Joey DeFrancesco - Live At The 5 Spot

Bitrate: 320K/s
Time: 74:50
Size: 171.3 MB
Styles: Organ jazz, Soul jazz
Year: 1993
Art: Front

[ 8:01] 1. The Eternal One
[ 9:10] 2. Embraceable You
[ 8:48] 3. I'll Remember April
[ 9:33] 4. Work Song
[ 9:42] 5. Moonlight In Vermont
[10:29] 6. Impression
[ 8:53] 7. All Of Me
[10:10] 8. Spectator

Organist Joey DeFrancesco clearly had a good time during this jam session. His fine quintet (which has strong soloists in altoist Robert Landham, trumpeter Jim Henry, and especially guitarist Paul Bollenback) starts things off with a run-through of "rhythm changes" during "The Eternal One" and the hornless trio cuts loose on a swinging "I'll Remember April," but otherwise all of the other selections feature guests. Tenors Illinois Jacquet, Grover Washington, Jr., Houston Person, and Kirk Whalum all fare well on separate numbers (Jacquet steals the show on "All of Me"), and on the closing blues DeFrancesco interacts with fellow organist Captain Jack McDuff. Few surprises occur overall (the tenors should have all played together), but the music is quite pleasing and easily recommended to DeFrancesco's fans. ~Scott Yanow

Live At The 5 Spot

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Barney Kessel - Blue Guitar

Bitrate: 320K/s
Time: 63:33
Size: 147.7 MB
Styles: Guitar jazz
Year: 2004
Art: Front

[2:51] 1. Willow Weep For Me
[4:50] 2. On A Clear Day (You Can See Forever)
[5:14] 3. How High The Moon
[5:09] 4. Aquarius
[4:18] 5. More Than You Know
[4:12] 6. The Look Of Love
[6:18] 7. Honeysuckle Rose
[3:49] 8. Et Maintenant
[4:36] 9. Little Star
[3:55] 10. Out Of Nowhere
[5:53] 11. It Don't Mean A Thing (If It Ain't Got The Swing)
[5:13] 12. Tea For Two
[3:32] 13. Limehouse Blues
[3:38] 14. Blue Moon

Barney Kessel was one of the great jazz guitarists of his generation. Few realize that he was also an important voice on the pop-music scene in the 1950s and '60s. Indeed, his recordings with Ricky Nelson, the Righteous Brothers, and others show the great diversity of this guitarist. On BLUE GUITAR, listeners are treated to 14 renditions of jazz standards such as "Willow Weep for Me," "How High the Moon," "Honeysuckle Rose" and the always-infectious "It Don't Mean a Thing (If It Ain't Got The Swing)." The Burt Bacharach pop tune "The Look of Love" is also performed here as a delicate bossa nova. Kessel's style is silky and understated throughout. His quintet is made up of bass, drums, rhythm guitar, and violin, but unfortunately, no personnel is listed. One doesn't need liner notes, though, to realize that the mystery violinist is likely the great Stephane Grappelli. Overall, BLUE GUITAR is sophisticated, romantic music.

Barney Kessel (guitar); Stephane Grappelli (violin).

Blue Guitar

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Nancy Bierma - I Love Being Here With You

Bitrate: 320K/s
Time: 67:45
Size: 155.1 MB
Styles: Vocal jazz
Year: 2007
Art: Front

[3:21] 1. For Mom
[6:44] 2. My Romance
[4:07] 3. Aisha Joy
[3:33] 4. I Love Being Here With You
[6:51] 5. My Song
[3:22] 6. Cheek To Cheek
[5:19] 7. Mikala
[3:23] 8. Lucky Southern
[4:35] 9. I'm All Smiles
[3:30] 10. Samba With Me
[4:58] 11. The Very Thought Of You
[4:39] 12. Margaret's Blue Garden
[4:29] 13. Memories Of Tomorrow
[3:16] 14. Isn't It Romantic
[3:58] 15. El Gaucho
[1:34] 16. Ode To Joy

Nancy Anderson-Bierma is a jazz pianist in Minneapolis. She has been playing piano since age 4 and has a degree in music from Drake University. Since 1980 she has played professionally with her own jazz groups, as a soloist, and with jazz fusion, R&B, and pop bands. She performed extensively in the Midwest and made her mark as a jazz pianist. Living in Des Moines, Iowa for many years Nancy was a well known jazz musician and organizer of jazz events. Nancy is married to bassist Jim Bierma and they have two daughters Aisha and Mikala. In 1994 they moved to Minneapolis and continued their music careers. They perform in concerts and at local venues with some of the twin cities top musicians and vocalists. Nancy is also an acupuncturist/ herbalist and works as a healer and teacher. Aisha and Mikala are the inspiration for two of the songs on this CD. Many of the originals were created for family or special events in the spirit of love, joy and passion for life. Nancy is influenced by Keith Jarrett and Bill Evans. She plays from the heart and her intention is to uplift the listener.

Jim Bierma, bassist, is from Des Moines, Iowa. He has played professionally since age 15. In 1977 he joined the jazz group of the legendary Irene Myles and worked with her for 17 years. Since moving to the Twin Cities Jim is a fixture at all of the local jazz clubs and plays with a wide variety of talented musicians. A rock solid bass player, he is a pianist and drummer’s dream. Jim swings hard and has been compared to Ray Brown in revues written about him. Sensitivity abounds when he takes a solo on a ballad. Jim loves Charlie Haden and Charles Mingus. He is a school counselor and works with at risk kids.

Nathan Norman, drummer, is originally from Washington D.C. He is one of the Twin Cities busiest drummers. He received a degree from Eastman School of Music in 1984. One of his strengths is accompanying jazz singers and soloists. He adds a rich texture to the music and has a great feel. His biggest influences are Art Blakely, Philly Joe Jones and Brian Blade.

Charmin Michelle, Thomas Bruce, and Aaron Keith Stewart are three of the finest vocalists in the Minneapolis area. They captivate audiences and each have their own unique vocal style. These singers will be sure to delight you with

I Love Being Here With You

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Steve Lucky & The Rhumba Bums (Featuring Miss Carmen Getit) - Some Like It Hot

Bitrate: 320K/s
Time: 50:45
Size: 116.2 MB
Styles: Blues-jazz, R&B, Jump blues
Year: 2008
Art: Front

[3:14] 1. Adam's Rib
[3:04] 2. Some Like It Hot
[4:19] 3. How'm I Doin
[3:02] 4. How Come
[3:14] 5. Real Gone Girl
[4:11] 6. Maybe Later
[3:40] 7. The Grapevine
[3:16] 8. Beat Girl
[3:30] 9. Let Me In
[4:05] 10. The Hollywood Jump
[3:06] 11. Haul Off And Love Me
[3:35] 12. Don't You Want To Get Lucky
[3:39] 13. The Rhumbabum Hum
[4:43] 14. That Mellow Saxophone

Called "Instant Crowd Favorites" by the San Francisco Blues Festival and "Consummate musicians and entertainers" by New York City's Lincoln Center, Lucky and Getit really shine before a live audience, bringing an intense energy and sheer personal magnetism to the stage, exercising wit in a continuous battle of the sexes. They've earned a reputation as captivating entertainers with "superior musicianship" (Downbeat), engaging audiences at the Montreux Jazz Festival in Switzerland, the Half Note Jazz Club in Athens, Greece, the San Francisco Blues Festival, as the house band at the Derby in Hollywood, and hundreds of nightclubs, festivals, and performing arts centers around the world.

Born in Seattle and raised near Detroit, Steve Lucky started playing piano at age eight and was playing and singing professionally by the time he was thirteen. He founded and led the six-piece Blue Front Persuaders through the ‘80s, playing swing, jump-blues, and ‘40s and ‘50s R & B, while living in Ann Arbor and attending the University of Michigan. Their novel sound and wild show was a big draw on the Midwest college circuit, earning them a spot on Star Search and a notable review for one of Lucky's original songs in Billboard magazine.

In 1987 Lucky moved to New York City to play keyboards for Grammy award-winning guitarist and vocalist Johnny Clyde Copeland. During the next five years he was active in the Greenwich Village music scene, was hired to score performance art and theater, and performed with a diverse group of musicians including Joan Osborne, Blues Traveler, and the Spin Doctors. Sticking to his musical roots, Lucky formed his own band in New York City working the nightclubs and touring throughout Europe. In 1993 he moved to San Francisco and started the Rhumba Bums as a quintet, but admits the band really took shape in ‘94 with the addition of Miss Carmen Getit on vocals and guitar.

In Carmen's powerful vocals, one can hear echoes of her idols Ruth Brown, Etta James, and Dinah Washington. Miss Getit is a dynamic performer and versatile vocalist, interpreting "slick jazz a la Dinah Washington" or shouting down-and-out blues according to the Ann Arbor Observer. Miss Getit got her musical start plucking out melodies on the piano before she learned to read. Piano lessons soon followed, and at age ten Carmen began singing and playing acoustic guitar with a group of girl guitarists at her local church. Over fifteen years later Steve Lucky bought her an electric guitar and turned her on to early blues and jazz. In 1998 she recorded a critically acclaimed release with the Rhumba Bums, "Come Out Swingin'!", earning four stars in both Downbeat and Blues Access Magazines and accolades from the press. Getit is recognized for her more swinging styles in Guitar Player Magazine as "smooth and steady", and her grittier blues playing in Experience Hendrix Magazine, where Frank-John Hadley calls Getit "one of the most striking young blues guitarists in the country".

Some Like It Hot

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Bill Charlap & Renne Rosnes - Double Portrait

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 50:02
Size: 116,7 MB
Art: Front

(3:57)  1. Chorinho
(5:04)  2. Double Rainbow (Chovendo Na Roseira)
(8:55)  3. Ana Maria
(4:27)  4. The Saros Cycle
(8:35)  5. My Man's Gone Now
(5:05)  6. Dancing In The Dark
(5:15)  7. Inner Urge
(4:15)  8. Little Glory
(4:26)  9. Never Will I Marry

Many people believe that married couples have a telepathic connection. This recording puts that theory to the test, with two of the most important pianists in jazz today who also happen to be husband and wife sitting down for a duo piano recital.  Charlap's own work with drummer Kenny Washington Vocals and bassist Peter Washington has positioned him as one of the key voices in the piano trio format. His selection of standards and exquisite, classy recording projects have given him status as an arbiter of taste within the jazz world. While these aspects of his playing are Charlap's calling card, Rosnes is often lauded for two very different sides of her personality. Many in the jazz community have appreciated her ability to uphold the traditions of jazz, backing legends like J.J. Johnson, James Moody and Bobby Hutcherson since arriving Stateside in the mid-'80s, while another segment of the jazz listening public revels in her more adventurous exploits on her own recordings and with the SFJAZZ Collective.  Neither pianist compromises their artistic inclinations on Double Portrait, instead merging effortlessly to create a tapestry of refined and tasteful statements. Both players balance a sensitive touch with deeply probing and responsive ideas.

 Song choices here make sly, joking reference to their personal connection ("Never Will I Marry"), nod toward former Rosnes employers Joe Henderson ("Inner Urge") and Wayne Shorter ("Ana Maria"), and touch on standards ("Dancing In The Dark" and "My Man's Gone Now").  While every track is first-rate, the second half of the program posses greater heat and energy. The album opens with two Latin leaning compositions Lyle Mays' "Chorinho" and Antonio Carlos Jobim's "Double Rainbow" and both pianists lock in well together, but don't seem to be completely engaged with the material. This all changes when the pair arrives at "Ana Maria," a nine-minute performance that's almost too short, with both players digging deeper, and exploring the open expanse of Shorter's composition. The duo arrives at a loose and appropriately dark place for "My Man's Gone Now," and they swing as well or better than any sans-rhythm section pair on "Dancing In The Dark." Pent-up intensity is present on their first rate take of "Inner Urge," while Gerry Mulligan's under-performed "Little Glory" is all class. Charlap and Rosnes deserve all the happiness in the world for finding each other personally and artistically and the jazz community gets a little glimpse of this match made in heaven on Double Portrait. ~ Dan Bilawsky http://www.allaboutjazz.com/double-portrait-bill-charlap-blue-note-records-review-by-dan-bilawsky.php#.U7X9grF8eM0

Personnel: Bill Charlap: piano; Renee Rosnes: piano.

Double Portrait             

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Abbey Lincoln - Abbey Sings Billie [Disc 1] And [Disc 2]

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 57:06 [Disc 1]
Size: 131,2 MB [Disc 1]
Time: 40:12 [Disc 2]
Size: 92,3 MB [Disc 2]
Art: Front

[Disc 1]

( 3:18)  1. What A Little Moonlight Can Do
( 2:51)  2. I Only Have Eyes For You
( 5:09)  3. Gloomy Sunday
( 4:27)  4. Crazy He Calls Me
( 6:16)  5. Strange Fruit
( 5:42)  6. Lover Man
( 4:41)  7. These Foolish Things
( 5:20)  8. I'll Be Seeing You
(10:18)  9. Soul Eyes
( 9:01) 10. I'll Wind

Abbey Lincoln's idol has always been Billie Holiday. Although she has never really copied Lady Day and she has long had her own style and sound, the feeling and intensity that Lincoln gives the lyrics she interprets is reminiscent of late-period Holiday. A perfect person to pay tribute to Billie Holiday, Lincoln (on the first of two Enja CDs) is joined by the underrated tenor Harold Vick (who would pass away unexpectedly within a short time after this recording), pianist James Weidman, bassist Tarik Shaha and drummer Mark Johnson for fresh renditions of standards. Mal Waldron's "Soul Eyes" is taken as an instrumental feature for Vick and other highlights include "What a Little Moonlight Can Do," "Strange Fruit," an emotional "I'll Be Seeing You" and a song perfectly suited for Abbey Lincoln's voice: "Crazy He Calls Me." One of the singer's best recordings of the 1980s and a fine complement to the equally rewarding Vol. 2. ~ Scott Yanow   http://www.allmusic.com/album/abbey-sings-billie-vol-1-mw0000315240

Personnel: Abbey Lincoln (vocals); Harold Vick (tenor saxophone); James Weidman (piano); Tarik Shah (bass); Mark Johnson (drums).

Abbey Sings Billie [Disc 1]

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[Disc 2]

(7:02)  1. Gimme A Pigfoot
(6:58)  2. No More
(5:22)  3. God Bless The Child
(6:22)  4. Don't Explain
(5:28)  5. For Heaven's Sake
(3:20)  6. Please Don't Talk About Me (When I'm Gone)
(5:36)  7. For All We Know

Abbey Lincoln is the perfect person to pay tribute to Billie Holiday. She knew Lady Day during her last years and, like Holiday, Lincoln has always lived the words she sings and chosen to only intepret lyrics that have great meaning to her. Her expressive powers have been quite strong throughout her career and there are plenty of dramatic moments on this disc along with its first volume. Tenor-saxophonist Harold Vick, who would die suddenly within days of these sessions, is quite effective as is the supportive rhythm section. Abbey Lincoln shows off her versatility on such diverse numbers as "Gimme a Pigfoot," "Don't Explain" and "Please Don't Talk About Me When I'm Gone." ~ Scott Yanow   http://www.allmusic.com/album/abbey-sings-billie-vol-2-mw0000091041

Personnel: Abbey Lincoln (vocals); Harold Vick (tenor saxophone); James Weidman (piano); Tarik Shah (bass); Mark Johnson (drums).

Abbey Sings Billie [Disc 2]

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Bucky Pizzarelli & Frank Vignola - Moonglow

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 47:01
Size: 108,5 MB
Art: Front

(3:03)  1. Whispering
(2:33)  2. I Can Dream, Can't I
(2:07)  3. Temptation
(2:09)  4. Moonlight Serenade
(1:48)  5. My Ideal
(3:59)  6. Moonglow
(3:21)  7. In The Blue Of Evening
(2:22)  8. Sleepy Time Down South
(4:44)  9. If I Had You
(3:36) 10. Golden Earrings
(2:55) 11. Dream A Little Dream Of Me
(3:28) 12. P.S. I Love You
(3:27) 13. Serenade In Blue
(3:16) 14. I'm Confessin'
(2:14) 15. Deep Purple
(1:51) 16. You'll Never Know

At least as evidenced by this collection of guitar duets, nothing but a mere few decades would seem to separate Bucky Pizzarelli (b. 1925) and Frank Vignola (b. 1965). Pizzarelli's lengthy resume includes years as a studio musician beginning in the '50s, touring with Benny Goodman, a celebrated guitar partnership with George Barnes, and popular stops along the way with Bobby Hackett and Bob Wilber, among others. Vignola, playing a six-string archtop guitar (and sometimes banjo), has always been a strong melody man on recordings which have ranged from "Stars Fell on Alabama to Horace Silver's "Cookin' at the Continental to tunes by Sting, Cream, and Bob Marley, in company with Ken Peplowski, Randy Sandke, and Roland Hanna, among others. 

The sixteen great pop standards on which they collaborate here turn into a celebration of the joys of simplicity. These are two virtuosos, masters with neither a need to outdo each other nor to hide behind flashy pyrotechnics. Vignola's clarity dominates on the melodies while Pizzarelli, on a seven-string electric, provides the most faithful partnering. The closeness of their chemistry is immediately evident on the opening tune, "Whispering. Vignola plucks a few notes while Pizzarelli, all subtle mellow warmth, joins in almost imperceptibly. They next glide into "I Can Dream, Can't I? , capturing a yearning which if anything is more than matched later by the incredible tenderness they express on "P.S. I Love You. Mood and tempo are shifted effortlessly for the sensual bolero beats of "Temptation, as throbbing colors from Vignola ride on an undulating wave of current from Pizzarelli.

On the great Glenn Miller hit "Moonlight Serenade, Pizzarelli's mellow chords with Vignola's lyrical eloquence perfectly capture the dreamy romanticism of the Swing Era classic. Recollections of moments as sublime as Sinatra's "In the Wee Small Hours and Ella's "Like Someone In Love come to mind. As with those masterpieces, each tune seems woven into a seamless, totally satisfying whole. Moonglow is melodious bliss. ~ Andrew Velez   http://www.allaboutjazz.com/moonglow-bucky-pizzarelli-hyena-records-review-by-andrew-velez.php#.U7Eqm7F8eM0
 

Personnel: Bucky Pizzarelli: guitar; Frank Vignola: guitar.

Moonglow

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Primo Kim - To Be Near

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 44:55
Size: 103,2 MB
Art: Front

(2:44)  1. Why You
(3:40)  2. To Be Near
(2:34)  3. How Can I Be Sure
(2:59)  4. Is That Why
(4:37)  5. Right Turn
(3:51)  6. Gentle Rain
(2:41)  7. You've Got A Lotta Love to Give
(3:55)  8. More Than You Know
(2:58)  9. How Can This Love Affair Be Though
(3:58) 10. Don't Be Afraid, It's Time To Move On
(3:28) 11. Joy
(3:32) 12. Seabird
(3:52) 13. Come To Me

A totally amazing vocal jazz album from the early 70s  an obscure private pressing album from Primo Kim, an obscure singer  but a great one too! Primo's got a very hip approach to his work  a sound that's somewhere in the territory of Mark Murphy or Bobby Cole light years from mainstream male vocals, and often served up with some very jazzy grooves in the background! Many tracks here are originals by Primo, and a few others are well-chosen covers too  and in a way, the feel is quite like some of Mark Murphy's best overseas work of the 60s, or Bobby Cole's landmark album from the early 60s a set without compare, and with a freshness that's just getting appreciated all these many years later. https://soundcloud.com/primo_jp/sets/primo-kim-to-be-near-reissue

To Be Near

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Julia Rich - Witch Hazel

Size: 126,0 MB
Time: 53:46
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz/Pop Vocals
Art: Front

01. Dreaming Dreams And Such (2:08)
02. All My Loving (3:31)
03. They Can't Drive You Crazy If You Don't Get In The Car (3:57)
04. Something Stupid (Feat. Nick Hilscher) (3:14)
05. Tete-A-Tete (2:29)
06. Witch Hazel (2:01)
07. A Little Thing Called Gin (3:41)
08. Hearts (Feat. Benita Hill) (4:29)
09. Off Key (Desafinado) (4:54)
10. Where Are You (4:21)
11. Beyond The Sea (Feat. Nick Hilscher) (5:19)
12. Cookie Woman Blues (2:37)
13. Both Sides Now (4:05)
14. Jumpin' Back (3:43)
15. The Pirate (3:11)

Dr. Paul Tanner--trombonist with the original Glenn Miller Orchestra, theremin player on Good Vibrations, professor of jazz studies at UCLA--describes WITCH HAZEL as individual and charming and loaded with happy surprises.

“I became an immediate fan of Julia Rich after seeing her perform with the Glenn Miller Orchestra.. She has an elegant, unaffected style that I find very appealing.After listening to ‘Witch Hazel,’ I learned that Ms. Rich’s skills as a singer are matched by her skills as a songwriter. Some of her material, such as ‘Dreaming Dreams and Such’ and ‘A Little Thing Called Gin,’ are so intensely personal that it is difficult to imagine anyone other than her singing them.

Around half of the songs on this CD are originals; and, though Ms. Rich’s performance of standards is uniformly excellent (‘Desafinado’ is especially outstanding), those originals alone make this a great buy. They make it clear that Julia Rich is not only a singer and songwriter with considerable talent but is also a highly intelligent woman with a great deal of insight.

The other musicians on this CD are also excellent.

Readers of this review should know that I typically prefer instrumentals over vocals, especially in the genre of jazz. But I have listened to ‘Witch Hazel’ many times, and I seem to enjoy it more each time.” ~George H. Smith

Witch Hazel

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Aces Of Syncopation - In The Shade Of The Old Apple Tree

Size: 166,2 MB
Time: 70:24
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz, Ragtime
Art: Front

01. Good Old New York (4:36)
02. In The Shade Of The Old Apple Tree (5:09)
03. Ole Miss (3:30)
04. If You Knew How I Love You (3:19)
05. Shreveport Stomp (2:59)
06. Out Of The Gallion (5:48)
07. Down By The Old Millstream (4:01)
08. Old Fashioned Love (4:06)
09. Pleasure Mad (3:10)
10. Am I Blue? (4:14)
11. Shim-Me-Sha-Wabble (3:54)
12. Let Me Call You Sweetheart (5:30)
13. Kobe (2:36)
14. The Chant (3:43)
15. Why? (3:59)
16. When You Wore A Tulip And I Wore A Big Red Rose (3:46)
17. You'd Be So Nice To Come Home To (2:58)
18. Prince Of Wails (2:56)

ACES OF SYNCOPATION are a traditional Jazz Trio with:
Robert Veen - on soprano saxophone, clarinet
Tom Stuip - on banjo and guitar
Paul Habraken - on sousaphone

Formed in 1993, their style of playing can best be described as " HOT CLASSIC JAZZ "

The Aces can be seen and heard in jazz festivals, jazzclubs, theaters, at parties, and even funerals. In addition to compositions by early jazz giants such as Louis Armstrong, Sidney Bechet, Jelly Roll Morton, Fats Waller, Duke Ellington and Benny Carter, the Aces also play many original compositions.

The Aces have performed with many guest musicians, all in the forefront of contemporary classic jazz, such as: Mike Goetz (Switzerland), Bob Barnard and the late Tom Baker(†) (Australia), Dan Barret and Brooks Tegler (USA), Sean Moyses (Great Britain), Patrick Artero, Olivier Franc, Jean Baptiste Franc and Daniel Bechet (France), Eiji Hanaoka, Tatsuji Deguchi, Ken Aoki (Japan), Arend Huisman, Dick Sleeman(†), Louis Debij, Menno Daams, Bert Boeren, Wouter Nouwens, Harry Kanters and Joep Peeters (Holland).
The Aces of syncopation have recorded four CD's. Mike Goetz, Arend Huisman and Dick Sleeman are guest solists on two of them.
The Aces are often on the road and have performed at international venues in Germany, Switzerland, Austria and Italy. Since 1999 they have played many times at the annual Kobe Jazz Street festival in Japan. The music of this fascinating band has a unique drive and emotion, making their concerts an unforgettable experience.

In The Shade Of The Old Apple Tree

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Sharon Raquel - Infinite

Size: 122,3 MB
Time: 52:24
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Infinite (5:36)
02. Come Back To Me (3:24)
03. Besame Mucho (3:59)
04. Be Here (4:38)
05. Till' There Was You (3:59)
06. The Ghosts Of Yesterday (3:49)
07. Begin The Beguine (3:56)
08. Single Song (2:25)
09. Perfect Time (4:39)
10. East Of The Sun (3:12)
11. Where Or When (4:25)
12. My Foolish Heart (4:44)
13. Night And Day (3:33)

Sharon Raquel, a life-long music lover, has been singing Jazz, R&B, and Blues in the Washington, DC area for the past 5 years. She is relatively new on the scene. Her debut CD, produced by David B. Cole of Main Street Records, is a selection of Jazz standards she has loved, and uplifting originals. Sharon is especially excited about the release of three songs on the CD that she wrote with David Cole.

"I have always loved lyrics," she says. "I am one of those people who don't just listen to the beat or swing of songs, I'm listening to what's being said. The songs I wrote are for people who pay attention to the lyrics. I want you to 'feel better' after listening."

The Infinite CD features an amazing assortment of top-notch musicians in the DC area (In order of appearance on CD): David Cole, John Osmet, Wes Biles, Francis Thompson, Greg Holloway, The Kash Wright Trio (Prakash Wright, Mike Montgomery, Bobby Beall), William Knowles, Michael Thomas, Vincent Smith, and Emory Diggs.

Sharon is happy to share songs written by local musician/songwriters Prakash Wright and Peter Reppert.

Infinite

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Fred Thelonious Baker - Life Suite

Size: 110,6 MB
Time: 47:45
File: MP3 @ 320K/s
Released: 2014
Styles: Guitar Jazz
Art: Front

01. Elliot's Joy (3:27)
02. Jigged Out (4:45)
03. The Cadenza (End Of The Line) (5:46)
04. Prelude To Life (2:26)
05. Hymn Of Hope (4:44)
06. Life Samba (5:33)
07. Recession Blues (5:50)
08. Spinal Trap (4:45)
09. Longing For Autumn (6:36)
10. Cherokee (3:48)

Fred Thelonious Baker is a Jazz guitarist and bassist from the English village of Tibshelf, Derbyshire. Born in 1960, Fred was given a ukulele when he was four by his father. Indeed, Fred’s parents were a major influence in the beginning of his musical journey. A year later, he was given his first guitar and went on to learn the Classical guitar. During his mid-teens, Fred also began an interest in the bass guitar, an instrument with which he has since become synonymous.

After studying at Chesterfield College, Fred went on to study at Birmingham School of Music (now Conservatoire) where he gained a GBSM and ABSM in teaching and performance. Around this time, at the invitation of Sir John Dankworth and Cleo Laine, Fred began teaching at Wavendon All Music Summer School. Since then, Fred has taught and given masterclasses at many universities, music colleges and music Summer schools including Guildhall School of Music & Drama, Berkeley College of Music, USA, St Petersburg Conservatory, Russia, London Brunel, Huddersfield, Sheffield, and Derby Universities. Since 1989, he has been a permanent teacher/lecturer in acoustic and bass guitar at Birmingham Conservatoire.

Fred has performed all over the world as a session musician and soloist with a variety of musicians and ensembles including Courtney Pine, Nigel Kennedy, Billy Cobham, the CBSO, Fairport Convention, Robert Wyatt, Harry Beckett, Horace Parlan, Soft Machine, John Etheridge, Pip Pyle, Ric Sanders, Karen Street, Joe Sachse, Tony Levin, Phil Bates, Clive Bunker, Elton Dean, Simon Dinnigan, Geoff Eales, Liam Genocky and Phil Miller.

As both a jazz guitarist and bassist, Fred has appeared extensively on many recordings. Life Suite (FHR32) is his latest and long awaited debut album for solo guitar.

All compositions written by Fred Thelonious Baker, except from track 10, written by Ray Noble (arr. Fred Thelonious Baker)

Life Suite

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Carsie Blanton - Not Old, Not New

Size: 82,5 MB
Time: 35:03
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals, Retro Jazz
Art: Front

01. Azalea (3:45)
02. Laziest Gal In Town (3:33)
03. Heavenly Thing (2:08)
04. Two Sleepy People (2:54)
05. You Don't Know What Love Is (4:40)
06. What Is This Thing Called Love (1:57)
07. Do You Know What It Means To Miss New Orleans (4:24)
08. Sweet Lorraine (3:47)
09. Don't Come Too Soon (3:24)
10. I'll Be Seeing You (3:40)
11. Not Old, Not New (0:45)

A collection of pre-bop Jazz standards that were mainstream way-back-when the Singer/Songwriter Carsie Blanton decided now was the right time to record these tracks by some of America's greatest songsters and do it down in her adopted New Orleans for Not Old, Not New.

Standard but fresh in this digital age Blanton puts a smile and soft voice on songs from the likes of Duke Ellington ("Azalea") and Irving Kahal/Sammy Fain ("I'll Be Seeing You"). Production is tight and brisk as all the instruments take a back seat to Blanton's singing. Her style stays away from the throaty desperation and instead stays sweet, which can both enhance or fall a bit short on the tracks here.

Her baby-girl tone on "Two Sleepy People" makes the Hoagy Carmichael/Joe Young number seem more delicate and innocent then it has appeared before while things aren't as depressing because of her sound as they should be on "You Don't Know What Love Is" from Gene de Paul/Don Raye. While I am sure she's had them the dirty blues seem to be kept at a distant with her sparrow styled vocals making Julia Lee's saucy "Don't Come Too Soon" a stretch.

Better fits are the double dip from Cole Porter "Laziest Girl In Town" and "What Is This Thing Called Love", especially neat is the vibraphone run on the latter. A heart felt ode to her town on the classic piano based "Do You Know What It Means To Miss New Orleans" and the innocent "Sweet Lorraine" are also well matched and expertly done. An easy going retro sounding disk of a different era that proves great songs have no expiration date.

Not Old, Not New

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