Various Artists - Quiet About It (A Tribute to Jesse Winchester)

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 44:03
Size: 102,0 MB
Art: Front

1. James Taylor - Payday (3:09)
2. Rosanne Cash - Biloxi (3:24)
3. Jimmy Buffett - Gentleman of Leisure (4:36)
4. Allen Toussaint - I Wave Bye Bye (3:33)
5. Vince Gill - Talk Memphis (4:28)
6. Mac McAnally - Defying Gravity (3:56)
7. Lyle Lovett - Brand New Tennessee Waltz (3:53)
8. Lucinda Williams - Mississippi You're on My Mind (4:25)
9. Emmylou Harris/Vince Gill/Rodney Crowell - Dangerous Fun (3:35)
10. Little Feat - Rhumba Man (5:52)
11. Elvis Costello - Quiet About It (3:10)

To many, Jesse Winchester is still best known for his ideals rather than his music in 1967, rather than join the military and fight in Vietnam, he emigrated to Canada, and spent most of the '70s as an exile of conscience. If Winchester had been a protest singer in the manner of Phil Ochs, this might have made him a hero, but his songs rarely reflected his political views, and instead were compact, painterly meditations on life in the South and the mysteries of life and love (though his physical and emotional distance from his birthplace in Memphis certainly provided a powerful subtext to his music of the '70s).

If Winchester's music never quite clicked with a mass audience due to his inability to tour the United States during the '70s or the shifting tides of popular taste, he's long been a favorite among his fellow songwriters, and 11 noted performers interpret some of Winchester's best songs on Quiet About It: A Tribute to Jesse Winchester. Quiet About It is that rare tribute album that gives each artist room to find their own musical personality in these songs, while the 11 tracks still cohere into a whole that reveals the depth and lyricism of Winchester's work.

This hardly represents every worthwhile tune in his songbook, but the 11 here are all winners, and the songs bring out the best in the artists. Lyle Lovett (who was clearly influenced by Winchester's vocal style) finds every bit of sad beauty in "Brand New Tennessee Waltz," Vince Gill brings just the right swagger to "Talk Memphis," Allen Toussaint's version of "I Wave Bye Bye" is lovely and heartfelt, Lucinda Williams is all rough-hewn grace on "Mississippi You're On My Mind," and Elvis Costello's lo-fi take on "Quiet About It" is stylistically bold but true to the song's nature. James Taylor gives one of his best and liveliest performances in ages with his cocksure version of "Payday," and Jimmy Buffett (who spearheaded the project) reminds us that he was a gifted singer before he discovered how well singing about aquatic alcoholism could pay with a sharp take on "Gentleman of Leisure."

Quiet About It came about when Winchester revealed he'd been diagnosed with esophageal cancer, and the artists involved banded together as a show of support (and to generate some songwriting royalties); thankfully, by the time the album appeared, Winchester was in remission, and this splendid celebration of an underappreciated talent arrived while the man who inspired it is still around to take a bow. If you don't know Winchester's work, Quiet About It is a sure convincer of his talents as a songwriter, and if you're a fan, you'll revel in some top-notch interpretations of his songs. Either way, Quiet About It is a must, and one of the finest tribute albums of recent memory.~Mark Deming
https://www.allmusic.com/album/quiet-about-it-a-tribute-to-jesse-winchester-mw0002418862

Quiet About It (A Tribute to Jesse Winchester)

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Maceo Parker - Dial Maceo

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 54:48
Size: 126,7 MB
Art: Front

(0:23)  1. Dial MACEO
(5:10)  2. Rabbits In The Pea Patch
(3:23)  3. My Baby Loves You
(4:02)  4. I've Got Work To Do
(5:38)  5. The Greatest Romance Ever Sold
(4:59)  6. Black Widow
(2:55)  7. Coin Toss
(4:30)  8. Simply Tooley
(4:40)  9. Latin Like
(5:30) 10. The Closer I Get To You
(4:05) 11. My Love
(9:28) 12. Home Boy

Undoubtedly one of the best known sax players in the history of funk, predominantly through his work with James Brown ("Play, Maceo!"), Maceo Parker has had a spotty recorded solo career. His eighth album as a band leader finds the horn honker expanding his palette by aiming his instrument at smooth jazz and rap, while inviting fans Ani DiFranco, James Taylor (?!), and Prince to add superstar spice to his soul stew. Although it's refreshing that these folks wanted to lend a hand, none of their contributions help define the album, and, in Prince's case, even waters it down. Certainly Parker doesn't need any assistance as smoking versions of the Isley Brothers' "Work to Do," the album's opening stuttering funk salvo of the self-composed "Rabbits in the Pea Patch," and "Coin Toss" (DiFranco's track) makes clear. The talented Parker, who is only slightly less adept at the flute and piano, rips into scorching solos equally as energetic as anything he did with Brown or George Clinton. Unfortunately, a shift to easy-listening fusion with treackly covers of Robert Flack's "The Closer I Get to You" and especially Paul McCartney's icky "My Love" move him into slick, supper club territory as the disc closes. His horn still sparkles, but without the deep R&B party sounds to work with, the latter part of the album sinks into formula. On the other end of the spectrum is "Black Widow," featuring Parker's son Corey rapping over a slow, sparse backing as dad plays flute in an attempt to push his musical envelope, which never quite gels. Nor does an almost unrecognizable James Taylor singing vocal harmony on "My Baby Loves You," a joyously upbeat track. By trying to touch too many bases, Maceo Parker only dilutes his most stunning attribute the tough, groove machine fury of his sax. That makes this another good, but not great, release from a legendary artist whose flame remains white hot, but whose albums never quite catch fire.~ Hal Horowitz https://www.allmusic.com/album/dial-maceo-mw0000058958

Personnel: Maceo Parker (vocals, alto saxophone, flute, piano); Prince (vocals, various instruments); Ani DiFranco (vocals, guitar); James Taylor, Corey Parker, "Sweet" Charles Sherrell (vocals); Vincent Henry (tenor saxophone); Ron Tooley (trumpet, flugelhorn); Bennie Cowan (trumpet); Greg Boyer (trombone); Sheryl Crow (harmonica, background vocals); Will Boulware (Hammond organ, synthesizer); Bruno Speight (guitar); Rodney "Skeet" Curtis (bass); Jamal Thomas, Michael Bland (drums); Kevin Hupp (percussion); Diann Sorrell, Audrey Martells, Corey Parker, Charles Sherell (background vocals).

Dial Maceo

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Yo-Yo Ma - Songs Of Joy & Peace

Bitrate: MP3@320K/s

Time: 79:41

Size: 182.4 MB

Styles: Classical crossover

Year: 2008

Art: Front

[2:00] 1. Dona Nobis Pacem

[3:29] 2. You Couldn't Be Cuter (Feat. Diana Krall)

[3:43] 3. Joy To The World (Feat. Dave Brubeck)

[2:50] 4. Here Comes The Sun (Feat. James Taylor)

[2:57] 5. Improvisation On Dona Nobis Pacem (Give Us Peace)

[2:37] 6. The Wassail Song All Through The Night

[3:47] 7. A Christmas Jig Mouth Of The Tobique Reel (Feat. Natalie Macmaster)

[4:20] 8. The Wexford Carol (Feat. Alison Krauss)

[3:06] 9. Panxoliña A Galician Carol (Feat. Cristina Pato)

[0:58] 10. Improvisation On Dona Nobis Pacem (Give Us Peace) (Feat. Sergio Assad)

[3:25] 11. Vassourinhas

[2:32] 12. Improvisation On Dona Nobis Pacem (Give Us Peace) (Feat. Paquito D'rivera)

[4:53] 13. Invitación Al Danzón (Feat. Paquito D'rivera)

[4:07] 14. My One And Only Love (Feat. Joshua Redman)

[3:57] 15. Familia

[4:31] 16. Concordia (Feat. Dave Brubeck)

[6:30] 17. My Favorite Things (Feat. Chris Botti)

[4:36] 18. Touch The Hand Of Love (Feat. Renée Fleming)

[3:26] 19. Kuai Le

[5:02] 20. This Little Light Of Mine (Feat. Amelia Zirin-Brown)

[4:46] 21. Happy Xmas (War Is Over) (Feat. Jake Shimabukuro)

[1:58] 22. Dona Nobis Pacem (Give Us Peace) Auld Lang Syne (Feat. Chris Botti)

Cellist Yo-Yo Ma has long been a giant in the classical world, though he has also made a number of recordings with musicians who play other styles. This holiday disc doesn't exclusively stick to traditional Christmas songs, but covers a wide scope of material in a very ambitious manner. Ma opens with a lovely take of the traditional favorite Dona nobis pacem (Give Us Peace), playing both the melody and counterpoint via overdubbing. Jazz pianist/vocalist Diana Krall is superb in a swinging rendition of Jerome Kern's unjustly obscure "You Couldn't Be Cuter," adding bassist John Clayton. An arrangement of Joy to the World features pianist Dave Brubeck, cellist Matt Brubeck (his son), and clarinetist Paquito d'Rivera in a playful setting that works in The Christmas Song and On the Trail. The senior Brubeck's Concordia is filled with spirit in a lively performance with the two cellists. Chris Botti has never sounded better in the warm arrangement of My Favorite Things, playing both open and muted trumpet, with pianist Billy Childs, bassist Robert Hurst, drummer Billy Kilson, and guitarist Romero Lubambo. Ma has previously collaborated with bassist Edgar Meyer (who is equally at home in jazz and classical music), though this is the cellist's first meeting with mandolinist Chris Thile. Together they make an impressive trio, especially in the enticing medley of The Wassail Song and All Through the Night. Soprano Renée Fleming's rich voice is beautifully complemented by Ma, Meyer, and Thile. Having worked with onetime bluegrass fiddler Mark O'Connor, Ma is very much at home with Celtic fiddler Natalie MacMaster in the lively medley of A Christmas Jig/Mouth of the Tobique Reel. Among the other friends featured on this disc are the Assad Family, Wu Tong & the Silk Road Ensemble, tenor saxophonist Joshua Redman, plus Alison Krauss with piper Christina Pato. One track doesn't fit in all that well with the rest of this CD. The Beatles' bland "Here Comes the Sun" has a warm vocal by James Taylor, but it is hampered by its weak lyrics. ~Ken Dryden

Songs Of Joy & Peace

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Garland Jeffreys - Ghost Writer

Styles:  Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 41:39
Size: 96,1 MB
Art: Front

(3:01)  1. Rough and Ready
(3:51)  2. I May Not Be Your Kind
(3:32)  3. New York Skyline
(4:09)  4. Cool Down Boy
(5:43)  5. Ghost Writer
(3:31)  6. Lift Me Up
(3:43)  7. Why-O
(3:03)  8. Wild in the Streets
(3:17)  9. 35 Millimetre Dreams
(7:44) 10. Spanish Town

Ghost Writer wasn't Garland Jeffreys' first album, but it was the first one where his signature lyrical voice made itself properly heard on vinyl, and where he seemed to fully embrace the stylistic eclecticism that would become one of the hallmarks of his work. On Ghost Writer, Jeffreys spins ten vivid tales of life on the New York streets, ranging from the cool literary philosophizing of the title cut to the teenage rage of "Wild in the Streets," encompassing the slinky reggae of "I May Not Be Your Kind," the sinewy Latin grooves of "Spanish Town," the cocky rock & roll of "Rough & Ready," the graceful sweet soul of "New York Skyline," and the edgy, urgent menace of "Lift Me Up." What holds it all together is Jeffreys' songwriting, keenly intelligent without seeming academic and reveling in the power of the word; here Jeffreys makes much of his multicultural background, which seems a natural reflection of the city that provides a backdrop for the stories, and Ghost Writer's musical shape shifting makes these songs sound like they're leaping from borough to borough without losing the "you talkin' to me?" big city swagger that informs them all. And Jeffreys can sing about the dilemma of race in an international city, political unrest in another land, unrequited love, the movies that give life to his dreams, and the books that nourish his soul while sounding wise, fully engaged, and like the coolest guy on the block all at once, with a voice that's sweet, sharp, and commanding. Ghost Writer is an album that covers a lot of ground in ten songs, but it never gets lost on its whirlwind ride around the city, and if it became a cult item rather than a mainstream success, anyone who gives this a fair hearing is likely to conclude it's the work of an artist of the first order, and Jeffreys' second masterpiece, Escape Artist, would attract the larger American audience he deserved. ~ Mark Deming http://www.allmusic.com/album/ghost-writer-mw0000856640

Personnel:  Bass: Anthony Jackson;  Drums: John Boudreaux, Rick Marotta, Steve Gadd;  Guitar – Alan Freedman, Sugar Bears;  Guitar, Harmonica – Hugh McCracken;  Guitar, Keyboards – David Spinozza;  Guitar, Vocals, Percussion – Garland Jeffreys;  Keyboards – Don Grolnick, Dr. John, Leon Pendarvis Percussion – Rubens Bassini;  Saxophone – Al Cohn, David Sanborn, Michael Brecker;  Trombone – Phil Messina;  Trumpet – Burt Collins, Danny Cahn, Randy Brecker;  Vocals – Arnold McCuller, David Lasley, David Peel, James Taylor, Lynn Pitney

Ghost Writer

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James Taylor - Mud Slide Slim And The Blue Horizon

Bitrate: MP3@320K/s
Time: 36:54
Size: 84.5 MB
Styles: Soft rock
Year: 1971/2012
Art: Front

[2:40] 1. Love Has Brought Me Around
[4:27] 2. You've Got A Friend
[1:59] 3. Places In My Past
[2:40] 4. Riding On A Railroad
[1:12] 5. Soldiers
[5:20] 6. Mud Slide Slim
[3:45] 7. Hey Mister, That's Me Up On The Jukebox
[2:29] 8. You Can Close Your Eyes
[2:34] 9. Machine Gun Kelly
[2:19] 10. Long Ago And Far Away
[2:40] 11. Let Me Ride
[3:50] 12. Highway Song
[0:54] 13. Isn't It Nice To Be Home Again

James Taylor's commercial breakthrough in 1970 was predicated on the relationship between the private concerns expressed in his songs and the larger philosophical mood of his audience. He was going through depression, heartbreak, and addiction; they were recovering from the political and cultural storms of the '60s. On his follow-up to the landmark Sweet Baby James, Taylor brought his listeners up to date, wisely trying to step beyond the cultural, if not the personal, markers he had established. Despite affirming romance in songs like "Love Has Brought Me Around" and the moving "You Can Close Your Eyes" as well as companionship in "You've Got a Friend," the record still came as a defense against the world, not an embrace of it; Taylor was unable to forget the past or trust the present. The songs were full of references to the road and the highway, and he was uncomfortable with his new role as spokesman. The confessional songwriter was now, necessarily, writing about what it was like to be a confessional songwriter: Mud Slide Slim and the Blue Horizon served the valuable function of beginning to move James Taylor away from the genre he had defined, which ultimately would give him a more long-lasting appeal. ~William Ruhlmann

Mud Slide Slim And The Blue Horizon

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Carole King, James Taylor - Live At The Troubadour

Bitrate: MP3@320K/s
Time: 63:53
Size: 146.2 MB
Styles: Soft rock, Adult Contemporary
Year: 2010
Art: Front

[3:09] 1. Blossom
[4:42] 2. So Far Away
[2:59] 3. Machine Gun Kelly
[4:17] 4. Carolina In My Mind
[4:59] 5. It's Too Late
[5:25] 6. Smackwater Jack
[4:04] 7. Something In The Way She Moves
[4:13] 8. Will You Love Me Tomorrow
[3:49] 9. Country Road
[5:45] 10. Fire And Rain
[3:35] 11. Sweet Baby James
[4:05] 12. I Feel The Earth Move
[5:52] 13. You've Got A Friend
[4:09] 14. Up On The Roof
[2:44] 15. You Can Close Your Eyes

Carole King and James Taylor reuniting isn’t quite a monumental reunion -- they never were an official performing entity, so they never had a falling out, appearing on-stage and on record from time to time since their ‘70s heyday -- but it is a notable one, particularly when they choose to perform at the Troubadour, the L.A. venue so crucial at the start of their stardom, backed by such fellow veterans of the SoCal singer/songwriter scene as guitarist Danny Kortchmar, bassist Leland Sklar, and drummer Russell Kunkel, musicians who supported them the last time they co-headlined the club back in 1971. All this made their series of shared shows in November 2007 an event, albeit a low-key one. King and Taylor embrace their classics -- it seems that there’s not a hit missed between the two of them -- and there’s genuine warmth to the whole show that’s quite appealing. Perhaps there are no surprises here, but any shock would have run counter to the whole spirit of the evening: this is about basking in both nostalgia and friendship, and if you’re on the same wave as the musicians, Live at the Troubadour is enjoyable. ~Stephen Thomas Erlewine

Live At The Troubadour

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James Taylor - 2 albums: Covers / Other Covers

Album: Covers
Bitrate: MP3@320K/s
Time: 41:43
Size: 95.5 MB
Styles: Adult Contemporary, Soft Rock
Year: 2008
Art: Front

[4:08] 1. It's Growing
[3:15] 2. (I'm A) Road Runner
[3:39] 3. Wichita Lineman
[2:39] 4. Why Baby Why
[2:37] 5. Some Days You Gotta Dance
[4:47] 6. Seminole Wind
[3:34] 7. Suzanne
[3:00] 8. Hound Dog
[4:32] 9. Sadie
[4:08] 10. On Broadway
[2:39] 11. Summertime Blues
[2:40] 12. Not Fade Away

A cozy companion to One Man Band, James Taylor's 2007 intimate stroll through his back pages for Starbucks' Hear Music, Covers once again finds the singer/songwriter on familiar, friendly territory, as he returns to his easy rolling full band and digs into the songbook of the rock & roll era. It's his era, of course, the time he had hit singles, including many hit cover versions, as he points out himself in his brief liner notes to the album. All of this makes Covers feel perhaps even more comfortable than One Man Band, which had the distinction of its unique guitar-and-piano arrangements, something that made his hits sound relatively fresh. Here, standards -- and despite a couple of oddball choices like the Spinners' "Sadie," John Anderson's "Seminole Wind," and the only modern song here, the Dixie Chicks' "Some Days You Gotta Dance," this is all standards like "Wichita Lineman," "Suzanne," "Hound Dog," "On Broadway," "Summertime Blues," and "Not Fade Away" -- are given Taylor's warm, mellow signature, so Covers winds up feeling a bit like an outdoor concert on a sunny summer Sunday afternoon: something that is wholly relaxing and not in the least surprising. ~Stephen Thomas Erlewine

Covers

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Album: Other Covers
Bitrate: MP3@320K/s
Time: 25:59
Size: 59.5 MB
Styles: Adult Contemporary, Soft Rock
Year: 2009
Art: Front

[3:10] 1. Oh, What A Beautiful Morning
[4:05] 2. Get A Job
[3:08] 3. Memphis Tennessee
[4:17] 4. Shiver Me Timbers
[4:13] 5. Wasn't That A Mighty Storm
[3:14] 6. In The Midnight Hour
[3:49] 7. Knock On Wood

2009 release, the companion to his successful 2008 Covers album. When James Taylor and his band went into the studio last year to record Covers, he had the foresight to record additional material. He took advantage of the time in the woods with this full touring band. This seven-song, specially-priced digipak CD is as powerful and perfectly conceived as the original.

Other Covers

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Various - A Tribute To Joni Mitchell

Bitrate: MP3@320K/s

Time: 53:10

Size: 121.7 MB

Styles: Folk rock, Singer-songwriter

Year: 2007

Art: Front

[4:59] 1. Sufjan Stevens - Free Man In Paris

[5:05] 2. Björk - The Boho Dance

[4:56] 3. Caetano Veloso - Dreamland

[5:08] 4. Brad Mehldau - Don't Interrupt The Sorrow

[5:58] 5. Cassandra Wilson - For The Roses

[3:30] 6. Prince - A Case Of You

[2:46] 7. Sarah Mclachlan - Blue

[3:38] 8. Annie Lennox - Ladies Of The Canyon

[3:40] 9. Emmylou Harris - The Magdalene Laundries

[5:56] 10. Elvis Costello - Edith And The Kingpin

[3:58] 11. K.D. Lang - Help Me

[3:32] 12. James Taylor - River

Joni Mitchell covers dot the musical landscape the way Tim Hortons doughnut shacks line the highways of Ontario. It's a little surprising, then, that the first Mitchell tribute album to be released on a major U.S. label didn't emerge until 2007, which was coincidentally the same year Mitchell was scheduled to release Shine, her first studio effort to appear in some ten years. And as far as tribute albums go, A Tribute to Joni Mitchell isn't half bad. The compilation is split up between songs that were recorded specifically for the tribute album, such as Sufjan Stevens' "A Free Man in Paris," and those that were recorded and released previously, such as James Taylor's "River." The tracks that were recorded specifically for A Tribute are far and away the best. Stevens approaches "A Free Man in Paris" with his characteristic, and fitting, over-the-top irony and band geek sensibilities. Opening with a brass fanfare, the kind that wouldn't be out of place in the opening credits of a network news show, Stevens' cover tackles the original with an appropriate sense of theatricality and fun. Björk's lilting cover of "Boho Dance," lush with synthesized bells and whorls, arguably rivals the original. She does a very good job of allowing Mitchell's lyics to unfurl, even while she twists and transforms the song, fairy godmother-style, into something otherworldly. And Caetano Veloso's rendition of "Dreamland" is simply a revelation. It's not a huge stretch from the original, but Veloso's light, gentle vocals, augmented by the the warm, loose Brazilian instrumentation, somehow manages to grab Mitchell's narrative and bring it to life. Mitchell is a storyteller, and the best tracks on here are those that welcome and explore her narratives. The worst ignore or misinterpret them. Prince pays little attention to Mitchell's lyrics on "A Case of You," slashing the first two verses in order to cut right to the chase. This abridged version has a lot of soul, but it does little to pay tribute to Mitchell's original; Prince cut out the pathos and made the song sappy. To be fair, Mitchell's a difficult person to pay tribute to, let alone cover, seeing how she's one of those rare singer/songwriters whose abilities as a performer are equal to her compositions. This stands in stark contrast to someone like Bob Dylan, whose songs were often just as, if not more, enjoyable in their Jimi Hendrix or Joan Baez incarnations. But while she's ultimately the best performer of her own work, Mitchell, with her warbly soprano and idiosyncratic sense of composition, hasn't always lent herself to the unaccustomed ear. A Tribute to Joni Mitchell is thus a great listen for those who'd like to ease into the breadth and range of Mitchell's work by way of established, accessible artists like Prince, Sarah McLachlan and Taylor. Granted, fans will probably find themselves yearning for the original material after listening to this disc, but this is only another way in which A Tribute succeeds. These interpretations, imperfect as they can be, provide new vantage points from which Mitchell's original albums can be located, analyzed, and appreciated. ~Margaret Reges

A Tribute To Joni Mitchell

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Martin Taylor - Spirit of Django

Styles: Guitar Jazz, Gypsy Jazz
Year: 1994
File: MP3@320K/s
Time: 60:32
Size: 139,1 MB
Art: Front

(5:03)  1. Chez Fernand
(5:33)  2. Minor Swing
(6:38)  3. Night and Day
(4:45)  4. Nuages
(5:00)  5. James
(5:48)  6. Double Top
(5:15)  7. Django's Dream
(5:38)  8. Swing 42
(5:14)  9. Lady Be Good
(6:29) 10. Honeysuckle Rose
(5:04) 11. Johnny and Mary

In the 1990s, jazz tribute albums could be incredibly predictable, with young tenor saxophonists paying tribute to John Coltrane by emulating his tone and playing his best-known songs exactly like he played them, or young trumpeters saluting Miles Davis by trying to sound like a carbon copy of him on yet another version of "So What" or "Solar." Spirit of Django is Martin Taylor's tribute to fellow guitarist Django Reinhardt, and thankfully, this is one tribute album that's interesting and unpredictable instead of cliché-ridden. Though Taylor's love of Reinhardt's legacy is evident throughout the album, the guitarist never sounds like an outright clone. 

His individuality comes through on Reinhardt pieces (including "Nuages" and "Minor Swing"), as well as Fats Waller's "Honeysuckle Rose" and the standards "Night and Day" and "Lady Be Good." To his credit, Taylor makes some unlikely choices. Pat Metheny's "James," for example, isn't something you'd expect to hear on a Reinhardt tribute, yet Taylor's interpretation fits in perfectly. This excellent CD is highly recommended to admirers of both Taylor and Reinhardt. ~ Alex Henderson  http://www.allmusic.com/album/spirit-of-django-mw0000646679

Personnel: Martin Taylor, John Goldie (acosutic guitar); Jack Emblow (accordion); Dave O'Higgins (soprano & tenor saxophones); Alec Dankworth (acoustic bass, cabasa); James Taylor (snare drum).

Spirit of Django

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Ray Charles - Genius Loves Company (10th Anniversary Edition)

Styles: Vocal, R&B, Soul
Year: 2014
File: MP3@320K/s
Time: 61:01
Size: 141,0 MB
Art: Front

(3:59)  1. Ray Charles & Norah Jones - Here We Go Again
(3:47)  2. Ray Charles & James Taylor - Sweet Potato Pie
(3:56)  3. Ray Charles & Diana Krall - You Don't Know Me
(4:00)  4. Ray Charles & Elton John - Sorry Seems To Be The Hardest Word
(3:32)  5. Ray Charles & Natalie Cole - Fever
(4:35)  6. Ray Charles & Bonnie Raitt - Do I Ever Cross Your Mind?
(5:01)  7. Ray Charles & Willie Nelson - It Was A Very Good Year
(5:16)  8. Ray Charles & Michael McDonald - Hey Girl
(4:26)  9. Ray Charles & B.B. King - Sinner's Prayer
(4:33) 10. Ray Charles & Gladys Knight - Heaven Help Us All
(4:55) 11. Ray Charles & Johnny Mathis - Over The Rainbow
(3:44) 12. Ray Charles & Van Morrison - Crazy Love (Live)
(5:04) 13. Ray Charles & Poncho Sanchez - Mary Ann
(4:06) 14. Take 6 - Unchain My Heart

"The way these days just rip along, too fast to last, too vast, too strong..." ~ Jackson Browne

The final recording of Ray Charles, Genius Loves Company, enjoys its tenth anniversary. It is striking to consider that it has been over ten years since the death of Ray Charles, one of the most imposing figures in American music. The music made in the second half of the twentieth century has had a remarkable staying power owing partially to its revolutionary quality and the near frantic dedication of the Post-World War II Baby Boom generation. Charles' contributions to this music are without measure. It is useful to consider the role, or roles, played by Charles in American music. He deftly fused the blues with gospel music forming that offshoot of rhythm and blues: soul music. He then took this new eutectoid and mashed it up with jazz, creating an earthy humus. Once he had done this, he took on country and western music, infusing that mostly-white genre with the same soul music he previously created, resulting in the groundbreaking Modern Sounds in Country & Western Music (ABC, 1962). Charles' reach was long and deep. 

Genius Loves Company is Charles' valedictory. It was recorded between June 2003 and March 2004, with Charles passing away from liver disease on June 10, 2004. While Charles' health was certainly questionable during recording, there is no indication of diminished capacity. His singing is robust and vibrant, overt and assertive. Charles had to have his eye on the end but he was never going to let on. If anything can be said of Charles' singing voice, it is that he "became more himself" as he aged. If Johnny Cash's late voice and appearance were those of an Old Testament prophet, then Ray Charles in autumn was a dying Mozart composing his sunny Clarinet Concerto less in defiance than acceptance.

Duet recordings, pitting old masters with contemporary musicians, are nothing new. Tony Bennett has made a cottage industry of them (and not to any bad effect at that). Time was of the essence for Charles and what better a love letter to his mastery than for him to share the stage with so many like-minded musicians who admired him so. It was because of this programming, the chosen artists and some shrewd marketing that Genius Loves Company was Charles' first top ten recording in 40 years. One of the biggest criticisms of the Charles biopic Ray was that the story ended 40 years early. My argument would be, "what was there left for Ray Charles to do?" This is an album of artists' collaborative praise for a fellow artist. Programming for the original recording was superb as was duet partner and song choice. Norah Jones, a closet country queen masquerading as a jazz artist, is a perfect foil to Charles on "Here We Go Again." Broad country block chords and Jones' creamy voice properly accent Charles' sacred sandpaper tone. 

Charles is most simpatico with his near contemporaries. "Fever" with Natalie Cole and "Heaven Help Us All" with Gladys Knight are love fests. Charles digs deep with BB King (and Lucille) on "Sinner's Prayer" and Bonnie Raitt on "Do I Ever Cross Your Mind." Raitt's signature slide guitar, ever influenced by Lowell George, is captured beautifully sonically. Ray Charles possessed a stylistic depth and breadth with few peers. When considering who could step in and accept the mantle from Charles after his death, I posited two names, both gratefully represented here. Willie Nelson has had as varied a career as Charles, sampling and then mastering every genre attempted. The two duet on a song closely associated with another such kindred spirit, Frank Sinatra. "It was a Very Good Year" is an unexpected luxury of artistic irony and grace). Van Morrison shares and ultimately offers his "Crazy Love" as a gift to Charles, the two crossing traditions with all we have in common.  The present Deluxe Edition sports a piquant "Mary Ann" with percussionist Poncho Sanchez and an awesome "Unchain My Heart" with Take 6. An hour-long DVD detailing the making of Genius Loves Company is a bit of gravy for this Fall class. Happy Birthday, Genius Loves Company... it has been a very good year. ~ C.Michael Bailey  http://www.allaboutjazz.com/ray-charles-genius-love-company--10th-anniversary-deluxe-edition-by-c-michael-bailey.php
 

Personnel: Ray Charles: vocals, keyboards; Ray Charles-vocals, piano; Norah Jones, James Taylor, Diana Krall, Elton John, Natalie Cole, Bonnie Raitt, Willie Nelson, Michael McDonald, Gladys Knight, Johnny Mathis, Van Morrison-vocal; B.B. King, guitar, vocal; Billy Preston-organ; Poncho Sanchez: percussion; Take 6; 63-piece orchestra; others.

Genius Loves Company (10th Anniversary Edition)

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Luciana Souza - The New Bossa Nova

Bitrate: MP3@320K/s
Time: 55:44
Size: 127.6 MB
Styles: Vocal, Bossa Nova
Year: 2007
Art: Front

[5:01] 1. Down To You
[4:33] 2. Never Die Young
[5:34] 3. Here It Is
[5:14] 4. When We Dance
[4:37] 5. Satellite
[4:57] 6. Were You Blind That Day
[5:25] 7. Love Is For Strangers
[4:33] 8. You And The Girl
[3:16] 9. Living Without You
[3:59] 10. I Can Let Go Now
[3:49] 11. God Only Knows
[4:40] 12. Waters Of March

When pianist Herbie Hancock released The New Standard (Verve, 1996)—an album of radically reworked pop tunes by artists ranging from Peter Gabriel to Prince—it wasn't exactly revolutionary, but it was the first time a major jazz artist had devoted an entire album to contemporary popular song. Singer Luciana Souza may not be as significant an artist—yet—as Hancock, but The New Bossa Nova explores a similar concept. By adapting material, ranging from Joni Mitchell and James Taylor to Leonard Cohen and Randy Newman, to the Brazilian bossa nova form, Souza has created a deeply heartfelt disc that deserves to raise her profile exponentially.

With the stellar group of players she's recruited—many of whom she's intersected with multiple times over the past few years, including saxophonist Chris Potter, pianist Edward Simon, bassist Scott Colley and drummer Antonio Sanchez—one might expect some high energy and extended improvisation, but The New Bossa Nova is, instead, an album of understatement, concision and simplicity. While no strangers to the aesthetic of serving the song, principle soloists Simon and Potter work within producer Larry Klein's defined, but never confining, arrangements. Sometimes saying something in eight bars is more challenging than having all the time in the world, and both Potter and Simon deliver memorable, lyrical solos throughout.

While the bossa form is inherently easy on the ears, Souza has chosen material that covers a broad emotional range, a subtext of the album being the complexity and multifaceted nature of love. Souza's voice is warm and soft, with a controlled but rich vibrato that's not unlike that of iconic singer/songwriter Joni Mitchell, whose "Down to You, from the classic Court and Spark (Asylum, 1974), opens the disc. The vibe may be soft, but Souza's delivery gets to the core of Mitchell's despondent lyrics. Her mellifluous voice is a considerable contrast to Leonard Cohen's near-spoken delivery, but she's no less at the heart of his starkly dark "Here It Is.

The New Bossa Nova is not, however, all about darkness and despair. A duet with guest James Taylor on his poignant "Never Die Young" reveals just how lush Souza's voice is contrasted with Taylor's sharp tenor, while she reworks Antonio Carlos Jobim's classic "Waters of March" into an uplifting set closer.

Like Swiss singer Susanne Abbuehl, Souza's range and emotional resonance are made all the more powerful for her avoidance of overstatement. With words as potent as these, nuance trumps excess, and while the bossa rhythm is the essence of The New Bossa Nova, there's plenty of diversity to keep things interesting, even as Souza and the group explore shades of a color rather than a broader spectrum. With the emphasis on The New, it's an accessible album that's got the potential to make Souza a popular name like Krall and Jones, but remains no less substantial for it. ~John Kelman

Luciana Souza: vocals; James Taylor: vocals (2); Chris Potter: tenor saxophone; Romero Lubambo: guitar, cavaquinho; Edward Simon: piano, estey; Scott Colley: bass; Antonio Sanchez: drums, percussion; Matt Moran: vibraphone (1, 6-8).

The New Bossa Nova

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Michael Brecker - Nearness Of You : The Ballad Book

Styles: Saxophone Jazz
Year: 2001
File: MP3@224K/s
Time: 60:23
Size: 97,6 MB
Art: Front

(5:15)  1. Chan's Song
(4:44)  2. Don't Let Me Be Lonely Tonight
(6:18)  3. Nascente
(6:23)  4. Midnight Mood
(4:38)  5. The Nearness Of You
(5:22)  6. Incandescence
(5:29)  7. Sometimes I See
(7:11)  8. My Ship
(5:37)  9. Always
(5:34) 10. Seven Days
(3:49) 11. I Can See Your Dreams

There comes a time, it seems, when every major-label jazzer has to add a ballads album to his or her discography. That time has come for Michael Brecker, who enlists the formidable Pat Metheny as both producer and guitarist. Along for the ride are three players you may have heard of: Herbie Hancock, Charlie Haden, and Jack DeJohnette. The 11 tracks (divided into two five-track "chapters" and a one-track "epilogue") are flawlessly executed practically airbrushed and as mainstream as can be, but darned if they don't raise a few goosebumps. Brecker is restrained and mellow-toned throughout, shelving some of his pet licks and pushing himself into more lyrical territory. Metheny's guitar work is exquisite, particularly on Hancock's "Chan's Song," which contrasts nicely with Jacky Terrasson's version on 1997's Rendezvous (Blue Note). These aren't the ballads you'd expect, and that's primarily what makes the date work. There are two cuts from Metheny's 1996 album Quartet (Geffen), "Sometimes I See" and "Seven Days." 

There's also Brecker's "Incandescence" and "I Can See Your Dreams," the latter serving as the wistful "epilogue." Joe Zawinul's "Midnight Mood" is another unusual entry. The only standards are "Always," "My Ship" (Gil Evans's Miles Ahead arrangement, Gil Goldstein's adaptation for quintet), and "The Nearness of You," the last of which features James Taylor (!) on vocals. Taylor's presence raises some interesting issues. His is not a jazz voice by any means, and in a way, that's what redeems his performance on "The Nearness of You." Cynics may lambaste his inclusion as a commercial ploy, and they may be partly right, but one thing's for sure: he puts his own stamp on the tune, preventing it from sounding recycled and retro. The same can be said for "Don't Let Me Be Lonely Tonight," which also features Taylor's singing. One could argue that Taylor is this track's saving grace. Without him, the group might have played the song as a boring, muzaky instrumental. Instead, we hear Taylor revisiting one of his own classics, rearranged as a jazz ballad. There's artistic merit there for sure. ~ David Adler  http://www.allaboutjazz.com/nearness-of-you-the-ballad-book-michael-brecker-verve-music-group-review-by-david-adler.php#.VC3iFBawTP8

Personnel: Michael Brecker, tenor sax; Pat Metheny, guitars, producer; Herbie Hancock, piano; Charlie Haden, bass; Jack DeJohnette, drums; James Taylor, vocals (2, 5)

Nearness Of You:The Ballad Book

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James Taylor Quartet - James Taylor Quartet Plays Motown: Don't Mess With Mr. T

Bitrate: 320K/s
Time: 44:52
Size: 102.7 MB
Styles: R&B, Funk
Year: 2009
Art: Front

[4:06] 1. Money That's What I Want
[3:18] 2. Got To Give It Up
[3:19] 3. Signed Sealed Delivered (I'm Yours)
[5:12] 4. Function At The Junction
[4:07] 5. After The Dance
[3:20] 6. Jimmy Mack
[3:15] 7. Machine Gun
[2:49] 8. Come See About Me
[3:08] 9. Cleo's Mood
[3:12] 10. You Beat Me To The Punch
[4:14] 11. You're All I Need To Get By
[4:47] 12. Don't Mess With Mr T

James Taylor's vintage Hammond-led outfit has consistently delighted lovers of jazz, funk and R&B in equal measure over the last twenty years. The group is most famous for its signature tune, the "Theme From Starsky and Hutch, but this album shows greater variety than the standard jam workout. Don't Mess With Mr. T: James Taylor Quartet Plays Motown is a series of 12 cover tracks from Marvin Gaye to Stevie Wonder.

The quartet itself, which comprises Taylor (Hammond organ), Nigel Price (guitar), Andy McKinney (bass) and Adam Betts (drums), is augmented for this record by four more musicians: a full horn section and an extra percussionist. As well as the expected fiery instrumentals, the band is joined by leading soul vocalists Omar, Hil St Soul and Donna Gardier who each add their own notable contributions to the proceedings. ~Frederick Bernas

Bass – Andrew McKinney; Drums – Adam Betts; Guitar – Nigel Price; Organ [Hammond] – James Taylor; Percussion – Oreste-Noda Fernandez; Saxophone – Jamie Anderson; Trombone – Dave Williamson;Trumpet – Nick Smart; Vocals – Donna Gardier (tracks: 3, 6, 8, 10), Joy Rose (tracks: 3, 6, 8, 10), Tyrone Henry (tracks: 3, 5, 12)

James Taylor Quartet Plays Motown: Don't Mess With Mr. T

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Joni Mitchell - Hits

Bitrate: 320K/s

Time: 65:54

Size: 150.9 MB

Styles: Folk, Folk-rock

Year: 1996

Art: Front

[5:04] 1. Urge For Going

[2:30] 2. Chelsea Morning

[7:41] 3. Big Yellow Taxi

[5:26] 4. Woodstock

[4:50] 5. The Circle Game

[3:02] 6. Carey

[3:49] 7. California

[2:38] 8. You Turn Me On I'm A Radio

[3:05] 9. Raised On Robbery

[3:21] 10. Help Me

[3:02] 11. Free Man In Paris

[4:02] 12. River

[5:16] 13. Chinese Cafe/Unchained Melody

[7:29] 14. Come In From The Cold

[4:32] 15. Both Sides Now

All tracks have been digitally remastered using HDCD technology. HITS and MISSES, released on the same day in October 1996, are, amazingly enough, the first compilations of Joni Mitchell's work. Mitchell is one of the most influential singer-songwriters of the rock era. By incorporating poetic lyricism and a jazzy harmonic sensibility into the troubadour tradition, she paved the way for everyone from Rickie Lee Jones to Sting. HITS features some of the best-known songs from her immense repertoire (MISSES highlights equally important, but less commercially successful, compositions). HITS begins and ends with early, acoustic guitar-based material. "Urge For Going" (previously unavailable on CD) and "Both Sides Now" both yielded reams of cover versions by the likes of Judy Collins, Tom Rush and countless others. Moving on through the stylistically divergent phases of Mitchell's career, the lush pop songs "Help Me" and "Free Man In Paris" segue into the starkly confessional piano ballad "River" and the slippery, jazzy feel of "Chinese Cafe/Unchained Melody," adorned by Larry Klein's Jaco-manque fretless bass. HITS can only skim the surface of Mitchell's prolific output; a truly thorough chronicle would require a box set. But every song here is a gem, and this is a perfect place for the uninitiated to begin.

Joni Mitchell (vocals, guitar, acoustic guitar, dulcimer, piano, electric piano, keyboards); Saskatunes, Lookout Mountain United Downstairs Choir (vocals); Larry Klein (guitar, percussion); Stephen Stills (guitar); James Taylor (acoustic guitar); José Feliciano, Larry Carlton, Robbie Robertson, Steve Lukather (electric guitar); Graham Nash (harmonica, background vocals); Tom Scott (woodwinds, horns); Joe Sample (electric piano); Larry Williams (synthesizer); John Guerin (drums, percussion); Jim Hughart, Russ Kunkel, Vinnie Colaiuta (drums); Alex Acuña & the Unknowns, Alex Acuña, Milt Holland, Bobbye Hall (percussion); David Crosby (background vocals).

Hits

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James Taylor - James Taylor At Christmas

Bitrate: 320K/s
Time: 51:38
Size: 118.2 MB
Styles: Holiday
Year: 2006/2012
Art: Front

[3:32] 1. Winter Wonderland
[3:40] 2. Go Tell It On The Mountain
[3:52] 3. Santa Claus Is Coming To Town
[3:03] 4. Jingle Bells
[4:16] 5. Baby, It's Cold Outside
[3:33] 6. River
[2:47] 7. Here Comes The Sun
[3:23] 8. Have Yourself A Merry Little Christmas
[4:36] 9. Some Children See Him
[3:05] 10. Mon Beau Sapin
[3:51] 11. The Christmas Song (Chestnuts Roasting On An Open Fire)
[4:09] 12. Who Comes This Night
[4:10] 13. In The Bleak Midwinter
[3:35] 14. Auld Lang Syne

For the most part, holiday-themed albums are about as memorable as what you had for lunch a month ago. As humans continue to evolve, there's a very good chance that we'll develop some sort of yuletide audio bypass valve that will allow us to filter the three-and-a-half million versions of every Christmas song ever made into one solid rendition that either pleases or displeases us, and can be dealt with accordingly. That said, James Taylor's brilliantly titled James Taylor at Christmas is about as inoffensive a collection of seasonal classics as one could hope for. The legendary singer/songwriter's warm voice is the perfect vessel for "Winter Wonderland," "Jingle Bells," and the "Christmas Song (Chestnuts Roasting on an Open Fire)" because it makes absolutely no impression on the listener. [A digital version added two bonus tracks.] ~ James Christopher Monger

Recording information: Capitol Studios (03/07/2008); Studio At The Palms, Las Vegas, NV (03/07/2008); The Barn, Washington, MA (03/07/2008); Capitol Studios (03/2004-04/2004); Studio At The Palms, Las Vegas, NV (03/2004-04/2004); The Barn, Washington, MA (03/2004-04/2004).

James Taylor At Christmas

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