April Hall - Hall Sings Hines

Size: 101,2 MB
Time: 42:24
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz Vocals
Art: Front

01. I Go For You (4:20)
02. I-95 (3:03)
03. Just Us (4:26)
04. 4 Blues (5:41)
05. Encinitas (5:50)
06. To The Street (2:37)
07. A Stone (5:34)
08. We Could Have The Same (5:24)
09. Traces (5:24)

A teaming of talented ladies brings us Hall Sings Hines. The combination of vocalist April Hall and pianist Pamela Hines, who wrote all the tunes, seems a perfect fit, like Tony Bennett's work with the Ralph Sharon Trio for the past several years.

If the music that Hall and Hines make represents an extension of their personalities, they both must be people possessed of an uplifting panache, a dash of style. "I Go for You" opens the set with a swaying tempo that Hall navigates with a fluid grace, a rich tone, and an appealing assurance, before Pamela Hines takes a solo that seems informed by Bill Evans, but with a more outward-looking attitude, vivid and bright. Hines' songwriting has—here and elsewhere in the set—a classic feeling, Cole Porter-esque in terms of melody.

"I-95" ups the tempo on a Latin groove, with bassist John Lockwood and drummer Reed Dieffenbach shining, in accompaniment and some solo space. In lesser hands bass solos have a way of dragging a tune down, but Lockwood's work lifts it, in front of Deiffenbach's bouncy drums. "Just Us" is a good old-fashioned love song that makes me think of those great late-'40s/early-50's musicals. The tune features Hall in achingly beautiful voice in front of bass and drums—nice brush work by Dieffenbach—with Hines sparkling around the vocal.

"4 Blues" changes the pace, kicking out the jams, in a belt-it-out affair for Hall, with the band cooking, with a quirky, slightly angular solo from Hines. "Encinitas" (named for one of California's prettiest cities, nestled on the coast twenty miles north of San Diego) drifts into a relaxed mode, with Hines' solo sounding like sunlight glinting off the faces of blue waves.

An impressive vocal effort covering some fine original Pamela Hines tunes. ~Dan McClenaghan

Personnel: April Hall: vocals; John Lockwood: bass; Redd Dieffenbach: drums; Pamela Hines: piano.

Hall Sings Hines

---

Dom Minasi - Quick Response

Size: 136,4 MB
Time: 58:50
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz: Straight-Ahead/Mainstream, Hammond Organ
Art: Front

01. What Is This Thing Called Love (5:25)
02. Feels Like Rain In China (9:54)
03. For My Father (9:05)
04. Quick Response (4:53)
05. I Who Have Nothing (5:46)
06. Into The Night (6:19)
07. Dizzy Lizzie (5:44)
08. When Your Dreams Come Rue (7:40)
09. Softly As In A Morning Sunrise (3:59)

Quick Response is Dom Minasi's latest effort since last year's Time Will Tell, also on CDM Records. Supported by a group of musicians who are no strangers to playing both classic hard bop and avant stuff, Minasi is delivering an album that in a way dwells both in classic and avant-garde territories.

The choice of material encompasses standards such as Cole Porter's "What is This Thing Called Love" and "Softly As in a Morning Sunrise." What is interesting is that these standards are not approached in a classic way like they have been a thousand times before; the musicians take the material as a basis for reinvention and improvisation. From the opening track until the last, one can hear different worlds colliding into one. "Dizzy Lizzy" is actually a tribute to Duke Ellington where Minasi takes the chords of "Take The 'A' Train" and pushes the piece into different territories. (In 2001, Minasi did a tribute album, Takin' The Duke Out, featuring fresh interpretations of classic Ellington compositions, where he paid homage to the great composer.)

"Feels Like Rain in China" features a wonderful sax solo by Mark Whitecage, and Kyle Koehler's organ provides a nice layer of keyboard sounds for the musicians to play atop. There are shades of Wes Montgomery's sound all around, and the band pays tribute to this great guitarist by employing aspects of his signature style on a tune that was never recorded by him: "I Who Have Nothing." The title track features a repetitive rhytmic opening section and the band's playing indicates a variety of influences.

Minasi's arrangements are inventive and challenging, but even though these are excellent performances, the band tends to overplay some times. But then again, this ain't no beginner's work, and it reveals that Dom Minasi and his band have a lot to say (and play). ~Nenad Georgievski

Personnel: Dom Minasi -- guitar; Mark Whitecage -- alto sax; Kyle Koehler -- organ; John Bollinger -- drums

Quick Response

---

Nicole Henry & James Bryan - Summer Sessions EP

Size: 74,1 MB
Time: 31:44
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front & Back

01. Never Give Your Love Away (4:04)
02. Let It Be Me (4:35)
03. Joy (2:48)
04. Magic (3:34)
05. Baby Can I Hold You (3:41)
06. My Love Is Your Love (3:24)
07. How Insensitive (5:39)
08. No One Is To Blame (3:56)

Growing up in Pennsylvania, Nicole Henry’s mom played classical piano while she sat in her room, singing along to Aretha Franklin and Sister Sledge. After moving to South Florida to attend the University of Miami, Henry decided to make Miami her home. “I was fortunate to work with a lot of amazing, world-class musicians down here," she says. "There are a lot of creative people who allowed me to find my own voice.”

She quit her office job in 2001 and has been working full-time as a singer ever since, striving to bring her perspective to classics. In 2002, this paper named her Miami's Best Local Solo Musician in our annual Best Of Issue, and in 2013, Henry won a Soul Train Award for Best Traditional Jazz Performance.

“A lot of my repertoire is from the jazz standards, but I sing classic soul and folk songs. I’ll sing anything, but you want to take the time to make covers your own; otherwise, you sound like a hotel lobby band. And I’ve had to do that. Even then, you don’t want to sound like a jukebox.”

Her current band — which includes Pete Wallace on piano, Eric England on upright bass, Dave Chiperton on drums, and Aaron Lebos on guitar — backs her on songs like Ramsey Lewis’ “I Wish I Knew How It Would Feel to Be Free." With a repertoire so diverse and old school, was there any song that stumped her — that she couldn’t figure out how to make hers? “There were two Stevie Wonder songs I tried that I couldn’t do anything with," she says. "Musically and logically, he’s so perfect that you can’t change them.”

Fortunately for her fans, Henry was able to find eight songs she could make hers, and on July 24, she’s releasing Summer Session, an eight-song acoustic EP with both covers and originals, accompanied by James Bryan — who won a Latin Grammy for his work with Nelly Furtado — on acoustic guitar. The two met in 2003, and a song they played together in that first meeting, “No One Is to Blame,” made it as the final track on this record.

Summer Sessions EP

---

Jordan Bennett - Original

Size: 102,5 MB
Time: 43:59
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. When Tomorrow Comes (2:35)
02. When I Was Me (3:07)
03. There's Something About You (3:10)
04. The Power Of Music (3:14)
05. A Time To Remember (3:12)
06. Growing Up (4:28)
07. Grateful (4:13)
08. How Long (3:51)
09. Rose Colored Glasses (3:08)
10. She's Got Me (3:20)
11. On My Way Home (2:13)
12. Nights In White Satin (4:11)
13. Hallelujah (3:10)

Jordan Bennett can thrill an audience no matter if he is performing in a small cabaret setting or in a two-thousand seat concert hall. He enjoys performing as a solo artist as much as he enjoys sharing the stage with other talented entertainers.

The Los Angeles Times said, “Jordan Bennett offers a powerful, persuasively melting performance. The effect is often quite mesmerizing.” NBC entertainment proclaimed, “Jordan Bennett is extraordinary.”

Jordan has performed his original songs on television, onstage and in concert halls around the world.

In the theater, Jordan starred in Les Miserables, as the heroic Jean Valjean. In a review of that show The Los Angeles Times said of him: “Bennett has a big voice and a large store of exquisite tenderness and enviable ability to sustain it in the high notes." He then went on to Broadway to play another larger than life character, Cyrano De Bergerac in Cyrano: The Musical. Mr. Bennett also appeared on Broadway in Shenandoah. He has performed in many other shows.

On television, he has had recurring roles in several well known shows.. His film credits include the lead in the B-classic Ninja III: The Domination (“…a magnificent film after a minimum of six beers.”) and a performance in Carl Reiner’s Bert Rigby, You’re a Fool.

Jordan graduated summa cum laude and phi beta kappa with a double major in political science and music. He studied acting with Milton Katselis and John Cullum.

Jordan is a member of The Dramatists Guild and A.S.C.A.P. and has written songs and scripts for the theater, film and television.

Original

---

Grant Stewart - Trio

Size: 128,7 MB
Time: 54:56
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. A Time To Smile (6:51)
02. Everything I Love (4:53)
03. I'll Never Be The Same (6:58)
04. Everything's Coming Up Roses (5:00)
05. The Thrill Is Gone (7:04)
06. This Is New (4:35)
07. I Surrender Dear (7:26)
08. Uranus (6:22)
09. Is That All There Is (5:42)

TRIO is a varied and balanced program of material. Grant, like so many of the better musicians of his generation, has a knack for resurrecting jazz compositions from the ‘50s and ‘60s that are overlooked gems. Freddie Redd’s typically sunny “A Time To Smile” from “The Connection” cover that territory here. “Everything I Love” is medium-up but joyous and swinging with a delightful danceable groove that Phil lays down on the ride cymbal. Jerry Leiber and Mike Stoller’s “Is That All There Is” is their 1969 ode to ennui in a bid to be seen as more than R & B songwriters. It was recorded in “grande dame” style by Peggy Lee and became a big hit. Here the trio mercifully leaves the drama on the theatre stage and fashions the great melody in an easy, cool swing much the way Sonny Rollins made cowboy songs sound hip on “Way Out West.” “Everything’s Coming Up Roses,” the flag waver from the musical “Gypsy” that brought out everything that’s bad about Ethel Merman’s singing. Grant explains, “I always picture the hospital scene in the movie “Airplane” where she comes out of nowhere and sings that song. Then I heard Zaid Nasser, the alto player who is Jamil Nasser’s son, play a wild version of it live and heard it in a whole different way.” Grant deconstructs the theme in true Rollins fashion and the trio cooks. Side 2 begins with “I’ll Never Be The Same,” and this is all about heartbreak, emptiness and regret and Grant’s delivery is letter perfect. Thanks to its melody and changes, Kurt Weill’s “This Is New” has been favored over the years by the likes of Kenny Drew, Chick Corea and Al Cohn among others. On this version, Grant turns out a fluid, brilliant solo that sails over the bass and drums with grace and panache.

Trio

---

Robin Gregory - Something To Live For

Size: 97,3 MB
Time: 41:37
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Sentimental Journey (3:31)
02. Take The 'A' Train (3:08)
03. Stormy Weather (6:04)
04. Why Don't You Do Right (3:31)
05. Something To Live For (6:59)
06. Is You Is Or Is You Ain't My Baby (2:52)
07. Strange (3:14)
08. I'd Do Anything (3:39)
09. It's Magic (4:50)
10. You Turned The Tables On Me (3:45)

When I sing, I want to tell a story. Although rhythmic concepts, melodic techniques, and chord changes are important, when people listen to a singer, they want to be moved. They want to be touched. They want to journey to those places within themselves that are not easy to reach, on an ordinary day. My goal is to reach those places, and to bond with the listener in a mutual acknowledgement of the commonality of human feeling. Jazzmusic, which finds its ultimate roots in the blues, is a music which grabs the emotion, stirs the intellect, causes intense reflection, makes your foot tap, and more often than not, just makes you feel really happy. My fervent wish is that when you hear my music, you remember yourself.

"If you think about it, many of the most memorable jazz recordings through the years have had a high degree of sensuality. That goes for instrumentals, as well as vocals. Of course, it was true of Lady Day, and Sarah Vaughan, but it's equally true of Miles Davis, Duke Ellington, and Bill Evans. Robin Gregory continues in that luscious tradition. Her velvet voice and lovely phrasing speaks to your ears and gently caresses your heart." - Bud Spangler, music producer

"Robin Gregory uses dusky contralto tones, subtle phrasing, and crystalline enunciation to draw the listener into the romance of her thoughtfully chosen material, from "Funny (Not Much)" and "Mood Indigo" to "Poor Butterfly", and the title track. Her musical portraits are elegantly framed by pianist-arranger, Bliss Rodriguez; bassist, Michael Jones; and drummer, Jimmy Robinson" - Lee Hildebrand, East Bay Express

Something To Live For

---

Moreno & Marina Quartet - Jazz Tsigane

Size: 114,6 MB
Time: 50:02
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz: Gipsy Jazz, Vocals
Art: Front

01. Gari Gari (3:57)
02. Minor Swing (5:40)
03. Ne Pars Pas (3:38)
04. Valse A Chwetzingen (2:20)
05. Japanese Sandman (2:36)
06. Just A Gigolo (3:21)
07. Les Fenetres De Moscou (4:56)
08. Nuages (3:34)
09. Valse A Tchan Tchou (2:05)
10. Luludia (3:38)
11. Moreno Swing (3:57)
12. Mare Djinge (2:29)
13. Swing Valse (2:46)
14. The Tiger Rag (1:38)
15. Tziganskaia (3:21)

Moreno est né en Moselle, l'Alsace a vu émerger des guitaristes comme Dorado et Tchavolo parmi les chefs de file d'un courant reconnaissable au son typique de leur pompe si énergique qu'elle oblige le soliste à produire un son plus fort pour dépasser la puissance des guitares des accompagnateurs.

La jeunesse de Moreno se passe en voyages entre l'Alsace et les Saintes Maries de la mer. A Forbach, dans les campements, il écoute Dorado jouer et à Strasbourg, c'est Tchavolo qui sera son repère. Ils jouaient Django bien sûr….
La famille se sédentarise, mais le besoin du voyage et l'amour de la musique restent ancrés; les fêtes de guitaristes le soir dans les campements sont les meilleures occasions pour le jeune Moreno d'apprendre, de s'imprégner de la technique de ses aînés.
Les frères de Moreno, Angelo, Barro et Tonino, lui apprennent la guitare mais leur dureté à son égard le rebute et heureusement ce sont les encouragements de Dorado, Gogo et Tchavolo lors d'une fête tzigane en Allemagne qui le feront se révéler dans le rôle de soliste.

Plus tard, il descend du coté de Toulon jouer dans les bars et les restaurants où il y fait une rencontre décisive: Tchan tchou, guitariste gitan déjà bien connu dans la région. Pendant quatre ans, à Toulon, Tchan tchou sera son maître, enseignant l'essentiel au jeune "chien fou" qu'était Moreno. (voir article FRENCH GUITAR MAGAZINE)
Il rencontrera aussi une autre figure: Etienne Bousquet - dit Patote - avec qui il jouera quelques fois et qui aura avec tchan tchou une influence décisive sur son jeu.

Aux saintes Maries de la mer, il rencontre Manitas de plata qui lui conseillera d'aller à Paris faire écouter ses talents. C'est ce qu'il fera dans un premier temps, juste pour voir et prendre la température de la capitale. Il y rencontrera tout les chefs de file du Jazz manouche à Paris en passant par "Le clairon des chasseurs" avec Maurice Ferret et Joseph Pouville puis "la chope des puces" avec Mondine et Ninine et bien d'autres clubs de Paris.
Puis, il repart en voyage, toujours entre l'alsace et les Saintes Maries où il rencontrera Boï et Negrita avec lesquels il partagera l'art de la rumba gitane.

Il se fixe de nouveau à Paris au début des années 90 et sort son premier disque "YOCHKA" tout en faisant d'une brasserie des halles tous les jeudis et vendredis soir son quartier général jusqu'à mi 2004.

La rencontre ultime sera celle de la chanteuse tzigane Marina qui deviendra son épouse, ils monteront ensemble une nouvelle formation qui donnera un nouveau style de mélange de jazz manouche et chansons tziganes.
Après plusieurs album solo faits purement dans la tradition jazz manouche, un nouvel album en 2005 permet d'écouter Marina chanter quelques chansons tzigane parmi les standards de Moreno.

Jazz Tsigane

---

Gene Ammons - Boss Tenor

Bitrate: MP3@320K/s

Time: 35:30

Size: 81.3 MB

Styles: Hard bop, Saxophone jazz

Year: 1960/2006

Art: Front

[8:26] 1. Hittin' The Jug

[3:43] 2. Close Your Eyes

[4:12] 3. My Romance

[5:22] 4. Canadian Sunset

[4:54] 5. Blue Ammons

[5:21] 6. Confirmation

[3:29] 7. Savoy

The great tenor saxophonist Gene Ammons was of the generation of swing-era players that easily adapted to bop. But though he was a modernist, Ammons maintained that breathy, old-school romantic approach to the tenor. Boss Tenor, a quintet session from 1960, is one of Ammons' very best albums. Ray Barretto's congas subtly add a bit of Latin spice, but otherwise this is a collection of standards rendered with a gorgeous late-night bluesy feel. Accompaniment by Tommy Flanagan, one of the best mainstream pianists ever, certainly doesn't hurt, either. A gem. ~Mark Keresman

Boss Tenor

---

Nancy Wilson - Precious And Rare (2-Disc Set)

Nancy Wilson´s early studio recordings in their entirety include three original albums (Like in Love, Something Wonderful & The Swingin's Mutual) as well as some rare titles, including her very first single from 1956 with saxophonist Rusty Bryant. Both CDs have been remastered with the greatest care. The 36 page booklet includes rare contemporary documents, a text in French and English and a detailed discography. Precious & Rare: a new series from Le Chant du Monde presenting the complete early works by a selection of the very finest jazz vocalists. Artistic Director - Gilles Pétard (Chronological Classics).

Album: Precious And Rare (Disc 1)

Bitrate: MP3@320K/s

Time: 43:41

Size: 100.0 MB

Styles: Jazz vocals

Year: 2011

[1:40] 1. On The Street Where You Live

[2:33] 2. Night Mist

[2:26] 3. You Leave Me Breathless

[2:10] 4. The More I See You

[2:17] 5. I Want To Be Loved

[1:43] 6. Almost Like Being In Love

[1:58] 7. People Will Say We're In Love

[2:21] 8. Passion Flower

[1:45] 9. Sometimes I'm Happy

[2:49] 10. In Other Words

[2:05] 11. If It's The Last Thing I Do

[2:20] 12. On Green Dolphin Street

[2:55] 13. The Nearness Of You

[2:14] 14. Born To Be Blue

[2:58] 15. All Night Long

[2:42] 16. The Things We Did Last Summer

[2:20] 17. Let's Love Again

[2:02] 18. Gentleman Friend

[2:13] 19. Ghost Of Yesterday

Precious And Rare (Disc 1)

---

Album: Precious And Rare (Disc 2)

Bitrate: MP3@320K/s

Time: 37:17

Size: 85.4 MB

Styles: Jazz vocals

Year: 2011

Art: Front

[2:49] 1. Teach Me Tonight

[2:17] 2. This Time The Dream's On Me

[2:37] 3. I'm Gonna Laugh You Out Of My Life

[1:57] 4. I Wish You Love

[3:23] 5. Guess Who I Saw Today

[1:46] 6. If Dreams Come True

[2:25] 7. What A Little Moonlight Can Do

[2:41] 8. The Great City

[2:26] 9. He's My Guy

[1:56] 10. Something Happens To Me

[2:24] 11. Call It Stormy Monday

[2:46] 12. Something Wonderful Happens

[2:22] 13. The Seventh Son

[2:32] 14. My Foolish Heart

[2:49] 15. Don't Tell Me

Precious And Rare (Disc 2)

---

Cal Tjader - Plugs In

Bitrate: MP3@320K/s
Time: 35:00
Size: 80.2 MB
Styles: Post bop, Vibraphone jazz
Year: 1969/2007
Art: Front

[4:08] 1. Alonzo
[3:59] 2. Lady Madonna
[5:03] 3. Nica's Dream
[4:15] 4. Spooky
[5:09] 5. St. Croix
[2:59] 6. Tra-La-La Song
[3:05] 7. Morning Mist
[6:19] 8. Get Out Of My Way

The mostly obscure material (other than "Nica's Dream") and the time period may make one think that is an overtly commercial release from vibraphonist Cal Tjader. Although he utilizes the electric piano of Al Zulaica and electric bassist Jim McCabe (in addition to Armando Peraza and John Rae on percussion), Cal Tjader's music on the Live at the Lighthouse sessions found on Plugs In is actually not all that different from his usual infectious brand of Latin jazz. The ensembles swing, there are plenty of heated rhythms, and the melodies are embraced with enthusiasm. The brief playing time (33 minutes) is a minus, and few surprises occur, but the music is enjoyable. ~Scott Yanow

Plugs In

---

The Cowsills - The Best Of The Cowsills

Bitrate: MP3@320K/s
Time: 41:08
Size: 94.2 MB
Styles: AM Pop
Year: 1980
Art: Front

[2:59] 1. The Rain, The Park & Other Things
[2:48] 2. The Path Of Love
[2:47] 3. Meet Me At The Wishing Well
[2:58] 4. In Need Of A Friend
[2:25] 5. Mister Flynn
[3:06] 6. Captain Sad And His Ship Of Fools
[2:13] 7. We Can Fly
[2:41] 8. Indian Lake
[2:45] 9. Gray, Sunny Day
[3:18] 10. A Time For Remembrance
[3:11] 11. Gotta Get Away From It All
[3:26] 12. Newspaper Blanket
[2:56] 13. Poor Baby
[3:28] 14. Hair

Beneath the wholesome family image, the Cowsills were a real band. They wrote most of their own songs, played their own instruments, and sang with assured and beautiful voices. They wrote songs about social issues, tackled religious themes, and dipped a toe (pinky toe) into psychedelia, and when they were given a song by an outside writer they made it a smash hit. Their lush vocal harmonies owed much to groups like the Association and the Beach Boys, and they were sweet -- sweet without being innocuous, light without being lightweight. This CD has their three big hits -- "Indian Lake," the truly fantastic "The Rain, the Park and Other Things," and "Hair" (which should be the worst song ever but the Cowsills pull it off because they have such great voices) -- and a bunch of sunshine pop gems. "Poor Baby" sounds like a lost Beach Boys single and "We Can Fly" is a great song that should have been a big hit. The only complaint one might have is that some of the production seems a little unimaginative. It would have been very interesting to get the Cowsills and their songs into a studio with a producer like Gary Usher, Curt Boettcher, or even Brian Wilson to see what kind of magic might have occurred. Still, the Cowsills were so much more than just a kiddie band or the model for the Partridge Family. This CD proves it. ~Tim Sendra

The Best Of The Cowsills

---

Jeff Richman - Big Wheel

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 50:21
Size: 115,5 MB
Art: Front

(6:14)  1. Hell If I Know
(4:25)  2. Big Deal
(4:52)  3. That Girl
(6:21)  4. The Last Notch
(4:47)  5. Happy Medium
(5:03)  6. Keep It Light
(4:50)  7. 12 Steps to the Bar
(3:40)  8. Long Distance Love
(4:37)  9. The Inside Scoop
(5:28) 10. One Stone

Jeff's 17th Album contains 8 new original compositions along with two covers: Stevie Wonder's That Girl and Little Feat's Long Distance Love. Veteran all star cast of musicians: Steve Gadd on drums, Jimmy Haslip on bass, Jeff Lorber and George Whitty on keyboards. Produced by Jimmy Haslip. Jeff Richman's extensive professional background includes performing on guitar, composing, arranging and recording music in many genres, and teaching in academic and private settings. He has produced 16 solo albums and toured worldwide with notable musicians over a 35-year career. Jeff is a graduate of the Berklee College of Music in Boston. As a student, he studied privately with Pat Metheny, Mick Goodrick and William Levitt and was influenced by talented classmates Mike Stern, Bill Frissel, Al DiMeola and Vinnie Colaiuta to name a few. After graduating, he lived and performed in New York City where he was further influenced by attending live performances of renowned legends Miles Davis, Herbie Hancock, Chick Corea, Charlie Mingus, Ornette Coleman, Elvin Jones, Tony Williams, Charlie Haden, Joe Zawinul, Wayne Shorter, Jaco Pastorius, Bill Evans, Dizzy Gillespie, Keith Jarret, Gil Evans, Chet Baker, McCoy Tyner, Joe Pass, Cannonball Adderley and Jim Hall. These early influences inspired Jeff and helped him to develop his own voice while striving to make his original compositions meaningful, purposeful, and with an honesty that comes from his heart.

While in New York City Jeff performed with renowned Puerto Rican Conga player, Ray Barretto and composed four songs and performed guitar solos on Barretto's album "Can You Feel It" in 1978. He later toured in the US with Flora Purim and Airto and played in live venues with several well-known artists such as Tom Harrel, Chico Hamilton, Deodato, Blood Sweat and Tears, Willie Bobo and Gerry Mulligan. In 1979 Jeff moved to Los Angeles and toured with Ronnie Laws and Doc Severnson’s band. The LA scene provided further opportunity to play with and record alongside talented artists such as Ernie Watts, Harvey Mason, T Lavitz, John Klemmer, Alfonse Mouzon, Henry Mancini, Mark Isham, Robbie Krieger and M’shell Ndugucello. Jeff wrote and produced hundreds of “library music” cuts in numerous genres which are played regularly on TV shows throughout the world. Jeff has performed on a multitude of television and film projects, the most recent of which was under the direction of award-winning composer Jeff Beal for the film "Appaloosa" with actor Ed Harris. 

As Producer, Arranger and performing artist under the Tone Center record label, Jeff recorded and released 6 CD projects paying tribute to Santana, Mahavishnu Orchestra, Steely Dan, Miles Davis, Jeff Beck, and John Coltrane. Each CD showcases Jeff and other world class guitarists including Mike Stern, Robben Ford, John Scofield. http://www.abstractlogix.com/xcart/product.php?productid=25834

Personnel: Jeff Richman (guitar); Jeff Lorber (keyboards); Steve Gadd (drums).

Big Wheel

---

Jacintha - Here's to Ben: A Vocal Tribute to Ben Webster

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 50:30
Size: 116,0 MB
Art: Front

(5:19)  1. Georgia On My Mind
(3:17)  2. Love Is Here To Stay
(5:23)  3. Tenderly
(9:40)  4. Over the Rainbow
(5:26)  5. How Long Has This Been Going On?
(6:38)  6. Stardust
(4:13)  7. In the Wee Small Hours of the Morning
(3:10)  8. Pennies From Heaven
(7:22)  9. Danny Boy

When you link your musical objective to a jazz icon like Ben Webster, certain expectations are created and, as here, rarely are these expectations met. Certainly, Jacintha sings songs Webster played, and she sings them very nicely. But there's none of the raspy timbre in her voice that made Webster's saxophone immediately recognizable. Jacintha confuses raspy with singing softly. She and the producers would have been better served by presenting these songs as hers, not Webster's. The focus then would be where it belongs (i.e., what she does with these classics). With excellent pitch, good diction, and sensitive interpretations of the lyrics, she makes these songs her own. One highlight is her a cappella treatment of "Danny Boy." Throughout the session, Jacintha receives solid support from veteran Teddy Edwards' blues-drenched saxophone (he's a lot closer to Webster than Jacintha is). He and Jacintha work well together, as on "How Long Has This Been Going On?" The venerable drummer Larance Marable and bass player Darek Oles combine to lay a solid, sensitive foundation for the proceedings. Oles' bass is especially prominent on "Over the Rainbow." 

Former Miles Davis pianist Kei Akagi is a capable accompanist. This album is a solid enough effort solely on the strength of Jacintha's natural talent. The obeisance to Webster was not only unnecessary, but distracting. ~ Dave Nathan  http://www.allmusic.com/album/heres-to-ben-a-vocal-tribute-to-ben-webster-mw0000040270

Personnel: Jacintha (vocals); Teddy Edwards (tenor saxophone); Kei Akagi (piano); Darek Oles (bass); Larance Marable (drums).

Here's to Ben: A Vocal Tribute to Ben Webster

---

Paul Weston - Easy Jazz

Styles: Jazz
Year: 1992
File: MP3@256K/s
Time: 48:37
Size: 89,4 MB
Art: Front

(3:21)  1. Body and Soul
(3:48)  2. Georgia on My Mind
(2:21)  3. Lullaby in Rhythm
(3:21)  4. My Funny Valentine
(3:35)  5. You Are Too Beautiful
(3:00)  6. Louisiana
(3:07)  7. I'm Confessin'
(2:24)  8. Foggy Day
(3:41)  9. When It's Sleepy Time Down South
(3:33) 10. Skylark
(2:57) 11. Sweet Lorraine
(3:36) 12. Hundred Years from Today
(3:10) 13. Autumn in New York
(3:46) 14. Talk of the Town
(2:50) 15. Nice Work If You Can Get It

During his stay at Capitol Records in the 1940s Paul Weston worked with many of the era's top musicians. After he left for Columbia in 1950 he began to write arrangements that would give some of his favorite performers a chance to display their improvisational skills. The resulting albums were Mood For Twelve and Solo Mood. Easy Jazz is a compilation of the best of those two recordings. Weston's lush, instrumental style works perfectly as a background for each of the featured soloists. He creates subtle layers of jazz while the likes of Babe Russin, Ted Nash, George Van Eps, Barney Kessel and Paul Smith take center stage. He then fills in the spaces in-between with some excellent rhythmic arrangements. Some of the best tracks are ''Louisiana,'' to which Van Eps gives a light and airy feeling with his great guitar work, ''Lullaby In Rhythm,'' led by Smith's bouncy piano, and ''Body And Soul,'' to which Babe Russin lends a dreamy feel with his excellent tenor sax stylings. A great album to explore Paul Weston's sound. Easy Jazz bridges his mood music work with his jazz and pop abilities, demonstrating the wide range of his musical genius. http://www.parabrisas.com/m_weston1.php

Featured soloists: Babe Russin, tenor sax; Joe Howard, trombone; Paul Smith, piano; Barney Kessel, guitar; Ted Nash, tenor sax; George Van Eps, guitar; Ziggy Elman, trumpet; Matty Matlock, clarinet; Clyde Hurley, trumpet; Eddie Miller, tenor sax

Easy Jazz

---

Pinky Winters - Let's Be Buddies

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 43:27
Size: 100,3 MB
Art: Front

(3:14)  1. Along With Me
(3:50)  2. Everything I Love
(4:02)  3. Someone To Light Up My Life
(3:50)  4. Trolley Song
(2:01)  5. You Are There
(3:18)  6. One Morning In May
(2:01)  7. Nobody Else But Me
(2:27)  8. Let's Be Buddies
(2:59)  9. Never Will I Marry
(4:51) 10. Embraceable You
(4:20) 11. I've Got Rhythm / He Ain't Got Rhythm
(3:35) 12. I've Got Beginner's Luck
(2:51) 13. My Shining Hour

Pinky Winters is a favorite of listeners who cherish superior songs sung with fealty to the intentions of the composers and lyricists who created them. Much of her best work was done with pianist Lou Levy after the two weathered an uncomfortable first encounter and eventually became professional and personal partners. They recorded Let s Be Buddies when their musical understanding was at full flower. With Monty Budwig, one of the greatest bassists of his generation, Levy and Ms. Winters performed 14 songs by the cream of contemporary songwriters including Cole Porter, Antonio Carlos Jobim, Johnny Mandel, Hoagy Carmichael and the Gershwin brothers. Among the singers who cherished Levy as an accompanist were Frank Sinatra, Ella Fitzgerald, Sarah Vaughan and Peggy Lee. In this collection, he and Pinky Winters rival all of them in intimacy, musicality and depth of interpretation. ~ Doug Ramsey – Editorial Reviews http://www.amazon.com/Pinky-Winters-Lets-Be-Buddies/dp/B00WQUTLN4

Featuring: Pinky Winters (vcl), with Lou Levy (p), Monty Budwig (b)

Let's Be Buddies

---

Joe Jackson - Jumpin' Jive

Styles: Vocal
Year: 1981
File: MP3@320K/s
Time: 42:01
Size: 96,6 MB
Art: Front

(2:42)  1. Jumpin' with Symphony Sid
(2:45)  2. Jack, You're Dead!
(4:56)  3. Is You Is Or Is You Ain't My Baby?
(3:17)  4. We the Cats (Shall Hep Ya)
(4:27)  5. San Francisco Fan
(2:30)  6. Five Guys Named Moe
(2:41)  7. The Jumpin' Jive
(2:31)  8. You Run Your Mouth, I'll Run My Business
(3:47)  9. What's the Use of Getting Sober ? (When You're Gonna Get Drunk Again)
(2:55) 10. You're My Meat
(5:18) 11. Tuxedo Junction
(4:06) 12. How Long Must I Wait For You?

Jumpin' Jive proved to be one of Joe Jackson's most adventurous projects as he tries his hand at covering a bunch of Louis Jordan and Cab Calloway tunes, ranging from the extravagance of big band to bop to vibrant swing music. The album broke the Top 50 in the U.S. and made it to number 14 in England, with the title track peaking at number 43 over there as well. Jackson sounds extremely fresh and vivacious throughout all of the tracks, with Calloway's "We the Cats" and "Is You Is or Is You Ain't My Baby" demonstrating how easily his persona adapts to this particular style of music. 

Jackson doesn't just sing the music here, he actually role-plays to some extent to make the songs sound that much more genuine and timeless, giving tunes like "Tuxedo Junction," "What's the Use of Getting Sober," and the hip-cat composure of "Jumpin' Jive" some modern flash and color. The horn work is dazzling as well, especially Dave Bitelli's alto sax and Pete Thomas' clarinet contributions. Not only was Jumpin' Jive a novel idea, but it reveals Jackson's musical dexterity and desire to further his interests into other avenues aside from pop and mainstream ballads. Although he touched on reggae with 1980's Beat Crazy, Jumpin' Jive fully uncovers his musical astuteness and remains one of his best albums. ~ Mike DeGagne  http://www.allmusic.com/album/jumpin-jive-mw0000194272

Personnel: Joe Jackson (vocals, harmonica, keyboards, vibraphone); David Bitelli (clarinet, tenor saxophone, wind); Pete Thomas (saxophone, alto saxophone); Raul Oliveria (trumpet); Nick Weldon (piano, background vocals); Larry Tolfree (drums, background vocals); Graham Maby (background vocals).

Jumpin' Jive

---