Freddy Cole - Merry-Go-Round

Size: 130,7 MB
Time: 56:07
File: MP3 @ 320K/s
Released: 2000
Styles: Jazz Vocals
Art: Front

01. Watching You, Watching Me (6:45)
02. It's Impossible (4:49)
03. Merry-Go-Round (5:49)
04. I Remember You (5:10)
05. Forgive My Heart (4:07)
06. Through A Long And Sleepless Night (4:14)
07. If You Went Away (5:34)
08. Take A Little Time To Smile (4:09)
09. I Realize Now I Miss You So (5:46)
10. Smoke Gets In Your Eyes (4:09)
11. You're Sensational (5:31)

Personnel:
Alto Saxophone, Flute – Lou Marini
Baritone Saxophone – Gary Smulyan
Bass – George Mraz, Herman Burney (tracks: 4, 5, 8, 9, 11)
Drums – Curtis Boyd
Guitar – Jerry Byrd (2)
Piano – Cedar Walton (tracks: 1 to 4, 6, 7, 10)
Piano, Vocals – Freddy Cole
Tenor Saxophone – Eric Alexander
Trombone – Steve Davis (7)
Trumpet – Lew Soloff

Freddy Cole is a songwriter's dream, able to impart his own distinct personality to a song while remaining faithful to its lyric and melody. He surrounds a song with the warm presence of his voice, but within that breathy glow, he's capable of the subtlest inflection, from irony to wary satisfaction and the most wistful sense of loss. He's also able to swing masterfully at medium tempos, as he does on "I Remember You" and the relaxed rendition of "It's Impossible." While Cole can stamp his own identity on a familiar tune, he can also bring out the best in an unexpected song. "Merry-Go-Round," by the team of Bobby Scott and Herb Martin, stands out here, as does a medley of lesser-known songs recorded by Cole's brother Nat, "I Realize Now" and "I Miss You So." The settings are always apt, whether it's Cole's own piano and rhythm section contributing to the intimacy of "Forgive My Heart" and the ebullient swing of Cole Porter's "You're Sensational," or Cole's ceding the piano chair to Cedar Walton, adding a horn section, and sharing several songs with distinguished soloists. Trombonist Steve Davis adds a crisp solo to "Watching You, Watching Me," a Bill Withers song that readily adapts itself to the light-bop groove, and tenor saxophonist Eric Alexander complements Cole's voice with some thoughtful fills on "It's Impossible." Stuart Broomer

Merry-Go-Round

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Chris Vadala - Eastern Standard Time

Size: 116,0 MB
Time: 49:27
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. My Secret Love (4:33)
02. Doxy (4:54)
03. Gentle Rain (7:00)
04. Waltz For A Lovely Wife (3:36)
05. It's A 'U' (2:37)
06. Indian Summer (4:02)
07. Footprints (6:30)
08. In A Mellow Tone (4:08)
09. B'bye (7:48)
10. Caravan (4:14)

Following up on his debut release "Out of the Shadows", Art of Life Records is pleased to present, "Eastern Standard Time", a new quartet recording by Chris Vadala and guitarist Rick Whitehead featuring Barry Hart on drums and John Previti on acoustic bass. Recorded at Bias Studios in Springfield, Virginia in January of 2015, "Eastern Standard Time" features songs composed by Sonny Rollins ("Doxy"), Luiz Bonfa ("Gentle Rain"), Phil Woods ("Waltz for a Lovely Wife"), Chris Vadala ("It's a "U"), Wayne Shorter ("Footprints"), Duke Ellington ("In a Mellow Tone" & "Caravan") and Chuck Mangione ("B'Bye"). 24-bit Digital Mastering by Paul G. Kohler at Art of Life Studios in Charleston, South Carolina in March 2015.

Liner Notes:
This recording project is the result of my collaboration with the Rick Whitehead Trio. This session is essentially a live studio date recorded at Bias Recording Studio in Springfield, VA and reflects the music that we would customarily use as an opening set in the various venues where we perform. The repertoire selection is based on our usual mix of three up-tempo swing tunes, two medium tempo swing tunes, three Latin Jazz tunes, a ballad and a Jazz waltz. "B'Bye" is a nostalgic ballad that flugelhornist Chuck Mangione wrote when he was just 16 years old and included on his second Grammy Award-winning recording, "The Children of Sanchez". In contrast, "Indian Summer", by Victor Herbert, is an uplifting and spirited piece played in the 1920's style of the great soprano saxophonist, Sidney Bechet. "Waltz for a Lovely Wife" was written by the eminent saxophonist Phil Woods, one of my heroes and former teacher. "Footprints", written by another heralded saxophonist, Wayne Shorter, takes on a different treatment and meter from its original conception in my arrangement. Since we're all based in the DC Metro area it's fitting that we record a couple of pieces, "Caravan" and "In a Mellow Tone", by the local icon, Duke Ellington. "Gentle Rain", by Brazilian composer Luiz Bonfa, is one of our set list regulars as are "Doxy" by Kennedy Center Honoree saxophonist Sonny Rollins and the opening piece on this recording, "My Secret Love" by Mitchell Parish and Bobby Sherwood. Finally "It's a "U", a contrafact on the standard "There Will Never Be Another You", is based on the Sesame Street TV feature in which the characters introduce individual letters of the alphabet. ~Chris Vadala

Eastern Standard Time

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Michele Holland - A Table For Two

Size: 110,9 MB
Time: 47:37
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz Vocals
Art: Front

01. 'Round Midnight (5:02)
02. What's Going On (5:00)
03. Table For Two (5:36)
04. I Can't Help It (6:59)
05. Love On The Beach (5:18)
06. Dindi (Intro) (1:39)
07. Dindi (5:06)
08. Sacred Kind Of Love (4:46)
09. Ooo Baby Baby (4:24)
10. What's Going On (Reprise) (3:44)

On one beautiful sunny day last spring, I noticed my wife, Michele sitting at a table that overlooks the patio of our home in Orlando, Fla. That table had become a symbol to us as a private place in our bedroom, where over a cup of coffee or glass of wine, we would discuss important matters, make decisions, dream of the future or just contemplate the beginnings of the universe. The table was only for two, yet sort of a forum for our sharing of ideas, feelings and communication. As I observed Michele on this particular day, with earphones on and a notebook and pen in hand, I realized that the table for two had now taken on an additional yet new functional role.

In psychological parlance, this phenomenon was often referred to as the empty nest syndrome. Both our children, Rashida and Kiar were now away in college. Although rewarding, the challenges and responsibilities of child rearing were no longer the focal point in our lives. Yet this did not seem so devastating as anticipated. Michele seemed finally able to sense a release of her own creative energy to write and compose music. I too, having recently retired from my profession, felt the freedom to pursue my interests in writing and research in regional African-American history. So out of this, the song: TABLE FOR TWO was inspired. The feeling could not have been more succinctly expressed, than in Michele's words:" You and I alone, sitting at our private little table. No kids, No mama, No Papa, No cousins, No brothers. No Sisters. Just you and I, Not even a dog can come in tonight."

Throughout the 80s and 90s, Michele's performances increasingly accumulated an enthusiastic audience from New York (her original beginnings) to the summer vacationers in Martha's Vineyard and in the last six years in the Central Florida Area. She was fortunate to have been able to work with some of the finest musicians in the area, such as Jacqueline Jones, (a well known and talented Blues and Jazz singer); Billy Hall (a truly gifted pianist and keyboard player), both of whom have become friends as well as an inspiration. These friendships led to performances at a host of clubs around Central Florida, such as the Westin Grand Bohemian, House of Blues Blues School House at Disney World, and helped to bring her into contact with many other outstanding musicians. These include Don Black, saxophone; Robert Wawoe, bass and congas; Harvey "Lex"Marshall, drums; and Adib "Spiceman" Solaam, congas.

The song LOVE ON THE BEACH, written by Billy Hall and melodically interpreted by Michele, was reminiscent of our summer home community on Martha's Vineyard. The melody of the music reminds one of the whisper of the soft summer breezes of the Cape Cod Sound. The uniqueness of the Vineyard beaches was not only of sand and sea nor simply an abstract concept, but perhaps for some, a place where actual conception (no incriminations intended!) and life long relations began. For Michele, memories of the after-beach activities are just as poignant! Michele performed at many venues, including Lola's Restaurant and the Ale House in Oak Bluffs, The Seafood Shanty, The Black Bean in Edgartown and many community related appearances at the Old Whaling Church in Edgartown, Union Chapel or Cottager's Corner in Oak Bluffs and other appearances with the Cottagettes.

WHAT'S GOING ON was selected as an aftermath of 9/11, when we had our attention redirected to war. We entered another cycle of preoccupation with our potential for widespread conflict, death and destruction in Afghanistan, Iraq, and other places in the world. It brought back memories of the Vietnam War Era when WHAT'S GOING ON, was written, after Marvin Gaye's brother returned from Vietnam and told of his experiences there. Michele and company, were able to bring a unique and special message by doing two different renditions of this song.

Michele's arrangement of I CAN"T HELP IT, from Michael Jackson's "Off The Wall" album, seems to meld into what is most characteristically awesome and natural of her. It has elegance with the smooth sounds of Don Black on sax, and the magic of Billy Hall's artistry, tempered with the classic swing/funk beat provided by Lex Marshall on drums, Spiceman Solaam on congas and Robert Wawoe on bass. Michele revealed the shape of her unique signature in style and accompaniment.

A Table For Two

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Boney James - Futuresoul

Size: 104,2 MB
Time: 41:09
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz
Art: Front

01. Drumline (4:15)
02. Vinyl (4:05)
03. A Little Attitude (3:59)
04. Watchu Gon’ Do About It (3:37)
05. Either Way (4:05)
06. Hand In Hand (3:49)
07. Fortuneteller (4:33)
08. The Moment (4:22)
09. Futuresoul (4:04)
10. Far From Home (4:16)

Title aside, there is something very familiar about Futuresoul, Boney James' follow-up to 2013's Grammy-winning Beat. With a modern production approach, there is a deliberate look back at his great inspiration, Grover Washington, Jr., in particular, the late saxophonist's groundbreaking period between 1975 and 1983. Washington, then recording for Kudu, was deeply influenced by vintage soul music and equally taken with funk. He melded them seamlessly with warm, melodic jazz in a welcoming tone and songlike phrasing that virtually created the "smooth jazz" genre. Those tropes influenced and benefited James greatly; he's continued to evolve and transform the music since his 1992 debut album, Trust. His tone here is pure retro analog, while the rest of Futuresoul's sounds derive from the current production techniques of R&B and pop. He collaborated with several co-producers, including Jarius Mozee on the slinky club floor opener "Drumline," and with Dwele on the fingerpopping summertime groove in the title track. Stokley (Williams) makes a vocal appearance on the lovely crossover tune "Either Way." While the scratchy sample at the intro to "Vinyl" is perhaps too obvious, the melody is low, sexy, and slow, with elegantly layered and harmonically staggered saxophones. Rob Bacon's chunky guitar and Nutty P Beats' loops and spacy synths are tastefully stitched into the backdrop. The ballad "Hand in Hand," with Darrell Smith's programmed loops and low-end keyboard bass, is lithe and romantic, though the earthy, Southern gospel tinge of Tim Carmon's B-3 adds roots and depth. Closer "Far from Home" features the muted trumpet of Marquis Hill as a lyric foil for James. Carmon's acoustic piano fills, Vinnie Colaiuta's impressionistic drums, and Lenny Castro's illustrative percussion add a restrained yet cinematic feel to the track. While Futuresoul may not have the outward propulsive force of Beat, it is its flip side: a more lyrical outing that tastefully and thoughtfully melds grooves from the history of smooth and contemporary jazz to modern adult R&B.

Futuresoul

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Mercedes Nicole - People Are Talking

Size: 107,4 MB
Time: 46:07
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues Vocals
Label: Mercedes Nicole
Art: Front

01. Would You Believe (5:06)
02. Moondance (4:42)
03. Touching The Sky (Radio Edit) (5:28)
04. People Are Talking (5:23)
05. Autumn In New York (4:05)
06. Dindi (4:44)
07. All The Little Ponies (Remembering Oso) (2:45)
08. I Loves You Porgy (5:21)
09. Fly Me To The Moon (3:30)
10. Chicken, Biscuits & Gravy (4:57)

Mercedes Nicole’s infatuation with music began sitting at the feet of her father at age seven as he played and replayed the warped albums he treasured of the great women in jazz, Billy Holliday, Ella Fitzgerald, and Sarah Vaughn. Seeing her complete fascination with jazz, her father began sneaking her into clubs in Los Angeles, where she spent most of her childhood and teen years, seeing and hearing greats like Nancy Wilson, Bobby Hutchinson and Cal Tjader. However, being brought up as a strict Baptist, Mercedes did not venture into music like her peers in high school or college, until age 30, when her fascination with Jazz became undeniable.

Mercedes is vocal jazz stylist who interprets standards, blues, original compositions, and New Gospel music. In 2005 she wrote, produced and performed her first tribute to Nina Simone at the 300-seat Microsoft Auditorium in the Seattle Public Library. In 2008 and 2009, she performed the treasured recordings of Dinah Washington and Sarah Vaughn at Demetrio’s Jazz Alley and she has graced the stage in a variety of top class venues.

Recently we ran into her latest single release, “Touching The Sky” and followed it up by browsing through some of the songs from her CD “People Are Talking”. The album contains 6 covers, 3 original songs and 1 prayer. We discovered that Mercedes is a genuine gem amongst the clutter composing today’s musical spectrum. Thank goodness she’s faithful to her remarkable vocal stylings.

Talent aplenty, Ms. Nicole’s voice and delivery strike your memory in familiar ways. Comparison to world-famous blues and jazz females are tempting, perhaps justified. Nonetheless, Ms. Nicole is never derivative but rather refreshingly comfortable in an all-new manner. Mercedes Nicole is also smart enough to work superb material. On her CD “People Are Talking”, she easily interprets standards by such great tunesmiths as Van Morrison, Vernon Duke, Antônio Carlos Jobim, and George Gershwin into her own repertoire.

The first time you hear Ms. Nicole you make the assumption: this is some legendary great from the past in some glorious newly re-mastered recording you have never heard before. You’re a little surprised when you’re wrong and more than a little intrigued – this is Mercedes Nicole, who in her own quiet, unassuming way is as much bigger than life as any of her peers.

I have a passion for female jazz vocalists and track hundreds of them, known and unknown. Simply put, Mercedes Nicole is a superb and moving singer, the real deal, with her own voice, which is as smooth and rich as aged single-malt scotch over ice. Her phrasing is dead-on and there isn’t a single clunker in her catalog.

Her songs are arranged and performed with a subtlety, restraint and intelligence that throw into marked prominence the deficiencies of modern-day poseurs who sing a variety of songs in a jazz-inflected style but embody disingenuousness with every breath. Listen beyond the superficial similarities, to Holiday, Fitzgerald and Vaughn, and you’ll hear in Mercedes Nicole a singer who is plugged into the essence of what elevates the jazz art form: simple, direct expression, and no reliance on overtly forced technique.

Ms. Nicole’s husky mellow tone elicits a tender blend of romance, vulnerability and sensuality, giving her a style of her own. And it is most evident on her original compositions like “People Are Talking”, accompanied beautifully by Alexey Nikolaev’s saxophone, and the melancholic, yet uplifting “Touching The Sky”. She has an effortless palette of notes she moves through with a pitch perfect and low resonant delectability, which can be admired on the bluesy “Chicken Biscuits & Gravy”, another original composition.

Ms. Nicole is also ably assisted by some talent musicians, including Piano – Darin Clendenin – Gregory Smith, Bass – Clipper Anderson, Drums – D’Vonne Lewis – Jamael Nance – Don Gunn, Cello – William Smith, Guitar – Steve Peterson, Vibes – Susan Pascal.

From classic standards to original compositions, Mercedes Nicole’s voice and timing of her words and music brings us a fresh clear view of life and takes us to an earlier time. If you love great female vocals, singing great songs, this lady and her CD “People Are Talking”, will stand up to anything you have ever heard…by anyone. Trust me, I know from experience. ~by Jeena Johnson

People Are Talking

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Pat Martino - We'll Be Together Again

Bitrate: MP3@320K/s
Time: 43:39
Size: 100.0 MB
Styles: Post bop, Guitar jazz
Year: 1976/1998
Art: Front

[15:54] 1. Open Road (Olee Variations And Song Open Road)
[ 4:57] 2. Lament
[ 5:01] 3. We'll Be Together Again
[ 4:43] 4. You Don't Know What Love Is
[ 4:57] 5. Dreamsville
[ 2:42] 6. Send In The Clowns
[ 5:21] 7. Willow Weep For Me

When We'll Be Together Again was recorded in 1976, a 31-year-old Pat Martino was four years away from being operated on for the brain aneurysm that would wipe out his memory. The Philadelphia guitarist was also very much at the height of his creative powers -- a fact that's hard to miss on this excellent session, which 32 Jazz reissued on CD in 1998. Forming an intimate duo with electric pianist Gil Goldstein, Martino is at his most introspective on sparse interpretations of the standards "You Don't Know What Love Is" and "Willow Weep for Me" as well as Henry Mancini's "Dreamsville," J.J. Johnson's "Lament," and Stephen Sondheim's "Send in the Clowns." Martino's lyricism was never more personal than it is on this album, which was first released by Muse and was out of print for many years. Thankfully, We'll Be Together Again finally came out on CD when 32 Jazz reissued it in 1998.

We'll Be Together Again

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Monday Orchestra - Monday Orchestra Meets Bob Mintzer

Bitrate: MP3@320K/s
Time: 76:24
Size: 174.9 MB
Styles: Big band
Year: 2015
Art: Front

[ 3:43] 1. Bouncin' With Bud
[ 8:13] 2. Havin' Some Fun
[11:42] 3. Swangalang
[ 6:52] 4. March Majestic
[ 1:57] 5. Blues For Bob Pt 1
[ 8:53] 6. San Juan Shuffle
[ 6:36] 7. Easy Living
[ 8:06] 8. My Shining Hour
[ 1:15] 9. Blues For Bob Pt 2
[ 8:40] 10. New Rochelle
[10:21] 11. Runferyerlife

Monday Orchestra is a 19-piece jazz ensemble based in Milan, formed by arranger Luca Missiti and by trumpet player Pietro Squecco in 2006. Their goal was to create a brand new orchestra in order to play many different styles, from swing to jazz standards to pop and funk tunes.

Monday Orchestra, conducted by Luca Missiti, is an ensemble formed by musicians whose experiences vary from many of Italy’s best orchestras or big bands (Orchestra Pomeriggi Musicali in Milan, Orchestra Festival di Sanremo, Demo Morselli Big Band, Jazz Company Big Band, Nick The Nightfly’s Montecarlo Nights Orchestra, Civica Jazz Band led by Enrico Intra, Civica Orchestra di fiati del comune di Milano).

In 2010 Monday Orchestra released its first cd, published by Ultrasound Records, special guests are Emilio Soana on trumpet, clarinetist Paolo Tomelleri, Dario Faiella on guitar, and Gabriele Comeglio on saxophone. Since 2006 Monday Orchestra has been performing with guest soloists such as Italian soloist and lead trumpet player Emilio Soana, clarinet virtuoso Paolo Tomelleri, Gabriele Comeglio one of the most important Italian arrangers, conductors and saxophonist, great singers such as Stefano De Maco and Simona Severini, Italian trumpet virtuoso Andrea Giuffredi and Tony Arco, one of the most important Italian drum soloists. In 2012 Monday Orchestra has been resident orchestra for the first edition of the Bflat Jazz Festival in Milan, playing with guest soloists such as the great American trumpet player Randy Brecker, in a concert dedicated to the Thad Jones’ songbook and with the great saxophonist and arranger Bob Mintzer, playing his own compositions.

Monday Orchestra Meets Bob Mintzer

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Ana Caram - Hollywood Rio

Bitrate: MP3@320K/s
Time: 41:39
Size: 95.4 MB
Styles: Vocal jazz, Brazilian jazz
Year: 2004
Art: Front

[4:05] 1. Estate
[3:15] 2. The Summer Knows
[3:45] 3. Here, There And Everywhere
[3:08] 4. I'm Getting Sentimental Over You
[3:38] 5. The Shadow Of Your Smile
[3:41] 6. Raindrops Keep Falling On My Head
[3:34] 7. Linda
[3:04] 8. Tempero Brasileiro
[2:47] 9. Smile
[3:25] 10. As Time Goes By
[4:12] 11. I Will Wait For You
[2:59] 12. Pra Voce

A superior Brazilian jazz singer, Ana Caram takes a slight detour on this CD, stretching her repertoire while mostly still performing in a style influenced by bossa nova. One does not get to hear such songs as "I'm Getting Sentimental Over You," "Raindrops Keep Falling On My Head," "Smile," and "As Time Goes By" in a bossa nova setting that often. Also unusual is that Michel Freidenson plays all of the instruments other than the reeds (which are performed by Lawrence Feldman), and most of his electronic instruments sound real enough not to be an issue. The focus throughout is on Caram's lovely voice and she excels on this material, showing that it really is not what you sing but how you sing it. Recommended. ~Scott Yanow

Hollywood Rio

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Sax Gordon - In The Wee Small Hours

Bitrate: MP3@320K/s
Time: 49:26
Size: 113.2 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[6:09] 1. The Glory Of Love
[6:15] 2. In The Wee Small Hours Of The Morning
[6:33] 3. When I Grow Too Old To Dream
[6:38] 4. My Old Fame
[4:26] 5. Whatever Lola Wants
[4:53] 6. Blue And Sentimental
[5:39] 7. Big Top Blues
[2:59] 8. Easy Living
[5:50] 9. Bubbles

Sobriquet and appearance aren’t likely to endear Sax Gordon to the jazz intelligentsia any time soon. Neither is his obvious acumen for creative facial grooming. Even so, In the Wee Small Hours is an aural book that belies the questionability of its cover with a program of proficient, if derivative, organ combo jazz. The instrumentation is identical and the vibe very similar to Stanley Turrentine’s 1961 classic Dearly Beloved for Blue Note with Gordon backed by Italian sidemen Alberto Marsico on Hammond B-3 and Alessandro Minetto on drums.

The Turrentine influence is audible from trio’s opening interpretation of “The Glory of Love” with the leader even going so far as to close the tune out with the sort of delicate, soulful trills that were one of Dr. T’s trademarks. Gene Ammons also weighs heavy in Gordon’s horn vernacular and that Chicago connection spells a big clue as to why Delmark impresario Bob Koester agreed to ink a deal for the album’s release. Gordon’s bonafides reside primarily in jazz-informed blues having served as a longtime sideman with Duke Robillard and helmed several projects for the Bullseye label, but the program here is steeped in a centrist jazz tenor lineage.

Each of the pieces except for Gordon’s own “Big Top Blues” has strong associations with past tenor greats. Gordon alludes to Ben Webster with the title tune, blowing the amorous melodic line against Marisco’s throbbing chords and Minetto’s drowsy brushes. “When I Grow Too Old to Dream” nods to Arnett Cobb in its leisurely bounce and relaxed phrasing while “Blue and Sentimental” brings the group back to a slow ballad smolder with Gordon stretching his pliable phrasing in a laconic manner that recalls Eddie “Lockjaw” Davis at his most even-tempered and effervescent.

“Whatever Lola Wants” brings some playful bump and grind to the proceedings with Marisco flipping his switches for a reverberating zamboni-ready sound and Minetto syncopating against Gordon’s sultry lead. The set winds down with a jukebox single-sized jaunt through “Easy Living” and a relatively obscure Wild Bill Moore number “Bubbles”, which threads in some jocular R&B honking. Sax Gordon may not exactly look the part, but on strictly auricular terms he’s earned convincing credibility as a journeyman worth noting. ~Derek Taylor

In The Wee Small Hours

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Chita Rivera - And Now I Swing

Styles: Jazz, Stage & Screen
Year: 2009
File: MP3@320K/s
Time: 37:38
Size: 86,3 MB
Art: Front

(2:37)  1. I Won't Dance/Let Me Sing
(4:24)  2. Nowadays
(2:55)  3. Where Am I Going
(2:57)  4. Sweet Happy Life/Mas Que Nada
(3:52)  5. Love and Love Alone
(4:31)  6. Carousel
(4:20)  7. Not Exactly Paris
(2:51)  8. I Don't Remember You
(2:53)  9. More Than You Know
(2:53) 10. Circle of Friends
(3:20) 11. A Nightingale Sang in Berkely Square

As multi-talented Broadway stars go, Chita Rivera has always been a dancer first, then an actress and singer, which may help explain why her recorded output in a career dating back to the 1950s consists largely of appearances on original Broadway cast albums. She did make one solo album, And Now I Sing, for a tiny record label in the 1960s, so this second effort, called And Now I Swing, is something of a long-awaited sequel. The 76-year-old, who continues to tread the boards, often in a one-woman show performed in theaters and nightclubs, contends in a sleeve note that the album "reveals another side of my personality," and is her version of the sort of album Rosemary Clooney or Mel Tormé used to make. Along with the album title, one thus might expect a vocal jazz recording, but that isn't quite the case. Rivera has commissioned new arrangements of the songs, some of them done by Michael Croiter, the co-founder of the startup record company called Yellow Sound Label, and those charts, played by a small band, certainly are intended more for the cabaret than the stage. 

But there's still a lot of show music here, much of it written by the songwriting team of John Kander and Fred Ebb, in whose shows Chicago, The Rink, and Kiss of the Spider Woman Rivera has appeared on Broadway, not to mention "Where Am I Going," a song from Sweet Charity, in which she toured. Rivera is an expressive singer with a limited range who shows her age here and there, but she puts across the songs well, especially those that have more rhythm. She is really at home when the rhythm turns Latin, as it does in the second part of the medley "Sweet Happy Life/Mas Que Nada" and the gentle samba "More Than You Know." Kander and Ebb's "Love and Love Alone" is a largely unheard and highly characteristic ballad for them from The Visit, one of the shows they were working on when Ebb died and which Rivera has worked on since. It allows her to look forward as well as backward on an album that requires her to stand still and sing for once. ~ William Ruhlmann  http://www.allmusic.com/album/and-now-i-swing-mw0000826624

And Now I Swing

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Dan Reynolds - River Maiden

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 45:55
Size: 107,6 MB
Art: Front

(4:05)  1. Last Chance
(3:57)  2. River Maiden
(3:46)  3. Summer Rain
(4:21)  4. Buttercup
(4:18)  5. Takeiton Faith
(3:06)  6. Angels Butterflies
(4:32)  7. Pinkys Groove
(4:22)  8. Clives Jive
(4:29)  9. Lady Cloud
(5:14) 10. Big Sky
(3:40) 11. Calico Autumn

Dan Reynolds started his career performing regularly with DC-based jazz greats such as Marshall Keys, Ron Holloway, Keter Betts, Scott Ambush, Vinny Valentino, & Keith Killgo of the Blackbyrds. He also worked with Eddie Harris, Larry Coryell, Najee, Maysa, Ken Navarro and many more. His first solo project Never Alone (1993) was followed by Lifeline (1994), To Be Sure (2000) and now River Maiden. Greg and Gary Grainger, Marshall Keys, Al Williams, & Scott Ambush are among the artists of this album. To classify his album just as smooth doesn't do justice to his musical art. His work deserves a closer observation.Last Chance is the starting point of all good. Dan's piano and Rob Holmes' sax introduce into the melody expanding to awesome soli of Dan and guitarist Dan Leonhard which bridge the fragments of the melody line. The song is closed by Rob's final subtle sax solo.

Dan's distinctive appreciation of everything beautiful finds its expression in River Maiden. Dan not only masters the piano performance, he is also a musical expert of synthesizer and keyboards. His pitches, attacks, sustain and release are just on the point delivering the maximum of emotional outbreak. Gary Grainger on bass delivers brilliant rhythmical syncopated accents. Peaceful moments are the theme of Summer Rain. Dan's piano performance outlines the melody filled with color by Marshall Keys on sax. Buttercup features Chris Battistone on muted trumpet. His performing credits include the Glenn Miller Orchestra, Ron Holloway, James Moody, Harry Connick Jr., Nancy Wilson, and many more. Nevertheless takes Dan the lead on piano with nonchalance and sovereignty. Take It On Faith presents Dawn Robinson from the famous R&B group En Vogue in a modest duet with Jeff Watson. Tone color and richness of tone of Dawn's is incredible and so unfamiliar to her appearance in En Vogue. Angels & Butterflies pours out a cornucopia of brilliant piano tones over body and soul. A masterpiece.

Pinky's Groove is a musical symbolization of pure joy. Matvey Sigalov showcases his tremendous talent on violin. He is recognized not only as a violin player , but also as an original composer and a guitarist. Retro sound on Hammond B3 offers the dynamic Clive's Jive. On Lady Cloud Dan Reynolds reveals his romantic vein melting his piano performance with the mellow tones of Rob Holmes' sax. The theme of great America mirrors in Big Sky associating images of vast prairies, mountains and forests. Calico Autumn closes the album with Dan's sensitive piano play answered by Dan Leonard on guitar. Dan Reynolds and his fellow musicians illustrate on River Maiden their capabilities and personalities in every imaginable way. The beauty of melodies develops like a blossoming  flower or like walking through a mythic garden. http://www.smooth-jazz.de/starportrait/Reynolds/Rivermaiden.htm

Personnel:  Dan Reynolds - piano & keys;  Mark Russell - bass;  Greg Grainger - drums;  Rob Holmes - sax;  Dan Leonard - guitar

River Maiden

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Jan Shapiro - Piano Bar After Hours

Styles: Vocal And Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 50:32
Size: 117,7 MB
Art: Front

(3:47)  1. On a Slow Boat to China
(2:49)  2. You're Getting to Be a Habit
(6:28)  3. I Keep On Loving You
(4:00)  4. They Say Its Wonderful
(4:26)  5. Doodlin'
(3:56)  6. Lost Up in Loving You
(5:16)  7. Time Lies
(3:38)  8. If I Were a Bell
(5:04)  9. Who Cares
(4:42) 10. Tell Me
(6:22) 11. Company

Professor and former Berklee College Voice Department Chair Jan Shapiro does make it into the studio occasionally. Her previous recordings include Read Between The Lines (Self Produced, 1997), Not Commercial (Self Produced, 1998) and Back to Basics (Self Produced, 2006). Shapiro's fourth recording, Piano Bar After Hours continues where she left off with Basics, presenting a stripped down version of jazz vocals performed in an intimate duo format with her favorite pianists (save for Al Jarreau's "Tell Me" which is something else altogether).

Piano Bar... is a collection of eleven far-flung songs that Shapiro sings with her experience-informed soprano voice. Where Shapiro vamps a show tune style with Frank Loesser's "A Slow Boat to China," slowly, perfectly supported by pianist Daniela Schachter, she makes Mark Winkler's lyrics sparkle on "I Keep On Loving You." She is as effective singing Rickie Lee Jones' "Company" as she is scatting Horace Silver's fun "Doodlin.'" But where Shapiro proves her temper singing almost casually on Loesser's "If I Were a Bell," where she turns the piece into an upbeat ballad with pianist John Harrison III bouncing right along. "Tell Me" is as experimental as its composer with Shapiro interpolating a Jarreau-McFerrin vibe with multi-voice tracking. Shapiro should get out of the classroom more. ~ C.Michael Bailey  http://www.allaboutjazz.com/piano-bar-after-hours-jan-shapiro-self-produced-review-by-c-michael-bailey.php
 

Personnel: Jan Shapiro: vocals; Daniela Schachter: piano (1, 4); Bob Winter: piano (2, 9); Tim Ray: piano (3, 11); Russell Hoffman: piano (5, 6); John Harrison III: piano (7, 8); Adriana Balic: keyboards (10); Bob Stoloff: vocals drums (10); Joey Blake: vocals bass (10).

Piano Bar After Hours

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Susie Glaze - Home on the Hill

Styles: Country, Vocal
Year: 2002
File: MP3@320K/s
Time: 45:14
Size: 104,5 MB
Art: Front

(0:52)  1. Intro - Come All Ye Fair and Tender Ladies
(3:23)  2. One More Mile
(2:48)  3. Paper Wings
(4:22)  4. The Lightning Express
(4:54)  5. My Only Love
(2:46)  6. Prove My Love
(3:54)  7. Home on the Hill
(2:09)  8. Wichita
(2:55)  9. Making Plans
(4:54) 10. Who Will Watch the Home Place
(4:08) 11. Go Dig My Grave
(3:21) 12. Healing Waters
(4:41) 13. Brightest and Best

"At a time when too many singers are hopping on the "O Brother, Where Art Thou?" bandwagon by hiring a freelance fiddler, putting a little twang in their pop voices and yowling mournfully, Susie Glaze sings forthrightly, unaffectedly, about life's travails, with a sense of musical history that suffuses every note. "Home on the Hill" is one of the rare recent albums in which the vocalist sings with restraint because she knows that holding back can pack a big emotional wallop; because she knows her material can be most effective if it's delivered with precision, not overwrought passion; and because she's confident enough to know she can blow the roof off any joint lucky enough to book her." ~ Ken Tucker, critic-at-large for "Entertainment Weekly" and rock-music critic for National Public Radio's "Fresh Air."

"Susie Glaze is a fresh young voice, strong and flexible, interpreting the variety of songs in this group with ease. And, she's a communicator, to me the most important of qualities in a singer. More personally, listening now to Susie singing out on my family's 'Come All Ye Fair and Tender Ladies,' the thought strikes me...how wonderful to hear this new voice taking up my songs...quite suddenly I know that, with people like this to trust, my music will go on living, and soaring. And so will I." ~ Jean Ritchie

"I especially liked the Jean Ritchie songs.....You captured the lonesome sweetness of her voice and delivery." ~ Laurie Lewis  (Rounder Recording Artist)

"Heavenly music sung with an ethereal voice." ~  Michael Fleming  (New West Music Recording Artist)

"She has the gift of telling a story through music with a voice as clear and fresh as a spring morning." ~ Terri Anderson, Curator (Kentucky Music Hall of Fame and Museum)

"One of the pleasures of 'Home On The Hill' is the facility with which Susie Glaze changes musical lanes...From mountain ballad to swing to tex-mex, the program honestly reflects Susie's personality - invitingly homey and graceful...from a personal point of view, this is the kind of voice and material I as a fiddler love to accompany. 'Brightest and Best,' the duet of voice and droney fiddle...was one of those shining one-take moments that emotionally sustain studio musicians through harsh long months of decongestant jingles." ~ Kenny Kosek (Rounder Recording Artist )  http://www.cdbaby.com/cd/glaze

Home on the Hill

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