Marjorie Barnes - Once You've Been In Love

Bitrate: MP3@320K/s
Time: 49:29
Size: 113.3 MB
Styles: Jazz vocals
Year: 1993/2009
Art: Front

[3:26] 1. Watch What Happens
[3:40] 2. Fascinating Rhythm
[3:43] 3. Once You've Been In Love
[5:55] 4. The Surrey With The Fringe On Top
[4:21] 5. He's My Guy
[4:15] 6. Isn't It A Pity
[4:33] 7. I've Got The World On A String
[4:57] 8. The Beauty And The Beast
[4:38] 9. A Little Tear
[3:30] 10. I Can't Believe That You're In Love With Me
[4:07] 11. No More Blues
[2:20] 12. Never Will I Marry

Once You've Been In Love is a wonderful easy listening / smooth jazz album by Marjorie Barnes (USA). Her great looks, great voice and professionalism make her a performer of international standing. Her collaboration on this album together with Dolf de Vries Trio, Toots Thielemans and Bob Schimscheimer guarantees beauty and success. Recommended!

Once You've Been In Love

---

Tommy Emmanuel with The Australian Philharmonic Orchestra - Classical Gas

Bitrate: MP3@320K/s
Time: 52:22
Size: 119.9 MB
Styles: Guitar jazz
Year: 1995
Art: Front

[5:02] 1. Classical Gas
[5:20] 2. The Journey
[3:55] 3. Run A Good Race
[4:41] 4. Concierto De Aranjuez
[3:34] 5. She Never Knew
[2:39] 6. Gollywogs Cake Walk English Country Garden
[5:52] 7. Who Dares Wins
[5:23] 8. Initiation
[3:57] 9. The Hunt
[3:42] 10. Countrywide
[3:55] 11. Pan Man
[4:17] 12. Padre

Two-time Grammy nominee Tommy Emmanuel is one of Australia's most respected musicians. The legendary guitarist has a professional career that spans almost five decades and continues to intersect with some of the finest musicians throughout the world. A household name in his native Australia, Tommy has garnered hundreds of thousands of loyal fans worldwide. Tommy's unique style - he calls it simply "finger style" - is akin to playing guitar the way a pianist plays piano, using all ten fingers. Rather than using a whole band for melody, rhythm, bass, and drum parts, Tommy plays all that - and more - on one guitar. Guitar legend Chet Atkins was one of the first to inspire Emmanuel to try this "fingerpicker" style as a child. Decades later, Atkins himself became one of Emmanuel's biggest fans.

Classical Gas

---

Trijntje Oosterhuis - The Look Of Love: Burt Bacharach Songbook

Bitrate: MP3@320K/s
Time: 56:36
Size: 129.6 MB
Styles: Jazz-pop vocals
Year: 2006
Art: Front

[3:13] 1. Do You Know The Way To San Jose
[3:52] 2. A House Is Not A Home
[4:31] 3. The Look Of Love
[2:48] 4. I Say A Little Prayer
[4:24] 5. Waiting For Charlie (To Come Home)
[4:08] 6. Falling Out Of Love
[3:05] 7. I'll Never Fall In Love Again
[3:06] 8. Walk On By
[4:31] 9. Alfie
[5:24] 10. Anyone Who Had A Heart
[5:14] 11. This House Is Empty Now
[3:43] 12. (They Long To Be) Close To You
[4:40] 13. The Windows Of The World
[3:50] 14. That's What Friends Are For

2006 album from the Dutch vocalist, a collaboration with songwriting legend Burt Bacharach. The Look Of Love: Burt Bacharach Songbook is a tribute to Bacharach featuring the man himself on piano. The Look Of Love is her second album for Blue Note, the follow-up to her 2004 double platinum effort Strange Fruit.

The Look Of Love: Burt Bacharach Songbook

---

The Red Garland Trio - It's A Blue World

Bitrate: MP3@320K/s

Time: 39:10

Size: 89.7 MB

Styles: Bop, Piano jazz

Year: 1958/1999

Art: Front

[ 8:27] 1. This Can't Be Love

[12:39] 2. Since I Fell For You

[ 3:26] 3. Crazy Rhythm

[ 9:02] 4. Teach Me Tonight

[ 5:34] 5. It's A Blue World

Double Bass – Paul Chambers; Drums – Art Taylor; Piano – Red Garland.

Of the miles of Red Garland sessions recorded in the late '50s, some of the tapes didn't see the light of day until many years later. This session, except for "Crazy Rhythm," first appeared in the early '70s, and is typical of Garland's trio work of the '50s, evoking a mid-century nightclub atmosphere from Rudy Van Gelder's studio with the perfectly gauged help of bassist Paul Chambers and drummer Art Taylor. "Since I Fell for You" and "Teach Me Tonight" are taken at relaxed tempos, and after Garland's trademark block chords in the left hand and octaves in the right hand take care of the themes, they ride easily and winningly. "Crazy Rhythm" zips along at the usual steeplechase pace, with a fluid bebop solo from Garland and some agile bowing from Chambers (Chambers also gets an unusually lengthy bowed solo on "This Can't Be Love"), and the title track closes the CD reissue on a jaunty note. Garland fans -- and for that matter, fans of Vince Guaraldi, whose chord voicings very much resemble those of Garland -- need not hesitate. ~Richard S. Ginnell

It's A Blue World

---

New York Trio - Essential Best

Bitrate: MP3@320K/s
Time: 71:43
Size: 164.2 MB
Styles: Mainstream jazz
Year: 2009
Art: Front

[6:35] 1. I Could Have Danced All Night
[5:05] 2. Blue Skies
[5:44] 3. As Time Goes By
[7:45] 4. How High The Moon
[4:32] 5. Star Crossed Lovers
[6:13] 6. Lover Come Back To Me
[6:34] 7. Lullaby Of The Leaves
[6:13] 8. My Heart Belongs To Daddy
[8:03] 9. You'd Be So Nice To Come Home To
[5:18] 10. I Didn't Know What Time It Was
[5:41] 11. Cheek To Cheek
[3:57] 12. They Say It's Wonderful

Also known as the New York Jazz Trio, this combo is a studio-only group who specialize in recording classic standards in a straightforward, post-bop style. The New York Trio features three gifted musicians who are firmly established on the East Coast jazz scene. Pianist Bill Charlap is a member of the Phil Woods Quintet, has accompanied the likes of Tony Bennett, Benny Carter, and Gerry Mulligan, and has recorded a handful of well-received albums for Blue Note as a bandleader. Bassist Jay Leonhart has recorded as a headliner since 1983, while also making a name for himself as a vocalist and songwriter as well as backing up Marian McPartland, Louie Bellson, Lee Konitz, and many others. And drummer Bill Stewart had handled demanding gigs with a variety of musicians, including jazz guitarist John Scofield, funky sax man Maceo Parker and R&B legend James Brown. In 2001, Charlap, Leonhart, and Stewart teamed up in the studio to cut the album Blues in the Night for the Venus Jazz label; featuring leisurely but heartfelt interpretations of eight classic melodies, the album was well-received by fans of classic jazz. Seven similar collections have been recorded by the trio for Japanese jazz labels. ~ bio by Mark Deming

Essential Best

---

Rob Parton's Jazztech Big Band - Two Different Days

Styles: Jazz, Big Band
Year: 2004
File: MP3@320K/s
Time: 73:05
Size: 172,1 MB
Art: Front

(3:36)  1. Soon
(7:11)  2. On A Misty Night
(3:50)  3. Speak Low
(8:13)  4. How Deep Is The Ocean
(5:27)  5. Take The 'A' Train
(3:56)  6. I'm Getting Sentimental Over You
(6:43)  7. Blue Daniel
(5:41)  8. Never Will I Marry
(5:41)  9. My One And Only Love
(6:39) 10. Bernie's Tune
(4:46) 11. Blue Getz Blues
(6:06) 12. Two Different Days
(5:09) 13. She's Gone

Two Different Days and one terrific band. This is the sixth album recorded by trumpeter Rob Parton's cyclonic ensemble from the Windy City, and while every one of them has been spectacular in its own way, this one may well earn the blue ribbon as best in show. Simply put, this is a band that has everything scrupulous section work, stalwart soloists and a superb rhythm section spearheaded by Chicago's premier big band drummer, Bob Rummage. But even though the competition is fierce, what sets Days apart from Parton's earlier albums, in this reviewer's opinion, is his splendid choice of material, which leaves absolutely nothing to be desired. It's almost as if Parton said to his sidemen, "Let's get together in a studio and record some songs that Jack Bowers would really appreciate." That didn't happen, of course, but it may as well have, as the outcome is the same. Any album that opens with a mind-blowing arrangement of George Gershwin's "Soon," as this one does, has laid a hammerlock on my heart from the outset. That's the first of five markedly impressive charts by ace writer Don Schamber, complementing two apiece by Thomas Matta, Chris Madsen and Kirk Garrison, trombonist Tom Garling's dynamic "Two Different Days" and Cliff Colnot's ethereal orchestration (with string section) of Chuck Mangione's soulful "She's Gone." Parton, one of that rare breed of trumpeters who plays jazz as well as he plays lead and that's about as well as anyone can is showcased on "Speak Low," "My One and Only Love" and "She's Gone," tenor saxophonist Mark Colby on the debonair "Blue Getz Blues," Garling on bass trombonist Matta's fast-paced treatment of the venerable Tommy Dorsey theme "I'm Getting Sentimental Over You." 

Matta also arranged Tadd Dameron's bop classic "On a Misty Night," which houses handsome solos by pianist Don Stille, flugel Ron Ruvio and guest alto Mike Smith. Trumpeter Garrison shares the solo spotlight with Colby on Frank Rosolino's "Blue Daniel," and with Colby, lead alto Bob Frankich and trombonist Tim Coffman on Bernie Miller's "Bernie's Tune," both of which he arranged. Stille and Parton are unerring on Madsen's arrangement of "Never Will I Marry," Garling and guitarist Chris Siebold the same on Irving Berlin's "How Deep Is the Ocean," another Schamber chart, as is Billy Strayhorn's "Take the 'A' Train" (solos by Stille, tenor Brian Budzik, trombonist Brian Jacobi, baritone Ted Hogarth). Coffman, Colby and trumpeter Mike McGrath present well-crafted statements on "Soon," Garling and trumpeter Ruvio on "Two Different Days." Parton, who has been presiding over the JazzTech Big Band for more than two decades, says the ensemble has found its identity "as a straight-ahead, swingin', hometown Chicago band performing because we love to play creative and original big-band Jazz." That's more than mere philosophy; it's an undeniable fact, one that Two Different Days, one of the year's most impressive big band albums, readily underscores and emphatically affirms. ~ Jack Bowers https://www.allaboutjazz.com/two-different-days-rob-parton-sea-breeze-jazz-review-by-jack-bowers.php

Personnel: Rob Parton, leader, trumpet, flugelhorn;  Scott Wagstaff, Kirk Garrison, Mike McGrath, August Haas (7, 10), Fred Powell (3, 4, 9, 10),  Marty Tilton (1, 5), trumpet;  Bob Frankich, Ken Partyka (6, 8), alto sax;  Bob Reszutko, alto sax, flute;  Mark Colby, Brian Budzik, tenor sax;  Ted Hogarth, baritone sax;  Tom Garling, Tim Coffman (2-4, 9), Andy Baker (1, 5, 7, 10), Brian Jacobi (1-5, 7, 9, 10-12), Dan Johnson (6, 8), Bryan Tipps (1, 3-9), trombone; Thomas Matta, bass trombone; Don Stille, piano; Chris Siebold, guitar; Tim Fox, bass; Bob Rummage, drums. Guest artist -- Mike Smith (2), alto sax.

Two Different Days

---

Diane Blue - Here I Am

Styles: Vocal, R&B
Year: 2006
File: MP3@320K/s
Time: 47:32
Size: 109,5 MB
Art: Front

(3:41)  1. Muddy Water
(4:47)  2. Since I Fell For You
(5:04)  3. Restless
(4:59)  4. Piece Of My Heart
(3:58)  5. Good Times
(4:08)  6. There I Was ... Here I Am
(3:44)  7. Walking The Dog
(5:12)  8. God Bless The Child
(3:54)  9. Love Makes A Woman
(4:21) 10. My Daily Prayer
(3:38) 11. Gypsy Child

On this, her first full-length CD project, Ms. Diane Blue belts out a funky soul tune, then she’ll sing a sweet ballad, just before she blows you away on the blues harp. Ms. Diane Blue is soulful and sassy. On “Here I am”, Ms. Blue presents a collection of jazzy, bluesy, funky, groovy cover songs and three of her own original songs. With the finest professional musicians in the NorthEast, the performance of this collection of songs is top-notch. Marty Ballou on bass, Vinny Pagano on drums, Sax Gordon Beadle, Mike Duke and Chris Stovall Brown on guitar, Steve Burke on keyboard and organ, Johnny Juxo and Mark Taber on piano. Ms. Blue's performance is reminiscent of her influences: Aretha Franklin, Gladys Knight and Janis Joplin. She has shared the stage with Luther Guitar Junior Johnson, Sherman Robertson, and members of Roomful of Blues and Dave Howard & the High Rollers, to name a few. “When she gets her harp & mic going, the language is hard hitting blues. Strong, confident and tasteful” says Domenic Forcella of Blues Beat. http://www.cdbaby.com/cd/dianeblue

Here I Am

---

Rich Perry - At The Kitano 3

Styles: Saxophone Jazz
Year: 2010
File: MP3@256K/s
Time: 63:39
Size: 117,0 MB
Art: Front

(13:19)  1. Night Market
(10:33)  2. Blue In Green
( 6:45)  3. There Is No Greater Love
(10:41)  4. I Love You
(14:27)  5. Stablemates
( 7:50)  6. Giant Steps

A fine young veteran tenor player, Rich Perry went on the road in 1975 with the Glenn Miller ghost band. In 1976, he moved to New York and joined the Thad Jones/Mel Lewis orchestra. He went on to play with a wide variety of top players including Chet Baker, Machito, Bob Moses, Jack McDuff, Billy Hart, Eddie Gomez, Tom Harrell, the Mel Lewis big band, and Harold Danko. Rich Perry first recorded as a leader in 1993 for SteepleChase. ~ Scott Yanow https://itunes.apple.com/us/artist/rich-perry/id81007264#fullText

Personnel:  Rich Perry, tenor sax;  Harold Danko, piano;  Jay Anderson, bass;  Jeff Hirshfield, drums.

At The Kitano 3

---

Milt Jackson and Wes Montgomery - Bags Meets Wes!

Styles: Vibraphone Jazz
Year: 1961
File: MP3@320K/s
Time: 61:07
Size: 141,8 MB
Art: Front

(5:17)  1. S. K. J.
(5:48)  2. Stablemates (Take 4)
(3:40)  3. Stairway To The Stars (Take 3)
(4:48)  4. Bluz Roz
(6:06)  5. Sam Sack
(6:56)  6. Jingles (Take 9)
(6:13)  7. Delilah (Take 4)
(5:17)  8. Stablemates (Take 2) (bonus track)
(3:47)  9. Stairway To The Stars (Take 2) (bonus track)
(6:53) 10. Jingles (Take 8) (bonus track)
(6:18) 11. Delilah (Take 3) (bonus track)

It’s unfair to blame Wes Montgomery for the soulless work of those who claim him as an influence; his trademark octave runs became a cash cow for the smooth jazz associated with the piped-in music of doctor’s offices and grocery stores. In reality, Montgomery was a much sought-after player by many; even Coltrane played with him for a time. Montgomery gives the impression that playing the guitar requires no less concentration than tying your shoes, fashioning a style admired (and imitated) by many. Milt Jackson, an amateur guitarist himself, reportedly leapt at the chance to play with him on this outing. Jackson seems to enjoy escaping the restrictive confines of the systematic Modern Jazz Quartet for some hard bop workouts, and the rhythm section is filled with perfect choices to achieve this goal. Nothing is taken at a tempo that would quicken the pulse, yet the metallic chime of the vibes is a perfect foil for the snap of Montgomery’s guitar. It’s surprising, given the title of the album, that the leaders are so generous with the spotlight, giving the rhythm section ample solo space; it would have been nice to hear Montgomery and Jackson really have a go at each other on some of the more spirited numbers. Nevertheless, they turn in a finer version of “Delilah” than Brown and Roach did, and “Stairway to the Stars” is simply beautiful. It’s not surprising that the mutual admiration provide an outing that is such a great listen. ~ David Rickert https://www.allaboutjazz.com/bags-meets-wes-milt-jackson-fantasy-jazz-review-by-david-rickert.php
 

Personnel:  Milt Jackson-vibes;  Wes Montgomery-guitar;  Wynton Kelly-piano;  Sam Jones-bass;  Philly Joe Jones-drums.

Bags Meets Wes!

---

Joel Harrison & Anupam Shobhakar, Multiplicity - Leave The Door Open

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 59:09
Size: 136,6 MB
Art: Front

( 9:50)  1. The Translator
( 7:04)  2. Leave The Door Open
( 8:06)  3. Madhuvanti
(11:27)  4. Mulitplicity
( 6:20)  5. Spoonful
( 3:19)  6. Kemne Avul
( 3:24)  7. Turning World
( 3:48)  8. Devil Mountain Blues
( 5:46)  9. Deep River

If but a single word must describe guitarist/composer Joel Harrison it's restless; one look at his discography, from his "breakthrough" Free Country (ACT, 2003) to the 19-piece big band of Infinite Possibility (Sunnyside, 2013) and it's clear that this Guggenheim Fellowship Award winner isn't content in any one place for long. Leave the Door Open may be his first album of 2014 and yet another departure, this time exploring an improv-heavy kind of world music sourced from the East and West in collaboration with Indian sarodemaster Anupam Shobhakar but there's another album on the horizon that focuses on Harrison the guitarist (Mother Stump, coming on Cuneiform in May), and yet another already in the can, equally different, and looking for a label.  Harrison's work is always collaborative, but other than covering classic songs from the past, more often than not the guitarist is the sole composer. Leave the Door Open is, then, another anomaly in a career filled with them: a recording that splits compositional duties with Shobhakar in a group called Multiplicity, in addition to bringing in some unique interpretations of an old blues standard, one rearranged piece each from the American and Indian traditions, and a collaborative composition from the two leaders. It's a heady brew that doesn't so much find a meeting point where East and West meet as it does blow the door open between the two, allowing the music to seamlessly ebb and flow from and towards both sides, creating something that's the sum total of both but equally reverent to their individual touchstones.

As ever, Harrison's choice of band mates is astute: the ever versatile keyboardist Gary Versace brings harmonic abstraction and rich color, few able to touch his ability to get past the Hammond organ's soul-drenched jazz tradition and employ it in a more purely textural fashion adaptable to any context; bassist Hans Glawischnig's associations may, more often, be better known than he is, but whether playing in trio with Donny McCaslin or exploring Puerto Rican plena music with Miguel Zenon, he's proven a flexible and creative anchor; drummer/tablaist Dan Weiss may be the most intrinsically suited, having studied Indian music extensively, migrating a traditional tabla solo to drum kit on Tintal Drum set Solo (Chhandayan, 2005). Guests include saxophonist David Binney, who elevates Harrison's opening epic "The Translator" with a solo that picks up where Versace's combination of virtuosity and thematic construction leaves off, shooting it into the stratosphere as the pianist, Glawischnig and Weiss provide the extra boost. But Multiplicity really belongs to Harrison and Shobhakar, whether exploring the meshing of Shobhakar's microtonally capable sarode with electric guitar (Harrison's dark-hued title track); turning to Eastern linearity (Shobhakar's "Mudhuvanti"), the composer's solo building to a whirling dervish of a climax only to later engage in an incendiary, set-defining duet with Weiss; or re-harmonizing bluesman Willie Dixon's classic "Spoonful" into a lyrical ballad where Shobhakar's viscerally bent notes blend seamlessly with Harrison's National steel guitar slide.  With Harrison and Shobhakar's stylistic confluence, intuitive interpretive skills and compelling compositional abilities, Leave the Door Open is a Harrison project that, hopefully, won't be a one-time affair. ~ John Kelman https://www.allaboutjazz.com/leave-the-door-open-joel-harrison-whirlwind-recordings-ltd-review-by-john-kelman.php
 

Personnel: Joel Harrison: electric, National steel, acoustic and baritone guitars; Anupam Shobhakar: sarode; Gary Versace: piano, Hammond B-3organ, accordion; Hans Glawischnig: acoustic and electric bass; Dan Weiss: drums, tabla; David Binney: alto saxophone (1, 3); Todd Isler: percussion (6, 8); Bonnie Chakraborty: voice (6); Chandrashekar Vase: voice (4).

Leave The Door Open

---