Friday, December 8, 2017

Don 'Sugarcane' Harris - Keep On Driving

Size: 104,2 MB
Time: 44:37
File: MP3 @ 320K/s
Released: 1970
Styles: Jazz Rock
Art: Front

01. Keep On Driving (4:07)
02. Blues On The Moon (6:50)
03. Which Way Is The Bathroom (4:03)
04. Desiree (8:45)
05. Almost Broke (5:56)
06. Coitus Interruptus (4:55)
07. Remember The Past (9:57)

This studio session marked the beginning of blues violinist Don "Sugarcane" Harris' association with the German record label Saba (later renamed MPS). Harris, who was nearly flat broke at the time, had to borrow one of the violins used on the date, along with a pickup for the amplified selections. Joined by electric guitarist Volker Kriegel, pianist John Taylor, and drummer Tony Oxley (all of whom are better known for their jazz credentials), the session ends up being a fusion of blues, jazz, and a bit of rock, while all of the songs are Harris' originals. The opener, "Keep On Driving," is the kind of insistent blues typically associated with Harris, though it is a bit low key, possibly due to the use of acoustic violin. The free improvisation within "Blues on the Moon" is atypical for the genre, but not Harris, who is again on the acoustic instrument. The leader's slashing attack on electric violin in the humorously titled "Which Way Is the Bathroom?" is easily the highlight of the date, recalling his best collaborations with rocker Frank Zappa, as well as the violinist's rare live recordings. He is at his most soulful in "Desiree." The brisk "Almost Broke" showcases a hot solo by Kriegel, while the funky "Coitus Interruptus" finds Harris' violin taking on an almost vocal quality, followed by Kriegel's blistering solo. The disc ends with an extended workout of "Remember the Past," a sort of blues strut that detours into wild improvisations by the quartet. This was a fine beginning for Sugarcane Harris' debut with the label, though health problems essentially ended his recording career within just a few short years. ~by Ken Dryden

Keep On Driving

Liane Carroll - Liane At Christmas

Size: 105 MB
Time: 18:21
File: FLAC
Released: 2017
Styles: Jazz Vocals, Xmas
Art: Front

01. Have Yourself A Merry Little Christmas (2:43)
02. Silent Night (3:19)
03. In The Bleak Midwinter (4:24)
04. I Believe In Father Christmas (2:46)
05. Some Children See Him (5:07)

We rarely do EPs and we try to avoid Christmas ones in whatever format. However, when it's a Christmas EP by Liane Carroll we do tend to bend the rules a little.
Liane at Christmas is worth bending the rules for as it's as delightful a post-Yuletide coaster as you're likely to receive on Christmas Eve.
Come January 1, maybe even sooner on Boxing Day, it and all the lesser Christmas albums will be forgotten. Sad but true.
And it is sad because this is such a miniature gem that it deserves an all year-round shelf life.
Liane is in fine voice with, not surprisingly, a hint of Aretha or Mahalia hear and there. ~Lance

Liane At Christmas

Ana Moura - Moura (Deluxe Version)

Size: 127,8+230,5 MB
Time: 54:29+98:42
File: MP3 @ 320K/s
Released: 2016
Styles: Fado, World
Art: Front

CD 1:
1. Moura Encantada (4:43)
2. Fado Dançado (2:17)
3. Desamparo (3:36)
4. Dia De Folga (2:37)
5. Ai Eu (4:38)
6. Eu Entrego (Feat. Omara Portuondo) (2:44)
7. Agora E Que E (3:11)
8. Cantiga De Abrigo (3:54)
9. O Meu Amor Foi Para O Brasil (2:50)
10. Ninharia (4:17)
11. Tens Os Olhos De Deus (5:17)
12. Nao Quero Nem Saber (3:05)
13. Moura (4:13)
14. Lilac Wine (Bonus Track) (4:15)
15. Eu Entrego (Bonus Track) (2:45)

CD 2:
1. Moura Encantada (Live) ( 5:32)
2. Ai Eu (Live) ( 5:07)
3. O Meu Amor Foi Para O Brasil (Live) ( 3:37)
4. Fado Dançado (Live) ( 2:41)
5. Desamparo (Live) ( 3:23)
6. Agora E Que E (Live) ( 5:19)
7. Cantiga De Abrigo (Live) ( 4:05)
8. Ninharia (Live) ( 5:23)
9. De Quando Em Vez (Live) ( 3:58)
10. Porque Teimas Nesta Dor (Live) ( 3:50)
11. Maldiçao (Live) (10:45)
12. Eu Entrego (Live) ( 3:09)
13. Nao Quero Nem Saber (Live) ( 3:04)
14. Valentim (Live) ( 3:23)
15. Moura (Live) ( 5:18)
16. Leva-Me Aos Fados (Live) ( 3:02)
17. Os Buzios (Live) ( 4:07)
18. Tens Os Olhos De Deus (Live) ( 5:32)
19. Bailinho A Portuguesa (Live) ( 4:10)
20. Dia De Folga (Live) ( 2:58)
21. Loucura (Live) ( 5:18)
22. Desfado (Live) ( 4:51)

Fado vocalist Ana Moura was born in the historic city of Santarem, on the Tejo River north of Lisbon. As a girl, Moura was steeped in fado and its traditions, brought up in a family where the music was valued and loved, sung at home and at family gatherings. Though she experimented in adolescence with pop and rock music, singing in local bands, Moura's commitment to fado never waned. Even in pop shows, she would include some fado in the repertoire. Moura's shift in emphasis toward her national music began at age 20 when she wandered into one of the many fado houses in her region with a group of friends at age 20. Encouraged by friends to sing for the guitarists and aficionados who were gathered there, Moura was received warmly. She became a regular in the local fado culture. At a casual Christmas party that same year, Moura was discovered by the famous Maria de Fe, who invited Moura to come and sing with her at her house. Her love for the music grew with her reputation, and she began appearing on local television and throughout the regional press. Moura made her recording industry debut with the 2004 Universal Music release Aconteceu. Performances on a variety of important world stages were soon to follow, including N.Y.C.'s Carnegie Hall, among others. A release each year since that time combined with regular touring on the international world music circuit have positioned Ana Moura as the fadista face of her generation. ~ Evan C. Gutierrez

Moura CD 1
Moura CD 2

Airto Moreira - Alue

Size: 160,8 MB
Time: 69:37
File: MP3 @ 320K/s
Released: 2017
Styles: Latin Jazz
Label: Selo Sesc
Art: Front

01. Alue ( 6:45)
02. Misturada ( 6:46)
03. Rosa Negra ( 8:00)
04. I'm Fine, How Are You (10:05)
05. Lua Flora ( 9:52)
06. Nao Sei Pra Onde, Mas Vai (14:14)
07. Sea Horse ( 9:33)
08. Guarany ( 4:18)

Airto Moreira started to laugh and hung up. There was not the slightest possibility that Miles Davis at the beginning of his phase known as the "electric period" had him call the "Brazilian guy" in order to invite him to a recording. "Mr Moreira, I am the Miles Davis businessman and he asks you to come to the studio next Monday to record together. "Airto's response was short:" Who's talking? OK, have a nice day. "
But the phone rang again and the story of the boy born in Santa Catarina, raised in Curitiba and discovered in the early 1960s alongside César Camargo Mariano and Humberto Cláiber, breaking everything in the Trio Sambalanço, won his New Testament. The one who picked the phone this time was Lee Morgan, the trumpeter who walked by his residence. "No need to answer, it must be a joke," Airto warned. Morgan exchanged a few words in English and returned. "They want you in Bitches Brew." One of Miles's legendary works would have Airto on the percussion.
It was a trajectory that was imposed on the Brazilian's own decisions. From gig to gig, he passed Herbie Hancock, Wayne Shorter, Jaco Pastorius, Dizzy Gillespie, Cannonball Adderley, Lee Morgan, Dave Holland, Keith Jarrett, Jack DeJohnette, Ron Carter, John McLaughlin, Quincy Jones, George Duke, Mickey Hart, Paul Simon, Carlos Santana, Michael Brecker, Zakir Hussain, Stanley Clarke, Chick Corea and Joe Zawinul. Down Beat magazine named him the best percussionist in the world for eight years in a row and Brazil was small. There was no invitation to stimulate him more than the world offered him.
Fifty years after his departure abroad in 1967, Airto Moreira will release his first Brazilian album with shows from December 7 to 10 at Sesc 24 de Maio. Rio's Blue Note welcomes you on December 15th. It is his first work playing only with musicians from his country and recorded in Brazil. Aluê, with some revisions of important records and the unpublished Rosa Negra, I Do not Know Where, But Vai and Guarany, have musicians José Neto (guitar), daughter Diana Purim (vocals), Sizão Machado (bass), Fabio Leandro piano), Vitor Alcântara (saxophones) and Carlos Ezequiel (drums and production).
The album features album themes scattered throughout various periods of his career. From the album The Sun Is Out, 1989, I'm Fine, How Are You and Moon Flora. The Aluê track was extracted from Natural Feelings, 1970. A few years ahead and Mixed remembers the phase of the album Three-Way Mirror, of 1987. (translate from portuguese)

Alue

Beata Przybytek - Today Girls Don't Cry

Size: 129,8 MB
Time: 56:10
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. You Can Come To Me (4:15)
02. Priceless Cure (4:09)
03. Z Rozpaczy Blues (4:54)
04. Nie Wiadomo (4:14)
05. Delicate Flower (2:58)
06. The Shadow Age (4:12)
07. A Lady Wants To Forget (4:49)
08. Dotyku Motyl (3:54)
09. Heavy Rain (4:23)
10. I Had A Chat (4:17)
11. Out Of Control (4:55)
12. Rozwazna Czy Romantyczna (4:46)
13. Today Girls Don't Cry (4:17)

Beata Przybytek is an outstanding vocalist, pianist and composer. She is widely acknowledged as one of the most intriguing Polish voices. She graduated from the Jazz Department at the Karol Szymanowski Academy of Music in Katowice where she is currently a member of the faculty.
Beata won first place at The 29th International Meeting of Jazz Vocalists in Zamosc. During her long and fruitful career, she has released the following albums: ”You Don’t Know What Love Is” (2003), ”The Island” (2004), ”Wonderland” (2006) which is distributed in Poland and Japan, and the latest ”I’m Gonna Rock You” (2012).
The artist joined forces with such prominent members of Polish jazz stage as Jan Ptaszyn Wróblewski, Janusz Muniak, Jaroslaw Smietana, Piotr Wojtasik, Bernard Maseli, Wojciech Karolak, and Jazz Band Ball Orchestra.
She took active part in the Kalinowe Serce Charity’s project – „Singing Jazz” featuring Marianna Wróblewska and Maciej Zakoscielny.
As far as Beata’s performances are concerned, she played a crucial role during numerous domestic and international jazz festivals: Jazz Jamboree, Bielska Zadymka Jazzowa, Summer Jazz Festival at Piwnica pod Baranami, International Glogów Jazz Meetings, Pomorska Jesien Jazzowa, Easy Jazz Festival, Jazz Sessions in Gliwice, Jazz Forum Jazz Festival, Jazz w Lesie in Sulenczyn, Baszta Jazz Festival, Podlasie Jazz Festival, Swidnickie Noce Jazzowe, Jazz na Kanapie in Olesnica, Zakopianska Wiosna Jazzowa, Legnica Jazz Days, Jazz En Nord Jazz Festival - France, Sibiu Jazz Festival , Ploiesti Hot Jazz Summit – Romania, International Jazz Piestany – Slovakia etc. Beata is internationally recognized and fervently applauded by audiences in Poland as well as in Austria, Belgium, Sweden, Germany, France, Romania, and Slovakia.

“Sensation. In my humble opinion, Poland has not had a jazz vocalist singing so distinctly and expressively since Urszula Dudziak. Morover, the style and timbre of voice Beata presents being so characteristic for black vocalists, distinguish her from other Polish jazz singers.”
Andrzej Chojnacki, „Od Przybytek glowa nie boli...”, „Jazz Forum”

“Someone said the more Przybytek the better. It is not enough- you can really fall in love with Beata Przybytek’s voice.(…)Warm,sometimes a little hoarse,once naturally clear, white, some other time giving the impression of stylish-black. However, never mannered! This is her voice in short. But even this seems to be not enough…because Beata Przybytek should not be read about, she must be heard. Extraordinary voice must touch us and go deep inside.(…)Beata Przybytek is a mature and fulfilled artist.”
Tomasz Jakub Handzlik, „Gazeta Wyborcza”

Today Girls Don't Cry

Eva Cassidy - Acoustic

Size: 175,4 MB
Time: 74:11
File: MP3 @ 320K/s
Released: 2017
Styles: Folk, Pop, Jazz
Art: Front

01. Early Morning Rain (Acoustic) (4:06)
02. Wayfaring Stranger (Acoustic) (3:05)
03. Kathy's Song (Acoustic) (4:34)
04. Wade In The Water (Acoustic) (2:36)
05. Dark Eyed Molly (Acoustic) (3:23)
06. Songbird (Acoustic) (2:50)
07. Bold Young Farmer (Acoustic) (3:45)
08. Tennessee Waltz (Acoustic) (2:29)
09. It Doesn't Matter Anymore (Acoustic) (3:10)
10. People Get Ready (Acoustic) (3:27)
11. The Water Is Wide (Acoustic) (4:17)
12. Time After Time (Acoustic) (4:03)
13. At Last (Acoustic) (2:55)
14. True Colours (Acoustic) (3:44)
15. You Take My Breath Away (Acoustic) (5:38)
16. American Tune (Acoustic) (4:01)
17. I Wandered By A Brookside (Acoustic) (3:31)
18. Autumn Leaves (Acoustic) (4:02)
19. Who Know Where The Time Goes (Acoustic) (4:48)
20. Danny Boy (Acoustic) (3:39)

The heart-tugging story of Eva Cassidy reads almost like the plot of a "Movie of the Week" tearjerker. A native of the Washington, D.C., area, the painfully shy Cassidy earned a local reputation as a masterful interpreter of standards from virtually any genre, blessed with technical agility and a searching passion that cut straight to the emotional core of her material. Despite the evocative instrument that was Cassidy's voice, record companies shied away from her, unsure of how to market her eclectic repertoire; for her part, Cassidy adamantly refused to allow herself to be pigeonholed, prizing the music above any potential fame. In 1996, just when she had begun to record more frequently on a small, local basis, Cassidy was diagnosed with cancer, which had already spread throughout her body and rapidly claimed her life. But her story didn't end there; her music was posthumously championed by a BBC disc jockey, and amazingly, the anthology Songbird became a number one million-selling smash in England.

Cassidy was born February 2, 1963, in Oxon Hill, Maryland, and grew up (from age nine on) in Bowie, Maryland. She loved music from an early age, particularly folk and jazz (as a girl, her favorite singer was Buffy Sainte-Marie), and learned guitar from her father Hugh. At one point, Hugh put together a family folk act featuring himself on bass, Eva on guitar and vocals, and her brother Danny on fiddle; Eva and Danny also played country music at a local amusement park, but Eva's sensitivity eventually made performances too difficult on her. Something of a loner during her teens, Cassidy sang with a pop/rock band called Stonehenge while in high school. After graduating, she studied art for a short time, but soon grew dissatisfied with what she was being taught, and dropped out to work at a plant nursery. She sang occasional backing vocals for friends' rock bands around Bowie and Annapolis, but was never comfortable trying to overpower the amplification. In 1986, longtime friend Dave Lourim persuaded Cassidy to lay down some vocals at a recording session for his soft pop/rock group Method Actor. (The results were eventually reissued in 2002.) At the studio, Cassidy met D.C.-area producer Chris Biondo, who was immediately struck by her voice and agreed to help her put together a demo tape she hoped would get her more backup-singing work.

Cassidy became a regular presence at Biondo's studio, where he recorded a wide variety of music; incongruously enough, Cassidy performed backing vocals on D.C. go-go funksters E.U.'s Livin' Large album (singing all of her own harmony parts to give the illusion of a choir) and, later, on gangsta rapper E-40's "I Wanna Thank You." At Biondo's urging, Cassidy formed a backing band to play local clubs, where her singing began to win a following in spite of her discomfort. In 1991, Biondo played Cassidy's demos for Chuck Brown, the originator of D.C.'s swinging go-go funk sound (which never really broke out to a national audience). Brown had been wanting to record an album of jazz and blues standards, and found his ideal duet partner in the sophisticated yet soulful Cassidy. Their collaborative album, The Other Side, was released in late 1992, and in 1993, the two began performing around the D.C. area together; helped by Brown's outgoing showmanship, Cassidy finally began to lose some of the insecurity and intense fear that usually kept her away from live performance. Several record labels showed interest in signing her, but her recorded submissions always covered too much ground -- folk, jazz, blues, gospel, R&B, pop/rock -- for the marketing department's taste (or limited imaginations), and the labels always wound up passing.

In September 1993, Cassidy had a malignant mole removed from below her neck and neglected her subsequent checkup appointments. Shortly thereafter, she broke up with Biondo, who'd been her boyfriend for several years, but they continued their professional relationship. In early 1994, the Blue Note label showed some interest in teaming Cassidy with a jazz-pop outfit from Philadelphia called Pieces of a Dream; they recorded the single "Goodbye Manhattan" together, and Cassidy toured with them that summer, but didn't really care for their style. She returned to D.C. and began playing more gigs on her own, though she still made the occasional appearance with Brown. At the end of the year, she won a local music award for traditional jazz vocals.

Cassidy remained unable to secure a record deal, and Biondo and her frustrated manager decided to put out an album themselves. In January 1996, Cassidy played two gigs at the D.C. club Blues Alley; despite her dissatisfaction with the quality of her performance, the album Live at Blues Alley was compiled from the recordings and released that year to much acclaim in the D.C. area. Sadly, it would be the only solo album to appear during Cassidy's lifetime. She moved to Annapolis and took a job painting murals at elementary schools; during the summer, she began experiencing problems with her hip, which she assumed was related to her frequent use of stepladders at work. However, X-rays revealed that her hip was broken, and further tests showed that the melanoma from several years before had spread to her lungs and bones. Cassidy started chemotherapy, but it was simply too late. A benefit show in her honor was staged in September, and Cassidy found the strength to give her last performance there, singing "What a Wonderful World." She died on November 2, 1996. Cassidy virtually swept that year's Washington Area Music Awards, and the album she'd been working on with Biondo prior to her death, Eva by Heart, was released by Liaison in 1997.

D.C.-based Celtic folk singer Grace Griffith finally found some interest in releasing Cassidy's music at the label she recorded for, Blix Street. 1998's Songbird was a compilation culled from Cassidy's three previous releases, and when BBC Radio 2 disc jockey Terry Wogan started playing the version of "Somewhere Over the Rainbow," Songbird started to sell in the U.K. The British TV show Top of the Pops aired a home-video clip of Cassidy performing the song, quite intensely, at the Blues Alley, and were deluged with requests for further broadcasts. Thanks to all the exposure, Songbird steadily grew into a major hit, climbing all the way to the top of the British album charts and selling over a million copies. In 2000, Blix Street followed Songbird with Time After Time, a set of 12 previously unreleased tracks (eight studio, four live) that proved an important addition to Cassidy's slim recorded legacy. The same year saw the appearance of No Boundaries, an unrepresentative set of adult contemporary pop released by the Renata label over strenuous objections from Cassidy's family. Subsequent collections like Wonderful World (2004) and Simply Eva (2011) included more studio demos and live recordings, further cementing Cassidy's posthumous reputation, along with 2012's The Best of Eva Cassidy and 2015’s expanded and remastered edition of Nightbird, a collection of all 31 songs that Cassidy performed at the Blues Alley in 1996. ~by Steve Huey

Acoustic

Jason Paul Curtis - These Christmas Days

Size: 100,4 MB
Time: 34:01
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals, Xmas
Art: Front

01. (Everybody's Waitin' For The) Man With The Bag (2:45)
02. I'll Feel Christmas (2:40)
03. Christmas Breakfast (2:45)
04. December Again (3:03)
05. I Want Snow (3:40)
06. These Christmas Days (4:30)
07. Came Winter (3:53)
08. Christmas Clear (3:04)
09. New Year's Vacation (2:20)
10. The Way You Look Tonight (5:17)

Everybody’s Waitin’ for the) Man with the Bag – While not as well-known as Let it Snow or Winter Wonderland, Curtis breathes a blast of arctic oxygen into the Kay Starr classic, kicking off the set with the original arrangement performed with zeal by Swing Shift. One of only two covers in the entire list, Curtis sets the voltage and tone of the first third, echoing the romping big band vocal-rich vinyl Christmas traditions of the past. Arrangement by Scott Silbert.
I’ll Feel Christmas – Swing Shift follows up with the first original of the set, an energetic, Motown-inspired love letter to the celebration of December 1st. Curtis brings an unabashed sentimental-turned-contemporary feeling of Everytown joy while delighting in the “thousand smiling faces round a giant hemlock tree” that highlights his ability to simultaneously capture a (tree-lighting) moment and devise a catchy hook. Tom Anderson and Matt Trimboli solo.
Christmas Breakfast – Enter the on-your-marks-get-set-go of the gift-feast as the kids tear through their tree-side wrapped booty. The second of the originals, Breakfast has the feel of a frantic ‘50s Cuban floorshow as seen from the kitchen with a fresh cup of joe. Curtis’s dense storytelling has him dad-happily flip flip flipping pancakes as the rip rip ripping ensues, and there might even be a present in there for Dad at the end.
December Again – Curtis pivots to Swinglab for the first of two originals featuring Isabella Curtis. “2004, you looked just like a gift on the floor” begins a 13-year walk through a father and daughter’s Christmas memories, tenderly recalling their picking out and carrying home their annual holiday trees. Albertson and Schiff provide lithe guitar and flute solos in the second chorus, and Bella joins Dad at the end in a delightful vocal duo.
I Want Snow –Bella shines alongside dad and Swinglab in a contrafact, waltzy, father-daughter conversation about where to spend Christmas. “I really love ‘Baubles, Bangles and Beads’ and almost included it on the album,” says the elder Curtis. “Listening through the progressions, though, I started imagining this back-and-forth between me and Bella in the car, and I Want Snow just wrote itself.” Annapolis singer/pianist Jeremy Ragsdale fills out the first half/second chorus piano solo with aplomb, and clarinetist Dave Schiff rounds out the second half brightly. Both Curtises blend vocal harmonies throughout in what already feels like a new holiday standard.
These Christmas Days – Curtis admits that after revisiting his title track a week after the album was mastered, he discovered his subliminal inspiration. “I realized I was channeling the 80’s holiday Folgers commercial I grew up with – ‘Peter Comes Home’ – and I was strangely OK with that.” Curtis wrote the Swinglab-recorded original as a song sequel to 2012’s Lovers Holiday title track with the parents celebrating wintry days at home with the kids during the last week of the year. “I wanted to capture that easy feeling of all the days of Christmas break. These Christmas Days feels like a throwback to my own childhood.” Ray Caddell solos flugelhorn.
Came Winter – Swing Shift opens the romantic act three with Curtis’s driving tribute to George Michael. “I was sitting around thinking about ‘Last Christmas’ and George’s leaving us Christmas Day, 2016, and I decided to add my shine to the ‘Christmas Breakup’ canon of holiday song, “ he says. Curtis once again showcases his knack for story and punchline with a rollicking swinger that shows off not only Ragsdale’s imaginative arranging prowess but Curtis’s own yaw of a vocal range and the band’s powerful swagger. Tom Anderson solos tenor.
Christmas Clear – The seventh original employs Swinglab’s subtle Freddy Green-esque approach to a (clearly) romantic new song that sits squarely in the tradition of Let it Snow.
Curtis spins a light yarn to his honey, touching on the “Christmas Clear” facts of why he fell in love with her last Christmas. Mabalot and Albertson solo piano and guitar.
New Year’s Vacation – Curtis continues the romantic vein with the eighth original: “I almost included What are You Doing New Year’s Eve, which is wonderful, but then I realized I wanted my own NYE song, so I wrote this.” There’s nothing like the coziness of a snug getaway while “..outside, the snow wind is freezing, but inside, this firelight’s so pleasing, so let’s hide, away from the world for awhile.” Swing Shift’s gentle swing makes this a pure couple’s delight with Tom Anderson on the flute solo.
The Way You Look Tonight – Curtis explains the reason he chose this to end the album: “When I think of this song, I think of my wife. It’s the perfect romantic complement to the holiday season. ‘When the world is cold’ is all I need to put it squarely in winter.” He goes on: It takes me to last winter when my family and I were snowed in Virginia’s Homestead resort, and we danced in a huge ballroom to a local combo. My wife never looked so beautiful; it might as well have been New Year’s Eve all over again.” John Albertson’s tender bossa chords blend perfectly with Curtis’s interpretation as do the rest of SwingLab to round out the cold, dark season with sparkle and romance.

These Christmas Days

Viviane - Viviane Canta Piaf

Size: 75,7 MB
Time: 32:50
File: MP3 @ 320K/s
Released: 2017
Styles: Chanson
Art: Front

01. La Vie En Rose (4:43)
02. La Foule (3:11)
03. L'Homme A La Moto (1:56)
04. Non Rien De Rien (2:35)
05. Comme Moi (3:20)
06. Padam Padam (3:55)
07. Johnny Tu N'Est Pas Un Ange (2:36)
08. L'Accordeeoniste (4:13)
09. Les Flons Flons Du Bal (2:50)
10. L'Hymne A L'amour (3:28)

Viviane was born in France and came to Portugal with 13 years old.

There, she started her musical career in 1990 when she formed along with Tó Viegas the ENTRE ASPAS band after reaching the 3rd place in a modern music competition held by Câmara Municipal de Lisboa – Lisbon Municipality, and signed with the multinational record company BMG, having recorded 6 albums through that same publisher.

In 2002, Viviane recorded the 1st CD for the collective project LINHA DA FRENTE published by Universal Music, alongside with João Aguardela and Luis Varatojo.

In 2003 together with Tó Viegas publishes through her own label (Zipmix Records), the 1st CD from the CAMALEÃO AZUL project entitled “O Sul” based on Fernando Cabrita poetry.

In 2005 after the ENTRE ASPAS band ending, Viviane starts her solo career with debut album entitled “Amores Imperfeitos” followed by the second one “Viviane” published in 2007.

In 2009, she is invited for the project "RUA DA SAUDADE" a tribute to Ary dos Santos and his poetry, along with Mafalda Arnauth, Susana Félix and Luanda Cozetti.
The album titled "As Canções de Ary", published by Farol Música reaches platinum.

In 2010 she receives an invitation from Turismo do Algarve, to give her voice to the theme "The most famous secret in Europe” – international campaign wish promotes Algarve regionabroad.

Her third album "As Pequenas Gavetas do Amor" was released in 2011. In this album, like in the other ones, she makes us travel through her exeptional voice and her songs where we can find clear influences of the Fado and the French Musette that makes her songs sounding so special.

Her new album untitled “Dia Novo” released on past May 5th 2014 has had excellent reviews. In her new songs Viviane invites the Fado and the French Chanson and privileges her voice and the portuguese guitar. The 1st single untitled “Do Chiado até ao Cais” is already playing on the main portuguese radios.

Viviane Canta Piaf

Gilberto Gil - The Essential Gilberto Gil

Bitrate: MP3@320K/s
Time: 68:07
Size: 155.9 MB
Styles: Brazilian traditions, Brazilian jazz
Year: 2014
Art: Front

[6:39] 1. Maquina De Ritmo (Rhytmn Box)
[4:17] 2. Eu Vim Da Bahia (I Came From Bahia)
[4:51] 3. Estrela (Star)
[4:12] 4. Quanta (How Much)
[5:00] 5. Futurivel (In The Future)
[3:53] 6. Eu Descobri (I Discovered)
[3:34] 7. Outra Vez (Again)
[4:27] 8. Não Tenho Medo da Morte
[3:58] 9. Juazeiro
[3:53] 10. Tres Palabras
[4:35] 11. La Renaissance Africaine (The African Renaissance)
[3:46] 12. Panis Et Circenses
[6:21] 13. Oriente (Orientate)
[4:02] 14. Andar Com Fe (Walking In Faith)
[4:31] 15. Domingo No Parque

Legendary Brazilian singer/songwriter Gilberto Gil has over five decades and 57 albums to his credit. A pioneer of the tropicalia movement of the 1960s and '70s, Gil celebrated his 70th birthday with a sold-out show at Brazil's Theatro Municipal in Rio de Janeiro on May 28, 2012. Featuring his steady five-piece touring band, which included son Bem Gil on guitar, and backed by a symphony orchestra, the concert acted as a broad overview of his lengthy and diverse career. Beautifully captured here on this live recording, the 15-song set features a variety of essential cuts from his own catalog along with interpretations of songs by Caetano Veloso and Antonio Carlos Jobim. Gil's voice and guitar playing sound as vital as ever and the arrangements are full of the elegance and taste we've come to expect from this great artist. ~Timothy Monger

The Essential Gilberto Gil

Cynthia Crane - The Time Has Come: Live At The Metropolitan Room

Bitrate: MP3@320K/s
Time: 62:46
Size: 143.7 MB
Styles: Easy Listening, Jazz vocals
Year: 2009
Art: Front

[0:11] 1. Announce
[2:52] 2. Beautiful, Beautiful World (Apple Tree)
[1:14] 3. Air, Hair
[3:21] 4. The Time Has Come
[1:12] 5. Intro Luna Rossa
[1:44] 6. Luna Rossa
[1:16] 7. Intro Moon Goddess
[1:37] 8. Moon Goddess
[0:54] 9. I Wished On The Moon
[1:08] 10. Reaching For The Moon
[3:40] 11. Moon Song
[3:27] 12. Who Took Me Home Last Night
[0:26] 13. Intro Buddy’s Blues
[1:53] 14. Buddy's Blues (Follies)
[4:05] 15. Why Try To Change Me Now
[0:11] 16. I Got A Right To Sing The Blues Intro
[3:06] 17. I Got A Right To Sing The Blues Blue Prélude
[0:31] 18. Intro Smokin' Reefers
[1:57] 19. Smokin' Reefers
[2:34] 20. Marahuana
[0:30] 21. Intro Rimes D’amour
[2:43] 22. Rimes D'amour
[2:07] 23. My Old Flame
[0:22] 24. Intro The Physician
[5:09] 25. The Physician (Nymph Errant)
[5:20] 26. I Never Know When To Say When-I Fall In Love Too Easily
[1:16] 27. Intro My Country Used To Be
[1:41] 28. My Country Used To Be
[2:18] 29. New Sun In The Sky
[0:26] 30. Intro Go Visit Your Grandmother
[3:22] 31. Go Visit Your Grandmother

“The recently departed, but till then wildly successful 60 Minutes producer, Don Hewitt, when asked to what he attributed the longevity of the show, simply said, ‘Tell them a story’.

Cynthia Crane obviously has understood this formula for a long time, and, on her latest CD [The Time Has Come] and in her expansive, unstinting style, she tells the story from her heart, her lungs, her gut – dare I say every functional organ contributes to the songs sung and spoken . . . from melancholy to mirth . . . maybe Sophie Tucker wasn’t the last of anything after all.” ~Noah Tree

The Time Has Come: Live At The Metropolitan Room

Blue Ensemble - Bluesette

Bitrate: MP3@320K/s
Time: 33:19
Size: 76.3 MB
Styles: Contemporary jazz
Year: 2016
Art: Front

[3:51] 1. Bluesette
[5:35] 2. All Blues
[4:37] 3. My Funny Valentine
[3:24] 4. Stella By Starlight
[3:36] 5. Summertime
[3:01] 6. Take The A Train
[4:35] 7. Wave
[4:37] 8. Footprints

Interesting music group comprised of worldwide jazz music artists Mino Cinelu, Tomas Gubitsch, Jean-Francois Jenny-Clark, Alexandre Ouzounoff and Jean Schwarz.

Bluesette

Various - Miles Espanol (2-Disc Set)

Conceived and Produced by Bob Belden, Miles Espanol is an amazing journey into the Spanish soul of Miles Davis---and beyond. In May of 2010, a group of Miles Davis alumni, New York's finest Latin Jazz players, and a contingent of exceptional Spanish flamenco musicians, gathered at Sear Sound Studios in Manhattan for an unprecedented recording event. MILES ESPANOL travels more deeply than ever before into the connective tissue between the jazz innovations of Miles Davis and the modern masters who performed in his bands; and the dramatic, romantic soul of Spanish, Latin and Moorish traditional and contemporary music.

Two CDs of material were recorded, blending two different categories of repertoire. New interpretations and arrangements of Miles classics from Sketches Of Spain (Concierto de Aranjuez, Saeta/Pan Piper Medley , Solea), Kind Of Blue (Flamenco Sketches), and Someday My Prince Will Come (Teo aka Teo/Neo.) New compositions by principals in the sessions Chick Corea, Jack DeJohnette, John Scofield, Gonzalo Rubalcaba, etc. that enhance and extend the musical concepts into the multicultural language of 21st Century Jazz.

THE PLAYERS: Chick Corea, Jack DeJohnette, John Scofield, Ron Carter, Sammy Figueroa, Sonny Fortune, Alex Acuña, Gonzalo Rubalcaba, Rabih Abu-Khalil, Chano Domínguez, Jorge Pardo, Carles Benavent, Eddie Gomez, Jerry Gonzalez, Cristina Pato, Jaco Abe, Edsel Gomez, Adam Rudolph, Brahim Fribgane, Edmar Castañeda, Niño Josele, Antonio Sanchez, John Benitez.

Album: Miles Espanol (Disc 1)
Bitrate: MP3@320K/s
Time: 55:43
Size: 127.6 MB
Styles: World jazz
Year: 2011
Art: Front

[ 9:26] 1. Rabih Abou Khalil, Edmar Castañeda & Alex Acuña - Concierto De Aranjuez
[10:03] 2. Chick Corea, Ron Carter, Antonio Sanchez & Jorge Pardo - Trampolin
[ 9:38] 3. Rabih Abou Khalil, Chano Domínguez & Alex Acuña - Just Three Miles
[ 4:51] 4. Niño Joseles & Jorge Pardo - Duende
[ 5:29] 5. Gonzalo Rubalcaba - Fantasia Por Miles Y Gil
[ 4:23] 6. Alex Acuña, Adam Rudolph & Niño Joseles - Broto Y Cayo
[ 4:06] 7. Edsel Gomez, Alex Acuña, John Benitez & Sammy Figueroa - Paisaje
[ 7:45] 8. Cristina Pato & Edmar Castañeda - Saeta Pan Piper

Miles Espanol (Disc 1)

Album: Miles Espanol (Disc 2)
Bitrate: MP3@320K/s
Time: 58:32
Size: 134.0 MB
Styles: World jazz
Year: 2011
Art: Front

[10:25] 1. Jack Dejohnette, Chano Domínguez, Eddie Gomez & Jorge Pardo - Spantango
[ 7:10] 2. Sonny Fortune, Jerry Gonzalez, Chano Domínguez, Sammy Figueroa, Alex Acuña & John Benitez - Flamenco Sketches
[ 4:56] 3. Chick Corea, Carles Benavent, Jack Dejohnette & Niño Joseles - Tirititran
[ 7:01] 4. John Scofield, Chick Corea, Jack Dejohnette & Eddie Gomez - El Swing
[ 5:14] 5. Gonzalo Rubalcaba, Ron Carter & Alex Acuña - Momento
[ 8:59] 6. Edsel Gomez, Alex Acuña, John Benitez & Sammy Figueroa - Teo Neo
[ 7:31] 7. Niño Joseles & Chano Domínguez - Beautiful Love
[ 7:13] 8. Jaco Abel, Victor Prieto & Carles Benavent - Solea

Miles Espanol (Disc 2)

Larry Schneider Quartet - Just Cole Porter

Bitrate: MP3@320K/s
Time: 69:29
Size: 159.0 MB
Styles: Saxophone jazz
Year: 1991
Art: Front

[ 8:00] 1. I Love You
[10:32] 2. I Get A Kick Out Of You
[ 8:03] 3. I've Got You Under My Skin
[ 8:39] 4. Everytime We Say Goodbye
[ 8:42] 5. What Is This Thing Called Love
[10:28] 6. Love For Sale
[ 6:33] 7. In The Still Of The Night
[ 8:28] 8. Just One Of Those Things

Larry Schneider is an American Jazz saxophonist, born on 26 July 1949 in Long Island, New York. Larry has worked with Horace Silver in the '70s, Billy Cobham, Pete Escovedo, Ray Obiedo, the George Grunz International Big Band, the Thad Jones-Mel Lewis Jazz Orchestra and performed as studio-musician for other artists. He made two records with Bill Evans and cites Evans as one of his main influences, together with John Coltrane. More recently, he has been leader or sideman on recordings for SteepleChase, with the likes of pianists Andy LaVerne, Richie Beirach and Jim McNeely, guitarist Dave Stryker, bassists Mike Richmond and Steve La Spina, and drummers Billy Hart, Keith Copeland, Adam Nussbaum and Anton Fig. He has toured for the last ten years in Europe as a guest soloist, and performed at both the Montreux and Antibes jazz festivals.

Just Cole Porter

Laurie Beechman - Time Between The Time

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 50:43
Size: 116,8 MB
Art: Front

(2:32)  1. Another Hundred People
(3:22)  2. It Might Be You
(4:01)  3. Look At That Face
(3:18)  4. A Very Precious Love
(3:33)  5. Long Before I Knew You
(4:14)  6. The Look Of Love
(3:50)  7. A House Is Not A Home
(3:08)  8. I'll Never Stop Loving You
(4:21)  9. The Shining Sea/The Shadow Of Your Smile
(4:22) 10. Soon It's Gonna Rain/Rain Sometimes
(3:12) 11. Music That Makes Me Dance
(3:52) 12. Time Between The Time
(3:41) 13. Never Never Land
(3:11) 14. Home

On her 1990 debut album Listen to My Heart, Laurie Beechman, best known for her roles in Broadway shows like Cats and Les Miserables, predictably performed her songs from those shows along with a selection of other show music. Three years later, her second album, Time Between the Time again chose primarily from theater and film songs, but it had more of a personal character and more of a narrative structure. Recently married, the singer examined romantic love in a contemporary setting, beginning with Stephen Sondheim's "Another Hundred People," about how people find each other, moving on to early infatuation in "It Might Be You" from the film Tootsie, and, by the middle of the album, advancing to songs of full-blown devotion. Later, songs like a medley of "Soon It's Gonna Rain" from The Fantasticks and "Rain Sometimes" detailed difficulties in a long-term relationship, and the title song concerned the specific problem of maintaining a relationship in the entertainment business with its itinerant nature, before "Never Never Land" from Peter Pan and "Home" from The Wiz concluded the cycle by touching on the magical nature of love. Beechman inhabited the narrative with an actress' talent, glowing with new love on "Look at That Face," for example, but restraining her well-known ability to belt until some of the later songs. Often, however, she retained a certain distance from the material, and, just turning 30-years-old, still seemed to be trying to perform the material precisely rather than fully experience the emotions expressed in the songs. Her stage roles had required a high degree of technical efficiency, but little emotional involvement; on her solo albums, she was still feeling her way towards expressing her real feelings in song. But Time Between the Time marked a significant advance in that direction. ~ William Ruhlmann https://www.allmusic.com/album/time-between-the-time-mw0000105854

Personnel: Laurie Beechman (vocals); John Pizzarelli (guitar); Mike Renzi (piano, synthesizer); Jay Leonhart (acoustic & electric basses); Warren Odze, Terry Clarke (drums); Tom Spahn (programming).         

Time Between The Time

Donald Byrd - Black Byrd

Styles: Trumpet Jazz
Year: 1973
File: MP3@320K/s
Time: 43:20
Size: 108,0 MB
Art: Front

(8:29)  1. Flight Time
(7:24)  2. Black Byrd
(6:02)  3. Love's So Far Away
(5:04)  4. Mr. Thomas
(5:59)  5. Sky High
(5:41)  6. Slop Jar Blues
(4:39)  7. Where Are We Going?

Purists howled with indignation when Donald Byrd released Black Byrd, a full-fledged foray into R&B that erupted into a popular phenomenon. Byrd was branded a sellout and a traitor to his hard bop credentials, especially after Black Byrd became the biggest-selling album in Blue Note history. What the elitists missed, though, was that Black Byrd was the moment when Byrd's brand of fusion finally stepped out from under the shadow of his chief influence, Miles Davis, and found a distinctive voice of its own. Never before had a jazz musician embraced the celebratory sound and style of contemporary funk as fully as Byrd did here not even Davis, whose dark, chaotic jungle-funk stood in sharp contrast to the bright, breezy, danceable music on Black Byrd. Byrd gives free rein to producer/arranger/composer Larry Mizell, who crafts a series of tightly focused, melodic pieces often indebted to the lengthier orchestrations of Isaac Hayes and Curtis Mayfield. 

They're built on the most straightforward funk rhythms Byrd had yet tackled, and if the structures aren't as loose or complex as his earlier fusion material, they make up for it with a funky sense of groove that's damn near irresistible. Byrd's solos are mostly melodic and in-the-pocket, but that allows the funk to take center stage. Sure, maybe the electric piano, sound effects, and Roger Glenn's ubiquitous flute date the music somewhat, but that's really part of its charm. Black Byrd was state-of-the-art for its time, and it set a new standard for all future jazz/R&B/funk fusions of which there were many. Byrd would continue to refine this sound on equally essential albums like Street Lady and the fantastic Places and Spaces, but Black Byrd stands as his groundbreaking signature statement. ~ Steve Huey https://www.allmusic.com/album/black-byrd-mw0000082900

Personnel: Donald Byrd (vocals, trumpet, electric trumpet, flugelhorn); Fonce Mizell (vocals, trumpet); Freddie Perren (vocals, electric piano, synthesizer); Larry Mizell (vocals); David T. Walker, Dean Parks, Barney Perry (guitar); Allan Curtis Barnes (flute, oboe, saxophone); Roger Glenn (flute, saxophone); Joe Sample (piano, electric piano); Kevin Toney (piano); Chuck Rainey, Wilton Felder (electric bass); Harvey Mason, Sr. , Keith Killgo (drums); Perk Jacobs, Stephanie Spruill, Bobbye Hall, Bobbye Porter (percussion).               

Black Byrd

Mario Pavone Dialect Trio - Chrome

Styles: Contemporary Jazz 
Year: 2017
File: MP3@320K/s
Time: 51:32
Size: 118,5 MB
Art: Front

(5:01)  1. Cobalt
(5:01)  2. Glass 10
(3:10)  3. Ellipse
(8:12)  4. Ancestors
(6:56)  5. Beige
(6:38)  6. The Lizards
(5:06)  7. Conic
(2:55)  8. Bley
(4:28)  9. Chrome
(4:02) 10. Continuing

Piano trios seeking a level of parity of instrumental input are common. Those who achieve a high level of piano/bass/drums democracy develop a group sound born of a melding of musical personalities. With strong personalities all around as on the Mario Pavone Dialect Trio a beautiful tumult is born. Chrome is bassist Pavone's second Dialect Trio release, following 2015's Blue Dialect (Playscape Recordings). A big part of the allure of Chrome is the head-bumping and elbow throwing between the three free-spirited cohorts Pavone, pianist Matt Mitchell and drummer Tyshawn Sorey. All leaders in their own rights with Pavone sitting in the veteran's chair the voices clash and clamber and somehow keep things coherent and approachable, from the bump and bounce of "Glass 10" to the sneaking-through-the-back-streets vibe of "Ancestors," and on into "The Lizards (for Jim Jarmusch)," with it thorny, rolling-through-a-thunderstorm groove. Mitchell and Sorey aren't exactly rising stars anymore; they've been around and now can be counted as relative newcomers to the top tier of jazz artists a level they've reached via, in Tyshawn Sorey's case, four sometimes challenging but always compelling releases on Pi Recordings, including 2017's marvelous Verisimilitude, the drummer's own brooding, individualistic take on the piano trio; and Matt Mitchell with his work on Tim Berne's high-and-outside Snake Oil recordings on ECM Records, and his put-it-in-the bank Best Release of 2017 spot for Forage (Pi Recordings, 2017), a vibrant, sometimes combustable solo piano  exploration of the tunes of Tim Berne. A look at three three names on the CD's cover, pre-listening, said "dream team." That turned out to be true with Chrome. ~ Dan McClenaghan https://www.allaboutjazz.com/chrome-mario-pavone-playscape-recordings-review-by-dan-mcclenaghan.php
 
Personnel: Mario Pavone: bass; Matt Mitchel: piano; Tyshawn Sorey: drums.

Chrome

Kahil El'Zabar - Love Outside of Dreams

Styles: Jazz, Avant-Garde Jazz
Year: 2002
File: MP3@320K/s
Time: 61:33
Size: 141,5 MB
Art: Front

(10:15)  1. Love Outside of Dreams
( 9:38)  2. Song For A New South Africa
( 7:00)  3. Song of Myself
( 7:51)  4. Nia
( 8:30)  5. Meditation For the Celestial W
( 9:35)  6. The Ebullient Duke
( 0:21)  7. Fred
( 8:20)  8. One World Family

African-American music (and African music for that matter) has always been about groove, movement, and that internal mechanism in your chest (perhaps your heart) that undulates and sways to the beat. In jazz, the rhythm catches you. If you explore further, melody and improvisation demands your surrender to this religion. For more than 25 years, percussionist Kahil El’Zabar has worked at the crossroads of jazz and African music providing the groove for AACM creations and his own Ritual and Ethnic Heritage Ensemble bands. This session brings together El’Zabar and fellow AACM bassist Fred Hopkins along with saxophonist David Murray. Hopkins, who passed away in January of 1999, was a frequent collaborator of Henry Threadgill, Hamiet Bluiett, and David Murray. Murray and El’Zabar’s collaborations have been many, from outstanding duos, One World Family (CIMP 2000) and Golden Sea (Sound Aspects 1989) to Murray’s larger ensemble creations The Tip and Jug-A-Lug (DIW 1994). Their musical kinship is amixture of Coltrane, Ayler, and Ellington. This recording date, the final session for Fred Hopkins, is an infectious pulse-fest throughout. El’Zabar’s playing has a way of absorbing the listener into his human touch, be it with hand drumming, thumb piano, or his snare. The band opens with the straightforward bop-ish title track, then progresses to the appealing hand drumming and sung “Song For A New South Africa,” perhaps a follow up to Noah Howard’s “Song For A South Africa.” El’Zabar’s knack for maximizing the minimal is his success. Playing the traditional drum set behind Murray’s bass clarinet with Hopkins pulsing energy can make for exciting music. Whether Murray conjures Eric Dolphy from his bass clarinet or Coltrane on the duo “Meditation For The Celestial Warriors,” his playing finds a kindred spirit in El’Zabar, and one (like Rashied Ali to Coltrane) that directs and influences each other’s music. El’Zabar’s meditation via the African thumb piano centers Murray’s outward designs and frames his harmonic expansions. The band closes with the millennial anthem “One World Family,” a contagious composition that, if this were another time, would be a fantastic follow up to Pharoah Sanders’ “The Creator Has A Master Plan.” If we jazz lovers cannot actually have pop hits, we can create our own personal theme songs. This is a four-star recording. ~ Mark Corroto https://www.allaboutjazz.com/love-outside-of-dreams-kahil-elzabar-delmark-records-review-by-mark-corroto.php
 
Personnel: Kahil El'Zabar – drums, African drums, African thumb piano;  David Murray – tenor sax, bass clarinet;  Fred Hopkins – bass

Love Outside of Dreams