The Kenny Drew Trio - Pal Joey

Bitrate: MP3@320K/s
Time: 38:03
Size: 87.1 MB
Styles: Hard bop, Piano jazz
Year: 1957/2011
Art: Front

[ 4:09] 1. Bewitched, Bothered And Bewildered
[ 5:52] 2. Do It The Hard Way
[ 4:00] 3. I Didn't Know What Time It Was
[ 4:18] 4. Happy Hunting Horn
[ 4:43] 5. I Could Write A Book
[ 5:08] 6. What Is A Man
[ 4:09] 7. My Funny Valentine
[ 5:41] 8. The Lady Is A Tramp

It seems strange that (with the exception of a 1960 session for Blue Note) this would be pianist Kenny Drew's last session as a leader until 1973. With bassist Wilbur Ware and drummer Philly Joe Jones, Drew interprets eight Rodgers and Hart tunes, five written for the play Pal Joey and three of their earlier hits that were included in the film version. Drew contributes swing and subtle bop-based improvising to these superior melodies (which are highlighted by "Bewitched, Bothered and Bewildered," "I Could Write a Book," and "The Lady Is a Tramp"), and the results are quite memorable. ~Scott Yanow

Pal Joey

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Hirofumi Asaba - Easy Like

Bitrate: MP3@320K/s
Time: 45:07
Size: 103.3 MB
Styles: Jazz guitar
Year: 2015
Art: Front

[3:59] 1. Jumpin' Asaba Blues
[3:59] 2. Easy Like
[3:18] 3. North Of The Border
[5:35] 4. Angel Eyes
[4:16] 5. Crazy Rhythm
[3:03] 6. Blues For The Poll Winners
[4:42] 7. Mean To Me
[3:58] 8. Willow Weep For Me
[4:36] 9. Give Me The Simple Life
[4:13] 10. You Are The One For Me
[3:23] 11. A Night At The Soultrane

Jazz Guitarist in Tokyo, Japan. His playing is a blend of modern and swing styles of jazz, and is strongly inspired by Barney Kessel and Charlie Christian. His upbeat, swinging guitar playing and beautiful chord solos entertain music lovers of all genres and truly stands alone in today’s jazz scene.

Hirofumi was born in Tokyo. in 1986, He started playing piano at age five, and he has been playing the guitar since he was fourteen years old. His playing has spanned genres, including punk, rockabilly, rock and roll, ska, and reggae music. He has traveled with his guitar to New Orleans,Cuba, Jamaica, Australia, and Southeast Asia, jamming with many people along the way.

In Japan, he worked in a jazz bar, where he met many great jazz musicians, including Yoshiaki Okayasu, one of the greatest jazz guitarists in Japan. Hirofumi studied jazz under Okayasu for four years.

Easy Like

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Holly Cole - The Best Of Holly Cole

Bitrate: MP3@320K/s
Time: 46:03
Size: 105.4 MB
Styles: Cabaret, Vocal jazz
Year: 2000
Art: Front

[3:20] 1. Trust In Me
[4:37] 2. Calling You
[3:10] 3. God Will
[2:58] 4. Blame It On My Youth
[4:10] 5. I Can See Clearly Now
[4:18] 6. Don't Let The Teardrops Rust Your Shining Heart
[2:35] 7. Cry (If You Want To)
[3:44] 8. Jersey Girl
[3:28] 9. Train Song
[2:54] 10. I Want You
[3:57] 11. Make It Go Away
[3:25] 12. I've Just Seen A Face
[3:21] 13. Alison

As leader of the Holly Cole Trio, the smoky-voiced jazz chanteuse has created an impressive catalog over the last decade with her longtime cohorts Aaron Davis (piano) and David Piltch (string bass), seamlessly mixing blues, pop, and jazz. This collection gathers tunes which allow the sultry singer to stand out above sparse yet often playful arrangements. The first three tracks epitomize the diversity of her approach. On "Trust in Me," she plays it subtle and sly, asking her lover to "trust in me," sometimes singing a few bars a capella. She shows her wares as a torch singer on "Calling You," while a spry arrangement of Lyle Lovett's "God Will" offers a glimpse of her blues persona. Part of Cole's charm comes from the way she interacts with her mates; the first verse of "I Can See Clearly Now" is sung richly over Piltch's plucky solo bass before Davis' piano and a gentle string section glide in. Many people were puzzled that a singer who excels at jazz standards would tackle the Tom Waits catalog, but some of the best tracks from the Waits tribute Temptation show up here as well. "Jersey Girl" is particularly impressive, with Cole's low voice rising above a chorus of "sha-la"s and Davis and Piltch's simple percussive magic. ~Jonathan Widran

The Best Of Holly Cole

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Peter Martin - In The P.M.

Styles: Vocal And Piano Jazz

Year: 2013

File: MP3@320K/s

Time: 60:23

Size: 138,5 MB

Art: Front

(7:11)  1. Never Let Me Go

(7:31)  2. If It's Magic

(4:53)  3. You'd Be So Nice to Come Home To

(3:56)  4. Come Rain Or Come Shine

(5:27)  5. Modern Cacophony

(5:32)  6. Only in a Dream

(5:28)  7. The Answer

(6:10)  8. Lament

(5:11)  9. 'Ting for Ray

(5:59) 10. The Nearness Of You

(3:01) 11. It Could Happen To You

Known to most as Dianne Reeves' musical director, pianist Peter Martin takes her stellar touring trio on a musical journey through jazz's heartland on In the P.M.; guest vocalist Erin Bode adds a warm and welcome lyricism to the session. Familiar standards and fresh originals turn the trio loose with unbridled energy. As Martin interprets "Come Rain or Come Shine" a cappella, he turns it up a notch. His keyboard technique takes him all over the place. Elsewhere, with bass and drums in a cohesive respite, the pianist lights sparks that ignite the music indelibly. Gregory Hutchinson and Reuben Rogers turn in a stellar performance, both individually and as Martin's musical partners. Leisurely ballads and hard-driving romps allow the trio to express a wide range of emotions. Martin sweeps his melodies in an uplifting fashion, exploring dramatic romps with intuitive play. He and Rogers communicate well, adding octave unisons to the formula on occasion. Their tender-hearted interpretations result in a genuine landscape that's filled with floating melodies and uplifting harmonies. Rhythmically, the trio meets each occasion head-on with soul-stirring confidence.

Rogers' "'Ting for Ray" saunters casually with a Ray Brown walk and blues-hued strides. Featuring Rogers' bass, the trio takes this one to the height of expressive blues. His bass converses with the heartfelt charm of a blues pioneer. Martin works hard to keep the jazz tradition alive. While appearing around the country with Dianne Reeves, he drives forcefully from the piano bench with a natural sense of musical organization. In a 2002 AAJ interview, he credited Wynton Marsalis for the leadership that has affected him and others around the world amicably. At age 13, Martin's father arranged a meeting between two that has since borne fruit. Thanks to the role model that Marsalis has provided, artists such as Peter Martin stand out as well for their true dedication to the field of mainstream jazz. ~ Jim Santella  http://www.allaboutjazz.com/in-the-pm-peter-martin-maxjazz-review-by-jim-santella.php

Personnel: Peter Martin- piano, Fender Rhodes; Reuben Rogers- bass; Greg Hutchinson- drums; Erin Bode- vocals on "You'd Be So Nice to Come Home To," "The Nearness of You" and "It Could Happen to You."

In The P.M.

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Pam Lawson - Fred Astaire & Ginger Rogers - A Celebration In Song

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 59:34
Size: 137,6 MB
Art: Front

(2:56)  1. I Won't Dance
(3:52)  2. Flying Down to Rio
(2:28)  3. A Needle in a Haystack
(2:57)  4. Night and Day
(3:37)  5. The Continental
(2:56)  6. I'll Be Hard to Handle
(3:06)  7. Isn't This a Lovely Day
(2:04)  8. Top Hat, White Tie and Tails
(2:34)  9. Let Yourself Go
(2:03) 10. I'm Putting All My Eggs (In One Basket)
(2:35) 11. Let's Face the Music and Dance
(2:27) 12. Pick Yourself Up
(4:29) 13. The Way You Look Tonight
(3:06) 14. A Fine Romance
(2:06) 15. Slap That Bass
(4:11) 16. Gershwin Medley
(4:32) 17. Change Partners
(3:16) 18. Cheek to Cheek
(4:10) 19. Smoke Gets in Your Eyes

It’s hard not to like Pam Lawson. As the audience is greeted by the soft, languid rendition of “I Won’t Dance” as they file in, Lawson meets them like old friends with a big smile and easy manner, setting the tone for the next hour. This show lives up to it’s subtitle as A Celebration In Song, and is an opportunity for the singer to share her love of the music from the classic 1930s films of Fred and Ginger. Interspersed with a witty narrative of anecdotes gleaned from autobiographies by the iconic Hollywood pair, Pam Lawson takes us through the music from the nine RKO Radio Pictures movies featuring the dancing duo. On a blank stage and backed brilliantly on piano by Tom Finlay, and on double bass by Ed Kelly, Pam Lawson, in a flowery tea-dress, invites the audience to sing along or even dance if they dare. With the house lights up throughout, it feels almost like you are relaxing in your Granny’s living room on a rainy afternoon listening to music that never seems to age and will still get everyone’s toes tapping.

Lawson has a fine alto voice that skips happily along the bouncing melodies of Irving Berlin and Cole Porter, though at times nerves show through during this opening performance with some of the higher, sustained notes missing their pitch slightly and the odd forgotten line. However, her friendly manner means you forgive the occasional slip, especially when she wraps you up in her velvety lower tones during a medley from 1937’s “Shall We Dance” composed by Gershwin. Opting for a clean sound with no noticeable reverberation coming through the small PA, the only textures in the vocals come from Lawson herself; her natural vibrato, hushed sultry air and occasional well placed stronger notes. Despite professing not to dance, Pam sashays across the stage during each number and even gets in a small tap routine: after all, as she says, you can’t do Fred and Ginger without one. Her diction is spot on and her animated delivery conveys the meaning of each song in a way that many singers struggle with. 

The highlight has to be the rendition of “Slap That Bass”, as the duet between Ed Kelly’s bass and Lawson’s voice during the introduction compliments each instrument wonderfully. Pam Lawson clearly loves the repertoire she performs and her enthusiasm for the genre shines through the hour long show. For those who share this affection there is probably no better way to spend an afternoon than humming along with fingers drumming to the music of some of the greatest films from Hollywood’s Golden Age. http://www.edinburghspotlight.com/2012/08/fringe-review-pam-lawson-fred-astaire-and-ginger-rogers-a-celebration-in-song/

Fred Astaire & Ginger Rogers - A Celebration In Song

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Randy Weston - Marrakech In The Cool Of The Evening

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 69:44
Size: 160,1 MB
Art: Front

(3:42)  1. In The Cool Of The Evening
(4:37)  2. Portrait of Billie Holiday
(5:36)  3. Two Different Ways to Play the Blues
(7:32)  4. Portrait of Dizzy: A Night in Tunisia...
(3:22)  5. Lisa Lovely
(4:25)  6. Uli Shrine
(3:51)  7. Blues for Elma Lewis
(4:51)  8. Ballad for T
(4:04)  9. Valse Triste Valse
(6:28) 10. Where?
(3:37) 11. Let's Climb a Hill
(5:12) 12. The Jitterbug Waltz
(6:06) 13. Blues for Five Reasons
(6:14) 14. Lotus Blossom

Over the course of his career, Randy Weston has occasionally revisited the solo piano context. Here, opening with Nat "King" Cole's "In the Cool of the Evening," Weston thoughtfully mixes his own compositions with telling covers (Billy Strayhorn, Dizzy Gillespie, and Fats Waller). Alone at a piano, it's evident how expansive and orchestrally-oriented Weston's musical thinking is; he utilizes beautiful density and open atmospherics with equal aplomb, and all with gorgeous melodicism. The album was digitally recorded live to 2-track in the ballroom of the La Mamounia Hotel in Marrakech, Morocco, a perfect setting for Weston, preserving both the cool and broad sound of the large room and the warmth of his piano playing. http://www.allmusic.com/album/marrakech-in-the-cool-of-the-evening-mw0000644281

Personnel: Randy Weston (piano).

Marrakech In The Cool Of The Evening

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Rev. Marv Ward - Catharsis

Styles: Rock
Year: 2015
File: MP3@320K/s
Time: 34:25
Size: 79,2 MB
Art: Front

(3:09)  1. Bouncing Baby Boogie
(5:41)  2. I'm Just Drivin'
(3:30)  3. I Believe In You
(4:30)  4. Angels Call
(5:03)  5. Legba in My Dreams
(3:13)  6. Daydreaming
(3:58)  7. Runinn' Free
(5:19)  8. Judgement Day

Eight smoking tracks that range from a Freddie King inspired instrumental, Blues-Rock, Americana, to a funky throw down that will get your toes tapping and your head scratching. Guest Artist include, Shrimp City Slim on piano, Todd Edmonds of The Otis Taylor Band on bass, Mike Fore on harmonica, LJ Errante on mandolin, and Kristen Elaine Harris on fiddle. Veteran blues guitarist Marv Ward grew up in the small town of Lorton, Virginia. He played his first gig at 10 and started performing professionally at age 16. He's played in literally dozens of bands over the past 45 years and has secured his place among bluesmen with his straight-forward no-nonsense blues style.  It's a little bit Delta, a litle bit Piedmont, a whole lot of R&B, but mostly, it's straight up Rev. Marv Ward. 

The Rev. has played his original and visionary blues stylings in venues all over the country and has shared stages with music legends such as Aerosmith, Joan Baez, Dave Van Ronk, Paul Geremia, Maria Muldaur, Nappy Brown, John Hammond, Bob Margolin, Big Bill Morganfield, Mac Arnold, Mooky Brill and many more. “CATHARSIS” his latest CD, and " I Should Know Better" plus “Love Like You Never Been Burned” his earlier works only hint at the warmth and appeal of this veteran guitarist and his talented band. Expect sizzling Piedmont picking, Delta blues, greasy rags, and straight-ahead rocking urban blues from this South Carolina singer, songwriter, guitarist and poet. http://www.marvward.com/

Catharsis

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