Ellen Johnson - These Days

Size: 112,4 MB
Time: 48:11
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz Vocals
Art: Front

01. These Days (5:31)
02. No Moon At All (2:25)
03. The Crossing (4:03)
04. Inspiration (4:48)
05. I Feel The Same (5:18)
06. Noddin' Ya Head Blues (3:47)
07. Esperanç Perdida (I Was Just One More For You) (4:12)
08. Who Knows Where The Time Goes (2:41)
09. If I Should Lose You (4:37)
10. You Don't Know What Love Is (5:50)
11. Nostalgia In Times Square (2:50)
12. Little Messenger (For Sheila Jordan) (Bonus Track) (2:05)

Chicago-raised vocalist and educator Ellen Johnson emerges with a disc that explores her vast range and improvisational technique without attempting to sound pretentious, an all-too-common trait among jazz vocalists. This is evident throughout These Days, but most specifically on bassist Darek Oleszkiewicz' bossa nova-tinged "Inspiration, a wordless tune which features Brazilian percussionist Ana Gazzola on shakers and guitarist Larry Koonse; Johnson sings the melody with incredible softness, going even softer during the guitarist's accomplished solo for a unique backdrop.

Another moment worth mentioning is her treatment of the Jackson Browne title track. While the original has more of an acoustic folk approach, Johnson uses the melody to showcase her vocal chops, Koonse again shining with clever riffs and a subtle solo. Maybe the only weak track is "I Feel The Same, Johnson's trumpet-like vocal failing to impress though kudos to Oleszkiewicz' accompaniment, the heart and soul of an otherwise lackluster tune.

This does not outshine other great points, such as Antonio Carlos Jobim/Billy Blanco's "Esperança Perdida, sung both in Portuguese and English (lyrics provided by Ray Gilbert) or Johnson's playful original lyrics to Charles Mingus' "Noddin' Ya Head Blues done as a vocal/bass duet. Also appealing is the original "Little Messenger, a spoken-word poem (featured as a bonus track) dedicated to Sheila Jordan, who provides clever vocal improvisation in the background.

These Days is a highly enjoyable disc that needs several spins in order to be properly grasped. Maybe because of Johnson's academic background (she teaches at the University of San Diego), the disc might come off as a bit hard to feel at first, but if you just allow yourself to enjoy it, the pleasure of the listening experience will be that much greater. ~Ernest Bartelds

Personnel: Ellen Johnson: vocals; Derek Oles: bass; Larry Koonse: guitar; Roy McCurdy: drums; Ana Gazzola: percussion; Sheila Jordan: guest vocals.

These Days

---

Melvin Smith - Time Will Tell

Size: 155,3 MB
Time: 66:54
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Hard Bop
Art: Front

01. Time Will Tell ( 5:45)
02. Hippodelphia ( 4:18)
03. Polka Dots And Moonbeams ( 8:53)
04. Mom And Pop ( 5:04)
05. Holy Land ( 4:40)
06. Manasseh ( 4:16)
07. I Want Jesus To Walk With Me ( 6:14)
08. Dontchange ( 7:44)
09. 1750 Washington St ( 3:24)
10. Trylenera Pt. IV ( 5:31)
11. Faith In Action (10:59)

Melvin Smith is back! Time Will Tell is Smith's first recording as a leader in four years. Time Will Tell is a hard swinging effort by the New York based saxophonist. The title track is a groove laced Art Blakey and Jazz Messenger staple written by Bobby Watson. Melvin breathes life into Joe Zawinul's Hippodelphia which was originally performed by Cannonball Adderley's quintet. Smith doesn't stop with solid arrangements , he also brings some great originals to the effort. Mom and Pop, Manasseh, 1750 Washington St, and Trylenera Part IV show Smith's creativity as a composer. Melvin Smith creates an organic exchange with pianist Anthony Wonsey on the two duo tracks Polka Dots and Moonbeams and Cedar Walton's Holy Land. Smith has included interesting reads on the hymn, I Want Jesus To Walk With Me and Musiq Soulchild's Dontchange. This effort is concludes with a stirring version of Bobby Watson's Faith In Action. All in all Time Will Tell is one not to miss.

Time Will Tell

---

Manuel Rocheman & Nadine Bellombre - Paris-Maurice

Size: 125,1 MB
Time: 53:43
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Ene Zoli Reve (5:19)
02. Just Love (4:08)
03. La Mer La (5:08)
04. Can't Hide Love (4:46)
05. Mo Le Ou (6:08)
06. Come Together (5:44)
07. Nadine (4:46)
08. Ki To Le (4:45)
09. Nature Boy (3:42)
10. The Island (5:03)
11. Send In The Clowns (4:06)

"The meeting of the Indian Ocean and jazz "
Released in the fall of my new album " Paris -Maurice " Berlioz Production / Rue Stendhal recorded by Richard Hein : Nadine Bellombre vocal , bass Kersley Palmyra , Maurice "Momo" Manancourt & Christophe Bertin drums + special guests : Marie- Luce Faron vocal, guitar Patrick Desvaux , Olivier Ker Ourio harmonica, sax alto Samuel Laval
A crossover project, including compositions Nadine Bellombre Mauritian identity fingerprints to the compositions of Manuel Rocheman through the great pop and jazz standards revisited: the famous " come together " by the Beatles and "can not hide love" Earth Wind & Fire , and a very big jazz standard " boy nature."

Paris-Maurice

---

Elkano Browning Cream - Uh Eh

Size: 152,8 MB
Time: 65:18
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Hammond Organ, Latin/African/Funky Jazz
Art: Front & Back

01. Theme From Zoot (4:02)
02. One Day King (4:52)
03. Owiwi (7:37)
04. Rich Man Poor Soul (6:18)
05. Celebration Ska (4:26)
06. Tout Est Bon (3:56)
07. Blue Snake (5:12)
08. Aurresku (4:15)
09. Euroafricans (6:38)
10. Uranium Talks (4:23)
11. Up Again Song (5:41)
12. Sweet Charles (Bonus Track) (3:56)
13. 46Th Street (Bonus Track) (3:56)

During the first five days of May 2013, Franck Mantegari, Dave Wilkinson and Mikel Azpiroz locked up in a studio by the sea at La Concha Bay, San Sebastian, to record the fourth album of Elkano Browning Cream, “UH EH” . This is a craft record, filled with colors, where the three musicians exhibit their broad musical palette, delving, without any stylistic complexes, into luminous, powerfully rhythmic melodies. Starting off from the traditional jazz band format (Hammond organ, guitar and drums), they stretch it beyond with magnetic compositions that travel through music evoking African, oriental or nocturnal European landscapes, with a balanced mix of tradition and current trends. Its thirteen songs will withdraw the listener from his/her daily problems over the album’s 65 minutes. Faithful to his philosophy of playing an active role during the entire album-making process (composition, recording, mixing, editing), Mikel Azpiroz was in charge of the record’s production and edition with record company Mamusik, while Ediciones Resistencia was responsible for distribution in stores.

Uh Eh

---

Simin Tander - Where Water Travels Home

Size: 131,6 MB
Time: 56:14
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Yau Tar De Grewan (5:23)
02. Above The Ground (5:12)
03. Behind The Curtain (3:43)
04. Where Would I Fly To If I Could (7:50)
05. Little Song (2:42)
06. Far (3:16)
07. De Kor Arman (4:55)
08. Larsha Nengrahar Ta (4:13)
09. Dark Woods (4:11)
10. Our Silent Storm (4:27)
11. Water (1:26)
12. La Chanson Des Vieux Amants (3:42)
13. Traveling On (5:09)

A typical jazz format perhaps, but the delivery on Simon Tander's second CD is anything but typical. As on her memorable debut Wagma (Neuklang Records, 2011), Tander sings in various languages—English, French—and in her improvised language. Here, however, Tander explores her roots by singing in pashto—her Afghan father's language—with mesmerizing results. On Wagma, Tander already sounded conceptually and musically fairly rounded, but Where Water Travels Home comes across as a more mature and personal work, one that reaffirms Tander's credentials as an original contemporary singer.

Tander casts her seductive spell on the opening number, "Yau Tar De Grewan" (A Thread from The Collar), a gorgeous arrangement of one of three Afghan poems sung in pashto. Pianist Jeroen van Vliet, bassist Cord Heineking and drummer Etienne Nillesen provide perfectly weighted support to Tander's emotive delivery on this ode to the birth of love:

"I turned into dew and slept on the morning flower
Tired and weary, I slept in the lap of your sight
Today you took me to the skies with one smile"

Kabul street sounds provide sympathetic background to "De Kor Arman" ("The Desire for Home"), a slow-burning pashto blues tale. Guest musician Alex Simu's softly voiced clarinet brings a yearning quality to this ambiguous love story. On the upbeat "Larsha Nengrahar Ta" ("Go to Nengrahar and Bring me a Black Dress") Tander's voice dances, driven by guest tablaist Niti Ranjan Biswas and Nillesen's rhythmic urgency. The three pashto-sung songs—poetic in origin and in delivery—mark a bold departure for Tander but the emotive depths that she harnesses so convincingly make these among the CD's standout tracks.

Three tracks feature Tander's invented language: on "Behind the Curtain," thumb-piano delicacy contrasts with Tander's powerful chanson-like delivery; on "Little Song" a damped-piano motif and gently pulsing bass waltz with Tander, whose soft plosives and cooing seduce like a lullaby; the quartet-composed "Far" revolves around Tander's konnakol-inspired improvisations as the quartet's smoking intensity threatens to burst into flames. With the exception of "Behind the Curtain" where Van Vliet stretches out, conventional solos are rationed and instead a subtle elasticity in the music's individual and collective contours reigns throughout.

Several tracks feature lyrics by Tander's sister Mina Tander; on "Above The Ground," however, it's Tander's soaring wordless cry during the song's surging finale that hits the gut; "Dark Woods" is a brooding, sensual song of seduction; Van Vliet's hypnotic piano mantra forms the spine of "Traveling On," a melodically and emotively alluring ballad. Elsewhere, "Where Would I Fly to If I Could" shifts episodically between powerful orchestral passages, Tander's simple narrative and her more dramatic improvisations. "Our Silent Storm" is an achingly beautiful ballad that could have come from Leonard Cohen's bluesiest pen, while "La Chanson des Vieux Amants" sees Tander tackles Jacques Briel's bitter-sweet love song with requisite intimacy.

Tander's beguiling voice holds center stage on these haunting songs of love's vicissitudes, but her wonderfully empathetic trio is no less vital a part of the equation. A palpable group chemistry pervades these thirteen tracks, whose considerable charms grow through repeated listens. Poetic, lyrical and uplifting, Where Water Travels Home is a strong contender for vocal album of the year.

Personnel: Simin Tander: voice; Jereon Van Vliet: piano, electronics; Cord Heineking: double bass; Alex Simu: clarinet (7); Niti Ranian Biswas: tabla (8).

Where Water Travels Home

---

Wendell Holmes Jr. - Lewis Ave

Size: 137,0 MB
Time: 58:38
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Fusion
Art: Front

01. Planet Earth (Feat. Gergo Borlai) (4:02)
02. Mighty Philly (Feat. Scott Jones) (5:55)
03. Infinite Possibilities (Feat. Francisco Fattoruso) (6:37)
04. Digifunk (Feat. Russell Gunn & Federico Malaman) (4:02)
05. Lewis Ave (Feat. Ede Wright) (6:07)
06. Split Ii (Feat. Hadrien Feruad) (5:36)
07. I'm Dizzy (Feat. Marcus Anderson & Federico Malaman) (5:03)
08. Drummerboy (Feat. Marcus Anderson & Anthony Crawford) (5:29)
09. Wide Awake (Feat. Marcus Anderson, Kyle Bolden & Dywane Mononeon Thomas Jr.) (4:36)
10. Spagetti Junction (Feat. Ede Wright, Jermaine Morgan & Eric Catron) (6:21)
11. Video Arcade (Feat. Gerry Smoot) (4:46)

If you are a music lover of jazz and great musicianship then this record is for you. Influences include Dave Welck, Chick Corea, George Dude, Dennis Chambers, Tony Williams, Yellowjackets, Gary Novack, Vinnie Colaiuta, Stanley Clarke and many many more.

Wendell Holmes Jr, a native of Philadelphia, Mississippi, began playing the drums at two years old; watching his peers play every Sunday morning fascinated him so much that after each service, he would jump on a drum-set and mimic what he heard, first hand. At home, he played on everything from pots and pans, to his mother's living room furniture. It soon became evident that this was a gift from God and should be taken seriously. "Playing at church was the greatest start I could ever have because I constantly played and it served as a platform to develop a sound."

Wendell matured at his craft by becoming an innovative drummer with versatility in playing various genres of music such as Jazz, Fusion, R&B, Funk, Blues, Country, Rock, and Reggae. He soon branched into music directing, collaborating with many musicians (a position rarely filled by drummers).

In 2005, Holmes moved to Atlanta, Georgia; where God continues to do great things in his life allowing him to be a vessel of blessings to others.

Wendell's artistic uniqueness lies in his distinctive sound, authenticity and creativity. A sensitive, colorful and innovative drummer, he mixes different textures and tones on the drums and cymbals to produce breathtaking colors and images. A versatile musician, he approaches each genre in its authentic context, yet complements it through incorporating various styles in an ingenious manner to create an interesting and innovative sound. His distinctive sound combined with his approach to music complements his expressive creativity.

Lewis Ave

---

Joe Liggins - Joe Liggins & The Honeydrippers

Bitrate: MP3@320K/s

Time: 71:18

Size: 163.2 MB

Styles: R&B, Jump blues, West Coast blues

Year: 1989/2006

Art: Front

[2:59] 1. Pink Champagne

[2:43] 2. Ramblin' Blues

[3:01] 3. Rag Mop

[4:47] 4. Rhythm In The Barnyard

[2:49] 5. Going Back To New Orleans

[3:13] 6. I've Got A Right To Cry

[3:08] 7. The Honeydripper

[2:44] 8. I Just Can't Help Myself

[2:41] 9. Don't Miss That Train

[2:52] 10. Frankie Lee

[2:27] 11. Brand New Deal In Mobile

[2:49] 12. Little Joe's Boogie

[2:23] 13. One Sweet Letter

[2:32] 14. Whiskey, Gin & Wine

[3:04] 15. Louisiana Woman

[2:48] 16. Trying To Lose The Blues

[2:48] 17. Shuffle Boogie Blues

[3:00] 18. Rain, Rain, Rain

[2:14] 19. The Flying Dutchman

[3:06] 20. Tanya

[2:47] 21. Blues For Tanya

[2:43] 22. Freight Train Blues

[2:42] 23. Whiskey, Women & Loaded Dice

[2:28] 24. The Big Dipper

[2:17] 25. Do You Love Me Pretty Baby

Pianist Joe Liggins presented a fairly sophisticated brand of swinging jump blues to jitterbuggers during the early '50s, when his irresistible "Pink Champagne" scaled the R&B charts. Twenty-five of his very best 1950-1954 Specialty sides grace this collection, including a tasty remake of "The Honeydripper;" "Rhythm in the Barnyard," and the syncopated "Going Back to New Orleans" (recently revived by Dr. John). ~Bill Dahl

Recording Date: January 20, 1950 - March 12, 1954

Joe Liggins & The Honeydrippers         

---

Luciana Souza - The New Bossa Nova

Bitrate: MP3@320K/s
Time: 55:44
Size: 127.6 MB
Styles: Vocal, Bossa Nova
Year: 2007
Art: Front

[5:01] 1. Down To You
[4:33] 2. Never Die Young
[5:34] 3. Here It Is
[5:14] 4. When We Dance
[4:37] 5. Satellite
[4:57] 6. Were You Blind That Day
[5:25] 7. Love Is For Strangers
[4:33] 8. You And The Girl
[3:16] 9. Living Without You
[3:59] 10. I Can Let Go Now
[3:49] 11. God Only Knows
[4:40] 12. Waters Of March

When pianist Herbie Hancock released The New Standard (Verve, 1996)—an album of radically reworked pop tunes by artists ranging from Peter Gabriel to Prince—it wasn't exactly revolutionary, but it was the first time a major jazz artist had devoted an entire album to contemporary popular song. Singer Luciana Souza may not be as significant an artist—yet—as Hancock, but The New Bossa Nova explores a similar concept. By adapting material, ranging from Joni Mitchell and James Taylor to Leonard Cohen and Randy Newman, to the Brazilian bossa nova form, Souza has created a deeply heartfelt disc that deserves to raise her profile exponentially.

With the stellar group of players she's recruited—many of whom she's intersected with multiple times over the past few years, including saxophonist Chris Potter, pianist Edward Simon, bassist Scott Colley and drummer Antonio Sanchez—one might expect some high energy and extended improvisation, but The New Bossa Nova is, instead, an album of understatement, concision and simplicity. While no strangers to the aesthetic of serving the song, principle soloists Simon and Potter work within producer Larry Klein's defined, but never confining, arrangements. Sometimes saying something in eight bars is more challenging than having all the time in the world, and both Potter and Simon deliver memorable, lyrical solos throughout.

While the bossa form is inherently easy on the ears, Souza has chosen material that covers a broad emotional range, a subtext of the album being the complexity and multifaceted nature of love. Souza's voice is warm and soft, with a controlled but rich vibrato that's not unlike that of iconic singer/songwriter Joni Mitchell, whose "Down to You, from the classic Court and Spark (Asylum, 1974), opens the disc. The vibe may be soft, but Souza's delivery gets to the core of Mitchell's despondent lyrics. Her mellifluous voice is a considerable contrast to Leonard Cohen's near-spoken delivery, but she's no less at the heart of his starkly dark "Here It Is.

The New Bossa Nova is not, however, all about darkness and despair. A duet with guest James Taylor on his poignant "Never Die Young" reveals just how lush Souza's voice is contrasted with Taylor's sharp tenor, while she reworks Antonio Carlos Jobim's classic "Waters of March" into an uplifting set closer.

Like Swiss singer Susanne Abbuehl, Souza's range and emotional resonance are made all the more powerful for her avoidance of overstatement. With words as potent as these, nuance trumps excess, and while the bossa rhythm is the essence of The New Bossa Nova, there's plenty of diversity to keep things interesting, even as Souza and the group explore shades of a color rather than a broader spectrum. With the emphasis on The New, it's an accessible album that's got the potential to make Souza a popular name like Krall and Jones, but remains no less substantial for it. ~John Kelman

Luciana Souza: vocals; James Taylor: vocals (2); Chris Potter: tenor saxophone; Romero Lubambo: guitar, cavaquinho; Edward Simon: piano, estey; Scott Colley: bass; Antonio Sanchez: drums, percussion; Matt Moran: vibraphone (1, 6-8).

The New Bossa Nova

---

Crosby, Stills, Nash & Young - Deja Vu

Bitrate: MP3@320K/s
Time: 35:57
Size: 82.3 MB
Styles: Rock
Year: 1970/1995/2005
Art: Front

[4:24] 1. Carry On
[2:52] 2. Teach Your Children
[4:27] 3. Almost Cut My Hair
[3:35] 4. Helpless
[3:52] 5. Woodstock
[4:10] 6. Deja Vu
[2:59] 7. Our House
[2:05] 8. 4 + 20
[5:09] 9. Country Girl A. Whiskey Boot Hill. B. Down, Down, Down. C. Country Girl [i Think You're Pretty]
[2:20] 10. Everybody I Love You

One of the most hotly awaited second albums in history -- right up there with those by the Beatles and the Band -- Déjà Vu lived up to its expectations and rose to number one on the charts. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record Déjà Vu and scarcely functioned as a group for most of that time. Déjà Vu worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing. There were also some obvious virtues in evidence -- the addition of Neil Young to the Crosby, Stills & Nash lineup added to the level of virtuosity, with Young and Stephen Stills rising to new levels of complexity and volume on their guitars. Young's presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of Young's contributions in this area were confined to the second side of the LP. Most of the music, apart from the quartet's version of Joni Mitchell's "Woodstock," was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. "Carry On" worked as the album's opener when Stills "sacrificed" another copyright, "Questions," which comprised the second half of the track and made it more substantial. "Woodstock" and "Carry On" represented the group as a whole, while the rest of the record was a showcase for the individual members. David Crosby's "Almost Cut My Hair" was a piece of high-energy hippie-era paranoia not too far removed in subject from the Byrds' "Drug Store Truck Drivin' Man," only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by Crosby, took 100 hours to work out and was a better-received successor to such experimental works as "Mind Gardens," out of his earlier career with the Byrds, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods. "Teach Your Children," the major hit off the album, was a reflection of the hippie-era idealism that still filled Graham Nash's life, while "Our House" was his stylistic paean to the late-era Beatles and "4+20" was a gorgeous Stephen Stills blues excursion that was a precursor to the material he would explore on the solo album that followed. And then there were Neil Young's pieces, the exquisitely harmonized "Helpless" (which took many hours to get to the slow version finally used) and the roaring country-ish rockers that ended side two, which underwent a lot of tinkering by Young -- even his seeming throwaway finale, "Everybody I Love You," was a bone thrown to longtime fans as perhaps the greatest Buffalo Springfield song that they didn't record. All of this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars, which were presented in even more dramatic and expansive fashion on the tour that followed. ~Bruce Eder

Deja Vu

---

Ingram Washington - What A Difference A Day Makes

Bitrate: MP3@320K/s
Time: 50:57
Size: 116.7 MB
Styles: Easy Listening
Year: 2004
Art: Front

[3:07] 1. What A Difference A Day Makes
[3:06] 2. But Not For Me
[4:35] 3. Come Rain Or Come Shine
[3:06] 4. My Funny Valentine
[3:20] 5. Smile
[2:40] 6. Hey There
[4:07] 7. I Thought About You
[4:16] 8. Unforgettable
[3:57] 9. Autumn Leaves
[3:02] 10. Laughing At Life
[4:00] 11. Always On My Mind
[3:19] 12. Somebody Loves Me
[3:29] 13. Our Love Is Here To Stay
[4:48] 14. What A Wonderful World

Easy listening jazz standards with original arrangements by Cajan Witmer & Ingram Washington. The songs speak for themselves. What more can be said about these long lived evergreens?

What A Difference A Day Makes

---

Al Cohn & Al Porcino - Al Cohn Meets Al Porcino

Bitrate: MP3@320K/s
Time: 72:21
Size: 165.7 MB
Styles: Bop, Saxophone jazz
Year: 1987/2003
Art: Front

[3:54] 1. Tiny's Blues
[3:34] 2. I Cover The Waterfront
[4:55] 3. No Thanks
[7:06] 4. Body And Soul
[3:18] 5. Dancing In The Dark
[4:06] 6. Lover Come Back To Me
[3:20] 7. Music To Dance To
[3:13] 8. The Goof And I
[4:14] 9. My Heart Belongs To Daddy
[3:58] 10. Autumn In New York
[5:57] 11. Mambo Di Paulo
[4:34] 12. All The Things You Are
[4:25] 13. The Fuzz
[3:43] 14. Get Me To The Church On Time
[7:40] 15. Sophisticated Lady
[4:17] 16. Jumpin' With Symphony Sid

This was one of Al Cohn's last recordings, a live session with trumpeter Al Porcino's European big band. Cohn's Lester Young-influenced tone had darkened quite a bit through the years and his tough tone was now closer to Illinois Jacquet than to Young. However he still swung in a boppish style and is the main soloist throughout this excellent outing, playing eight of his arrangements plus older charts from Gerry Mulligan and Bill Holman among others. Surprisingly Al Porcino does not take a single solo, being content to play in the ensembles and listen to his old friend perform in prime form. ~Scott Yanow

Al Cohn Meets Al Porcino

---

Nina Simone - Let It All Out

Bitrate: MP3@320K/s
Time: 36:26
Size: 83.4 MB
Styles: Vocal jazz, Torch songs
Year: 1966/2004
Art: Front

[2:25] 1. Mood Indigo
[3:01] 2. The Other Woman
[4:04] 3. Love Me Or Leave Me
[4:18] 4. Don't Explain
[2:31] 5. Little Girl Blue
[2:48] 6. Chauffeur
[2:05] 7. For Myself
[4:54] 8. The Ballad Of Hollis Brown
[2:57] 9. This Year's Kisses
[2:50] 10. Images
[4:29] 11. Nearer Blessed Lord

Let It All Out is one of Nina Simone's more adult pop-oriented mid-'60s albums, with renditions of tunes by Duke Ellington ("Mood Indigo"), Billie Holiday ("Don't Explain"), Irving Berlin ("This Year's Kisses"), and Rodgers & Hart ("Little Girl Blue"). As ever, Simone ranges wide in her selection: Bob Dylan's "The Ballad of Hollis Brown," a swaggering adaptation of "Chauffeur Blues" (credited to her husband of the time, Andy Stroud), the gospel hymn "Nearer Blessed Lord," and Van McCoy's "For Myself." "Images" is an a cappella adaptation of a poem about the beauty of blackness by Waring Cuney. All of Simone's Philips albums are solid, and this is no exception, while it isn't the best of them. This LP has been combined with the 1965 album Pastel Blues on a single-disc CD reissue. ~Richie Unterberger

Let It All Out

---

Wynton Kelly - Someday My Prince Will Come

Bitrate: MP3@320K/s

Time: 75:49

Size: 173.6 MB

Styles: Hard bop, Piano jazz

Year: 1961/1993

Art: Front

[3:02] 1. Someday My Prince Will Come

[4:18] 2. Gone With The Wind

[4:25] 3. Autumn Leaves-Take 2

[3:33] 4. Come Rain Or Come Shine

[7:13] 5. Weird Lullaby

[5:12] 6. Sassy

[8:00] 7. Wrinkles

[5:13] 8. On Stage

[4:57] 9. Char's Blues-Take 1

[2:34] 10. Love, I've Found You

[3:40] 11. Surrey With The Fringe On Top-Take 3

[6:34] 12. Joe's Avenue-Take 4

[3:00] 13. Someday My Prince Will Come-Take 5

[8:22] 14. Autumn Leaves-Take 1

[5:37] 15. Char's Blues-Take 2

Pianist Wynton Kelly is heard on this CD reissue (the ten songs from the original LP plus five "new" alternate takes) with either bassist Sam Jones and drummer Jimmy Cobb or bassist Paul Chambers and drummer Philly Joe Jones. His light touch and perfect taste are very much present along with a steady stream of purposeful single-note lines that are full of surprising twists. Trumpeter Lee Morgan and tenor saxophonist Wayne Shorter drop by for one song (the blues "Wrinkles"), but otherwise this recommended set (a definitive Wynton Kelly release) showcases magical trio performances. ~Scott Yanow

Recording Date: September 20-21, 1961

Someday My Prince Will Come

---

Judy Niemack - Blue Nights

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 73:37
Size: 168,9 MB
Art: Front

(4:09)  1. I Ain't Got Nothin' But The Blues
(5:47)  2. Night In Tunisia
(5:17)  3. Afro Blue
(9:25)  4. All Blues
(5:15)  5. Bluesette
(5:28)  6. Blue
(5:12)  7. Interplay
(6:43)  8. Moanin'
(7:25)  9. Blue In Green
(5:27) 10. A Crazy Song To Sing
(6:23) 11. Lullaby Of The Leaves
(7:02) 12. In A Sentimental Mood

Judy Niemack has released so many outstanding CDs that it seems unfathomable that this 2007 release for Blujazz is her first U.S. recording since Heart's Desire and only her third U.S. album overall. But she makes up for lost time with a typically adventurous outing, backed by guitarist Jeanfrançois Prins (her husband), pianist Jim McNeely, bassist Dennis Irwin, and drummer Victor Lewis, with guest appearances by saxophonist Gary Bartz and trumpeter/flügelhornist Don Sickler on selected tracks. Niemack's sassy take of Duke Ellington's "I Ain't Got Nothin' But the Blues" and her scatting in unison with Prins' guitar in a romp through "Bluesette" open the disc with a bang, but she cools things down with her intricate interpretation of Bill Evans' "Interplay," for which she supplied delightful lyrics. 

"A Crazy Song to Sing" has more of a vocalese quality, describing the appeal of performing Thelonious Monk's "Mysterioso," punctuated by Bartz's smoldering alto sax solo. "In a Sentimental Mood" is set up by an intriguing blend of guitar, flügelhorn, and alto sax, with Niemack delivering a captivating performance. Judy Niemack has been one of the most underrated jazz vocalists of her generation, and this brilliant effort should awaken critics who have unjustly overlooked her consistently excellent work. ~ Ken Dryden  http://www.allmusic.com/album/blue-nights-mw0000574510

Personnel: Judy Niemack (vocals); Jean françois Prins (guitar); Don Sickler (trumpet, flugelhorn); Jim McNeely (piano); Dennis Irwin (bass instrument); Gary Bartz (soprano saxophone, alto saxophone); Victor Lewis (drums).

Blue Nights

---

Oscar Peterson - Plays the Harold Arlen Song Book

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 74:21
Size: 175,6 MB
Art: Front

(4:20)  1. As Long As I Live
(5:05)  2. I Gotta Right To Sing The Blues
(4:25)  3. Come Rain Or Come Shine
(3:14)  4. Ac-Cent-Tchu-Ate The Positive
(3:08)  5. Between The Devil And The Deep Blue Sea
(3:46)  6. I've Got The World On A String
(3:24)  7. It's Only A Paper Moon
(3:00)  8. That Old Black Magic
(3:32)  9. Let's Fall In Love
(3:33) 10. Stormy Weather
(3:49) 11. Blues In The Night
(3:32) 12. Over the Rainbow
(2:10) 13. Happiness Is A Thing Called Joe
(2:40) 14. Stormy Weather
(2:15) 15. Over The Rainbow
(2:36) 16. The Man That Got Away
(2:30) 17. Ill Wind
(2:14) 18. Let's Fall In Love
(2:22) 19. As Long As I Live
(2:34) 20. Come Rain Or Come Shine
(1:59) 21. Ac-cent-tchu-ate The Positive
(2:39) 22. Between The Devil And The Deep Blue Sea
(2:25) 23. I've Got The World On A String
(2:58) 24. That Old Black Magic

This re-release combines all the tracks from two earlier albums recorded in 1954 & 1959 with two versions of the trio. Oscar and Ray Brown are on both, but the later trio has Ed Thigpen on drums instead of Ray Ellis on guitar. Both sessions demonstrate Oscar Peterson’s complete mastery of the works of Harold Arlen. Although I feel certain it was not intended, the trio took over where Nat Cole left off. Nat was himself a great jazz pianist and he often performed in Jazz at the Philharmonic in its earlier forms. Oscar of course made that chair his own, when he took over from Nat and stayed to the end. Nat Cole didn’t do so bad either as No1 Male vocalist worldwide! It may be of interest for readers to know that on the very few vocal recordings Oscar has made, he sounds just like Nat ‘King’ Cole. For my money, Oscar is without any doubt the greatest pianist that jazz has produced. There are people like Art Tatum, who had perhaps a better sense of harmonics and many players have maybe pushed the frontiers harder, but there has never been anyone to swing at the drop of a hat on every session, the way Oscar has always done. 

Genius is an overused word these days, but Oscar truly merits it. The 1954 tracks, 1 to 12 have a certain amount of surface noise, as they have been re-mastered from the original disc, but it doesn’t detract in any way from the enjoyment, fortunately the masters were available for the later recordings. The sound is obviously different between the two trios and despite my being a big fan of Herb Ellis, I prefer the trio with Ed Thigpen on the drums. Oscar is such a monster piano player that he does not need anyone to ‘comp’ whilst he is soloing, he does that as well. It seems a little curious to me that the tracks on the second part of the album are so short, on most we get the melody, one improvised chorus and then out. Many of the tunes are played in both halves of the record and as you would expect with a jazz performance, if you visit the same tune five years later, it has developed and changed. This of course is the essence of the jazz performance as opposed to other musical forms and it is what makes jazz such interesting music. 

An earlier reference to Nat Cole reminded me that ‘It’s Only a Paper Moon’ was a tune he regularly featured with his trio. Oscar’s technique and ideas are well illustrated in this track, it is a simple tune, but he makes it into something special and Herb Ellis also has a fine if short solo. Most of all it swings all the way through. This re-release will be very welcome by all the Peterson fans and let us hope that anyone not familiar with his past work will take the opportunity to catch up. ~ Don Mather  http://www.musicweb-international.com/jazz/2001/Nov01/Peterson_Arlen.htm

Personnel : Oscar Peterson (piano); Herb Ellis (guitar); Ray Brown (bass); Ed Thigpen (drums).

Plays the Harold Arlen Song Book

---

Mark Douthit - Groove

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 53:48
Size: 123,5 MB
Art: Front

(5:04)  1. What a Shame
(5:19)  2. You And I
(4:08)  3. You Can't Hide Love
(5:34)  4. What You Won't Do For Love
(5:31)  5. Sunset Beach
(6:59)  6. Linda
(5:17)  7. Use Me
(6:08)  8. Voice Of The Heart
(4:35)  9. I Just Want To Stop
(5:10) 10. What Was

Douthit turns in a textbook easy listening performance on his Hillsboro Jazz debut. He has the distorted upper-register growl; the urgent intonation; the full-bored, slightly quivery Kenny G-like timbre on alto; the blues/gospel licks; and, quite likely, the squint-eyed grimace on high notes that are apparently required for this genre, along with the velvety electric piano backup, gently insistent drums, and other similar essentials. His arrangements nod toward a Steely Dan influence, and not just on the cover of "What a Shame About Me," with the kind of milky brass unison lines and sharp horn jabs that have long been a hallmark of Donald Fagen's charts. 

Douthit writes with a concise technique and an ear for a hook; the last four bars of the chorus on his "Voice of the Heart," for instance, tweak the chord movement in order to nudge the tune along to the next verse a nice, though not exactly riveting, twist. The final track, a rendering of Stevie Wonder's "You and I," provides the most refreshing moment on the record, precisely because this piano/sax duo gives Douthit a chance to interact with one other musician rather than just fit into a fairly static rhythm bed. This proves both that Douthit has what it takes, and that it's possible to stretch out while still keeping your jazz "lite." ~ Robert L.Doerschuk  http://www.allmusic.com/album/groove-mw0000214502

Personnel : Mark Douthit (saxophone); Chris Rodriguez (vocals); Tom Hemby (guitar); Mike Haynes, Jeff Bailey (trumpet); Chris McDonald (trombone); Pat Coil (keyboards); Craig Nelson (bass); John Hammond (drums).

Groove

---

Johanna Graham Quartet - Don't Let Me Be Lonely

Size: 120,0 MB
Time: 51:13
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz/Pop Vocals
Art: Front

01. The Man With The Child In His Eyes (3:56)
02. Funny Not Much (4:37)
03. I Will (4:15)
04. Too Much (5:57)
05. I'm Though With Love (5:01)
06. Don't Let Me Be Lonely (3:39)
07. People Are Strange (2:32)
08. Empty Serenade (6:40)
09. When Sunny Gets Blue (5:11)
10. Stormy Weather (5:49)
11. Summertime (3:31)

Debut album from Cornish based award-winning vocalist Johanna Graham, featuring a mixture of classic jazz songs and interesting contemporary pop standards. A sophisticated outfit with a real air of glamour, the band consists of vocalist Johanna Graham, guitarist Martin Bowie double bassist Tim Greenhaugh and drummer Damian Rodd.

Johanna Graham is a talented jazz singer whose star is on the rise. She has a rich and characterful voice with an uncanny ability to remind the listener of singers famously associated with the songs she's singing, but delivered in her own unique style. A class act!

Don't Let Me Be Lonely

---

Adam Tvrdy & Brian Charette Project - Suspicious Activities

Size: 116,1 MB
Time: 49:44
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Hammond Organ
Art: Front

01. Five For Blues (7:01)
02. Serenity (5:11)
03. A Prayer (7:35)
04. Norwegian Wood (6:09)
05. Charm Of November (6:29)
06. It Could Happen To You (7:05)
07. Airy Icons (5:32)
08. Suspicious Activities (4:39)

Trio Jazz with a progressive, contemporary sound featuring Adam Tvrdy, guitar, Brian Charette, Hammond organ and Petr Mikes, drums.

Suspicious Activities

---

Jonah Jones - Jonah Jones Greatest Recordings

Size: 117,3 MB
Time: 50:13
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Trumpet Jazz, Dixieland, Swing
Art: Front

01. A Kiss To Build A Dream On (2:02)
02. Apollo Jumps (2:57)
03. Around The World (2:23)
04. Baby, Won't You Please Come Home (2:17)
05. Baubles, Bangles And Beads (2:09)
06. Cecilia (2:38)
07. Colonel Bogey (1:55)
08. Do You Know What It Means To Miss New Orleans (2:25)
09. Echos Of Harlem (3:20)
10. Get Me To The Church On Time (2:07)
11. Hot Lips (2:39)
12. I Can't Get Started (2:41)
13. I Dig Chicks! (2:05)
14. It's A Good Day (2:19)
15. Jumpin' With Jonah (2:17)
16. Just A Gigolo (1:59)
17. Just In Time (1:51)
18. Lazy River (2:07)
19. Mack The Knife (3:00)
20. Mandy, Make Up Your Mind (1:55)
21. Memories Are Made Of This (2:58)

A talented and flashy trumpeter, Jonah Jones hit upon a formula in 1955 that made him a major attraction for a decade; playing concise versions of melodic swing standards and show tunes muted with a quartet. But although the non-jazz audience discovered Jones during the late '50s, he had already been a very vital trumpeter for two decades. Jones started out playing on a Mississippi riverboat in the 1920s. He freelanced in the Midwest (including with Horace Henderson), was briefly with Jimmie Lunceford (1931), had an early stint with Stuff Smith (1932-1934), and then spent time with Lil Armstrong's short-lived orchestra and the declining McKinney's Cotton Pickers. Jones became famous for his playing with Stuff Smith's Onyx club band (1936-1940), recording many exciting solos. He gigged with Benny Carter and Fletcher Henderson and became a star soloist with Cab Calloway (1941-1952), staying with the singer even after his big band became a combo. Jones played Dixieland with Earl Hines (1952-1953), toured Europe in 1954 (including a brilliant recording session with Sidney Bechet), and then led his quartet at the Embers (1955), hitting upon his very successful formula. His shuffle version of "On the Street Where You Live" was the first of many hits and he recorded a long series of popular albums for Capitol during 1957-1963, switching to Decca for a few more quartet albums in 1965-1967. Jonah Jones recorded a fine date with Earl Hines for Chiaroscuro (1972) and still played on an occasional basis in the 1980s and early '90s; he died April 30, 2000, at the age of 91. ~by Scott Yanow

Greatest Recordings

---

Back Door - 8th Street Nites

Size: 95,6 MB
Time: 35:14
File: MP3 @ 320K/s
Released: 1973/2000
Styles: Jazz Rock, Jazz Blues
Art: Front

01. Linin' Track (3:57)
02. Forget Me Daisy (2:12)
03. His Old Boots (Sein Alter Stiefel) (3:20)
04. Blue Country Blues (2:45)
05. Dancin' In The Van (1:51)
06. 32-20 Blues (2:24)
07. Roberta (2:48)
08. It's Nice When It's Up (2:54)
09. One Day You're Down, The Next Day Your Down (3:32)
10. Walkin' Blues (3:13)
11. The Bed Creaks Louder (2:20)
12. Adolphus Beal (3:52)

More bass-driven brilliance, produced by the late Felix Pappalardi, former producer of Cream. Though the album is less cohesive than their debut, it soars to even greater heights with its stand-out covers of Leadbelly and Robert Johnson. These blues numbers are largely played as unaccompanied bass and vocal pieces. There's something to this unadorned combination -- the inherent grittiness of the bass matched against his voice hearkens back to the raw power of Delta blues, where it's just a guy and his crappy old guitar. On "32-20 Blues," Hodgkinson sings an old Robert Johnson number while throttling away at the bass; on the opening "Laying Track," the whole band takes on Leadbelly in a sort of restrained funkiness, with the constant thrashing of a tambourine underlining the rhythm section's punches on the downbeat.

8th Street Nites

---

Kenji Shimizu - Japanese Standards

Size: 110,7 MB
Time: 47:31
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Saxophone Jazz
Art: Front

01. Aa Jinseini Namidaari (3:39)
02. Kawano Nagarenoyouni (3:30)
03. Blue Chateau (3:55)
04. Amachan Theme (2:28)
05. Oyoge! Taiyakikun (3:43)
06. Uki Uki Watching (3:33)
07. Koino Kisetsu (4:06)
08. Yogiriyo Konyamo Arigatou (5:15)
09. First Love (3:43)
10. Kurodabushi (3:48)
11. Koisuru Fortune Cookie (5:49)
12. Hanawa Saku (3:58)

Kenji Shimizu (KEN G) jazz saxophonist & composer.
Kenji Shimizu (KEN G) was born in Yamaguchi, Japan in 1967. He began studying saxophone at age fourteen and was giging at the local jazz club in Yamaguchi all through high school.
In 1986, after graduation, He moved to Tokyo and switched to tenor sax, studying under Takao Uematsu, the wizard of the Japanese jazz music world.
In 2005, 2007 and 2009, he played at the Toronto Downtown Jazz Festival with San Murata Trio. And He released 4CDs recorded in Toronto and New York.
His playing style is commonly called "Japanese Joe Henderson", a style with great flexibility that makes him an all round player. He has made this style his own and his sound will surely move his co-players and audiences everywhere.

Japanese Standards

---

Bekah Kelso & The Fellas - No Stranger

Size: 98,7 MB
Time: 37:07
File: MP3 @ 320K/s
Released: 2015
Styles: Pop Soul, Folk Pop
Art: Front

01. Tranquilo (1:20)
02. Moonwalker (4:52)
03. Lucky Son Of A Gun (3:39)
04. Get On Home (3:24)
05. The Point (3:09)
06. Raven's Song (3:30)
07. Devil's Rope (3:33)
08. Wicked Love (3:50)
09. Heaven Can Wait (3:09)
10. Odyssey (4:13)
11. Half Mile Down (2:25)

Personnel:
Bekah Kelso - lead vox, guitar, ukulele
Damian Rodriguez - bass, bg vox
Ryan Kelso - drums, bg vox
Ricky Hernandez - keys, bg vox

On No Stranger, we aimed to capture the raw and occasionally growly, gritty, downright dirty vibe that we've been cultivating over the last year (our first year performing together as a band.) These 10 tracks were pulled from my (Bekah's) year writing a song-a-week in the Global Soulwriters Group. Over the course of the year, I brought these tunes to The Fellas and they put the proverbial stank on 'em.
Or sweetness, where applicable.

We've worked hard and at last have captured the sound and vibe of a BKTF live show experience.

We named this album for the band of friends who've "never met a stranger" and also for some the quirkier tunes found within, which, as we down South might say, "couldn't get no stranger".

"It’s a leap forward for the talented Kelso whose voice on her new originals can conjure Janis Joplin’s more commercial pop side (on “Lucky Son of a Gun”), a deeper Rickie Lee Jones (on “Get On Home”), Fiona Apple’s manic intensity (on “The Point” and “Raven’s Song”), a Broadway chanteuse (on “Devil’s Rope”) and romantic old-school R&B singer Roberta Flack (on “”Odyssey” and “Wicked Love”)." - Hector Saldana, San Antonio Express News

No Stranger

---

Doc Watkins - The Outlaw

Size: 100,0 MB
Time: 38:32
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano/Organ Jazz
Art: Front

01. On The Road Again (1:37)
02. Skylark (4:15)
03. Even Song (4:45)
04. I've Never Been In Love Before (3:19)
05. Oleo (0:23)
06. Sweet Georgia Brown (3:46)
07. Daddy Longlegs Blues (4:04)
08. Interlude (1:49)
09. Lean On Me (3:58)
10. Renewal (7:40)
11. The Outlaw (2:52)

Pianist, Organist, and Bandleader Doc Watkins is based in San Antonio, Texas. Currently performing over 200 shows per year, he has quickly risen to become one of Texas’ most active and versatile artists, leading multiple groups ranging from a Hammond Organ Trio to an 18-piece big band. His latest album, The Outlaw features Watkins with his hard-swinging trio in an exciting collection of tunes ranging from Jazz to Country to original compositions.

Originally from the state of Oregon, Watkins relocated to Austin, Texas in 2003 to pursue a Master's and Doctorate in music from the University of Texas at Austin. In 2006 he relocated to San Antonio and quickly found work performing along San Antonio's legendary Riverwalk. Within less than a year, he was leading his own groups and performing full-time throughout the South Texas region. In January 2014, Watkins and his trio performed at New York City’s Carnegie Hall to a full and enthusiastic house.

Watkins currently resides in San Antonio with his wife, Jessica and their 4 children. When not on the road or in the studio, he can be found performing around town in San Antonio’s finest music venues, including the Majestic and Empire Theatres, Bohanan’s, and the Esquire Tavern. He is a self-declared enthusiast of Texas BBQ.

The Outlaw

---

Jimmy Hamilton - Can't Help Swingin'

Bitrate: MP3@320K/s

Time: 76:44

Size: 175.7 MB

Styles: Clarinet jazz

Year: 1993/2009

Art: Front

[6:39] 1. Mr. Good Blues

[5:12] 2. Peanut Head

[9:44] 3. Nits And Wits

[5:17] 4. Stupid But Not Crazy

[5:48] 5. Two For One

[4:53] 6. Gone With The Blues

[3:12] 7. Definite Difference

[7:07] 8. Panfried

[4:35] 9. Lullaby Of The Leaves

[4:38] 10. Baby Won't You Please Come Home

[6:00] 11. There Is No Greater Love

[6:32] 12. Dancing On The Ceiling

[3:47] 13. Route 9w

[3:14] 14. Town Tavern Rag

Jimmy Hamilton spent 25 years (1943-68) with Duke Ellington's Orchestra, gaining recognition as a technically skilled cool-toned clarinetist and an occasional (but underused) booting tenor player. His own recording projects were very infrequent and his two Swingville LPs (reissued in full on this 1999 CD) were formerly very scarce. For one of the dates (originally called It's About Time), Hamilton is matched in a sextet with flugelhornist Clark Terry, trombonist Britt Woodman, pianist Tommy Flanagan, bassist Wendell Marshall and drummer Mel Lewis for a set of mostly blues. Terry and Woodman are quite exuberant throughout. The Can't Help Swingin' album showcases Hamilton with pianist Tommy Flanagan, bassist Wendell Marshall and drummer Earl Williams in a quartet. Although Hamilton plays some clarinet (most notably on the atmospheric "Dancing on the Ceiling"), the emphasis throughout both sets is on his rarely heard tenor. He is less bop-oriented and more basic on the bigger horn than on his usual ax, swinging hard and showing just how strong a tenor player he could be. Worth exploring. ~Scott Yanow

Can't Help Swingin'

---

Karin Krog & Steve Kuhn - Together Again

Bitrate: MP3@320K/s
Time: 47:18
Size: 108.3 MB
Styles: Vocal jazz
Year: 2006
Art: Front

[6:08] 1. Don't Let The Sun Catch You Crying
[5:04] 2. I Thought About You
[5:14] 3. Alfie
[3:53] 4. Time On My Hands
[5:01] 5. We'll Be Together Again
[4:09] 6. Wee Baby Blues
[3:43] 7. Lazy Afternoon
[3:06] 8. Time After Time
[5:23] 9. Jim
[5:33] 10. The Party's Over

Norway's leading Lady Karin Krogh in collaboration with the great Steve Kuhn. After guesting in Steve's Trio they concluded their work with this stunning duo recording. Krog's many collaborations over the years have featured some of the jazz world's most prominent musicians - Dexter Gordon, Archie Shepp, Warne Marsh, Toots Thielemans, Bengt Hallberg, Red Mitchell, Kenny Drew, Nils Lindberg and John Surman—and several of these collaborations continue to this day. Among them is Krog's ongoing work with Steve Kuhn, whom she first met in the '70s. "He's my favorite pianist, she reports. In recent years they have released two CDs - Where You At? in 2003 and Together Again in 2006 - and last year they toured Japan, where both enjoy wide recognition.

"I love Karin dearly. When I see her I feel like I'm home, says Kuhn. "She is extremely talented and she's slowly getting the recognition she should. Indeed, while Krog is no stranger to awards, just this year she marked her place in Norwegian cultural history, receiving the Anders Jahre Culture Prize, one of Norway's most prestigious awards.

Karin Krogh - Vocal; Steve Kuhn - Piano.

Together Again

---

Harry Allen - New York State Of Mind

Bitrate: MP3@320K/s

Time: 67:50

Size: 155.3 MB

Styles: Saxophone jazz

Year: 2009

Art: Front

[6:33] 1. Puttin' On The Ritz

[3:40] 2. Harlem Nocturne

[5:37] 3. Broadway Melody

[6:48] 4. Autumn In New York

[4:47] 5. Down In The Depths On The 90th Floor

[7:37] 6. Sidwalks Of New York

[7:52] 7. New York State Of Mind

[7:21] 8. Rose Of Washington Square

[6:34] 9. New York, New York

[5:58] 10. Chinatown My Chinatown

[4:58] 11. Manhattan Serenade

The big, fat, warm and tender tone of Harry Allen's tenor saxophone is impossible to miss. There is no one who sounds quite like him, and that is probably because no other saxophonist has embraced the tenor horn in a similar way. No one since Coleman Hawkins and Ben Webster has mined the wealth of that instrument for its burnished elegant timbre except Harry Allen. Following the success of Hits by Brits (Challenge Records, 2007), comes New York State of Mind, a record that leaps into Big Apple madness with eleven standards that celebrate its myriad moods. If there had been any doubt about the relevance of such music, Allen puts it to rest.

Allen infuses relatively older tunes with a great deal of contemporary splendor. His takes on the Don Henley hit "New York Minute" (written by Henley, Danny Kortchmar, and Jai Winding), Paul Simon and Garfunkel's "Scarborough Fair," and Herbie Hancock / Jean Hancock's "Manhattan," are all made new in a magical way. Each song offers an earful of glorious colors and textures of the city beloved by some of music's finest; the mad rush for recognition in an idiom is at once tender, spunky and always prismatic.

Other examples abound. The swinging pulse of "Puttin' on the Ritz" recalls the wizardry-in-tap-step of Fred Astaire, while "Harlem Nocturne" sparkles in that languid, glacial manner that might wake the moon. "Broadway Melody," Billy Joel's "New York State of Mind" and Vernon Duke's classic, "Autumn in New York" echo with mighty feelings of tenderness. "New York, New York" makes sparks fly with in the fire of the interpretations. There are other ballads that regale the ear with brilliance, superb execution and singular warmth that can only come from living and breathing the music as only Harry Allen can. If there is one question mark on repertoire here, it is probably that the absence of "Take the A-Train" or even "Lush Life" is strongly felt, as few masters had a feel for New York like Duke Ellington and Billy Strayhorn.

Allen is still at the top of his game. His absolute command of melody is only equaled by his ability to create rich layers of harmony. His solos are spry and despite their inventive elegance there is a singular logic to each one as he negotiates the idiom of each song. Trombonist John Allred creates swirls of romance around Allen both in ensemble passages as well in his solos. He is regal and plays with brazen creativity in the upper register. He is especially spectacular in both his contrapuntal opening on "New York, New York" and his inside-out solo, which is devastatingly beautiful. Rossano Sportiello
has probably the most sublime technique and expression to adorn the ebony and ivory. And Allen could not expect a better rhythm section than bassist Joel Forbes and drummer Chuck Riggs. So it is possible to get over the minor mishap with repertoire because of the fine musicians on this record. ~Raul D'Gama Rose

Harry Allen: tenor saxophone; Rossano Sportiello: piano; Joel Forbes: bass; Chuck Riggs: drums; John Allred: trombone (1, 4, 6, 8-10).

New York State of Mind

---

Dee Dee Bridgewater - Keeping Tradition

Bitrate: MP3@320K/s
Time: 56:19
Size: 128.9 MB
Styles: Vocal jazz, Standards
Year: 1993/2010
Art: Front

[2:53] 1. Just One Of Those Things
[4:03] 2. Fascinating Rhythm
[3:38] 3. The Island
[5:49] 4. Angel Eyes
[3:14] 5. What Is This Thing Called Love
[6:48] 6. Les Feuilles Mortes / Autumn Leaves
[4:05] 7. I'm A Fool To Want You / I Fall In Love Too Easily
[7:01] 8. Lullaby Of Birdland
[3:09] 9. What A Little Moonlight Can Do
[5:37] 10. Love Vibrations
[5:22] 11. Polka Dots And Moonbeams (Around A Pug-Nosed Dream)
[4:35] 12. Sister Sadie

After performing a wide variety of music (much of it commercial) for 15 years, in the mid-'80s Dee Dee Bridgewater returned to jazz. The highly appealing vocalist, although still involved in theater work and other areas of music, has mostly recorded straight-ahead jazz ever since, carving out a niche for herself. This set with her regular French quartet has Bridgewater exploring and swinging some of her favorite standards. She makes such veteran songs as "Just One of Those Things," "What Is This Thing Called Love," "Autumn Leaves," and "Lullaby of Birdland" sound fresh and new. Bridgewater's next project would be a set of Horace Silver songs, and two of the pianist's originals ("Love Vibrations" and "Sister Sadie") are included and point toward the singer's future. This CD is highly recommended, as are all of Dee Dee Bridgewater's Verve recordings. ~Scott Yanow

Keeping Tradition

---

Bobby Rydell - The Best Of Bobby Rydell

Bitrate: MP3@320K/s
Time: 59:13
Size: 135.6 MB
Styles: Pop
Year: 2005
Art: Front

[2:32] 1. Please Don't Be Mad
[2:22] 2. All I Want Is You
[2:22] 3. We Got Love
[2:12] 4. Kissin' Time
[2:28] 5. I Dig Girls
[2:21] 6. Wild One
[2:27] 7. Ding-A-Ling
[2:14] 8. Swingin' School
[2:24] 9. Little Bitty Girl
[2:26] 10. Volare
[2:20] 11. Sway
[2:22] 12. That Old Black Magic
[2:24] 13. I Wanna Thank You
[2:15] 14. Butterfly Baby
[2:07] 15. Good Time Baby
[2:25] 16. I've Got Bonnie
[2:28] 17. I'll Never Dance Again
[2:17] 18. The Third House (In From The Right)
[2:27] 19. Wildwood Days
[2:29] 20. The Cha-Cha-Cha
[2:38] 21. The Best Man Cried
[2:05] 22. Forget Him
[2:47] 23. World Without Love
[2:29] 24. Jingle Bell Rock
[1:40] 25. A Message From Bobby

Abkco's 2005 collection The Best of Bobby Rydell: Cameo Parkway 1959-1964 is the first time Rydell's biggest, best hits have been issued on a legitimate CD and while this is a long overdue release -- it's hard to believe that it took 20 years into the CD revolution for this and other Cameo Parkway recordings to be released -- it is a very well-executed collection. At a generous 25 tracks, this has all of Rydell's big hits -- "Kissin' Time," "We Got Love," "Sway," "Wild One," "Volare," "Good Time Baby," "The Cha-Cha-Cha," "Forget Him" -- along with a good selection of smaller hits and his better singles. Much of this does sounded dated -- it's teen idol from the early '60s, so it's no surprise that it sounds like its time -- but that's part of the fun of this music: it evokes its time and while some of the backing vocals are a little overblown and some of the songs are a little silly, it still remains an infectious good time. Rydell's best songs are on the four-disc Cameo Parkway 1957-1967 box set which was released earlier in 2005, so anybody that has that set may not need to dig deeper into his back catalog, but listeners wanting more of one of the biggest teen idols of the early '60s will find plenty to like on this disc. ~Stephen Thomas Erlewine

The Best Of Bobby Rydell

---

Carlo Bagnoli, Paolo Tomelleri, Rossano Sportiello, Massimo Caracca - Bechet Project: Live At Il Malo

Bitrate: MP3@320K/s
Time: 61:03
Size: 139.8 MB
Styles: New Orleans jazz
Year: 2010
Art: Front

[6:26] 1. Everybody Loves My Baby
[6:25] 2. Gone Away Blues
[6:18] 3. Runnin' Wild
[6:14] 4. If I Had You
[6:40] 5. China Boy
[4:42] 6. Passport To Paradise
[6:17] 7. Le Marchand De Poisson
[3:49] 8. Creole Song
[8:46] 9. Dans La Rue D'antibes
[5:21] 10. Promenade Dans Les Champs Elysées

Carlo Bagnoli (soprano sax); Paolo Tomelleri (clarinet); Rossano Sportiello (piano); Massimo Caracca (drums).

The number of musicians and critics who consider Sidney Bechet one of the greatest clarinet players of the New Orleans' jazz, is just high! Anyway, Bechet almost gave up playing bis clarinet and devoted himself to the soprano saxophone, instrument he had judged as particularly suitable for his unrestrained personality; in fact, it is just by such instrument that he became one of the most significant exponent of the origin of jazz. By his soprano sax, Bechet developed a very personal and unusual language, characterized by the extraordinary passion he used to give the notes, from the vigorous and hectic "vibrato", to the capacity of using the soprano as a driving voice of the orchestra (he was even called the only "trumpeter without trumpet!"). Therefore, Sidney Bechet is unanimously considered as the greatest soloist of soprano sax in the history of traditional jazz and absolutely one of the leading ones.

Carlo Bagnoli and Paolo Tomelleri, two historical figures of the Italian jazz, at their ease in various jazz styles, by this fresh quartet wish to pay a tribute to a real master of both soprano sax and clarinet. Without any intention of imitating his styIe, habit rather common in France but devoid of the personal identity that any musician should always keep in any situation, Carlo and Paolo want to repropose some tunes typical of Bechet' s career, whether during the American period or during the French one when he was literally consecrated as "le Dieu". Said tunes that belong to the repertory of the traditional jazz, are added to the other tunes composed by Bechet himself (Dans les rues d' Antibes, Promenade aux Champs Elysèes, Moulin a cafè, Petite fleur, Passport to paradise and so on).

Bechet Project: Live At Il Malo

---

Leslie Lewis - Keeper Of The Flame

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 51:31
Size: 118,3 MB
Art: Front

(5:21)  1. Keeper of the Flame
(5:49)  2. Caravan
(6:17)  3. The Island
(4:46)  4. Spring Is Here
(4:44)  5. Day By Day
(3:42)  6. A Felicidade
(4:04)  7. You Don't Know What Love Is
(4:03)  8. Fotographia
(5:59)  9. Chega De Saudade (No More Blues)
(6:41) 10. Speak Low

Leslie Lewis is all a good jazz singer should be. Her beautiful tone and classy phrasing on tracks like Day by day, You don't know what love is and Speak Low evokes the sound of the classic jazz singers like Ella Fitzgerald and Sarah Vaughan. On the title track Keeper of the Flame Leslie soulful voice plays beautifully with the melodies and tempo changes with Jerry Kalaf adding a powerful drums solo. And her silky, smooth vocals on the jazzy version of Ivan Lins The Island hits you full of emotion. The brazilian influence can be heard all through this album, especially on the tracks Day by day, the jazzy arrangements of Antonio Carlos Jobim A Felicidade, Chega de Saudade and the sublime version of Fotografia. 

On these tracks at times one may hear echoes of the Ella Fitzgerald sings Jobim album, both in tone and phrasing. As a puertorrican I always enjoy listening to Juan Tizol Caravan, one of the most recorded jazz classics. Leslie vocals are just perfect on one of the best version I have heard recently, with interesting rhythmic and harmonic choices. Leslie Lewis vocals are complimented perfectly by her husband, Gerard Hagen Trio, and special guest Gary Foster on sax. ~ Wilbert Sostre  http://jazztimes.com/community/articles/26619-cd-review-leslie-lewis-keeper-of-the-flame

Musicians: Leslie Lewis (vocals), Gerard Hagen (piano), Domenis Genova (bass), Jerry Kalaf (drums, percussions)

Keeper Of The Flame

---

Allan Vaché & Jim Galloway - Raisin' The Roof

Styles: Clarinet And Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 64:12
Size: 147,6 MB
Art: Front

(7:56)  1. When I Grow Too Old To Dream
(3:28)  2. Cakewalkin' Babies From Home
(9:03)  3. Dream
(4:00)  4. Raisin' The Roof
(4:25)  5. Oh, Sister, Ain't That Hot
(3:49)  6. The Very Thought Of You
(4:39)  7. Lullaby In Rhythm
(4:27)  8. Hymn To Freedom
(4:40)  9. San
(4:31) 10. Si Tu Vois Ma Mere
(3:22) 11. Shag
(9:45) 12. Make Me A Pallet On The Floor

Trad jazz lovers are going to be quite pleased with the combination of American clarinetist Vache and Scottish-born, longtime resident of Canada, soprano saxophonist Galloway. It's like having two Sidney Bechets, or a comparable Bob Wilber-Kenny Davern pair in the house, swinging until they've exhausted the possibilities. Pianist John Bunch, bassist Michael Moore, guitarist Howard Alden, and drummer Jake Hanna make the ultimate rhythmic team behind Vache and Galloway they can do no wrong. Of the 12 standard selections, two are from Bechet's book: The emotionally introspective "Si Tu Vois Ma Mere" gives sway to the clearly defined clarinet-soprano amalgam, but also gives solo space to Bunch and especially to the daunting Moore; "Shag" is a rousing swinger that lets the band cut loose without hesitation. 

There's a nod of the fedora to Benny Goodman with considerable interplay, and more evidence to the compatibility of the horns on the delightful "Lullaby in Rhythm." Jimmy Noone is feted on the uptempo swing battle "Oh Sister, Ain't That Hot," while "When I Grow Too Old to Dream" has been, and remains, the ideal Dixie-to-swing jam vehicle that sounds like the combatants are merely getting warmed to the task, though they start out in fourth gear. Of the older material is the early '20s swinger "San" done with the energy of today, featuring a counterpointed joust where Galloway wins out with the last word. "Cakewalking Babies From Home" (c. 1925) is a barnburner as Vache and Galloway alone set the tune ablaze. The quaint title cut, penned in 1929, is one of five arrangements on the date by Randy Sandke, with Alden loading up his plate during his solo and the reeds sharing sonic space. 

The listener can't help but think of Donovan's "I Love My Shirt" when listening to this. The most contemporary number is Oscar Peterson's gospel-flavored feature for Vache "Hymn to Freedom," while Galloway gets sole spotlight during the ballad "The Very Thought of You." At their most conversational, Vache and Galloway trade melody snippets back and forth for Johnny Mercer's  "Dream," while the band collectively stretches out over nearly ten minutes on a loping, languid take of "Make Me a Pallet on the Floor." Modern recordings of early period jazz can be overly nostalgic, but the spirit of Vache and Galloway transcends everything. Great music made by great musicians equals a must-buy for fans of this alive-and-well style. ~ Michael G.Nastos  http://www.allmusic.com/album/raisin-the-roof-mw0000604398

Personnel: Allan Vache (clarinet); Jim Galloway (soprano saxophone); John Bunch (piano); Howard Alden (guitar); Michael Moore (bass); Jake Hanna (drums).

Raisin' The Roof

---

Eddie 'Lockjaw' Davis With Shirley Scott - The Eddie "Lockjaw" Davis Cookbook Vol: 3

Styles: Hard Bop, Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 38:47
Size: 89,1 MB
Art: Front

(6:16)  1. I'm Just A Lucky So And So
(7:23)  2. Heat 'n' Serve
(6:05)  3. My Old Flame
(5:55)  4. The Goose Hangs High
(9:28)  5. Simmerin'
(3:38)  6. Strike Up The Band

Tenor man Eddie "Lockjaw" Davis made quite a few records with organist Shirley Scott during the late '50s. The basic originals in their Cookbook series tended to have titles that dealt with cooking; in this case "Heat 'n' Serve," "The Goose Hangs High," and "Simmerin'" apply, as does the standard "My Old Flame." Jerome Richardson's flute, baritone, and tenor give this CD reissue some variety, bassist George Duvivier and drummer Arthur Edgehill are fine in support, and Scott shows that she was one of the top organists to emerge after the rise of Jimmy Smith. But Davis is the main star, and his instantly recognizable sound is the most memorable aspect of this swinging session. ~ Scott Yanow  http://www.allmusic.com/album/the-eddie-lockjaw-davis-cookbook-vol-3-mw0000093938

Personnel: Eddie "Lockjaw" Davis (tenor saxophone); Jerome Richardson (flute, tenor saxophone, baritone saxophone); Shirley Scott (organ); Arthur Edgehill (drums).

The Eddie "Lockjaw" Davis Cookbook Vol: 3

---

Marcus Roberts - Gershwin For Lovers

Styles: Post-Bop, Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 55:28
Size: 127,3 MB
Art: Front

(4:50)  1. A Foggy Day
(6:12)  2. But Not For Me
(5:40)  3. The Man I Love
(5:45)  4. Love Is Here To Stay
(6:28)  5. Summertime
(2:59)  6. Someone to Watch over Me
(6:01)  7. It Ain't Necessarily So
(4:43)  8. Nice Work If You Can Get It
(8:27)  9. They Can't Take That Away From Me
(4:19) 10. How Long Has This Been Going On

This trio date (which features pianist Marcus Roberts, bassist Reginald Veal and drummer Herlin Riley) is a bit unusual in that Roberts, although he is heard interpreting vintage George Gershwin songs, gives the tunes fairly modern interpretations. There is no striding or James P. Johnson licks. Instead, the talented pianist transforms such songs as "A Foggy Day," "Our Love Is Here to Stay," "It Ain't Necessarily So" and "But Not for Me" into modern hard bop. A typically excellent effort. ~ Scott Yanow  http://www.allmusic.com/album/gershwin-for-lovers-mw0000118667

Personnel: Marcus Roberts (piano); Reginald Veal (bass); Herlin Riley, Jr.(drums)

Gershwin For Lovers

---

Maynard Ferguson & His Birdland Dream Band - S/T

Bitrate: MP3@320K/s
Time: 79:07
Size: 181.1 MB
Styles: Hard bop, Crossover jazz
Year: 1956/2011
Art: Front

[3:06] 1. The Wailing Boat
[4:02] 2. Somebody Wants Me Down There
[2:47] 3. Maynard The Fox
[4:09] 4. Blue Birdland
[3:13] 5. Great Guns
[3:15] 6. Lady Bug
[2:32] 7. More West
[3:48] 8. Still Water Stomp
[2:55] 9. That Jones Boy
[2:33] 10. Rosebud
[2:37] 11. Button Nose
[3:52] 12. Little Girl Kimbi
[3:35] 13. Straight Up
[3:02] 14. Cervezita
[3:27] 15. Mogo
[3:25] 16. Sleep Softly
[3:57] 17. Geller's Cellar
[2:41] 18. Free Lee
[2:58] 19. Say It With Trumpets
[4:20] 20. Everybody Moan
[2:37] 21. Tell Me Funky
[2:54] 22. You Said It
[3:47] 23. Early Hours
[3:24] 24. Nightmare

In 1956 Maynard Ferguson had the opportunity to put together a "dream band." Fortunately (in addition to a tour), the orchestra cut a pair of albums, most of which is included on this single CD. With arrangements from Al Cohn, Bob Brookmeyer, Jimmy Giuffre, Ernie Wilkins, Bill Holman, Marty Paich, Willie Maiden, Johnny Mandel, and Herb Geller, it is not too surprising that these charts sound both modern and quite exciting. In addition to Ferguson's high-note trumpet work, the main soloists are trombonist Jimmy Cleveland, altoist Herb Geller, and Al Cohn on tenor. Overall, this music serves a particularly strong start to Maynard Ferguson's career as a major bandleader. ~Scott Yanow

Maynard Ferguson & His Birdland Dream Band

---

Gill Manly - The Lies Of Handsome Men

Bitrate: MP3@320K/s
Time: 54:39
Size: 125.1 MB
Styles: Vocal jazz
Year: 2012
Art: Front

[4:27] 1. The Lies Of Handsome Men
[3:34] 2. Peel Me A Grape
[4:07] 3. Before Love Went Out Of Style
[3:08] 4. Witchcraft
[3:25] 5. Windmills Of Your Mind
[3:11] 6. Stolen Moments
[4:11] 7. Mad World
[3:38] 8. Woman Talk
[3:17] 9. Charade
[3:23] 10. A Single Woman
[3:32] 11. Second Time Around
[3:38] 12. Wild Is The Wind
[4:17] 13. Go Away Little Boy
[4:12] 14. How Insensitive
[2:31] 15. Not Like This

It's been 30 years since Gill Manly began singing jazz standards around the clubs and bars of London, after a few years honing her skills in West End musicals and fringe theatre. She has garnered much praise during that time, working with fellow singers Mark Murphy and Ian Shaw, among others. The Lies Of Handsome Men is only her third album—a decade-long absence from the music business between her debut, Detour Ahead (Parrott Records, 1995), and With A Song In My Heart (Linn Records, 2009) may go some way to explaining the scarcity. The beauty of Manly's voice and the relationship between that voice and Simon Wallace's piano across these 15 songs leads to a fervent hope that such scarcity is at an end.

Wallace, who was lyricist Fran Landesman's long-term songwriting collaborator, is a sensitive and unselfish accompanist who also produced this album. All of these songs are Manly's personal favorites, selected from her "personal treasure trove." Manly delivers the lyrics with such emotion and honesty that it's easy to believe that these songs are autobiographical, even with the knowledge that someone else wrote them all. Of course, some of these narratives may well touch on Manly's personal experiences—she describes Francesca Blumenthal's title track as "a tongue-in-cheek biographical nod to my past"—but even when she sings standards like "Witchcraft" or "Charade," she brings an individuality to each song.

Guest singer/pianist Buddy Greco joins Manly for Sammy Cahn and Jimmy Van Heusen's "Second Time Around." It's not really a duet—Manly sings the first half of the song, Greco the second—but Greco's piano playing is stylish and, while his voice lacks the strength of past years, his phrasing remains strong.

In such sterling musical company a couple of songs—Tears For Fears' rather portentous "Mad World" and Rod McKuen's "A Single Woman"—are less impressive, despite the quality of Manly's vocals. But never fear, for the highlights are many: Oliver Nelson and Mark Murphy's soulful "Stolen Moments," Landesman's lovely "Before Love Went Out Of Style" (with music by Dudley Moore) and the world-weary grace of John Scott and Caryl Brahms' "Woman Talk" are all standout performances.

The finest performance of all is Manly's interpretation of Dmitri Tiomkin and Ned Washington's "Wild Is The Wind." Wallace's accompaniment is spacious and considered; a perfect foundation for Manly's restrained yet heartfelt vocal. It's a striking example of "less is more," and it just might be the benchmark interpretation of this great song. ~Bruce Lindsay

Gill Manly: vocals; Simon Wallace: piano; Buddy Greco: piano and vocals (11).

The Lies Of Handsome Men

---