Mariachi Brass, Chet Baker - Hats Off

Styles: West Coast Jazz, Trumpet Jazz
Year: 1966/2013
File: MP3@320K/s
Time: 29:34
Size: 68,6 MB
Art: Front

(1:57)  1. Happiness Is
(2:32)  2. Sure Gonna Miss Her
(2:44)  3. Bang Bang (My Baby Shot Me Down)
(2:47)  4. The Phoenix Love Theme (Senza Fine)
(2:56)  5. These Boots Are Made for Walkin'
(2:06)  6. On the Street Where You Live
(2:34)  7. Armen's Theme
(2:22)  8. Spanish Harlem
(1:57)  9. Chiquita Banana
(2:16) 10. When the Day Is All Done (Foyo)
(2:40) 11. You Baby
(2:39) 12. It's Too Late

A short detour in the 60s career of Chet Baker one that we sure like a heck of a lot! This side is one of a couple that were recorded as an answer to the big success of Herb Alpert & The Tijuana Brass with Chet's trumpet was backed by jaunty, brassy arrangements penned by Jack Nitzsche, and George Tipton. And while it might be easy to dismiss the tunes as copycat sound-a-likes, they're really not  as Nitszche brings in a much fuller groove to most of the numbers than Herb Alpert ever did more of a sunny LA pop feel that has the whole group really gliding along on bold waves of sound all topped off by Baker's horn sounding stronger and more confident here than on many of his other recordings of the 60s! Some numbers have a Latin undercurrent while others lean towards mainstream pop a style that's bolder than A&M's approach to Tijuana and one that explodes with some youthful LA energies! 12 tracks in all, including "Happiness Is", "Bang Bang (My Baby Shot Me Down)", "The Phoenix Love Theme (Senza Fine)", "On The Street Where You Live", 'Armen's Theme", "You Baby" and "It's Too Late".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/471711/Mariachi-Brass-with-Chet-Baker:Hats-Off

Personnel:  Chet Baker - flugelhorn; The Mariachi Brass; Jack Nitzsche (tracks 5, 9 & 11), George Tipton (tracks 1-4, 6-8, 10 & 12) - arranger, conductor

Hats Off

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Miryam Latrece - Una Necesidad

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 29:31
Size: 68,3 MB
Art: Front

(3:05)  1. Lo Que Pienses de Mi.mp3
(1:24)  2. Soaba.mp3
(3:18)  3. Dónde Estás
(5:00)  4. Quiero Verte
(3:35)  5. En el Lago
(4:22)  6. Madre No Llores
(3:30)  7. Una Necesidad
(3:11)  8. No Lo Sabe
(4:55)  9. Cada Día
(1:35) 10. Outro (Madre No Llores)

Born in Madrid in 1991, the singer-composer began showing her passion for music & dance at a very early age, and especially her vocal talent. She received training in classic Spanish dance and spent hours dedicated to vocal studies on a self-teaching basis, learning repertoires of different styles; although her  true vocation she found in black music. on a self-teaching basis. At the age of seventeen she joined the popular underground band Akatupower, where she began developing her career as a vocalist. During the following five years the band released two discs, achieving several awards and performing at known music festivals. Towards the end of the year 2013, Miryam felt the “need” to take a step to further her career, and left the band to start one as a solo artist. Since then she hasn’t stopped to work on that level, topping the bill on programmes at the main clubs in Madrid (Bogui Jazz, Cafe´ Berli´n, Cafe´ Central & Clamores) and also at some festivals (Yecla & Aranjazz). She released her first album at the beginning of 2016, titled Una necesidad, co-produced with ‘Estudio Uno’. 

In addition, she collaborated with other groups, such as Gospel Factory, Michael Olivera Group and accompanied other artists as a backing singer. Her second disc, Quiero cantarte, is a journey along different cultures and musical influences, created from the love & admiration of the work by Lole & Manuel, Serrat, Djavan and Camaro´n, among others. The accompanying musicians on the disc were pianist Marco Mezquida, contrabassist Pablo Marti´n Caminero and drummer & producer Michael Olivera. http://www.canariasjazz.com/en/portfolio/miryam-latrece-cuarteto/
 

Personnel: Miryam LaTrece: Voice; Michael Olivera: Drums; Daniel García Diego: Piano; Pablo Martín Caminero: CBass

Una Necesidad

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Hossam Ramzy and Pablo Carcamo: Latin American Hits for Bellydance

Styles: Jazz Fusion, Latin
Year: 2000
File: MP3@320K/s
Time: 43:34
Size: 101,2 MB
Art: Front

(4:51)  1. Cachita
(4:10)  2. Palo Palito
(4:19)  3. Guantanamera
(4:23)  4. El Porompompero
(5:00)  5. Cielito Lindo
(3:30)  6. La Malagueña
(3:01)  7. Besame Mucho
(3:50)  8. La Cucaracha
(3:46)  9. La Bamba
(6:38) 10. Arabia Azteca

This fusion between Arabia and Latin America is as old as history itself. The Arabs & the Moors occupied Spain and Portugal for over 700 years. Adding influences from their music that filtered down to the newly discovered lands of the true Americas where we now have the Salsa, Samba and Afro-Cuban styles coming back to us in a new fresh way. 

Hossam Ramzy & Pablo Carcamo, two of the world’s top known exponenets of musical fusion bring you this collaboration of Egyptian and Latin American Hits for Belly Dance…. http://www.hossamramzy.com/product/latin-american-hits-for-belly-dance-_-hossam-ramzy-pablo-carcamo/

Hossam Ramzy and Pablo Carcamo: Latin American Hits for Bellydance

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Ethan Iverson - Live At Smalls

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 65:52
Size: 152,4 MB
Art: Front

( 7:39)  1. Night and Day
( 3:59)  2. Chronology
( 5:07)  3. Theme From "Mr. Bean"
( 8:01)  4. The Look of Love
( 7:20)  5. Have You Met Miss Jones?
(10:43)  6. In Love in Vain
( 8:26)  7. How High the Moon
( 8:32)  8. You've Changed
( 6:01)  9. Blues Coda

Pianist Ethan Iverson and tenor saxophonist Bill McHenry focus on quirky readings of standards in this co-led band, which they've unofficially named "Sub-Standard." The quartet is completed by bassist Reid Anderson and drummer Jeff Williams, both of whom supply a kind of perpetually off-kilter rhythmic feel underneath the two adventurous soloists. The music's in tempo, but not quite Anderson rarely walks a bassline, for instance, instead reacting to the entire band in unpredictable ways. Loosely speaking, on records this style has been Iverson's calling card more than McHenry's, although the tenorist has no problem fitting right in. Recorded live at Smalls in New York, the album boasts a good, intimate sound. The band begins with a loopy Latin treatment of "Night and Day," and proceeds to offer similarly off-the-wall readings of "Have You Met Miss Jones" and "How High the Moon," making a point of deforming these played to death vehicles. In a more rueful mood, they render the lesser-known standard "In Love In Vain" and the ballad "You've Changed." McHenry's entrance on the latter is so exquisitely high and soft that it could be mistaken for a flute. The more unusual repertoire choices are Howard Goodal's "Theme from 'Mr. Bean,'" which oddly enough sounds like something Bill McHenry would write, and Burt Bacharach's "The Look of Love," played with a satisfying faithfulness to the written melody. Closing the set is McHenry's "Blues Coda," which, along with Ornette Coleman's "Chronology," represents the most modern portion of the set, at least in authorial terms. But Iverson and McHenry do all they can to make everything even the moldiest standard sound modern, in their distinctive sense of the term. ~ David R. Adler https://www.allmusic.com/album/live-at-smalls-mw0000114938

Personnel: Piano – Ethan Iverson; Double Bass – Reid Anderson; Drums – Jeff Williams; Tenor Saxophone – Bill McHenry

Live At Smalls

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Freddie Slack - Freddie Slack & His Orchestra

Styles: Jazz, Big Band
Year: 2006
File: MP3@320K/s
Time: 54:35
Size: 127,1 MB
Art: Front

(4:07)  1. Introduction / Riffette
(4:09)  2. Don't Ever Change
(3:33)  3. Slightly Barbaric
(2:43)  4. Furlough Fling
(4:39)  5. Harlem Debutant
(3:50)  6. Dubonnet
(4:19)  7. Loose Wig
(3:43)  8. A Small Batch Of Nod
(4:14)  9. Come Jump With Me
(4:00) 10. Sweet Sorrow
(5:23) 11. Body And Soul
(3:01) 12. I've Heard That Song Before
(3:11) 13. Southpaw Serenade
(2:31) 14. Brazil
(1:06) 15. Strange Cargo

Originally a drummer, he switched to piano soon after moving to Chicago in 1927. Slack worked early on with Johnny Tobin. After moving to Los Angeles in 1931, he appeared with bands led by Henry Halstead, Earl Burtnett, Archie Rosate, and Lennie Hayton. Slack gained some recognition for his playing with Ben Pollack (1934-1936) and Jimmy Dorsey (1936-1939). As a key piano soloist with Will Bradley & His Orchestra during 1939-1941, Slack was well showcased on the famous recording of "Beat Me Daddy, Eight to the Bar" that helped launch the boogie-woogie fad. Slack was a key voice on many other Bradley recordings in the same vein; he also played quite effectively on some Big Joe Turner records. In 1942 Slack formed his own orchestra, which soon scored with the very successful "Cow Cow Boogie" and "Strange Cargo." Initially featuring singer Ella Mae Morse, for a short time Freddie Slack & His Orchestra were one of the more popular swing big bands, appearing in several films and recording for Capitol during 1942-1947. Freddie Slack was based in California in the 1950s and '60s, but he faded from the spotlight at the end of the 1940s, recording a final small-group album for EmArcy in 1955. ~ Scott Yanow https://www.allmusic.com/artist/freddie-slack-mn0000183083/biography

Freddie Slack & His Orchestra

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