Joe Turner - Joe's Back In Town

Bitrate: MP3@320K/s

Time: 56:01

Size: 128.2 MB

Styles: Blues piano & vocals

Year: 2008

Art: Front

[2:28] 1. Harlem Strut

[2:42] 2. Pastel

[2:46] 3. Honeysuckle Rose

[2:53] 4. Jitterburg Waltz

[3:30] 5. Tea For Two

[2:31] 6. Sweet Georgia Brown

[3:11] 7. Honey Hush

[2:15] 8. Route 66

[1:59] 9. Keep Off The Grass

[2:36] 10. Lulu's Back In Town

[1:59] 11. Thou Swell

[2:19] 12. Rejane Boogie

[1:57] 13. Argentina

[2:00] 14. Thou Swell (Take 4)

[3:09] 15. Tea For Two (Take 2)

[3:25] 16. Pastel (Take 1)

[2:16] 17. Route 66 (Take 3)

[3:14] 18. Honey Hush (Take 1)

[2:25] 19. Harlem Strut (Take 2)

[3:37] 20. I Cover The Waterfront

[2:39] 21. Route 66 (Take 2)

JOE TURNER, piano, vocals; ROLAND LOBLIGEOIS, bass; PANAMA FRANCIS, drums. Recorded in Paris, France, May 22, 1974.

Recorded over 30 years ago in Paris, this excellent album hasn't been available in what seems an eternity! Joe does Honey Hush; Harlem Strut; Sweet Georgia Brown; Thou Swell; Route 66 , and more. 21 tracks!

Joe's Back In Town 

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Van Morrison - Duets: Reworking The Catalogue

Bitrate: MP3@320K/s
Time: 76:43
Size: 175.6 MB
Styles: R&B, Rock, Blues, Soul vocals
Year: 2015
Art: Front

[5:15] 1. Some Peace Of Mind (With Bobby Womack)
[3:50] 2. If I Ever Needed Someone (With Mavis Staples)
[3:49] 3. Higher Than The World (With George Benson)
[6:23] 4. Wild Honey (With Joss Stone)
[3:43] 5. Whatever Happened To P.J. Proby (With P.J. Proby)
[4:54] 6. Carrying A Torch (With Clare Teal)
[4:12] 7. The Eternal Kansas City (With Gregory Porter)
[4:58] 8. Streets Of Arklow (With Mick Hucknall)
[3:52] 9. These Are The Days (With Natalie Cole)
[4:42] 10. Get On With The Show (With Georgie Fame)
[4:24] 11. Rough God Goes Riding (With Shana Morrison)
[6:42] 12. Fire In The Belly (With Stevie Winwood)
[4:00] 13. Born To Sing (With Chris Farlowe)
[5:15] 14. Irish Heartbeat (With Mark Knopfler)
[4:02] 15. Real Real Gone (With Michael Buble)
[6:34] 16. How Can A Poor Boy (With Taj Mahal)

On DUETS: RE-WORKING THE CATALOGUE, Van Morrison and the guests selected and recorded some of his songs from the catalog of 360 songs across his career. Deliberately steering away from his more well-known classics, Van enlisted some of the artists he most respects to perform these songs with him to re-craft and re-imagine them. The album was recorded in his home town of Belfast and London in the United Kingdom over the last year, using a variety of musicians and fresh arrangements.

Produced by Van Morrison along with Don Was and Bob Rock, the album features duet performances with Bobby Womack, Steve Winwood, Mark Knopfler, Taj Mahal, Mavis Staples, Michael Bublé, Natalie Cole, George Benson, Gregory Porter, Clare Teal, P.J. Proby, Joss Stone, Georgie Fame, Mick Hucknall, Chris Farlowe, and Van's daughter Shana Morrison.

Van Morrison is considered one of the most prolific recording artists and extraordinary live performers of our time. He has received a multitude of awards and accolades including 6 Grammy Awards, a Brit Award, an OBE, an Ivor Novello, and has been inducted in the Rock and Roll Hall of Fame. His visionary songwriting and mastery of many genres continues to shine on albums celebrating and re-exploring his blues, jazz, skiffle and country roots. With one of the most revered catalogues in music history, his talents as a composer, singer and performer are unmatched.

Duets: Reworking The Catalogue

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Rita Coolidge - Out Of The Blues

Bitrate: MP3@320K/s

Time: 45:26

Size: 104.0 MB

Styles: Contemporary Blues vocals

Year: 2010

Art: Front

[2:53] 1. Mean To Me

[4:38] 2. Am I Blue

[3:07] 3. Hallelujah, I Love Him So

[5:01] 4. Stormy Monday

[5:14] 5. For The Good Times

[4:35] 6. Black Coffee

[3:54] 7. Bring It On Home To Me

[3:33] 8. Nobody Wins

[3:58] 9. The Man I Love

[4:02] 10. When The Night Rolls In

[4:26] 11. Out Of The Blues

Even though the duo-tone cover looks new and jazzy, most of this cozy set was recorded over twenty years ago. Primarily working with bass, drum and piano, the smoky-voiced chanteuse delivers these eleven songs with her own inimitably laidback vigor, performing best on moody ballads such as "Am I Blue," "Mean To Me" and "The Man I Love." Some of these tracks have appeared on Rita's albums during her A&M Records tenure in the 1970s, but most of them remained in the vault until now. It's a fine set with simple arrangements of chestnuts such as "Bring It On Home To Me" and the blues staple "Stormy Monday." Rounding the set out are two recent cuts, the Top 40-ish "When The Night Rolls In" and the bluesy "Out of the Blues." ~Bill Carpenter

Out Of The Blues

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Wild Bill Davison With Fessor's Big City Band - S/T

Bitrate: MP3@320K/s
Time: 60:05
Size: 137.5 MB
Styles: Dixieland
Year: 1997
Art: Front

[4:37] 1. Sweet Georgia Brown
[3:33] 2. Blue And Brokenhearted
[4:25] 3. I Can't Believe That You're In Love With Me
[4:03] 4. Do You Know What It Means To Miss New Orleans
[3:26] 5. Open Ears
[4:34] 6. General Booze
[3:15] 7. Blue Again
[4:06] 8. Louisiana
[2:25] 9. Keepin' Out Of Mischief Now
[4:06] 10. I Would Do Anything For You
[5:13] 11. Just A Closer Walk With Thee
[6:12] 12. Dyet
[6:55] 13. Sweet Lorraine
[3:10] 14. My Friend Bill

Recording Date: December 15, 1973 - December 11, 1978

Cornetist Wild Bill Davison spent a good amount of time in Scandinavia during the 1970s where he enjoyed playing with both Papa Bue's Vikings and Fessor's Big City Jazz Band. The latter group, led by trombonist Ole "Fessor" Lindgreen, is heard on this 1997 CD performing with the exciting cornetist in 1973, 1974, 1977 and 1978. The repertoire is primarily Dixieland and swing standards with a few departures (Johnny Hodges' "Open Ears," Neal Hefti's "Duet" and an original, "My Friend Bill") working out quite well. Some selections have Finn Otto Hansen or Verner Work Nielsen on trumpets, Steen Vig helps out on tenor and soprano and, on "Sweet Lorraine," the great pianist Ralph Sutton sits in. A typically spirited Dixieland-oriented set from Wild Bill. ~Scott Yanow

Wild Bill Davison With Fessor's Big City Band

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Paul Simon - Still Crazy After All These Years

Bitrate: MP3@320K/s
Time: 44:47
Size: 102.6 MB
Styles: Soft rock, Contemporary Pop rock,
Year: 1975/1987/2011
Art: Front

[3:23] 1. Still Crazy After All These Years
[3:49] 2. My Little Town
[3:31] 3. I Do It For Your Love
[3:36] 4. 50 Ways To Leave Your Lover
[2:54] 5. Night Game
[3:37] 6. Gone At Last
[3:10] 7. Some Folks' Lives Roll Easy
[3:23] 8. Have A Good Time
[3:16] 9. You're Kind
[4:00] 10. Silent Eyes
[5:27] 11. Slip Slidin' Away (Demo)
[4:36] 12. Gone At Last

The third new studio album of Paul Simon's post-Simon & Garfunkel career was a musical and lyrical change of pace from his first two, Paul Simon and There Goes Rhymin' Simon. Where Simon had taken an eclectic approach before, delving into a variety of musical styles and recording all over the world, Still Crazy found him working for the most part with a group of jazz-pop New York session players, though he did do a couple of tracks ("My Little Town" and "Still Crazy After All These Years") with the Muscle Shoals rhythm section that had appeared on Rhymin' Simon and another ("Gone at Last") returned to the gospel style of earlier songs like "Loves Me Like a Rock." Of course, "My Little Town" also marked a return to working with Art Garfunkel, and another Top Ten entry for S&G. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns. Perhaps more striking, however, was Simon's lyrical approach. Where Rhymin' Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. At their best, such sentiments were undercut by humor and made palatable by musical hooks, as on "50 Ways to Leave Your Lover," which became the biggest solo hit of Simon's career. But elsewhere, as on "Have a Good Time," the singer's cynicism seemed unearned. Still, as out of sorts as Simon may have been, he was never more in tune with his audience: Still Crazy topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance. ~William Ruhlmann

Still Crazy After All These Years

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Warren Vaché - Ballads And Other Cautionary Tales

Bitrate: MP3@320K/s
Time: 70:48
Size: 162.1 MB
Styles: Cornet jazz
Year: 2011
Art: Front

[5:04] 1. Ballad For Very Tired And Very Sad Lotus
[7:22] 2. Solitude
[7:39] 3. I See Your Face Before Me
[6:35] 4. Fools Rush In
[6:36] 5. I Have Dreamed
[6:02] 6. Autumn Serenade
[7:14] 7. Everything Happens To Me
[3:49] 8. I'll Only Miss Her When I Think Of Her
[6:49] 9. I'll Never Be The Same
[5:18] 10. Stairway To The Stars
[3:48] 11. I Remember You
[4:27] 12. Don't You Know I Care

Recording Date: October 6, 2010 & October 7, 2010

Young jazz instrumentalists often get carried away with showcasing their chops at a blazing tempo, while forgetting one important lesson known by successful veteran artists. The way a musician plays a ballad lets the listener know how good he is at telling a story; cornetist Warren Vaché is a seasoned improviser who caresses the melody as he improvises, making judicious use of rests, and he interacts with his musicians rather than simply keeping the spotlight on himself. Working with bassist Neal Miner, drummer Leroy Williams, and alternating between Tardo Hammer and Richard Williams on piano, Vaché explores a dozen ballads, most of which will be very familiar to seasoned jazz fans. "Ballad for Very Tired and Very Sad Lotus Eaters" isn't one of Billy Strayhorn's most commonly performed tunes, yet Vaché's poignant interpretation brings out its longing character, with lush held notes and just a touch of vibrato in all the right spaces; Tardo Hammer is often noted for his bop chops, but he is equally adept at providing understated accompaniment in a mainstream setting. Vaché's soft, muted horn proves captivating in his shimmering rendition of "I See Your Face Before Me," while his sassy open horn is on display in the whimsical setting of the old chestnut "I'll Never Be the Same." "(In My) Solitude" adds trombonist John Allred, who provides a perfect foil for the leader in a loping, easygoing setting of this gem by Duke Ellington. Tenor giant Houston Person is a guest on several tracks, and takes the lead in the bittersweet "Everything Happens to Me"; he follows Vaché's spry, breezy opening statement in "I Remember You," adding a punchy, vocal-like solo that one can't help but wonder if it's his tribute to his longtime musical partner Etta Jones. Warren Vaché's Ballads and Other Cautionary Tales is easily one of his finest all-around record dates. ~Ken Dryden

Ballads And Other Cautionary Tales

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George Benson & Jack Mcduff - George Benson & Jack Mcduff

Styles: Vocal, Guitar And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 65:48
Size: 151,3 MB
Art: Front

(4:44)  1. Shadow Dancers
(4:36)  2. The Sweet Alice Blues
(6:48)  3. I Don't Know
(3:00)  4. Just Another Sunday
(4:26)  5. Will You Still Be Mine
(6:36)  6. Easy Living
(3:57)  7. Rock-A-Bye
(2:57)  8. Hot Barbeque
(6:47)  9. The Party's Over
(2:54) 10. Briar Patch
(6:24) 11. Hippy Dip
(4:13) 12. 601 1/2 North Poplar St.
(4:46) 13. Cry Me a River
(3:35) 14. The Three Day Thang

George Benson's facile post-Wes Montgomery single-line and chord-accented style was well received in his salad days of the mid- to late '60s. Primarily self-taught and ear-trained, he made great strides in a five-year period around his native Pittsburgh, working with organist Jack McDuff on the East Coast chitlin circuit. As the soul-jazz and boogaloo movement was establishing itself, Benson was right in the pocket, as these seminal mid-'60s sessions perfectly illustrate. In tandem with saxophonist Red Holloway, the two Prestige label LPs New Boss Guitar and Hot Barbeque were initially reissued in 1977 on a vinyl two-fer, and now on this single CD. The first two tracks, "Shadow Dancers" and "The Sweet Alice Blues," sans McDuff though toeing the groove line, are the most original and modern numbers. The remaining tracks on the New Boss Guitar 1964 dates add McDuff, with "Just Another Sunday" a gold standard for the emerging style.

Benson's balladic expertise during "Easy Living" is as impressive as in the different dynamic of the rompin' stompin' "Rock-A-Bye." From May Day of 1965, the title cut and original version of "Hot Barbeque" has become an all-time hit and ultimate groove biscuit. Drummer Joe Dukes is the difference maker, as his fluid ease in either swinging or mixing hard bop with R&B fifty-fifty effectively drives the band so simply. "Briar Patch" approaches rock & roll, while "Hippy Dip" shows a completely unified Benson and McDuff on a fun melody line. A most arresting high-register organ sound, near unearthly, surrounds an easy swing on "The Party's Over." In addition, check out the slow late-night blues "I Don't Know" (from the 1964 dates) and "Cry Me a River" from 1965. Although Benson would reach a zenith in his short career as a jazz musician during this period, before abandoning its purity for commercial pop singing, Holloway and McDuff went on and on and on to their own great acclaim. This is Benson's initial emergence, and a valuable reminder of how great he once was. ~ Michael G.Nastos  http://www.allmusic.com/album/george-benson-jack-mcduff-mw0000584878

Personnel: George Benson (vocals, guitar); Jack McDuff (piano, organ, keyboards); Ronnie Boykins (bass guitar); Red Holloway (tenor saxophone); Montego Joe (drums, percussion); Joe Dukes (drums).

George Benson & Jack Mcduff

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Harry 'Sweets' Edison & Earl 'Fatha' Hines - Just You, Just Me

Styles: Trumpet And Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 42:56
Size: 98,8 MB
Art: Front

(5:34)  1. I Cover The Waterfront
(7:42)  2. Just Squeeze Me
(4:59)  3. But Not For Me
(3:51)  4. Just You Just Me
(6:57)  5. Mean To Me
(9:38)  6. I Surrender Dear
(4:13)  7. The One I Love Belongs To Someone Else

Leave it to European labels like Black & Blue to come up with inspired pairings of musicians who American labels never seem to get around to considering. This 1978 meeting between pianist Earl Hines and trumpeter Harry "Sweets" Edison is a match of masters, covering tunes they had likely performed hundreds of times in their respective careers. Everything seems to gel in the opening track, a strident take of "I Cover the Waterfront," with plenty of trills by Hines in support of Edison's brilliant open horn. Edison adds a mute for an exquisite, deliberate take of "Just Squeeze Me" and a sauntering "But Not for Me." Hines' dancing tenths come to the forefront in their romp through "Just You, Just Me." If there is any complaint about this exciting CD, it is that no alternate takes or unissued songs turned up on this CD reissue. There is nothing like two veterans at the top of their game joining forces for a record date. https://itunes.apple.com/us/album/just-you-just-me-definitive/id267348589

Personnel:  Harry Edison – trumpet; Earl Hines – piano.

Just You, Just Me

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Ida Sand - Young At Heart

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 50:49
Size: 116,9 MB
Art: Front

(3:32)  1. Cinnamon Girl
(3:13)  2. Hey Hey, My My
(4:24)  3. Don't Let It Bring You Down
(4:45)  4. Harvest Moon
(3:23)  5. Woodstock
(3:30)  6. Birds
(3:47)  7. Only Love Can Break Your Heart
(4:01)  8. Ohio
(3:28)  9. Old Man
(4:32) 10. Helpless
(4:16) 11. War of Man
(4:21) 12. One of These Days
(3:30) 13. Sea of Madness

The Swedish jazz singer Ida Sand comes from a musical family, her father was a famous opera singer, her mother made sacred music. Ida himself learned cello, before she began training as a singer. Meanwhile, the Swedish part of the leading group of Scandinavian jazz vocalists that have been discovered by the famous producer and trombonist Nils Landgren. Heidi Eichenberg presents our CD of the week. ~ Heidi Eichenberg

The Pensive, Moody is in the dark timbre of Ida Sands voice, already with their debut album, "Meet Me Around Midnight" was provided by the Swedish 2007 enthusiasm, because they stood out from the girly pop-jazz their Scandinavian colleagues Silje Nergaard or Rigmor Gustafsson. With gospel and soul she sat from the beginning to the black tradition of Nina Simone and Aretha Franklin, and on the other hand saw everything else as pale. Why born in 1977 as Ida Kristina sand Lund in Stockholm singer and pianist has now picked just the repertoire of Neil Young for their fourth album, she explains: "His music had something to tell me, I have heard a lot from him in recent years. It must have something to do with the mood of the songs that I also saw in me, but which you do not normally hear in my music. So I took his lyrics and his music before, and tried to take over this mood and still interpret the songs in my own way. I do not know if there are so many Neil Young fans among jazz-lovers - and as part of the plan was to bring the jazz listeners the music of Neil Young closer ". ~ Ida Sand 

The weather is supposed to be in Canada similar to "humble" as in Sweden, which could explain the melancholy which is sometimes the case with both cultures. The plan to take the spiritual minimalist songs of Neil Young as a template for an acoustic jazz album, but is bold. Neil Young's indestructible classics like "Cinnamon Girl" or "Harvest Moon" learn one way or another harmony in addition, chords and melodies to be reorganized by the double bass, keyboard, piano and drums and take the originals of the Canadian folk and rock singer / songwriter yet none of its melancholy magic.

"Young at Heart" - the title of the album is a love letter in a double pun and a celebration of melancholy. A melancholy in the Ida Sand recognize themselves and which gives the ageless songs by Neil Young not only with her voice an additional depth. Translate by google  http://www.mdr.de/mdr-figaro/musik/cd-der-woche-ida-sand-young-at-heart100.html

Young At Heart

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