a bit affected, to the sensitive “Ghost,” a haunting lesson from beyond the grave. There is a lot of fine vocalese in Stowell pieces like “Throop” and “Simple Pleasures” with its hints of “Manhattan.”

If you’re looking for a musical experience that is out of the ordinary, New York Conversations is an album you need to hear.

New York Conversations

Pat Martino - El Hombre

Bitrate: 320K/s
Time: 47:20
Size: 108.4 MB
Styles: Guitar jazz
Year: 1990/2007
Art: Front

[6:20] 1. Waltz For Geri
[5:41] 2. Once I Loved
[5:55] 3. El Hombre
[4:27] 4. Cisco
[4:54] 5. One For Rose
[8:00] 6. A Blues For Mickey-O
[5:47] 7. Just Friends
[6:13] 8. Song For My Mother

Guitarist Pat Martino's debut as a leader finds the 22-year-old showing off his roots in soul-jazz organ groups while looking ahead at the same time. Joined by organist Trudy Pitts, flutist Danny Turner, drummer Mitch Fine, and both Abdu Johnson and Vance Anderson on percussion, Martino primarily plays a straight-ahead set (five of his originals, "Just Friends," and "Once I Loved"), but already displays a fairly distinctive sound. This CD reissue brings back Martino's impressive start to what would be a productive solo career. ~Scott Yanow

El Hombre

Helen Welch - Forever For Now

Bitrate: 320K/s
Time: 53:50
Size: 123.2 MB
Styles: Easy Listening, Vocal jazz
Year: 2010
Art: Front

[4:24] 1. Things We Said Today
[2:57] 2. Forever For Now
[4:29] 3. Fields Of Gold
[3:04] 4. You Can't Do That
[3:09] 5. It's Gonna Rain Today
[4:29] 6. Time After Time
[3:28] 7. She's Not There
[4:34] 8. Two For The Road
[3:22] 9. Waters Of March
[4:26] 10. That's How I Know I'm In Love
[3:40] 11. Downtown
[5:28] 12. Love Dance
[3:07] 13. Hallelujah I Just Love Him So
[3:09] 14. Hushabye Mountain

Helen Welch is a critically-acclaimed vocalist whose live stage performances explore a diverse range of musical compositions, starting with the 1930s up through present-day. Whether she’s singing Ella Fitzgerald, Peggy Lee and Sarah Vaughan, or Elton John, Sting and Randy Newman, Helen’s sophisticated vocals and humor leave audiences breezily enchanted. The “Helen Welch experience” is perhaps best described by a fan who wrote on her Amazon page, “If you have a chance to see Helen perform, do it! You are in for a special treat.”

A native of England, Helen is well-known throughout the United Kingdom for her musical theatre roles and 1-woman shows. Upon moving to the U.S. in 2003, she began appearing in venues throughout the Northeast. Her unique talents for choosing songs that stand the test of time and making them her own, and her ability to intimately engage her audience, quickly earned her a large and devoted following.

"Forever For Now" is the follow up to Helen's CD "One Dream" which was a Huge Success! "Forever For Now" is a completely different listening experience and Helen describes it as an eclectic, melodic fusion of popular song and jazz. Helen has the knack for choosing songs that stand the test of time and then making them her own.

Forever For Now

The Guess Who - Platinum & Gold Collection

Bitrate: 320K/s
Time: 41:59
Size: 96.1 MB
Styles: Rock
Year: 2003
Art: Front

[3:42] 1. These Eyes
[3:44] 2. No Time
[3:25] 3. Undun
[3:52] 4. American Woman
[3:24] 5. Hand Me Down World
[3:06] 6. Broken
[2:24] 7. Albert Flasher
[4:03] 8. Sour Suite
[3:30] 9. Runnin' Back To Saskatoon
[4:42] 10. Glamour Boy
[2:37] 11. Star Baby
[3:24] 12. Dancin' Fool

The Guess Who's Platinum & Gold Collection boasts a tight 12-track sequencing and good notes from John Einarson ("the author of American Woman: The Story of the Guess Who"). While this does not really contain all the big hits -- "Laughing," "No Sugar Tonight/New Mother Nature," and "Share the Land" are the most egregious omissions, but "Rain Dance" and "Clap for the Wolfman" are also missing -- there are plenty here, including "These Eyes," "No Time," "Undun," "American Woman," "Hand Me Down World," and "Albert Flasher."

Platinum & Gold Collection

Charlie Hunter - Steady Groovin'

Bitrate: 320K/s
Time: 73:42
Size: 168.7 MB
Styles: Guitar jazz
Year: 2005
Art: Front

[7:54] 1. Run For It
[5:58] 2. Rhythm Music Rides Again
[4:53] 3. Greasy Granny
[4:50] 4. Mean Streak
[6:30] 5. Nothin' But Trouble
[5:37] 6. Lively Up Yourself
[7:46] 7. The Shango Pt. III
[6:08] 8. Enter The Dragon
[5:35] 9. Two For Bleu
[6:28] 10. The Spin Seekers
[5:15] 11. Ashby Man
[6:42] 12. Fistful Of Haggis

Charlie Hunter turned in his last album for Blue Note, Songs From the Analog Playground in 2001 before moving over to Ropeadope. Several years down the line, the time seemed right for Blue Note to reinvigorate sales with Steady Groovin', a collection taken from Hunter's seven albums recorded for the label. With no real "hits" to speak of, the task simply became one of highlighting Hunter's phenomenal playing in the variety of settings he's recorded in, from a duo setting to a seven-piece band. While the choices may be arbitrary, compilation producer Eliott Wolf has done a fine job of selecting tunes that fit the title bill. He also wisely stayed away from the collaborative elements of Songs From the Analog Playground, where a number of vocalists joined the band, thereby keeping the focus squarely on Hunter. The non-chronological sequencing was a good choice, too: Steady Groovin' plays like an album, not just a collection of tunes, despite the changing lineups on nearly every track. Charlie Hunter is the undisputed king of the eight-string guitar, maintaining funky basslines while simultaneously playing leads or comping, and his technique is mind-boggling. But Hunter is about much more than technique: he's an agile improviser with an ear for great tone, and always has excellent players alongside him in order to make great music, not to show off. Steady Groovin' makes for an excellent introduction to the music of Charlie Hunter, but will probably just whet the appetite for more. ~Sean Westergaard

Steady Groovin'                 

Sherri Roberts - Dreamsville

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 55:47
Size: 128,0 MB
Art: Front

(3:56)  1. Zoot Walks In
(5:13)  2. With A Song In My Heart
(4:58)  3. Social Call
(6:06)  4. Two Kites
(3:52)  5. Middle Of The Night
(4:03)  6. Dreamsville
(4:11)  7. People Will Say We're In Love
(4:06)  8. How Little We Know
(4:23)  9. Strange Meadowlark
(5:00) 10. I've Got Just About Everything
(5:08) 11. It Never Entered My Mind
(4:45) 12. Dream Dancing

Singer Sherri Roberts has a pleasant, expressive alto voice, scat-sings and interprets lyrics, uses a vibrato somewhat wider than most, and fades from the limelight at will. The singer, who grew up in Atlanta, earned a degree in theater, and moved to San Francisco, names influences such as Billie Holiday, Chet Baker, and Helen Merrill. Roberts fares best when she projects firmly with a strong will and with her desired expressions, such as on "It Never Entered My Mind." While working with Chris Potter on "Zoot Walks In," there are spots where she allows the laid-back mood of the tune to take control and wavers with indecision as to the amount of strength to apply in phrasing or just how crisp to make the articulation. On Bob Dorough’s "I’ve Got Just About Everything," the singer minimizes projection and rolls through the lyrics with rounded breathy edges that seem to cry out for more pronounced articulation. 

Similarly, "People Will Say We’re In Love" finds the vocalist competing with the band to be heard, and losing the battle as the words melt one into the other. Elsewhere, the choice of material has made a difference, as most of the album finds Sherri Roberts in a comfortable setting, relaxed, but painting the picture one would expect for each song. Johnny Mercer’s lyrics to "How Little We Know" com! e across in the foreground and blend perfectly with Soskin’s piano harmony, Swartz’s compatible bass counterpoint, and Gottlieb’s tasteful drum accompaniment. Swartz, Potter, and cellist Friedlander each have opportunities to solo, and demonstrate a unique affinity with the singer. In a rolling 5/4 meter, Henry Mancini’s "Dreamsville" presents Roberts in a setting suited to her relaxed approach and drifting columns of melody. Highlights of the album include a flirtatious "Social Call," an expressive ballad rendering of Dave Brubeck’s "Strange Meadowlark," and Jobim’s light & happy "Two Kites." ~ Jim Santella   http://www.allaboutjazz.com/dreamsville-sherri-roberts-brownstone-review-by-jim-santella.php#.U4E-yCioqdk 
 
Personnel: Sherri Roberts- vocals; Mark Soskin- piano; Harvie Swartz- acoustic bass; Danny Gottlieb- drums; Chris Potter- tenor saxophone on "Zoot Walks In", "People Will Say We

Patrice Jégou - Speak Low

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 68:30
Size: 158,7 MB
Art: Front

(5:58)  1. Don't Sit Under the Apple Tree (With Anyone Else but Me)
(3:19)  2. What Are You Doing the Rest of Your Life?
(2:35)  3. From This Moment On
(4:54)  4. Everyday (I Have the Blues)
(4:04)  5. I've Got the Sun in the Morning
(4:41)  6. What a Difference a Day Made
(6:28)  7. Lullaby of the Leaves
(5:06)  8. Down By the Salley Gardens
(4:49)  9. Speak Low
(5:38) 10. This Little Light of Mine
(4:06) 11. Nino Precioso
(4:07) 12. The Summer Knows
(3:53) 13. Walking After Midnight
(4:02) 14. Til There Was You
(4:41) 15. The Summer Knows (Bonus Track)

Remember the first time you heard Streisand or Renée Fleming, Celine Dion or Adele? Yes, the voice was arrestingly beautiful, but there was more: a distinctiveness that made that moment of discovery uniquely thrilling. Each is blessed with “that little something extra,” as James Mason so aptly described it to Judy Garland in A Star Is Born, that signifies true star quality.  Hit “play” on track one of Speak Low, the debut release from classically-trained mezzo-soprano Patrice Jégou, and you immediately feel that same effect; that ineffable je ne sais quoi that separates the great from the merely good. Across 15 wide-ranging tracks, spanning Broadway, Tin Pan Alley, Nashville and beyond, and blurring jazz, pop, classical, country and gospel, Jégou is assisted by an all-star assortment of musicians, including 10-time Grammy winning vocal jazz group Take 6, gospel superstar Andraé Crouch and the Andraé Crouch Singers, saxophonist extraordinaire Kirk Whalum, bass legend Victor Wooten, guitar luminary Paul Jackson Jr., Grammy-winning trombonist Conrad Herwig, and a host of others. 

Production credits include Mark Kibble of Take 6 and Cheryl Bentyne from The Manhattan Transfer. The story of Jégou’s serpentine career path, including the evolution of Speak Low, is as compelling as the album itself. Born in Canada, Jégou grew up in a house filled with music her mother was an accomplished guitarist, keyboardist and vocalist. At her parents’ insistence, she begrudgingly took piano lessons, but was much more interested in sports. A natural athlete, she excelled at baseball, volleyball and particularly figure skating. Eager to expand her horizons, Jégou began skating professionally, coaching in New Zealand, Canada, and the United States, and touring Mexico with an ice show. But at age 23 she decided to hang up her skates. The show she was appearing in had reached Monterrey, Mexico and there was a cast change. Among the newcomers was a fellow from Vancouver with an impressive background in musical theater. One day, while the cast was fooling around during intermission, singing various tunes, he took special note of Jégou’s beautiful voice and urged her to take singing lessons. Intrigued, Jégou returned to Canada and sought out a prominent local voice teacher and also enrolled at Red Deer College, where she joined the jazz choir. 

From there, she progressed to the music program at the University of Calgary. Perhaps the first confirmation of Jégou’s extraordinary vocal talent came two years into her studies, when she auditioned for a soloist role with the Calgary Philharmonic under the direction of Maestro Hans Graf. Midway through her audition, Graf stood up, dashed down the aisle, ran up on stage and said, “You’re so good! Sing it again!” A short time later Jégou moved to Nashville for graduate studies at Belmont University, acquiring her Master of Music degree in classical vocal performance. She continued her studies at Mason Gross School of the Arts at Rutgers University where, in 2011, she obtained her Doctor of Musical Arts degree in classical vocal performance. In the summer of 2005, prior to relocating to New Jersey to attend Rutgers University, Jégou entered and won a prestigious international singing competition in Peru. Settled in New Jersey, now studying for her doctorate, she met and married Yinka Oyelese, an accomplished physician, whose own musical background includes membership in an immensely popular a cappella vocal group in his native Nigeria. 

The spark for what would eventually become Speak Low, executive produced by Oyelese, was ignited not long after their wedding, when, in 2008, Jégou returned to the Peru competition to serve as an adjudicator. While there, she was asked to give a master class and a recital. Working alongside a Costa Rican pianist, she remembers singing “a Schubert set, a Debussy set and a Swedish song. But I thought I should also include something a little more popular, so I prepared ‘Till There Was You’ from The Music Man, and did it as an encore. Well, the audience applause was so enthusiastic that the pianist leaned over and whispered to me, ‘Do you have another song?’ I whispered back, ‘no,” and he said, ‘well you’ll have to sing it again,’ which I did!”

A short while later, a retirement party was being planned for Jégou and Oyelese’s church minister and she was asked to sing. Again she chose “Till There Was You,” and again the reaction was extraordinary. “People were cheering and crying and were so excited by the song,” she recalls, “that Yinka turned to me and said, ‘you know, honey, I think you should record a non-classical album.’” And so, Speak Low was conceptualized. With nostalgic arrangements reminiscent of a bygone era, Speak Low features lush orchestral accompaniments, a sizzling Big Band, the harmonic virtuosity of Take 6, latin guitar, and an amazing gospel choir. Jégou is one of a very few that can masterfully handle jazz, blues, gospel, folk songs, and classical music with equal skill and virtuosity. Her epic vocals, outstanding musicianship, and stylish song interpretations have been compared to great vocalists like Diana Krall, kd lang, Barbra Streisand, and Dianne Schuur.  http://www.cdbaby.com/cd/patricejegou3

Speak Low

Antonio de Lorenzo - Angels

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 43:14
Size: 99,6 MB
Art: Front

(4:48)  1. Angels
(3:37)  2. More Fire
(4:53)  3. My Gospel
(5:51)  4. Woodstock Mud
(6:37)  5. I Remember Godfather
(5:04)  6. Arrivederci
(4:41)  7. Norwegian Wood
(7:40)  8. Sad Country

After 10 years from his album with Steve Lacy, Antonio Di Lorenzo, one of the most respected drummers and percussionists of the Italian scene, comes back with great musicians, among which Marc Ribot on guitar and Bruno Tommaso as arranger. A concept album, thought until the last note, "theological summa" of the modern jazz after hard bop, with lyrical songs and great solos. The maturity recording of a great artist, after many years as a luxury sideman of the greatest artists in the jazz and pop world.   http://www.thebumps.net/rec/angels-e.html

Personnel: 
Antonio Di Lorenzo - drums, percussions
Davide Penta - bass
Vince Abbracciante - accordion, rhodes, piano
Vito Di Modugno - Hammond organ
Michael Marrano - french horn
Claudio Chiarelli - alto sax
Fabrizio Scarafile - soprano & tenor sax
Michele Marzella - baritone sax
Giorgio Distante - trumpet
Marc Ribot - guitar
Paolo Montaruli - bass
Mirko Signorile - rhodes
Vincenzo Deluci - trumpet
Bruno Tommaso - arrangements

Bucky And John Pizzarelli - At The Vineyard Theatre

Styles: Guitar Jazz
Year: 1987
File: MP3@320K/s
Time: 61:37
Size: 141,5 MB
Art: Front

( 2:51)  1. Three Little Words
( 4:31)  2. Jitterbug Waltz
( 4:59)  3. Medley: I'm Through With Love; I'll Never Be The Same; All This And Heaven Too
( 3:19)  4. (Get Your Kicks On) Route 66
( 3:46)  5. This Will Make You Laugh
( 3:32)  6. Honeysuckle Rose
( 5:13)  7. Do Nothin' Till You Hear From Me
( 5:24)  8. Medley: Concierto de Aranjuez; Spain
( 3:02)  9. Pick Yourself Up
( 4:02) 10. Medley: Romanza; In The Dark
( 2:17) 11. Straighten Up And Fly Right
( 4:49) 12. Triste
( 2:39) 13. Send In The Clowns
(11:08) 14. Benny Goodman Medley: Sompin' At The Savoy; Memories Of You; Sing, Sing, Sing

This 1987 concert at New York's Vineyard Theatre pairs two fine guitarists, Bucky Pizzarelli and his equally talented son, John Pizzarelli. The two players fit effortlessly hand in glove, no matter who is soloing at a given time, as they work their way through classic standards ("Three Little Words"), jazz classics ("Do Nothin' Till You Hear From Me"), pop favorites ("Route 66"), and creative medleys (such as the combination of the famous movement from Rodrigo's "Guitar Concerto" with Chick Corea's "Spain"). John Pizzarelli also adds warm vocals to several tracks. Concert and recording producer Richard Sudhalter also contributed the enlightening liner notes, most of which is a transcript of a compilation of interviews done with both musicians at the time of the performance and some eight years later. With the CD cover declaring it to be a limited edition, it is well worth making a high-priority purchase. ~ Ken Dryden   http://www.allmusic.com/album/live-at-the-vineyard-theatre-mw0000184873.

Personnel:  John Pizzarelli (vocals, guitar); Bucky Pizzarelli (guitar).