Friday, July 4, 2014

Julia Lee - The Very Best Of

Bitrate: 320K/s
Time: 90:06
Size: 206.3 MB
Styles: Jump blues, Swing
Year: 2008
Art: Front

[2:50] 1. Ugly Papa
[2:53] 2. Pagan Love Song
[3:00] 3. My Sin
[2:48] 4. Gotta Gimme What'cha Got
[2:58] 5. When You're Smiling
[2:48] 6. Tell Me Daddy
[2:51] 7. If It's Good
[2:11] 8. My Man Stands Out
[2:49] 9. Back Street
[2:49] 10. Come On Over To My House
[2:46] 11. I'm Forever Blowing Bubbles
[2:38] 12. If You Hadn't Gone Away
[2:39] 13. King Size Papa
[3:00] 14. I Was Wrong
[2:33] 15. Julia's Blues
[2:59] 16. Tonight's The Night
[2:37] 17. Decent Woman Blues
[3:16] 18. Lotus Blossom
[2:53] 19. Snatch And Grab It
[2:58] 20. I Didn't Like It The First Time
[2:46] 21. That's What I Like
[2:23] 22. Don't Save It Too Long
[2:51] 23. Trouble In Mind
[3:01] 24. Dream Lucky Blues
[2:29] 25. Take It Or Leave It
[2:30] 26. Do You Want It
[2:57] 27. Show Me Missouri Blues
[2:56] 28. Don't Come Too Soon
[3:16] 29. Cold Hearted-Daddy
[2:44] 30. Young Girl's Blues
[3:02] 31. The Cure Of An Aching Heart
[2:40] 32. There Goes My Heart

Julia Lee was born in October of 1902 in Boonville, Missouri. She grew up in the Kansas City area and was versed in music early on in her life beginning with a vocal role with a string trio led by her father. Her piano playing was also a plus, and one of her first professional jobs was as an intermission player at a local movie theater. After gaining a bit of notoriety singing at neighborhood gatherings and parties , she became a vocalist with another family member, her brother George. Originally George also led a trio but in the early twenties expanded the group into a full orchestra. George E. Lee and his Singing Novelty Orchestra was a territory band in and around the Kansas City area in the nineteen twenties and thirties. In 1923 the band recorded for the Okeh label but their efforts were never released. Four years later they recorded for the area label called Meritt Records with the songs "Meritt Stomp" and "Down Home Syncopated Blues". Both George and Julia shared the vocal chores with the band.

By the late nineteen twenties Lee had expanded the band to thirteen members. In 1929 and 1930 the band recorded for Brunswick Records. In 1934 Lee merged his band with another top Kansas City band, that of Benny Moten. By 1935 the Moten band had backed out of the association and they were taken over by pianist Count Basie. That year Julia Lee left the band after fifteen years and went out to try and succeed as a solo performer. George E. Lee soon retired from the music business as Julia began to find an audience in the Kansas City area. Through the late thirties and into the war years Julia Lee was a fixture on the K.C. music scene.

For the rest of the mid fifties Julia Lee performed at many clubs in the Kansas City area, often at the Cuban Room. In 1958 she went out to the West Coast again, and in December of that year she passed away in San Diego at the age of fifty eight. She was an early star of the R & B years during the late forties and an engaging pianist and vocalist. Following in her path were Hadda Brooks, Camille Howard, Nellie Lutcher, and so many others. Her music is available on cd recordings that keep alive the energetic and bouncy music of this remarkable performer. ~JCMarion

The Very Best Of

Vero Pérez & Jorge Villanueva - Saudade

Bitrate: 320K/s
Time: 62:26
Size: 143.0 MB
Styles: Latin jazz
Year: 2014
Art: Front

[6:46] 1. Garota De Ipanema
[4:12] 2. Carinhoso
[4:11] 3. Samurai
[4:13] 4. Chega De Saudade
[5:30] 5. Consolacao
[3:51] 6. Morena Tropicana
[4:15] 7. Frenesí
[3:25] 8. Merceditas
[3:41] 9. Niña Camba
[4:53] 10. Perfidia
[5:04] 11. La Llorona
[4:18] 12. Qué Será De Ti
[4:04] 13. El Talismán
[3:58] 14. You Already Know

Saudade is an album that explores the soul of brazilian music. Classics from BOSSANOVA like "Girl from Ipanema" and also some BOLEROS such as "Perfidia" are included in "Saudade" with beautiful arrangements played as a voice and guitar duet. A beautiful fusion of Latin-American rhythms.

Verónica, or Vero, Pérez is the singer of the electric- jazz group Efecto Mandarina (which also features Bladimir Morales on bass, Diego Ballón on piano and Eddy Chuquimia on drums). At 24 years old, she’s known for her engaging and charismatic performances, captivating audiences with her deep, emotionally laden voice.

Saudade

Jerry Adler - I Got A Right To Sing The Blues

Bitrate: 320K/s
Time: 31:41
Size: 72.6 MB
Styles: Harmonica jazz
Year: 2013
Art: Front

[2:16] 1. Blue Pacific Blues
[3:11] 2. Boy Meets Horn
[3:14] 3. My Funny Valentine
[2:27] 4. One For My Baby
[2:14] 5. Sophisticated Lady
[1:48] 6. Bewitched, Bothered And Bewildered
[2:37] 7. Perfidia
[3:06] 8. I Got A Right To Sing The Blues
[1:46] 9. Fascinatin' Rhythm
[4:02] 10. Our Love Is Here To Stay
[1:51] 11. Liza
[3:03] 12. Mood Indigo

Hilliard Gerald ("Jerry") Adler (October 30, 1918 – March 13, 2010) was a harmonica player whose performances have been used in numerous film soundtracks.

Adler was born in Baltimore, and early in his childhood mastered the harmonica, winning a local talent contest sponsored by the Baltimore Evening Sun at age 13. His older brother Larry Adler, four years his senior, had won the same contest five years earlier, performing the same piece, Beethoven's Minuet in G. Later, Adler found work with Paul Whiteman and performed regularly with his orchestra. After starting his solo career, he joined the Army Air Corps, where he did theater and film work in the entertainment division. Adler focused on popular music as his career developed, and he soloed in numerous film soundtracks from the 1940s to the 1960s, including Shane, High Noon, Mary Poppins, and My Fair Lady. He also taught actors how to pretend to play the instrument convincingly where their on-screen performances required.

He published an autobiography, Living from Hand to Mouth, in 2005. Jerry Adler died of prostate cancer in 2010, aged 91.

I Got A Right To Sing The Blues

Opus 5 - Introducing Opus 5

Styles: Trumpet And Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 62:36
Size: 143,7 MB
Art: Front

(11:07)  1. Think Of Me
( 5:04)  2. Tallysman
(10:18)  3. Baker's Dozen
( 8:17)  4. Ton To Tom
( 8:20)  5. Nostalgia In Time
( 8:31)  6. Asami's Playland
(10:56)  7. Sokol

Collectively delivered jazz albums almost always fall into one of three categories: some are outings from neophytes looking to pool their resources, while trying to build a fan base from the ground floor up; others marry the musical skills of seasoned musicians who've crossed paths in various situations and/or share a commonality in approach; and the most commercially successful, yet artistically regretfully, are usually hastily conceived or rendered performances that simply attach several big names to a project in order to cash in and make a quick buck. Introducing Opus 5, with a to-die-for grouping of modern heavyweights who speak the same language, falls into the second category. Every member of this multicultural quintet was baptized-by-fire in the world of Charles Mingus having worked at various times in different incarnations of the Sue Mingus-driven groups that honor her husband's music and memory but the material on this seven-song outing usually bears little resemblance to the bassist's compositions. 

Easy going fare to ease the ears into the album (pianist George Cables' "Think Of Me"), bristling material with some fiery trumpet work from Alex Sipiagin ("Talltsman"), an odd-metered gem that showcases pianist/composer David Kikoski's uplifting solo work and puts Boris Kozlov's pliant bass on display ("Baker's Dozen"), and light, elegant bossa nova strains (Toninho Horta's "Ton To Tom") come first in the running order, but they don't come to define this band. The final trio of selections, which include an electrified, muscular hard bop update which nods to Mingus in title and spirit more than sound ("Nostalgia In Time"), a soothing entry that puts saxophonist Seamus Blake's warm, yet lustrous, tenor on display, while also showcasing Sipiagin's softer side (Donald Edwards' "Asami's Playground"), and a Russian folk song arranged to highlight an inside-outside duality in this ensemble ("Sokol"), marks Opus 5 as an omnivorous entity that takes all music in and then spits it back out, refracted through its own multidimensional lens of musical perception. 

While time will tell if this is a one-off outing or the start of a fruitful partnership, in the meantime, Introducing Opus 5 tells the story of five highly skilled musicians carrying out a shared artistic mission, and it proves to be a real musical page-turner. ~ Dan Bilawsky  http://www.allaboutjazz.com/introducing-opus-5-seamus-blake-criss-cross-review-by-dan-bilawsky.php#.U7VtybF8eM1
 
Personnel: Seamus Blake: tenor saxophone; Alex Sipiagin: trumpet, flugelhorn; David Kikoski: piano, Fender Rhodes;,: bass; Donald Edwards: drums.

Nina Simone - Nina Simone At Town Hall

Styles: Vocal Jazz
Year: 1983
File: MP3@320K/s
Time: 42:26
Size: 97,5 MB
Art: Front

(3:33)  1. Black Is The Color Of My True Love's Hair
(3:16)  2. Exactly Like You
(2:59)  3. The Other Woman
(5:26)  4. Under The Lowest
(6:01)  5. You Can Have Him
(2:54)  6. Summertime (Instrumental)
(2:47)  7. Summertime (Vocal)
(2:56)  8. Cotton-Eyed Joe
(5:27)  9. Return Home
(3:37) 10. Wild Is The Wind
(3:25) 11. Fine And Mellow

One of Nina Simone's finest recordings, this Colpix LP features the unique singer/pianist performing classic versions of "Black Is the Color of My True Love's Hair," "The Other Woman," and "Wild Is the Wind." With supportive work from bassist Jimmy Bond and drummer Albert "Tootie" Heath, she also sounds fine on a few instrumentals. "Summertime" is performed twice, once as a vocal. From the start of her career, Nina Simone carved out her own unique niche, meshing together her classical piano technique with folk singing, civil rights protest lyrics and jazz. All of those elements are in evidence on this highly recommended set. ~ Scott Yanow  http://www.allmusic.com/album/nina-simone-at-town-hall-mw0000474226

Liz Vice - Theres A Light

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 36:51
Size: 90,0 MB
Scans:

(3:28)  1. Abide
(4:33)  2. Empty Me Out
(5:00)  3. Entrance
(3:54)  4. The Source
(4:13)  5. Truly Today
(1:54)  6. Pure Religion
(3:37)  7. Everything Is Yours
(3:54)  8. All Must Be Well
(4:12)  9. Enclosed By You
(2:01) 10. There's A Light

"There's A Light" is Liz Vice's debut album, and we here at Deeper Well could not be more excited about it if we tried (trust us, we tried, couldn't get more excited)! Recorded almost entirely live to analog tape over the spring & summer of 2013 in Portland, OR, this album is a gospel-fueled nod to the R&B / soul records of the 60's and 70's - modern enough not to be "throw back", classically influenced enough to feel timeless.

When I was a kid I would go into the basement and play the “Lion King” soundtrack over and over while I performed a dance alone for hours. Being the middle child of five children in a single parent home allows for one to vanish without anyone noticing. I wanted to perform. I wanted to be an actress. Growing up poor, being brown little brown girl, didn't lend itself to a lot of opportunities to pursue the dream of acting. I can remember at a very early age waking up to the sound of mother singing “Rise and Shine and give God the glory” when she wanted us up for school - to this day that song kind of drives me crazy, but this early memory just reminds me that I have always been around music. My absent father is a very talented award winning musician, with his PhD in music, and he is still involved in the music business to this day. Although he has never been a presence in my life, I can’t deny that the musical gene has passed on to me. Music was all around me, but never something I prayed that God would open doors for me. 

I was always afraid to sing on stage, and to this day my throat feels as though it’s caving in until I pray the simple prayer: “LORD, sing over me and I will sing over the people.” One evening I was watching a man perform a cabaret of his favorite Broadway show tunes. As I sat and watched this man perform, I was hit with an image of me sitting in a classroom. The classroom was filled with students and God was standing at the front. He asked, “Who is up for the challenge?” All of the students raised their hands. I kept my hand down, and my head bowed. I didn't want Him to notice that I had decided that whatever He was asking wasn't my calling. The LORD slowly began to walk towards me and tapped on my desk. I look up and He asked again, “Are you up for the challenge?” I sat there and then I nodded yes. Who is going to tell God ‘NO’!? So here I am, singing. Singing in church, singing with well-known local artists, and even though I can’t claim that the opportunities in music are because of what I've done, I will declare that saying “YES” to God's calling will open your eyes to reasons for why you shouldn't put yourself in a box.  http://noisetrade.com/lizvice/theres-a-light

Walt Weiskopf - Simplicity

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 59:15
Size: 136,0 MB
Art: Front

(6:43)  1. Churchbells Of A Home Away From Home
(8:06)  2. Lazy Afternoon
(6:21)  3. Misbegotten
(5:31)  4. The Sounds Around The House
(6:12)  5. Simplicity
(7:24)  6. Insubordination
(6:44)  7. Gone Tomorrow
(5:35)  8. Brazillia
(6:35)  9. Wonderful Nightmare

A potent tenor saxophonist and composer firmly in the tradition of John Coltrane and Sonny Rollins, Walt Weiskopf was born in Augusta, GA, and grew up in Syracuse, NY. Upon moving to New York City, he joined the Buddy Rich Big Band in 1981 at the age of 21; two years later, Weiskopf signed on with the Toshiko Akiyoshi Jazz Orchestra, concurrently forming his own quartet with brother Joel on trumpet, Jay Anderson on bass, and Jeff Hirshfeld on drums. His debut, Exact Science, appeared in 1989, followed a year later by Mindwalking; Simplicity, released in 1992, topped the European jazz charts for four weeks. After 1993's A World Away, Weiskopf for the first time departed from original compositions to record 1995's Night Lights, a collection of standards; 1997's Song for My Mother, however, returned his own material to the forefront. 

A graduate of the Eastman School of Music in Rochester, NY, Weiskopf and fellow Eastman alum Ramon Ricker teamed in 1990 to write the books Coltrane: A Player's Guide to His Harmony and The Augmented Scale in Jazz; in 1994, Weiskopf also published Intervalic Improvisation, a player's guide for broadening the scope of modern jazz improvisation. In 1996, he joined drummer Rick Hollander's quartet, and as a headliner returned in 1999 with Anytown. Siren was issued a year later.  Bio ~ https://itunes.apple.com/us/artist/walt-weiskopf/id31297805.

Personnel: Walt Weiskopf (tenor saxophone); Andy Fusco (alto saxophone); Conrad Herwig (trombone); Joel Weiskopf (piano); Peter Washington (bass); Billy Drummond (drums).

Simplicity