Di Anne Price - Refreshed

Bitrate: MP3@320K/s
Time: 59:40
Size: 136.6 MB
Styles: Jazz/Blues vocals & piano
Year: 2013
Art: Front

[3:02] 1. Pig Meat
[3:18] 2. To Hell With Love
[4:40] 3. Hallelujah, I Love Him So
[5:11] 4. Fever
[3:46] 5. I Love Being Here With You
[4:20] 6. You Won't Let Me Go
[4:39] 7. I Want To Be Seduced
[3:30] 8. Sugar In My Bowl
[2:23] 9. Keep Sittin' On It
[4:59] 10. I Need Your Love So Bad
[2:45] 11. Alone On My Own
[4:46] 12. Makin' Whoopee
[4:45] 13. Wild Women Don't Have The Blues
[4:17] 14. Livin' Alone
[3:12] 15. One Mo' Bottle Of Beer

Memphis blues and jazz artist Di Anne Price died of liver cancer, March 13, 2013. She was easily one of the fabled music city’s most beloved performers. Her superb albums Barrel House Queen, Sugar in My Bowl, Love Come and Go, Blue Artistry, The Best Price, 88 Steps to the Blues, Taking the Blues in Stride, and Deja Blu, all showcase her smoky vocals, barrelhouse piano, and her fascination with a variety of blues and jazz styles from 1920s throwback to more contemporary arrangements.

As a little girl, Price would wake up in the middle of the night wanting to play the piano. She’d get dressed, put on gloves if it was cold, wake her mom, and the two would play and sing until morning. The first songs Price ever learned were blues, and the husky-voiced storyteller never stopped singing them. Price, always credited her mom, and called her fans her babies, never lost her enthusiasm. She told John Taylor of Blues on Stage that the first thing she did in the morning was touch her piano to make sure it was still there. The second thing she did was sit down and practice.

Price told The Memphis Flyer she was happiest when working. “You know, when I’m in a smoke-filled bar, and can smell the Jack Daniels all around, and I’m singing something that’s right just for the moment, that’s working just for that moment, and people are really listening, that’s everything I need.”

Refreshed 

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Various - Blue Note Plays Ray Charles

Bitrate: MP3@320K/s
Time: 46:58
Size: 107.5 MB
Styles: Jazz/Blues/Soul/R&B
Year: 2005
Art: Front

[3:12] 1. Lou Rawls - That's Where It's At
[4:32] 2. Jimmy McGriff - I Got A Woman
[4:34] 3. Stanley Turrentine - What Would I Do Without You
[6:28] 4. Grant Green - This Little Girl Of Mine
[2:48] 5. Jimmy Smith - Ain't That Love
[7:16] 6. Freddy Roach - (Night Time Is) The Right Time
[2:58] 7. Joe Williams - Hallelujah I Love Her So
[3:32] 8. The Three Sounds - Drown In My Own Tears
[2:56] 9. Lou Rawls - Hide Nor Hair
[3:23] 10. Grant Green - I Can't Stop Loving You
[5:14] 11. Jimmy Smith - I'm Movin' On

Blue Note Plays Ray Charles contains 11 previously released performances by jazz artists associated with the label who dip into the songbook of "Brother Ray." These are enjoyable re-creations courtesy of several Hammond B-3 masters, including Jimmy McGriff's "I Got a Woman," Freddie Roach's "Night Time Is the Right Time," and Jimmy Smith's "I'm Movin' On." Also of note is guitarist Grant Green's lyrical take on "I Can't Stop Loving You," with pianist Herbie Hancock's light, late-night blues touch influenced by The Genius After Hours. On past Blue Note Plays releases, the time line of music has tended to cross several decades, making for an erratic and jarring listening experience. Fortunately, there is a consistency on Blue Note Plays Ray Charles, as nine of the tracks were recorded in the '60s with the exception of two by Lou Rawls: "That's Where It's At," with Charles on vocals, from 1989 and "Hide nor Hair" from 1992. This budget-priced release is recommended to all fans of Ray Charles, whether they are jazz fans or not. ~Al Campbell

Blue Note Plays Ray Charles

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Leon Redbone - Up A Lazy River

Bitrate: MP3@320K/s
Time: 34:53
Size: 79.9 MB
Styles: Pop/Rock/Jazz
Year: 2004
Art: Front

[3:06] 1. Play Gypsy Play
[2:37] 2. At The Chocolate Bon Bon Ball
[3:01] 3. Lazy River
[3:01] 4. When Dixie Stars Are Playing Peek-A-Boo
[2:47] 5. Mr. Jelly Roll Baker
[2:34] 6. Gotta Shake That Thing
[2:08] 7. You're A Heartbreaker
[2:49] 8. Bittersweet Waltz
[3:12] 9. Goodbye Charlie Blues
[3:40] 10. That Old Familiar Blues
[2:57] 11. A Dreamer's Holiday
[2:55] 12. I'm Going Home

Idiosyncratic singer/songwriter Leon Redbone spent the 1990s building upon his sizable cult following with more uncanny arrangements of vintage pop and jazz tunes, while simultaneously unveiling a few of his own compositions. Sporting an unmistakable and remarkably limber baritone, Redbone continues his fusion of Americana with some distinct and flavorful overtones that would not sound out of place in the Django Reinhardt and Stephane Grappelli-led Quintet of the Hot Club of France. This is evident right out of the box on Redbone's "Play Gypsy Play," as guitarist Frank Vignola and violinist Stan Kurtis provide a hearty Hot Club vibe. An almost palpable sense of mystery shrouds the somnolent "At the Chocolate Bon Bon Ball," incorporating Alfredo Pedernera on the Argentinean bandoneón -- a native instrument with a tonality close to that of its' European descendant, the concertina. Pedernera weaves hypnotically beneath the march-like cadence, unifying the otherwise disparate sonic elements. The easygoing languid cover of Hoagy Carmichael's "Lazy River" can easily be considered a seminal entry in Redbone's repertoire, with just enough energy to gently move the song along. Special guest Dr. John tickles the ivories further accenting the sumptuous melody. "When Dixie Stars Are Playing Peek-a-Boo" is an obscure side dating to the early 20th century. Asleep at the Wheel's Cindy Cashdollar picks a down-home dobro, modernizing the rural blues amalgam and definitely hearkening to the original. Similarly, Redbone's interpretation of "Mr. Jelly Roll Baker" has one foot in the past while leaping toward a rollicking renewal of the Beale Street blues from whence the selection was derived. Again, Cashdollar is heard here, twanging beneath a full-bodied lead vocal and some buoyant sax interjections from multi-instrumentalist Vince Giordano, who also plays piano, drums and bass on the track. His sax spills over on to the humor-laden take-off/put-on rendering of Papa Charlie Jackson's bawdy blues "Gotta Shake That Thing." Other standouts on Up a Lazy River (1992) include the Redbone co-penned "That Old Familiar Blues" and "Bittersweet Waltz" -- both boasting additional contributions from Dr. John -- although the latter shouldn't be mistaken for the Noël Coward song of the same name. ~Lindsay Planer

Up A Lazy River

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Charlie Barnet - Cherokee Revisited

Bitrate: MP3@320K/s
Time: 79:07
Size: 181.1 MB
Styles: Big band, Swing
Year: 2002
Art: Front

[7:03] 1. Cherokee
[3:54] 2. Serenade To May
[3:23] 3. Moten Swing
[2:15] 4. Pompton Turnpike
[2:53] 5. Eastside, Westside
[3:16] 6. Charleston Alley
[3:20] 7. Skyline
[3:34] 8. Blue Juice
[4:02] 9. Southern Fried
[3:36] 10. Smiles
[2:56] 11. Swing & Sweat
[2:49] 12. Stardust
[3:21] 13. Take The A Train
[2:41] 14. Goodbye
[3:19] 15. Early Autumn
[3:25] 16. Flying Home
[3:16] 17. I Can't Get Started
[3:53] 18. Begin The Beguine
[2:53] 19. Darn That Dream
[2:58] 20. Midnight Sun
[2:43] 21. One O'clock Jump
[4:18] 22. Harlem Nocturne
[3:09] 23. Track 23

Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s.

And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson.

In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller.

By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966. ~bio by Scott Yanow

Cherokee Revisited

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Kalya - The Best Is Yet To Come

Bitrate: MP3@320K/s
Time: 38:30
Size: 88.2 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[2:17] 1. I'm Beginning To See The Light
[2:15] 2. Call Me Irresponsible
[2:25] 3. The Best Is Yet To Come
[4:28] 4. Polka Dots And Moonbeams
[4:23] 5. Is You Is Or Is You Ain't My Baby
[5:02] 6. At Last
[2:48] 7. Isn't It Romantic
[3:17] 8. I've Got My Love To Keep Me Warm
[2:33] 9. Bei Mir Bist Du Schon
[3:09] 10. But Not For Me
[3:35] 11. On A Slow Boat To China
[2:10] 12. Anything Goes

SHERATON CADWELL presents one of Canada's most promising vocal artists, 13-year old KALYA, in her second album ... a compilation of more of her personal favourites. All tracks recorded live between November 2006 and March 2008 with the Philips Westin Orchestra, Casablanca Orchestra, Toronto Starlight Orchestra) and the Wyndham Regency Orchestra.

Net proceeds from the sale of this CD will be donated to international agencies such as UNICEF, World Vision, Oxfam, CARE, Doctors Without Borders and the Red Cross through the Global Poverty Relief Foundation (www.gprf.net) to help alleviate poverty in less developed communities outside Canada.

NOTE: The link has been deleted. Those who wish to contribute to the charitable causes benefiting from the sale of this CD, please buy the CD at cdbaby.com.

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Les McCann - Talkin' Verve

Bitrate: MP3@320K/s
Time: 62:06
Size: 142.2 MB
Styles: Bop, Soul/jazz
Year: 1998
Art: Front

[ 3:38] 1. Watermelon Man
[ 6:10] 2. Beaux J Poo Boo
[ 3:38] 3. The Great City
[ 2:55] 4. Guantanamera
[10:02] 5. Sunny
[ 2:42] 6. Green, Green Rocky Road
[ 2:44] 7. Little Freak
[ 2:57] 8. Red Top
[ 2:34] 9. Compared To What
[ 5:30] 10. My Friends
[ 2:51] 11. Sad Little Girl
[ 3:49] 12. La Brea
[ 2:57] 13. Goin' Out Of My Head
[ 2:47] 14. Boo-Go-Loo
[ 6:46] 15. Colonel Rykken's Southern Fried Chicken

Talkin' Verve collects 16 of the funkiest tracks Les McCann recorded for Verve. Of course, funky can be a relative term -- McCann was the coolest pianist this side of Horace Silver, and his laid-back style may not sit well with the hipsters who are this disc's intended audience. If they keep in mind that the pianist never led a small organ combo, they'll be pleased by this swinging soul-jazz and its warm, friendly atmosphere. Some of the songs are a little slight, but even those are given appealing, coolly funky arrangements that are quite engaging, and that's what makes this a welcome sampler. ~Stephen Thomas Erlewine

Talkin' Verve

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Bob Mover - In The True Tradition

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 41:06
Size: 107,7 MB
Art: Front

(6:25)  1. Night Dance Of Little People
(5:17)  2. I Waited For You
(8:51)  3. Poinciana
(6:10)  4. Blues For Bobby Ward
(6:25)  5. Something To Live For
(7:57)  6. Evidence

Altoist Bob Mover, who originally sounded quite a bit like Lee Konitz, fully displays his individuality on this passionate trio set. Accompanied by bassist Rufus Reid and drummer Bobby Ward, Mover is free to be as explorative as he likes on the high-quality material which includes two originals, a pair of ballads, "Poinciana," and Thelonious Monk's "Evidence." This is one of Mover's finest recordings to date. ~ Scott Yanow http://www.allmusic.com/album/in-the-true-tradition-mw0000882339

Personnel: Bob Mover (alto saxophone), Rufus Reid (bass), Bobby Ward (drums).

In The True Tradition

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Althea Rene - In the Flow

Styles: Flute Jazz
Year: 2013
File: MP3@320K/s
Time: 49:39
Size: 113,9 MB
Art: Front

(6:43)  1. La' Solstice
(3:58)  2. Sunday Cruise
(3:46)  3. Used to Love You
(4:46)  4. Flutations
(4:27)  5. Free
(5:07)  6. FM 1960
(5:06)  7. Snoochi Pooch
(4:46)  8. In the Flow
(4:51)  9. H-Town-Step
(6:02) 10. Song for Wilhemania

One of America's best kept secrets is secret no more. Having single handedly built a huge following throughout the Contemporary Jazz community over the last 10 years, this young lady has been in high demand on the concert scene and hasaccomplished all with little support from radio and doing it without label
machinery. Taking the next career step and signing her first major label deal, Althea Rene is poised to take her music to the masses and her Trippin N Rhythm debut 'In The Flow' marks a seismic shift not only in her career but in taking the flute back to its accepted place as a dominant genre instrument not seen since the days of Tim Weisberg and Herbie Mann.

Mix the mastery of Herbie Mann and add the sexiness and moves of Beyonce and you get this dynamic performer who delivers on every level, chops mixed with sex appeal. On 'In The Flow' Rene enlists the help of Grammy award winning producer Michael B, who has worked with A-List artists George Benson, Cindy Bradley and Marion Meadows, to name a few, to assemble a portrait of this multi-dimensional artist, painted with a broad brush. Not afraid to paint outside the lines Rene shows her mastery of the flute, blowing when the moment is called for yet showing great restraint as she floats in and around the melodies, showing passion and fire reminiscent of Al DiMeloa on tracks like LA Solstice and then chilling things down with sides like Sunday Cruise . Standouts include fresh takes on the John Legend classic 'Used To Love You' and 'Free' from Denise Williams. With support from label mates Cindy Bradley and Randy Scott , 'In The Flow' marks the re-emergence of the flute to its deserved place in what has become a sax heavy genre. The time has come, the moment is now and Althea Rene will soon place her star alongside the genre's greatest. ~ Editorial Reviews https://www.amazon.com/Flow-Althea-Rene/dp/B00C3MKBGQ

Personnel: Althea Rene (flute); Mike Broening (keyboards, programming).

In the Flow

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David Liebman Quintet - If They Only Knew

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 44:25
Size: 102,4 MB
Art: Front

(8:48)  1. If They Only Knew
(8:28)  2. Capistrano
(5:36)  3. Moontide
(7:14)  4. Reunion
(5:07)  5. Autumn In New York
(9:09)  6. Move On Some

Originally put out by Timeless, only to be issued in the U.S. on Impulse! eight years after the session, the phrase "if they only knew" at one time was conceived as a riposte to Liebman's critics. But you won't hear any querulous complaints from this corner, for this is a thoughtful, often burning quintet session carooming off the bumpers of post-bop, jazz-rock, and the avant-garde. Liebman is mostly heard on brittle, sometimes volatile tenor throughout the record, even turning in some fancy bop licks on "Autumn in New York." The relaxed, darting electric touch comes from John Scofield, whose asymmetrical guitar you can spot a country mile away, and he contributes the most attractive tune on the session, "Capistrano." Trumpeter Terumasa Hino mixes it up pretty well on many of the tracks in his Freddie Hubbard-derived manner; Ron McClure makes his presence known up front at all times on acoustic bass; Adam Nussbaum is just fine on drums, and the whole thing comes to a furious finish that leaves you wanting more. ~ Richard S.Ginell http://www.allmusic.com/album/if-they-only-knew-mw0000198136

Personnel: David Liebman (soprano & tenor saxophones); Terumasa Hino (trumpet); John Scofield (guitar); Ron McClure (bass); Adam Nussbaum (drums).

If They Only Knew

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Somi - Red Soil In My Eyes

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 62:11
Size: 142,5 MB
Art: Front

( 3:56)  1. Ingele
( 5:02)  2. My Mother's Daughter
( 3:46)  3. Day By Day
( 5:56)  4. Circles
( 7:25)  5. Red Soil In My Eyes
( 4:15)  6. African Lady
( 5:53)  7. Quietly
( 5:43)  8. Losing You
( 5:12)  9. Mbabazi
(14:58) 10. Natural

She was born in Illinois and did most of her growing up in America, but the singer who calls herself Somi that's short for L. Kabasomi Kakoma is the daughter of Rwandan and Ugandan parents, also spent time living in Africa and, due in no small part to the extremes of that experience, has created a seamless merger of cultures, sounds and emotions with this richly textured recording. Red Soil in My Eyes is all elegance and awe, and attempting to reduce Somi's pan-globalism and command of her artistic environment to a single genre or purpose would be a fruitless endeavor. She skates easily between worlds, touching on both smooth and raucous neo-soul, nuanced jazz expression and more than a dollop of East African tradition until something else all together emerges. She sings of nature and of love, life, freedom and faith without forcing distinctions between them. And one gets the impression that she arrives at that juncture effortlessly: many layers unfold throughout these multilingual, genre-busting, continually revealing songs, but the voice itself, wherever it may head, never lets go of its grip. 

"Ingele," the Swahili-sung opening track (a finalist in the world music category of the John Lennon Songwriting Contest), introduces the subtle, sultry side of Somi via a quasi-bossa nova rhythm that ultimately transforms into a platform through which her multi-octave voice dips and flies in several directions. "African Lady," on the other hand, is all rhythm, Fela style (the chorus is based on his "Lady"), delivering a strong anti-domestic violence message sung mainly in English along with its feast of percussion. Somi commands a sizable, virtuosic band throughout much of the album, but ends it on a quiet and poignant note: the hidden bonus track "Remembrance," which she dedicates to the survivors of the Rwandan genocide of 1994. On it, Somi's voice takes on otherworldly characteristics as it rides pure waves of sound, hauntingly reverent, intense and utterly captivating. ~ Jeff Tamarkin http://www.allmusic.com/album/red-soil-in-my-eyes-mw0000583545

Personnel: Somi (Lead Vocals, Backing Vocals), Hervé Samb, Lionel Loueke (guitar); Conrad Harris, Pauline Kim (violin); Dave Eggar (cello); David Lee Jones (saxophone); Jeremy Pelt (trumpet); Toru Dodo (piano); Thierry Arpino (drums); Daniel Moreno (percussion); Rhian Ayanna, Chanda Rule (background vocals).

Red Soil In My Eyes

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