Monday, April 27, 2015

Jimmy Witherspoon & Panama Francis' Savoy Sultans - S/T (Definitive Black & Blue Sessions)

Bitrate: MP3@320K/s
Time: 60:15
Size: 137.9 MB
Styles: Urban blues, Jazz-blues
Year: 2002/2008
Art: Front

[3:47] 1. Sent For You Yesterday
[7:07] 2. I Want A Little Girl
[3:52] 3. Don't You Miss Your Baby
[4:41] 4. Good Morning Blues
[6:18] 5. Moten Swing
[5:16] 6. Goin' To Chicago
[4:37] 7. Sometimes I Feel Like A Motherless Child
[3:17] 8. I May Be Wrong(Boogie Woogie)
[3:15] 9. Rain Keeps Falling Down
[3:07] 10. Gee Baby, Ain't I Good To You
[3:52] 11. Sent For You Yesterday
[3:20] 12. I May Be Wrong (Take 1)
[3:07] 13. Gee Baby, Ain't I Good To You (Take 1)
[4:31] 14. Sometimes I Feel Like A Motherless Child (Take 2)

Recording Date: May 19, 1980 & May 25, 1980. Jimmy Witherspoon (vcl), Francis Williams (tp), George Kelly (ts), Bill Easley (as), Bobby Smith (as), Red Richards (p), John Smith (g), Bill Pemberton (b) & Panama Francis (d).

Including some of Jimmy Witherspoon's finest performances, the Definitive Black & Blue Sessions is a handsomely compiled 14-track set of Witherspoon's tenure with bandleader Panama Francis. Often neglected in the artist's impressive body of work, the release of this disc calls for a reappraisal. Although nearing the end of his career, Witherspoon is in fine voice, and his work on "Sometimes I Feel Like a Motherless Child," in particular, is astonishing. Panama Francis' Savoy Sultans provide fine musical accompaniment, intuitively knowing when to hold back and when to dominate. As befits such great music, the disc is handsomely annotated and packaged. ~Thomas Ward

Jimmy Witherspoon & Panama Francis' Savoy Sultans

Shirley Bassey - Sings The Standards

Bitrate: MP3@320K/s
Time: 78:16
Size: 179.2 MB
Styles: Vocal, Easy Listening
Year: 2001
Art: Front

[3:30] 1. Fly Me To The Moon
[2:45] 2. I Get A Kick Out Of You
[3:19] 3. All The Things You Are
[2:13] 4. I Believe In You
[2:57] 5. Moon River
[2:30] 6. Strangers In The Night
[2:14] 7. 's Wonderful
[3:31] 8. I've Got You Under My Skin
[3:25] 9. Cry Me A River
[3:11] 10. The Fool On The Hill
[3:04] 11. The Look Of Love
[3:03] 12. Nature Boy
[4:25] 13. And I Love You So
[2:44] 14. Day By Day
[3:20] 15. Send In The Clowns
[4:39] 16. Killing Me Softly With His Song
[4:51] 17. Greatest Love Of All
[3:54] 18. Can't Take My Eyes Off You
[4:38] 19. Feelings
[5:12] 20. Ev'ry Time We Say Goodbye
[5:11] 21. Don't Cry For Me Argentina
[3:30] 22. As Time Goes By

When a great set of songs like these are put together by a GREAT singer like Shirley Bassey, you know your in store for a special treat and that is what this great collection is!! Beginning with early to mid-sixties standards such as a jazz tinged exciting rendition of "I Believe In You", it is clear that this is a classic singer with an incredibly great voice in peak form!! "Fool On The Hill" is soulfully sung and "The Look Of Love" is sultry while "And I Love You So" is haunting and mesmerizing. The exhuberant "Day By Day" is winning and "Send In The Clowns" is one of the most beautifully sung versions ever!! Beginning with the seventies material, one can notice that Shirley's voice became fuller and more powerful and Miss Bassey uses her full bloom voice to stunning effect on classics such as "Killing Me Softly With His Song" and "Feelings" in this engrossing collection. Too bad Shirley Bassey didn't star in "Evita" as her "Don't Cry For Me Argentina" is the definitive version which has never sounded as passionate and beautiful as it does here!!! BRAVO SHIRLEY...a true classic Diva with an extraordinary voice. ~Bradley Briggs

Sings The Standards 

The Legendary Lawson-Haggart Jazz Band - Singin' The Blues

Bitrate: MP3@320K/s
Time: 68:28
Size: 156.8 MB
Styles: Dixieland
Year: 1991
Art: Front

[7:00] 1. Singin' The Blues (Till My Baby Comes Home)
[5:26] 2. Louisiana
[6:25] 3. Blue Turning Grey Over You
[4:41] 4. I Want To Be Happy
[4:45] 5. The Sheik Of Araby
[5:48] 6. Thou Swell
[7:36] 7. Song Of The Islands
[5:15] 8. Stumbling
[8:26] 9. Tin Roof Blues
[4:47] 10. Muskrat Ramble
[3:56] 11. One Alone
[4:17] 12. Hindustan

Recorded Mar. 5 and 6, 1990 in Atlanta, Georgia. 12 tracks recorded 1990 by The Legendary Lawson-Haggart Jazz Band with Yank Lawson, trumpet, co-leader ; Joe Muranyi, clarinet, soprano saxophone; Bucky Pizzarelli, guitar; George Masso, trombone; John Bunch, piano; Bob Haggart, string bass, co-leader; Jake Hanna, drums; Barbara Lea, vocals.

Veteran trumpeter Yank Lawson often preferred to trade fours or eights with another horn player late in his career (four years before his death) rather than take full-length solos, but his fire and sound were very much unimpaired. For this date, he had a reunion with bassist Bob Haggart, coleading one of the last versions of the Lawson-Haggart Jazz Band.

Singin' The Blues

The Platters - Keep Me In Love

Bitrate: MP3@320K/s
Time: 76:31
Size: 175.2 MB
Styles: R&B, Pop vocals
Year: 2013
Art: Front

[2:37] 1. Smoke Gets In Your Eyes
[2:44] 2. The Glory Of Love
[2:55] 3. Until The Real Thing Comes Along
[2:50] 4. Bewitched, Bothered And Bewildered
[2:44] 5. Twilight Time
[2:40] 6. Someone To Watch Over Me
[2:36] 7. Only You
[2:44] 8. My Prayer
[2:37] 9. The Great Pretender
[2:27] 10. (You've Got) The Magic Touch
[2:38] 11. My Old Flame
[2:37] 12. You'll Never, Never Know
[2:44] 13. I Can't Get Started
[2:52] 14. I'll Never Smile Again
[2:25] 15. Somebody Loves Me
[3:08] 16. Harbor Lights
[2:23] 17. You Are Too Beautiful
[2:24] 18. You've Changed
[2:09] 19. Honeysuckle Rose
[2:51] 20. Enchanted
[2:20] 21. Red Sails In The Sunset
[2:12] 22. Life Is Just A Bowl Of Cherries
[3:07] 23. Thanks For The Memory
[2:19] 24. I'm Gonna Sit Right Down And Write Myself A Letter
[2:52] 25. How Will I Know
[2:18] 26. You Can Depend On Me
[2:16] 27. That Old Feeling
[2:41] 28. Try A Little Tenderness
[3:07] 29. If I Didn't Care

The Platters were a successful black vocal group of the early rock n roll era. Their distinctive sound was a bridge between the pre-rock n roll Tin Pan Alley tradition of the Ink Spots and the Mills Brothers and the explosion of teenage music in the mid 1950s. The most successful incarnation of the group comprised lead tenor Tony Williams, David Lynch, Paul Robi, Herb Reed, and Zola Taylor.

The Platters formed in Los Angeles, CA, USA in 1953 and were initially managed by Ralph Bass. They had a contract with Federal Records but experienced little record success until they met music entrepreneur and songwriter Buck Ram. He added lead vocalist Tony Williams (who gave the Platters their distinctive sound) and female vocalist Zola Taylor. Under Ram’s guidance, the Platters recorded seven singles for Federal in an R&B/gospel style, scoring minor regional hits on the West Coast. One song recorded at Federal, “Only You (And You Alone)”, originally written by Ram for the Ink Spots was deemed unreleasable by the label. Despite lack of chart success, the Platters were a profitable touring group—so successful that The Penguins, fresh from their No. 2 single Earth Angel, asked Ram to manage them too. With the Penguins as a bargaining chip, Ram persuaded Mercury Records into a 2-for-1 deal. In order to sign the Penguins, he insisted, the label also take the Platters. Ironically, the Penguins never had a hit for the label.

Convinced by Tony Williams that “Only You” had potential, Ram had the group re-record it during their first Mercury session. Released in the summer of 1955, it became the group’s first Top Ten hit on the pop charts, and topped the R&B charts for seven weeks. It has since become one of the most played records in any genre and the song has been covered by innumerable artists. Ironically, the follow-up, The Great Pretender, with lyrics written by Ram in the washroom of the Flamingo Hotel in Las Vegas, exceeded the chart success of their début and became the Platters’ first national No.1 hit. The Great Pretender was also the act’s biggest R&B hit, with an 11-week run at the top of that chart. In 1956. The Platters appeared in the first major rock n roll movie, Rock Around the Clock, and performed both “Only You” and “The Great Pretender”[2] and they sang “You’ll Never Never Know” in The Girl Can’t Help It, produced the same year.

The Platters’ unique vocal style touched a nerve in the music-buying public, and a string of hit singles followed, including two more Top 100 No. 1 hits, one Hot 100 No. 1 hit, and more modest hits such as “I’m Sorry” (No. 11) and “He’s Mine” (No. 23) in 1957, “Enchanted” (No.12) in 1959, and “The Magic Touch” (No.4) in 1956. The Platters hit on a successful formula of updating older standards, such as “My Prayer”, “Twilight Time”, “Harbor Lights”, “To Each His Own”, “If I Didn’t Care” and Jerome Kern’s “Smoke Gets in Your Eyes”. This latter release caused a small controversy after Kern’s widow expressed concern that her late husband’s composition would be turned into a “rock n roll record”. It topped both American and British charts in a tasteful Platters-style arrangement.

The group was inducted into the Rock n Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in its inaugural year of 1998. The Platters were the first rock n roll group to have a Top Ten album in America. They were also the only act to have three songs included on the American Graffiti soundtrack that sparked an oldies revival in the early to mid-1970s: “Smoke Gets in Your Eyes”, “The Great Pretender” and “Only You (and You Alone)”.

Keep Me In Love

Barbara Dennerlein - Solo

Bitrate: MP3@320K/s
Time: 67:38
Size: 154.8 MB
Styles: B-3 Organ jazz
Year: 1992
Art: Front

[7:19] 1. It 's Me
[6:41] 2. Love Affair ''The Ballad''
[6:40] 3. Oscar's Blues
[8:36] 4. Three Hearts
[9:05] 5. Wow
[9:24] 6. Stormy Weather Blues
[8:26] 7. How High The Moon
[7:39] 8. Sometimes I Feel Like A Motherless Child
[3:45] 9. It's Me (Radio Edit)

Frequently, after concerts fans asked me for a solo recording. Finally it’s here: A collection of solo concerts which I performed the last few months. A real live-records without any overdubs or studio tricks. So the music sounds just the way I played it for my audience. With this special live-atmosphere, evoked only by an involving and stimulating relationship between the performer and the audience.

That’s why I dedicate this album to all my true musical friends and to all the enthusiasts of the unique sound of the Hammond organ. A sound, which I combine with modern MIDI-technique to break up tradition and move into new musical dimensions with this classic and yet so incomparable instrument. I’m sure, all my fans will love this solo-album. And I am positive to find a lot of new friends for my kind of organ-jazz. So enjoy the music – till next time: live on stage!“ ~Barbara Dennerlein

Solo

Coleman Hawkins - The Hawk Relaxes

Bitrate: MP3@320K/s
Time: 36:56
Size: 84.5 MB
Styles: Bop, Saxophone jazz
Year: 1961/1990/2006
Art: Front

[6:07] 1. I'll Never Be The Same
[4:24] 2. When Day Is Done
[4:35] 3. Under A Blanket Of Blue
[4:08] 4. More Than You Know
[5:56] 5. Moonglow
[5:04] 6. Just A Gigolo
[6:38] 7. Speak Low

Recorded at Van Gelder Studio, Englewood Cliffs, NJ; February 28, 1961. Tenor Saxophone – Coleman Hawkins; Bass – Ron Carter; Drums – Andrew Cyrille; Guitar – Kenny Burrell; Piano – Ronnell Bright.

It is said that one grows wiser and mellower with age, as proven by this recording from Coleman Hawkins that is a successful follow-up to his previous Moodsville album At Ease. There is a difference, as Kenny Burrell joins the legendary tenor saxophonist in this quintet setting, with no threat of upstaging or even a hint of any real showcasing of the guitarist's then developing laid-back side. Underrated Ronnell Bright is on the piano, and also proves a veritable equal to Hawkins even more than Burrell. But it is the burgeoning talent of bassist Ron Carter and drummer Andrew Cyrille who mark their territory, not as the maverick individualists they would become, but as supple performers who understand the strength of Hawkins from a modest standpoint. Not all ballads, the fare is standard American popular song played for people sitting by the fire, the calm ocean, or late at night with a sweetheart over candles and wine. Any version of a well-known tune can be made classic by Hawkins, as heard during the somber "I'll Never Be The Same," the straight ballad "Under a Blanket of Blue" with the tenor's slight fluttery trills, or "Just a Gigolo" where the spotlight is firmly focused on the leader's droll tones. Burrell's strumming on "When Day Is Done" signifies a downplayed, wound down feeling, and where he generally chooses a sublimated role in these recordings, he does come out with a strong lead melody for the soulful ballad "More Than You Know." The modified tunes on the session are the midtempo take of "Moonglow" as Hawkins adopts some of Lester Young's swagger as Cyrille's nimble brushwork keeps the song moving forward. "Speak Low" is interpreted in a sleek and seductive calypso beat ably conjured by the drummer, a nice touch to end the album. This quintet -- as unique as any Hawkins ever fronted -- speaks to his open mindedness, but more so to his innate ability in adapting musicians to his situational hitting. The Hawk Relaxes is one of his best latter period efforts. ~Michael G. Nastos

The Hawk Relaxes

Barbara Carroll - Live at Dizzy's Club: How Long Has This Been Going On?

Styles: Jazz, Vocal
Year: 2010
File: MP3@320K/s
Time: 53:24
Size: 122,6 MB
Art: Front

(7:57)  1. Change Partners
(6:06)  2. Some Other Time
(4:20)  3. Fascinating Rhythm
(2:08)  4. Nice Work If You Can Get It
(6:31)  5. How Long Has This Been Going On
(3:33)  6. My Man's Gone Now
(6:33)  7. I Got Rhythm
(7:31)  8. Todd's Blues
(3:42)  9. Too Soon
(5:00) 10. Have You Met Miss Jones

The credit is to the Barbara Carroll Trio featuring Ken Peplowski, who adds clarinet and tenor saxophone. Carroll begins with Irving Berlin's "Change Partners" using only the trio (which is completed by bassist Jay Leonhart and drummer Alvin Atkinson) and ends with Rodgers & Hart's "Have You Met Miss Jones," both standards taken at lively tempos and featuring some vibrant playing from a leader just crossing her mid-eighties. After a thoughtful presentation of Leonard Bernstein's "Some Other Time," the bulk of the set is taken up by two sections, first a lengthy medley of Gershwin tunes including "Fascinating Rhythm," "Nice Work If You Can Get It," the title song, "My Man's Gone Now" from Porgy and Bess, and "I Got Rhythm."

Peplowski makes his first appearance on clarinet on "Fascinating Rhythm," immediately establishing a playful rapport with Carroll, sometimes mirroring her lines and other times introducing counter-melodies. Carroll takes to the microphone for a rhythmic recitation of some of the lyrics to "How Long Has This Been Going On?," her only vocal work on the album; Peplowski switches to tenor to match her. He sits out "My Man's Gone Now," but returns to clarinet for "I Got Rhythm," again twinning with Carroll spectacularly. That sets up further fireworks in the second section of the set, which consists of two Carroll originals. The first, "Todd's Blues," finds Peplowski playing some high, piercing notes on his clarinet and Leonhart taking an arco solo. "Too Soon" is a lilting waltz that confirms the swing of Carroll and Peplowski as a musical couple. In 2010, when this show at Dizzy's Club was recorded, "this," that is, Barbara Carroll's career at the piano, had been going on for about 80 years, and it showed no signs of stopping. ~ William Ruhlmann  http://www.allmusic.com/album/live-at-dizzys-club-how-long-has-this-been-going-on-mw0002187487

Personnel: Barbara Carroll (piano, vocal); Ken Peplowski (clarinet, tenor saxophone); Alvin Atkinson (drums).

James Morrison - Snappy Too

Styles: Trumpet And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 67:53
Size: 155,8 MB
Art: Front

( 5:43)  1. All of Me
( 6:35)  2. The Master Plan
( 6:11)  3. Getting Sentimental Over You
( 6:53)  4. The Call
( 7:25)  5. No Regret
( 4:24)  6. Zog's Jog
( 4:20)  7. Sad Blues
( 5:27)  8. Up a Lazy River
( 4:14)  9. Some Day My Prince Will Come
(12:05) 10. Going Home, Pt. 1
( 4:31) 11. Going Home, Pt. 2

The first question that arises about Snappy Too, the latest mind-blowing enterprise by Aussie James Morrison, is how is it to be filed: under "big band" or "duo"? The fact is, the album is both, as the personnel consists of Jeff Hamilton on drums and Morrison on everything else, from brass to reeds, bass to piano, even guitar, bass trumpet and banjo. That's no misprint. Morrison, the jazz world's consummate do-it-yourself enthusiast (not to mention musical genius), produced a similarly phenomenal album, Snappy Doo, more than twenty years before this one was conceived. He had more help the first time around with Hamilton, guitarist Herb Ellis and bassist Ray Brown comprising the rhythm section. As Ellis and Brown have since passed on, Morrison decided they couldn't be replaced, so he simply "brushed up his chops" and added guitar and bass to his ever-growing repertoire. What's next? Harmonica? Accordion? Conch shells? (Watch out, Steve Turre; he may be coming for you!)

Besides performing (brilliantly) throughout, Morrison wrote seven of the eleven numbers on Snappy Too and arranged everything save the standard "I'm Getting Sentimental Over You," on which his Tommy Dorsey-inspired trombone enhances Evan Lohning's lustrous chart. Morrison departs twice from the big-band format, on "Sad Blues" (scored for a traditional six-piece Dixieland ensemble) and "Someday My Prince Will Come" (a "duet" for guitar and bass trumpet). For those who believe no one person should embody that much talent, it is our sad duty to report that Morrison writes and arranges about as well as he plays, which is impeccably on every instrument. While he stops short of singing, it's not hard to envision his causing Tony Bennett, Harry Connick Jr. or Michael Buble some sleepless nights. He's that good at everything he does.

Lest there be any inclination to dismiss Snappy Too as no more than a "gimmick," it should be clearly noted that Morrison not only plays every instrument except drums, he plays them without exception, singly or in unison about as well as anyone on the planet. Not to belabor the point, but the man is beyond any question an unrivaled virtuoso. As to how the album was meticulously put together, Morrison writes: "We started most charts with a 'click' or 'guide' track and I put down the lead trumpet first. The reason . . . is that when you play live with a big band, everyone listens to the lead trumpet (or they should) so I needed that first to 'hang' everything else from. It's the hardest gig I've ever done on lead trumpet playing with no band and having to play as though you are leading another fifteen musicians who aren't there yet . . . "After the first trumpet I added the rest of the section, then moved on to saxophones, lead alto first. Then came the 'bones and on to the rhythm section. I went with the bass first, then guitar, piano and finally took the whole thing to Los Angeles to record Jeff on drums. . . . The way the drummer plays, both time and dynamics normally [have] a huge effect on the band. Jeff is used to having this effect as he plays and 'drives' the band. It was a new experience to have to sound like that whilst actually playing along to what was already there. Of course he did a superb job and made it look easy. The very last things to go down were the improvised solos. Some of these I did 'live' when Jeff was putting down the drums, and some were done back at my studios in Sydney." Central to the process, Morrison points out, was recording engineer Tod Deeley, "a musical magician who seems to know instinctively what I need when capturing music."

Speaking of the music, it begins with a bravura version of the standard "All of Me" (seductive Armstrong-like trumpet solo by you-know-who following a clever "trad" intro that sounds like it was lifted from an old 78rpm recording), Morrison's charming "Master Plan" (tenor sax, bass solos) and "Getting Sentimental." Another Morrison original, "The Call," is a mid-tempo blues for his eloquent trumpet, the easygoing "No Regret" a showcase for his equally evocative soprano sax and flugelhorn. The bright, fast-moving "Zog's Jog," yet another highlight, lends Hamilton a brief solo spot along with trumpet and trombone, which re-emerge in a more archival vein on the suitably heavy-hearted "Sad Blues." Morrison excels on baritone sax and trumpet on "Up a Lazy River," on guitar and bass trumpet (sans rhythm) on "My Prince." The album closes as it began, with Morrison in superior form on his impassioned two-part Gospel anthem, "Going Home," wherein he channels trumpeter Maynard Ferguson and pianist Oscar Peterson. Playing one or two instruments well is remarkable enough; playing almost all of them flawlessly is akin to superhuman. To the best of our knowledge only one other musician, Bill Prince, has recorded an album (Happy Thoughts) on which he plays everything but drums. Prince's album is splendid, Morrison's even more so. When the Grammy electors cast their votes this year they may have to reserve two statues for Morrison, one for Best Large Ensemble, the other for Best Small Group. Either one (or both) would clearly be well-deserved. ~ Jack Bowers  http://www.allaboutjazz.com/james-morrison-tall-and-small-millennium-jazz-orchestra-by-jack-bowers.php?&pg=1

Personnel: James Morrison: composer, arranger, trumpet, flugelhorn, soprano sax, alto sax, tenor sax, baritone sax, clarinet, trombone, bass trombone, piano, guitar, banjo, bass. Jeff Hamilton: drums.

Eric Marienthal - Got You Covered!

Styles: Flute And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 46:22
Size: 106,7 MB
Art: Front

(3:25)  1. I Will
(5:12)  2. New York State of Mind
(4:19)  3. Love and Liberte
(3:40)  4. Compared to What
(5:12)  5. I've Got the World On a String
(3:42)  6. Emotion
(4:33)  7. Two Part Invention #4 In D Minor
(4:32)  8. My One And Only Love
(4:20)  9. You've Got a Friend
(4:04) 10. Stand By Me
(3:17) 11. Moody's Mood For Love

It has long been a well-known "secret" that altoist Eric Marienthal, who is best known for his association with Chick Corea's Elektric Band and with his own groups, is a great straight-ahead jazz player, too. He has made occasional guest spots through the years and shown that he is a more versatile player than originally expected. For Got You Covered, Marienthal desired to record a set live in the studio, and he utilized some of his favorite musicians, with guest pianist Chick Corea playing a duet with Marienthal on "My One and Only Love." Unfortunately, Marienthal mostly plays it safe, not digging very far into these songs beyond their melodies. 

It is pretty unusual getting to hear him play "I've Got the World on a String" and "Moody's Mood for Love," but the latter is a note-for-note re-creation of James Moody's original solo and nothing more. Everything about this set comes across as safe and unadventurous. The overall results are pleasant and reasonably pleasing as background music, but Eric Marienthal is capable of much more. ~ Scott Yanow  http://www.allmusic.com/album/got-you-covered-mw0000718269

Personnel: Eric Marienthal (flute, soprano saxophone, alto saxophone); Russ Freeman (acoustic guitar, electric guitar, 12-string guitar, classical guitar, baritone guitar); Russell Ferrante (piano, keyboards); Chick Corea (piano); Dave Carpenter (acoustic bass); Peter Erskine (drums); Luis Conte (percussion).

James Tormé - Love for Sale

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 47:25
Size: 109,3 MB
Art: Front

(4:32)  1. Let's Stay Together
(2:53)  2. Love for Sale
(2:53)  3. A Better Day Will Come
(4:32)  4. Passin' Through
(4:01)  5. What Are Your Doing the Rest of Your Life
(3:33)  6. Rock With You
(4:39)  7. Autumn Leaves
(2:20)  8. Come Back to Me
(3:54)  9. Comin' Home Baby
(3:20) 10. Reminiscing In Tempo
(3:55) 11. One or the Other
(3:29) 12. Little Black Spider
(3:16) 13. Soft Songs

James Tormé is the son of jazz singer Mel Tormé, and as such has some huge shoes to fill; perhaps that's why he put of cutting this debut album till he was 38 years old. He grew up listing to Ella Fitzgerald and Michael Jackson, and had his mind set on a career as a pop and R&B singer until he started performing an a cappella take of Monk's "'Round Midnight" to close his shows. The response convinced him to switch gears and start exploring the classic American songbook. Young Tormé sounds a lot like his dad did when he was younger. He the relaxed phrasing that makes his singing seem effortless without skimping on emotion. He's also a songwriter, and his originals aren't half bad. "A Better Day Will Come," which won the John Lennon Songwriting Contest award for Best Jazz Song in 2009, is a breezy, optimistic swinger that sounds like an instant standard. "One or the Other" is a relaxed pop tune with an R&B feel, which has the singer trying to choose between two lovers, a guy who wants to have his Kate and Edith too. 

His vocal strikes a perfect balance between sincerity and smug self-confidence. The rest of the album consists of covers of classic tunes sung with the same laid-back confidence his dad employed. He sings the mournful introductory verses to "Autumn Leaves" in the original French, then changes up and finishes with a driving, jazzy version that includes a snappy scat interlude. He tackles his dad's early hit "Comin' Home Baby" and it stacks up favorably to Mel's with its smooth, confident delivery. The only misstep is his cover of Al Green's "Let's Stay Together," which gets an easy listening arrangement that's more Steely Dan than Memphis soul. ~ j.poet  http://www.allmusic.com/album/love-for-sale-mw0002132098