Janey Clewer - Fallen for Brazil

Styles: Vocal
Size: 138,1 MB
Time: 59:18
File: MP3 @ 320K/s
Released: 2012
Art: Front

1. Samba Sky (5:05)
2. Paparazzi (5:04)
3. One At Heart (3:46)
4. Ooh, Ooh (5:03)
5. I Should Let Go (4:18)
6. The Summer Wind (feat. Michael Sembello) (3:40)
7. Too Good to Be Real (4:35)
8. Picture This (5:05)
9. This Masquerade (4:33)
10. Make Her Mine (feat. Marc Jordan) (4:40)
11. Shangri-La (4:40)
12. Fallen for Brazil (4:57)
13. Coup De Grace (3:46)

'She sings with a Brazilian heart.' Daniel Jobim (grandson of Antonio Carlos Jobim) 'Her voice floats effortlessly over silky melodies and smoky chordal harmonies. She has it all. It's ice cream and coffee, wine and whiskey. It's rare, it's real talent... Janey is the blueprint for the new generation of real singers, just as Ella Fitzgerald was for her generation... Janey goes deep. You don't need any hype. When you start calling a person by their first or last name like: Bird, Coltrane, Ella, you know they are something special. That's Janey' - Michael Sembello 'Your CD is beautiful. The whole thing. Totally suits you to a tee. Your voice sounds amazing....'I Should Let Go' had me wanting a cigarette afterwards....' Richard Marx Fallen For Brazil is one of the most romantic, sensual CDs you will ever own. The songs are sophisticated gems framed in the influences of Brazilian music and culture.

Janey has composed 12 neo-Brazilian styled songs that will thrill your senses and stir your soul. Additionally, there is a cover of This Masquerade an all-time personal favorite of Janey's. She caresses each song with effortless, seductive vocals that exude an intimacy that is undeniably Janey. Every track is drenched with timeless string arrangements and the incomparable John Patitucci on bass. Also featured is the vocal magic of Marc Jordan on the duet Make Her Mine and Michael Sembello sings haunting Portuguese background vocals on The Summer Wind. The CD also features the awesome acoustic guitar work of her husband, Bruce Gaitsch, flutes by Dave Boruff, vibes by Alex Poston and trumpet by Nick Newman.

The timeless string arrangements of Boh Cooper and Janey brush each song with beautiful strokes of color. The string players are Nashville's finest led by David Davidson. Josh Abbey, producer and engineer for Russell Watson, mixed Janey's CD in NYC, NY. Open your finest Malbec, sit back and let your ears take you on a passionate musical journey to Brazil and beyond. https://www.hmv.co.jp/en/artist_Janey-Clewer-Janey_000000000060994/item_Fallen-For-Brazil_4935679

Fallen for Brazil

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Didier Lockwood - Out Of The Blue

Styles: Violin Jazz
Year: 1985
File: MP3@320K/s
Time: 37:54
Size: 87,6 MB
Art: Front

(4:31)  1. Legs
(6:23)  2. Cello Britten
(2:57)  3. Martinique
(3:12)  4. I Can't Tell You To Begin
(4:20)  5. November Song
(3:55)  6. Out Of The Blue
(6:49)  7. Round About Midnight
(5:43)  8. B. Train Blues

Violinist Didier Lockwood showed great potential when he first arrived on the scene, but despite some good sessions, he has not yet become the pacesetter one originally expected. 

This is one of his better recordings, a quartet outing with pianist Gordon Beck, bassist Cecil McBee and drummer Billy Hart. Other than "'Round Midnight" and an obscurity, all of the music is by either Lockwood or Beck, although much of it is fairly straight-ahead (as opposed to Lockwood's earlier fusion-oriented dates) Worth searching for. ~ Scott Yanow https://www.allmusic.com/album/out-of-the-blue-mw0000188326

Personnel: Didier Lockwood - violin; Gordon Beck - guitar; Cecil McBee - bass; Billy Hart - drums

Out Of The Blue

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Arnett Cobb - Funky Butt

Bitrate: MP3@320K/s
Time: 59:44
Size: 136.7 MB
Styles: Saxophone jazz
Year: 1980/2014
Art: Front

[4:30] 1. Jumpin' At The Woodside
[5:53] 2. Satin Doll
[4:06] 3. Georgia On My Mind
[5:46] 4. Funky Butt
[6:22] 5. I Got Rhythm
[5:50] 6. September In The Rain
[6:07] 7. Isfahan
[4:43] 8. Radium Springs Swings
[4:25] 9. Jumpin' At The Woodside [take 1]
[7:23] 10. Funky Butt Blues [take 1]
[4:33] 11. I Got Rhythm [take 2]

Arnett Cobb, a tenor from the 1940s who (like Illinois Jacquet) fused together some of the most exciting aspects of swing and early R&B, is in typically exuberant form on this quartet set with pianist Derek Smith, bassist Ray Drummond and drummer Ronnie Bedford. Cobb is warm on the ballads but the stomps (particularly "Jumpin' at the Woodside" and "I Got Rhythm") are what make this record most memorable. ~Scott Yanow

Funky Butt

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Tubby Hayes - No Blues – The Complete Hopbine ‘65

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 95:41
Size: 219,5 MB
Art: Front

(17:42) 1. Night And Day
( 9:22) 2. It Never Entered My Mind
( 9:19) 3. I Remember You
(15:15) 4. On Green Dolphin Street
(19:39) 5. No Blues
( 5:15) 6. What's New?
(19:08) 7. Have You Met Miss Jones?

"Who the fuck are you?" said Tubby Hayes, encountering Ron Mathewson on the bandstand of London's Hopbine club an hour or so before the start of the gig which this album chronicles. "I'm the bassist," said just turned twenty-one year old Mathewson, who had been booked to deputise for the Hopbine's regular bassist that night.

"Well, we'll see about that, won't we?" said Hayes.

So began a relationship in which Mathewson later became a permament member of Hayes' quartet and the bassist in all of his bands, large and small, up until Hayes passed in 1973.

The full story is told in an interview Mathewson gave, not long before he passed in 2020, to Hayes historian Simon Spillett, the author of the 24-page liner booklet accompanying the 2-CD live album No Blues: The Complete Hopbine '65. It is Mathewson's tape archive which we have to thank for this, the first complete recording of the gig, which has previously been released in bits and always with poor audio. Not only is the Jazz In Britain release the first complete recording, it is the only one on which sound restoration has raised the audio to a quality befitting the music.

And the music is superb. Many people consider Hayes to have been at his peak circa 1965, when, as Spillett observes, one hears the inspiration of Hayes' hero John Coltrane mixed in with Hayes' gift for Stan Getz-like balladry. In 1965, too, Hayes was still in good physical shape, before the effects of longterm heroin use kicked in. When he concludes his 44-chorus solo on Miles Davis' "No Blues" there is every suggestion that he could have maintained the energy level for another 44 choruses. There are similarly ecstatic performances of Cole Porter's "Night And Day" and Bronislaw Kaper's "On Green Dolphin Street," on which Hayes' is joined by fellow tenor saxophonist Tommy Whittle, organiser of the one-night-a-week jazz club in the back room of the Hopbine pub. There is balladry as well, with a gutsy exploration of Richard Rodgers' "It Never Entered My Mind."

Once again, John Thurlow and his dedicated team at not-for-profit Jazz In Britain are to be thanked for bringing a chunk of immortal magic back into the public domain.
By Chris May https://www.allaboutjazz.com/no-blues-the-complete-hopbine-65-tubby-hayes-jazz-in-britain

Personnel: Tubby Hayes: saxophone, tenor; Kenny Powell: piano; Ron Mathewson: bass, acoustic; Dick Brennan: drums.

No Blues – The Complete Hopbine‘65

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Jo Harrop - The Path Of A Tear

Styles: Vocal And Trumpet Jazz
Size: 115,8 MB
Time: 49:26
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Beautiful fools (4:25)
2. Whiskey or the truth (5:42)
3. A love like this (5:41)
4. Traveling light (4:38)
5. The path of a tear (le chemin d'une larme) (3:10)
6. You'll never be lonely in Soho (4:53)
7. If it wasn't for bad (3:29)
8. Too close to the sun (4:16)
9. Hurt (3:44)
10. Goodbye (5:46)
11. Stay here tonight (3:36)

The Path of a Tear is Durham-born singer and songwriter Jo Harrop's fifth album release on the Lateralize label, which was established in 2018. Harrop's first album was Songs For The Late Hours (Lateralize, 2019), a download-only release on which she and her guitar, piano and bass trio arranged and played a selection of Tin Pan Alley songs, including the Gershwins' "How Long Has This Been Going On," which showcased Harrop's voice well.

Her second album, the first on CD, was Weathering the Storm (Lateralize, 2020) which was jointly credited to Harrop and Jamie McCredie who accompanied her on guitar, giving the music a sound which blurred the boundary between folk and jazz. Again, there were no songs by Harrop or McCredie but the ones they played were rather more modern than those on the previous album, including "Take It With Me" by Tom Waits, "Guilty" by Randy Newman and "If" by David Gates.

Harrop's third album, The Heart Wants (Lateralize, 2021) was a pivot point of her career, as she is credited as a composer of eight of its thirteen tracks, having used the opportunity presented by Covid to work on the album which she had longed to make for years. In addition, a plethora of musicians and singers made the music on the album far richer than on any previous Harrop album. Her fourth album, When Winter Turns To Spring (Lateralize, 2022) was jointly credited to Harrop and pianist and arranger Paul Edis who penned and/or arranged this musical journey through a year's weather.

In several ways, The Path of a Tear differs from Harrop's previous albums. Firstly, the album was recorded at The Village Studios Studio D, Los Angeles, in September 2023, making it the first Harrop album to be recorded outside of the UK. Secondly, it was produced by Larry Klein, who plays bass and has previously produced albums by Joni Mitchell, Madeleine Peyroux and Herbie Hancock among others. He was married to Mitchell for a period in the '80s and '90s. He is also a four-time Grammy winner. Thirdly, no musician from any previous Harrop album plays on the album. All of the musicians here have impressive track records as jazz players.

Of the album's eleven tracks, eight were co-composed by Harrop. The other three are "Travelling Light" by Leonard Cohen, "If It Wasn't For Bad" by Leon Russell, and "Goodbye" by Steve Earle. As is fitting, Harrop's voice dominates the album, rather than the musicians who accompany her. She has the uncommon knack of sounding as if she has experienced every emotion that she sings about. Where The Heart Wants was an album about love and life, as its song titles suggest, The Path of a Tear focuses more on the pain of love; it is a measure of her talent that Harrop conveys the ups and downs of love with equal credibility. Even when she is singing about being hurt, her voice makes beautiful listening. Sure to be one of the year's best.By John Eyles
https://www.allaboutjazz.com/the-path-of-a-tear-jo-harrop-lateralized

The Path Of A Tear

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