Slim Gaillard - Slim Gaillard Remastered Collection

Size: 134,3 MB
Time: 57:02
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. That's A Bringer - That's A Hanger - That's A Drag (Remastered 2015) (2:56)
02. A-Well-A-Take-'em-A-Joe (Crap Shooter's Jive) (Remastered 2015) (2:59)
03. Chicken Rhythm (Remastered 2015) (2:52)
04. Swingin' In The Key Of C (Remastered 2015) (2:41)
05. Boot-Ta-La-Za (Remastered 2015) (3:22)
06. (My Darling) It's You, Only You (Remastered 2015) (3:09)
07. Beatin' The Board (Remastered 2015) (2:57)
08. Look Out (Remastered 2015) (2:51)
09. Matzoh Balls (Remastered 2015) (2:33)
10. Early In The Morning (Remastered 2015) (2:34)
11. Chittlin' Switch Blues (Remastered 2015) (2:48)
12. Huh ! Uh-Huh! (Remastered 2015) (2:49)
13. Windy City Hop (Remastered 2015) (2:41)
14. Baby Be Mine (Remastered 2015) (2:55)
15. Sploghm (Remastered 2015) (2:32)
16. Fitzwater Street (Located In Philadelphia) (Remastered 2015) (2:48)
17. Don't Let Us Say Good-Bye (Remastered 2015) (2:57)
18. Rhythm Mad (Remastered 2015) (2:45)
19. Bongo (Remastered 2015) (2:56)
20. Broadway Jump (Remastered 2015) (2:48)

A cult hero, Slim Gaillard was a frequently hilarious personality whose comedy (inventing his own jive language with a liberal use of the words "vout" and "oreenee") generally overshadowed his music. In the mid-'30s he had a solo act during which he played guitar while tap dancing! In 1936 Gaillard began teaming with bassist Slam Stewart as Slim and Slam. Their very first recording became his biggest hit, "Flat Foot Floogie." Slim and Slam were a popular attraction up to 1942 with such other songs as "Tutti Frutti" and "Laughin' in Rhythm." By 1945 Gaillard had a new bassist, Bam Brown (whose frantic vocals matched well with Slim's cool if nonsensical voice), and "Cement Mixer" and "Poppity Pop" caught on. Gaillard, who played electric guitar influenced by Charlie Christian, fairly basic boogie-woogie piano and vibes, led an unusual date with guests Charlie Parker and Dizzy Gillespie (1945) that was highlighted by "Slim's Jam." Throughout the 1940s in Los Angeles, Gaillard had a strong following, using such sidemen as Zutty Singleton and Dodo Marmarosa, but the popularity of jive singers (which included Harry "The Hipster" Gibson and Leo Watson) ran its course and after 1953 Gaillard only led two other record sessions (in 1958 and 1982). In the 1960s he was largely outside of music, running a motel in San Diego, but by the late '70s Slim Gaillard was back on a part-time basis, still singing "Flat Foot Floogie" and making one wonder why this comic whiz was neglected for nearly three decades. ~Scott Yanow

Slim Gaillard Remastered Collection

---

The Charles Owens Trio - A Day With Us

Size: 159,6 MB
Time: 69:02
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Caravan (10:30)
02. Dutch ( 7:32)
03. Ummg ( 6:26)
04. The Man I Love (10:01)
05. Take Five ( 8:03)
06. Something ( 6:12)
07. No Resolution ( 6:54)
08. On A Slow Boat To China ( 8:14)
09. You Go To My Head ( 5:07)

Even when factoring in the vital contributions of bassist Andrew Randazzo and drummer Devonne Harris, there's no denying Charles Owens' firm hold on the nine tracks of A Day With Us. Throughout a program consisting largely of standards, the music is ruled by the broad, resonant sound of the leader's tenor saxophone and the dogged persistence that characterizes everything he plays. As if building something momentous on the spur of the moment with his wits and the force of his will, the sounds conjure up hard labor, sweat, and grime. In some instances Owens shovels notes out of the bell of his horn; in others, he wields a pneumatic drill.

Most of Owens' solos (not to mention his introductions and post-out head forays) are long, irrepressible and headstrong. Just when you begin to wonder when he'll stop, give up, or bow out, there comes another chorus (or two or three) of smart, brawny invention. For all of the detours and digressions, the architecture of his solos is logical and relatively easy to follow. More often than not, when an improvisation ends, it begs the question: How can Owens sound so earthy, deep-rooted, yet move relentlessly and cover so much territory? And there's something positively addictive about the long way, Owens' preferred, circuitous route to a destination. Upon reaching the conclusion of "You Go To My Head," the disc's last track, an all-too-brief cadenza thwarts the expectation—and the desire—for another elongated, effusive, daring statement.

Owens employs a number of devices that keep any threat of monotony or predictability at bay. He executes the in and out heads of "Caravan," "The Man I Love," and "You Go To My Head" in somewhat different ways, altering the tunes' identities and shifting the music's emotional temperature. A protracted and wildly inventive solo introduction animates "Caravan," the disc's opening track. The leader reinforces the tight-knit character of his working band by playing accompanying figures to Harris' solos on "Caravan," "UMMG," and "Take Five." Owens' puckish sense of humor often appears out of nowhere and disappears just as quickly. For instance, a number of tart, staccato bites flavor an otherwise sober "The Man I Love" solo. In contrast to a forthright take on the rest of the song, he transforms a portion of the bridge of "You Go To My Head" into a jaunty burlesque.

"Something" and "The Man I Love" are two prime examples of Owens ability to fashion familiar material to suit his improvisational character. Dispensing with the customary protracted introduction, the saxophonist executes a straightforward rendition of George Harrison's tune and includes a rather faithful reproduction of Harrison's guitar solo from the Beatles' recording. Owens gradually releases himself from some of the song's constraints and constructs something raw, ragged, and romantic on top of it.

The record's masterpiece is a ten-minute treatment of George Gershwin's iconic "The Man I Love." To Owens' credit, throughout the melody and a good deal of the improv, it's tough to identify what, emotionally speaking, he seeks to convey—hope, guarded optimism, yearning, weariness, resignation? Slowly and painstakingly shaping the line he compels the listener to pay close attention to every note. The melodies Owens finds during his solo are just as purposeful and emotionally amorphous. For a time he opens up a bit, gradually becoming vigorous and terse, among other things cutting loose with one scream, shadowed by a short-lived silence. In contrast to the opening the out head is penetrating, at times almost rubbing the melody raw. The two-minute plus cadenza that follows marks the return of the restless, probing, bold tenor saxophonist. Owens defies the relative caution of the rest of the track in favor of going wherever his imagination takes him, and in doing so, leaves "The Man I Love" behind. ~David A. Orthman

Personnel: Charles Owens: tenor saxophone; Andrew Randazzo: bass; Devonne Harris: drums

A Day With Us

---

Jazz At The Movies - Kiss Kiss Bang Bang

Size: 132,5 MB
Time: 56:32
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Prelude From Psycho (1:00)
02. Close Enough For Love (4:48)
03. Pure Imagination (3:52)
04. Sooner Or Later (4:19)
05. Mr Kiss Kiss Bang Bang (3:13)
06. It Might Be You (3:28)
07. The Summer Knows (4:15)
08. Put The Blame On Mame (3:48)
09. I'd Rather Have The Blues (4:08)
10. Chovenda Na Roseira (3:31)
11. More Than You Know (4:25)
12. The Man That Got Away (4:35)
13. When I Look In Your Eyes (2:52)
14. South American Getaway (4:48)
15. Love Music From Vertigo (3:22)

Starring Joanna Eden as 'The Singer' and co-starring the Chris Ingham Quartet as 'The Boys in the Band', Jazz At The Movies is a unique jazz group formed specifically to interpret movie themes and soundtrack songs taken from a wide-range of silver screen sources both familiar and obscure.

Their refined dramatic and jazz sensibilities produce sounds that celebrate the meeting point of songcraft and swingcraft. With a reputation for vibrant music, deep repertoire and droll presentation, JATM have become a regular sell-out at Ronnie Scott's, St James Theatre, the Royal Albert Hall's Elgar Room and many jazz clubs, theatres and Arts Centres throughout the UK.

JATM features evocative vocals by acclaimed singer Joanna Eden, bewitching saxophone and clarinet from star reedsman of the John Wilson Orchestra Mark Crooks and atmospheric textures and grooves from Chris Ingham (piano), Rev. Andrew Brown (bass) and George Double (drums).

For their second JATM album 'Kiss Kiss Bang Bang', the band interprets material from movies made between 1946 and 1990. Bookending the record with a sumptuous pair of Bernard Herrmann's Hitchcock themes, JATM allow Ms Eden full reign to explore her diva tendencies on Sondheim's "Sooner Or Later" from Dick Tracy (1990) and the Arlen/Gershwin classic "The Man Who Got Away" from A Star Is Born (1954), along with her multi-lingual skills on Jobim's "Chovenda Na Roseira" from The Adventurers (1970).

"Movie songs like these provide good material for the best jazz singers. Joanna Eden and her first-class band had a ball with them." - Jazz Journal

Kiss Kiss Bang Bang

---

Karin Hammar - Imprints

Size: 116,6 MB
Time: 50:27
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Good Things Are Free (5:14)
02. Imprints (4:40)
03. Sai Fora (4:39)
04. Stationary (5:59)
05. Vera Cruz (5:07)
06. Light Is Your Shadow (4:10)
07. Lifewish (5:50)
08. Man's Best Friend (3:46)
09. Waltz For Restless Souls (6:50)
10. Overjoyed (4:06)

Sophisticated jazz played with virtuosity and at times with hypnotic beats and bass lines. The trombone player Karin Hammar herself convinces with a lush, often lyrical sound. Well arranged, tight and with strong melodies, all songs are written by Karin Hammar, who has developed to one of Sweden´s best trombone players, always with constant variation in her playing.
Karin Hammar's strength is her fluent, singingly melodic playing. It becomes wonderfully elegiac in a kind of controlled melancholy. Her music is light and melodic, with shimmering harmonies and softly driven rhythm. Latin moods mixing with a proud jazzy tone. This is definitely music for everyone who is curious of jazz in a new unique style.

Imprints

---

Darby Williams - Me

Size: 101,1 MB
Time: 41:54
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. No One Knows (Feat. Peabo Bryson) (3:26)
02. Do Nothin' Till You Hear From Me (4:36)
03. Something To Live For (4:03)
04. Prelude To A Kiss (4:48)
05. Mood Indigo (4:36)
06. Daydream (3:47)
07. I Didn't Know About You (4:35)
08. Lush Life (3:56)
09. In A Sentimental Mood (4:08)
10. Sophisticated Lady (3:54)

Tall, blond, bodacious and sensual, newcomer Darby Williams commands the stage just as she commands her dynamic vocal range, with artistic creativity and a personal touch not often found today. Signed personally to Roc Cartel by label founder and President Ray De La Garza, Williams captures the essence and the nuances of perhaps the greatest collaborators in jazz history – Duke Ellington and Billy Strayhorn.

"Darby has such a diverse vocal range that her interpretation of these songs makes them relevant and accessible to everyone. We are looking forward to introducing this work to many who are not yet familiar with this legendary music, as well as, to those who hold a deep appreciation for these timeless classics." -Ray De La Garza.

With her debut album Me, such titles as “Lush Life,” “Mood Indigo,” and “Do Nothin' Till You Hear From Me”, echo the sweltering notes and delicate compositions of this illustrious partnership. Darby’s interpretation of their compositions is both thoughtful and intoxicating. The delicate nature of her phrasing, and obvious feel for American Songbook material is immediately evident. The single, "No One Knows" features Darby with two-time Grammy Award winner Peabo Bryson in a soulful duet, that is sure to keep your foot tapping.

“One splendid example of Darby’s suitability for wider exposure emanates from Me: the simply grand interpretation, the swinging horns, the wonderful drumming, and intoxicating vocals on ‘Do Nothin’ – this track alone is worth the price of the album – and if she can deliver in live performance what she does here in the studio, look out jazz world!” - music critic Brian Miller.

"Darby is a fantastic vocalist with command and range. I've sung with the greats and she's more than holding her own." -Peabo Bryson

Me

---

Eddie Daniels - Beautiful Love

Styles: Flute And Clarinet Jazz
Year: 1997
File: MP3@320K/s
Time: 51:13
Size: 118,1 MB
Art: Front

(5:03)  1. Awakening
(5:41)  2. Beautiful Love
(4:43)  3. First Gymnopedie
(5:52)  4. Waltz For Mirabai
(5:37)  5. The Ninth Step
(5:04)  6. We'll Always Be Together
(5:11)  7. A Take On Five
(4:59)  8. Love's Journey
(4:25)  9. Brunete
(4:34) 10. Summer's Gone

A remarkable clarinetist who ranks at the top of his field, Eddie Daniels sounds quite restrained throughout the easy listening set, although he throws in a few complex runs on "Beautiful Love." 

With a tasteful rhythm section (including guitarist Chuck Loeb and pianist Bob James), Daniels mostly sticks to melodic interpretations during a theme apiece by Bach, Erik Satie, and Rachmaninov, four of his own originals, two by Loeb, and the title cut. ~ Scott Yanow  http://www.allmusic.com/album/beautiful-love-mw0000098727

Personnel: Eddie Daniels (alto flute, clarinet); Lawrence Feldman (alto flute); Ron Odrich (bass clarinet); Bob James (piano); Chuck Loeb (guitar); David Finck, Tim LeFebvre (bass); Wolfgang Haffner (drums); David Charles (percussion).

Beautiful Love

---

Melissa Stott - The picture

Styles: Jazz, Vocal
Year: 2007
File: MP3@224K/s
Time: 68:22
Size: 110,0 MB
Art: Front

(7:05)  1. Wish it wasn't true
(5:06)  2. You
(5:32)  3. A little contented place
(3:48)  4. Beware of your heart
(5:54)  5. I just can't stop the tears
(5:22)  6. That 'll be us
(4:37)  7. The picture
(4:03)  8. I'm looking at you with new eyes
(5:10)  9. Romance addio
(4:38) 10. Cara
(4:57) 11. Cutch O'Lanza
(6:02) 12. Mexico blue
(6:03) 13. Hindsight

Songwriter and vocalist Melissa Stott learned from a few of the best, such as Porter, Gershwin, Ellington, Strayhorn, Berlin, and more, but she has a more modern appeal to her music. She learned to play the piano at age six and was ear trained by her father. Melissa also took part in various choral activities. She decided to do acting in Italy and slipped into the jazz scene. Her first jazz record was of Ella Fitzgerald with Ellis Larkin at the piano. Melissa has studied with Barry Harris, Stjepko Gut, Dennis Jeter, LaVerne Jackson, Andy Farber and Vince Benedetti. She participated in festivals and coached many students in classical piano and harmony, jazz singing, choral singing and ballet.

Melissa is very talented and has written catchy tunes with interesting harmonies and witty, touching lyrics in this album The Picture. From the up-tempo dismissal of a lover in "Romance Addio," to the haunting Evans-esque "The Picture," or the aching, melancholic "Wish It Wasn’t True," each and every one of Stott’s original songs casts a spell which is hard to forget. As a vocalist, her style is natural and understated, yet "an almost conversational intimacy combines with subtle power" to produce feelings that it’s hard to put your finger on. ~ Alonda Washburn  http://www.jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/the-picture-by-melissa-stott.html

The picture

---