Janet Seidel - Winter Moon

Size: 146,1 MB
Time: 63:00
File: MP3 @ 320K/s
Released: 1994
Styles: Jazz Vocals
Art: Front

01. Seems Like Old Times (4:19)
02. Just You, Just Me (2:50)
03. Nuages (4:35)
04. For Heaven's Sake (4:43)
05. Please Don't Talk About Me When I'm Gone (3:12)
06. Golden Earrings (4:22)
07. Cocktails For Two (4:34)
08. Change Partners (4:20)
09. Baby Won't You Please Come Home (3:01)
10. Prelude To A Kiss (4:53)
11. Down With Love (2:58)
12. Big Bad Bill (2:58)
13. There I Go Again (4:44)
14. Harlem Nocturne (3:32)
15. Winter Moon (4:11)
16. Fascinatin' Rhythm (3:39)

Born in Australia's bush country, Janet Seidel has emerged as one of that country's leading cabaret and jazz vocalists. She has been appearing frequently at Australia's top jazz and hotel venues since the early '80s often working with bassist brother, David Seidel. Janet Seidel has also been featured at jazz festivals in the U.S. working with such jazz notables as Harry Allen, Dan Barrett, Dave McKenna, and Michael Moore. Her first venture into cabaret came in 2000 when she put together and starred in Doris and Me, a tribute to Doris Day's singing career. Often working with saxophone player Tom Baker and always with her brother, she has made eight albums for the La Brava label. Her double album The Way You Wear Your Hat was named vocal album of the year by Australia's national newspaper and was a finalist for the prestigious ARIA award. Her The Art of Lounge, Vol. 2 was similarly as finalist for that award for the AIRA Jazz Album of the Year.

Seidel does not have great range, but she uses the tools she possesses with great skill and effectiveness. With her intimate style, great feel for the lyrics of songs she sings, Seidel is one of those vocalists who is as much a story teller as she is a singer. The way she goes about handling the music comes off as a fortuitous blend of Blossom Dearie and Doris Day with an occasional nod to Julie London, although she is somewhat jazzier than the latter two. Like Jeri Southern, Shirley Horn, and Diana Krall, she often doubles at the piano. Seidel has an exquisite, gentle, and agile voice and honors each tune she sings, irrespective of whether it's a classic standard, pop, or novelty song.

Winter Moon

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Larry Newcomb Quartet - Living Tribute (Feat. Bucky Pizzarelli)

Size: 109,7 MB
Time: 46:56
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. I Remember You (3:59)
02. You'd Be So Nice To Come Home To (3:45)
03. Morningside Heights (3:45)
04. Alone Together (5:30)
05. Round Pond Reunion (5:07)
06. Gold Top (3:17)
07. Band Of Brothers (3:20)
08. One Heart Ain't As Great As Two (4:42)
09. Love Is Here (5:28)
10. Crossing Over (3:59)
11. Peace (3:59)

New York-based guitarist Larry Newcomb's latest album, Living Tribute, isn't directed toward a single honoree but several, some of whom are living and some of whom are not. One of them, fellow guitarist Bucky Pizzarelli, even bolsters Newcomb's regular quartet, playing with the sort of bounteous energy that makes it hard to believe he would be celebrating his ninety-first birthday a month after the studio date was held in December 2016.

Newcomb opens with the standard "I Remember You," a warm and appropriately named salute to his earliest influence on guitar, friend and college roommate Dick Hall, who passed away in June 2016. The country-leaning "Gold Top" and gospel-tinged "Crossing Over" (with a bow to J.J. Johnson's "Lament") are also dedicated to Dick Hall, the well- grooved "Round Pound Reunion" to Hall's family and friends. Another guitarist, and another Hall—the late Jim—is eulogized twice, with the standards "You'd Be So Nice to Come Home To" and "Alone Together," while Newcomb's no-nonsense "Morningside Heights" defers to Pizzarelli who plays a mean rhythm guitar on that track and elsewhere.

Newcomb doesn't overlook family ties either. "Band of Brothers" salutes his sons Jonah, Jake and Ian, while "Love Is Here" and "One Heart Ain't as Great as Two" (both sung by Leigh Jonaitis) are dedicated to his wife, Mary. The session closes with a final homage, "Peace," to Newcomb's spiritual guru, Prem Rawat. Having mentioned Newcomb and Pizzarelli (who may or may not be the main soloist on "You'd Be So Nice," "Morningside Heights" and Crossing Over"), it should be noted that the ensemble as a whole is splendid. Pianist Eric Olsen frames a number of polished solos while bassist Dmitri Kolesnik, solid throughout, is featured prominently on "Alone Together." Meanwhile, drummer Jimmy Madison simply goes about his business, leaving no rhythmic issue to chance.

An admirable quartet date that is further enriched by the masterful presence of the great Bucky Pizzarelli, still swinging in his ninetieth decade. ~Jack Bowers

Personnel: Larry Newcomb: electric guitar; Bucky Pizzarelli: acoustic guitar (1-5, 11); Eric Olsen: piano; Dmitri Kolesnik: bass; Jimmy Madison: drums; Leigh Jonaitis: vocals (8, 9).

Living Tribute

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Doris Day - Day Time On The Radio: Lost Radio Duets From The Doris Day Show

Size: 136,6 MB
Time: 56:55
File: MP3 @ 320K/s
Released: 2017
Styles: Pop
Art: Front

01. It's Magic (Radio Announcer Version) (0:43)
02. A Wooin' We Will Go (With Howard Keel) (2:28)
03. The Love Nest (With Gordon MacRae) (1:27)
04. You're Just In Love (With Van Johnson) (1:31)
05. Ma Says, Pa Says (With Broderick Crawford & Don Wilson) (2:24)
06. Dearie (With Dan Dailley) (1:44)
07. If Life Were All Peaches & Cream (With Tony Martin) (2:41)
08. Red Hot Henry Brown (With Kirk Douglas) (1:16)
09. I Will Marry You (With John Agar) (1:50)
10. By The Light Of The Silvery Moon (With Gordon MacRae) (1:45)
11. A Kiss Like This (With Alan Young) (1:20)
12. Merrily Song (With Donald O'Connor) (1:38)
13. Take Me Out To The Ball Game (With Ronald Reagan & Bob Crosby) (0:27)
14. I'm Forever Blowing Bubbles (With Jack Smith) (1:17)
15. Tea For Two (With Gordon MacRae) (1:49)
16. We're In Love (With Broderick Crawford) (1:54)
17. My Darling, My Darling (With Frank Loesser) (1:22)
18. Around The Corner (With Marais & Miranda) (2:45)
19. Wait Till The Sun Shines Nellie (With George Jessel) (0:52)
20. Little By Little (With Walter O'Keefe) (1:12)
21. Something Sort Of Grandish (With David Wayne) (2:10)
22. You're My Peaches & Cream (With David Butler) (1:00)
23. Together (With Don Wilson) (1:14)
24. I'll Be Seeing You (With George Murphey) (2:22)
25. Ma Says, Pa Says (With Marais & Miranda, Gordon MacRae) (4:10)
26. I'm Gonna Mend My Fences (With Howard Keel) (2:16)
27. Cuddle Up A Little Closer Till We Meet Again (With Gordon MacRae) (2:08)
28. Jingle Bells Hark! The Herald Angels Sing (With Jimmy Boyd, Jack Kirkwood & Don Wilson) (1:51)
29. Love To Be With You (Radio Announcer Version) (1:14)
30. Till I Waltz Again With You (2:56)
31. It's Magic (0:44)
32. Love To Be With You (2:07)

One couldn’t imagine a better opening number for the radio program The Doris Day Show than “It’s Magic,” for each week between March 1952 and May 1953, the versatile song stylist and beloved motion picture star cast a spell over listeners worldwide with an intimate gathering of famous friends filled with music and laughter. Over the course of five dozen broadcasts of The Doris Day Show—recorded in Hollywood in front of a live audience and happily preserved on 16-inch transcription discs—Doris joined her special guests at the piano for performances of songs she often had never commercially recorded. This is a largely unknown and scarcely documented facet of Doris’ career, and Day Time on the Radio brings to light no less than 32 rarities including 27 duets and five solo performances. Among her notable foils are frequent leading man Gordon MacRae, who starred in five pictures with Doris; here the two of them sing a total of four duets, highlighted by their medley of “Cuddle Up a Little Closer”/”Till We Meet Again.” Movie stars Kirk Douglas, George Murphy, Ronald Reagan (!), and Broderick Crawford all prove willing and able duet partners, while the more musically-inclined Tony Martin, Howard Keel, Smilin’ Jack Smith, and Frank Loesser lend their formidable talents to a mix of traditional and Broadway-inspired fare. Doris’ sparkling solo performance of “Till I Waltz Again with You” finishes Day Time on the Radio with a flourish before a couple of hidden bonus tracks: her renditions of the opening “It’s Magic” and closing “Love to Be with You” radio themes sans announcer. Joe Marchese’s detailed notes and rare photos round out what is a fantastic addition to the Doris Day discography, the first authorized release ever of her long-lost radio performances.

Day Time On The Radio

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James Morrison - The Great American Songbook

Size: 161,1 MB
Time: 69:18
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. They Can't Take That Away From Me (6:22)
02. The Way You Look Tonight (4:41)
03. A Time For Love (7:29)
04. Our Love Is Here To Stay (5:30)
05. Love Is A Many-Splendoured Thing (3:55)
06. I've Got The World On A String (5:43)
07. Tenderly (7:23)
08. It Don't Mean A Thing (If It Ain't Got That Swing) (2:35)
09. Ev’ry Time We Say Goodbye (5:17)
10. My Funny Valentine (5:46)
11. The Shadow Of Your Smile (6:00)
12. Summertime (5:04)
13. A Foggy Day (In London Town) (3:27)

Jazz great James Morrison returns with an essential new album: timeless hits from The Great American Songbook, recorded at the legendary Abbey Road Studios in London with the BBC Concert Orchestra and conductor Keith Lockhart.

Performing on a range of instruments (including trumpet, flugelhorn, trombone, tenor sax and piano), Morrison brings his trademark virtuosity and flair to classics by Cole Porter, George Gershwin, Duke Ellington, Jerome Kern and more. These tunes were originally made famous by many of the great singers of all time; for this album, Morrison especially commissioned arrangements that bring alive the melodies, styles and meanings that have made these songs so immortal and beloved.

These jazz ‘standards’ are close to Morrison’s heart: “I proposed to my wife by walking into the bathroom playing My Funny Valentine, Every Time We Say Goodbye was played at the funeral of a dear friend, Summertime was the first time I worked with a singer, A Foggy Day was the first song I performed in public on the piano (aged 10), and of course Duke Ellington answered the unanswerable question ‘what is jazz’? (It Don’t Mean a Thing if it Ain’t Got That Swing).”

James Morrison is regarded as one of the finest musicians of his generation, with a distinguished career featuring collaborations with the likes of Wynton Marsalis, Dizzy Gillespie and Ray Charles, invitations to perform at the world’s great venues and for multiple US presidents and Queen Elizabeth II, and pioneering education work.

The Great American Songbook

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Liv Stoveland - Solitary Moon

Size: 124,8 MB
Time: 53:46
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Freezing Fears (5:43)
02. Solitary Moon (5:12)
03. Calling You (5:31)
04. The Gentle Rain (3:52)
05. Freezing Hearts (4:39)
06. No Moon At All (4:13)
07. Skylark (4:09)
08. Freezing Star (4:06)
09. Little Waltz (3:10)
10. Bon't Let It Bring You Down (4:07)
11. Moon And Sand (9:00)

Personnel:
Rasmus Solem – piano
Espen Larsen – guitar
Ole Kelly Kvamme – bass
Arild Nyborg – drums/percussion
Per Willy Aaserud – trumpet

It’s been a while since Stoveland made her debut with the album ”Close your eyes” released to wonderful reviews.

Now the album ”Solitary Moon” is here and she has handpicked the musician, and the guitarist Espen Larsen has composed all the tunes written specifically for this recording with lyrics by Arne Birketveit.

Solitary Moon

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Tardo Hammer - Tardo's Tempo

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 55:34
Size: 127,6 MB
Art: Front

(6:08)  1. Last Time I Saw Paris
(8:42)  2. I Waited For You
(4:49)  3. Russian Lullaby
(5:51)  4. Philly Twist
(6:58)  5. Journey To Lichtenstein
(6:21)  6. Minor Mishap
(4:48)  7. Very Early
(5:21)  8. Littme Man (You've Had A Busy Day)
(6:33)  9. Thelonious

In tandem with bassist Dennis Irwin and drummer Jimmy Wormworth, Tardo Hammer carves out his own space in the bebop tradition once again, proving that accomplished musicians still have a lot to say while mining established styles. The pianist doesn’t mess with the bebop blueprint; rather, he excels at executing its fundamental elements. The material on “Tardo’s Tempo” is a carefully selected mixture of selections from the American Popular Songbook, a few jazz standards, a Monk tune, plus one original. Neither franticly busy nor gratuitously virtuosic, most of the tracks move along at a pace that invites the listener to pick-up on telling details and appreciate the trio’s interaction. The opening track, Hammerstein and Kern’s “Last Time I Saw Paris,” typifies their approach to the music and sets a very high standard for the rest of the record. Juggling a number of ideas while maintaining a coherent narrative thread, Hammer begins with an out-of-tempo solo that states the melody in an oblique fashion, rapidly changing from a stately to a lighthearted disposition, adding a nice stride feel during some of the bridge, and integrating the occasional, Monk-like dissonance. The labyrinth-like opening sequence immediately evaporates as the bass and drums lay down a steady medium tempo bounce. This time Hammer’s take on the melody is sunny and optimistic, as he rides Wormworth’s strokes to the hi-hat and top cymbal. Encouraged by Irwin’s sturdy walking, the two-chorus solo that follows has a lot going on, yet its logical development is never marred by too much activity. For instance, while it comes as a surprise when a quote from “Thelonious” (which is the also the last track on the record) is followed by a smattering of fast, single note lines, Hammer soon returns to something more grounded that stays closer to the pulse.

Hammer’s interpretation of “Little Man (You’ve Had A Busy Day),” one of two ballads on the recording, is a fine example of a jazz musician turning a maudlin pop song into something memorable. He plays it three times, at first solo, and then twice with the bass and drums. Smartly juxtaposing improvised passages and snatches of the tune, each time Hammer takes more liberties without completely bending the melody out of shape or removing the sentiment, all the while evincing a decisive rhythmic drive. Both cleaving to and providing counterpoint to the leader’s piano, the snap of Wormworth’s snare and melodic ring of his tom-toms animates the head of Tommy Flanagan’s “Minor Mishap.” As always, Hammer’s reliance on Irwin and Wormworth’s firm, expressive support rather than just heedlessly playing over them is an important element of his three-chorus solo. He swings purposefully and doesn’t feel the need to fill up all available space, taking the time to develop ideas, and frequently pausing in order to let a phrase sink in. There’s no dramatic arc to the course of the solo instead, Hammer and company offer something more important; namely, a resolute momentum, simultaneously disciplined and flexible, which feels so good that you wouldn’t mind if they continued without end. ~ David O. Orthmann https://www.allaboutjazz.com/tardo-hammer-tardos-tempo-by-david-a-orthmann.php

Personnel: Tardo Hammer—piano; Dennis Irwin—bass; Jimmy Wormworth—drums.

Tardo's Tempo

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Patricia Barber - Nightclub

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 51:26
Size: 118,1 MB
Art: Front

(4:03)  1. Bye Bye Blackbird
(4:58)  2. Invitation
(6:40)  3. Yesterdays
(3:20)  4. Just For A Thrill
(3:46)  5. You Don't Know Me
(4:50)  6. Alfie
(5:05)  7. Autumn Leaves
(3:44)  8. Summer Samba
(3:25)  9. All Or Nothing At All
(3:42) 10. So In Love
(4:18) 11. A Man & A Woman
(3:28) 12. I Fall In Love Too Easily

The harping of rigid purists or self-proclaimed visionaries aside, the enduring strength of jazz has always been its ability to accommodate both tradition and innovation. Patricia Barber has done plenty of experimenting on albums like Café Blue, Modern Cool and Companion. Her smartly crafted originals and reinventions of rock tunes like “Light My Fire” and “The Beat Goes On” have earned Ms. Barber a much deserved reputation as one of the most unique and interesting singer/songwriter/pianists in jazz. Having found her own distinctive voice and having demonstrated a willingness to push boundaries, Ms. Barber turns her attention to the music’s tradition with this collection of twelve standards. Nightclub provides Ms. Barber with an ideal showcase for her formidable keyboard skills. She is an astonishingly creative improviser who manages to burrow deep inside a song without losing her sense of proportion. Her piano solos on “Bye Bye Blackbird,” “Invitation” and “All or Nothing at All” are concise, brilliantly constructed explorations of those tunes. She undertakes a more extended improvisation on “Yesterdays” where she creates a fascinating dynamic between relaxation and tension. Ms. Barber has surrounded herself with musicians who can match her own high standards. “Autumn Leaves” features a remarkable solo from bassist Marc Johnson, and “Alfie” is highlighted by Charlie Hunter’s 8-string guitar. 

Ms. Barber is a quiet, intense, enormously intelligent singer who can make the hairs on the back of your neck stand up with a single word or phrase. She has chosen these standards with care and her singing is blessedly free of irony or tongue-in-cheek sarcasm. Rather than trying to subvert the lyrics, Ms. Barber underscores the timelessness of their themes by infusing them with her own thoroughly modern perspective. She turns “Just for a Thrill” and a perfectly phrased “You Don’t Know Me” into meditations on dependency and desire that feel completely contemporary. She makes a spare, evocative “I Fall in Love Too Easily” into an exercise in painful self-examination and an exceptional reading of Cole Porter’s “So in Love” into the last word on romantic obsession (no singer has ever gotten as much from the lines “so taunt me / and hurt me”). The CD is not, however, all brooding introspection. There are some lighter moments like the deliciously romantic “Summer Samba.” Some critics will no doubt express consternation over the fact that Nightclub is not a repeat of the Modern Cool formula. However, Ms. Barber deserves credit for refusing to adhere to pre-set expectations. So long as she continues to make CDs with the kind of musicianship and insight she demonstrates here, then the past, present and future of jazz are all in good hands. ~ Mathew Bahl https://www.allaboutjazz.com/nightclub-patricia-barber-review-by-mathew-bahl.php

Personnel: Patricia Barber (vocals, piano); Charlie Hunter (8-string guitar); Michael Arnopol, Marc Johnson (bass); Adam Cruz, Adam Nuzzbaum (drums).

Nightclub

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Buddy Rich - In Miami

Styles: Jazz, Post Bop
Year: 2005
File: MP3@320K/s
Time: 42:28
Size: 97,7 MB
Art: Front

( 6:22)  1. Lover Come Back To Me
( 8:12)  2. Topsy
( 9:27)  3. Undecided
( 8:12)  4. Broadway
(10:13)  5. Jumpin' At The Woodside

When it came to technique, speed, power, and the ability to put together incredible drum solos, Buddy Rich lived up to the billing of "the world's greatest drummer." Although some other drummers were more innovative, in reality none were in his league even during the early days. A genius, Buddy Rich started playing drums in vaudeville as "Traps, the Drum Wonder" when he was only 18 months old; he was completely self-taught. Rich performed in vaudeville throughout his childhood and developed into a decent singer and a fine tap dancer. But drumming was his purpose in life, and by 1938 he had discovered jazz and was playing with Joe Marsala's combo. Rich was soon propelling Bunny Berigan's orchestra, he spent most of 1939 with Artie Shaw (at a time when the clarinetist had the most popular band in swing), and then from 1939-1945 (except for a stint in the military) he was making history with Tommy Dorsey. 

During this era it became obvious that Buddy Rich was the king of drummers, easily dethroning his friend Gene Krupa. Rich had a bop-ish band during 1945-1947 that did not catch on, toured with Jazz at the Philharmonic, recorded with a countless number of all-stars in the 1950s for Verve (including Charlie Parker, Lester Young, Art Tatum, and Lionel Hampton), and worked with Les Brown, Charlie Ventura, Tommy Dorsey (1954-1955), and Harry James (off and on during 1953-1966). 

A heart attack in 1959 only slowed him down briefly and, although he contemplated becoming a full-time vocalist, Rich never gave up the drums. In 1966, Buddy Rich beat the odds and put together a successful big band that would be his main outlet for his final 20 years. His heart began giving him trouble starting in 1983, but Rich never gave his music less than 100 percent and was still pushing himself at the end. A perfectionist who expected the same from his sidemen (some of whom he treated cruelly), Buddy Rich is definitively documented in Mel Tormé's book Traps the Drum Wonder. His incredible playing can be viewed on several readily available videotapes, although surprisingly few of his later big band albums have been made available yet on CD. ~ Scott Yanow https://itunes.apple.com/us/album/buddy-rich-in-miami/id41230739

Personnel:  Drums – Buddy Rich;  Bass – Peter Ind;  Piano – Ronnie Ball;  Tenor Saxophone – Flip Phillips

In Miami

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