Sarah Collyer - Yesterday's Blues

Size: 86,8 MB
Time: 37:20
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz/Pop/Blues Vocals
Art: Front

01. Call Me (4:34)
02. Yesterday's Blues (5:34)
03. Beautiful Love (2:13)
04. Summer Days (4:16)
05. Waiting For You (3:21)
06. Alright (5:01)
07. Dumb Things (3:20)
08. Silent Falls The Rain (4:34)
09. In The Wee Small Hours Of The Morning (4:24)

Yesterday's Blues - the second offering from Sarah Collyer - Jazz/Blues vocalist and songwriter based in Brisbane, Australia.
Featuring an elegant mix of freshly interpreted covers, beautiful jazz standards and soulful originals - Yesterday's Blues has been described as "perfect red wine music".

On Yesterday's Blues you'll hear the following wonderful Musicians:
Peta Wilson - Piano
Stewart Barry - Double Bass
Trent Bryson-Dean - Drums
Mal Wood - Trumpet and Flugelhorn
Dave McGuire - Guitar

Recorded and mixed in Queensland's stunning Gold Coast hinterlands at The Recording Oasis by Jake Walsh and Mastered by Dave Neil - Modern Mastering.

Sit back with your favorite glass of Red (or white - whatever takes your fancy) and enjoy the sultry sounds of Sarah Collyer and Yesterday's Blues.

Yesterday's Blues

---

Eddie Daniels & Roger Kellaway - Duke At The Roadhouse: Live In Santa Fe

Size: 119,5 MB
Time: 50:55
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Straight-Ahead/Mainstream
Art: Front

01. I'm Beginning To See The Light (7:05)
02. Creole Love Call (4:31)
03. Perdido (7:33)
04. Duke At The Roadhouse (3:22)
05. In A Mellow Tone (6:20)
06. In A Sentimental Mood (9:09)
07. Duke In Ojai (5:27)
08. Mood Indigo (4:47)
09. It Don't Mean A Thing (2:38)

For a powerful adrenaline rush, it's hard to beat a full house (sixteen or seventeen single-minded musicians wailing in unison and swinging like there's no tomorrow), although there's a lot to be said for a pair of aces, too. That's the hand that's dealt on Duke at the Roadhouse: Live in Santa Fe, the aces in question being clarinetist / tenor saxophonist Eddie Daniels and pianist Roger Kellaway (with cellist James Holland raising the ante as a wild card on four numbers).

As the title denotes, this is music for the most part associated with Duke Ellington, amplified by one original apiece by Daniels ("Duke at the Roadhouse") and Kellaway ("Duke in Ojai"). Ellington wrote (or co-wrote) seven numbers, the odd song out being Juan Tizol's "Perdido." Daniels penned "Roadhouse" to honor a time in 1966 when, as a new member of the Thad Jones / Mel Lewis Orchestra, he was invited to play in a jam session with Ellington at a nightclub in Greenwich Village, an experience he has never forgotten. While Kellaway doesn't say what led him to write "Duke in Ojai," there must be a story there too.

Daniels, who has become almost a full-time clarinetist since his tenure with the Jones / Lewis Orchestra, shows on "In a Mellow Tone" and "Sophisticated Lady" that he can still wield a mean tenor sax. He has "Lady" to himself (with Kellaway comping trimly), and his unaccompanied intro, lasting a minute and a half, is a gem among gems. Also worth noting is how easily Kellaway, who can swing with the best of them, slips into Ellington's more high-toned dinner jacket to produce subtle motifs that blend erudition with elegance. The duo cut loose only on the closing theme, "It Don't Mean a Thing," and even here the customary exuberance is held somewhat in check, perhaps in deference to the session's sobriety quotient.

In every respect, the temper is unmistakably Ellingtonian, from "I'm Beginning to See the Light" through "Creole Love Call," "Perdido," "In a Sentimental Mood," "Mood Indigo," Daniels' tenor showpieces and the two originals. The addition of a cello, suggested by Daniels, was enthusiastically endorsed by Kellaway, who wrote Holland's solos (he takes a couple) in advance. The album was (superbly) recorded in October 2012 at Santa Fe's Lensic Theatre as a benefit for the city's Center for Therapeutic Riding, which uses horses to help young people with disabilities recuperate. Whatever the cause, Daniels and Kellaway have dealt themselves a winning hand, one that is well worth betting on. ~Jack Bowers

Personnel: Eddie Daniels: clarinet, tenor saxophone; Roger Kellaway: piano; James Holland: cello.

Next Duke At The Roadhouse

---

The Ben Cox Band - This Waiting Game

Size: 118,3 MB
Time: 51:19
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. This Waiting Game (3:40)
02. When Ends Appear (4:44)
03. Blessed Are The Bleak (3:29)
04. And I Love Her (4:59)
05. A Nightingale Sang In Berkeley Square (5:26)
06. Sea (3:53)
07. George (4:30)
08. Either Or (4:20)
09. Slow Dance (3:37)
10. Country Song (3:06)
11. Slumber (3:32)
12. This Happy Madness (Bonus Track) (5:59)

Ben Cox’s lyrical, playful yet somehow sorrowful voice and compositions first put me in mind of a jazz inspired, soulful Gilbert O’Sullivan with the opening track This Waiting Game. His delicate counter tenor and falsetto range could perhaps also draw comparisons to James Blunt but he has an unexpected arsenal of chromatic and harmonic dexterity as well as carefully reserved strength. It’s hard to believe this musicality and individuality is emerging from someone who is only 21 years old and not yet graduated from London’s Guildhall School of Music.

His band; directed by Jamie Safiruddin on piano and keyboards, are chilled and smooth. The modal shifts they regularly employ give the album (produced and co-arranged by Ian Shaw) a modern, fresh feel, peppered with rock/funk edged grooves, notably on When Ends Appear and during a re-harmonisation of And I Love Her by Lennon and McCartney. Ben Cox’s voice is layered up both in unison, octaves and harmonies to create a wall of sound, Adam Chatterton not only contributes trumpet and flugelhorn of exemplary jazz character but also adds backing vocals. Most tracks bring all these sophisticated elements together making the ensemble sound much bigger than the five participants. During Sea the guitar and backing vocals of Kirk McElhinney are also added to the mix which fattens the sound further, while the driving Hammond line urges the swell to a crashing crescendo.

The ensemble showcase their spacious and delicate, classical jazz abilities in A Nightingale Sang in Berkeley Square, a duet shared with Claire Martin wherein Flo Moore’s moreish double bass steals some limelight. Slow Dance has a similar soft, brushed retro vibe and is one of my favourites, it is an angular yet catchy tune that coils up and then unfurls almost seamlessly, Ben Cox’s voice and Adam Chatterton’s horn share the melody and the piano opens out at the close with a glorious flurry of theatricality, embellished by Will Glaser’s cymbals.

The band’s Latin virtuosity is brought to the fore in the syncopated Either Or as well as an effervescent This Happy Madness with Emily Dankworth (by Antonio Carlos Jobim & Vinícius De Moraes) wherein both she and Ben Cox start colla voce in alluring Portuguese and then vocally percuss a vivacious tempo to continue with the with English lyrics by Gene Lees. Another curious number is a poignant waltz called George, a song written by Jamie Safiruddin about George Michael. This and a number of other songs employ subtle electronic affects that are quite hypnotic juxtaposed over the more organic sounding compositions.

Just when you think they have employed every string on their bows, track 10, Country Song, shifts the album sideways; Cox takes to the keyboard and Safiruddin picks up the rhythm guitar to passionately strum an Irish enthused ditty with a song line that in my opinion shows Ben Cox’s voice off best. I wonder if he has Irish heritage as the style so suits him - he could easily make an album of similar material and most likely become a household name very quickly. ~Review by Jeanie Barton

Next This Waiting Game

---

The Mike Vax Big Band - Next Stop, Live... On The Road

Size: 140,4 MB
Time: 60:16
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz: Big Band
Art: Front

01. On The Street Where You Live ( 2:14)
02. Young Blood ( 4:18)
03. Pegasus ( 4:07)
04. Appearing In Cleveland (14:21)
05. Young And Foolish ( 6:39)
06. My Foolish Heart ( 5:25)
07. Intermission Riff ( 4:01)
08. Vax Attacks ( 3:38)
09. We Miss You Dickus ( 7:59)
10. The Party's Over ( 2:35)
11. The Love Theme From Hair (Bonus Track) ( 4:52)

Bless you Mike, for keeping the faith. Not just for schlepping your 19 sidemen on the bus again, but for spreading the Gospel According to Stan in the process. Vax and many alumni of the Kenton band underwent all the inconveniences of being on the road, yet they overcame uneven audio systems (recording live at various venues) to create an excellent hour-plus of consistent exuberance.

The essential Kenton flavor runs through "Appearing in Cleveland," mainly due to the Bob Florence arrangement that updates familiar Kenton themes. But there are other heroes in that 14-minute tone poem, especially the constant pushing by drummer Jamie Tate, plus well-crafted solos by baritone saxophonist Joel Kaye and tenorist Pete Gallio. Talk about solos--three other tracks must be singled out. "Intermission Riff" is highlighted by the unerring intonation of bassist Chris Symer.

Few pianists have the sensitive touch of Bob Florence. His delicate keyboard approach to "Young and Foolish" can induce tears if the mood is right. Finally, on "My Foolish Heart" trumpeter Carl Saunders' solo, climaxing with a breathtaking high E, should be transcribed and distributed to every collegiate jazz program in the country. ~By Harvey Siders

Next Stop, Live... On The Road

---

Harry James & His Big Band - The Harry James Sessions 1976 & 1979

Size: 106,2+114,1 MB
Time: 45:24+48:37
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Big Band
Art: Front

CD 1:
01. Corner Pocket (4:09)
02. Lara's Theme From Dr. Zhivago (3:40)
03. Cherokee (2:18)
04. More Splutie, Please (4:58)
05. Traces (2:49)
06. Don't Be That Way (2:48)
07. Sweet Georgia Brown (2:58)
08. Shiny Silk Stockings (2:04)
09. Blues Stay Away From Me (3:54)
10. The Foot Stomper (5:14)
11. You'll Never Know (3:52)
12. Moten Swing (4:14)
13. Two O'clock Jump (2:20)

CD 2:
01. Watch What Happens (2:47)
02. Tuxedo Junction (3:04)
03. Opus Number One (2:15)
04. Make The World Go Away (2:20)
05. Blues For Sale (3:58)
06. Caravan (3:39)
07. Satin Doll (3:45)
08. Roll 'em (2:29)
09. Sanford And Son (2:06)
10. Moonglow: Theme From Picnic (3:54)
11. Take The 'A' Train (3:03)
12. Undecided (4:26)
13. Ciao (3:45)
14. Dance (2:47)
15. Help Me Make It Through The Night (2:18)
16. On A Clear Day (1:55)

Sheffield Lab Recordings is pleased to present the reissue of a historic recording: The Harry James Sessions. Consisting of three albums originally recorded direct-to-disc by Sheffield in 1976 and 1979, and now spectacularly re-mastered by Seth Winner from analog disc originals, this program of music from the height of the swing era is a vital representation of one of the great big bands of the 20th century. To hear this music recorded by Sheffield from the perspective of a single stereo microphone, is to hear this magnificent band as dancers heard it in front of the bandstand, with the impact and energy that we don't associate with historic recordings of another era. Pretty thrilling stuff! This amazing 2 disc set includes ALL the music from the Original LP albums: THE KING JAMES VERSION, COMIN' FROM A GOOD PLACE and STILL HARRY AFTER ALL THESE YEARS.

The Harry James Sessions 1976 & 1979 CD 1
The Harry James Sessions 1976 & 1979 CD 2

---

Joan Chamorro - Joan Chamorro Presenta Rita Payes

Size: 181,0 MB
Time: 77:53
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Big Band, Vocals
Art: Front

01. Stars Fell On Alabama (5:19)
02. Watch What Happens (4:26)
03. How Long Has This Been Going On (6:44)
04. I Can't Get Started (5:01)
05. West Coast Blues (4:22)
06. Desafinado (5:19)
07. Moanin' (6:26)
08. My Melancholy Baby (4:50)
09. Carinhoso (3:48)
10. Lagrimas Negras (4:45)
11. They Can't Take That Away From Me (5:51)
12. Side By Side (3:23)
13. So Danço Samba (4:16)
14. Sister Kate (3:12)
15. Gloomy Sunday (7:16)
16. Rita's Rhythm (2:48)

Featuring: Joan Chamorro (sax, b), Rita Payés (vcl, tb), Ignasi Terraza (p), Josep Traver (g), Esteve Pi (d). Guest: Andrea Motis (tp, vcl), Scott Hamilton, Scott Robinson, Dick Oatts (saxes), David Pastor (tp), David Mengual (b), Jo Krause (d), St. Andreu Jazz Band

Rita Payés (14-15 years old, while recording) is a trombonist and singer, but mostly she’s music, in every sense of the word, and a great person. She’s the main character of this fourth album of the series Joan Chamorro presenta.

«She joined Sant Andreu Jazz Band only one year ago, and I’ll never forget the emotion she caused me when I heard her sing Stars fell on Alabama for the first time (issued as part of this record), with a very personal voice, sometimes sharp, sometimes broken, nuanced, perfectly toned and rich in rhythmic contribution. Plus, as a trombonist, she has a clear sound, round, very direct.» –Joan Chamorro

Joan Chamorro Presenta Rita Payes

---

Peter Mandorf Quartet - According To Peter Mandorf

Size: 100,9 MB
Time: 43:14
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Saxophone Jazz
Art: Front

01. Fundador (3:54)
02. April In Paris (4:50)
03. New Baby Bop (4:02)
04. World Of Pain (5:07)
05. The Situation (4:59)
06. New Orleans (5:18)
07. Easy To Love (5:34)
08. Yesterdays (5:46)
09. Blue Room (3:39)

I am basically a jazzplayer, But during my career I have played virtually all modern genres. Currently I lead my own jazz group, My Quartet, and doing freelancing as well.

Lives in Copenhagen, Denmark

According To Peter Mandorf

---

Carmell Jones - The Remarkable Carmell Jones / Business Meeting

Bitrate: MP3@320K/s
Time: 76:32
Size: 175.2 MB
Styles: Trumpet jazz
Year: 2010
Art: Front

[11:12] 1. I'm Gonna Go Fishin'
[ 4:27] 2. Come Rain Or Come Shine
[ 3:59] 3. Night Tide
[ 5:45] 4. Sad March
[ 9:09] 5. Stellisa
[ 6:34] 6. Full Moon And Empty Arms
[ 6:04] 7. That's Good
[ 7:06] 8. Suearl
[ 5:21] 9. Hip Trolley
[ 5:36] 10. Beautiful Love
[ 4:50] 11. Business Meetin'
[ 2:33] 12. Stella By Starlight
[ 3:52] 13. Toddler

Twofer: Tracks #1-6, from the album “The Remarkable Carmell Jones” (Pacific Jazz ST-29). Carmell Jones, trumpet; Harold Land, tenor sax; Frank Strazzeri, piano; Gary Peacock, bass; Leon Petties, drums. Recorded at Pacific Enterprises Inc./Rex Studios, Los Angeles, June 13, 1961. Tracks #7-13, from the album “Business Meetin’” (Pacific Jazz ST-53). Tracks #7-10: Same personnel as on “The Remarkable Carmell Jones”, but Donald Dean, drums replaces Leon Petties. Recorded at Pacific Enterprises Inc./Rex Studios, Los Angeles, April 25, 1962. Tracks #11-13: Carmell Jones, trumpet; Bud Shank, Clifford Scott, alto saxes; Harold Land Wilbur Brown, tenor saxes; Don Rafell, baritone sax; Frank Strazzeri, piano Leroy Vinnegar, bass; Ron Jefferson, drums; Gerald Wilson, arranger. Recorded at Pacific Enterprises Inc./Rex Studios, Los Angeles, May 23, 1962

When 26-year-old Carmell Jones left his native Kansas for California in August 1960, he made an immediate impact on the high-calibre West Coast jazz scene. Snapped up exclusively by Pacific Jazz, he recorded his first album as a leader, “The Remarkable Carmell Jones,” the following June.

Using much the same lineup as the celebrated Harold Land-Red Mitchell quintet, it was a stellar entrance for the young trumpeter, whose classy tone, ideas and commanding style recalled Clifford Brown. Land, on tenor, was another inspiration and they made a formidable pairing, but Brownie remained Jones’s primary reference, amply demonstrated throughout his leader debut, particularly on his feature, Come Rain or Come Shine, and on Full Moon and Empty Arms. It was bop with a joyous, West Coast accent, grounded in Jones’s lyrical assurance, Land’s maturity and the solid virtues of pianist Frank Strazzeri, bassist Gary Peacock and drummer Leon Petties.

The second album, “Business Meetin’”, used the same quintet, with Donald Dean in for Petties, and a nonet arranged by Gerald Wilson, including a saxophone section, which elicited an ideally simpatico response from Jones. Both these albums amply demonstrate why musicians were unanimous in their praise of this gifted young trumpeter and his sudden rise to national prominence.

The Remarkable Carmell Jones/Business Meeting

---

Eartha Kitt - The Collection

Bitrate: MP3@320K/s
Time: 76:47
Size: 175.8 MB
Styles: Traditional pop
Year: 2000/2006
Art: Front

[2:44] 1. I've Got You Under My Skin
[4:36] 2. When The World Was Young
[2:59] 3. Wonderful Illusions
[3:46] 4. Solitude
[2:29] 5. Easy To Love
[3:05] 6. September Song
[2:54] 7. You'll Never Know
[3:45] 8. Speak Low
[3:56] 9. Happiness Is A Thing Called Joe
[3:03] 10. Mirage
[3:59] 11. Chez Moi
[2:59] 12. In The Still Of The Night
[3:04] 13. Love For Sale
[3:09] 14. Autumn Leaves
[3:02] 15. The Girl From Ipanema
[2:25] 16. Darling Je Vous Aime Beaucoup
[2:59] 17. Too Close For Comfort
[2:58] 18. Guess Who I Saw Today
[2:40] 19. C'est Magnifique (Can Can)
[3:38] 20. I Wish You Love
[2:56] 21. My Man
[2:58] 22. Moon River
[3:48] 23. The Last Time I Saw Paris
[2:44] 24. Love

A little information on this issue of these 2 classic Eartha albums: I can't remember the last time a Record/CD company did what I am going to share here. The releasing of these 2 albums has had a colorful past (more infornation below). EMI decided to give it one more go. This is a perfect example of "Third time's a charm". Actually it's more of a gem. Not only has EMI UK taken the time and spent the money to fix the flaw on the last reissue of this ablum, but they have added so much more. The 2 albums are now complete and in the original track order as originally released on the LP's. Also, they have not skimped on the booklet. This version has a complete booklet, including current liner notes and reproductions of the original UK album covers, both fronts and backs with original liner notes. With a release date of 12/21/06 they have given all of us a great Christmas gift. Just be sure to order The Collection with the black and white image of Eartha as this is the version to get!

A little info on former attempts to issue the 2 classic Eartha Albums on CD: The ultimate collection of the albums Eartha for Always /Love for Sale and Best of All Possible Worlds/The Romantic Eartha . EMI released a similar CD Titled The Eartha Kitt Collection in 2000 as part of the HMV Easy series, but it was missing 2 songs. They also released The Collection, an almost complete combination of the 2 albums in 2006, but for some reason the tracks from the 2 albums were shuffled and intermixed on the CD. Also, the first several seconds of the first track "Moon River" were missing. ~Eartha Kitt Fan Club site

The Collection

---

B.B. King - Discoveries

Bitrate: MP3@320K/s
Time: 63:06
Size: 144.4 MB
Styles: Modern electric blues
Year: 2008
Art: Front

[2:05] 1. Sneakin' Around
[2:12] 2. I'm Gonna Sit In 'til You Give In
[2:56] 3. Blues At Midnight
[2:35] 4. Never Trust A Woman
[4:48] 5. Night Life
[3:37] 6. Tired Of Your
[5:45] 7. Watch Yourself
[2:45] 8. You Put It On Me
[4:54] 9. Confessin' The Blues
[9:51] 10. Worry, Worry
[6:06] 11. Don't You Lie To Me
[4:03] 12. Eyesight To The Blind
[2:44] 13. Caldonia
[5:16] 14. Playin' With My Friends
[3:21] 15. Is You Is Or Is You Ain't (My Baby)

Another in Geffen's digital download series, this volume, called Discoveries, collects some of the rarer tracks in B.B. King's sizeable portfolio, including "Night Life," "Eyesight to the Blind," and "Tired of Your Jive," among others, most of which feature plenty of his trademark sharp and brittle guitar runs and his surprisingly flexible voice, making this an interesting glimpse at this iconic blues player and singer. ~Steve Leggett

Discoveries

---

Richard Wyands - Half And Half

Bitrate: MP3@320K/s
Time: 62:11
Size: 142.4 MB
Styles: Hard bop, Piano jazz
Year: 2000
Art: Front

[5:23] 1. I'm Old Fashioned
[4:47] 2. Blues For Kosi
[9:13] 3. P.S. I Love You
[7:22] 4. Once I Loved
[4:59] 5. Half And Half
[5:45] 6. Beautiful Friendship
[8:01] 7. Daydream
[4:34] 8. Is That So
[5:24] 9. Time After Time
[6:40] 10. As Long As I Live

Recorded December 8, 1999 in Brooklyn, NY, USA by Max Bolleman.

Except on his originals "Blues for Kosi" and "Half and Half" unsung veteran pianist Richard Wyands sticks to the oldies but goodies on this album. Luckily, he's an astute interpreter and a fine improviser and chestnuts such as "I'm Old Fashioned" and Harold Arlen's "As Long As I Love" still burst with equal amounts of gleeful optimism and assured wisdom, making this collection a pleasurable, easily digestible offering.

All of the experiences that Wyands gained from working with vocalists such as Ella Fitzgerald and Carmen McRae inform his orchestral playing style and attentiveness to the melody. His reading of Porter's "P.S. I Love You" sparkles as his crisp notes state the melody against his thick chordal bedding. With Peter Washington's dark, resonant bass gently swaggering the song, Jobim's "Once I Loved," seduces as Wyands gives the swooning melody a delicate hip-swerving shimmy with percussive attacks. The supremely supportive and comparatively younger rhythm section of drummer Peter Washington and bassist Kenny Washington (no relation) wonderfully complements Wyands' effervescent playing with posh sensitivity. Never in the way, but always in the pocket, the two Washingtons help drive this trio setting to the sublime. ~John Murph

Half And Half

---

Hank Crawford - Night Beat

Bitrate: MP3@320K/s
Time: 40:10
Size: 92.0 MB
Styles: Saxophone jazz, Hard bop
Year: 1989
Art: Front

[8:02] 1. For The Love Of You
[4:58] 2. Mobile Bay
[6:53] 3. Midnight Fantasy
[5:29] 4. K.C. Blues
[5:28] 5. What A Wonderful World
[4:56] 6. Sleepin' On The Sidewalk
[4:20] 7. Trouble In Mind

Guitar – Melvin Sparks; Piano, Organ – Dr. John; Alto Saxophone, Electric Piano – Hank Crawford; Bass – Wilbur Bascomb; Drums – Bernard Purdie.

Altoist Hank Crawford teams up with pianist/organist Dr. John on this accessible and enjoyable soul-jazz outing. Crawford made quite a few CDs in this format for Milestone during the 1980s, using a funky four-piece rhythm section and a small horn section to play recent originals and a few vintage classics. Highlights of the above-average effort include "For the Love of You," "K.C. Blues" and "Trouble in Mind." ~Scott Yanow

Night Beat

---

Annie Sellick - No Greater Thrill

Bitrate: MP3@320K/s
Time: 60:10
Size: 137.8 MB
Styles: Vocal jazz
Year: 2010
Art: Front

[5:35] 1. I Thought About You
[5:02] 2. Dancing Cheek To Cheek
[5:51] 3. It Ain't Necessarely So
[6:23] 4. You Go To My Head
[3:47] 5. I'll Remember April
[6:31] 6. Nature Boy
[4:29] 7. Accent-Tchu-Ate The Positive
[5:57] 8. Tenderly
[4:40] 9. Cafe 123
[6:28] 10. Willow Weep For Me
[5:22] 11. There Is No Greater Love

Jazz singer Annie Sellick has it all-sensational voice, commanding stage presence, striking appearance and infectious enthusiasm. She has won a large, devoted following and earned rave reviews, winning numerous "Best Jazz Artist" awards in the Nashville media. And Sellick's latest album, No Greater Thrill, is sure to bring her national acclaim. Featuring the organ work of world-renowned jazz artist Joey DeFrancesco, No Greater Thrill is irrefutable evidence that Sellick has entered the big leagues.

"I felt a connection with the jazz B-3 organ," says Sellick, "after playing around Nashville with Moe Denham." She met DeFrancesco in Anaheim, Calif., at the January 2002 NAMM show, and a friendship began. They had a common friend in Denham, whose CD, Little Blue Volkswagen, DeFrancesco produced. DeFrancesco became a fan of Sellick's work and agreed to come to Nashville to record. Guitarist Pat Bergeson and drummer Jim White, both widely respected players, rounded out the group.

Sellick's jazz journey began auspiciously when she sat in with guitarist Roland Gresham's group at a club near the college she attended. After her performance, the crowd rose to their feet cheering, and it was clear she had found her calling. "It shocked me, the response, and I think it shocked Roland too. Maybe that's why he kept me." She sang with Gresham's trio for four years and developed a sizable following. She honed her skills under the tutelage of Lori Mechem and Roger Spencer at the Nashville Jazz Workshop. Sellick has been a mainstay at Nashville's main jazz venues, F. Scott's & Café 123, and was featured in a popular weekly series, "Sellick & Sushi," at Virago.

Sellick's first record, Stardust on My Sleeve, was a striking debut that highlighted her interpretative skills, bringing vitality and urgency to classic jazz standards. The album was on the Top 10 Local Artists list at Tower Records for many months, and even remained in the Tower's storewide Top 25 for several weeks, keeping pace with international releases by top-selling artists. She has been profiled in every major Nashville paper, and gave a celebrated sold-out performance backed by the Nashville Symphony. With the release of No Greater Thrill, it's clear that Annie Sellick's future is as bright as her smile. It's only a matter of time before the national jazz radar gets wind of this enchanting, compelling performer.

No Greater Thrill

---

Jimmy Smith - The Boss

Bitrate: MP3@320K/s
Time: 42:31
Size: 97.3 MB
Styles: Soul-jazz, Hard bop, B-3 Organ jazz
Year: 1968/2004
Art: Front

[ 7:55] 1. The Boss
[ 8:47] 2. This Guy's In Love With You
[ 5:51] 3. Some Of My Best Friends Are Blues
[10:28] 4. Fingers
[ 9:27] 5. Tuxedo Junction

Drums – Donald Bailey; Guitar – George Benson, Nathan Page; Organ – Jimmy Smith.

This live date captures Hammond organ master Jimmy Smith, guitarist George Benson, and drummer Donald Bailey performing in 1968 for a fun-loving crowd at an intimate club in Atlanta, Georgia. As per usual with Smith, the fare is bluesy soul-jazz par excellence, with a warm feeling reminiscent of Sunday church meetings and backyard barbecues. But where many of Smith's albums pack a funky wallop suitable for dancefloor workouts, The Boss hangs back a bit, grooving smoothly along blues progressions that allow Benson and Smith to stretch out. The trio setting abets the reserved vibe here; there is an almost chamber-jazz feel at times, as Smith and Benson trade leads, while Bailey keeps the ship steady. Smith's mastery of the keys unfurls itself in flurries of activity (especially on the swirling clouds of sound on the title cut), and Benson's beautifully phrased solos remind listeners that he was a fine, straight-up jazz player (before moving into commercial pop in the later '70s and '80s). While not as hot and sweaty as some of Smith's output, The Boss' grooves are no less admirable (or intense) for their measure and grace. ~Anthony Tognazzini

The Boss

---

Zoot Sims Quartet - That Old Feeling

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 64:17
Size: 147,7 MB
Art: Front

(4:52)  1. 9:20 Special
(5:13)  2. The Man I love
(4:40)  3. 55th And State
(5:08)  4. The Blue Room
(3:33)  5. Bohemia After Dark
(4:26)  6. Gus's Blues
(5:33)  7. That Old Feeling
(5:20)  8. Woodyn' You
(4:34)  9. Blinuet
(3:43) 10. The Trouble With Me Is You
(5:45) 11. Zonkin'
(3:26) 12. Noshin'
(4:03) 13. Minor-Minor
(3:56) 14. Pegasus

That Old Feeling compiles 14 songs cut at two 1956 dates, which were released on Argo and ABC-Paramount. At the sessions, Sims not only played tenor, but cut a few songs on alto and baritone sax as well. ~ Rovi Staff  http://www.allmusic.com/album/that-old-feeling-mw0000179750

Zoot Sims Quartet: Zoot Sims (alto, tenor & baritone saxophones); John Williams (piano); Knobby Totah (bass); Gus Johnson (drums).

That Old Feeling

---

Tony O'Malley - My Foolish Heart

Styles: Vocal and Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 56:36
Size: 130,3 MB
Art: Front

(3:16)  1. Steppin' Out With My Baby
(3:56)  2. If I Fell
(3:16)  3. Smile
(2:56)  4. Hey, Good Lookin'
(4:15)  5. My Foolish Heart
(4:12)  6. Maybe It's Because I'm a Londoner
(4:23)  7. Rockin' Chair
(4:58)  8. I Can't Give You Anything But Love, Baby
(3:58)  9. Isn't This a Lovely Day?
(4:05) 10. Georgia On My Mind
(7:16) 11. Bewitched, Bothered & Bewildered
(5:10) 12. Deep, Deep Trouble
(4:49) 13. Have Yourself a Merry Little Christmas

Recorded at KD Studios in Chiswick, London, April 14th - 28th, 2003, re-mixed at Pajoland Studios, Gooik, Belgium, February 2004, before Tony and his family uprooted to Tbilisi in the country of Georgia.

About his second album collaboration with Marty Townsend, Tony says:- "Working with Marty has been a fantastic experience. Such a knowledgeable musician, full of great ideas and then he gives you a solo to die for! I'm so glad we had the good fortune to find Marty while we were living in Belgium, and to have recorded two albums together is very much the icing on the cake!"

About Pino Palladino:- "It goes without saying that Pino is one of the most gifted bass-players on the planet, but the thing about Pino is he's such a lovely guy! That apart, he plays EVERY note as though he means it - seems to think about all the little nuances needed for any given song. In a nutshell, working with Pino is almost as good as something else...."

Of Ian Thomas, Tony says:- "Ian (Yanto) is not only a beautiful musician, he's a drummer as well! And on top of that, he's a big cuddly bear! Work on this project was made easy because of Yanto's great talent and professionalism. We also had a lot of fun....!"  http://www.cdbaby.com/cd/omalley4

Personnel:  Tony O'Mallet:  Vocal & Piano;  Marty Townsend:  Guitar; Pino Palladino:  Bass; Ian Thomas: Drums

My Foolish Heart

---

Rosa Passos - Samba Dobrado

Styles: Latin Jazz, Bossa Nova
Year: 2013
File: MP3@320K/s
Time: 57:56
Size: 134,4 MB
Art: Front

(4:33)  1. Pedro Brasil
(4:20)  2. Linha Do Equador
(4:12)  3. Maçã Do Rosto
(3:56)  4. Faltando Um Pedaço
(3:33)  5. Capim
(4:29)  6. Pétala
(4:22)  7. Lei
(3:53)  8. Para-Raio
(3:38)  9. Cigano
(5:57) 10. Samba Dobrado
(4:40) 11. Fato Consumado
(4:32) 12. Serrado
(5:44) 13. Doce Menestrel

“Nobody plays bossa nova like Rosa Passos since the master João Gilberto," El País proclaimed. All About Jazz wrote of Passos, "She has done what so many vocalists have attempted since the days of Astrud Gilberto, but failed to do: she’s made the bossa nova sexy again ... Her voice, which is at once exotic and strangely familiar, is magnificent. Her interpretations of various bossa nova chestnuts are sublime. She takes these over-familiar songs and makes them sound brand new again." http://www.rosapassos.com.br/

Samba Dobrado

---

Dee Dee Bridgewater - Dee Dee's Feathers

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 74:18
Size: 171,1 MB
Art: Front

(6:30)  1. One Fine Thing
(7:20)  2. What a Wonderful World
(6:18)  3. Big Chief
(5:14)  4. Saint James Infirmary
(2:47)  5. Dee Dee's Feathers
(6:38)  6. New Orleans
(5:49)  7. Treme Song / Do Whatcha Wanna
(4:45)  8. Come Sunday
(4:34)  9. Congo Square
(6:33) 10. C'est Ici Que Je T'Aime
(6:18) 11. Do You Know What it Means
(4:22) 12. Whoopin' Blues
(7:04) 13. Rising Tide (Tune Up) Extended Version

Dee Dee Bridgewater's new album, Dee Dee's Feathers, is her debut album on OKeh Records. It is also the first collaboration of the three-time Grammy Award®-winning jazz singer and the Grammy Award®- winning New Orleans Jazz Orchestra (Nojo), founded by artistic director and trumpeter Irvin Mayfield. Dee Dee's Feathers is a modern vision of New Orleans and features traditional songs such as "Big Chief," "St. James Infirmary" and "What a Wonderful World" along with new compositions "Congo Square" and "C'est ici que je t'aime." The album transports the listener through the historic New Orleans neighborhood of Treme. The launch of the album will be tied into the Nojo s New Orleans Jazz Market in Downtown New Orleans, which will open in the spring of 2015 as the premiere venue for jazz in the city. Dee Dee is serving on the Nojo board and the New Orleans Jazz Market main stage will be named after her marking the first time a major stage in the city has been named after a jazz musician. The city of New Orleans will use music from Dee Dee s Feathers in all of their advertising in 2015.

Over the course of a multifaceted career spanning four decades, Grammy® and Tony Award®-winning jazz giant Dee Dee Bridgewater has ascended to the upper echelon of vocalists, putting her unique spin on standards, as well as taking intrepid leaps of faith in re-envisioning jazz classics. Ever the fearless voyager, explorer, pioneer and keeper of tradition, Dee Dee won the 2010 Grammy® for Best Jazz Vocal Album for Eleanora Fagan (1915-1959): To Billie with Love from Dee Dee. Bridgewater s career has always bridged musical genres. She was a member of the legendary Thad Jones/Mel Lewis Big Band, and throughout the 70s, she performed with such jazz notables as Max Roach, Sonny Rollins, Dexter Gordon and Dizzy Gillespie. ~ Editorial Reviews  http://www.amazon.com/Dee-Dees-Feathers-Bridgewater/dp/B00SZFQGEG

Dee Dee's Feathers

---