Louis Armstrong - Louis Armstrong Sparks, Nevada 1964!

Size: 103,7 MB
Time: 44:21
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. When It's Sleepy Time Down South (2:59)
02. Back Home In Indiana (4:08)
03. I Got A Lot Of Livin' To Do (2:44)
04. Tiger Rag (1:17)
05. Hello Dolly (7:05)
06. When I Grow Too Old To Dream (3:45)
07. Blue Berry Hill (3:31)
08. How High The Moon (8:02)
09. Lover Come Back (2:33)
10. Have You Heard About Jerry (4:48)
11. When The Some Marchin' In (3:23)

Personnel:
Louis Armstrong: trumpet and vocals
Russell “Big Chief” Moore: trombone
Eddie Shu: clarinet
Billy Kyle: piano
Arvell Shaw: bass
Danny Barcelona: drums
Jewel Brown: vocals

When the Beatles came to America in 1964 and took over the number one spot on the charts for 14 straight weeks, it must have seemed like their reign would last forever. Surely someone would topple them at some point–but who would it be? Few, if any, would have placed their bets on a 62-year-old legendary trumpeter and vocalist from New Orleans but that’s just what happened when “Hello, Dolly!” improbably became the number one record in the country on May 9, 1964.

Armstrong sounds positively energized by the popularity of his hit record on this previously unissued set from the Circus Room of the Nugget Casino in Sparks, Nevada in June 1964. People who discovered Armstrong when “Dolly” became a hit had no idea that Armstrong was such a staggering musical genius, but as this set makes clear, if you went to see him perform during this period, you got a pretty complete picture of the wide array of Armstrong’s talents: the warmth of “When It’s Sleepy Time Down South” and “Blueberry Hill,” the fiery instrumentals of “Indiana” and “Tiger Rag,” the swinging hit show tunes of “A Lot of Livin’ to Do” and “Hello, Dolly!” each one establishing to all the kiddies in the audience that this fun-loving old entertainer was also a ferociously talented musician.

Sparks, Nevada 1964">Louis Armstrong Sparks, Nevada 1964!

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Carlos Dias - Copacabana Station

Size: 76,4 MB
Time: 32:32
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz, Bossa Nova, Vocals
Art: Front

01. Mona Lisa (2:50)
02. Come Fly With Me (3:21)
03. Nature Boy (2:46)
04. Quizas Quizas Quizas (3:37)
05. Samba E Amor (4:05)
06. Straighten Up And Fly Right (2:22)
07. My Funny Valentine (3:44)
08. It Was A Very Good Year (3:52)
09. South Of The Border (2:40)
10. So Nice (Duet) (Feat. Vanessa Falabella) (3:11)

Brazilian-born jazz vocalist Carlos Dias, now based in Manhattan, brings his significant talent to your living room on his recently released ten-song album… song like the fantastic opener, “Mona Lisa“, use backing vocals and superb arrangements in a most professional way to hold you enchanted under his spell… very nicely done.

The heavy-duty percussion intro on “Quizas Quizas Quizas” (Maybe Maybe Maybe) melds right into gentle guitar strains from Wesley Amorimand and a silky-smooth vocal that are totally tasty – one of the best Latin performances I’ve heard (yet) in 2018… in addition to Carlos fine singing, he also has special guest appearances by other very talented players like Gene Perla, Vanessa Falabella, Helio Schiavo, Cesar Garabini, Negah Santos and Clark Gayton… arrangements were done by Carlos and Wesley throughout the album.

Though the release comes with strong (& wonderful) Brazilian flavors, it’s also Carlos’s tribute to two of his jazz heroes, Frank Sinatra and Nat King Cole… his inspiring rendition of “My Funny Valentine” is among the best I’ve ever heard… laid-back style, yet highly charged with the energy that romance can bring, and full of the joy that LIVING life can bring.

There was no question in my mind what my personal favorite of the ten songs offered up for your aural adventure would be, though… the closer, “So Nice“, is a vocal duet with Vanessa, and they will (easily) wrap you into their magical spell… I predict that this tune will garner a lot of airplay… perfect pacing and full of soul. ~by Dick Metcalf

Copacabana Station

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Jerry Weldon - Those Were The Days

Size: 132,4 MB
Time: 56:55
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Love Won't Let Me Wait (6:13)
02. Strangers In The Night (5:54)
03. Sunny V (6:39)
04. Where Is Love (4:31)
05. Rosetta (6:38)
06. Walk On By (5:52)
07. This Is Always (4:03)
08. The Sermon (8:33)
09. Those Were The Days (8:29)

It's no longer certain what music cold be classified as "mainstream" jazz. One can argue that the genre (and all others, for that matter) have atomized to the point of each performance being considered a genre in itself (a desirable outcome to the music anarchists among us). That said, some type of classification remains useful in describing music, if for no other reason than to let a listener know that "this sounds a great deal like that." Which brings us to tenor saxophonist Jerry Weldon. Weldon presently serves featured soloist in Harry Connick, Jr.'s long serving big band, who presently provide tafelmusik for Connick's Harry weekday talk show on ABC. The present Those Were the Days is Weldon's debut on Cory Weeds' Cellar Live label. The saxophonist has released seven previous recordings.

The touchstone of Those Were the Days is economy. Everything about this recording smacks of a scrupulous efficiency borne of an extended tenure in a big band like Connick's. This begins with his judicious use of an organ trio format augmented with a percussionist not unlike that employed in the 1950s and '60s Blue Note organ blowing dates. Organist Kyle Koehler is a conservative sort, favoring understated organ stop positions and thoughtful solo excursions. His tone reveals the best of a sepia-tinged style that could have been heard introducing The Edge of Night. Koehler's contribution to this date cannot be understated and is splendidly emotive and orchestral. He is most present introducing the title cut, which closes the recording, framing Weldon's muscular and exacting tenor tone with a soft glow, propelled by the gentle loping rhythm of drummer Colby Inzer.

Weldon favors modern ballads like the full-throated "Strangers in the Night" and the Bacharach/David "Walk on By" played samba style in a breezy and laconic mode. Weldon's own "Sunny V," retaining a bit of samba itself, is bright and inventive. The saxophonist and organist reach a precise critical mass playing Jimmy Smith's "The Sermon," the only blowing blues on the set. Everything comes into relief focus on this tune with all instruments well synced and calibrated. This is an excellent penultimate piece to introduce the closing "Those Were the Days." This could definitely be called "mainstream" jazz, that brand of jazz immediately recognizable, durable and expressive, a joy to behold and listen to. ~C. Michael Bailey

Personnel: Jerry Weldon: tenor saxophone; Kyle Koehler: Hammond B3 Organ; Colby Inzer: drums; Daniel Sadownick: percussion.

Those Were The Days

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Rosey - Be Somebody Blues

Size: 78,4 MB
Time: 33:26
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. It’s A Ruse (3:27)
02. Who Am I (4:15)
03. Love (3:45)
04. Those Eyes (2:28)
05. Be Somebody Blues (4:02)
06. The Old Fashioned Way (2:32)
07. It’s Easier On Me (4:48)
08. I Remember (4:40)
09. Luckiest Girl (3:25)

Singer/songwriter Rosey has been surrounded by music since her early childhood and credits her big family for keeping the excitement alive. First, it was the Beatles. She found her parents' record collection around age seven and couldn't resist the infectious pop sounds of the Fab Four. By college, she was spinning world music at her college radio station and absorbing the vast selection of urban fusion. And through countless music industry jobs, Rosey found her calling. She packed her bags and left New York for San Francisco in the late '90s. There, she formed a band and molded into a soulful, blues-tinged songstress. Her big break came when her sultry song "Love" appeared in the 2001 film Bridget Jones's Diary. Several months later, "Afterlife" was showcased in the Farrelly Brothers comedy Shallow Hal. In June 2002, Rosey made her debut with the studio full-length Dirty Child. That summer she toured with Meredith Brooks and Melissa Etheridge in support of the album. ~by MacKenzie Wilson

Be Somebody Blues

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Bob Mintzer Big Band & New York Voices - Meeting Of Minds

Size: 140,8 MB
Time: 60:34
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. Autumn Leaves (Live) (6:44)
02. I Concentrate On You (Live) (5:21)
03. I Want To Be Happy (Live) (6:31)
04. I Get Along Without You Very Well (Live) (4:31)
05. The Way You Look Tonight (Live) (6:23)
06. You Go To My Head (Live) (7:17)
07. Old Devil Moon (Live) (5:22)
08. Weird Blues (Live) (5:56)
09. Speak Low (Live) (6:55)
10. I'll Remember April (Live) (5:28)

Meeting Of Minds plays more like a merger than an encounter. And that, after all, is how all successful collaborations should feel. Hearing Bob Mintzer's big band and New York Voices join forces for a trip through newly-arranged takes on '30s and '40s gems from the Great American Songbook is a reminder that some music can ring timeless and appear pliant all at once when placed in the right hands.

New York Voices has paired up with other large ensembles in the past—the Count Basie Orchestra and the WDR Big Band, to cite two—but this marks the group's first on-record meeting with Mintzer's airtight outfit. And with a shared appreciation for precision swing, expansive and expanded harmonies, and Latin settings, it turns out to be a perfect fit.

The integration of Darmon Meader's vocal writing with Minzter's big band charts is seamless, with one set of hands enhancing the work of the other. In knowing both what to add and, of equal importance, what to leave out, both men prove sympathetic in their contributions. The album opens with a Latin-swing hybrid arrangement of "Autumn Leaves" that finds the band working like a well-oiled machine and the voices in perfect sync. Kim Nazarian and Lauren Kinhan light the way, pianist Phil Markowitz makes the first of his many marks, and alto saxophonist Bob Sheppard steps into the spotlight. A jaunty and warm "I Concentrate On You" with a Peter Eldridge vocal lead and an instrumental take on "I Want To Be Happy" with a smoking trumpet solo from Scott Wendholt follow and help to instantly diversify this portfolio.

With shifting stylistic ground, more than half of the band personnel soloing at one time or another, and each of the vocalists taking center stage at various times, there's never a problem with variety here. What's remarkable, in fact, is how it all ties together into a unified sound. A gorgeously heart-wrenching "I Get Along Without You Very Well" with an Eldridge lead, a slowly funky "Old Devil Moon" with an attractively smoldering Kinhan out front, and a one-off trip to original territory with Mintzer's swinging "Weird Blues" (sans vocals) all feel right at home with each other. The marriage of the Bob Mintzer Big Band and New York Voices is simply a match made in heavenly harmony. ~Dan Bilawsky

Personnel: Kim Nazarian: vocals; Lauren Kinhan: vocals; Darmon Meader: vocals; Peter Eldridge: vocals; Bob Mintzer: tenor saxophone, flute; Bob Shappard: alto saxophone, flute; Lawrence Feldman: alto saxophone: flute; Bob Malach: tenor saxophone; Roger Rosenberg: baritone saxophone, clarinet; Bob Millikan: trumpet; Frank Greene: trumpet; Scott Wendhot: trumpet; James Moore: trumpet; Keith O'Quinn: trombone; Jef Bush: trombone; Jay Ashby: trombone, percussion; David Taylor: bass trombone; Phil Markowitz: piano; Marty Ashby: guitar; Jay Anderson: bass; John Riley: drums.

Meeting Of Minds

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Willie Mitchell - The Many Moods Of Willie Mitchell

Bitrate: MP3@320K/s
Time: 32:27
Size: 74.3 MB
Styles: Funk, Soul
Year: 1969/2014
Art: Front

[3:05] 1. Breaking Point
[3:41] 2. Sometimes I Wonder
[3:42] 3. Black Fox
[3:14] 4. Roadhouse
[3:53] 5. Sack-O-Woe
[2:22] 6. Too Sweet
[2:36] 7. White Silver Sands
[3:00] 8. Midnight Sun
[3:18] 9. Cuddlin' Up
[3:31] 10. Something Nice

The 1970 follow-up to Soul Bag was for the most part a further step away from where Willie Mitchell had been for the past decade. The sound on Many Moods is darker, funkier, greasier, and grittier. It's almost sloppy, which gives the record an immediacy virtually nothing he recorded before or since could claim. From the slippery late-night feel of "Breaking Point," with its gorgeous guitar and organ harmonics, to the endgame of "Something Nice," which is far more sexy than nice with its intricately structured horn and guitar lines weaving in and out of one another, the effect was the same: intoxicating groove science. Other standouts include "Sack-O-Woe," "Roadhouse," and "Black Fox." On these tracks what is central is the stretching of time and space through the backbeat, letting it fall just ahead or behind the rest of the band, as horn lines, Booker T.'s organ, and Steve Cropper's guitar took their places laying out the groove and punching it up with fills and flourishes. There are two quizzical places on this album that makes one wonder if the tracks were brought in from an earlier session just to fill out side two: "White Silver Sands" and "Midnight Sun" are both drenched in that sweet, shimmering sheen that most of Mitchell's earlier records had, marring what would have been a perfect release. But it's of little consequence, since what is strong here -- the vast majority of the album -- is a revelation. ~Thom Jurek

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Glenn Zottola - Classic Standards With Strings

Bitrate: MP3@320K/s
Time: 40:28
Size: 92.6 MB
Styles: Saxophone jazz
Year: 2015
Art: Front

[3:44] 1. Can't Help Lovin' Dat Man Of Mine
[3:28] 2. Laura
[3:28] 3. What's New
[3:32] 4. Memories Of You
[3:25] 5. Willow Weep For Me
[3:01] 6. Embraceable You
[3:15] 7. Blue Moon
[3:23] 8. Where Or When
[3:00] 9. Yesterdays
[3:29] 10. Portrait Of Jenny
[3:12] 11. Smoke Gets In Your Eyes
[3:23] 12. Stardust

Jazz Legends Coleman Hawkins, Lester Young and Ben Webster are rightfully considered the Swing Era’s Pantheon of the tenor saxophone. It is from that glorious rock-solid foundation of the jazz tree that yet-to-come tenor greats such as Stan Getz, John Coltrane and others blossomed. The influence of the tenor triumvirate on those who followed them was enormous – Hawkins improvisational genius exemplified in the still-examined “Body and Soul,” Young’s suave and silky-smooth cool melodic and improvisational approach and Webster’s sensually breathy balladic and hard-swinging up-tempo interpretations.

With “Classic Standards with Strings – Inspired by Ben Webster,” multi-instrumentalist Glenn Zottola, yet again musically validates his worldwide reputation as both an insightful and highly expressive musical artist. Here he grabs his tenor and brilliantly delivers a dozen of the Great American Songbook’s most melodic and romantic jewels. The result is an aural masterpiece of tone, melodic passion, and lyric sensitivity. Webster was a large man who was nicknamed “Brute.” However, his breathy entrances and tonal sensitivities belied the moniker. Zottola, who shrewdly doesn’t mime Webster’s sound or articulation here and who certainly isn’t brutish in any way – musically or otherwise – renders all of the smoothness and sensitivity that both the esteemed material and his mentor deserve. Working exclusively with the greatest of balladic material (“Can’t Help Lovin’ Dat Man,” “Laura,” “Embraceable You”) and backed by a lush string orchestra and superior arrangements, the recording is reminiscent of the great Jackie Gleason sides – you know, when music was about elegance, romance and class.
Zottola, first and foremost a melody man, takes this classic material and literally breathes interpretive life into it. His reserved dynamic feel and vocal-tinged vibrato are a case study in lyricism and stellar ballad playing (“Where or When?” “Yesterdays,” and “Stardust”). When he covers the melody, Zottola gives the marvelous illusion of singing via his horn. And, his well-thought out improvisations all gravitate from a melodic core. The entire effort is a rapturous dream.

Ben Webster is still revered worldwide and especially in Denmark where there is a street named after him (as well as a foundation that awards scholarships to young jazzers). However, I’m dead-certain that when the Danes get a hold of this effort from Glenn Zottola, they might consider getting a second street sign ready for another superb tenor man. ~Nick Mondello

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Janet Planet - Of Thee I Sing

Bitrate: MP3@320K/s
Time: 49:53
Size: 114.2 MB
Styles: Vocal
Year: 2009
Art: Front

[3:08] 1. Rhode Island Is Famous For You
[3:48] 2. Manhattan
[5:18] 3. Old Cape Cod
[3:36] 4. Moonlight In Vermont
[3:46] 5. Love On A Greyhound Bus
[3:44] 6. Way Down Yonder In New Orleans
[3:51] 7. My Kind Of Town (Chicago Is)
[1:58] 8. Gary, Indiana
[4:08] 9. Song Of Wyoming
[2:40] 10. Chattanooga Choo Choo
[3:32] 11. Home On The Range
[2:10] 12. Deep In The Heart Of Texas
[3:42] 13. (Get Your Kicks On) Route 66
[4:24] 14. San Francisco (Be Sure To Wear Flowers In Your Hair)

Forget that the title evokes Kate Smith and the contents include some of the potentially hokiest songs ever written – whether you’re vacationing or staycationing this summer, pack this new recording into your iPod. If any of Janet’s work is going to get major airplay, Of Thee I Sing is it. The basic concept is a winner–14 mostly familiar tunes chosen specifically to celebrate our country, our communities, and the people who live there. But what makes this recording outstanding–in addition to Janet’s customary excellence and the solid musicianship throughout–is the good old American ingenuity of arrangers John Harmon, Tom Washatka, and Tom Theabo, who convert potentially somnolent tunes like “Home on the Range,” “Chattanooga Choo-Choo,” “Gary, Indiana,” and “Old Cape Cod” into high-octane jazz, fueling a very hip trip.

On the jazzical journey, which runs roughly east to west, you’ll make musical stops–some expected, some not–in Rhode Island, Manhattan, Cape Cod, New Orleans, Chicago, Gary, Wyoming, Chattanooga, Texas, and San Francisco. You’ll also fall in love on a Greyhound bus, somewhere along Route 66. Aside from the pitch-perfect Janet, your traveling companions include Harmon on piano, Washatka on sax, Theabo on guitar, John Gibson on bass and Danny Leuck on drums. With drivers this skillful, you can just sit back and enjoy the ride. ~TriTone Jazz

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The Kansas Smitty's House Band - Kansas Smitty's House Band Live

Bitrate: MP3@320K/s
Time: 39:10
Size: 89.7 MB
Styles: Contemporary jazz
Year: 2016
Art: Front

[4:28] 1. Whiskey Rag
[5:01] 2. Anita
[5:57] 3. This Is Goodbye
[5:17] 4. Here's To Huw
[4:26] 5. Messin' Around No More
[3:12] 6. She's Got Soul
[5:13] 7. North Henry Street
[5:30] 8. Goodnight My Friends

Kansas Smitty’s House Band are back with a second album of original swing music. The disc was recorded live in the heart of London’s Soho and captures the “cult swing band” in full flight. Infamous as the band who are also proprietors of their own bar, this album gives the listener the electric experience of seeing Kansas Smitty’s live, to go.

Performing brand new music composed especially for this headline club show, the tunes are fresh from hours of writing and rehearsals at their East London HQ. Though you wouldn’t know it, the band’s razor sharp delivery is completely without written music which is a high stakes game when recording live. It’s in this space the House Band thrives, striving to craft the sound that they collectively hear and deliver the music with their trademark joy, energy and precision. The eight original tunes selected from the Band’s live show were composed specifically for this performance and had never before been heard in public. The blend of styles covered across the set illustrates how the House Band’s style is evolving. Building upon their reputation as exponents of the swing beat, their music is now transforming into a sound of its own.

While their roots in ‘the tradition’ are proudly on display, a year on from their debut release the band are carving out a niche on the modern genre-bending jazz scene. Tracks like the groovy ‘Whisky Rag’ and Fats Domino-tinged ‘She’s Got Soul’ echo traditional rag forms with a hefty dose of New Orleans street beat. Pianist Joe Webb’s ‘Here’s to Huw’ features a soul theme that segues into a jukebox-worthy boogaloo. The two ballads on the record, the melancholic ‘This Is Goodbye’ and the gospel-tinged ‘Goodnight, My friends’ feature the tender vocals of “Sweet” Pete Horsfall, with special guest bluesman Marcus Bonfanti’s delta-drenched guitar and vocals providing joyful relief with his own composition ‘Messin’ Around No More’.

This live record is a snapshot of an ensemble that is constantly pushing forward. This album was recorded live and mixed by Alex Killpartrick and mastered by Lewis Durham (of Kitty, Daisy, and Lewis) on February 22nd, 2016.

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Nigel Kennedy - Kennedy Meets Gershwin

Bitrate: MP3@320K/s
Time: 62:39
Size: 143.4 MB
Styles: Classical crossover
Year: 2018
Art: Front

[ 2:33] 1. Rhapsody In Claret & Blue
[ 4:37] 2. Our Love Is Here To Stay
[ 8:14] 3. The Man I Love
[ 5:46] 4. Summertime
[ 3:13] 5. Time
[ 8:29] 6. Porgy & Bess
[ 5:48] 7. How Long Has This Been Going On
[10:06] 8. Fantasy
[ 6:40] 9. They Can't Take That Away From Me
[ 7:08] 10. Oh, Lady Be Good!

Nigel Kennedy (violin, viola, piano, Hammond, harpsichord); Howard Alden & Rolf “die Kobra” Bussalb (guitars)Beata Urbanek-Kalinowska (cello)Tomasz “Insomnia” Kupiec (bass); Members of the Orchestra of Life:Alicja Smietana & Sonja Schebeck (violins)David Heath (flutes).

Classical superstar Nigel Kennedy returns with a critically acclaimed programme of the music of George Gershwin, hailed by The Guardianas “rip-roaring and exquisitely tender”, spirited and playful gypsy jazz arrangements inspired by his friendship with the legendary violinist, Stéphane Grappelli, reminiscent of jamming together as a teenager during his time at the Menuhin School

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Kenny Dorham - The Art Of The Ballad

Bitrate: MP3@320K/s
Time: 69:30
Size: 159.1 MB
Styles: Bop, Trumpet jazz
Year: 1998
Art: Front

[4:51] 1. Darn That Dream (Take 2)
[3:02] 2. Ruby, My Dear (Take 1)
[5:14] 3. Old Folks
[7:40] 4. It Might As Well Be Spring
[9:09] 5. Falling In Love With Love
[4:21] 6. I'll Be Seeing You
[5:06] 7. My Ideal
[5:22] 8. My Old Flame
[6:51] 9. What's New
[5:03] 10. I Should Care
[6:49] 11. Passion Flower
[5:59] 12. So In Love

Though the least celebrated of the artists featured in Fantasy's initial The Art of the Ballad offering, Kenny Dorham is by no means the most negligible, as this selection of ballads, augmented by some of the leading names in jazz demonstrates. However, with only six Dorham albums on Riverside, Debut and New Jazz to choose from, Fantasy had to turn elsewhere to fill out the CD, to sessions led by Ernie Henry, Oliver Nelson and Harold Land. Indeed, even on Dorham's own recordings, he doesn't always dominate -- the most telling example being Cannonball Adderley's ardent solos that light up "It Might as Well Be Spring" and steal the show. Elsewhere, the listener will hear a number of Dorham's sounds -- the big open sound of "Darn That Dream," the veiled, toned, fleetfingered hard bop Dorham of "Falling in Love with Love," the sweet muted work on Nelson's "Passion Flower," and various combinations of tone and articulation. No rarities; everything is available elsewhere on silver discs. ~Richard S. Ginnell

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Benny Carter - Songbook

Styles: Vocal, Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 77:37
Size: 179,4 MB
Art: Front

(5:30)  1. Only Trust Your Heart (Feat. Dianne Reeves)
(4:55)  2. All That Jazz (Feat. Carmen Bradford & Kenny Rankin)
(4:23)  3. I Was Wrong (Feat. Joe Williams)
(4:59)  4. Rain (Feat. Marlena Shaw)
(5:34)  5. Cow-Cow Boogie (Feat. Jon Hendricks)
(5:36)  6. Fresh Out Of Love (Feat. Diana Krall)
(4:57)  7. Speak Now (Feat. Billy Stritch)
(5:27)  8. A Kiss From You (Feat. Shirley Horn)
(4:17)  9. You Bring Out The Best In Me (Feat. Bobby Short)
(5:45) 10. My Kind Of Trouble Is You (Feat. Ruth Brown)
(4:06) 11. When Lights Are Low (Feat. Weslia Whitfield)
(6:35) 12. Lonely Woman (Feat. Nancy Marano)
(4:33) 13. Key Largo (Feat. Carmen Bradford)
(6:03) 14. We Were In Love (Feat. Dianne Reeves & Joe Williams)
(4:48) 15. I See You (Feat. Peggy Lee)

Due to his being such a talented altoist, arranger and occasional trumpeter for seven decades, it is often forgotten that Benny Carter wrote some worthy songs along the way. "When Lights Are Low" and "Blues in My Heart" are standards while "Only Trust Your Heart," "Key Largo" and the novelty hit "Cow-Cow Boogie" are close. For this unusual set, 14 different singers had opportunities to interpret one or two Carter compositions while joined by a fine quintet consisting of cornetist Warren Vache, pianist Chris Neville, bassist Steve LaSpina, drummer Sherman Ferguson and Carter himself (88 at the time!) on alto. The ambitious program includes five Carter songs that were receiving their world premiere; in addition Carter also wrote or co-wrote the lyrics to nine of the pieces. The singers all show respect for the melody and words with Jon Hendricks being playful on "Cow-Cow Boogie," Joe Williams quite touching on "I Was Wrong" and a weakened Peggy Lee making a memorable cameo on "I See You." The vocalists consistently seem quite inspired by the unique project. There are many short Carter and Warren Vache solos and, even with the emphasis on ballads, there is more variety than one might expect. The well-conceived tribute (which also has fine appearances by Dianne Reeves, Carmen Bradford, Kenny Rankin, Marlena Shaw, Diana Krall, Billy Stritch, Shirley Horn, Bobby Short, Ruth Brown, Weslia Whitfield and Nancy Marano). ~ Scott Yanow https://www.allmusic.com/album/songbook-mw0000180497

Personnel:  Benny Carter - alto saxophone;  Warren Vache - cornet;  Chris Neville, Gene DiNovi (#15) - piano;  Steve LaSpina, John Heard (#15) - bass;  Sherman Ferguson, Roy McCurdy (#2,6,13) - drums

Thank You Dave!

Songbook

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Renée Geyer - Dedicated

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 46:56
Size: 107,8 MB
Art: Front

(4:41)  1. Why Can't We Live Together
(4:13)  2. I Wish It Would Rain
(3:50)  3. Please Leave Your Light On
(4:10)  4. Somebody's On Your Case
(4:02)  5. Dedicated To The One I Love
(4:35)  6. When A Woman Loves A Man
(3:38)  7. Steal Away
(3:10)  8. A Beautiful Morning
(3:51)  9. So I Can Love You
(4:02) 10. Distant Lover
(6:39) 11. It's A Man's Man's Man's World

Renee Geyer,one of the world's finest singers.australian music legend.it's true and undeniable, but saying that about her doesn't say enough. Inducted into the aria hall of fame, she's much more now than she ever was. 'dedicated' is Renee Geyer  22nd album, and she's convinced with this record she's reached a turning point. ~ Editorial Reviews https://www.amazon.com/Dedicated-Renee-Geyer/dp/B000VXVWRQ

Dedicated

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Jonathan Kreisberg & Nelson Veras - Kreisberg Meets Veras

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 53:17
Size: 122,5 MB
Art: Front

(6:44)  1. Lina Rising
(7:35)  2. Until You Know
(4:57)  3. Every Person Is a Story
(6:35)  4. Bye-Ya
(4:20)  5. Milagre Dos Peixes
(7:06)  6. Goodbye Pork Pie Hat
(8:17)  7. Windows
(7:40)  8. Face on the Barroom Floor

The greatest collaborations are often built upon two unique and different personalities combining to create something beyond their individual realms. Thus is the case with the new 'Kreisberg Meets Veras' project, which promises to be one of the most exciting guitar duos in the jazz and guitar worlds. Jonathan Kreisberg and Nelson Veras are both highly acclaimed artists on their instruments, and they have combined forces to create a program of original works and rarely played classics which welcome the listener to experience the start of a beautiful musical friendship.~ Editorial Reviews https://www.amazon.com/Kreisberg-Meets-Veras-Jonathan-Nelson/dp/B07BC2X59H

Kreisberg Meets Veras

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Larry Goldings, Peter Bernstein, Bill Stewart - Toy Tunes

Styles: Piano, Post Bop
Year: 2018
File: MP3@320K/s
Time: 47:27
Size: 109,4 MB
Art: Front

(6:45)  1. Fagen
(6:10)  2. Don't Ever Call Me Again
(6:30)  3. Lullaby For B
(5:17)  4. I'm In The Mood For Love
(3:51)  5. And Now The Queen
(7:01)  6. Toy Tune
(6:16)  7. Calm
(5:34)  8. Maybe

Just look at the cover art the swirl of colors, the bodies drawn to the eye as misshapen designs, the beauteous blotches, the sturdy rhythms of angularity. In some ways it's almost inconceivable to imagine all of that acting as one, yet these images form a perfectly perceivable whole a picture that feels like home yet sits in its own space, artfully different yet accessible and inviting. It's a perfect parallel for the work of these three master musicians, collectively viewed as the most creatively durable organ trio in jazz. Together, organist Larry Goldings (who happened to create said album art), guitarist Peter Bernstein, and drummer Bill Stewart have been elevating the art of this musical format for more than a quarter of a century. This, their twelfth album in total and second on the Pirouet imprint, is but one more high point in a series of continuous peaks in this outfit's discography.

Toy Tunes takes off with "Fagen," a Goldings original nodding to Steely Dan's Donald Fagen. It's a somewhat sensitive offering that, while alluding to its honoree, adopts a loose vibe and a harmonic aura apart from Fagen's signature(s). Stewart's "Don't Ever Call Me Again" follows, coming into the picture with a skulking groove and a melody line that lays perfectly within its setting while also feeling somewhat displaced. It's vintage Stewart in its blend of intelligent design, rhythmic fervor, and surprise. Then Bernstein's harmonically vibrant "Lullabye For B" a beauty of a waltz written for his oldest son completes the album-launching triptych of originals.  Four of the five remaining tracks are covers, allowing for this trio's interpretive brilliance to shine through. "I'm In The Mood For Love" rides on the locomotive zest provided by Stewart's brush work; Carla Bley's "And Now The Queen" plays as a tale of questioning and arrival, living life on the outskirts while still remaining reachable; Wayne Shorter's "Toy Tune" offers innumerable pathways for these savvy improvisers to travel; and closer "Maybe" of Annie fame adopts a low key swing swagger in its step. The lone original on the second half of the album Stewart's aptly-titled "Calm" brings peace to the penultimate slot.  The beauty in following this trio's work rests in the fact that you somehow know what you're going to get without really having a clue. If that sounds like paradoxical play or a flirtation with the absurd, that's all the better to fit this band's vibe. ~ Dan Bilawsky https://www.allaboutjazz.com/toy-tunes-larry-goldings-pirouet-records-review-by-dan-bilawsky.php

Personnel: Larry Goldings: Hammond organ; Peter Bernstein: guitar; Bill Stewart: drums.

Toy Tunes

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