Dave Brubeck - Indian Summer

Bitrate: MP3@320K/s
Time: 70:42
Size: 161.8 MB
Styles: Piano jazz
Year: 2007
Art: Front

[4:39] 1. You'll Never Know
[5:15] 2. I'm Alone
[4:51] 3. Autumn In Our Town
[3:13] 4. So Lonely
[4:10] 5. I'm Afraid The Masquerade Is Over
[4:18] 6. I Don't Stand A Ghost Of A Chance
[4:18] 7. Pacific Hail
[4:40] 8. September Song
[4:12] 9. Summer Song
[5:00] 10. Thank You
[4:27] 11. Georgia On My Mind
[3:55] 12. Spring Is Here
[4:40] 13. Sweet Lorraine
[4:14] 14. Memories Of You
[3:53] 15. This Love Of Mine
[4:50] 16. Indian Summer

It's not uncommon for anyone to turn toward nostalgia as the years wear on, and at age 86, with nearly 60 years of recording behind him and nearly 50 since he shook up the jazz world with his landmark Time Out album, Dave Brubeck is certainly entitled to look back and take stock of his life. Indian Summer -- the phrase itself suggests an acknowledgement of a waning in progress -- is something of a companion piece to 2004's Private Brubeck Remembers. Like that gem, Indian Summer is a solo piano work comprised of Brubeck's ruminations on standards of the mid-20th century, the period when he was just coming up as an artist and blossoming as a young man. These are reflective, meditative ballads, softly but skillfully played and hinting at melancholy. On time-worn Americana such as "Georgia on My Mind," "September Song," "Sweet Lorraine," and "Spring Is Here," Brubeck is restrained but soulful, out to prove nothing. It's not that age has dulled him; Brubeck's performance is uniformly exquisite, imaginative, and elegant; it's just not edgy. A small handful of original material nicely complements the standards, adding up to one of the more intimate entries in Brubeck's enormous discography. ~Jeff Tamarkin

Indian Summer

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Lenny Welch - Best

Bitrate: MP3@320K/s
Time: 50:46
Size: 116.2 MB
Styles: Pop/Soul/R&B
Year: 2010
Art: Front

[2:52] 1. Since I Fell For You
[2:26] 2. Are You Sincere
[2:29] 3. I'm In The Mood For Love
[2:36] 4. Stranger In Paradise
[2:26] 5. You Can Have Her
[2:45] 6. You Don't Know Me
[2:46] 7. I Need Someone
[2:22] 8. Darlin'
[2:30] 9. Three Handed Woman
[2:45] 10. I'd Like To Know
[2:06] 11. Changa Rock
[2:21] 12. Boogie Cha Cha
[2:27] 13. It's Just Not That Easy
[2:31] 14. Mama, Don't You Hit That Boy
[2:36] 15. Ebb Tide
[2:18] 16. Congratulations Baby
[2:38] 17. The Old Cathedral
[2:37] 18. A Taste Of Honey
[2:34] 19. If You See My Love
[2:32] 20. Father Sebastian

Singer Lenny Welch was born Leon Welch on May 15, 1938 in Asbury Park, NJ. He started singing as a youngster, assembling groups and participating in talent shows. In his late teens, Welch and his group auditioned for Decca Records in New York. The executives loved "Lenny," which they called Leon, because name flowed better. Decca recorded Welch solo on a couple of promising 45s but the sales were dismal. Two years passed before his next break. Coley Wallace, a prize fighter, introduced Welch to Archie Bleyer, the owner of Cadence Records. The association clicked and "You Don't Know Me" was his first release, it made some noise, but it was the second Cadence single, "Since I Fell for You," a a number five pop hit in 1963, that brought the mass sells and accolades; he also scored with "Ebb Tide," and was on his way to becoming another Johnny Mathis when two devastating circumstances occurred.

For starters, and reasons unknown, Archie Bleyer folded Cadence in September of 1964, the label he had started in December 1952. (Cadence had built the careers of many artists including Andy Williams, the Everly Brothers, and Johnny Tillotson; Andy Williams purchased the companies' masters from Bleyer and reissued them on his Barnaby label, but signed with Columbia Records to release his new recordings, while Bleyer retired to Wisconsin.) Lenny's last Cadence release, "If You See My Love" in 1964, charted at number 92. He also contributed vocals to Eddie Harris' 1964 LP Cool Sax, Warm Heart. But after a couple of hits and one LP release, Since I Fell for You in 1963, Welch was shopping for a new deal.

The second setback came from Uncle Sam. Lenny stayed involved in music while serving his country. He did record hops and weekend dates to promote his new releases on Kapp Records, but nothing significant happened until his duty ended. He landed with Kapp shortly after Cadence closed and charted with "Darling Take Me Back," "Two Different Worlds" (1965), "Please Help Me, I'm Falling" (1966), and "The Right to Cry" in 1967.

Unexpectedly, Welch then took another hiatus; this time to get his mind together, and to practice and research his musical skills and sell his image. While compared to Johnny Mathis and other ballad singers, Welch wasn't playing the cushy Las Vegas and Lake Tahoe gigs, his albums didn't sell like Mathis' or Andy Williams'. The leave of absence was a big mistake; he came back, and began gigging at some major clubs, but it never really happened for him like he envisioned. Attempted comebacks in the '70s didn't pan out, including a marvelous single on the Cur label entitled "To Be Loved/Glory of Love" b/w "My Heart Won't Let Me." Dwindling interest caused the handsome, velvet-voiced singer with the super personality to become a "whatever happened to . . ." topic. You can hear his work on Anthology (1958-1966), on Taragon Records, and the Collectables reissue of Since I Fell for You. He recorded three albums on Kapp: Two Different Worlds (1965), Rags to Riches (1966), and Lenny, in 1967. ~ bio by Andrew Hamilton

Best

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Anoushka Shankar - Traces Of You

Bitrate: MP3@320K/s
Time: 55:58
Size: 128.1 MB
Styles: Indian music, World
Year: 2013
Art: Front

[3:34] 1. The Sun Won't Set (Feat. Norah Jones)
[3:39] 2. Flight
[4:51] 3. Indian Summer
[5:03] 4. Maya
[4:38] 5. Lasya
[2:29] 6. Fathers
[4:56] 7. Metamorphosis
[3:31] 8. In Jyoti's Name
[3:40] 9. Monsoon
[3:44] 10. Traces Of You
[3:04] 11. River Pulse
[8:17] 12. Chasing Shadows
[4:26] 13. Unsaid (Feat. Norah Jones)

It’s hard to think of any other music-making device which has such an air of both the archaic and the transcendent as the sitar, the traditional stringed instrument central to the Hindustani classical music of the Indian subcontinent. Probably invented in the 13th century, but with roots shared with the far more ancient veena, the sitar is a visual work of art in itself. For years its sound was unknown in the West, until Ravi Shankar opened up a whole new world of possibilities. Through his pioneering tours, ground-breaking compositions for orchestras and artists such as Yehudi Menuhin, and role as teacher and mentor to George Harrison, John Coltrane and Philip Glass, he brought his music and culture to audiences of disparate ages and genres across the globe. More than just one of the great artistic figures of the 20th century, he was a musical philosopher whose sitar brought people together and whose spirituality transcended cultural and political differences. That the sitar has since become a fixture in the musical worldview of open-minded listeners is solely due to Ravi Shankar.

Anoushka Shankar is now both conserving her father’s musical philosophy and extending it into new sound spaces and contexts. The 32-year old artist not only served her apprenticeship in Indian classical music under Ravi Shankar and performed on stage with him for nearly twenty years, but also benefited from a curious and open-minded upbringing across three continents, and has always pushed the cultural dialogue her father began even further in her own music. She released her first album, Anoushka, in 1998, when she was just 17, and since then has worked with musicians as varied as Sting, Herbie Hancock, Jethro Tull, Concha Buika, Mstislav Rostropovich and Thievery Corporation. For the past decade and a half, this spirited, visionary and clear-sighted musician has subtly and successfully incorporated traditional Indian sounds into a musical panorama dominated by contemporary styles, bringing the spiritual roots of her music to younger generations.

Shankar’s seventh CD, Traces of You, marks a significant step along her pathway as a musician and woman. With the aim of bringing together a variety of cultural experiences and attitudes as organically as possible, she worked with London-based British-Indian producer Nitin Sawhney, particularly noted for fusing Eastern influences with electronica and, more generally, a non-didactic interweaving of Western and Eastern soundscapes for which London, Anoushka’s home and place of birth, provides the optimal environs.

Traces Of You

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Dennis Coffey - Flight Of The Phoenix

Bitrate: MP3@320K/s
Time: 60:00
Size: 137.4 MB
Styles: Guitar jazz
Year: 1996
Art: Front

[5:00] 1. Outer Limitz
[3:38] 2. Blue Tuesday
[3:29] 3. Moonwalker
[3:40] 4. Love Will Neve
[5:07] 5. Midnight Fantasy
[5:00] 6. Written On The Wind
[5:47] 7. Fly Away With Me
[6:40] 8. Shaken Not Stirred
[5:20] 9. Since You've Been Gone
[5:26] 10. Strawberry Lane
[5:37] 11. Tequila Sunset
[5:11] 12. Vision Of Aquarius

Dennis Coffey remains an unsung hero from the halcyon era of Detroit soul, contributing guitar to landmark records issued on the Motown, Ric-Tic, and Revilot labels in addition to cutting a series of efforts under his own name, most notably the cult classic blaxploitation soundtrack Black Belt Jones. Born and raised in the Motor City, Coffey learned to play guitar at age 13 while visiting relatives in Michigan's Upper Peninsula. Though a fan of country music throughout adolescence, while attending Detroit's McKenzie High he immersed himself in rock & roll, jazz, and blues, drawing inspiration from guitarists from Chuck Berry to Scotty Moore to Wes Montgomery. Coffey made his studio debut backing little-known rockabilly cat Vic Gallon on "I'm Gone," issued on the singer's own Gondola label. From there he played in a rockabilly duo with vocalist Durwood Hutto, eventually signing a recording contract with Jackie Wilson's manager, Nat Tarnopol. Through Tarnopol, Coffey met Motown owner Berry Gordy, Jr., but he nevertheless established his reputation as a session player under the aegis of Ed Wingate's Ric-Tic label, contributing to records including Edwin Starr's "S.O.S. (Stop Her on Sight)," J.J. Barnes' "Real Humdinger," and the San Remo Strings' "Hungry for Love."

Coffey stayed active guesting on recordings by several artists including Booker T. Jones, Adrian Younge, and Andre Williams. He also engaged fans via his website with intriguing and enlightening revelations about his career, Detroit music history, and his guitar heroes, and answering questions. His own group plays a weekly residency at the Northern Lights Lounge; he's also done numerous headline gigs in and around the city at prestigious venues such as Baker's Keyboard Lounge and Dirty Dawg Jazz Cafe and played national festivals and showcases.

Coffey and his production partner Theodore remain active writing and recording new music. On Record Store Day 2016, in collaboration with the non-profit Resonance Records label, Coffey released Hot Coffey in the D: Burnin' at Morey Baker's Showplace Lounge as a limited-edition LP. The live trio album was compiled from 1968 recordings at the famed Motor City institution with organist Lyman Woodard and drummer Melvin Davis (and was originally recorded by Theodore, whose own studio was down the street at the time. The set saw wide release in other formats in January 2017. ~ Jason Ankeny

Flight Of The Phoenix

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Harlem Hamfats - Hamfat Swing 1936-1938

Bitrate: MP3@320K/s
Time: 57:50
Size: 132.4 MB
Styles: Jazz/Blues
Year: 1997
Art: Front

[2:39] 1. Oh Red
[3:05] 2. Lake Providence Blues
[2:40] 3. What You Gonna Do
[2:38] 4. Live And Die For You
[3:00] 5. Move Your Hand
[3:03] 6. Let's Get Drunk And Truck
[3:18] 7. Weed Smoker's Dream
[2:31] 8. The Garbage Man
[2:46] 9. Bad Luck Man
[3:05] 10. Hamfat Swing
[2:37] 11. Growling Dog
[3:03] 12. Hallelujah Joe Ain't Preachin' No More
[3:07] 13. Let Your Linen Hang Low
[2:53] 14. Rosetta Blues
[3:00] 15. Root Hog Or Die
[2:40] 16. Black Gal You Better Use Your Head
[3:02] 17. Gimme Some Of That Yum Yum Yum
[2:50] 18. It Will Never Happen Again
[3:02] 19. Delta Bound
[2:42] 20. Mellow Little Devil

The Harlem Hamfats were a crack studio band formed in 1936 by black talent scout Mayo "Ink" Williams. Its main function was backing jazz and blues singers such as Johnny Temple, Rosetta Howard, and Frankie "Half Pint" Jackson for Decca Records; the Hamfats' side career began when its first record "Oh Red" became a hit. Despite its name, none of the band's members came from Harlem, and none were hamfats, a disparaging term referring to indifferent musicians. Brothers Joe and Charlie McCoy were blues players from Mississippi; leader Herb Morand, Odell Rand, and John Lindsay were from New Orleans; Horace Malcolm and drummers Pearlis Williams and Freddie Flynn were from Chicago. This territorial disparity created a sound which blended various blues styles with New Orleans, Dixieland, and swing jazz. The band's high-spirited playing and excellent musicianship compensated for what some critics have called lack of improvisational skill. The Hamfats' music has been somewhat neglected over the years. The vocalists tended to be derivative of other popular singers of the day such as Louis Armstrong, Fats Waller, and various blues singers. The lyrical content of their songs often revolved around subjects like drinking and sex, leading some to dismiss them as a lightweight novelty act. Although it is not seen as an innovative group, the Harlem Hamfats' riff-based style was influential to Louis Jordan, early Muddy Waters, and what would eventually become rhythm & blues and rock & roll. ~bio by Jim Powers

Hamfat Swing 1936-1938

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Eric Dolphy - ‘Out to Lunch!’

Styles: Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 42:30
Size: 97,5 MB
Art: Front

( 8:28)  1. Hat and Beard
( 6:06)  2. Something Sweet, Something Tender
( 7:24)  3. Gazzelloni
(12:10)  4. Out to Lunch
( 8:21)  5. Straight Up and Down

Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes. ~ Steve Huey http://www.allmusic.com/album/out-to-lunch-mw0000241418

Personnel: Eric Dolphy (alto saxophone, flute, bass clarinet); Freddie Hubbard (trumpet); Bobby Hutcherson (vibraphone); Richard Davis (bass); Tony Williams (drums).

‘Out to Lunch!’

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Lalah Hathaway - Outrun the Sky

Styles: Vocal, Soul
Year: 2004
File: MP3@320K/s
Time: 64:03
Size: 146,9 MB
Art: Front

(3:39)  1. How Many Times
(4:49)  2. Back Then
(4:07)  3. Your Favorite Song
(5:52)  4. Forever, For Always, For Love
(4:04)  5. Better And Better
(3:06)  6. Outrun The Sky
(4:15)  7. If U Ever
(3:48)  8. In The End
(5:34)  9. Admit It
(5:47) 10. Stronger
(8:10) 11. We Were 2
(5:10) 12. More
(5:37) 13. Boston

Few mainstream artists can keep the lazy release schedule Don Hathaway's daughter does and retain a strong fan base. It's been a whole decade since Lalah Hathaway released one of her own albums and half that long since she joined Joe Sample for The Song Lives On. It's her warm voice, smooth delivery, and allegiance to fad-free R&B that keeps the faithful patiently waiting. Delivering on all counts, Outrun the Sky is a fan's dream and the singer's best showcase since her debut. While The Song Lives On was more ambitious and in turn brought more fans, Outrun the Sky is a better showcase. Not only does Hathaway cover a wider spectrum of tones and moods but she also producers and writes most of the highlights of the album. Her stream-of-consciousness lyrics for the title track give a more personal picture of the artist and paint her as an approachable dreamer who's as unsure as anyone. Hathaway's inspired writing is responsible for many of the other warm and reflective winners but it's the closing "Boston" that best illustrates how this husky voiced siren can conjure up a cosmopolitan song and deliver it with heart. Including her smoky take on Luther Vandross' "Forever, for Always, for Love" from the Forever, for Always, for Luther tribute is the icing on this cool cake. The ballad-heavy album still has its fair share of grooves that are rooted in R&B but the overall easy temperament isn't going to alienate any of Hathaway's smooth jazz converts. Nice to have her back; here's to a shorter wait next time. ~ David Jeffries http://www.allmusic.com/album/outrun-the-sky-mw0000301005

Personnel: Lalah Hathaway (background vocals); Lalah Hathaway (vocals); Mike City (various instruments); Chris Parks (guitar, keyboards, bass guitar, drum programming); Jubu Smith, John Jubu Smith, Ray Fuller, Eric Walls (guitar); Lee Thornburg (trumpet); Nick Lane (trombone); Rex Rideout (keyboards, programming); Michael White , Michael White (drums); Lenny Castro (percussion); Jenny Douglas McRea, Vivian Sessoms, Kenya Hathaway (background vocals); David Delhomme (guitar, keyboards); Brandon Fields (saxophone); Tim Carmon (Fender Rhodes piano, organ); Poogie Bell (drums); Ricky Rodriguez (percussion).

Outrun the Sky

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Naoko Terai - Night Flight

Styles: Violin Jazz
Year: 2006
File: MP3@320K/s
Time: 51:40
Size: 118,7 MB
Art: Front

(4:03)  1. Birdland
(5:09)  2. A Night In Galicia
(4:42)  3. Pompon Blanc Parfait
(3:27)  4. La Cumparsita
(5:34)  5. And Here You Are
(3:40)  6. Night Flight
(5:02)  7. Lazy Angel
(5:52)  8. Joy Of Singing
(5:08)  9. In My Childhood
(5:03) 10. Song From The Old Country
(3:56) 11. From Naught

Popular & proficient No.1 jazz · violinist who has both supple feeling and passionate passion

· From Kanagawa Prefecture. Began playing the violin at the age of 4 and appearing at the age of 6 at NHK Educational TV "Keiko no Violin".
· When I was 12 years old, I received a promotion prize at "Student Music Competition East Japan Convention" organized by the Mainichi Newspaper Company. Received again at the age of 14.
· In 1988, he debuted professionally as a jazz / violinist.
· Since being co-starred with Kenny Baron who came to Japan in 1995, he was invited to guests of his album "Things unseen" and recorded for the first time in NY.
· In 1998, the first leader work "Thinking of You" was announced. In the blink of an eye, he gets a lot of attention as a heroine in the jazz world.
· In January 2001, he won the Jazz Disc Grand Prize "New Star Award" sponsored by Swing Journal magazine.
· In August 2002, I participated in my 1st "Tokyo Jazz 2002" in my band. The overwhelming performance of is a topic. Herbie Hancock invited me to join his session.
· In February 2003, EMI (now Universal Music) first release "Anthem" was announced. Became a big best seller and received the Japan Gold Award Grand Prize .
· December, announced the second transfer "Jazz · Waltz" announcement. He won the Japan Jazz Award, a jazz and disc grand prize sponsored by Swing Journal magazine.
· In April 2004, in the swing journal magazine reader popularity vote, he won three divisions , . Become a top artist in the jazz world with both name and reality.
· From this year onwards until 2009, serve Kincho mosquito coil Tvcm character. (I will be in charge of music continuously after that)
· In January 2008, received the 33rd Nanri's Fumio Award.
· In March 2010, the Agency for Cultural Affairs received the Prize for Art Scholarship Minister Entry Science Minister's Newcomer Award (Grand Prize Division).
· From May, serve as the first regular personality in the BS - TBS program "Cinemagic Café" (~ 2012).
· In September 11th, "Tokyo Jazz" celebrating the 10th anniversary, she appeared on the stage entitled "Astor Piazzolla Project" with world accordionist Richard Galliano and performed again etc. The stage live record "Libertango in Tokyo" is also reputed.
- In January 15, the regular band was renewed for the first time in 12 years, and the latest work "Hot Jazz" was announced.http://www.universal-music.co.jp/terai-naoko/biography/

Night Flight

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George Howard - Love And Understanding

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 49:09
Size: 115,9 MB
Art: Front

(5:25)  1. Hopscotch
(5:24)  2. Only Here For A Minute
(6:35)  3. Baby Come To Me
(0:51)  4. Interlude
(5:21)  5. Love And Understanding
(5:13)  6. Everything I Miss At Home
(5:19)  7. Love Struck
(4:37)  8. Talk To The Drum
(5:10)  9. Red, Black, And Blue
(5:10) 10. Broad Street

After eight albums, the late soprano saxophonist George Howard found a comfortable and solid if slightly predictable niche in the intensifying realm of instrumental R&B. On Love & Understanding, his first original GRP outing (after a re-release of 1985's Dancing in the Sun), he sticks to the basic funk and romance formulas which made him one of the most consistent suppliers of sweet and nasty improvisational soul over the previous half decade. As always, his smooth yet bouncy lines and frequent circular breathing patterns stand out over the even most tried and true material, but he earns some kudos with "Talk to the Drum," an adventurous sax/percussion duet with masters Lenny Castro and Munyungo Jackson. ~ Jonathan Widran http://www.allmusic.com/album/love-understanding-mw0000320314

Personnel: George Howard (soprano saxophone, alto saxophone, synthesizer, drums, drum programming); Kevin Chokan (guitar); George Duke (flute, synthesizer, Synclavier, programming); Bobby Brooks (saxophone); Victor Bailey (keyboards, synthesizer, programming, drum programming); Tim Gant (keyboards, synthesizer); Doug Grigsby (keyboards, programming, drum programming); Jerry Brown (drums); Alex Acuña (congas, percussion); Lenny Castro (bongos, timbales, percussion); Munyungo Jackson (bongos, percussion); Brad Buxer (programming); Alexandra Brown, Carl Carwell, Debra Parson, Keith John (background vocals).

Love And Understanding

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John Pizzarelli - Sinatra & Jobim @ 50

Styles: Vocal And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 51:24
Size: 118,4 MB
Art: Front

(3:08)  1. Baubles, Bangles And Beads
(4:07)  2. Aqua de Beber (feat. Daniel Jobim)
(3:59) 3. Meditation / Quiet Nights Of Quiet Stars (Medley) (feat. Daniel Jobim)
(3:53)  4. Dindi (feat. Daniel Jobim)
(5:32)  5. I Concentrate On You / Wave (Medley) (feat. Daniel Jobim)
(5:04)  6. Antonio's Song (feat. Daniel Jobim)
(4:33)  7. Two Kites (feat. Daniel Jobim)
(4:19)  8. She's So Sensitive
(4:52)  9. Bonita (feat. Daniel Jobim)
(5:50) 10. If You Never Come To Me / Change Partners (Medley) (feat. Daniel Jobim)
(6:02) 11. Canto Casual

It may have been 50 years ago today (or thereabouts) that Sgt Pepper was released and Coltrane passed away, but for John Pizzarelli one anniversary trumps them both. That is, the half-century since Frank Sinatra and Antonio Carlos Jobim first shared a studio. Given that Pizzarelli is a singer-guitarist, able to play Jobim to his own Sinatra, this momentous meeting is a fitting one for him to celebrate. It’s sentimental rather than slavish. Jobim’s grandson Daniel adds some duet vocals, singing solo on the skittish Two Kites, one of four songs Sinatra didn’t do. It’s here because Jobim’s 1980 recording featured Pizzarelli’s guitarist father, Bucky. She’s So Sensitive, another newbie, is a romantic reversal of Jobim’s grim break-up song How Insensitive, and was written by…https://www.thetimes.co.uk/edition/times2/jazz-review-john-pizzarelli-sinatra-jobim-50-c28txm350

Personnel:  John Pizzarelli (Vocal, Guitar),  Daniel Jobim (piano), Duduka da Fonseca (drums/percussion), Helio Alves (piano), Daniel Jobim (Vocals)

Sinatra & Jobim @ 50

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