Silky Denims: 11/03/15

Tuesday, November 3, 2015

Tianna Hall & The Mexico City Jazz Trio - Two For The Road

Size: 126,3 MB
Time: 54:05
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz Vocals
Art: Front

01. Til There Was You (2:39)
02. What Is This Thing Called Love (3:21)
03. When October Goes (4:37)
04. They Can't Take That Away From Me (3:09)
05. Creep (3:24)
06. You'd Be So Nice To Come Home To (3:01)
07. Black Hole Sun (4:25)
08. I've Never Been In Love Before (3:06)
09. Good Morning Heartache (4:51)
10. I'm Not In Love (4:50)
11. I'm Gonna Sit Right Down & Write Myself A Letter (2:34)
12. So In Love (5:57)
13. Moon River (3:36)
14. Two For The Road (4:29)

Tianna Hall's fifth recording, Two For The Road, and her first since Never Let Me Go (Blue Bamboo, 2011), continues to document the singer's evolution within the mainstream of jazz vocals. Thoroughly trained in the vocal arts at the University of Houston, Hall has progressively refined her smart and sexy delivery with each recording. Hall has achieved a vocal facility that is the equivalent of Lauren Bacall telling Humphrey Bogart how to whistle in the 1944 film To Have and Have Not: "You just put your lips together...and blow."

The combination of Hall with The Mexico City Jazz Trio, which also joined her on her 2007, self-produced Lost in the Stars, makes for a potent and swinging synergy that breathes new life into the standard repertoire. Hall shows she is the complete package on the opening "Til There Was You," where she sings with effortless and conversational confidence. The trio is sharp and precise, accenting Hall's vocal twists and turns. She turns her playful and smart sexiness on in her duet with saxophonist/vocalist David Caceres on Duke Ellington's "They Can't Take That Away from Me." Frank Loesser's "Baby, It's Cold Outside" deserves these two as singers. "You'd Be So Nice to Come Home To" and the title tune prove Hall's Swing ability at brisk and slow tempi.

Ever the surprise, Hall introduces three (relatively) recent compositions to her recorded repertoire. She makes Soundgarden's staple, "Black Hole Sun," sway as if scored by Antonio Carlos Jobim. Radiohead's "Creep" receives a stripped-down, emotive reading, with Hall singing sardonically in tandem with bassist Agustin Bernal's determined momentum. Hall fashions the piece in the mainstream jazz idiom effectively, demonstrating that even newer and more demanding compositions can provide the fuel for interpretation and improvisation.

Eric Stewart and 10cc's 1970s ballad, "I'm Not In Love," fits perfectly between "Good Morning Heartache" and "I'm Gonna Sit Right Down and Write Myself a Letter," while cleverly interpolating Miles Davis' "So What." The art of jazz vocals has a good keeper in Tianna Hall. C. Michael Bailey

Personnel: Tianna Hall: vocals; Miguel Villicana: piano; Agustin Bernal: bass; Gabriel Puentes: drums; David Caceres: vocals and saxophone (4); Mike Wheeler: guitar (4, 14); Lisa Vosdoganes: cello.

Two For The Road

Gianni Chiarello & The Same Beat - Gianni Chiarello & The Same Beat

Size: 110,3 MB
Time: 47:20
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Funky Jazz
Art: Front

01. Breaking Point (6:36)
02. My Last Bit Of Soul (5:15)
03. Jigsaw (Feat. Mary Santo) (4:25)
04. Gotcha Back (5:46)
05. To L.A. And Back (5:11)
06. Where I Want To Be (5:45)
07. Charlie And Tambo (5:22)
08. New Old Stock (5:10)
09. Leap Of Faith (3:47)

Personnel:
Gianni Chiarello - guitars
Ray Drury - keys, hammond organ
Stuart Ross - bass, percussion
Richard Preston/drums, percussion
Paul Jordanous - trumpet
Matt McNaughton - saxophone
Ben Greenslade-Stanton - trombone
Mary Santo - vocals

Gianni Chiarello is joined in this album of original jazz-funk tunes by Ray Drury (keys), Stuart Ross (bass) and Richard Preston (drums), collectively known as 'The Same Beat'. Old school grooves and tones, with harmony borrowed from the modern jazz world.

Funk guitar lines, Hammond solos, horn section stabs, foot tapping grooves and richer chords: from a tribute to all those 60's and 70's groove based bands like Stuff and The Crusaders, all the way to more recent nu-funk tunes, featuring vocals.

Gianni has gained a reputation for being a very versatile musician, having professional credits as a guitarist, bassist, arranger and producer in many diverse genres. Originally from Italy, he moved to Boston, MA graduating from Berklee College of Music. Active across different areas of music, he has been performing in many countries alongside celebrities like The Platters, The Coasters, Bobby Arvon, The Diamonds, many Vegas and Broadway entertainers and after relocating to England with some of the UK's household names (Robbie McIntosh, Jeremy Stacey, Jason Rebello, Iain Ballamy).

Ray, Stuart, Rich are much in demand UK sessions musicians and have collectively played with James Taylor Quartet, John Illsley, Valentine Brothers, Leroy Hutson, Tricky, The Snitch, The Producers and many others.

Gianni Chiarello & The Same Beat

Helena Josefsson & Kontur - Happiness

Size: 114,2 MB
Time: 49:12
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. You Don't Dave To Say You Love Me (3:26)
02. Det Vi Saknar Nu (I Varlden) (With Tingsek) (3:45)
03. Happiness (3:13)
04. Sunday Morning (4:13)
05. Ordinary World (6:02)
06. Sunny Afternoon (4:15)
07. Time After Time (4:13)
08. Close To Me (4:02)
09. Ride (6:56)
10. Little Sparrow (5:20)
11. Det Vi Saknar Nu (I Varlden) Epilog (3:41)

Soft and gentle, with a girlish expression on the outside, but with a flaming fire and a surprisingly firm heart on the inside, she began her journey through adult life. She wore her compositions and experiences from nature as a warm coat to protect and soothe her. From the difficulties that surrounded her. And the stage or the forest were the safest places to be. There she could be who she wanted to be. No one could tell her what was right or wrong there. She learned how to perform on a stage, she practiced song writing. Using two cassette players, she could harmonize and record loads of vocals on top of each other.

As the years passed, so did her first bands. In high school she tried metal inspired music and 90s indie bands. Guided by bands like The Cranberries and Skunk Anansie, The Cardigans, Blur, Lenny Kravitz and K´s Choice. One year was spent at a school of jazz where she got many artistcal friends. She skipped the second year of the education, to write her own music, more in the world of pop. Working to make a living in factories, homes for elderly, stores, telemarketing, or dressed up as a dinosaur giving out food samples.

But before that, Helena was born in Kalmar, Sweden in 1978. Then moved to Malmö where her parents let her try dancing and singing in a choir. She loved it. Taking piano lessons wasn´t as much fun- Helena liked making her own little songs better. Her parents divorced, and Helena moved to an apartment where they had cable TV- and MTV. This is where she discovered Michael Jackson, early Madonna and “Gimme Gimme Gimme”. She saw “Close to me” (The Cure) and fell in love for the first time- the singer, Robert Smith was so beautiful with his tangled hair and red lipstick. And his looks has surely some impact on Helena´s style today. Other main influences during Helena´s childhood was Marie Fredriksson and Cyndi Lauper.

As a ten year-old, Helena moved with her mother, her boyfriend and her two oldest sisters to the countryside, to a farm near a village called Björnstorp. On the school bus the kids would play music to each other on cassettes. A boy named Johan Duncanson played Roxette album “Joyride”. And it sounded really special. Later, Helena and Johan had a band together. He lived just over the field. They would borrow a portable studio from a guy living nearby. The percussion was empty rolls of toilet paper filled with unboiled rice. His father would come and give them ice cream with toffee sauce now and then. When Helena was going to record her vocals, the other kids had to leave the room. This behaviour continued long after, she needed to turn the lights out while recording so no one could see her, or during a video shoot, she took her contact lenses out, so she wouldn´t notice people were watching. With mr Duncanson she started a band called “Plastic Soul”. They recorded a full length album that was never released but it contained some beautiful songs.

The funny part of the story is that that boy turned into a successful member of “Radio Dept”, touring the world. And Helena, on her behalf, was discovered by mr Per Gessle of Roxette! (Roxettte is one of the most successful groups of Sweden, still)

Now all that is history. Helena has released three albums with her band Sandy Mouche and two solo albums. Her first jazz album is being released this year. She didn´t have to work as a dinosaur any more, since her voice was discovered by many artists. She toured Sweden and Europe with Per Gessle of Roxette, which culminated in a world tour with Roxette in 2011. She has featured singles by Swedish-Iranian artist Arash, where Helena´s voice has been heard by more than 50 million people on Youtube.

Now, as a proud mother of two, she keeps discovering her own musical world and what her voice can express. These days she´s not afraid. She´s just grateful to be here now.

Happiness

Nicole Glover - First Record

Size: 108,1 MB
Time: 46:40
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Water Ritual (6:56)
02. Waning And Waxing (7:12)
03. Marshmallow (6:08)
04. Snow Dance (4:07)
05. String Quartet In F (7:23)
06. Blood Moon (4:53)
07. Conscience Of The King (6:38)
08. Tennessee Waltz (3:18)

If for some reason Portland-native Nicole Glover's First Record ended up being her only one, she would still have made a lasting impact on the jazz world. The 24-year-old saxophonist's debut is an ambitious one that lays a lot on the table and seeks not only to establish her as a capable player, but a voice in the crowded world of jazz tenor. Aided by fellow Portlanders, both in her peer group (Jonathan Lakey on bass) and a few generations above her (George Colligan on piano and Alan Jones on drums), Glover's quartet record is a sonically and emotionally powerful one. It leaves aside niceties and dues- paying formalities and comes out swinging, shouting and dancing.

A significant aspect of First Record is a sense of contrast. Glover's originals seize on dichotomies and ranges of ideas in both intensity and function, sometimes over long periods of time and sometimes almost instantly. The first track, "Water Ritual," lilts out a pretty melody in 5/4 that gradually becomes edgier as Colligan's harmony becomes denser and more dissonant, almost as if the optimism of the melody is being called into question. Glover's solo takes a similar arc, shoving its way out of the groove and into an intense stratosphere of searing high notes and full-range atonality. She improvises as such on "Conscience of the King," arcing her solo up from the low, rhythmic vibe of the post-bop head into twisty combinations of runs, tremolos and single-note stabs. Glover's ideas, while organized and rhythmically pocketed, don't often follow the usual path of linear, swung, tension-to-resolution bop soloing. They sort of creep in unexpectedly, dart in unusual ways and explode by the time they're done. It's a textural approach, not just in terms of sound, but also the impression that it leaves after its finished.

The record's diverse trio of covers also celebrates contrast. Glover and Colligan rip their way through "Marshmallow" (an enormously complex Warne Marsh contrafact on "Cherokee" that pushes the limits of harmony and rhythm over familiar changes), wherein Glover wisely doesn't try to outdo the head and just deftly and learnedly plays the Cherokee harmony. She transforms a section of Maurice Ravel's "String Quartet in F" into a sprawling, bombastic jammer, taking on the decades old jazz tradition of taking the powerful melodies and impressionistic harmonies of Western classical music and turning the intensity up. Not all of the covers are war horses, though; her gentle take on Stewart and King's "Tennessee Waltz" is just as poignant and palatable as Patti Paige's version, lingering on gospel roots of the melody and letting Colligan expand into a loose-time expansion that sounds straight out of a church service.

As Glover's teacher and mentor in real life, Colligan's role on the record is no different. He lends his incredible and deft talent at the keys, but doesn't overshadow her. His solo on "Waning and Waxing" fits neatly into record's theme of neatness and beauty meeting unrestrained adventure, slowly evolving into wild, flowing runs with his right hand while the left hammers out polyrhythmic quarter notes. He's fully capable of allowing Glover to keep the spotlight on tunes like "Blood Moon," where he follows Glover's sinewy solo with one composed mostly of chords. Colligan even puts aside his keyboard chops for a pocket trumpet on "Snow Dance," which recalls the jolly melodies and abstract soundscapes of "New York is Now!"/"At Golden Circle"-era Ornette Coleman.

The quality that excites and promises the most from Glover is her simultaneous rejection of tenor saxophone clichés while still celebrating the instrument in its fullest. She mostly avoids the linear and harmonic pitfalls of obviousness that many young tenors mire in, and yet, nothing she plays would make sense on any other instrument. It does, of course, draw crucial bits and pieces from recognizable sources, from Wayne Shorter's mystery to John Coltrane's prayer-like intensity, reaching out to the reedy, understated rhythms of Marsh and Lee Konitz to the elusive and flammable zig-zags of players like Joe Henderson and Tony Malaby. Largely, though, Glover is making quick approaches to sole propriety of her own sound, which, especially for her age, is as important as it is rare. ~Daniel Lehner

Personnel: Nicole Glover: tenor saxophone; George Colligan: piano, pocket trumpet; Jonathan Lakey: bass; Alan Jones: drums.

First Record

Claudia Franco - Soul Dance

Size: 110,0 MB
Time: 47:08
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Night And Day (4:39)
02. The Man I Love (4:42)
03. Day In Day Out (3:16)
04. The Boy Next Door (4:47)
05. Dharma (4:45)
06. You're Driving Me Crazy (2:54)
07. The Trolley Song (4:01)
08. Supposed To Be (4:07)
09. How Long Has This Been Going On (3:57)
10. Come Sunday (5:04)
11. E Preciso Dizer Adeus (4:51)

Every day, someone, somewhere, is turned on to jazz. Be it through records, radio, or a riveting live performance. And many make the decision to perform this vibrant art form, in whatever way they feel is appropriate. The amount of jazz that is coming in from around the globe might arguably be at an all-time high. Portugal appears to be no exception to this phenomenon, as vocalist Claudia Franco proves with her release of Soul Dance . She is a vocal teacher in Lisbon, who has extended her talents into the jazz realm, complemented by an effective and accomplished group of musicians, Franco offers a set of standards, some surprises, and penned a couple of originals.

It is a rite of passage for any jazz singer to work their way through the Cole Porter and Gershwin catalogs, and Franco does a commendable job on "Night and Day," "The Man I Love," and "How Long Has This Been Going On." Add to this list Duke Ellington's "Come Sunday," where she obviously has done her homework, with her phrasing and seductive nuances being spot on. It's arduous to do these tunes as they have become larger than life, but she wades in with no trepidation, and makes it out the other side.

"Dharma," and "Supposed To Be," are her own compositions, and they suggest an artist on a mission, searching for her inspiration. Hopefully there will be more of this in future productions, as these songs work for her. "You're Driving Me Crazy," a nice upbeat number, allows her to stretch out and venture into some scatting. Her tasteful approach on the classic show tune "The Boy Next Door," displays her dedication to authenticate the lyrics, though English is not her primary language. She goes back to her native Portuguese in Jobim's "E Preciso Dizer Adeus," a melancholy ballad where she is both comfortable and credible portraying the languid sadness.

As most singers do, Franco leans heavily on her pianist. Rui Caetano, accompanist extraordinaire, who also performs double duty as producer, is the magical force behind this project, and his aptitude in jazz piano is apparent. The rhythm section likewise perform with a solid sense of professionalism, as does the augmented horn section on selected tracks.

This record, as many being produced internationally, is a vital sign that jazz not only continues to develop, but represents its own life force to those who seek to be associated with its positive stimulation. Now on her chosen path, Claudia Franco is to be commended on her passion and perseverance of becoming a jazz singer, and with Soul Dance , she is on her way. ~by James Nadal

Personnel: Claudia Franco: vocals; Rui Caetano: piano; Joao Custódio: bass; Pedro Felgar: drums; Bruno Santos: guitar; Ricardo Toscano: alto sax; Tomas Pimentel: trumpet; Ruben Luz: trombone; Eduardo Lala: trombone; Cesar Cardoso: tenor sax; Joao Alves: doublebass (3).

Soul Dance

Jim Stubblefield - Encantado

Size: 129,4 MB
Time: 55:26
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Fusion, World, Pop
Art: Front

01. Beyond The Horizon (3:55)
02. Puesta Del Sol (For Jdz) (4:57)
03. Across The Burning Sands (4:32)
04. Cielo Azul (6:06)
05. Highland Dreams (For Fiona) (4:48)
06. Odyssey Of Fire (6:09)
07. Shadow & Light (5:19)
08. Corazon De Fuego (5:19)
09. Phrygian Suite, Op. 1 (8:54)
10. Terra E Sole (5:24)

Guitarist and composer Jim Stubblefield ventures into a varied world of sonic adventure with Encantado. Fluid guitar solos, soaring non-lyric vocals, majestic strings and infectious percussion abound on this recording. From the expansive Beyond the Horizon (featuring the stellar voice of Moksha Sommer) to the blistering Odyssey of Fire to the meditative Terra e Sole, Jim takes the listener on a global journey. The album was co-produced and mixed by award winning Danish producer Bo Astrup and mastered by the great Bernie Becker. Jim is joined by Randy Tico (Strunz & Farah; Airto) on bass, Ramon Yslas (Strunz & Farah; David Sanborn;Christina Aguilera) on percussion, Moksha Sommer (of HuDost) on vocals, Novi Novog (David Arkenstone; Prince; Frank Zappa) on viola, Eric Hansen on guitar and Mark Barnwell on guitar.

Encantado

Gary Farmer - Cat On The Prowl

Bitrate: MP3@320K/s
Time: 38:25
Size: 88.0 MB
Styles: Jazz-blues
Year: 2011
Art: Front

[4:18] 1. Stick It
[3:01] 2. Shanghai Nights
[4:30] 3. Let The Rain Fall Down
[2:56] 4. Cat On The Prowl
[4:01] 5. The Journey
[4:11] 6. Nawlins
[3:47] 7. Brylee's Song
[4:30] 8. Newz Bluez
[3:20] 9. With Just The Touch Of Your Hand
[3:48] 10. And There He Sits

All instrumentals written and performed by Gary R. Farmer.

Cat On The Prowl

Bonnie James - Between The Covers

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 60:43
Size: 139,5 MB
Art: Front

(3:22) 1. Dream a Little Dream of Me
(3:17) 2. Witchcraft
(4:13) 3. Since I Fell for You
(4:59) 4. The Magic (Is You)
(4:39) 5. Blue Moon
(3:21) 6. Mack The Knife
(4:23) 7. I'm In the Mood For Love
(3:31) 8. Ain't No Sunshine
(2:45) 9. It Had To Be You
(3:36) 10. Misty
(2:53) 11. The Lady Is A Tramp
(2:48) 12. You're My World
(4:03) 13. Gettin' Over Me
(4:43) 14. Girl from Ipanema
(4:18) 15. Love Letters (Straight From Your Heart)
(3:46) 16. The Party's Over

Bonnie James loves to sing. At age 10 she used a candlestick "microphone" to sing along with the radio hits of the day. She had her favourite female singers, but she really liked jamming with Elvis, Fabian and the The Everly Brothers. Her voice tends toward the low range and she found it easier to sing along with the male vocalists. Born in St. Catharines Ontario Canada, she has lived most of her life in the Niagara Region, and spent a few of her younger years in the Muskokas. Her passion for music took her life over completely. She'd sit by the radio and write out the lyrics of popular songs. She could be heard singing in the house everyday. Her mother supported her in this and urged her to perform in front of family and friends. She was the only one in her family who showed any musical inclinations and it was radio and television that kept that passion alive.Bonnie moved to Toronto at age 18 to spend some time with her father who was ill. She became involved with "basement bands" singing popular hits from the radio. This led to performing at parties and student events. But, the groups she associated with were intent on playing "Rock n Roll" while she wanted to move toward Folk music so they ultimatley parted ways, while remaining friends.This was 60's Toronto and the Folk Scene was in high gear. Bonnie saw Gordon Lightfoot, Joni Mitchell, Ian & Sylvia and Peter,Paul and Mary at live gigs. Her desire to perform grew. She advertised for a folk guitarist and along came David Wilcox. He was 17 years old, seemed to her an awkward and shy young man, but boy could he play. She had heard him perform at a party a couple of weekends earlier so when he answered the ad she was excited.

However, this union of great accompanist and aspiring singer was not to be because Bonnie's boyfriend proposed marriage.Her music career was temporarily shelved while marriage, children and family life moved to the forefront. For now, Bonnie was content to sing around the house and entertain her children. You could still catch her sitting by a radio copying down song lyrics keeping her passion alive. Twenty years would pass before the urge to perform was reawakened.After the family was well on it's way and children off to school, Bonnie's husband suggested she get a job. Momentarily shocked (she thought she had a job), she took that as a sign to return to performing. Bonnie decided to start her own 50's/60's style band. She advertised for musicians and started rehearsing (back in the basement again!). This helped dust the cobwebs off her singing voice. The band seemed stuck in the basement and Bonnie realized that her ambition for live performing would not be met here. She answered an ad for a vocalist hoping this might work better but the clincher came when the band leader insisted she sing "Stand By Your Man." That's exactly what I've been doing for the last 20 years! she thought. Having a lucrative contract in hand Bonnie was determined to honor it and needed new players right away. Her husband had seen an existing 50's/60's band shortly before that played a lot of the same tunes. After confronting them with a nice paying gig and only two rehearsals, she had her first real gig in front of a packed house and blew the audience away. Bonnie finally emerged from the basement and her singing career was launched. For the next 7 years she worked with regular accompanists and was booked most weekends.

She also became a "special occasion" disc jockey, promoting herself as "DJ with a Difference". She would entertain crowds with great dance music and sneak in a few live tunes using karaoke CDs and singing for them. Once the audiences realized that she was singing they loved it, finding it unique. It became her calling card, with many people booking her as a DJ because of her ability to sing. Along came the new millennium and Bonnie met a karaoke DJ who was also a professional singer,John McCabe. He was in the process of recording a demo and invited her to observe the sessions. Witnessing music being recorded in a professional studio excited her and a new bug was born. Now, Bonnie could see herself recording her own CD.

A growing appreciation for jazz led her to a supper club that featured a great jazz pianist named Joe Ingrao. Occasionlly she joined Joe at this club and learned to sing jazz standards. Joe and his bass player, Garth Vogan, introduced Bonnie to the essentials of musical structure and how to communicate with other players.Now Bonnie could sing with the pros without rehearsal. Back at the studio John began urging Bonnie to do a demo of her own. Using karaoke tracks she did just that. She took her 2 song demo to Joe and Garth who were so impressed they immediately suggested she do an album. Bonnie discovered that her cousin, Glen Reid,who was in the music business, had recorded folk and bluegrass albums. He was also stunned by the demo and invited her to join him at his Heritage River Festival and perform a couple of songs with him. Glen began to introduce Bonnie to all the professionals she would need to create her dream album. Her project came together as if it were pre-ordained. "Between the Covers" features 14 jazz standards and 2 originals which are receiving widespread airplay on radio stations across Southern Ontario. The album is a great piece of work and is landing Bonnie the quality gigs she always wanted. Professional musicians accompany her wherever she performs. Her jazzy, sultry style just lets the music flow. No more struggling with basement bands. No more singing by the radio(what? she'll always sing by the radio, just not with a candlestick, nearly set her hair on fire one time doing that.) Bonnie James, the singer has arrived, and we are all the richer for it. http://www.bonniejames.ca/?section=bio

Between The Covers

Dave Koz - Collaborations: 25th Anniversary Collection

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 61:27
Size: 140,8 MB
Art: Front

(4:14) 1. Good Foot
(4:01) 2. (Your Love Keeps Lifting Me) Higher and Higher
(4:50) 3. When Will I Know For Sure
(4:36) 4. So Very Hard To Go
(2:59) 5. (I Love You) For Sentimental Reasons
(4:09) 6. A Kiss Under The Moonlight
(4:54) 7. This Guy's In Love With You
(5:40) 8. All You Need Is Love
(4:02) 9. Linus And Lucy
(4:46) 10. Cryin' for Me (Wayman's Song)
(4:57) 11. Think Big
(4:10) 12. I Hear Her Playing Music
(4:31) 13. Start All Over Again
(3:31) 14. Let It Go

The 2015 Dave Koz compilation, Collaborations: 25th Anniversary Collection, brings together duets and other collaborative recordings culled from the smooth jazz saxophonist's over-two-decades-long album history. Included are pairings with such luminaries as Stevie Wonder, Stevie Nicks, Rod Stewart, Herb Alpert, and Luther Vandross. Also included are several brand new recordings including a take on the Jackie Wilson soul classic "Your Love Keeps Lifting Me Higher and Higher," featuring vocalist Kenny Lattimore and trumpeter Rick Braun. Also included is Koz's version of the Academy Award-winning song "Let It Go" from Disney's Frozen, as well as the song "Good Foot," with longtime associate and keyboardist Jeff Lorber. ~ Matt Collar http://www.allmusic.com/album/collaborations-25th-anniversary-collection-mw0002851261

Collaborations: 25th Anniversary Collection

Dan Barrett, John Sheridan - Two Sleepy People

Styles: Cornet, Trombone and Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 59:48
Size: 137,7 MB
Art: Front

(2:47) 1. Two Sleepy People
(4:17) 2. Hey, Good Lookin'
(4:04) 3. I Like the Likes of You
(3:50) 4. All My Love
(4:11) 5. Remember Me
(2:51) 6. Whoa Babe
(7:45) 7. Medley for Billie Holiday: They Say/One Never Knows..
(3:31) 8. Who loves you?
(4:24) 9. Oh, You Crazy Moon
(4:42) 10. Hear Me Talkin' to Ya?
(5:02) 11. Moanin' Low
(3:45) 12. You Can't Lose a Broken Heart
(3:08) 13. Why Do I Lie to Myself About You?
(5:23) 14. Two Sleepy People

The word that best sums up this set of duets by Dan Barrett and John Sheridan is "delightful." Trombonist Barrett (who doubles quite effectively on cornet) and the stride/swing pianist Sheridan match together quite well, inspiring each other on a set of older swing standards and obscurities. Although the emphasis is on melodic improvising, there are enough chances taken to make this music slightly unpredictable. The program begins and ends with different versions of "Two Sleepy People." Other highlights include an unusual jazz treatment of Hank Williams' "Hey, Good Lookin'," a four-song Billie Holiday medley that avoids the more obvious tunes, Louis Armstrong's rarely performed "Heah Me Talkin' to Ya," "All My Love" and "You Can't Lose a Broken Heart." Actually each of the 14 performances are quite enjoyable and this set is easily recommended to fans of Dixieland, swing and mainstream jazz. There is nothing sleepy about the music. ~ Scott Yanow http://www.allmusic.com/album/two-sleepy-people-mw0000090444

Personnel: Dan Barrett (cornet, trombone); John Sheridan (piano).

Two Sleepy People

Claudio Roditi - Claudio, Rio & Friends

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 59:28
Size: 136,7 MB
Art: Front

(5:01) 1. Leste
(4:38) 2. La Tropezienne Samba
(6:53) 3. Romanza
(5:22) 4. Bonne Terrasse
(4:56) 5. Caribe's Dream
(7:51) 6. Irere
(4:54) 7. Arpoador
(5:16) 8. Samba de Um Breque
(7:29) 9. Melancia
(7:04) 10. Demansinho

An idol to many jazzmen currently playing in his native Rio de Janeiro, bop trumpeter Roditi apparently had no difficulty in lining up an enthused and talented crew to participate in this session of heated Brazilian jazz. For his core group, Roditi chose the 11-year-old Cama de Gato, a burning, bop-inspired quartet comprising alto-man/flutist Mauro Seise, keyboardist Jota Moraes, bassist Arthur Maia, and drummer Pascoal Meirelles. Seven of the ten selections allow us to also hear such other formidable local musicians as trumpeter/fluegelhornist Guilherme Dias Gomes, tenorman Nivaldo Ornellas, guitarists Guinga, Rodrigo Campello, and Lula Gavao, and, singing the Portuguese lyrics on "Samba De Um Bregue," Leila Pinheiro.

Now that it has moved beyond the lilting attractiveness of bossa nova to embrace the visceral approach of hard bop, Brazilian jazz is becoming as valid a representation today of its West African heritage as the related expressions of New Orleans and the Caribbean. What unites them all, of course, is the primary emphasis placed on a swinging polyrhythmic time base, an element largely abandoned in jazz during its various fascinations with West Coast Cool and the European avant garde. ~ Jack Sohmer http://jazztimes.com/articles/9596-claudio-rio-friends-claudio-roditi

Personnel: Claudio Roditi (trumpet); Leila Pinheiro (vocals); Luis Galvao (guitar); Rodrigo Campello (acoustic guitar); Mauro Senise (flute, alto saxophone); Nivaldo Ornelas (tenor saxophone); Guillerme Dias Fomez (trumpet, flugelhorn); Jota Moraes (keyboards); Pascoal Meirelles (drums)

Claudio, Rio & Friends

Chico Hamilton - Chico Hamilton With Paul Horn

Styles: Crossover Jazz, Hard Bop
Year: 1963
File: MP3@320K/s
Time: 31:32
Size: 72,5 MB
Art: Front

(3:53) 1. Porch Light
(3:39) 2. Autumn Landscape
(4:45) 3. Uyawda
(2:17) 4. Lolly Pop
(2:54) 5. Pluck It
(3:44) 6. Katz
(2:54) 7. Crazy Cats Aka Classical Katz
(7:22) 8. Lord Randall

This LP draws its material from three separate sessions led by drummer Chico Hamilton. Hamilton teams up with guitarist Howard Roberts and bassist George Duvivier for two songs, has two others in a trio with guitarist Jim Hall and bassist George Duvivier, and for the final four numbers is heard in the second version of his famous Quintet (the only selections that actually include Paul Horn). The latter selections feature Horn on various reeds (flute, clarinet, tenor, alto and piccolo), cellist Fred Katz (who wrote the four songs), guitarist John Pisano, bassist Carson Smith, and Hamilton. ~ Scott Yanow http://www.allmusic.com/album/chico-hamilton-with-paul-horn-mw0002601632

Personnel: Chico Hamilton (drums); Carson Smith (bass); Paul Horn ( flute, clarinet); John Pisano (guitar).

Chico Hamilton With Paul Horn