Jaimee Paul - Too Marvelous: The Songs Of Johnny Mercer

Size: 101,7 MB
Time: 43:35
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Too Marvelous For Words (2:39)
02. Day Of Wine And Roses (3:24)
03. Moon River (4:19)
04. That Old Black Magic (3:44)
05. Skylark (3:55)
06. Ac-Cent-Tchu-Ate The Positive (3:50)
07. Autumn Leaves (3:25)
08. Fools Rush In (3:18)
09. I Remember You (3:37)
10. Something's Gotta Give (3:43)
11. Laura (3:29)
12. P.S. I Love You (4:05)

Growing up in Southern Illinois, Paul was influenced by many musical forms and styles; but jazz and it's rich nuances and history held a special place in her heart. In 2008, her love for and amazing interpretation of these standards led to a recording contract with Green Hill Music, signing on as their first female jazz vocalist. Paul's first album, 'At Last', reached #1 on the iTunes album charts. Jaimee is now preparing to release her newest album 'Bonded'. This album is a daring tribute to the most famous Bond themes in music history. She delves into the spirit of the artists and finds new glory in the songs. Paul fearlessly tackles the great memories of iconic songs, and brings them to a new level.

Jaimee is married to and works closely with her trumpet player, Leif Shires. Leif hails from Fresno, California, and grew up around a very eclectic mixture of music. His loves and interests have ranged from Jazz, Latin, Funk, Pop, Indy, Gospel and Rock to Classic R&B most notably with the legendary Memphis Horns. Shires is also signed to Green Hill as a solo trumpet player who has already released a couple of albums as well.

Both artists have been recognized in their fields by many notable artists and remain in high demand with their fellow musicians in Nashville which they currently call home. Jaimee has traveled around the world with vocal powerhouse Wynonna, and with Pop singing sensation Kelly Clarkson.

Too Marvelous

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Roswell Rudd & Heather Masse - August Love Song

Size: 104,5 MB
Time: 45:28
File: MP3 @ 320K/s
Released: 2016
Styles: Modern Jazz, Jazz Vocals
Art: Front

01. Social Call (3:36)
02. Love Song For August (5:08)
03. I'm Going Sane (One Day At A Time) (5:58)
04. Mood Indigo (4:43)
05. Winter Blues (4:07)
06. Blackstrap Molasses - Old Devil Moon (5:59)
07. Con Alma (4:09)
08. Open House (4:04)
09. Tova And Kyla Rain (2:49)
10. Love Is Here To Stay (4:50)

How unlikely is the pairing of youthful and exuberant vocalist like Heather Masse and the free jazz deity of one Roswell Rudd? It is almost the punchline for a punny joke. Yet, we have August Love Song and what can we make of it?

First, the cover art recalls the movie poster of Summer of '42 (Warner Brothers, 1971) crossed with Love Story (Paramount, 1970). But this love story is one of music...ageless, constant, basic, organic. Both a sepia nostalgia and a fresh, post-modern veneer are evident in these ten well-crafted pieces. They are brilliant contradictions that perfectly complement one another.

Rudd and Masse met one another about four years while appearing on A Prairie Home Companion where Masse has appeared many times, both as a solo ace and as a member of the Wailin' Jennys, a popular folk group consisting of alto Masse, with soprano Ruth Moody and mezzo Nicky Mehta (the current lineup). Masse has made two recordings with the Wailin' Jennys and two solo recordings, her last being the well-received Lock My Heart (Red House Records, 2015) made with pianist Dick Hyman. Of that recording, All About Jazz critic Dan Bilawsky said: ..."Masse may or may not be back on the folk side of the fence but, if she has indeed flown on, she'll hopefully come back to visit jazz on occasion; a songbird with her talents, after all, should be free to fly wherever she pleases." This spirit is in no way diminished on August Love Song.

Behold this curious chemistry where Rudd and Masse prod and feed off one another. Masse emulates Rudd with the most spirited scat and vocalese of recent memory and Rudd digs deep, way past his freedom days, back to when Kid Ory transmogrified into Tricky Sam Nanton crossed with Al Grey on their way to the Eminent JJ Johnson. This chemistry, alchemy really, blooms from the small confines of a quitar-bass rhythm section supporting the two principals. This gives the music a '20s and '30s Hot Club aroma, but that aroma is pine- needle sharp with gin...the good stuff, too. Masse grows languid from Rudd's almost boozy blowing, characteristically in the lower register.

Perfect is Masse and Rudd's command of Gigi Gryce's "Socal Call" as realized by Bessie Smith, Billie Holiday, and Betty Carter. She slows her crack phrasing to the rheology of Molasses. The two build a monument worthy of being strolled through with the diptych made up of "I'm Going Sane (One Day at a Time)" and "Mood Indigo," the latter introduced by Rudd with a growling "It Don't Mean a Thing." The pair duet on the Ellington piece and the results are that of a smoky diamond awaiting proper discovery. Masse reaches deep herself and finds the blues and she is not shy in sharing them with us. A musical center of beautifully titrated honey and Quaaludes languidness.

But we have yet to hear the best. The medley of "Blackstrap Molasses" and "That Old Devil Moon" look clean and clear as water from the old home place well, except for the razor bite of the moonshine when you hear it. This is music that makes you wish you could live forever just to hear more of it. Rudd and Masse close with a sweetly quaint "Our Live is Here to Stay," capping as fine a recording as I believe I can bear. ~Michael C. Bailey

Personnel: Heather Masse: vocals; Roswell Rudd: trombone; Rolf Sturm: guitars; Mark Helias: bass.

August Love Song

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Alexis Cole - Dazzling Blue

Size: 124,2 MB
Time: 53:22
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. St. Judy's Comet (3:03)
02. Jonah (3:31)
03. Dazzling Blue (4:35)
04. Something So Right (6:21)
05. Another Galaxy (5:17)
06. Nobody (3:44)
07. Song About The Moon (4:12)
08. Everything About It Is A Love Song (4:35)
09. Long, Long Day (4:09)
10. Love (4:06)
11. That's Where I Belong (4:28)
12. Quiet (5:16)

Inspired by Paul Simon's contributions, Alexis Cole offers this very special treatment of his music. With Dazzling Blue, vocalist Cole and producers David Chesky and Nicholas Prout sifted through some of Simon's lesser known compositions.

Herein they are presented in unalloyed simplicity, emphasizing the incandescent quality, and unadorned beauty of his lyrics. Ms. Cole has a marvelous voice of great depth. Her clear, warm resonance strips away all ornamentation and gets you to the marrow of the songwriter's stories. The vocals are haunting, and a testament to Cole's cross-cultural vocal training. Cole is joined by an excellent group of musicians whose collective body of work is well known to roots music aficionados. Jeff Haynes and Gus Courtsunis on percussion; Marvin Sewell on acoustic and electric guitars; Mark Peterson on bass, Julie Harris on Native American flute, and background vocals from Maria Quintanilla and Evan Sundquist; they are all an integral part of the whole.

Part of the Chesky Binaural + Series, all recorded with a single microphone, the band appears right before you with this spacious, lush and multi-dimensional recording. Now headphone users will hear the same three-dimensional sound and imaging as audiophiles have for the past 25 years with Chesky Recordings.

Also these new Binaural+ Series albums capture even more spatial realism for the home audiophile market, bringing you one step closer to the actual event. You will hear some of the most natural and pure music ever recorded.

Dazzling Blue

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The Horace Silver Quintet (feat. J.J. Johnson) - The Cape Verdean Blues

Styles: Piano Jazz
Year: 1965
File: MP3@320K/s
Time: 43:44
Size: 101,0 MB
Art: Front

(4:58)  1. The Cape Verdean Blues
(9:36)  2. The African Queen
(7:31)  3. Pretty Eyes
(7:15)  4. Nutville
(8:37)  5. Bonita
(5:45)  6. Mo' Joe

After the success of Song for My Father and its hit title cut, Horace Silver was moved to pay further tribute to his dad, not to mention connect with some of his roots. Silver's father was born in the island nation of Cape Verde (near West Africa) before emigrating to the United States, and that's the inspiration behind The Cape Verdean Blues. Not all of the tracks are directly influenced by the music of Cape Verde (though some do incorporate Silver's taste for light exoticism); however, there's a spirit of adventure that pervades the entire album, a sense of exploration that wouldn't have been quite the same with Silver's quintet of old. 

On average, the tracks are longer than usual, and the lineup -- featuring tenor saxophonist Joe Henderson (a holdover from the Song for My Father sessions) and trumpeter Woody Shaw  is one of the most modernist-leaning Silver ever recorded with. They push Silver into more advanced territory than he was normally accustomed to working, with mild dissonances and (especially in Henderson's case) a rawer edge to the playing. What's more, bop trombone legend J.J. Johnson appears on half of the six tracks, and Silver sounds excited to finally work with a collaborator he'd been pursuing for some time. Johnson ably handles some of the album's most challenging material, like the moody, swelling "Bonita" and the complex, up-tempo rhythms of "Nutville." Most interesting, though, is the lilting title track, which conjures the flavor of the islands with a blend of Latin-tinged rhythms and calypso melodies that nonetheless don't sound quite Caribbean in origin. Also noteworthy are "The African Queen," with its blend of emotional power and drifting hints of freedom, and "Pretty Eyes," Silver's first original waltz. Yet another worthwhile Silver album. ~ Steve Huey  http://www.allmusic.com/album/the-cape-verdean-blues-mw0000204335

Personnel:  Bass – Bob Cranshaw;  Drums – Roger Humphries;  Piano – Horace Silver;  Tenor Saxophone – Joe Henderson;  Trombone – J.J.Johnson (tracks: 4 to 6);  Trumpet – Woody Shaw 

The Cape Verdean Blues

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Dina Blade - S' Wonderful

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 46:19
Size: 106,5 MB
Art: Front

(3:04)  1. S'Wonderful
(4:18)  2. On the Street Where you Live
(5:16)  3. That's All
(3:10)  4. Summer Samba
(2:38)  5. In the Cool Cool Cool of the Evening
(3:46)  6. How Strange
(3:52)  7. Waltz for Debby
(2:11)  8. It's Allright with Me
(4:32)  9. Suddenly It's Spring
(3:46) 10. That Old Black Magic
(4:10) 11. The Boy Next Door
(2:42) 12. On the Atchinson, Topeka and the Santa Fe
(2:48) 13. Too Marvelous for Words

Backed by a rhythm section of world class musicians, Dina Blade delivers classic jazz standards with a relaxed vocal style that is "smooth and delicious" ~ KMUN radio

I have been singing all my life. I began accompanying myself on the guitar at age eleven, singing folk songs. Eventually I added jazz standards and bossa nova to my repertoire. One day I received a recording of vocal exercises as a gift. It stayed on the shelf for ten years. When I scheduled my first jazz vocal recording session, I decided to try the exercises in preparation. Within three weeks I noticed a remarkable improvement in my breath control, pitch and range, and I was hooked! Today, as a professional vocalist, I have found vocal exercises to be an absolutely essential part of my daily routine. My vocal students are busy folks, and I wanted to give them a fun tool to help them stay relaxed while they warm up to sing. Thus, this cd was born. "Nothing complicated here, and you can use it anywhere." ~Victory Music Review  http://www.cdbaby.com/cd/dinablade5

S' Wonderful

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Eddie Daniels & Gary Burton - Benny Rides Again

Styles: Vibraphone And Clarinet Jazz
Year: 1992
File: MP3@320K/s
Time: 58:39
Size: 135,8 MB
Art: Front

(3:42)  1. Sing, Sing, Sing
(5:44)  2. Stompin' At The Savoy
(4:12)  3. Moonglow
(3:51)  4. Airmail Special
(5:13)  5. Let's Dance
(4:07)  6. Slipped Disc
(5:29)  7. Memories Of You
(3:01)  8. Avalon
(5:22)  9. In A Mist
(4:55) 10. Grand Slam
(3:33) 11. After You've Gone
(5:47) 12. Goodbye
(3:37) 13. Knockin' On Wood

During 1991-92, clarinetist Eddie Daniels and vibraphonist Gary Burton teamed up on a tour, performing a tribute to Benny Goodman and Lionel Hampton. Never mind that they sound nothing at all like their predecessors. On the CD that resulted from the collaboration, the duo use pianist Mulgrew Miller (who sounds much more like McCoy Tyner than Teddy Wilson), bassist Marc Johnson and drummer Peter Erskine for 11 songs associated with the King of Swing plus Bix Beiderbecke's "In a Mist." Actually the most memorable selection is "Knockin' on Wood," which has nothing to do with Goodman or Hampton (it was a feature for Red Norvo) and features Burton romping on a xylophone. Other highlights include a surprisingly brief "Sing, Sing, Sing," "Airmail Special," "Slipped Disc" and "Avalon." ~ Scott Yanow  http://www.allmusic.com/album/benny-rides-again-mw0000073047

Personnel:  Bass – Marc Johnson;  Clarinet – Eddie Daniels;  Drums, Percussion – Peter Erskine;  Piano – Mulgrew Miller;  Vibraphone, Xylophone – Gary Burton

Benny Rides Again

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Jeff Richman - Hotwire

Styles: Guitar Jazz
Year: 2015
File: MP3@320K/s
Time: 51:34
Size: 118,8 MB
Art: Front

(7:21)  1. Hit Spot
(4:02)  2. Seven Up
(3:59)  3. Chloe
(4:33)  4. "Oh, Yeah?"
(5:53)  5. North Shore
(4:46)  6. One Last Kiss
(4:42)  7. Little Waves
(5:57)  8. Solar City
(4:45)  9. Golden Arrow
(5:32) 10. Miles Per Hour

I was all in from the start of this album or maybe before seeing that Jeff Richman is backed up by George Whitty on keys and the one-two punch of Jimmy Haislip (bass) and Vinnie Colaiuta (drums). That alone made me want to break into a chorus of “Hallelujah” (Handel, not Cohen). Of course, Richman's resume is long and storied and "Hotwire" (Nefer Music Records) only pads that brilliant career. Colaiuta’s kick and high hat opened the album on “Hit Spot.” Fold in Whitty, Haislip and Richman and you’ve got the makin’s! Not only does Haislip handle to bass but produces the album, as well. George Whitty contributes extraordinary keyboards to make any fusion aficionado stand up in salute. Jeff Beal on trumpet is a sweet addition to the track which, at 7:24, is the longest track of the album. It gives a broad vision of the shape of things to come. “Seven Up” drops the fusion approach and becomes more melodic while that rhythm section keeps things lively. Joining Beal’s trumpet is Brandon Fields on sax and these two combine with Whitty and Richman for a little bit of a Jazz-Funk exercise. Like all the tracks but one, Jeff Richman wrote “Chloe” and is more of a ballad which is taken up by the quartet alone. The pace is leisurely and sweet without losing itself in sentimentality. It is playful and energetic and thoughtful and, obviously, dedicated to his daughter.

Jan Hammer’s great composition “Oh, Yeah?” follows next with Jeff Lorber sitting in for Whitty. Jimmy Branly sits at the congas and the result must be exactly what Hammer had long ago envisioned. Richman is at a harmonic high and creates a fascinating version of the song with Richman taking over Hammer’s keyboard parts. A great swag track. A complete reshuffling of the line-up occurs for “North Shore.” Anthony Jackson takes on the bass with Gary Novak on drums and Mike Stern doubling Richman on guitar. Gary Fukashima accompanies on acoustic piano and performs beautifully atop the driving rhythm section in support of Richman’s sweeping color. Josefine Löfgren provides lovely backing vocals that remind of the great vocalisations from Nana Vasconcelos. Richman and Fukashima are splendid together and equally reminiscent of Pat Metheny and Lyle Myles together. Colaiuta and Whitty return for “One Last Kiss” with Dean Taba on acoustic bass and Mitchel Forman on acoustic piano. It is a more straight-up Jazz ballad with Richman alternating between the clean and the fuzzy so very compellingly. The support group is more subdued here as Richman takes true center-stage. There is a melancholy sweetness that is highlighted by Forman’s acoustic piano and Whitty’s swells and shimmers. So well done.

The original quartet returns with the addition of Scott Kinsey on piano for “Little Waves.” Whitty introduces a cool, churchy approach against Richman’s advancing and ascending lead guitar. Scott Kinsey’s piano gets a good solo turn backed by the staggered rhythms of Colaiuta. Jazz goes to church here. “Solar Waves” keeps Haislip on bass but the drums are handled by George Borlai. Kinsey remains on the keyboards. The chord changes grab the listener’s attention throughout the piece. Haislip offers what sounds like a tip of the hat to John Wetton in a couple of spots. Kinsey gets some spotlight time and holds the door open for Richman’s coolest moments. The coda is smoking hot. One of the most well-crafted pieces on the album is “Golden Arrow.” The core musicians are back with Beal on flugelhorn. The pearl-stringed doublets create a nice groove and Beal lights it up with that flugelhorn. Enter Jeff Richman who takes complete command. Haislip rejects the doublets and maintains a steady stride behind the theme, in step with Colaiuta. It is a piece that seems predictable but the switched up drum patterns and bass runs stagger against the melodic line and creates something unexpected. Beal is fascinating in his pacing with Whitty and Richman. It is perhaps his standout moment on the album. It is also one of Richman’s greatest moments in an album full of great moments. The composition itself is a monument.

The album concludes with “Miles Per Hour.” The line-up for the finale is the same as on “North Shore” with the sole omission of Josefine Löfgren’s vocals. The title is probably in reference to Richman’s son named Miles. It is a fun and raucous romp with exciting rhythms and Richman himself cutting swaths of merriment throughout the piece. The rhythms are more straight-forward here which allows greater emphasis on the melody and harmonies. A nice closer. “Hotwire” is Jeff Richman’s seventeenth album as a leader and is as exciting as anything that has gone before in his 35+ year career. It is another grand meeting of compositions and performances. The supporting artists are absolutely top-flight and they are spot-on for Richman’s compositional mastery. Richman assumes whatever role the piece requires lead or support and the music is allowed to truly shine through. Fortunately, he has the virtuosity to meet or even exceed his writing brilliance. ~ Travis Rogers  http://jazztimes.com/community/articles/162600-jeff-richman-walks-the-hotwire

Hotwire

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