Aurora Scott - Dance With You

Bitrate: 320K/s
Time: 41:48
Size: 95.7 MB
Styles: Vocal jazz
Year: 2012
Art: Front

[2:43] 1. Quizas, Quizas, Quizas
[4:43] 2. Dance With You
[3:34] 3. Is You Is Or Is You Ain't My Baby
[3:33] 4. Now Or Never
[4:55] 5. Nature Boy
[3:31] 6. A Sunday Kind Of Love
[4:00] 7. I've Got To See You Again
[2:17] 8. Hallelujah I Just Love Her So
[4:04] 9. A Case Of You
[4:37] 10. Moody's Mood For Love
[3:47] 11. Something's Got A Hold On Me

After much training and dedication, Aurora is now an active jazz singer in Victoria B.C. Her style is best described as “versatile”, as she loves most genres of music including Jazz, R&B, Pop, Ska, Folk, and Latin. Her ability to interpret and express such a diverse range of material, along with her strong stage presence and natural beauty makes her an ideal choice of entertainment for any venue, and any occasion. On "Dance With You" Aurora lives up to her name. Love songs glow, heartaches are electric, lighter songs pulse with joy and passion, and her luminous voice fills the void between reality and dreams.

"Aurora unveils her musical passions in a voice that is at once expressive, smooth, sultry and powerful." (Jonny Canuck)

Dance With You

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Modern Jazz Quartet - Autumn

Bitrate: 320K/s
Time: 32:15
Size: 73.8 MB
Styles: Bop
Year: 2009
Art: Front

[3:25] 1. Softly As In A Morning Sunrise
[2:59] 2. True Blues
[3:05] 3. Milt Meets Sid
[2:29] 4. Yesterday
[2:54] 5. Autumn Breeze
[2:44] 6. Bluesology
[2:55] 7. You Go To My Head
[2:31] 8. Junior
[4:50] 9. Sonor
[4:19] 10. Blues Mood

Pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown and drummer Kenny Clarke first came together as the rhythm section of the 1946 Dizzy Gillespie & His Orchestra and they had occasional features that gave the overworked brass players a well-deserved rest. They next came together in 1951, recording as the Milt Jackson Quartet. In 1952, with Percy Heath taking Brown's place, the Modern Jazz Quartet (MJQ) became a permanent group. Other than Connie Kay succeeding Clarke in 1955, the band's personnel was set. In the early days Jackson and Lewis both were equally responsible for the group's musical direction but the pianist eventually took over as musical director. The MJQ has long displayed John Lewis' musical vision, making jazz seem respectable by occasionally interacting with classical ensembles and playing concerts at prestigious venues, but always leaving plenty of space for bluesy and swinging improvising. Their repertoire, in addition to including veteran bop and swing pieces, introduced such originals as Lewis' "Django" and Jackson's "Bags' Groove." The group recorded for Prestige (1952-55), Atlantic (1956-74), Verve (1957), United Artists (1959) and Apple (1967-69) and, in addition to the many quartet outings, they welcomed such guests as Jimmy Giuffre, Sonny Rollins, the Beaux Arts String Quartet, a symphony orchestra conducted by Gunther Schuller, singer Diahann Carroll (on one piece), Laurindo Almeida, a big band and the Swingle Singers. Although the musicians all had opportunities to pursue individual projects, in 1974 Milt Jackson, tired of the constant touring and the limitations set on his improvising and he quit the group, causing The MJQ to have a final tour and break up. In 1981 Jackson relented and the Modern Jazz Quartet (which has recorded further albums for Pablo and Atlantic) became active again although on a more part-time basis. Connie Kay's health began to fade in the early '90s (Mickey Roker often filled in for him) and after his death in 1995, Albert "Tootie" Heath became his replacement. ~bio by Scott Yanow

Autumn

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Dave Liebman - Besame Mucho & Other Latin Jazz Standards

Bitrate: 320K/s
Time: 57:07
Size: 130.8 MB
Styles: Saxophone jazz
Year: 1994/2010
Art: Front

[6:15] 1. Besame Mucho
[9:25] 2. Poinciana
[6:04] 3. Lazy Afternoon
[6:43] 4. Caravan
[6:50] 5. Andalucia (The Breeze And I)
[4:09] 6. Speak Low
[4:32] 7. The Island
[6:51] 8. How Insensitive
[6:13] 9. Night In Tunisia

"David Liebman has the ability to touch the soul eeking from the wayward horn an extraordinary depth of emotion and dramatic range. His cantabile style, as identifiable as a human voice in its emotional tone and dramatic role playing, may in a given solo, conjure up anguish, ecstasy, anger, fear, hilarity or haughtiness. Liebman's music is storytelling of a very high order-form, content, accent, color and mood are all in place, on cue. " ~Downbeat Magazine

Awarded the National Endowment for the Arts Jazz Master (2011); the highest honor granted for jazz by the U.S. government.

Drums – Bill Goodwin; Electric Bass, Acoustic Bass – Tony Marino; Percussion – Mark Holen, Scott Cutshall (tracks: 6); Piano – Danilo Perez; Soprano Saxophone – Dave Liebman. Recorded at Red Rock Studios, Saylorsburg, PA, USA on March 6,7 - 1993

Besame Mucho & Other Latin Jazz Standards

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Various - Jazzin' The Boogie

Bitrate: 320K/s
Time: 52:22
Size: 119.9 MB
Styles: Boogie woogie, Jump blues
Year: 2013
Art: Front

[2:26] 1. Quincy Jones - Choo Choo Ch'boogie
[2:52] 2. Ella Fitzgerald - Cow Cow Boogie
[2:25] 3. Jimmy Mcgriff - Hob Nail Boogie (Remastered)
[2:47] 4. Count Basie & His Orchestra - Boogie Woogie (I May Be Wrong)
[4:10] 5. Dizzy Gillespie - Joogie Boogie
[3:12] 6. Charlie Barnet & His Orchestra - Andy's Boogie
[2:34] 7. Stan Kenton - Artistry In Boogie
[6:33] 8. Meade Lux Lewis - 620 Boogie
[3:11] 9. Lester Young - Lester's Be Bop Boogie (Remastered)
[3:44] 10. Anita O'day - Boogie Blues
[5:38] 11. Herb Ellis - Big Red's Boogie Woogie
[3:10] 12. Bing Crosby - Pinetop's Boogie Woogie
[3:05] 13. Ben Webster - Boogie Woogie
[3:08] 14. Lionel Hampton Quintet - Hamp's Boogie Woogie
[3:20] 15. Tommy Dorsey & His Orchestra - T.D.'s Boogie Woogie

Boogie Woogie was the first and to date the only exclusively piano music to issue from the blues. Boogie Woogie, a term used to describe the blues piano playing that thrived roughly between the years 1920 and 1945, was a highly popular music in tenements. The very name Boogie was another name for the "house rent party." Both terms describe a phenomenon that took place in the crowded tenements of Chicago, Detroit, New York, and virtually every city with a large black population. Because poverty was a way of life, black people learned quickly to depend on each other to band together and to work toward common goals. One such goal was that of simply being able to pay the rent. With unemployment at a normally high level (at least for blacks), men long accustomed to surviving under the most adverse conditions ingeniously devised a technique that served the combined purposes of raising the rent and providing a means of social intercourse.

Jazzin' The Boogie

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Nancy Harms - In the Indigo

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 42:39
Size: 98,3 MB
Art: Front

(4:24)  1. Bye Bye Blackbird
(2:55)  2. I Wished On the Moon
(3:58)  3. Softly, As In a Morning Sunrise
(2:51)  4. In the Indigo
(4:21)  5. On a Clear Day (You Can See Forever)
(5:07)  6. Cry Me a River
(3:02)  7. Great Indoors
(3:39)  8. Surprised By the Morning
(4:44)  9. I'm Pulling Through
(4:41) 10. Blue Skies
(2:53) 11. Reach for Tomorrow

Jazz vocalist Nancy Harms presents In the Indigo, a sultry yet intelligent offering of old standards, original material, and the occasional pop cover. She sings like a woman who's sure of herself. Whether singing John Mayer's "Great Indoors" or Irving Berlin's "Blue Skies" she has a way of making even the simplest lyric sound like a masterpiece of thought. Armed with a talented band and beautiful vocals, In the Indigo is good packaging for even better music. If the recording could be summarized in a few words, then the general sound would have to be described as cool and confident. Singing is something that Harms is good at, approaching each song like a skilled scientist who knows how to dissect it and build something better. 

She doesn't scream when singing and doesn't try to reinvent Billie Holiday, Dinah Washington, or Ella Fitzgerald; she has her own voice and that's good enough. On the disc's opening number, "Bye Bye Blackbird," Harms and the musicians sound as if their meeting was one of "love at first sight." Neither tries to one up the other the bass makes the first introduction, opening the song and laying the foundation for its structure. Harms joins in, sounding as though there's no place else she'd rather be.

Her voice is so inviting that before long, the trumpet, piano, and drums make their presence known as they all come together and soar. The relationship between Harms and the band strengthens from minute to minute and song to song, ending as beautifully as it began. With her best work shining through in the disc's title track, "In the Indigo" as well as "Cry Me A River," "Great Indoors," "Surprised By the Morning," and "Blue Skies," the singer has made it known that she's one to watch. With better known vocalists like Diana Krall, Gretchen Parlato, and Norah Jones at the forefront of the contemporary jazz vocalist movement, Harms will be in good company on her rise to the top. ~ Bridget A.Arnwine  http://www.allaboutjazz.com/in-the-indigo-nancy-harms-self-produced-review-by-bridget-a-arnwine.php#.U_jCvGMfLP8

Personnel: Tanner Taylor: piano, Hammond B3; Graydon Peterson: bass; Jay Epstein: drums (1-3, 5, 7-10); Kelly Rossum: trumpet (1, 2, 5, 8); Robert Bell: guitar (4, 7); Chico Chavez: cajon (4); Spencer McGinnis: drums (6).

In the Indigo

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Doug Webb - Swing Shift

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 54:46
Size: 125,8 MB
Art: Front

( 7:28)  1. Soul Eyes
(22:23)  2. Patagonia Suite
( 7:34)  3. Simone
( 6:35)  4. Where Or When
( 2:41)  5. Rizone
( 8:03)  6. Apodemia

An essential part of jazz fandom is participating in the endless debate about the pros and cons of recordings versus live performances. Despite the obstacles in the pursuit of the holy grail of recorded perfection, such as budget limitations, artistic differences between producers and performers, and the stifling effect of herding musicians into separate cubicles, records give us the opportunity to savor the essence of a performance; after repeated listening, we often make these sounds a part of ourselves. While live shows are frequently subject to encumbrances like noisy patrons and claustrophobic seating arrangements, who among us would forsake the memories of great gigs, the bragging rights that come with catching musicians on a fire-breathing night, or the chance to be a part of the excitement by applauding or offering spontaneous verbal support? Saxophonist Doug Webb's Swing Shift is a studio session that sounds and feels like a late night club set. Though some of the six-track, 55-minute record bears a resemblance to John Coltrane's early 1960s quartet and includes well trodden material by Mal Waldron, Frank Foster and Rodgers and Hart, there's nothing safe, referential or predictable about it. These recognizable points of reference are a framework for a profoundly present-centered music that like the greatest live performances possesses the power to wash away the dust of daily existence.

At the record's core is a rhythmic thrust that is at once nimble, bold and almost unremittingly aggressive. Bassist Stanley Clarke and drummer Gerry Gibbs are one of the fiercest and most focused bass and drums teams in recent memory. They generate their own brand of conventional swing, and manufacture a steely momentum outside the confines of a traditional, steady pulse. There's something primal and dead certain about Clarke's lines, whether he's walking or finding other, more skeletal ways to mark time and outline harmony. The brisk, irregular chatter of Gibbs' snare, as well as frequent bass drum and tom-tom punctuation, offers another layer of rhythmic stimulation that manages to stay on point. During "Soul Eyes," the disc's opening track, it's impossible to tell who's responsible for the music's steadily rising temperature Clarke and Gibbs, in cahoots with pianist Larry Goldings, or the leader's muscular, cogent tenor solo. Throughout the permutations of the 22-minute "Patagonia Suite," Clarke and Gibbs (along with pianist Mahesh Balasooriya) aggressively maneuver amidst Webb's tenor and soprano, going inside and outside as the suite evolves. 

When Webb and Gibbs square off on the all-too-brief "Rizone," they fashion a claustrophobic zone somewhere between ludicrously fast straight-ahead time and free form; the cumulative effect sounds like they're slapping each other silly. Webb is a smart, effusive and resourceful soloist who finds his own ways of dealing with the melodies and changes of familiar tunes, like "Soul Eyes," "Simone" and "Where Or When." His improvisations exhibit the gritty, uninhibited feel of a jazzman playing for the sake of the music alone, with no other agenda in mind. Webb juggles a variety of phrases of varying lengths, makes brief, interesting digressions, takes into account whatever Clarke and Gibbs throw at him, and never ties things together too neatly. The mastery that comes with ardently playing the horn for decades and taking the standard repertoire seriously runs through these tracks and results in music that is deep, challenging and emotionally satisfying. As Webb and his bandmates throw their whole selves into every note, playing like there's no tomorrow and caring not one whit about the consequences, you might almost hear an audience's applause and shouts of delight. Swing Shift is a terrific record.~ David A.Orthmann  http://www.allaboutjazz.com/doug-webb-swing-shift-by-david-a-orthmann.php#.U_6q32MfLP8

Personnel: Doug Webb: saxophones; Stanley Clarke: bass; Gerry Gibbs: drums; Larry Goldings: piano (1); Joe Bagg: piano (4, 6); Mahesh Balasooriya: piano (2, 3).

Swing Shift

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Ralph Sharon Trio - The Magic Of Cole Porter

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 70:05
Size: 163,4 MB
Art: Front

(2:32)  1. You're The Top
(2:36)  2. All Through The Night
(4:03)  3. Medley: Easy To Love / Get Out Of Town / You'd Be So Nice To Come Home To
(3:22)  4. I Concentrate On You
(2:54)  5. I've Got You Under My Skin
(3:19)  6. Down In The Depths On The 90th Floor
(3:14)  7. So In Love
(2:17)  8. Anything Goes
(2:18)  9. Let's Do It (Let's Fall In Love)
(1:41) 10. From This Moment On
(2:40) 11. What Is This Thing Called Love?
(2:31) 12. Do I Love You?
(3:17) 13. Night And Day
(3:37) 14. I Love Paris
(3:35) 15. Love For Sale
(2:44) 16. I Love You
(2:23) 17. All Of You
(3:00) 18. It's Alright With Me
(2:28) 19. I Get A Kick Out Of You
(2:55) 20. Why Should I Care?
(2:58) 21. Just One Of Those Things
(3:22) 22. At Long Last Love
(4:06) 23. Begin The Beguine
(2:06) 24. Sorta Porter

Ralph Sharon made his professional debut with Ted Heath in 1946, then moved on to Frank Weir's orchestra before leading his own sextet. He moved to the U.S. in 1953, where he initially worked as an accompanist to Chris Connor. In 1957, he became musical director and pianist for Tony Bennett. He acquired American citizenship in 1958. In 1965, he and Bennett split up, but they got back together in 1979 and have played together since. Sharon has also led various groups and made many recordings as a leader. Bio ~ https://itunes.apple.com/us/artist/ralph-sharon-trio/id31399556#fullText

Ralph Sharon Trio: Ralph Sharon (piano); Lennie Bush (bass); Jack Parnell (drums).

The Magic Of Cole Porter

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Dani nel-lo & Barcelona Big Blues Band - Dani nel-lo & Barcelona Big Blues Band

Styles: Big Band
Year: 2014
File: MP3@320K/s
Time: 43:45
Size: 100,4 MB
Art: Front

(2:54)  1. Marshall Plan
(3:46)  2. Please Mr. Plas
(3:58)  3. Pomez Stone
(3:02)  4. Jump For George
(2:50)  5. Sax Attack
(3:40)  6. Smooth
(3:25)  7. Bajo El Puente
(3:15)  8. Dey-Lo
(3:16)  9. Wine-O
(3:30) 10. Hot Rod
(2:53) 11. Rhumambo
(3:48) 12. Saltos Y Meneos
(3:22) 13. Zip

Traditionally, Barcelona has good jazz Big Band and swing bands Since the early seventies to the present, there have been many musicians and arrangers of the city that have been seduced by the power and versatility characteristics of this type of line up. But so far, none of them had done it with the will to point to blues and rhythm and blues. The Barcelona Big Blues Band, under the direction of bassist Ivan Kovacevic, combines a group of good musicians that create an energetic sound as well as wild and sophisticated. Through his arrangements, Kovacevic applies to the Big Band all the experience and knowledge he has acquired playing in small combos. The resulting is a stream of sound in the tradition of bands like T-Bone Walker's and Johnny Otis'.

The Barcelona Big Blues Band at every concert has the support of a national and international guest artist making of the show this way in an unique proposal. Sharing the stage with names like Dani Nel.lo, Myriam Swanson, Agusti Burriel, Pere Puertas, Big Dani Perez, Blas Picon, Ray Gelato, Mike Sanchez, Steve Lucky, Marc Tortorici, Carmen Gettit etc. they big band has ensured that the crowd enjoys the same way they do when playing .... with all their heart!  http://www.eltororecords.com/eltorowebshop/product_info.php?info=p323_BARCELONA-BIG-BLUES-BAND.html

Dani nel-lo & Barcelona Big Blues Band

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