Warren Vache & The Scottish Ensemble - Don't Look Back

Size: 135,1 MB
Time: 58:02
File: MP3 @ 320K/s
Released: 2006
Styles: Big Band
Art: Front

01. It Was Written In The Stars (6:46)
02. My Misteress' Eyes (2:54)
03. Spring (4:15)
04. My Love And I (5:11)
05. Molly On The Shore (4:07)
06. April In My Heart (6:14)
07. Valse Prismatique (4:12)
08. I Fall In Love Too Easily (4:32)
09. Love Is For The Very Young (5:24)
10. On The Street Where You Live (6:04)
11. Don't Look Back (8:18)

A veteran trumpeter with an extensive resume that includes stage, radio and television performances, Warren Vaché filled a void in his three-decade career with the recoding of Don't Look Back. Having once stated that "Everybody really serious about jazz music dreams of making a recording with a string ensemble, Vaché accomplishes this long-held desire by joining forces with the Scottish Ensemble, a twelve-piece virtuoso string group that once specialized in only baroque music. Playing against the backdrop of the strings, his trumpet and cornet convey a warm and pleasant mood associated with a classical-jazz atmosphere.

On six of the ten tunes on this album, Vaché leads the Scottish Ensemble, and his trumpet is the only other instrument accompanying the group. Preferring to limit the music in this manner, he employs a rhythm section on four other tracks: bassist Ronnie Rae, pianist John Rae and drummer Brian Kellock. Another important contributor to this project was guitarist James Chirillo, who provides various arrangements and wrote "Valse Prismatique. The selections include lush standards like the Harold Arlen's "It was Written in the Stars, Hoagy Carmichael's "April in My Heart, Sammy Cahn's " I Fall in Love Too Easily and an absolutely beautiful rendition of the David Raskin classic "My Love and I.

Typical of classical-jazz music, Don't Look Back quenches the thirst for that soft and gentle side of jazz that we all need a sip from sooner or later. Vaché interprets the selections on this relaxing, soul-searching and soothing jazz session with graceful accompaniment from his instrumental collaborators. ~Edward Blanc

Personnel: Warren Vache: leader, trumpet, cornet; James Chirillo: guitar; Brian Kellock: drums (3,4,8,10); John Rae: piano (3,4,8,10); Ronnie Rae: bass (3,4,8,10). Scottish Ensemble (1,2,5-7,9): Jonathan Morton: director, violin; Cheryle Crockett, Liza Webb, Lowri Porter, Tamas Andras, Laura Ghiro, Amira Bedrush-McDonald: violins; Fionna Winning, Becky Jones: violas; Alison Lawrence,Naomi Boole-Masterson: cellos;Diane Clark: double bass; Helen Macleod: harp; Katherine Mackintosh: oboe.

Don't Look Back 

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Mike Ledonne Trio - Speak: Live At Cory Weeds' Cellar Jazz Club

Size: 117,6 MB
Time: 50:58
File: MP3 @ 320K/s
Released: 2013
Styles: Post-Bop, Piano Jazz
Art: Front
01. Suite Mary Part I: Speak (5:35)
02. Suite Mary Part II: Listen (3:28)
03. Suite Mary Part III: Play (4:43)
04. Suite Mary Part IV: I Will Always Love You (5:37)
05. Suite Mary Part V: Little M (8:26)
06. What You Say Dr. J (6:40)
07. I Loves You Porgy (5:58)
08. Blues For McCoy (5:10)
09. Bleeker Street Theme (5:17)

(Mike Ledonne – piano; John Webber – upright bass; Joe Farnsworth – drums)

In the liner notes to this Mike Ledonne Trio Cellar Live release entitled Speak, highly regarded pianist Bill Charlap offers the following assessment of the performer: “Mike Ledonne is one of my favorite pianists. An artist of great integrity and depth, he’s incapable of playing a dishonest note”. High praise indeed, but a listen to this album confirms this appraisal.

The first five tracks of this recording are all tied together as part of “Suite Mary” a story told in music and dedicated to Ledonne’s daughter Mary, who has a very rare disability called Prader Willi syndrome. All of Ledonne’s musical sensibilities are on display in the various sections where he brings each one to life. Demonstrating showy form, assured attack, and interesting turn of expression, Ledonne delivers a scintillating palette of music.

Pianist/composer James Williams wrote “What Do You Say Dr. J” for basketball legend Julius Irving and it is given a groovy downhome reading by the trio with drummer Farnsworth delivering a confident rhythmic signature and bassist Webber in full grasp of his instrument. “I Loves You, Porgy” opens with Ledonne stating the theme in soft Latin frame then picking up the pace to 4/4 time on the bridge. All in all an unusual rendition of the composition. A breakneck speed rendition of Ledonne’s composition “Blues For McCoy” which is dedicated to McCoy Tyner shows the pianist’s capability of owning the keyboard with an especially boisterous drum solo from Farnsworth. The set closes with Cedar Walton’s composition “Bleeker Street Theme”. Walton died on August 19, 2013 and was acknowledged as one of jazz’s most esteemed composers with a book of compositions that covered a panoply of styles. Ledonne’s take on the tune runs the gamut of Waltonian touches that give each piece its identity. Throughout this album, Ledonne demonstrates his profuse technique coupled with storytelling insight. —Pierre Giroux

Speak

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Cassandra Wilson - The Collection

Size: 188,6 MB

Time: 81:03

File: MP3 @ 320K/s

Released: 2014

Styles: Jazz Vocals

Art: Front

01. Blue Skies ( 3:05)

02. Blue In Green ( 4:06)

03. Tea For Two (With Jacky Terrasson) ( 4:44)

04. Tennessee Waltz (With Jacky Terrasson) ( 4:47)

05. Polka Dots And Moonbeams ( 5:42)

06. 'Round Midnight ( 5:54)

07. I Wished On The Moon ( 3:30)

08. Old Devil Moon (With Jacky Terrasson) ( 5:43)

09. Angel ( 4:35)

10. Chelsea Bridge ( 6:27)

11. The Ladies Who Lunch (With Don Byron) ( 6:13)

12. I've Grown Accustomed To His Face ( 5:12)

13. Shall We Dance ( 7:16)

14. Body And Soul (10:39)

15. I'm Old Fashioned ( 3:02)

Although her recording career has been somewhat erratic, Cassandra Wilson became one of the top jazz singers of the '90s, a vocalist blessed with a distinctive and flexible voice who is not afraid to take chances. She began playing piano and guitar when she was nine and was working as a vocalist by the mid-'70s, singing a wide variety of material. Following a year in New Orleans, Wilson moved to New York in 1982 and began working with Dave Holland and Abbey Lincoln. After meeting Steve Coleman, she became the main vocalist with the M-Base Collective. Although there was really no room for a singer in the overcrowded free funk ensembles, Wilson did as good a job of fitting in as was possible. She worked with New Air and recorded her first album as a leader in 1985. By her third record, a standards date, she was sounding quite a bit like Betty Carter.

After a few more albums in which she mostly performed original and rather inferior material, Wilson changed direction and performed an acoustic blues-oriented program for Blue Note called Blue Light 'Til Dawn. By going back in time, she had found herself, and has since continued interpreting vintage country blues and folk music in fresh and creative ways up until the present day. During 1997 she toured as part of Wynton Marsalis' Blood on the Fields production. Traveling Miles, her tribute to Miles Davis, followed two years later. For 2002's Belly of the Sun, she drew on an array of roots musics -- blues, country, soul, rock -- to fashion a record that furthered her artistic career while still aligning well with trends in popular music. Glamoured, released in 2003, posed a different kind of challenge; half the material was composed by Wilson herself. Unwilling to stand still, she gently explored sampling and other hip-hop techniques for 2006's Thunderbird. She followed 2008's Loverly, another album of standards, with Silver Pony in 2010. Ever a musical chameleon, she changed direction again with an album of mostly original tunes entitled Another Country, which she co-produced with electric guitarist Fabrizio Sotti. Recorded in Italy, New Orleans, and New York, it was released in the summer of 2012. ~Biography by Scott Yanow

The Collection

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Susan Weinert Band - Point Of View

Size: 118,6 MB
Time: 51:04
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Fusion, Prog. Rock
Art: Front

01. Liebman ( 3:12)
02. The Kobayashi Syndrom ( 4:44)
03. Knock On Wood ( 3:41)
04. Trust Me ( 4:29)
05. Day (10:15)
06. Did I Get You Right ( 4:18)
07. The Proof ( 4:38)
08. Les Trois Arbes ( 5:50)
09. Fort Carre ( 4:20)
10. La Fuerza Del Viento ( 2:59)
11. No Warm-Ups ( 2:32)

Susan Weinert never ceases to amaze me with her growth and versatility as an incredible jazz guitarist and composer. This release has her growing into another new voice in her guitar stylings. This time around I picked up on a certain smoother Gambale feel moreso than Hendersonic crunch. Check out opening track, “Liebman” which calls to mind Gambale’s Thunder Down Under. Only on the groove-funk-scat, with distorto-axe, outro to “Day” do we hear the obvious tribute to Tribal Tech. Sonic snippets of Terje Rypdal/Bill Frisell howlings apppear too. She showcases an easy grasp of acoustic jazz guitar flair this go round on several pieces. I heard Towner, Abercrombie, and a smidgen of Bill Connors acoustics. Wonderfully rich and warm acoustic piano is offered on many tracks by Jean-Yves Jung. Tenor sax by Pierre Bertrand is heard on “The Proof”.

Probably the most extraordinary thing happening on Point of View alongside Weinert’s above par guitar is the absolutely unreal but true vocal abilities of Michael Schiefel! Wow! This guy has a dynamic range that is beyond androgynous. He wails so beautifully like a lady then swoops out of soprano and deep into octaves of the baritone boys. I actually had to e-mail Weinert to assure myself this was a man singing. Schiefel and Weinert do vox/string unison runs that bring goosebumps. She wails and bends notes right alongside the enchanting flurry of notes by songbird Schiefel. Scat has never sounded so very, very cool.

This is just one more recommended release in a string of goodies that Weinert and crew produce. Martin Weinert is acoustic bass throughout each song. Hardy Fischötter handles the drums like a pro everywhere. Nice job folks. Point of View will appeal to folks seeking great guitar in a mellower setting yet not compromising some edge here and there. Yeah, we get down and groove on the final cut, “No Warm-Ups”, I told ya so. Superb, Susan and gang! You’ve outdone yourselves once again. ~AAJ Staff

Point Of View

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Diane Schuur - I Remember You: With Love To Stan And Frank

Size: 120,2 MB
Time: 51:58
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. S' Wonderful (3:32)
02. Nice N Easy (4:11)
03. Watch What Happens (5:09)
04. I've Got You Under My Skin (5:21)
05. How Insensitive (5:09)
06. Here's That Rainy Day (6:42)
07. Didn't We (5:52)
08. I Remember You (3:02)
09. I Get Along Without You - Don't Worry 'Bout Me (5:01)
10. The Second Time Around (4:58)
11. For Once In My Life (2:56)

Diane Schuur is that rare songbird who is equally competent as a jazz singer and a pops entertainer. While some vocalists go with more lucrative popular music and some take the road of the jazz artist in the pure sense, Schuur is able to straddle the two careers. Frank Sinatra and Nat "King" Cole had a superb grasp of the jazz idiom, but they made the decisive choice to become entertainers. By contrast, Chris Connor, Betty Carter, and Johnny Hartman all had shots at the klieglights and hit parade but took the route of the jazz scene. Schuur has made the two careers work together. She's consistently combined fine artistic efforts with the pizazz of an entertainer and held sway in both concert halls and small clubs. Her style incorporates both subtle jazz interpretation and the power of rhythm and blues. She has performed on stage with Ray Charles and with Peter Nero and the Philly Pops. She has recorded albums with the Count Basie Band (GRP, 1987) and B.B. King (Heart to Heart, GRP, 1984). Schuur is a remarkably resilient singer.

In this album, she pays tribute to two star-studded influences on her music and career: jazz saxophonist Stan Getz, and crooner Frank Sinatra. (She knew them both personally. Getz, sensing her talent when she started out, worked with her on several occasions, and Sinatra hired her for a major celebration in his personal life.) Yet, while tipping her hat to these icons, she chooses to fully embrace an intimate jazz setting, with a quintet typical of a club date, tunes that stand out for their subtlety and sophistication, liberal use of scat, and an emphasis on the emotive interpretation of the songs. Her instrumentalists are eminent jazz musicians, most notably Alan Broadbent on piano and Joel Frahm on saxophone. Since it is a tribute album, all the tunes are those recorded at one time or another by Sinatra or Getz, and some are forever associated with them. Their influence is also felt with respect to their respective inflections: Sinatra's conversational emotionality and Getz' frenetic diversions, but the overall impact derives from Schuur's instantly recognizable voice and approach.

The album starts out with three lightly swung standards: "S'Wonderful," "Nice 'n Easy," and "Watch What Happens." Frahm sounds very much like Getz of the early years: laconic and lyrical. Schuur's singing is straightforward and her scatting is non-intrusive. "Nice 'n Easy" and "I've Got You Under My Skin" introduce a Sinatra-like lilt and occasionally invoke the conversational mode for which Sinatra was the master.

Up until then, the album offers what you might hear in a straightforward recapitulation of jazz standards. Then, with "How Insensitive," there's a subtle shift. The instrumental introduction has the heavy beat of a tango, then calms down. Frahm plays soprano sax, something rare for Getz, and the tag ending by Schuur is the sort of utterance we're familiar with from Sinatra at mid-life. Not at all sensitive the way that Astrud Gilberto did it with Getz.

The game with styles escalates in the particular way that Schuur renders "Here's that Rainy Day." This reviewer's favorite version of the timeless van Heusen and Burke song is from Irene Kral: Live (Just Jazz, 1995) recorded in 1977 with Broadbent at the piano. Schuur starts out like Kral offering a deeply felt ballad, but then the pace surprisingly escalates to double time with a Latin flair, with Schuur's scatting trading off with Frahm's tenor saxophone. They both adopt Getz' style, and Schuur gives an incomparable evocation of Getz' post-bossa nova squawks and catcalls, her incredibly resilient technique shining brightly, and ending with a gut-wrenching, back-breaking scat. One could argue that by this means she captures the underlying hysteria of a lover's otherwise melancholy "rainy day," but one could also wonder if this display of showmanship doesn't undermine the sense of loss that the song captures so well when left alone. Here, Schuur walks a fine line between meaningful interpretation and flashy entertainment.

Next, Schuur settles into a reflective groove with "Didn't We?" And she stays there, so the meaning of the song really comes through. Here, we also get a wonderful sampling of Broadbent's exceptional ability to accompany a vocalist with full chordal voicing. (Some great guitar work as well.) "I Remember You" is well articulated with the feel of Pete Rugolo's great arrangement of the tune (Four Freshmen and Five Trombones, CreateSpace, 1955.)

A medley of "I Get Along Without You" and "Don't Worry 'Bout Me" is sheer beauty on all fronts, showing what Schuur can do with straightforward ballad interpretations. The same can be said for "The Second Time Around." The album concludes with a lively, swinging version of "For Once in My Life" which, however, uniquely ends like a soprano aria in the death scene of an opera.

Some listeners are going to enjoy the straight-ahead renditions more than the intrusions of Getz and Sinatra, while others will dig the spice. Either way, the album provides a rich sampling of what Schuur can do with a small group jazz backup in an intimate studio setting. And it has all the vitality and energy that we expect from Schuur at her best. ~Victor L. Schermer

Personnel: Diane Schuur: vocals; Alan Broadbent: arrangements, piano; Roni Ben-Hur and Romero Lubambo: guitars, Joel Frahm: saxophone, Ben Wolfe: bass; Ulysses Owens Jr.: drums.

I Remember You With Love To Stan And Frank                 

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Chet Baker - Stella By Starlight

Bitrate: 320K/s
Time: 57:20
Size: 131.2 MB
Styles: Trumpet jazz
Year: 1962/1994
Art: Front

[ 6:23] 1. Milestones
[ 6:38] 2. Deep In A Dream
[13:06] 3. Once Upon A Summertime
[ 7:16] 4. Mister B.
[ 5:41] 5. I Waited For You
[10:49] 6. Stella By Starlight
[ 7:24] 7. Witchcraft

Despite his handicaps, Baker retained his compelling, moody performance style and had a consistent audience. Later based overseas, he produced a number of albums on European labels. In the last ten years of his life, he preferred playing in small clubs with trios and quartets, but managed a few concert appearances in New York, San Francisco and Tokyo for packed houses. One haunting Tokyo performance from June of 1987, less than a year before his death, is captured on the album Chet Baker in Tokyo, which includes an unforgettable version of “Stella By Starlight.”

On May 13, 1988, after three failed marriages and an erratic career, Chet Baker was found dead on a sidewalk two stories below his room at an Amsterdam hotel. The autopsy revealed the presence of narcotics but concluded nothing about the cause of the fall.

Even in decline, Baker maintained his mastery of midrange improvisations, many of which have been resurrected today by an obsessive coterie of fans, who post rare live performances on YouTube and MySpace. A subject of documentaries and several books, including Bruce Weber’s Let’s Get Lost and an incomplete autobiography, As Though I Had Wings, he was voted into the Down Beat’s Jazz Hall of Fame one year after his death.

Alto Saxophone – Glauco Masetti; Bass – Franco Cerri; Drums – Gianni Cazzola; Guitar – René Thomas; Trumpet – Chet Baker

Stella By Starlight

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Cyrille Aimee - Cyrille Aimee & The Surreal Band

Bitrate: 320K/s
Time: 54:53
Size: 125.6 MB
Styles: Vocal jazz
Year: 2005
Art: Front

[3:23] 1. This Can't Be Love
[4:08] 2. The More I See You
[6:01] 3. I'll Remember April
[5:29] 4. As Long As You're Living
[4:26] 5. How Deep Is The Ocean
[4:19] 6. Indifference
[8:00] 7. Que Pasa
[4:50] 8. Sunny
[5:41] 9. I'm Through With Love
[5:00] 10. Sometimes I'm Happy
[3:30] 11. Twenty Eight

Winner of the Montreux Jazz Festival's International Vocal Competition, the Sarah Vaughan International Jazz Vocal Competition and finalist in the Thelonious Monk Vocal Competition, French vocalist Cyrille Aimée is—in the words of Will Friedwald of The Wall Street Journal—"one of the most promising jazz singers of her generation." In the same Wall Street Journal feature on Cyrille (and vocalist Cecile McLorin Salvant), Friedwald declared "Both are astonishing creative singers, with a brilliant sound, fresh ideas, impeccable rhythm and an overall approach that honors tradition without being shackled to the past."

Cyrille was born in Fontainebleau, France, to a French father and Dominican mother. Her introduction to jazz was the result of the fortuitous location of her upbringing, the village Samois-sur-Seine—the same place where the legendary gypsy guitarist Django Reinhardt once lived. For decades gypsies from throughout Europe have descended upon Samois every June, setting up caravans in nearby meadows for the annual Django Reinhardt Festival. Many years ago, a young, curious Cyrille wandered (unbeknownst to her parents) into the encampments and fell in love with the gypsies’ music and way of life. She would climb out her bedroom window at night and spend evenings in their quarters, learned their language and sang by the fire with Django's descendants—before returning home prior to sunrise and school. "I was hypnotized by this music which made me want to tap my feet," said Cyrille. "Swinging music makes me so happy."

As a teenager, Cyrille performed in various Parisian cafés and clubs. When her family moved to Singapore, she remained in Paris to attend the American School of Modern Music. She also auditioned for "Star Academy," the French version of "American Idol." Selected to be one of 16 semi-finalists, Cyrille had second thoughts when she was handed a contract that tied her up every which way for ten years—including what she would sing. This was too much for her gypsy and jazz spirit to accept—so she quit. The French media so pursued Cyrille, she sought refuge in her mother's homeland—the Dominican Republic.

Cyrille Aimée's hybrid of influences has resulted in a sound that's fresh and enlivening. In addition, her distinctive voice—which did not escape the attentions of Stephen Sondheim, who cast Cyrille in an Encores! Special Event at New York City's City Center in November 2013—is guaranteed to enthrall. If the notion of joy factors into a concertgoer’s equation, Cyrille's concerts—whether with her band, an orchestra or in a duo setting—are not to be missed.

Cyrille Aimee & The Surreal Band

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Terell Stafford - Fields Of Gold

Bitrate: 320K/s
Time: 72:47
Size: 166.6 MB
Styles: Trumpet jazz
Year: 2009
Art: Front

[4:30] 1. Hey, It's Me You're Talkin' To
[5:24] 2. Minnesota
[6:47] 3. Dear Rudy
[7:18] 4. Ms. Shirley Scott
[4:56] 5. Ill Wind
[6:22] 6. If I Perish
[5:31] 7. Sagittarius
[6:46] 8. I Believe In You
[6:10] 9. His Eye Is On The Sparrow
[5:50] 10. Flashdance
[5:54] 11. That's All
[7:14] 12. September In The Rain

This is a recording of tightly arranged and performed originals (Stafford got almost everyone in the band to compose a piece) and not so standard standards ("Ill Wind" and "September in the Rain"). Never being a big fan of Antonio Hart, I found him to be quite the perfect foil for Stafford. Together, they have fashioned a finely crafted series of pieces, arrangements, and solos, all in that order. They swing in a succinct and propulsive manner. The disc is summed up on the Bill Cunliffe contribution, "Minnesota," where everyone solos extremely well.

If I were to define an overall mood, I would say light Bossa Nova. Certainly "Hey, It'' Me..." and Stafford's own "Dear Ruby" fill that bill. But as soon as I say that, things get a little greasy with Stafford's "Ms. Shirley Scott." Fueled by Cunliffe's chicken shack organ and Kitagawa's walking bass, Ms. Scott proves to be a saucy and daring lady. Stafford chooses tow traditional pieces, a samba heavy "If I Perish" and a 3/4 "His Eye is on the Sparrow." All other pieces follow suite. Fields of Gold is superb debut on a super label. Merci! ~Michael Bailey

Terell Stafford: trumpet; Antonio Hart: alto aaxophone; Bill Cunliffe: piano, organ; Kiyoshi Kitagawa: bass; Rodney Green: drums.

Fields Of Gold

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Mark-Almond - The Best Of Mark-Almond

Bitrate: 320K/s
Time: 75:22
Size: 172.5 MB
Styles: Pop rock, Jazz rock
Year: 1990
Art: Front

[ 4:53] 1. Tuesday In New York
[ 6:08] 2. The Ghetto
[10:25] 3. The City
[ 4:59] 4. Tramp And The Young Girl
[21:50] 5. Sausalito Bay Suite
[ 5:39] 6. One Way Sunday
[ 4:16] 7. Monday Bluesong
[ 5:07] 8. What Am I Living For
[ 5:02] 9. Lonely Girl
[ 6:58] 10. Home To You

Jon Mark and Johnny Almond were top London session musicians in the 60s, at a time when the British rock explosion was at full force. They played with everyone from The Rolling Stones to Marianne Faithfull. Mark even owned a production company with guitarist Jimmy Page, who later started the seminal rock group, Led Zeppelin. Mark and Almond met in the late 60s, on a two year tour with John Mayall, the acknowledged father of the white blues. Both recorded on Mayall's classic album, The Turning Point. On tour, they discovered a strong musical affinity which ultimately resulted in Mark-Almond. Through the 70s the band toured the United States and Europe, and made recordings for a variety of labels. Over time, Mark-Almond consistently forged new ground and retained an uncanny sense of identity due to the strong musical vision of its leaders.

The Best of Mark-Almond is a compelling retrospective of the band's most inventive and best-loved songs. We all know the distinctive sound this innovative English band was exploring in the late 60s and early 70s, carving out a niche in the unchartered territory between rock and jazz. Although the saxophone was rarely heard in pop music at that time, the smoky, melancholy tones of reedman Johnny Almond were an integral part of the group's sound. Characterized by an innovative blend of blues licks, jazz riffs, Latin beats, and rock sensibilities, and in counterpoint to the screaming guitar licks of his contemporaries, Jon Mark, the composer and band leader, lingered over subtle, melodic lines with a unique sense of warmth and intimacy.

The Best Of Mark-Almond

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Barbara Ann Van - Special Delivery

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 50:18
Size: 115,8 MB
Scans:

(5:01)  1. All Blues
(4:15)  2. It Had To Be You
(3:55)  3. Accentuate The Positive
(3:50)  4. Squeeze Me
(4:29)  5. This Nearly Was Mine
(3:40)  6. Funny But I Still Love You
(3:49)  7. If I Had You
(3:52)  8. On A String
(4:39)  9. Maybe You'll Be There
(2:49) 10. Just One Of Those Things
(4:58) 11. Cry Me A River
(4:56) 12. God Bless The Child

This Body of work consists of songs I fell in love with at various points in my life.From 'Cry Me A River" which I first heard on my Dads HIFI by Julie London to " Just One of Those Things" by Rosemary Clooney.  My biggest musical influences in my life have been singers like Judy Garland, Sarah Vaughan, Ella Fitzgerald, Carmen McRae, Frank Sinatra and Ray Charles.I grew up hearing these great singers and knew that I also wanted to sing their music. The Music of the 1940's and 1950's is some of the best music we still have to enjoy today. "Special Delivery" was my first album and it was done in a small local studio in Fort Lauderdale. 

The musicians were all friends of mine and we had a great time recording these out of the norm tunes. Paul Bonman ,piano and keyboards was in my band "The Johnson Boys " in the early 90's and we have always had a special connection. Don Miller on acoustic Bass helped me with arrangements as well as keeping the group tight and focused.Bobby Stern is a very energetic saxaphone player used to playing more  Rhythm and Blues than Jazz but delivered a strong back up for me.Brian Smith on drums kept us all in time all the time.Brian works with many groups in South Florida. 

Linc Lackey and Valerio Conti also joined me for a few tunes adding a different flavor to bass and piano backup for me.Linc was also in my band "The Johnson Boys" and has always been key in song selection for me at times. I hope you enjoy the first album as well as my second album "Her Way" This album was heavily influenced by a dear friend of mine who passed away a couple years ago.He was a very extrordinary pianist, composer, arranger by the name of Jim Belt. He accompanies me on the first two tracks as well as selecting 6 of the 12 songs I recorded. Jim took me under his wing in 1996 in Fort Lauderdale where we first met and mentored and encouraged me to record .He was a special person who now plays in the big jazz band in the sky.Keep the music in your heart always my fans I love you Barbara.   

http://www.cdbaby.com/cd/barbaraannvan2

Special Delivery

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Diane Marino (Feat. Houston Person) - Loads of Love

Styles: Vocal And Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 56:14
Size: 128,7 MB
Art: Front

(3:50)  1. Get Out of Town
(5:05)  2. It Shouldn't Happen to a Dream
(3:24)  3. I Just Found Out About Love
(5:15)  4. Too Late Now
(4:16)  5. How Am I to Know
(5:32)  6. Someone You've Loved
(5:44)  7. Take Love Easy
(5:27)  8. Just for a Thrill
(4:05)  9. I Didn't Know What Time It Was
(4:37) 10. Never Let Me Go
(5:34) 11. I See Your Face Before Me
(3:19) 12. Loads of Love

Diane Marino is an artist worthy of your attention, for her ability to combine the talents of a swinging pianist, a vocalist that communicates with feeling and warmth, and an arranger who can package the music in a fresh and intriguing manner that can grab your interest. In today s diffuse musical world, with remotely varied styles that lack a concise emphasis on melody and the classic forms, it s important to have a lively presentation of the great standards to keep these great songs invigorating and in the moment. This album from Diane Marino serves those purposes well. It should be an important addition to your collection. Loads Of Love is Diane Marino s fifth album, all on the M & M label. A native New Yorker, Diane attended the High School for the Performing Arts and Mannes College of Music for classical piano. Her first album, A Sleeping Bee included a jazz quartet, playing standards, the next, On The Street Where You Live , had jazz, but also with a Brazilian and Latin flair, while Just Groovin reinterpreted pop songs of the 60's with a larger ensemble and guest artists. Select songs from these three CD s were re-mastered for the 2011 offering From The Heart . 

They all received widespread air play and international exposure. Diane also has performed around the country, in festivals, jazz clubs, and cabaret settings like New York City s Metropolitan Room. This wealth of experience and broad outlook can now be synthesized in this current album, with a focus back to her jazz roots. Helping that focus and contributing mightily to the proceedings is Houston Person, who appears as a guest artist on the tenor sax, and more important, has lent a creative direction as producer of the album. For those who don t know him, Person is a towering figure from the classic generation of the tough tenor , with a robust yet sweet bluesy sound. But equally important here, as a producer he has a sweepingly broad knowledge of the American popular songbook, and an approach that focuses on the melody. This approach combines neatly with Diane Marino s sensibilities and they ve known each other for several years and collaborated before. On this album, they join together to explore the ballads and blues. These aspects of jazz inform the best sides of Diane s interpretations of these standards, with her own arrangements that put a little individual spin on the chestnuts. In addition to Diane Marino s piano and Houston Person s tenor sax, the band includes musicians with whom Diane has performed frequently in her current Nashville base, and beyond, and the comfortable familiarity adds a soothing and tight level to the presentation. 

The bassist is Diane s husband and musical partner, too, Frank Marino, Chris Brown lays down a solid groove on the drums, and Pat Bergeson appears on guitar on several tracks. And another special guest is trumpeter George Tidwell, who adds an element of beauty in his appearance on Someone You ve Loved . The program of songs on the album include some well-known Richard Rodgers and Cole Porter you should know, some less prevalent nuggets of the songbook, and even some Ellington, all conveyed with an intimacy of warmth and interpretation. The title track Loads Of Love comes from the legendary later Rodgers show No Strings , originally performed by Diahann Carroll and popularized to jazz audiences by Shirley Horn. Indeed, there are several Shirley Horn connections here, obvious in Horn s coy stylistic influence on Marino, and also in the material, like Johnny Pate s Someone You ve Loved which Shirley Horn also recorded as Have You Tried To Forget , or Jimmy McHugh s I Just Found Out About Love. ~ Editorial Reviews   http://www.amazon.com/Loads-Love-Diane-Marino/dp/B00BLRQKKK.

Personnel: Diane Marino (vocals, piano); Chris Brown (drums); Houston Person (Producer).

Loads of Love

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Alexandra Caselli - Rough Edges

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 49:32
Size: 116,7 MB
Art: Front

(4:36)  1. Waiting For Jennifer
(4:26)  2. Blues For Stevie
(5:51)  3. Colors Of The Rain
(6:51)  4. Field Trip
(4:51)  5. If You Loved Me As Much As I Can Imagine
(3:45)  6. Out Of The Blue
(2:54)  7. Butterfly Eyebrows
(4:42)  8. Home At Last
(6:12)  9. Rough Edges
(5:20) 10. Lift Me Up

A rather inappropriate title for an album that is seemingly flawless with no discernable rough edges heard, Rough Edges is another blazing effort from pianist Alexandra Caselli and a pleasing one at that. A classically-trained pianist who began playing the instrument at the age of six, Caselli begins to reveal the depth of that training on the light ballad of "Colors of The Rain" with a warm performance on the keys. Not only is Caselli an exceptional player, she's also a talented composer providing eleven creative and lively original compositions to sample.  Unlike her previous album, Out The Aquarium (Moonjumpers 2, 2004), where Caselli performs with two different rhythm sections in a standard piano trio format, she augments her core trio of bassist Jennifer Leitham and drummer Randy Lake with several guest players. 

Among them are flautist Jennifer Hall who was part of ABC's Dancing with The Stars house band, former Ray Charles guitarist Brad Rabuchin and saxophonist Carol Chaikin. Adding yet another element to her music, Caselli includes two lyrical pieces with "Blues for Stevie" and "Out of the Blue" with vocals provided by Jonathan Dane, who also plays the trumpet and flugelhorn on other tracks. The music is quite charming as the program opens up with the lively, upbeat "Waiting for Jennifer," featuring spirited playing from Hall on alto flute, and well accompanied by guitarist Rabuchin as Caselli plays the melody. On "Blues for Stevie" it's saxophonist Chaikin, following the vocal intro from Dane, who distinguishes herself with a sparkling solo on alto while Leitham and Lake make their presence felt. 

The guitarist takes part of the limelight with cool, crisp play on "Field Trip," sharing the stage with Leitham's brisk acoustic bass. While graced by excellent solos from her band mates and guests, it's pianist Alexandra Caselli who delivers a marvelous performance and deserves the credit for crafting, sanding down and polishing the Rough Edges off one very fine recording. ~ Edward Blanco   http://www.allaboutjazz.com/rough-edges-alexandra-caselli-moonjumpers-review-by-edward-blanco.php#.U4vuSiioqdk

Personnel: Alexandra Caselli: piano; Jennifer Leitham: bass; Randy Drake: drums; Jennifer Hall: alto flute (1,3,10); Carol Chaikin: alto sax (2)soprano sax (5,9); Brad Rabuchin: electric guitar (1,4), acoustic guitar (3); Jonathan Dane: vocals (2,6)flugelhorn (6,8), trumpet (11).

Rough Edges

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Charles Atkins & Paul Montgomery - Reunion

Styles: Jazz
Year: 2006
File: MP3@320K/s
Time: 41:55
Size: 96,6 MB
Art: Front

(5:42)  1. Break This a Loose
(5:45)  2. I Had a Good One
(4:14)  3. The Kinks
(3:01)  4. Another One Down
(3:51)  5. Ask and Ye Shall Receive
(3:50)  6. Doctor's Degree
(4:49)  7. Oh Little Darling
(2:46)  8. Short Skirt
(4:38)  9. He's on the Phone Again
(3:15) 10. I'm Your Child, Lord

Sir Charles Atkins, Professor of the Blues,Tallahassee's Soul Brother Number One: these are all titles that Charles Atkins has earned. To most people, he is known as a serious musician and a polite gentleman with a social conscious. A real, down home person, and a talented musician with a big heart. Charles learned music at the Florida School for the Blind in Saint Augustine, Florida. Like Ray Charles, another famous alumni of that school, his chosen instruments are keyboards and vocals. He has performed with Sam and Dave, the Ink Spots, and Benny Latimore. He has since branched out on his own. Charles Atkins is not just a piano player, a soulful vocalist, and a talented songwriter. He has produced and played for other artists' recordings. Charles is willing to share his experience, teaching music in several settings. Paul Montgomery, who started his career as a blues singer, has taken a different path than Charles. Paul's first love is gospel music. He's toured with the Blind Boys of Alabama, and has toured around the country and worldwide as a gospel artist. "Charles and Paul Reunion" is their second collaboration. ~ http://www.cdbaby.com/cd/paulcharles

Personnel:  Paul Montgomery (acoustic guitar); Charles Atkins (keyboards).

Reunion

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