Corinne Bailey Rae - Live In New York (Ao Vivo)

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 59:44
Size: 138,1 MB
Art: Front

(5:45)  1. Call Me When You Get This
(3:37)  2. Trouble Sleeping
(5:32)  3. Breathless
(4:05)  4. Enchantment
(5:17)  5. Till It Happens To You
(5:47)  6. Since I've Been Loving You
(5:26)  7. Like A Star
(3:53)  8. Put Your Records On
(4:02)  9. Butterfly
(4:55) 10. I'd Like To
(4:47) 11. Choux Pastry Heart
(6:31) 12. Seasons Change

Corinne Bailey Rae is a soul-rooted contemporary R&B singer and songwriter with multiple Top Ten U.K. and U.S. albums. Displaying an interest in music from an early age, Bailey Rae studied classical violin until she acquired an electric guitar in her early teens. Inspired by such '90s alt-rock icons as L7, Veruca Salt, and Belly, Bailey Rae formed her first band, Helen. Despite developing a strong local following, the band ultimately folded and she enrolled at Leeds University to study English literature. While at school, a job at a jazz club inspired her more soul-oriented leanings and she began writing songs. Eventually, she scored a record deal with EMI and released her self-titled debut solo album in February 2006. It topped the U.K. album chart, pushed by the number two single "Put Your Records On," and reached number four on the U.S. Billboard 200. Bailey Rae earned three Grammy nominations and was nominated for as many MOBOs, two of which Best U.K. Female, Best U.K. Newcomer she won. A year later, both an expanded edition of the album and the CD/DVD set Live in London & NY appeared, and she was featured on Herbie Hancock's Grammy-winning River: The Joni Letters. Corinne Bailey Rae's second proper album, The Sea, was heavily affected by the death of her husband, saxophonist Jason Rae.

Despite the traumatic events surrounding its recording, it translated into commercial success as another instant Top Ten hit in the U.K. and U.S. after its January 2010 release. She followed the Mercury Prize-nominated album early the next year with the considerably lighter The Love EP, a five-song set containing covers of songs originally recorded by the likes of Prince, Bob Marley, and Paul McCartney & Wings. Her version of Marley's "Is This Love" won a Grammy in the category of Best R&B Performance. As she worked on her third proper album, she temporarily retreated from the spotlight and remarried in 2013. In February 2016, "Been to the Moon," a collaboration with King's Paris and Amber Strother, heralded The Heart Speaks in Whispers, which arrived three months later. The album peaked at number two on the R&B charts. One year later, Bailey Rae recorded a cover of Coldplay's "The Scientist" for the Fifty Shades Darker soundtrack. ~ Matt Collar https://www.allmusic.com/artist/corinne-bailey-rae-mn0000733717/biography

Live In New York

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Francesca Leone & Guido Di Leone - Tudo Em Bossa Nova

Styles: Vocal And Guitar
Year: 2019
File: MP3@320K/s
Time: 79:39
Size: 183,1 MB
Art: Front

(3:22) 1. Samba e Amor
(3:10) 2. Io so che ti amerò
(1:46) 3. Sambou Sambou
(3:19) 4. Kisses Through the Fingers
(1:57) 5. Só Tinha de Ser Com Você
(3:37) 6. Que reste-t-il de nos amours ?
(2:46) 7. Falsa Baiana
(3:28) 8. 'na voce 'na chitarra (e 'o poco 'e luna)
(3:35) 9. Just in Time
(1:39) 10. Deixa
(2:59) 11. Time After Time
(4:23) 12. Sem Você
(2:21) 13. Watch What Happens
(2:19) 14. Malaga
(2:24) 15. Só Danço Samba
(2:37) 16. Samba em Prelúdio
(2:22) 17. Ho-Ba-La-La
(3:52) 18. Tristeza / Samba de Duas Notas
(4:30) 19. You're My Everything
(3:05) 20. Quizás, Quizás, Quizás
(2:27) 21. Doralice
(3:02) 22. Anema e core
(3:40) 23. Triste
(3:00) 24. Bolsa Nova
(4:07) 25. But Not For Me
(3:39) 26. Fotografia

Two of the greatest national performers of the bossanova genre. A duet fruit of years of collaborations, concerts and festivals held around the world. A repertoire, the Brazilian one, chosen from pieces that in some cases carry excellent signatures such as those of Tom Jobim, Joao Gilberto, Vinicius de Moraes, Baden Powell. The "Brazilian saudade" soon became part of the musical culture of the whole world, giving a new life to its melodies. Guido Di Leone, one of the most famous Italian guitarists and Francesca Di Leone, a persuasive voice and very fine performer, give us a record of high artistic profile and at the same time of great pleasure, elegance and simplicity of listening. http://www.jazzandmore.it/product_info.php?products_id=753&language=en

Personnel: Di Leone Guido - classic guitar; Leone Francesca - voices

Tudo Em Bossa Nova

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René Marie - Black Lace Freudian Slip

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 69:07
Size: 159,6 MB
Art: Front

(4:32)  1. Black Lace Freudian Slip
(6:29)  2. This For Joe
(5:53)  3. Wishes
(7:28)  4. Thanks, But I Don't Dance
(4:52)  5. Free For A Day
(6:24)  6. Ahn's Dream
(4:18)  7. Gosh, Look At The Time
(5:39)  8. Rim Shot
(6:04)  9. Fallin' Off A Log
(5:23) 10. Deep In The Mountains
(2:56) 11. Serenity Prayer
(4:06) 12. Rufast Daliarg
(4:56) 13. Tired

Budding jazz instrumentalists are often told that they need to find their own voice but, ironically, those who use their actual voices are often expected to adhere to the sonic standards of those who came before. Fans and press who value originality in jazz instrumentalists wring their hands in frustration when more John Coltrane clones come into the picture but, on the other side of the coin, the masses applaud and herald singers with voices crafted in the images of jazz icons (e.g. Madeleine Peyroux's Billie Holiday-like voice), creating a double standard that does a disservice to those singers who don't fall in line.

While the ability to interpret songs from The Great American Songbook, and understand and borrow musical mannerisms from notable artists, has undeniable merit, vocalists like the one and only Rene Marie deserve to be measured for their originality in voice, spirit and song. Marie's steadfast commitment to her own vision of music has won her wide acclaim for a string of fine recordings, and placed her in controversial situations, as with her "Lift Every Voice" rewrite of "The Star Spangled Banner," but she always remains confident in her artistic decisions, never letting populist ideals or the changing winds of the music industry sway her from her chosen path.  Black Lace Freudian Slip comes closely on the heels of Marie's personally patriotic Voice Of My Beautiful Country (Motéma, 2011), but the focus is now on Marie-as-composer. Ten of the thirteen tracks on this album are Marie originals and, while her honesty and spirit shine through in each and every performance, she touches on various themes and styles throughout.  

"Black Lace Freudian Slip" is a study in contrasts, as Marie uses a sensuous delivery that shows off her feminine wiles, while also infusing her vocals with the type of boastful braggadocio usually reserved for male rappers, but that's only one side of this complex individual. Elsewhere, she touches on a folk-country hybrid that leans toward the sound of Ray LaMontagne ("Wishes"), boisterous pseudo-samba ("Rufast Daliarg"), stunning, soulful displays of vocal intensity ("Deep In The Mountains"), and music with earthy bass and tom grooves that wear textural designs often found in the work of Cassandra Wilson ("Ahn's Dream"). While Marie rails against the notion of people comparing her to other famous voices like Ella Fitzgerald and Sarah Vaughan during her aural response to a club owner who told her that jazz singers should interpret rather than write ("This For Joe"), it's hard not to notice a Nancy Wilson-like zeal in her voice on the waltzing "Free For A Day." Here, and on her ode to a drummer's accent ("Rim Shot"), Marie is at her most lighthearted. With so many different styles and sounds coming in and out of the mix, Black Lace Freudian Slip doesn't really come off as a statement from a jazz singer. Instead, it arrives as a musical gift from one of the most arresting and complex vocal personalities performing today.~ Dan Bilawsky   http://www.allaboutjazz.com/php/article.php?id=40710#.UwKeRYVQE9c
 

Personnel: Rene Marie: vocals; Kevin Bales: piano; Rodney Jordan: bass; Quentin Baxter: drums; Bill Kepper: acoustic guitar (3); Lionel Young: electric guitar, fiddle (10); Dexter Payne: harmonica (3); Michael A. Croan: vocals (10).

Black Lace Freudian Slip

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Louis Armstrong - Oldies Mix: Satchmo

Styles: Vocal
File: MP3@320K/s
Time: 93:04
Size: 218,2 MB
Art: Front

(3:01) 1. C'est Si Bon
(3:07) 2. Georgia on My Mind
(3:25) 3. La Vie En Rose
(5:13) 4. Sweet Lorraine
(2:46) 5. When the Sants Go Marchin'in
(3:20) 6. Blueberry Hill
(3:12) 7. Down by the Rivers Side
(4:18) 8. I Get a Kick out of You
(3:21) 9. Jeannine
(3:20) 10. If
(3:58) 11. Makin' Whoopee
(2:59) 12. Linger in Your Arms a Little Longer
(2:59) 13. Sittin' in the Sun
(2:56) 14. That's What the Man Said
(6:26) 15. You Go to My Head
(3:51) 16. A Fine Romance
(5:53) 17. Cheek to Cheek
(3:52) 18. I Got Plenty O' Nuttin'
(3:46) 19. Can't We Be Friends
(3:42) 20. Cottontail
(5:03) 21. Duke's Place
(4:00) 22. Black and Tan Fantasy
(2:21) 23. Little Ol' Tune
(3:44) 24. Rocky Mountain Moon
(2:21) 25. Bye Bye Blues

Louis Armstrong was born in New Orleans, Louisiana on August 4, 1901. He was raised by his mother Mayann in a neighborhood so dangerous it was called “The Battlefield.” He only had a fifth-grade education, dropping out of school early to go to work. An early job working for the Jewish Karnofsky family allowed Armstrong to make enough money to purchase his first cornet.

On New Year’s Eve 1912, he was arrested and sent to the Colored Waif’s Home for Boys. There, under the tutelage of Peter Davis, he learned how to properly play the cornet, eventually becoming the leader of the Waif’s Home Brass Band. Released from the Waif’s Home in 1914, Armstrong set his sights on becoming a professional musician. Mentored by the city’s top cornetist, Joe “King” Oliver, Armstrong soon became one of the most in-demand cornetists in town, eventually working steadily on Mississippi riverboats.

In 1922, King Oliver sent for Armstrong to join his band in Chicago. Armstrong and Oliver became the talk of the town with their intricate two-cornet breaks and started making records together in 1923. By that point, Armstrong began dating the pianist in the band, Lillian Hardin. In 1924, Armstrong married Hardin, who urged Armstrong to leave Oliver and try to make it on his own.

A year in New York with Fletcher Henderson and His Orchestra proved unsatisfying so Armstrong returned to Chicago in 1925 and began making records under his own name for the first time.More.... https://www.louisarmstronghouse.org/biography/

Oldies Mix: Satchmo

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