Shirley Scott - Blues Everywhere

Bitrate: MP3@320K/s

Time: 57:23

Size: 131.4 MB

Styles: Bop, Soul-Jazz

Year: 1991/2008

Art: Front

[6:16] 1. Autumn Leaves

[9:10] 2. Blues Everywhere

[8:41] 3. Oasis

[9:16] 4. Embraceable You

[8:55] 5. Triste

[8:58] 6. 'round Midnight

[6:04] 7. The Theme

Recent trio session with Scott and Arthur Harper (b) and Mickey Roker (d). The twist is that Scott is playing acoustic piano throughout. It's not the usual sound, but she can play that thing. ~Michael Erlewine

Shirley Scott is equally at home on organ or piano, but her pianist talent was unknown for many years, such was her popularity as one of the most original of jazz organists. This live Candid set, originally released in 1991, marks her debut as a leader of a piano trio and finds her with Arthur Harper on bass and Mickey Roker on drums. The love, care and experience of the threesome is evident in the spontaneous feel that abounds and in the thoughtfully attractive arrangements. Trios don't come much more hip than this one.

Blues Everywhere

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Johnny Smith - San Francisco Bay Jazz

Bitrate: MP3@320K/s
Time: 52:26
Size: 120.0 MB
Styles: Vocal, Folk-blues, Soul-Jazz
Year: 2006
Art: Front

[3:18] 1. I've Got You Under My Skin
[4:46] 2. Old Devil Moon
[5:37] 3. All Blues
[4:00] 4. Is You Is, Or Is You Ain't (Ma Baby )
[2:40] 5. Fly Me To The Moon
[4:50] 6. Mercy, Mercy, Mercy
[5:37] 7. There Will Never Be Another You
[4:47] 8. Come Rain Or Come Shine
[3:49] 9. Moanin'
[3:27] 10. More
[5:08] 11. Song For My Father
[4:20] 12. Deep Purple

Johnny Smith: guitar, harmonica, vocals; Mark Holzinger: guitar; Christ Justin: bass.

Johnny Smith may not be a musical household name, but his rural Missouri roots and Uncle Delaney and Aunt Bonnie Bramlett gave him some serious soul bona fides. Following a musical youth and a stint in the Marines, Smith returned to his second home of Southern California, skirting big fame, making smart and informed pop music. Now having relocated to the Bay Area, Smith has put together a vibrantly smart trio with guitarist Mark Holzinger and bassist Chris Justin. Smith contributes his acoustic Martin D35, harmonica, and the most expressive vocal capability this side of Joe Cocker. Smith sews all of these elements into a quilt with the Great American Songbook, and the results are beyond refreshing: they are elemental.

Smith recasts several Sinatra warhorses, repackaging them for a new generation. The opener, "I've Got You Under My Skin, and "That Old Devil Moon kick things off in style. Add "Fly Me to the Moon, "There Will Never Be Another You and "Come Rain or Come Shine, and you have a mini-tribute to the Chairman of the Board. These songs are all dispatched with the primacy of folk blues and the rustic all-American vernacular of Smith, scrubbing them so fresh that the listener may gasp. But this Sinatra homage is merely the cream. Miles Davis' "All Blues is given a down-home treatment with Smith's rural harmonica and Midwestern delivery. I will bet few people have ever heard Miles covered like this. The pinnacle of the disc is the trifecta of soul jazz: Joe Zawinul's "Mercy, Mercy, Mercy, Bobby Timmons' "Moanin' and Horace Silver's "Song for my Father. Smith's densely expressive soul brogue sends these songs over the top. Instrumentally, San Francisco Bay Jazz sounds like a California version of Le Hot Club du France, coupling Smith's acoustic guitar with Holzinger's electric. Justin holds his own with a left-handed 4/4, keeping all the pieces skipping along. The tipple point is reached on "Moanin' for all three instumentalists.

Recordings like San Francisco Bay Blues make writing about music a true pleasure. The stars are in line for Johnny Smith et al. and for us listeners also. This is an end-or-the-year pick for sure. ~C. Michawel Bailey

San Francisco Bay Jazz

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Terry Snyder & The All-Stars - Percussion Lounge

Bitrate: MP3@320K/s
Time: 65:12
Size: 149.3 MB
Styles: Easy Listening
Year: 2011
Art: Front

[3:14] 1. I Surrender Dear
[2:45] 2. Orchids In The Moonlight
[3:14] 3. I'm In The Mood For Love
[3:48] 4. Taboo
[2:00] 5. Out Of Nowhere
[2:22] 6. The Breeze And I
[3:02] 7. Dearly Beloved
[2:32] 8. La Cucaracha
[2:52] 9. Love Is A Many-Splendored Thing
[2:35] 10. My Heart Belongs To Daddy
[2:39] 11. I Love Paris
[2:57] 12. Blue Tango
[2:31] 13. Aloha Oe
[2:19] 14. Japanese Sandman
[3:05] 15. Blue Is The Night
[2:32] 16. Whatever Lola Wants
[2:38] 17. Misirlou
[2:30] 18. Lady Of Spain
[2:48] 19. In A Persian Market
[2:53] 20. Brazil
[2:14] 21. Mambo Jambo
[2:08] 22. Yours Is My Heart Alone
[3:01] 23. Miami Beach Rhumba
[2:22] 24. Rock-A Bongo Boogie

One of the leading percussionists of the SABPM era, Terry Snyder worked with Bert Block's studio groups, the Bert Block Orchestra, a standard big band, and the Bell Music Orchestra, which anticipated the SABPM era with its arrangements for celesta, bells, and drums. He became a featured player on New York City radio station WNEW in 1940.

Snyder was Perry Como's favorite drummer, and he worked with Como on recordings, radio, and television from the late 1940s until his death. He sat in with a variety of groups through the early 1950s, from classical schmaltz pianist Shura to Stan Freeman's harpsichord album to light jazz combos led by Bill Clifton. He worked with Enoch Light and Lew Davies on the first four "Persuasive Percussion" LPs on Command, then was hired away by United Artists to debut their competing "Wall-to-Wall Sound" series of gatefold LPs.

Percussion Lounge

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Michael Raitzyk Trio - Live At Cafe Hon

Bitrate: MP3@320K/s
Time: 63:35
Size: 145.6 MB
Styles: Traditional jazz combo
Year: 2006
Art: Front

[ 9:24] 1. Bye Bye Blackbird
[ 8:20] 2. Tantz Tantz Yidelekh
[ 8:24] 3. Summertime
[ 7:50] 4. Midnight At The Oasis
[ 7:58] 5. Song For M.T.
[12:14] 6. Water Sign
[ 9:21] 7. Galitzyaner Tantz

Born in 1969 in Baltimore, Maryland, Michael Raitzyk is one of Baltimore’s leading Jazz guitarist. He has performed with many great players over the years including Pepper Adams, Gary Thomas, Junior Cook and Bill Hardman. Raitzyk has recorded with vocalist Ann Louise White, saxophonist Kyle Coughlin, as well as recording his own debut CD Blues For Jake. With his new CD, Live at the Café Hon, Raitzyk lets you in on a great night of music. Michaels’ interest in Klezmer music has also influenced the way the trio approaches the music. Klezmer is Jewish Eastern Europe music created in the 1800’s. Raitzyk grew up listening to all kinds of music starting with the Allman Brothers Band. He got to see Pat Metheny with Gary Burton, which inspired him to try out playing jazz guitar. For the past four years, the Michael Raitzyk Trio has been performing for audiences in the Baltimore area, developing a large and dedicated following. The Trio covers Jazz standards, original compositions, and classic Funk covers.

Live At Cafe Hon

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Anne Murray - Croonin'

Bitrate: MP3@320K/s
Time: 60:36
Size: 138.7 MB
Styles: Country, Adult Contemporary
Year: 1993
Art: Front

[3:02] 1. Old Cape Cod
[3:42] 2. The Wayward Wind
[3:55] 3. Secret Love
[3:22] 4. Fever
[3:35] 5. When I Fall In Love
[3:43] 6. Allegheny Moon
[3:06] 7. You Belong To Me
[2:43] 8. Born To Be With You
[2:37] 9. True Love
[2:42] 10. Teach Me Tonight
[4:06] 11. Cry Me A River
[2:53] 12. Make Love To Me
[3:06] 13. Hey There
[2:43] 14. It Only Hurts For A Little While
[4:21] 15. I'm Confessin' (That I Love You) I'm A Fool To Care
[3:07] 16. Wanted
[4:42] 17. I Really Don't Want To Know
[3:03] 18. Moments To Remember

Murray drops any pretense of singing pure country and steps into a Patti Page/Peggy Lee guise instead. The whole set consists of her taking on chestnuts like "The Wayward Wind," "Secret Love," and "Cry Me a River." ~Dan Cooper

Anne Murray is the last of the great Alto's. She has that special and undefinable vocal presense, so unique it has a mysterious way of entering your heart and soul. Listening to her haunting vocal rendition to ''Hey There'' reminds all of us that love's not just a one way street. There are only a handful of today's contemporary vocalists who can control and utilize their voice effectively, people like Linda Eder, Harry Connick, Jr., Sarah Mc Lachlan, and cabaret artists like Lee Lessack, Karen Mason, Michael Poss... just to name a few. But, will the young "bubble gum" pop-country Diva generation ever decide to stop "scatting" and just simply sing the melodies of today's songs? Our new generation of teenage singers could use a couple of vocal lessons from Anne Murray, because Anne's phrasing on the ''Croonin''' CD is a real a treat, and I think a lesson for a lot of today's teenage pop/country music stars. ~Amazon

Croonin'

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Jimmy Giuffre Quartet - The 1960 Jazz Sessions

Bitrate: MP3@320K/s
Time: 77:56
Size: 178.4 MB
Styles: Cool jazz
Year: 2010
Art: Front

[9:14] 1. Mack The Knife
[7:56] 2. My Funny Valentine
[9:23] 3. Wee See
[5:26] 4. Two For Timbuctu
[6:30] 5. What's New
[7:54] 6. The Boy Next Door
[8:27] 7. The Crab
[9:29] 8. The Quiet Time
[6:33] 9. My Funny Valentine
[7:00] 10. Two For Timbuctu

Controversial, misunderstood, and underappreciated, Jimmy Giuffre was an unlikely candidate to break as much ground as he did in the art of free improvisation. A swing orchestra veteran, Giuffre made his name as part of the West Coast school of cool jazz, but his restless creative spirit drove him to push the boundaries of texture, dynamic shading, counterpoint, and improvisational freedom in surprisingly avant-garde ways, despite maintaining a cool, cerebral exterior. Born in Dallas in 1921, Giuffre studied music at North Texas College and subsequently played tenor sax in an Army band; upon his discharge, he took jobs with orchestra leaders like Boyd Raeburn, Jimmy Dorsey, and Buddy Rich. In 1949, he joined up with Woody Herman, for whom he'd penned the classic composition "Four Brothers" two years earlier. He then moved to the West Coast, where he learned clarinet and baritone sax, and played with groups like Howard Rumsey's Lighthouse All-Stars and Shorty Rogers' Giants. Giuffre began leading his own sessions in 1954, with groundbreaking albums like Four Brothers and Tangents in Jazz exploring bluesy folk-jazz and third stream fusions. In 1956, he formed the first version of the Jimmy Giuffre 3, which featured guitarist Jim Hall and bassist Ralph Pena; in 1958, the bassist was replaced by trombonist Bob Brookmeyer, resulting in the highly unorthodox-sounding albums Trav'lin' Light, Four Brothers Sound, and Western Suite, as well as a classic version of Giuffre's hit "The Train and the River" in the Newport film Jazz on a Summer's Day. In 1961, Giuffre formed a new trio featuring pianist Paul Bley and bassist Steve Swallow; it was with this group, on the albums Fusion, Thesis, and the 1962 landmark Free Fall, that Giuffre really began to explore the subtler, more spacious side of free improvisation (mostly on clarinet). Unfortunately, the trio's music was too advanced to gain much of a reception, and they disbanded in 1962. Giuffre became an educator, and recorded off and on during the '70s; he experimented with electric instruments in the '80s, reunited his 1961-1962 trio in 1992, and continued to record for several avant-garde-oriented labels, most frequently Soul Note. In his later years Giuffre suffered from Parkinson's disease and no longer performed or recorded; he died of pneumonia in Pittsfield, Massachusetts in 2008 at the age of 86. ~ bio ny Steve Huey

The 1960 Jazz Sessions

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Jeff Lorber - Galaxian

Styles: Jazz Funk, Fusion
Year: 1981
File: MP3@320K/s
Time: 36:15
Size: 83,8 MB
Art: Front

(3:32)  1. Monster Man
(5:21)  2. Seventh Mountain
(4:48)  3. Magic Lady
(5:13)  4. Night Love
(4:16)  5. Spur of the moment
(4:19)  6. Think back and remember
(4:17)  7. Bright Sky
(4:25)  8. Galaxian

The Jeff Lorber group makes a move into R&B with a few tracks on this set adding in vocals to their core sweet fusion approach, but in a style that totally makes sense! Lorber's always had a great way with a soulful tune working with both electric and acoustic keys in a style that's similar to Rodney Franklin and like Franklin, the occasional vocal in his work only seems to bring out the more soul-based aspects of his work. Donnie Gerrard sings on 2 tracks "Monster Man" and "Think Back & Remember" and other tunes include "Bright Sky", "Galaxian", "Magic Lady", and "Night Love". © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/677596

Personnel:  Jeff Lorber (Keyboards); Kenny Gorelick (alto & tenor saxophone, Flute); Dennis Bradford (Drums); Danny Wilson (Electric Bass); Paulinho Da Costa (Percussion).

Galaxian

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Sam Most With Joe Farrell - Flute Talk

Styles: Flute Jazz
Year: 1979
File: MP3@320K/s
Time: 43:27
Size: 100,0 MB
Art: Front

(5:39)  1. Kim
(5:30)  2. Something Sweet and Tender
(4:42)  3. When You Wish upon a Star
(5:51)  4. Sound Off
(5:48)  5. Samba to Remember You By
(2:26)  6. Leaves
(5:06)  7. Love Season
(8:21)  8. Hot House

Essentially a blowing session, the flutes of Sam Most and Joe Farrell are in the forefront of this enjoyable straightahead date. Pianist Mike Wofford, bassist Bob Magnusson, drummer Roy McCurdy and percussionist Jerry Steinholtz are quite supportive of the flutes. Most and Farrell play a few standards (including a creative version of "When You Wish upon a Star"), some straightforward originals and on "Leaves" they freely improvise around each other in an interesting (if overly brief) duet. ~ Scott Yanow http://www.allmusic.com/album/flute-talk-mw0000899234

Personnel:  Joe Farrell Flute;  Bob Magnusson Bass;  Roy McCurdy Drums;  Sam Most Flute; Jerry Steinholtz Conga, Percussion;  Mike Wofford, Piano (Electric)

Flute Talk

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Cootie Williams, Coleman Hawkins, Rex Stewart - Together

Styles: Trumpet, Saxophone and Cornet Jazz
Year: 1957
File: MP3@320K/s
Time: 37:33
Size: 89,3 MB
Art: Front

(6:07)  1. I'm Beginning To See The Light
(4:09)  2. Do Nothin' Till You Hear From Me (Concerto For Cootie)
(8:29)  3. Alphonse and Gaston
(4:46)  4. Walkin' My Baby Back Home
(5:11)  5. When Your Lover Has Gone
(4:39)  6. Rex' Time
(4:09)  7. I Gotta Right To Sing The Blues

Cootie Williams, one of the finest trumpeters of the 1930s, expanded upon the role originally formed by Bubber Miley with Duke Ellington's Orchestra. Renowned for his work with the plunger mute, Cootie was also a fine soloist when playing open. Starting as a teenager, Cootie Williams played with a variety of local bands in the South, coming to New York with Alonzo Ross' Syncopators. He played for a short time with the orchestras of Chick Webb and Fletcher Henderson (recording with the latter), before joining Duke Ellington as Miley's replacement in February 1929. He was a fixture with Duke's band during the next 11 years, not only recording many classics with Ellington (including "Echoes of Harlem" and "Concerto for Cootie"), but leading some of his own sessions and recording with Lionel Hampton, Teddy Wilson, and Billie Holiday, in addition to being a guest at Benny Goodman's Carnegie Hall Concert in 1938. His decision to leave Ellington and join Goodman's orchestra in 1940 was considered a major event in the jazz world. During his year with B.G., Williams was well-featured with both the big band and Goodman's sextet. The following year he became a bandleader, heading his own orchestra which, at times in the 1940s, featured such up-and-coming players as pianist Bud Powell, tenorman Eddie "Lockjaw" Davis, altoist/singer Eddie "Cleanhead" Vinson, and even Charlie Parker. 

Although he had a hit (thanks to Willis Jackson's honking tenor) on "Gator," by 1948 Cootie had cut his group back to a sextet. Playing R&B-oriented music, he worked steadily at the Savoy, but by the 1950s was drifting into obscurity. However, in 1962, after a 22-year absence, Cootie Williams rejoined Duke Ellington, staying even beyond Duke's death in 1974 as a featured soloist. By then his solos were much simpler and more primitive than earlier (gone was the Louis Armstrong-inspired bravado), but Cootie remained the master with the plunger mute. He was semi-retired during his final decade, taking a final solo in 1978 on a Teresa Brewer record, and posthumously serving as an inspiration for Wynton Marsalis' own plunger playing. ~ Scott Yanow https://itunes.apple.com/us/artist/cootie-williams/id269584#fullText

Together

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Rex Stewart - Story 1926-1945

Styles: Trumpet And Cornet Jazz
Year: 1996
File: MP3@320K/s
Time: 60:45
Size: 143,1 MB
Art: Front

(3:16)  1. The stampede
(3:00)  2. Rocky road
(3:06)  3. Showboat shuffle
(3:08)  4. Kissin' my baby goodnight
(2:29)  5. Watermelon man
(3:05)  6. Boy meets horn
(3:31)  7. John Hardy's wife
(2:47)  8. Back room romp (A contrapunctual stomp)
(2:35)  9. Swing baby swing (Love in my heart)
(2:35) 10. Sugar hill shim-sham
(2:30) 11. Tea and trumpets
(2:39) 12. San Juan hill
(2:39) 13. Fat stuff serenade
(3:05) 14. Solid old man
(4:26) 15. Cherry
(3:22) 16. Poor bubber
(3:01) 17. Dreamer's blues
(3:16) 18. Shady shade of the street
(3:12) 19. 12th street rag
(2:53) 20. Save it pretty mama

Rex Stewart achieved his greatest glory in a subsidiary role, playing cornet 11 years in the Duke Ellington Orchestra. His famous "talking" style and half-valve effects were exploited brilliantly by countless Ellington pieces containing perfect passages tailored to showcase Stewart's sound. He played in a forceful, gripping manner that reflected the influences of Louis Armstrong, Bubber Miley, and Bix Beiderbecke, whose solos he once reproduced on record. Stewart played on Potomac riverboats before moving to Philadelphia. He went to New York in 1921. Stewart worked with Elmer Snowden in 1925, then joined Fletcher Henderson a year later. But he felt his talents were not at the necessary level, and departed Henderson's band, joining his brother Horace's band at Wilberforce College. Stewart returned in 1928. He remained five years and contributed many memorable solos. There was also a brief period in McKinney's Cotton Pickers in 1931, a stint heading his own band, and another short stay with Luis Russell before Stewart joined the Ellington Orchestra in 1934.

He was a star throughout his tenure, co-writing classics "Boy Meets Horn" and "Morning Glory." He also supervised many outside recording sessions using Ellingtonians. After leaving, Stewart led various combos and performed throughout Europe and Australia on an extensive Jazz at the Philharmonic tour from 1947-1951. He lectured at the Paris Conservatory in 1948. Stewart settled in New Jersey to run a farm in the early '50s. He was semi-retired, but found new success in the media. He worked in local radio and television, while leading a band part-time in Boston. Stewart led the Fletcher Henderson reunion band in 1957 and 1958, and recorded with them. He played at Eddie Condon's club in 1958 and 1959, then moved to the West Coast. Stewart again worked as a disc jockey and became a critic. While he published many excellent pieces, a collection containing many of his best reviews, Jazz Masters of the Thirties, came out posthumously. There's also a Stewart autobiography available. ~ Ron Wynn http://www.allmusic.com/artist/rex-stewart-mn0000888838/biography

Personnel: Rex Stewart (trumpet, cornet); Don Redman, Ivie Anderson (vocals); Django Reinhardt, Brick Fleagle, Fred Guy (guitar); Dave Wilborn, Charlie Dixon (banjo); Buster Bailey (clarinet, soprano saxophone, alto saxophone); Benny Carter (clarinet, alto saxophone); Coleman Hawkins, Prince Robinson (clarinet, tenor saxophone); Barney Bigard (clarinet); Johnny Hodges, Otto Hardwick (soprano saxophone, alto saxophone); Pete Clarke, Earl Bostic (alto saxophone); Cecil Scott (tenor saxophone, baritone saxophone); Ben Webster (tenor saxophone); Cootie Williams, Charlie Allen ,Smith, Langston Curl, Louis Bacon, Sidney Bechet, Arthur Whetsol, Wallace Jones (trumpet); Joe "Tricky Sam" Nanton, Juan Tizol, Lawrence Brown , Ed Cuffee, Charlie Green (trombone); Billy Taylor, Sr., Bob Escudero (tuba); Fletcher Henderson, Dave Riviera, Lionel Hampton, Todd Rhodes, Billy Kyle , Earl Hines (piano); Fred Avendorf, Cuba Austin, J.C. Heard, Joseph "Kaiser" Marshall, Sonny Greer, Baby Dodds (drums)

Story  1926-1945

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Ida Landsberg - Acoustic Bossa Nova, Vol. 2

Styles: Vocal, Bossa Nova
Year: 2016
File: MP3@320K/s
Time: 40:18
Size: 92,8 MB
Art: Front

(4:18)  1. When My Guitar Gently Weeps
(4:25)  2. Fantasy
(2:52)  3. Fame
(4:04)  4. Good Vibrations
(3:14)  5. Street Life
(4:37)  6. Can't Take My Eyes off You
(2:42)  7. Riders on the Storm
(4:03)  8. Black Hole Sun
(3:15)  9. Blame It on the Boogie
(3:14) 10. Crazy
(3:29) 11. Smoke on the Water

Music is in my life since I can think. In my case music always had been present but for a long time it wasn’t at the centre of my thinking and activities yet. It was more an accompaniment of every of my daily actions, an accessory, an atmosphere, a song to sing or an open ear for sounds and noises. I always had a very sensible ear that hated rumors and couldn’t tolerate notes that weren’t perfectly clean. Who loved high and clear voices and memorized melodies quickly. I didn’t grow up in an artist environment even though my grand-grandmother, from which I had my name Ida, was a sculpturist and lived surrounded by famous 19th Century painters in Kleinmachnow just outside Berlin. One of her friends were Max Liebermann. I know her only from my father’s tellings. I passed my childhood and adolescence by studying languages, literature and science, but music was my everyday companion, my friend, my breathe. That doesn’t mean that I wouldn’t have been in constant contact with music making. In my earliest childhood, I sang on my grandmother’s balcony and the neighbors listened to me. At the age of 6 I started to play piano, to sing in a church choir and to be part of a children dance theatre.

Also my family enjoyed music. My grandmother played piano, my father accordeon and my mother guitar. They wanted to give us a good musical education. My mother was the one who raise my love for classical music as she took me to the opera house since I was a child. I knew all the arias of Mozart’s “Magical Flute” by heart and sang them the whole day long. She was also the one who forced me to practice piano everyday when I was about to quit at the age of 13. I couldn’t be any more thankful that she insisted.  I was very active at school performances. After a long and intense 70s musical rebel period in my adolescence at the sound of the The Doors, Janis Joplin and the Beach Boys, I discovered jazz music which would have been my strongest passion. Charlie Parker and Dave Brubeck had become my new heroes, Nina Simone and Ella Fitzgerald my idols. Soon the desire of letting music be a central part of my life became concrete. I was admitted to the Berlin University of Fine Arts and studied music pedagogy there until I left Germany for a student exchange program. My time at the UdK was one of the greatest I can remember. I had a female a cappella trio, sang in different choirs and we made plenty of University productions. It was a busy and fun period.

In Italy I continued my musical studies at the Siena Jazz School, took private singing and improvisation lessons and attended different master classes. I knew my guitarist and now husband Simone Salvatore and I remained in Tuscany for sentimental reasons. We started to play gigs in clubs, theatres and festivals.  From now on I experienced the completest fulfilment as a singer: sharing my music with other people and letting them feel what I always felt. The sensation of feeling alive by making music. Of stopping time by letting music be the protagonist of the moment. Of giving words to the unpronounceable. The joy to feel its unifying and enhancing power. Of being one. Its endless beauty. Pure emotion. Art. Sometimes. We played also at numerous weddings and private partys. Some of the funniest and most memorable moments are linked to some strange or unusual musical situation. I had the pleasure to collaborate with many wonderful musicians. And then one day I received an email from Singapore that I was about to move to the spam folder. But then I read it and after I read it again, and it sounded quite serious. They were asking for some music samples for their label and I decided to send them. And they liked them and wanted to release my works. This was the beginning of a great collaboration with EQ Music Singapore, Hitman Jazz and later Irma Records with whom I released 4 solo albums for now jazz and bossa nova as well as one album with my own compositions and many compilations. And others are about to be realized. Music is my aim and ambition, my continuous research and look to the future. No day passes without having some idea or project to realize, something new to create or experience, some unexperienced music style to live. Some notes left to write or to sing. Music for me is not a passion. It is a necessity. http://www.idalandsberg.net/about-me/

Acoustic Bossa Nova, Vol. 2

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