Sarik Peter Trio - Jazz Request Show

Size: 153,3 MB
Time: 65:47
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz
Art: Front

01. Sex Machine - So What (4:49)
02. Allegro Barbaro (4:47)
03. Hotel California (5:36)
04. Ode To Joy (4:54)
05. Don't Give Up (4:46)
06. Theme From 'Mission Impossible' (5:47)
07. Lacrimosa (7:06)
08. Rehab (5:33)
09. Teardrop (7:15)
10. Can't Buy Me Love (4:34)
11. The Winner Takes It All (6:21)
12. Don't Stop Me Now (4:12)

The Jazz Request Show concerts began in 2010 and have been popular ever since. Every three months, we play the songs requested earlier by our audience. No matter what the original style or genre of the song was, we play a jazz version of it.

Peter Sarik, jazz pianist, composer, teacher
He was born in Cegléd-Hungary, in 1972.
He studied at the Liszt Ferenc Academy of Music, where he got his degree in 1997.
Throughout the years, besides the jazz he has proved himself in almost all genres:
he has played classical, popular, Latin, and world music.
Nowdays he’s leading his own Trio and workind together with several artists and bands.

As a composer, he has had huge international success: his compositions received awards in United States and United Kingdom.

Jazz Request Show

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John Taylor - Demons And Angels

Size: 74,3 MB
Time: 31:34
File: MP3 @ 320K/s
Released: 2014
Styles: Folk/Rock
Art: Front

01. The Day I Said Goodbye (2:11)
02. Bible In The Drawer (4:07)
03. Promised Land (3:12)
04. Taste The Rain (2:55)
05. Streetlights (2:49)
06. Autumn (3:30)
07. Heavens Collide (3:17)
08. I Will Be Your Friend (2:40)
09. Different Ways (4:06)
10. The Last Gunfight (2:43)

This is John’s fifth studio album with a new collection of songs following in the footsteps of past releases with some stripped back acoustic songs and some with a full band.

Scottish acoustic singer/songwriter John Taylor was born and raised in Glasgow where he played in many bands before going solo as a singer/songwriter. John Released his first album “Bring the stars alive” in 2009, “A place called Paradise” in 2010 and “Sorrow and Sunshine” in 2011 and plans to release his fourth album in 2012.

John's song "Pull you through" was placed in Golden globe and Emmy winning show "Californication" and sent it into the itunes singer/songwriter charts around the world including No 1 in Sweden, the top 5 in Canada, France, Norway and the Netherlands and the top 10 in Germany, Spain, and Switzerland and no12 in the USA. John released his fourth album in California in June 2012 where he also made his TV debut on the CBS network and shot two music videos as part of a documentary filmed by Bruce Springsteens photographer Joseph Quever. video's of John's song "Pull you through" had more than 500,000 hit's on youtube after the show.

In August 2013 John had his song "Break my bones" placed in hit USA TV show Necessary Roughness and again in December 2013 and March 2014 in the Hit show Revenge reaching viewing figures of over ten million. Safe to say John is on his way up as an independant artist and will release his latest album on September 5th 2014.

Demons And Angels

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Sydney Claire - All Ella

Size: 113,2 MB
Time: 48:21
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Blues Vocals
Art: Front

01. Frim Fram Sauce (2:38)
02. Manhattan (3:57)
03. Slap That Bass (3:11)
04. Makin' Whoopee (4:44)
05. Blue Room (2:13)
06. It's Only A Paper Moon (2:20)
07. They All Laughed (2:44)
08. Let's Do It, Let's Fall In Love (3:39)
09. They Can't Take That Away From Me (3:49)
10. Bewitched, Bothered & Bewildered (4:27)
11. Summertime (3:30)
12. Dream A Little Dream (4:02)
13. Rocks In My Bed (3:31)
14. Black Coffee (3:29)

Sydney Claire is an American singer with a long, rich history in jazz and blues. Born and raised in Louisiana, the birthplace of jazz, Sydney Claire is known for her rich, deep, bluesy, soulful voice and fresh vocal interpretations of The Great American Songbook. Critics have described Sydney Claire as the "songstress with the warmest, richest voice of sultry low notes mixed with the feeling of a young girl's innocence and amazing soul stirring vibrato." Her voice is a modern day Ella Fitzgerald. She is being described as the female equivalent of Harry Connick, Jr. and Michael Buble.

Sydney Claire's debut solo artist studio album ALL ELLA is a fourteen track album including such jazz and blues standards as Bewitched, Bothered, & Bewildered, Slap That Bass, Summertime, and Rocks In My Bed. While Sydney has been singing professionally her entire life, the past 20 years have been strongly focused in jazz and blues. Sydney's voice is truly one of a kind. A real joy to the listener. Sydney Claire's voice possesses a remarkably commercial sound with a real and substantive technique that only a lifetime of singing and performing could garner. The industry is taking notice of this iconic Louisiana voice. The new voice of the 21st century.

Sydney's inspiration comes from the rich sounds of such great jazz legends as Ella Fitzgerald, Dizzy Gillespie, Louis Armstrong, Duke Ellington, Charlie Parker, King Oliver, Count Basie, and Cab Calloway. Sydney's blues inspiration comes from the late great Leadbelly, particularly his Black Betty from his Library of Congress recordings, an obvious influence on her blues track Rocks In My Bed.

All Ella

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John Tropea - Gotcha Rhythm Right Here

Size: 170,9 MB

Time: 73:21

File: MP3 @ 320K/s

Released: 2014

Styles: Jazz Funk

Art: Front

01. Gotcha Rhythm Right Here, Pt. 1 (2:15)

02. Black Eyed G's (4:21)

03. Soul Surfin' (4:51)

04. 7Th Avenue South (5:27)

05. Chili Wa Man (5:50)

06. Always In My Heart (6:11)

07. Side By Two (6:34)

08. Bikini Beach (6:46)

09. Les Is Moe' (5:45)

10. Nyc Direct 2014 (7:21)

11. Hip To The Hips (5:19)

12. Gotcha Rhythm Right Here, Pt. 2 (6:43)

13. Boulevard Strut (5:53)

Members: John Tropea (guitar), Lou Marini (sax), Chris Palmaro (Hammond B3), Anthony Jackson (Bass) and Clint de Ganon (Drums).

John Tropea is one of the most admired and highly regarded guitar players of his generation. His playing shows a vast knowledge and respect for the tradition of the instrument as well as an original style that continues to define how the guitar best serves a wide variety of musical styles. He is a musician’s musician who attracts the finest players for his own projects.

Tropea has written for and played with major recording artists from around the world. In his long career, his contributions to other artist’s successes have been numerous, including his solo work with Deodato, (2001 theme), projects with Laura Nyro, Harry Chapin (Cat’s in the Cradle), Paul Simon (Fifty Ways), Alice Cooper (Goes to Hell), Eric Clapton (Journey Man), Dr. John, and many others. He is also a composer, arranger, and producer whose vital work is ably demonstrated by his personal projects. Tropea has a deserved worldwide reputation as an artist of quality among both audiences and other musicians.

Gotcha Rhythm Right Here     

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Charles Brown - In A Grand Style

Bitrate: 320K/s
Time: 40:29
Size: 92.7 MB
Styles: Urban blues, West Coast blues
Year: 1989
Art: Front

[4:03] 1. One Never Knows, Does One
[4:20] 2. Stand By You
[4:54] 3. Black Night
[3:09] 4. You Gave Me Everything But Love
[4:19] 5. Give Me A Woman
[3:33] 6. Hard Times
[1:02] 7. Charles Chopin Liszt
[6:45] 8. Sorry Baby
[3:54] 9. Stumbled And Fell In Love
[4:28] 10. Wouldn't It Be Grand

This posthumously released material -- mostly classic and classy love songs -- puts an exclamation point on the career of a true American music legend, a legitimate grand master in more ways than one. It is not, as the back cover states, a "solo piano album." Charles Brown does, in fact, sing on all the cuts save one, but there's no rhythm section or soloist to help. It's simply Charles Brown, all soulful, with light-colored blues, gently swinging but by himself. There are classics like "Black Night," "Stumbled and Fell in Love," the curious "One Never Knows, Does One?" and Little Walter's slightly raucous "Give Me a Woman." Brown's classical background on "Charles' Chopin Liszt" unleashes a cascading, tinkling, arpeggiated side rarely heard. Other intros also showcase this part of Brown's musicianship. Everything on the record, except for "Liszt," is a slow, cigarette-type smoldering blues that is sometimes downhearted, other times hopeful. But the lyrics of Brown's original "Wouldn't It Be Grand" speaks volumes about his hope for our future: "Wouldn't that be grand, if and when we die, we unite together in the sky/Get together, take our stand, glory land/Wouldn't that be grand." ~Michael G. Nastos

In A Grand Style

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Vanessa Pinheiro - S/T

Bitrate: 320K/s
Time: 48:08
Size: 110.2 MB
Styles: Latin jazz vocals
Year: 2000
Art: Front

[3:16] 1. De Papo Pro Ar
[4:15] 2. Monção
[5:10] 3. Vidigal
[3:33] 4. Informações De Bordo
[3:48] 5. Pobres Mortais
[3:33] 6. Agua De Beber
[4:05] 7. Ponto Final
[4:43] 8. Temporal
[4:17] 9. Sol Na Varanda
[4:18] 10. Nos Teus Olhos
[3:32] 11. Ver No Que Vai Dar
[3:33] 12. Roda Viva

Vanessa Pinheiro, born 1980, is a Brazilian singer and songwriter from Brasília. Pinheiro has released two solo albums, both produced by world renowned jazz bass player Arthur Maia. Her music is influenced by MPB and Bossa nova.

Vanessa Pinheiro

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Toots Thielemans - Two Generations

Bitrate: 320K/s
Time: 46:28
Size: 106.4 MB
Styles: Bop, Contemporary jazz
Year: 2008
Art: Front

[3:18] 1. Bluesette
[4:57] 2. Bé Bé Créole
[4:11] 3. Monologue
[4:12] 4. Two Generations
[3:51] 5. Why Did I Choose You
[6:44] 6. Uncle Charlie
[3:49] 7. Friday Night
[6:11] 8. T.T
[3:43] 9. Inner Journey
[5:28] 10. L'éternal Mari

This date featuring harmonica virtuoso Toots Thielemans with guitarist Philip Catherine, pianist Joachim Kuhn, and others is a bit unusual in that almost all of the music was composed by the players, save a Brazilian-flavored take of "Why Did I Choose You." The leader's very popular "Bluesette" features just harmonica and guitar, while his "Be Be Creole" (introduced by Toots as "Blues for Lulubelle") and "Uncle Charlie" are curious blends of jazz, rock, and blues. The remaining works by Thielemans and his friends are not as strong, making this overall a CD that can be bypassed by all except the most rabid Thielemans fans. ~Ken Dryden

Two Generations

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Stacy Sullivan - At The Beginning

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 38:46
Size: 89,2 MB
Art: Front

(2:22)  1. You Must Believe In Spring
(3:08)  2. Your Face, Your Smile
(2:16)  3. Have Had
(3:19)  4. Come The Wild, Wild Weather
(3:38)  5. At The Beginning
(3:08)  6. Carpet Ride
(3:09)  7. Ship In A Bottle
(3:09)  8. On Broadway
(2:26)  9. Don't Move A Muscle
(2:34) 10. I Know A Place
(2:29) 11. Always/Remember
(4:23) 12. Someone To Watch Over Me
(2:37) 13. Once Upon A Time

Los Angeles cabaret performer Stacy Sullivan's debut album features a variety of both familiar and unfamiliar material, all dealing with life's vagaries, especially the ups and downs of romance. Sullivan has a lovely voice  pure and smokey. She is also quite adept in the use of dynamics, as her vocal delivery fits the emotion being expressed in the lyrics. Having worked in musical theatre, Sullivan possesses a strong voice that can be heard in the last row of the balcony. However, she uses it with discretion, singing with passion, but rarely with gusto. Even on a tune like "Someone to Watch Over Me," where a little exuberance is justified, Sullivan holds back. She lets loose on sister Heather Sullivan's joyous "Carpet Ride," with background supplied by the energetic bowing of Stephanie Fife's cello. 

But it's the folksy-done ballad material  such as "Ship in a Bottle," "Once Upon a Time," and the Irving Berlin medley "Always"/"Remember" which brings out that sweet, sincere quality of Sullivan's vocal style. John Boswell, who appears on most of the LML label's cabaret releases, is here with his piano and arrangements. Veteran harpist Corky Hale puts in an appearance, adding to the album's class. At the Beginning is tasteful cabaret delivered by one of the better practitioners of the style. Watch out for the last track it's not over when one thinks it is. After a couple of seconds, Sullivan is joined by her young daughter for a giggling coda. Perhaps for her next album, listeners can hear more of the power in her voice waiting to be let loose. ~ Dave Nathan  http://www.allmusic.com/album/at-the-beginning-mw0000055186

Personnel: Stacy Sullivan (vocals); David Boswell (guitar); Stefanie Fife (cello); John Yoakum (flute, piccolo, clarinet, soprano & alto saxophones, English horn); Corky Hale (harmonica); John Boswell (piano, synthesizer, background vocals); Bob Mair (bass); M.B. Gordy (drums, percussion).

At The Beginning

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Al Viola - If You Love Me, Really Love Me

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 23:28
Size: 54,4 MB
Art: Front

(1:43)  1. I Love You Much Too Much
(2:22)  2. He's My Guy
(2:09)  3. Comme Ci comme Ca
(2:24)  4. The End Of A Love Affair
(2:54)  5. Black Coffee
(2:07)  6. Sing A Song Of Sadness
(2:26)  7. Lover Man
(3:25)  8. If You Love Me, Really Love Me
(2:17)  9. A Sunday Kind Of Love
(1:37) 10. All Or Nothing At All

A reliable guitarist with a cool tone, a hard-swinging style, and strong technical skills, Al Viola had been an asset to every session that he appeared on, and there have been many. Viola played in a jazz band while in the Army (1942-45), where he met Page Cavanaugh. When they both decided to move to California after their discharge in 1946, they teamed with bassist Lloyd Pratt to form a trio that was very popular during the next three years, appearing in a few Hollywood films (including "A Song Is Born") and recording frequently. The trio accompanied Frank Sinatra on a few occasions during 1946-1947, and when the combo broke up, Viola started working on and off with Sinatra though 1980. In addition, Viola became a very busy studio musician in Los Angeles, performing on the soundtracks of a countless number of films (including playing the prominent mandolin part in The Godfather), television shows, and commercials. 

Among his more jazz-oriented associations have been engagements with Bobby Troup, Ray Anthony, Harry James, Buddy Collette, Stan Kenton, Gerald Wilson, and Terry Gibbs among many others; in addition to Collette, Viola also recorded in the 1950s and '60s with Jimmy Witherspoon, Helen Humes, and June Christy. In the 1980s, Viola had a reunion with Cavanaugh and soon they were working together on a regular basis in a Los Angeles area club as a trio with bassist Phil Mallory; this association continued into the late '90s, when Viola dropped out of the group. In his career, Viola led three albums, unaccompanied solo dates for Mode (from 1957, reissued by VSOP) and Legend, plus a Frank Sinatra tribute album for PBR (1978); highlights of the latter two sets were reissued on a CD by Starline. Shortly after being diagnosed, Viola succumbed to cancer on February 21, 2007. He was 87. Bio ~ https://itunes.apple.com/pt/artist/al-viola/id36785276#fullText

If You Love Me, Really Love Me

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Al Grey - Night Song

Styles: Trombone Jazz
Year: 1962
File: MP3@320K/s
Time: 33:20
Size: 76,5 MB
Art: Front

(5:19)  1. Blues In The Night
(6:08)  2. Stella By Starlight
(4:52)  3. The Way You Look Tonight
(4:12)  4. Through For The Night
(5:22)  5. Stardust
(4:28)  6. Night And Day
(2:55)  7. Laughing Tonight

Trombonist Al Grey was famous as “the last of the big time plungers,” for his mastery at using a plumber's plunger to manipulate the color of his instrument. The result was a soulful quality that sounds as if he's singing the blues. Grey rose to prominence as a soloist and gifted accompanist to singers, particularly on bluesy numbers. His unique style developed over years spent playing with many great bands ” such as those of Lionel Hampton and Count Basie,” and his illustrious career spans some of the great periods in the history of jazz, including swing and bebop. Grey came from a musical family. His father, a multi-faceted musician himself, was determined to have young Al learn to play a brass instrument. As a child, Grey often resented being forced to practice, but soon realized its benefits by landing well-paying jobs. Later, while playing in the Navy band during World War II, Grey met trumpeter Clark Terry. The two became lifelong friends and would eventually play in various bands together. Grey joined Benny Carter's band right out of the Navy in 1946. Carter's innovative arrangements and driving swing served as an education for Grey. He also played with Jimmie Lunceford before joining Lionel Hampton's big band. 

It was with Hampton that he began experimenting with the plunger. Hampton noticed the trombonist's facility with the technique as Grey accompanied vocalist Sonny Parker one night, and insisted that Grey keep it as a permanent feature of the band. Dan Morgenstern of the Institute for Jazz Studies notes that jazz musicians often try to squeeze new sounds out of their instruments. This started as far back as King Oliver in New Orleans, who used to hold a child's sand pail in the bell of his trumpet. The plunger became recognized as a very effective device for such purposes. Trombonist Sam Nanton of Duke Ellington's band was recognized as a master plunger, but he died in 1947 without revealing the secrets to his own technique. From that point, Grey became the heir to the plunger tradition. After several years with Hampton, Grey played a year-long stint with Dizzy Gillespie's band, learning the language of bebop, and then joined Count Basie's orchestra in 1957.

Basie's emphasis was on simplicity, and he discouraged some of the fast-playing bebop elements Grey had recently developed. During the recording of “Making Whoopie,” Basie cautioned Grey against overplaying, saying “my goodness don't try to play all you know in one number.” But Grey's individual style meshed perfectly with Basie's orchestra, and “Making Whoopie” would become the trombonist's signature piece. Grey excelled at mixing little blues licks in among the phrases of singers with perfect timing and sensitivity. He honed this unique ability during his early years with the Basie orchestra. Before long, his colorful technique as an accompanist was highly prized among famous singers, including Lena Horne, Tony Bennett, Frank Sinatra and Ella Fitzgerald. Eventually, Grey grew restless with the demands of playing in a large ensemble and left Basie's group to experiment with his solo style. Grey also developed a passion for teaching. 

He created a jazz summer camp in his hometown of Pottstown, Pa., where he recruited other jazz greats in to help him teach swing to high school students. Among them were drummer Max Roach, saxophonist Jimmy Heath and pianist Billy Taylor. Grey's students included accomplished professionals, such as Wynton and Delafayo Marsalis, whom he taught his famous plunger techniques. According to fellow Basie alumnus and tenor saxophonist Frank Foster, Grey made an immense contribution to the jazz trombone. “He played a great role in changing the conceptualization of the trombone as an instrument in jazz,” said Foster, adding that Grey revived and elaborated upon the plunger technique “and influenced lots of young players to get into it.” Fortunately, Grey understood the importance of passing his secrets on to younger trombonists, ensuring that this craft will maintain its place in jazz. Grey died on March 24, 2000. Bio ~ http://musicians.allaboutjazz.com/algrey

Personnel:  Al Grey – trombone; Billy Mitchell - tenor sax; Dave Burns – trumpet; Bobby Hutcherson – vibraphone; Earl Washington – piano; Herman Wright – bass; Otis "Candy" Finch – drums; Philip Thomas - conga

Night Song

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Abdullah Ibrahim - Dukes Memories

Styles: African Jazz, World Fusion
Year: 2008
File: MP3@320K/s
Time: 42:27
Size: 97,8 MB
Art: Front

(3:40)  1. The Wedding
(3:56)  2. Black And Brown Cherries
(3:27)  3. For Coltrane
(3:10)  4. In A Sentimental Mood
(7:18)  5. Angelica-Purple Gazelle
(6:13)  6. Star Crossed Lovers
(4:21)  7. Way Way Back
(4:08)  8. Virgin Jungle
(6:10)  9. Water Edge

South African pianist Abdullah Ibrahim recorded several tributes to his mentor Duke Ellington, and Duke's Memories is certainly one of the finest. Adroitly choosing some under-recognized beauties of Ellingtonia, adding a standard, and mixing in a few originals, Ibrahim delivers a well-balanced and frequently gorgeous program. The opening "Star Crossed Lovers" includes a heart-rending alto solo by one of the best saxophonists few people know (Carlos Ward), and the obscure, jaunty "Way Way Back" is given a delightful, in-the-pocket reading. Tracks five through nine are from a live date, beginning with Ibrahim's moving, stately "The Wedding," which he seems to have recorded on virtually every album he issued during the '80s; it receives one of its better renditions here. The leader, as is his wont, tends to stay in the background, eschewing the star soloist role and preferring to direct the quartet from the keyboard, though he steps out front with some rich playing on "In a Sentimental Mood." A rippling medley of Ellington's "Angelica" and "Purple Gazelle" closes out the album in delightful fashion, rounding out a deeply felt performance. Recommended. ~ Brian Olewnick  http://www.allmusic.com/album/dukes-memories-accord-mw0000187902

Personnel:  Alto Saxophone, Soprano Saxophone, Flute – Carlos Ward; Bass – Rachim Ausar Sahu; Drums – Andrei Strobert; Piano – Abdullah Ibrahim

Dukes Memories

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