Bonnie Guitar - Dark Moon

Size: 117,1 MB
Time: 48:41
File: MP3 @ 320K/s
Released: 2011
Styles: Country, Pop
Art: Front

01. Mister Fire Eyes (2:29)
02. Dark Moon (2:37)
03. Half Your Heart (1:55)
04. If You See My Love Dancing (2:08)
05. Johnny Vagabond (2:02)
06. Making Believe (2:12)
07. There's A New Moon Over My Shoulder (2:05)
08. Moonlight And Shadows (1:49)
09. Carolina Moon (1:59)
10. By The Light Of The Silvery Moon (2:10)
11. Shine On Harvest Moon (2:00)
12. The Moon Is Low (2:02)
13. Get Out And Under The Moon (2:06)
14. Moonlight On The Colorado (2:22)
15. Moonlight And Roses (1:49)
16. It's Only A Paper Moon (1:55)
17. Prairie Moon (2:02)
18. Roll Along Kentucky Moon (1:57)
19. Love Is Over, Love Is Done (2:01)
20. I Found You Out (2:03)
21. Big Mike (2:35)
22. A Very Precious Love (2:23)
23. If You'll Be The Teacher (1:50)

Best remembered for her wistful 1957 pop hit "Dark Moon," Bonnie Guitar also co-founded the famed Dolton label, which launched the careers of the Fleetwoods and the Ventures. Born Bonnie Buckingham in Seattle on March 25, 1923, she began playing guitar and writing songs as a teen, and spent much of the 1950s working as a session guitarist for Fabor Robinson's Los Angeles-based Fabor, Abbott and Radio labels, earning her professional surname in the process. Guitar played on sessions for the likes of Jim Reeves, Dorsey Burnette, Ned Miller, and the DeCastro Sisters, but aspired to a recording career of her own -- although "Dark Moon" was earmarked for Burnette, she admired the song so much that she agreed to waive her royalty rights if Robinson would let her record it instead. First issued on Fabor in 1956, Guitar's simple, lovely performance was then licensed to Dot, where it hit number six in the spring of 1957; when the follow up, "Mister Fire Eyes," failed to rise higher than number 71, Robinson terminated her contract and she returned to Seattle, forming Dolphin Records with refrigerator salesman Bob Reisdorff. Soon renamed Dolton, the label was ostensibly launched as a platform for Guitar singles like "Candy Apple Red" and "Born to Be With You," but her recording career was quickly superseded by that of the Fleetwoods, a high-school trio from nearby Olympia who, in 1959, topped the national charts with the classics "Come Softly to Me" and "Mr. Blue." Not long after signing the Ventures, who quickly scored with their monster hit "Walk Don't Run," Guitar left Dolton to return to Dot -- now positioned for the country charts, she recorded a series of LPs for the label during the mid-'60s, scoring the top ten hits "I'm Living in Two Worlds," "(You've Got Yourself) A Woman in Love," and "I Believe in Love." In 1969, she also teamed with Buddy Killen for the hit duet "A Truer Love You'll Never Find (Than Mine)." Although Guitar's profile diminished during the 1970s, she continued recording for labels including Columbia and MCA, cracking the country charts one last time in 1980 with "Honey on the Moon." In 1986 she signed to Tumbleweed for two LPs, Yesterday and Today, and continued playing live until her 1996 retirement. ~Jason Ankeny

Dark Moon

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Rebecca Kilgore & Bernd Lhotzky - This And That

Size: 117,1 MB
Time: 50:14
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. I'm Shooting High (2:59)
02. Lotus Blossom (3:40)
03. Pick Yourself Up (2:52)
04. Baltimore Oriole (4:20)
05. Flying Down To Rio (2:53)
06. A Flower Is A Lovesome Thing (2:49)
07. Grievin' (4:26)
08. Who Cares (3:10)
09. Star Crossed Lovers (2:44)
10. By Strauss (3:11)
11. Do-Do-Do (4:30)
12. The Best Thing For You (2:59)
13. I Hear The Music Now (2:47)
14. Sweet And Lovely (3:24)
15. You Can't Lose A Broken Heart (3:24)

Personnel:
Rebecca Kilgore, vocals
Bernd Lhotzky, piano

You know those moments in conversation when communication truly works, so that simple words carry deeper meaning - when speaker and hearer get one another? This communion can happen when musicians who live their art deeply create a heartfelt kinship. This CD captures fifteen such lovely interludes created by a most empathic pair. ~Michael Steinman

This And That

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Vera Lynn - Her Greatest From Abbey Road

Size: 182,9 MB
Time: 78:47
File: MP3 @ 320K/s
Released: 2017
Styles: Pop
Art: Front

01. My Son, My Son (Take 2) (Outtake) (3:15)
02. Mr. Wonderful (2016 Remastered Version) (3:51)
03. I'm Beginning To See The Light (2016 Remastered Version) (2:37)
04. (There'll Be Bluebirds Over) The White Cliffs Of Dover (2016 Remastered Version) (3:03)
05. When The Lights Go On Again - I'll Pray For You - We'll Meet Again (2016 Remastered Version) (4:58)
06. It's A Sin To Tell A Lie (Take 2) (Outtake) (2:44)
07. No Regrets (Take 5) (Outtake) (2:40)
08. There'll Always Be An England (2016 Remastered Version) (2:57)
09. Land Of Hope And Glory (2:54)
10. It Hurts To Say Goodbye (Stereo Version) (2016 Remastered Version) (3:06)
11. Yours (2016 Remastered Version) (3:15)
12. I'll Be Seeing You (2016 Remastered Version) (2:58)
13. Lili Marlene (2016 Remastered Version) (2:51)
14. You'll Never Know (2016 Remastered Version) (3:23)
15. Stars Fell On Alabama (2016 Remastered Version) (3:00)
16. Autumn Leaves (2016 Remastered Version) (3:26)
17. Where Have All The Flowers Gone (2016 Remastered Version) (4:48)
18. Good Night (Mono Version) (2016 Remastered Version) (3:19)
19. As Time Goes By (From Casablanca) (2016 Remastered Version) (3:19)
20. I Wish You Love (2016 Remastered Version) (3:47)
21. A Nightingale Sang In Berkeley Square (2016 Remastered Version) (3:53)
22. The Nearness Of You (Ted Carfrae Mix) (4:11)
23. Where Or When (1972 Outtake) (Ted Carfrae Mix) (From Babes In Arms) (4:19)

The mere mention of Vera Lynn's name evokes images of London skies filled with a barrage of balloons, and Britons riding out the German blitz in shelters and underground stations. England's sweetheart during the trying times of World War II, Lynn was still in her twenties when she took on that role. She was born Vera Margaret Welch in London's East Ham, to Bertram and Annie Welch, one year before the close of the First World War. She began singing as a girl of seven, also studying dance as a child. She later took her maternal grandmother's maiden name as her stage name, and her natural, unaffected vocal style and charm brought Lynn early success on the radio. At age 18, she was singing with Joe Loss' orchestra, and she'd also begun recording for the Crown label. By the end of the '30s, after stints working for Charlie Kunz's and Bert Ambrose's bands, Lynn got her own radio series. This event coincided with the end of what was known as the "Phony War," that period in which men were being conscripted and sent overseas, re-armament rushed, and nightly blackouts imposed, but no shots fired or bombs dropped. The shooting war started in 1940, and it was around that same time that Lynn became the host of the BBC radio program Sincerely Yours; the show became incredibly popular with overseas servicemen who missed their girlfriends, and her regular songs included such hopeful/heartsick ballads as "White Cliffs of Dover," "We'll Meet Again," "Wishing," and "Yours," which were taken to heart by the British public. Her recordings -- now done for Decca Records, which had absorbed the Crown label some years before -- all sold well, and Lynn also made several films during the war years, appeared in a stage revue, and sang for troops in Asia. Her sentimental brand of pop music was regarded as a huge help to morale, with Lynn herself virtually a national treasure.

Within just a few months of the end of the Second World War, Lynn surprised and shocked the public by announcing her retirement. As early as Christmas of 1946 she'd begun a limited return to recording, however, and by the end of 1947 she was working again, touring the variety circuit and taking on another BBC radio program. Decca seized a golden opportunity in 1948 by releasing Vera Lynn material in America during a musicians' strike that had crippled the stateside music industry, and Lynn gained a Top Ten hit that year with "You Can't Be True, Dear." And in 1952, she became the first British artist to hit number one on the American charts when "Auf Wiederseh'n Sweetheart" spent nine weeks at the top spot. That same year, Lynn managed an astonishing hat trick back home with the advent of the first singles chart for England -- unveiled in New Musical Express in November of that year -- when her records occupied three of the Top 12 positions. Her first (and only) British number one came two years later, with "My Son My Son," and she gradually moved from radio/variety work to television spots during the '50s in order to round out her schedule, recording increasingly contemporary material during the '60s -- when she left Decca for EMI -- and '70s. She received an OBE from the British crown in 1969, and in 1975 was made a Dame Commander of the British Empire. Though she performed sparingly during the '80s, she did appear at commemorations for the 40th anniversary of D-Day and the 50th anniversary of the beginning of World War II, and continued to do charity work. In 2005, she also spoke on behalf of veterans of World War II on the occasion of the 60th anniversary of VE Day.

And as it turned out, even in the 21st century, 70 years after she'd cut her first records, Lynn's career as a top-selling recording artist was not yet over. In September of 2009, the 92-year-old Lynn became the oldest singer ever to top the British album charts, when a new Decca collection of her World War II recordings, We'll Meet Again: The Very Best of Vera Lynn, hit the number one spot, a doubly extraordinary achievement in light of the reissue of the entire Beatles catalog that same month. It was an occasion noted by news services around the world, and spoke volumes about the love that the British hold for the singer and her music. She broke records once again six years later when she turned 100 years old in 2017 and released the 100 album in celebration of her becoming a centenarian. The record featured re-orchestrations of some of her classic songs alongside collaborations with other artists in the vocal genre, such as Aled Jones, Alfie Boe, and Alexander Armstrong. ~by Bruce Eder

Her Greatest From Abbey Road

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Joey DeFrancesco + The People - Project Freedom

Size: 150,0 MB
Time: 64:07
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Imagine (Prelude) (0:40)
02. Project Freedom (6:58)
03. The Unifier (5:56)
04. Better Than Yesterday (7:34)
05. Lift Every Voice And Sing (5:00)
06. One (6:09)
07. So Near, So Far (5:35)
08. Peace Bridge (5:11)
09. Karma (6:55)
10. A Change Is Gonna Come (6:23)
11. Stand Up (7:42)

Organist Joey DeFrancesco’s Project Freedom, is his first album in a quartet setting and features his stellar work on the Hammond B-3—plus contributions on trumpet and as a vocalist. The album it’s in part dedicated to Philadelphia’s - the so-called ‘City of Brotherly Love’ - rich organ history, and is also an expression of what the city and it’s people mean to him personally. They perform originals and a few covers.

Personnel:
Joey DeFrancesco - organ, keyboards, trumpet
Jason Brown - drums
Troy Roberts - tenor & soprano sax
Dan Wilson - guitar

Project Freedom

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Marilyn Scott - Standard Blue

Size: 123,2 MB
Time: 52:52
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Willow Weep For Me (6:34)
02. Speak Low (6:11)
03. A Flower Is A Lovesome Thing (5:19)
04. Never Let Me Go (5:09)
05. Day Dream (4:35)
06. Blue Prelude (5:33)
07. I Wouldn't Change It (5:15)
08. East Of The Sun (4:47)
09. I've Got It Bad And That Ain't Good (5:44)
10. The Joint Is Jumpin' (3:41)

Vocalist Marilyn Scott is not a new name in music. She has released 14 recording since the late 1980s, including the present Standard Blue. It is odd, then, that she has had so little coverage in these pages. George Harris wrote a revealing piece on her 2006 release, Handpicked (Prana Entertainment), but that is about it. A versatile artist, Scott has been able to exist, multidimensionally, across multiple genre, which has proven to be her charm. She does something very effective and special on Standard Blue, including the bulk of the original Yellowjackets plus Ambrose Akinmusire in doing so.

Joined by keyboardist Russell Ferrante, bassist Jimmy Haslip, guitarist Michael Landau ,and winds player Bob Mintzer (who plays solely bass clarinet here), the core of the Yellowjackets is well represented, bringing with them a contemporary mindset honed to a fine artistic edge. Ferrante handles the arrangement duties, with Mintzer adding his horn arrangement to the sleekly stylized, "Speak Low." Which brings us to what is special, even exceptional, about this recording. Scott addresses nine standards and one original cast very differently from most "standards" recordings.

Ferrante is very forward thinking, putting the contemporary spin he was famous for with the Yellowjackets to work here. Spatial and clever, Ferrante's arrangements incorporate cross-rhythms and time signatures in provocative and delightful ways. "Willow Weep for Me" is airy and ethereal with plenty of space. Scotts voice is certain and assured throughout the recording. Outstanding instrumentally was guitarist Landau, whose solo on the Strayhorn/Ellington "Day Dream" (composed in 1941!) is a revelation in translation. The most effective updating of a tune is the Starwars spin the group puts on Fats Waller's 1937 "The Joint is Jumpin.'" ~C. Michael Bailey

Personnel: Marilyn Scott: vocals; Gary Novak: drums; Michael Landau: guitar; Russell Ferrante: keyboards; Jimmy Haslip: bass; Bob Mintzer: bass clarinet; Ambrose Akinmusire: trumpet.

Standard Blue

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Judy Renaud & Eddie Tobin - Something Cool

Size: 140,4 MB
Time: 60:07
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Almost Like Being In Love (3:24)
02. It Never Entered My Mind (5:33)
03. Girl From Ipanema (3:57)
04. It's Magic (4:48)
05. Love Is Here To Stay (3:41)
06. Spring Can Really Hang You Up The Most (7:27)
07. Sand And The Sea (4:02)
08. I've Grown Accustomed To His Face (5:06)
09. Haunted Ballroom (2:56)
10. Stronger Than Us (3:56)
11. Something Cool (5:28)
12. Mean To Me (5:07)
13. I'll Be Seeing You (4:36)

The songs on this album are ones that have woven their way into my heart and my soul over the years because they speak to me personally and they feel good musically. They invoke feelings and memories that make me reflect and reminisce, and remind me that love is the basis for everything in life. Singing is, for me, about sharing the lyric and the melody with as much truth and emotion as possible so that you, the listener, actually feel it and get it. I hope I succeed. And Eddie Tobin, my very special and talented and hard working friend, thank you for always resting on my shoulder and having my back while providing the musical background and sharing this experience with me. Making music with you is always about the love and always seems like Carnegie Hall. It's special! And for you, the listener, thank you for sharing in my musical world! Judy Renaud

Judy Renaud has waited a long while to deliver this gift to lovers of great music (mostly by virtue of her dedication to family), but as you'll soon learn, her timing is sublime. Properly assaying these songs demands a depth of feeling that is unattainable without a lifetime of leading with one's heart, and - lucky for us - this is precisely how she has lived. So much has been written about most of these songs, that there's nothing for me to contribute here; what I will say, is that in my years of enjoying her work in various musical venues, I've never once heard Judy make an ill-advised choice in either her material, or the way she conveys it, and this recording is no exception. Her accompanist (and musical kindred spirit) Eddie Tobin, orchestrates as he goes; putting his consummate pianistic skill, marvelous harmonic sense, and constant good taste, in the service of his duo partner and her nicely diverse repertoire, resulting in a reading of the tunes which stays true to the intent of the lyricists and composers at once. Judy Renaud is immersed in the catalog from which these titles are drawn, and her husband Tom (a gifted saxophonist and singer in his own right) is a gently encouraging force for good, cheering her on at every turn. Keep it up, Tom - hopefully, lots more people can now be lifted by the expressive and touching vocal stylings which Judy brings to all these great songs; most likely, they'll wind up being as beloved by them as they obviously are by her! David Pruyn

Singers come and go (most often not quickly enough). The great majority never progress beyond the anonymity of the shower, the karaoke bar, or one of those cacophonous nightmares referred to variously as “jam sessions,” “jazz jams,” or “open mics.” Some conspire to torture club musicians by engaging in that private hell called “sitting in.” All that needs to be known about how most musicians regard this predicament is most eloquently portrayed in Dave Tull’s insightful masterpiece, “The Minutes Pass Like Hours When You Sing.”

Occasionally, however, a singer comes along who can properly be referred to as a musician whose instrument happens to be the human voice. These relatively rare individuals exhibit all the traits that serious instrumental musicians possess: spending countless hours developing their craft, expanding their musical knowledge, selectively exploring repertoire, and so forth. Whereas the dilettante merely uses music to further his or her own trivial agenda of self-aggrandizement (much in the same way that one uses a Kleenex), the real musician devotes herself or himself entirely to the service of music, sacrificing ego to render the most authentic performance possible.

In the context of this template, Judy Renaud is a musician. The first time I heard her sing, I told her that the word that best applies to her style and presentation is “genuine.” Nothing has dissuaded me from this assessment since. This CD illustrates the point beyond anything further that I can say. Listen to it, enjoy it, but not in the shower stall! Bob Hores, Indiana University Berkelee College of Music, U.H.K (University of Hard Knocks)

It has been my pleasure to play for Judy and accompany her with these songs. The world always has room for more happiness and beauty and this has been both for me. It was fun to record and is enjoyable to listen to the results of our collaboration. I hope you all feel the same way after you listen. Thank you to Judy for the beauty that she gave to the recording so nicely and naturally. ~Eddie Tobin

Something Cool

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The Duke Robillard Jazz Trio - Wobble Walkin'

Bitrate: MP3@320K/s
Time: 67:06
Size: 153.6 MB
Styles: Jazz-blues guitar
Year: 2012
Art: Front

[6:50] 1. Wobble Walkin'
[3:28] 2. I Can't Believe You're In Love With Me
[5:43] 3. They Can't Take That Away From Me
[4:03] 4. Sunday Mornin
[4:08] 5. Gee Baby, Ain't I Good To You
[5:30] 6. Skippy's Dream
[5:43] 7. All Of Me
[4:26] 8. Things Ain't What They Used To Be
[4:21] 9. You'd Be So Nice To Come Home To
[6:59] 10. Hi-Heel Sneakers
[6:49] 11. If I Had You
[3:20] 12. Back Home Again, In Indiana
[5:39] 13. Jesse's Blues

Duke Robillard: guitar; Brad Hallen: acoustic bass; Mark Teixeira: drums; Mickey Freeman: vocals (5).

Guitarist Duke Robillard may be widely praised for his blues bona fides, but calling him a blues guitarist is a bit limiting. While his work with Roomful of Blues and his stint with the Fabulous Thunderbirds have earned him a large fan base and some well-deserved respect in the blues and guitar communities, he's proven himself equally conversant in jazz and elsewhere. Blues music remains his bread and butter, but albums like After Hours Swing Session (Rounder, 1990), Conversations In Swing Guitar (Stony Plain, 1999), and A Swingin Session With Duke Robillard (Stony Plain, 2008) have marked him as a unique jazz stylist with an innate sense of musicality.

Wobble Walkin' can be added under the "Jazz-centered Releases" heading in Robillard's discography, but it retains the essence of his favored style. One could no sooner remove stripes from a zebra than remove the blues from the guitar work of Duke Robillard. Every chord and line that emanates from his being is connected to the world of the blues, regardless of the material, and his delivery could serve as the very definition of unassuming musical sophistication. Robillard is joined by two of his blues band brethren—bassist Brad Hallen and drummer Mark Teixeira—on a program that favors standards and Robillard originals. While neither sideman commands the same attention as a soloist that Robillard does, they both have plenty to offer. Hallen's walking lines help to establish a solid foundation, his melodic gifts are put to good use ("Things Ain't What They Used To Be"), and his solos are enjoyable and understated. Teixeira's brushwork is crisp and swinging, his snare drum-focused soloing is articulate and absorbing ("Skippy's Dream"), and his drumming is the rhythmic fuel that powers the band during their brighter performances ("Hi-Heel Sneakers" and "Back Home Again, In Indiana").

While Robillard shares the spotlight with his trio mates, trading solos or taking a backseat while they step forward, he's the one to watch throughout. He imprints his distinctive sound onto every song, whether dishing out the melody on an original that sounds like it could be a late-period Wes Montgomery tune ("Sunday Mornin'") or backing vocalist Mickey Freeman ("Gee Baby, Ain't I Good To You"). His solos are like musical jewels of inevitability, possessing a shape and arc that almost seem predestined due to their absolute rightness, and they possess an outer affability that elevates the music. Wobble Walkin' is that rare album that wins without the intent to wow. This is just terrific, take-it-as-it-comes music that confirms Robillard's place among the great guitarists operating today. ~Dan Bilawsky

Wobble Walkin'

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Sabrina Starke - Lean On Me: The Songs Of Bill Withers

Bitrate: MP3@320K/s
Time: 60:11
Size: 137.8 MB
Styles: R&B/Jazz
Year: 2013
Art: Front

[4:12] 1. Kissing My Love
[4:20] 2. Just The Two Of Us
[4:18] 3. Friend Of Mine
[3:25] 4. I Don't Know
[3:51] 5. Who Is She And What Is She To You
[4:41] 6. Ain't No Sunshine
[4:36] 7. Use Me
[5:19] 8. Let Me Be The One You Need
[5:55] 9. Grandma's Hands
[4:50] 10. Hello Like Before
[5:27] 11. You Just Can't Smile It Away
[4:54] 12. Lean On Me
[4:17] 13. Lovely Day

Every new album symbolizes a new phase in the career and life of Sabrina Starke: “Since the first album, I continuously been busy growing and developing myself. To me, an album is a reflection of the time or phase I find myself in. On each album you can hear my personal experiences, feelings, dreams, visions, opinions, and point of views.”

Many years have past since Sabrina Starke (Paramaribo, August 9, 1979) of Rotterdam switched her steady job as youth worker, for the uncertain life of a singer-songwriter. Armed with a guitar and a unique voice, she decided to take a step forward from being a backup vocalist of a reggaeband. She went back to the essence of a singer-song writer: writing and singing songs in the purest form. Folk, Soul, and Jazz are her musical references. Amongst others, Nina Simone, Bill Withers, and Tracy Chapman are her sources of inspiration. But success did not come easily. Sabrina had come a long way before her breakthrough. After years of really hard work, she managed to build up a strong and impressive biography.

Sabrina Starke is devoted to share her knowledge and inspiration though music in order to inspire people and to make them consciously think about their own life and dreams. As one of her musical heroes Nina Simone said: “An artist’s duty, as far as I’m concerned, is to reflect the times.”

Lean On Me: The Songs Of Bill Withers

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Tito Puente, Woody Herman - Herman's Heat & Puente's Beat

Bitrate: MP3@320K/s
Time: 56:59
Size: 130.5 MB
Styles: Latin jazz
Year: 2005
Art: Front

[3:06] 1. Blue Station
[2:29] 2. Pillar To Post
[4:17] 3. Midnight Sun
[4:34] 4. Woodchopper's Ball
[3:07] 5. Balu
[2:34] 6. Lullaby Of Birdland
[2:04] 7. Latin Flight
[3:01] 8. New Cha Cha
[2:36] 9. Mambo Herd
[3:00] 10. Cha-Cha Chick
[2:36] 11. Tito Meets Hollywood
[2:53] 12. Corioca
[4:05] 13. Wildroot
[3:08] 14. The Good Earth
[3:17] 15. It's Coolin' Time
[3:19] 16. Black Orchid
[2:38] 17. Sindbad The Sailor
[4:06] 18. Fire Island

Tito Puente and Woody Herman teamed in 1958 for a mutually satisfying meeting in the same way that Charlie Parker, Dizzy Gillespie, and Machito found common ground in the late '40s. Puente's Latin rhythms and beats meshed with the swing and bebop of Herman's band on half of the disc's cuts, and the results were hot and delightful. With Puente heading the rhythm section and playing timbales, Robert Rodriguez on bass, and assorted percussion from Gilbert Lopez, Raymond Rodriquez, and Ray Barretto, the band stays locked into the Latin groove while the saxophonists and trumpeters weave in, out, and around the beat. There are also more conventional Herman swing numbers such as "Blue Station" and "Woodchopper's Ball," where the standard Herman stomping sound is in effect. ~Ron Wynn

Herman's Heat & Puente's Beat

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Alice Babs - Serenading Duke Ellington

Bitrate: MP3@320K/s
Time: 63:06
Size: 144.5 MB
Styles: Vocal jazz
Year: 1975/2013
Art: Front

[3:33] 1. Lady In Blue Lady In Blue
[4:37] 2. Me And You
[3:54] 3. Don't Get Around Much Anymore
[3:21] 4. Freedom I
[5:00] 5. There's Something About Me
[4:33] 6. Somebody Cares
[5:52] 7. Warm Valley
[5:23] 8. I Don't Mind
[3:42] 9. Jump For Joy
[2:42] 10. I Like The Sunrise
[2:37] 11. Freedom I And Iii
[3:12] 12. Somebody Cares
[4:15] 13. Thank You For Everything
[6:03] 14. Something 'bout Believing
[4:16] 15. Solitude

Bass – Red Mitchell; Drums – Nils-Erik Svensson; French Horn – Håkan Nyquist; Guitar – Rune Gustafsson; Piano – Nils Lindberg; Reeds – Arne Domnérus, Claes Rosendahl, Erik Nilsson (7), Lennart Åberg, Ulf Andersson; Trombone – Bertil Strandberg, Lars Olofsson, Sven Larsson, Torgny Nilsson; Trumpet – Americo Belotto*, Bertil Lövgren, Håkan Nyquist*, Jan Allan; Tuba – Sven Larsson. Recorded in Studio 4 Swedish Radio, Stockholm, November 26 & 27, 1974.

Alice Babs is a most captivating performer and was born in Sweden in 1924. Though no longer an active recording artist, Prophone Records of Sweden saw fit to digitally remaster material from two sessions in 1974 and 1975. The results are nothing less than wonderful. The first is from Swedish Broadcasting Corporation material and includes nine tracks with the Nils Lindberg band in accompaniment. The other session includes six songs recorded at Saint Maria Magdelena Church in Stockolm in 1975 and Alice is accompanied by Ulf Wesslen at the church organ.

Duke Ellington first met Alice Babs in 1963 for a Swedish TV program and Duke immediately recognized a super talent. A recording session followed in Paris a few months later. The association and friendship continued and in 1968, Alice was invited to sing with Ellington at the premiere of his "Second Sacred Concert" and in 1973 she appeared again with Duke at the Newport Jazz Festival.

This CD, "Serenading Duke Ellington", contains a fine mix of Ellington material and is primarily secular. However, some "sacred" compositions are included. This is a collection of fabulous melodies performed by an incredible singer and top notch musicians. Alice renders the difficult numbers such as "Warm Valley" with absolute confidence. ~Richard Bourcier

Serenading Duke Ellington

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John Firmin, Dick Fegy Project - The Ripple Sessions

Bitrate: MP3@320K/s
Time: 54:37
Size: 125.0 MB
Styles: Country, Folk, Blues, Jazz
Year: 2010
Art: Front

[4:22] 1. Dick's Fourteen Bars
[4:56] 2. Ripple
[3:11] 3. Apache
[4:58] 4. Wild Women Don't Get The Blues
[4:04] 5. The Jakester
[3:45] 6. Lee Allen
[3:23] 7. Cow Cow Boogie
[5:51] 8. Johnny Nocturne Tango
[4:05] 9. Keep Movin'
[3:12] 10. Makes No Difference
[3:20] 11. Lil Liza Jane
[4:37] 12. Dick's Goin Down The Road
[4:46] 13. Snake Eyes

Dick Fegy: banjo and mandolin, guitar; John Firmin: tenor and bass sax, clarinet, bass clarinet; Peter Ecklund: trumpet; Henry Salvia: organ, piano and accordion; Alex Baum: bass; Kent Bryson: drums; Kathleen Enright: vocals on Ripple, Makes No Difference; Kim Nally: vocals on Cow Cow Boogie, Lil Liza Jane, Wild Woman Don't Get the Blues.

The Ripple Sessions is an eclectic mix of David Bromberg, Grateful Dead-style folk, New Orleans and swing, country, and rock & roll. Most tracks featuring Dick's unique mandolin playing. Dick Fegy and John Firmin met each in the spring of 1975 when they both joined what became the legendary period of the David Bromberg Band. In the mid 1990's till Dick's passing in December 2001, John and Dick recorded a series of tunes, compositions, songs at Alex Baum's studio in Berkeley, California. In the spirit of of being complete most of the titles recorded are available. Fellow Bromberg Band member Peter Ecklund plays trumpet on several tracks helping with the eclectic mix of styles.

The Ripple Sessions

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Richard Elliot - Jumpin' Off

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 44:19
Size: 101,8 MB
Art: Front

(4:54)  1. Jumpin' Off
(5:25)  2. All Night
(4:31)  3. If You Want My Love
(5:13)  4. Here And Now
(4:09)  5. Tell Me About It
(5:40)  6. Slow Burn
(4:17)  7. In The Groove
(4:59)  8. One Last Kiss
(5:07)  9. Nobody Knows

One of contemporary jazz's most durable and popular saxmen, Richard Elliot has also been one of the genre's most self-sufficient. His 1986 debut album Initial Approach was produced by Henry Lewy (of Joni Mitchell Court and Spark fame), but Elliot took the reins on the eight subsequent albums that have made his tenor a smooth jazz radio staple. In Paul Brown, Elliot made the perfect decision for his first collaboration with an outside producer, both sonically, creatively and with an eye towards keeping himself viable in an everchanging marketplace commercially. The result of this collaboration, Jumpin' Off lives up to its title; this easygoing, slow-sizzling set is very different from his usual aggressive style, with tunes that slowly envelop rather than explode in your face. 

His longtime fans, however, will have no trouble taking the leap of faith. "Contents under pressure" might be a good way to describe many of the tracks. Elliot's trademark has always been his searing, gritty intensity and high and low dynamics, grabbing hold of a note and pushing it higher, then holding it for seconds at a time before reaching back down for the lower register. But on floating, free-flowing ballads like "One Last Kiss" and "All Night," he holds back and caresses the notes, rather than attack them. With hooks enhanced by subtle horn doubling, the bubbly, creamy effect is like go-down-easy Grover Washington, Jr.. ~ Jonathan Widran http://www.allmusic.com/album/jumpin-off-mw0000029812

Personnel: Richard Elliot (tenor saxophone); Peter White, Brian Culbertson, Rick Braun, Paul Jackson; Mike Sims, Paul Jackson, Jr. , Peter White (guitar); Dan Shea, Michael Egizi (keyboards, programming); Mitchel Forman, Robbie Nevil, Brian Culbertson (keyboards); Lenny Castro (percussion); Steven Hientz, Paul Brown , Steve Dubin (programming).

Jumpin' Off

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Caterina Zapponi - Universal Lovesongs

Styles: Vocal Jazz
Year: 2001
File: MP3@256K/s
Time: 56:30
Size: 104,0 MB
Art: Front

(4:26)  1. My Heart Sings
(4:08)  2. Morrer De Amor
(4:48)  3. Passione
(4:16)  4. All The Way
(3:23)  5. For Me Formidable
(4:14)  6. Il Nostro Concerto
(4:14)  7. Waiting In Vain
(4:06)  8. Que Nao Se Ve (Come Tu Mi Vuoi)
(3:18)  9. Mon Dieu
(4:00) 10. When You Go
(3:54) 11. L.O.V.E.
(4:14) 12. Maybe September
(4:07) 13. Acercate Mas
(3:15) 14. I Live To Love You

Caterina Zapponi, born and raised in Rome, Italy, is the daughter of one of Italy´s most famous movie script writers Bernardino Zapponi and his French wife. Zapponi Pere wrote the screen plays for two of Federico Fellini's more famous (or infamous, your choice) movies, Roma and Satyricon. Zapponi studied at the Berklee College of Music. Later she entered the Thelonious Monk competition and came in 4th among singers. The play list and the singing are both eclectic indeed. Singing in five languages, Zapponi confronts a program of love sings from different countries and sources. There are from the repertoire of the well-known French entertainer, Charles Azanour, Reggae giant Bob Marley and Brazil with Oscar Castro-Neves. But the home of the popular song, the United States, has the most selections from composers who have major entries in the great American Popular Songbook like Jule Styne, Sammy Cahn, Jimmy Van Heusen and Johnny Mandel. Irrespective of the geneses or style of the music, Zapponi handles all with skill and feeling with a soft but very expressive vocal style. 

Her ability to project the emotion of each song without overwhelming it comes across on a lovely Morrer de Amor with Monty Alexander on the melodica. She is shamelessly erotic on "My Heart Sings" as she "remembers those little things". It helps considerably that she is backed by some of jazz's best known musicians. In addition to Monty Alexander (listen to him go on "For Me Formidable)", there's drummer Martin Drew and the brothers' Petrocca on guitar and bass. This a great album. The liner notes are in just two languages. ~ Dave Nathan https://www.allaboutjazz.com/universal-love-songs-caterina-zapponi-inak-music-review-by-dave-nathan.php

Personnel: Caterina Zapponi - Vocals;  Monty Alexander - Piano/Melodica;  Martin Drew - Drums;  Davide Petrocca - Bass;  Lorenzo Petrocca - Guitar

Universal Lovesongs

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Gerry Mulligan & Paul Desmond Quartet - Blues In Time

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 45:54
Size: 106,5 MB
Art: Front

(9:03)  1. Blues In Time
(9:40)  2. Body And Soul
(3:29)  3. Stand Still
(3:08)  4. Line For Lyons
(6:59)  5. Wintersong
(7:45)  6. Battle Hymn Of The Republican
(5:47)  7. Fall Out

Three years after Gerry Mulligan initially sat in with the Dave Brubeck Quartet, the baritone saxophonist arrived at a point where he could perform alongside Brubeck's alto saxophonist, Paul Desmond, for this much anticipated session. When legal issues, wranglings with producer Norman Granz, and the question of which record label would subsidize and release this album were resolved, the two saxophonists went ahead to produce a delightful program of standards and originals where their more playful sides could fully blossom. The wonderful interaction between Mulligan's burly but agile horn and the ultimate smooth but in this case animated and energized sax of Desmond is more than just magical, and makes for a fluid, jaunty, delicious combination sure to please even the most jaded or stone-eared music listener. Weaving in and out of improvised phrases, the two sure sound like they are having a ball during Desmond's compositions  the friendly and carefree discourse of "Blues in Time," the bop vehicle with its jaundiced title "Battle Hymn of the Republican," and "Wintersong" with its subdued blues-based theme where the alto is featured while the bari observantly sits on the side and comments on occasion. Of the three pieces written by Mulligan, one is quintessential in "Line for Lyons," a classic melody and enduring standard enhanced by the harmonic richness of the horns playing together  it's a joy hearing their tones and styles mesh beautifully. "Standstill" and "Fallout" have as much merit as any of Mulligan's witty charts: the former a fun, melodic bop tune; the latter showcasing more of the harmonic compatibility of the two saxophonists. The lone popular standard, "Body and Soul," is mostly Mulligan pining on the age-old lover's plea, with Desmond listening as if to be convinced. Drummer Dave Bailey and bassist Joe Benjamin are along for the ride in this typical Mulligan pianoless quartet, doing their yeoman's work and letting the co-leaders have their spotlight. This is truly a fine example of modern mainstream jazz, another example from that definitive year of 1957, and though it's sadly a one-shot, it's a document thankfully preserved that should be treasured by all fans of jazz. ~ Michael G.Nastos http://www.allmusic.com/album/blues-in-time-mw0000177010

Personnel:  Gerry Mulligan, bari sax;  Paul Desmond, alto sax;  Joe Benjamin, bass;  Dave Bailey, drums

Blues In Time

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Ron McClure - Matchpoint

Styles: Jazz, Straight-ahead/Mainstream 
Year: 2002
File: MP3@224K/s
Time: 73:52
Size: 120,2 MB
Art: Front

(8:18)  1. Mainestay
(8:44)  2. Walter Davis
(8:18)  3. Shorter Story
(7:36)  4. Moonray
(6:01)  5. Cellular Expansion
(4:41)  6. West Side Blues
(5:35)  7. In Search of Times Lost
(7:12)  8. Something New for You
(9:14)  9. The Day After Christmas
(8:09) 10. Match Point

This swinging, laid-back date, Ron McClure's tenth for Steeplechase, features the bassist with relatively obscure but excellent players: tenor saxophonist Jed Levy, guitarist Bob DeVos, and drummer Jeff Brillinger. McClure and DeVos are the main writers, contributing four tunes each. Levy weighs in with the title track, providing a perky samba finale. The quartet also offers a snappy version of "Moonray," a minor-key standard co-written by Artie Shaw. DeVos, who has worked mainly in organ trio settings, displays a fat tone and a fluid linear approach, particularly on McClure's "Something New for You." Levy's blowing is enlivened by his highly imaginative rhythmic sense. McClure and Brillinger bring a tight yet flexible rapport to the session, peaking energetically on "Cellular Expansion." McClure's own solos are consistently strong; his downcast ballad, "The Day After Christmas," is especially heartfelt. ~ David R.Adler http://www.allmusic.com/album/matchpoint-mw0000324434

Personnel: Ron McClure (bass); Jed Levy (tenor saxophone); Bob DeVos (guitar); Jeff Brillinger (drums).

Matchpoint

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Earl ''Fatha'' Hines - Here Comes

Styles: Piano Jazz
Year: 1966
File: MP3@320K/s
Time: 30:11
Size: 69,9 MB
Art: Front

(3:24)  1. Save It Pretty Mama
(3:46)  2. Bye Bye Baby
(2:54)  3. Smoke Rings
(4:08)  4. Shoe Shine Boy
(8:00)  5. The Stanley Steamer
(3:42)  6. Bernie's Tune
(4:13)  7. Dream Of You

Once called "the first modern jazz pianist," Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat. One of the all-time great pianists, Hines was a major influence on Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole, and even to an extent on Art Tatum. He was also an underrated composer responsible for "Rosetta," "My Monday Date," and "You Can Depend on Me," among others. Earl Hines played trumpet briefly as a youth before switching to piano. His first major job was accompanying vocalist Lois Deppe, and he made his first recordings with Deppe and his orchestra in 1922. The following year, Hines moved to Chicago where he worked with Sammy Stewart and Erskine Tate's Vendome Theatre Orchestra. He started teaming up with Louis Armstrong in 1926, and the two masterful musicians consistently inspired each other. Hines worked briefly in Armstrong's big band (formerly headed by Carroll Dickerson), and they unsuccessfully tried to manage their own club. 1928 was one of Hines' most significant years. He recorded his first ten piano solos, including versions of "A Monday Date," "Blues in Thirds," and "57 Varieties." Hines worked much of the year with Jimmy Noone's Apex Club Orchestra, and their recordings are also considered classic. Hines cut brilliant (and futuristic) sides with Louis Armstrong's Hot Five, resulting in such timeless gems as "West End Blues," "Fireworks," "Basin Street Blues," and their remarkable trumpet-piano duet "Weather Bird." And on his birthday on December 28, Hines debuted with his big band at Chicago's Grand Terrace.

A brilliant ensemble player as well as soloist, Earl Hines would lead big bands for the next 20 years. Among the key players in his band through the 1930s would be trumpeter/vocalist Walter Fuller, Ray Nance on trumpet and violin (prior to joining Duke Ellington), trombonist Trummy Young, tenor saxophonist Budd Johnson, Omer Simeon and Darnell Howard on reeds, and arranger Jimmy Mundy. In 1940, Billy Eckstine became the band's popular singer, and in 1943 (unfortunately during the musicians' recording strike), Hines welcomed such modernists as Charlie Parker (on tenor), trumpeter Dizzy Gillespie, and singer Sarah Vaughan in what was the first bebop orchestra. By the time the strike ended, Eckstine, Parker, Gillespie, and Vaughan were gone, but tenor Wardell Gray was still around to star with the group during 1945-1946.

In 1948, the economic situation forced Hines to break up his orchestra. He joined the Louis Armstrong All-Stars, but three years of playing second fiddle to his old friend were difficult to take. After leaving Armstrong in 1951, Hines moved to Los Angeles and later San Francisco, heading a Dixieland band. Although his style was much more modern, Hines kept the group working throughout the 1950s, at times featuring Muggsy Spanier, Jimmy Archey, and Darnell Howard. Hines did record on a few occasions, but was largely forgotten in the jazz world by the early '60s. Then, in 1964, jazz writer Stanley Dance arranged for him to play three concerts at New York's Little Theater, both solo and in a quartet with Budd Johnson. The New York critics were amazed by Hines' continuing creativity and vitality, and he had a major comeback that lasted through the rest of his career. Hines traveled the world with his quartet, recorded dozens of albums, and remained famous and renowned up until his death at the age of 79. Most of the many recordings from his career are currently available on CD. ~ Scott Yanow http://www.allmusic.com/artist/earl-hines-mn0000455522/biography

Personnel:  Bass – Richard Davis;  Drums – Elvin Jones;  Piano – Earl Hines

Here Comes

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