Nancy Wilson - Save Your Love For Me: Nancy Wilson Sings The Great Blues Ballads

Bitrate: MP3@320K/s
Time: 41:24
Size: 94.8 MB
Styles: R&B, Jazz vocals
Year: 2005
Art: Front

[2:45] 1. Save Your Love For Me
[2:35] 2. In The Dark
[2:48] 3. Don't Go To Strangers
[2:28] 4. This Bitter Earth
[3:17] 5. Willow Weep For Me
[3:03] 6. All Night Long
[2:25] 7. Gee Baby Ain't I Good To You
[2:32] 8. Please Send Me Someone To Love
[2:31] 9. Just For A Thrill
[2:12] 10. Born To Be Blue
[2:17] 11. I Want To Be Loved
[2:49] 12. Make Me A Present Of You
[2:53] 13. Blue Prelude
[3:09] 14. Since I Fell For You
[3:31] 15. Don't Take Your Love From Me

Excelling at the art of blues balladry demands that a musician possess great feeling but also great control. No surprise then, that one of its greatest practitioners, Nancy Wilson, has both traits in abundance. Save Your Love for Me: Nancy Wilson Sings the Great Blues Ballads is one in a loose series of three Capitol compilations to compile her late-'50s and early-'60s prime, the others focusing on the Great American Songbook and the torch song. The title track leads off the set, as it should, considering that Wilson's co-billed collaborative LP with Cannonball Adderley's quintet is the highlight of her career, and no single performance proves it more than this one (both Cannonball's alto and brother Nat's cornet echo her weary yet hopeful tone). The rest of the songs involve a larger band -- excepting two tracks from her only other major quintet collaboration, The Swingin's Mutual! with George Shearing -- but Wilson preserves the late-night feel (helped greatly by the sympathetic charts of Billy May and Mike Melvoin's organ). Throughout her career Nancy Wilson proved her talents in many fields -- jazz singing, ballads, pop music, crossovers -- but she never sounded better than when she was given an unhurried arrangement to stretch out on a slow blues, and any listener who wanted to concentrate only on the essence of Nancy Wilson could hardly do better than purchase this collection. ~John Bush

Save Your Love For Me: Nancy Wilson Sings The Great Blues Ballads

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Chamberlain Brass - Cocktail Hour

Bitrate: MP3@320K/s
Time: 49:34
Size: 113.5 MB
Styles: Contemporary jazz
Year: 2014
Art: Front

[2:53] 1. Four
[3:43] 2. Blue Bossa
[2:09] 3. Ribbon In The Sky
[4:27] 4. Black Orpheus
[2:37] 5. Mo' Better Blues
[3:10] 6. So What
[3:27] 7. Girl From Ipanema
[2:13] 8. L-O-V-E
[2:29] 9. Beyond The Sea
[2:45] 10. Wonderful World
[3:08] 11. Somewhere Over The Rainbow
[2:44] 12. Come Fly With My
[2:59] 13. Unforgettable
[2:37] 14. April Showers
[1:45] 15. A Thousand Years
[3:55] 16. Moonlight Serenade
[2:25] 17. Besame Mucho

Franco Finstad - Leader, Trumpet; Terry Szor - Trumpet; Patty Schmitt - French Horn; Jayan Nandagopan - trombone; Kyle Turner - Tuba.

The Chamberlain Brass debut album, “Cocktail Hour”, explores jazz, Latin, pop and soul with a unique approach - a swinging brass quintet backing up a heavy weight jazz soloist. Utilizing the virtuosic improvisation of internationally renowned trumpeter Terell Stafford, and new original arrangements by rising New York arranger Jayan Nandagopan, the new genre of “the jazz brass quintet” has arrived. Existing recordings of jazz by standard classical brass groups often lack swing and feel and are usually an add-on to the group’s usual classical approach. By combining jazz musicians and fresh, new repertoire, Chamberlain Brass have created something exciting and different: a purely jazz brass quintet.

Cocktail Hour

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Paula Morelenbaum - Berimbaum

Bitrate: MP3@320K/s
Time: 43:01
Size: 98.5 MB
Styles: Latin jazz, Bossa Nova
Year: 2004
Art: Front

[4:01] 1. Tomara
[3:57] 2. Consolação
[4:30] 3. Berimbau
[4:36] 4. Canto De Ossanha
[3:53] 5. Insensatez
[4:15] 6. Medo De Amar (Vire Essa Folha Do Livro)
[3:23] 7. Brigas Nunca Mais
[3:31] 8. Você E Eu
[3:38] 9. Seule
[3:54] 10. Primavera
[3:18] 11. O Nosso Amor

A veteran of the Brazilian samba scene, Morelenbaum has an impeccable pedigree in the music. But for this album, she's chosen as a common thread songs by the great Vinicius DeMoraes, whether as sole or co-composer. It makes for a great theme, with so much quality work to choose from. What makes this so fascinating are the arrangements used to frame the pieces, like the light Brazilian funk used on "Tomara" and "Berimbau," for example, which both float, lighter than air, over truly imaginative drum programming and instrumental performances. Morelenbaum's glorious voice sets the standard throughout, breathy but gloriously melodic (she also deserves great credit for her production work here). Even brass sounds feather-light, gliding by the songs. And yet it retains a real groove, a toe-tapping funk that's irresistible and does full justice to the songs themselves. Even a bossa ballad like "Insensetaz" is given quirky little touches, like the irresistible cello line by Morelenbaum's husband, Jacques. It's an album of details and quirks in the melodies and rhythms, gentle and lulling, but still constantly pushing forward, and rewarding no matter how many times you listen to it. ~Chris Nickson

Berimbaum

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Cannonball Adderley - Ballads

Bitrate: MP3@320K/s

Time: 54:39

Size: 125.1 MB

Styles: Bop, Soul jazz, Saxophone jazz

Year: 2002

Art: Front

[ 4:03] 1. Dancing In The Dark

[ 4:54] 2. I Can't Get Started

[ 5:33] 3. Guess I'll Hang My Tears Out To Dry

[ 4:07] 4. Now I Have Everything

[ 4:19] 5. Easy Living

[ 6:12] 6. I Worship You

[ 2:23] 7. Yvette

[ 7:45] 8. O Amor Em Paz

[15:20] 9. The Song My Lady Sings

Ballads is a lovely collection of Cannonball Adderley's work on Blue Note from the late '50s to the mid-'60s. Since the nine selections have been taken from nine different albums, the personnel varies widely. The overall mood and approach, however, remain uniform. On "Now I Have Everything" flutist Charles Lloyd, pianist Joe Zawinul, and cornet player Nat Adderley join in for a short, impressionistic lullaby; on "Easy Living" pianist Barry Harris, bassist Sam Jones, and drummer Louis Hayes lend their talents to a soulful take on a favorite standard. Adderley's alto paints in broad, expressionistic colors, wringing just a little more feeling from each note of "I Worship You" and "I Can't Get Started." The mood of pieces like "Dancing in the Dark" reminds one of a rainy night in a film noir classic, with the lights reflecting against the wet city streets at three a.m. The last cut, the 15-minute "The Song My Lady Sings," caps off 55 minutes of quiet, reflective jazz. This low-key exit quietly ebbs and flows as the band fills it with atmosphere to spare. For the unfamiliar, Ballads will serve as relaxed introduction into Adderley's stunning work; for all others, Ballads will serve as the perfect disc for late-night listening. ~Ronnie D. Lankford Jr

Ballads

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Jeremy Monteiro - Homecoming

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 55:24
Size: 127,1 MB
Art: Front

(4:22)  1. Jazzybelle's Shuffle
(4:21)  2. Samba Appasionata (In Memory of Edmond Branson Jr.)
(7:53)  3. The Bubala Dance
(4:48)  4. Life Goes On
(8:24)  5. Inner Voice
(3:31)  6. Homecoming
(8:01)  7. Remember (Another Time)
(4:14)  8. Lorna's Kitchen
(9:45)  9. Blues for Ray (In Memory of Ray Charles)

Jeremy Monteiro has recorded around twenty albums in two decades, yet surprisingly this is the pianist's first offering of entirely original compositions in fourteen years. They confirm, however, what anyone who has seen him in concert already knows: firstly, that he writes sensitive, well-crafted tunes, and secondly, that as a pianist he is at the top of the tree. Ably supported by his regular trio members, Syracuse, New York drummer Shawn Kelley and Melbourne bassist Belinda Moody, and augmented by the muscular tones of sax legend Ernie Watts, Monteiro leads the way through a wonderfully rich and varied set. The first two tracks feature Greg Fishman, who plays a jaunty tenor on the striding "Jazzybelle's Shuffle and flute on the Latin "Samba Apassionata. The latter track is dedicated to the late Edmond Branson, Jr., a leading drummer on the Singapore scene. The tempo remains upbeat on "The Bubala Dance, where Watts adds his fireworks to the proceedings. This is the first of two songs co-written by Monteiro and Watts, who first collaborated almost twenty years ago, and the affinity between them is apparent. The other Monteiro/Watts number, "Remember, is a soulful, meditative piece reminiscent of Wayne Shorter's "Infant Eyes. Belinda Moody, an original voice, shines through on a short yet tasteful bass solo.

One of the highlights is "Inner Voice, in which both Monteiro and Ernie Watts solo elegantly and powerfully. It is a fine study in the art of tension and release. The title track, "Homecoming, highlights the talents of drummer Shawn Kelley and soprano player Ernie Watts. This jubilant calypso is very much in the mould of Sonny Rollins' "St. Thomas and no less enjoyable. Monteiro succeeds in mixing up the pace and mood of the songs, and one of his strengths as a leader lies in the space he allows his partners. On "Lorna's Kitchen," co-written by bassist Eldee Young, each member of the trio takes his turn in the spotlight, racing along together at a rattling pace. The album closes with Monteiro and Moody's glorious, understated "Blues For Ray, dedicated to the late Ray Charles. The playing on this blues piece is almost respectful, with Monteiro and Moody soloing in beautifully restrained manner over Ron Feuer's Hammond C3 Organ. A burst of gospel-style piano at the end concludes a fine tribute to the great man. Some may have thought that when Claude Nobbs invited Jeremy Monteiro to play Montreux in 1988, the Singaporean pianist had had his day in the sun. On the evidence of this delightful album, maybe his day in the sun is yet to come.~Ian Patterson https://www.allaboutjazz.com/homecoming-jeremy-monteiro-jazznote-records-review-by-ian-patterson.php

Personnel: Jeremy Monteiro: piano; Belinda Moody: bass; Shawn Kelley:drums; Ernie Watts:tenor saxophone (3,5,7), soprano saxophone (6); Greg Fishman:tenor saxophone (1), flute (2); Mohamed Noor: Latin percussion (2,6); Ron Feuer:Hammond C3 organ (9).

Homecoming

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Ryan Kisor Quintet - Live at Smalls

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 55:44
Size: 127,8 MB
Art: Front + Back

(11:54)  1. Cool and Hot
(13:26)  2. You Stepped out of a Dream
( 7:53)  3. Enigma
(11:42)  4. Con Alma
(10:46)  5. Blues for Worm

Post-bop alto saxophonist Sherman Irby was born and raised in Tuscaloosa, AL; encouraged by his family to learn music, he initially chose to play the viola, moving on to a series of instruments including guitar and piano before finally settling on the sax as a teen, soon becoming infatuated with jazz. While attending Clark-Atlanta University, Irby studied classical music, but also was a standout in the school's jazz orchestra. Despite graduating with a degree in music education, he refused to enter teaching, instead working a series of dead-end day jobs in order to devote his full energies to performing. After honing his skills playing behind Atlanta area musicians including ex-Art Blakey pianist Johnny O'Neal and trumpeter Eddie Adams, in 1994 Irby accepted a gig performing on a cruise ship; after close to three years of playing at sea, he relocated to New York City, where he made the after-hours jam session scene at the Greenwich Village club Smalls. In time he and his band pianist James Hurt, bassist Eric Revis, and drummer Dana Murray became Smalls regulars, and it was there that Irby was discovered by Blue Note; his first LP for the label, Full Circle, appeared in 1997. After backing the likes of Roy Hargrove, Wynton Marsalis, and Marcus Roberts, he cut his second solo effort, Big Mama's Biscuits, in 1998. Irby subsequently founded his own Black Warrior Records label, through which he released Black Warrior (2001), Faith (2004), and Organ Starter (2006). ~ Jason Ankeny https://itunes.apple.com/us/artist/sherman-irby/id17266991#fullText

Personnel: Ryan Kisor (trumpet); Sherman Irby (alto saxophone); Peter Zak (piano); Ali Muhammed Jackson (drums).

Live at Smalls

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Wynonna Judd - Sing Chapter 1

Styles: Vocal, Country
Year: 2009
File: MP3@224K/s
Time: 46:16
Size: 74,7 MB
Art: Front

(3:05)  1. That's How Rhythm Was Born
(4:05)  2. I'm So Lonesome I Could Cry
(4:39)  3. Women Be Wise
(2:55)  4. I Hear You Knocking
(3:23)  5. Till I Get It Right
(4:49)  6. Are The Good Times Really Over
(2:33)  7. The House Is Rockin'
(3:19)  8. Ain't No Sunshine
(4:05)  9. I'm A Woman
(4:01) 10. Anyone Who Had A Heart
(4:17) 11. When I Fall In Love
(4:59) 12. Sing

Wynonna Judd's excellent 2003 outing What the World Needs Now Is Love was steeped in rock & roll and country tunes done in her inimitable fashion. It reflected Judd's uncanny ability to sing new music with the passion, style, and finesse of the old gems. Country and pop radio being what they are namely, paranoid frightened defective computers with human faces all but ignored it. The radio and video channel worlds reflect the very definition of insanity: doing the same thing repeatedly and expecting different results. Rather than trying something different by showcasing real quality and individualism, they become narrower and more paranoid with each passing year as they program recycled crap. Update 2009: Wynonna Judd is back with Sing: Chapter 1, a collection of standards and cover tunes that have inspired her throughout her life and career. And it's a stunner. Produced by Brent Maher and Don Potter, this set contains 12 tracks that range from country music standards to blues tunes, R&B nuggets, and American pop radio classics by the masters. The opener is a reading of the prewar 1932 finger-poppin' swinger "That's How Rhythm Was Born" (wherein Judd and Vicki Hampton do their own Andrews Sisters on the backing chorus). Judd delivers it effortlessly with all the good time verve and a smoking Stéphane Grappelli-inspired violin solo by Fats Kaplan the original contained, but with a bit more sass. She counters this with a gorgeous, deeply emotional, string-laden version of Hank Williams' "I'm So Lonesome I Could Cry," that is as dramatic and darkly dreamy as ANYTHING k.d. lang ever attempted.

This is followed by a beautiful version of Sippie Wallace's "Women Be Wise," with all of its sassy natural inflections retained even as Judd updates the context, and then a version of Dave Bartholomew's New Orleans R&B stomper "I Hear You Knockin'" that gives the Dave Edmunds cover a run for its money  and comes damn close to Fats Domino's. Other country classics include Merle Haggard's "Are the Good Times Really Over for Good," Stevie Ray Vaughan's "The House Is Rockin'" (and here it really does), and a completely shocking, utterly bereft deep soul-blues reading of Bill Withers' "Ain't No Sunshine." Here, the simmering, smoldering eros in Judd's voice is tempered with genuine loneliness, accented by the nylon-string guitar and a convincing string arrangement. It's devastating. Add to this a shuffling bluesy rocker in Leiber & Stoller's "I'm a Woman," with some smoking Rhodes piano, and you have the uptempo part of the program covered. But add the three ballads that close the set the Bacharach/David "Anyone Who Had a Heart," the 1952 standard "When I Fall in Love," and the closing title track by Rodney Crowell and you have true classicism. This final track is a new pop country anthem; it underscores Judd's sheer individualism and style, and offers a complete illustration of her gifts as a singer. Sing: Chapter 1 is perfection in performance, material, production, and musical execution. Judd is reinventing herself AS herself: she is a country singer every bit the individual that Patsy Cline was, and is so iconoclastic with her phrasing, tension, shading, and drama that she is a truly unique stylist (a rarity in the 21st century). If you want to hear a singer's singer, one who can move you to the core of your being with her way of interpreting a song, Wynonna Judd's deeply moving, authentic Sing: Chapter 1 is a fine place to begin. This may be her finest hour.~Thom Jurek http://www.allmusic.com/album/sing-chapter-1-mw0000805828

Personnel:  Roy Agee – trombone;  Eddie Bayers – drums; Brian Beatty – background vocals;  Kerry Beatty – background vocals;  Bekka Bramlett – background vocals;  Bob Britt – electric guitar;  Elicia Brown – background vocals;  Jeremy Calloway – background vocals;  Spencer Campbell – bass guitar; Maurice Carter – background vocals; Bruce Dailey – piano;  Mark Douthit – tenor saxophone

Sing Chapter 1

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