Claudia Rezende - Copacabana

Bitrate: MP3@320K/s
Time: 60:33
Size: 138.6 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[3:38] 1. Gotta Be Somebody
[3:50] 2. Take Me Breath Away
[4:12] 3. Copacabana
[3:19] 4. This Old Heart Of Mine
[3:16] 5. I Dreamed A Dream
[3:13] 6. A Moment Like This
[3:21] 7. Never Gonna Give You Up
[3:40] 8. This Love
[4:53] 9. Because You Loved Me
[4:13] 10. Come Back To Me
[4:09] 11. Goody Goody
[4:03] 12. Freedom
[3:20] 13. Got To Be Real
[4:12] 14. Haven't Met You Yet
[3:47] 15. Kiss From A Rose
[3:20] 16. I Love Your Smile

Copacabana

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Dina Blade - My Romance

Size: 128,0 MB
Time: 54:09
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz Vocals
Art: Front

01. It Might As Well Be Spring (3:08)
02. My Romance (3:52)
03. Weaver Of Dreams (4:28)
04. Imagination (5:10)
05. Love (3:03)
06. That's For Me (2:59)
07. Miami Beach Rhumba (3:12)
08. Emily (2:47)
09. Rhode Island Is Famous For You (3:02)
10. New Coat Of Paint (3:09)
11. Just In Time (4:17)
12. Indian Summer (2:58)
13. Give Me The Simple Life (2:57)
14. You And The Night And The Music (3:57)
15. I Don't Worry 'bout A Thing (2:09)
16. But Beautiful (2:54)

Personnel:
Dina Blade – vocals; Hans Brehmer – piano; Larry Holloway – acoustic bass; Ken French – drums; Scott Kettron – congas & percussion; Jim Knodle – muted trumpet; Craig Flory – tenor saxophone (track 15)

This cd was selected as one of the Best Nortwest Jazz cds of 2006 by DJ Jim Wilke of NPR-KPLU's Jazz Northwest and Jazz After Hours. No wonder.
On this recording, straight ahead and swinging jazz vocalist Dina Blade sets a joyful mood backed by a rhythm section of piano, bass, drums, congas. With the addition of trumpet and tenor sax, the romp through a plethora of gems from the Great American Songbook is playfully creative. Dina Blade's voice is in terrific form, especially on standards like "Just in Time" which finds her in her element. The perfectly swinging musical sense that is her trademark intensifies as she becomes uplifted and really "digs in" after hearing the astoundingly virtuosic bass solo of Larry Holloway. The rafters are raised! There are many different grooves to be enjoyed here, and those who delight in latin rhythms will find satisfaction in several cuts, including the sassy "Miami Beach Rhumba" and the searing, up tempo "Love", where Dina's vocal soars above the unusual accompaniment of congas, bass and trumpet. A real stand out is the Rodgers and Hart's classic "My Romance", also the title track, which easily flows from slow waltz to hard swing and back again, highlighting Dina's sensuous vibrato. In contrast is the obscure but compelling "New Coat of Paint", with its hip, angular trumpet lines that provide a hypnotic, surreal backdrop for Tom Wait's saucy lyric. Guest artist tenor saxophonist Craig Flory treats listeners to a few amazing choruses on the shuffle blues "I Don't Worry Bout a Thing" by Mose Allison. The lovely jazz waltz "Emily", with it's rarely heard lyric is sure to please, along with the haunting ballad "But Beautiful", performed as a sparse but very effective bass and voice duet. Pianist and arranger Hans Brehmer contributed "vocalese" (additional lyrics) to two songs, adding humor to "Give Me the Simple Life" and intrigue to "Weaver of Dreams". The diversity of material presents something for everyone, and showcases the versatility of this vocalist who is passionate about finding well-crafted songs and bringing forth their best qualities. Above all, Dina Blade is a refreshingly natural singer with a great sense of time and swing: assets that continue to make her an audience favorite.

My Romance

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Gil Evans Orchestra - Jazz Standards With Evans

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 37:01
Size: 85,4 MB
Art: Front

(7:54) 1. Django
(3:58) 2. Ballad of the Sad Young Man
(4:42) 3. Chant of the Weed
(6:38) 4. Straight No Chaser
(6:39) 5. Theme
(4:22) 6. Davenport Blues
(2:45) 7. Joy Spring

A superb jazz arranger and bandleader, Gil Evans rivaled Ellington and Mingus in his ability to provide imaginative frameworks for individual voices within a large orchestra. He wrote elaborate, intricate arrangements that didn't weaken or threaten his band's spontaneity. His most renowned work came in the late '50s, when Miles Davis signed with Columbia and brought Evans into the studio with a large ensemble. The resultant albums Miles Ahead (1957), Porgy and Bess (1958), Sketches of Spain (1959) became milestones in the careers of both men. Evans was hardly a purist; he began using electronics in his bands in the '70s and scandalized some by recording Jimi Hendrix material. His style got looser in later years, with more space and less precision, but certainly his music remained compelling. Evans' harmonic language, compositional and arranging skill were immense, and he was responsible for many masterpieces through either his arrangements, compositions, or conducting.

A self-taught musician, Evans led his own group in California during the mid and late '30s. He remained its arrranger after Skinnay Ennis became bandleader, until he joined Claude Thornhill's orchestra in 1941 as an arranger. His arrangements of classical bebop compositions helped shape and make Thornhill's orchestra a topflight band. He stayed until 1948, except for a stretch in the service during the mid-'40s. Evans first worked with Miles Davis in the late '40s and early '50s, creating the same magic, but with a smaller combo. He also wrote songs for Peggy Lee, Tony Bennett, and Benny Goodman, while conducting albums for Astrud Gilberto and Kenny Burrell.~Ron Wynn https://www.allmusic.com/artist/gil-evans-mn0000551815/biography

Jazz Standards With Evans

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