Jane Monheit - The Merriest

Styles: Vocal
File: MP3@320K/s
Time: 37:19
Size: 86,2 MB
Art: Front

(3:36) 1. Let It Snow! Let It Snow! Let It Snow!
(5:06) 2. The Christmas Song (Chestnuts Roasting On An Open Fire)
(3:57) 3. That Holiday Feeling
(4:05) 4. (Christmas) Stay With Me
(1:57) 5. The Merriest
(5:36) 6. What Are You Doing New Years Eve?
(4:14) 7. Winter Wonderland
(4:07) 8. Christmas Time Is Here
(4:37) 9. It's The Most Wonderful Time Of The Year

For veteran jazz chanteuse Jane Monheit, Christmas is all about warm affection, both romantic and neighborly. That, at least, is the impression she gives on her second seasonal album, The Merriest. Its nine selections fit her naturally saucy delivery, and the majority of them fit her propensity to interpret the works of songwriters comprising the mid-20th century Great American Songbook. She arguably adds a page by being the first artist to record a previously unissued number by late Broadway mainstay Cy Coleman.

The Merriest’s arrangements include a gingerly applied march intro and an Afro-Latin rumble in places that fit just right, however unexpected they first may sound. A duet with John Pizzarelli may be a bit mushy for some, but good for it not being another rendering of “Baby, It’s Cold Outside.” Depending on the band she has in tow and her set list on winter tours, Monheit could provide a less flashy, more subdued alternative to Mariah Carey'’s self-declared rule as holiday queen. By Jamie Lee Rake https://shepherdexpress.com/music/album-reviews/the-merriest-by-jane-monheit/

The Merriest

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Jane Monheit - Come What May

Styles: Vocal
File: MP3@320K/s
Time: 48:31
Size: 112,1 MB
Art: Front

(2:58) 1. I Believe In You
(5:09) 2. When A Woman Loves A Man
(4:01) 3. Let’s Take A Walk Around The Block
(5:45) 4. Lush Life
(3:03) 5. Let’s Face The Music And Dance
(4:51) 6. Samba Do Aviao
(6:25) 7. The Nearness Of You
(3:53) 8. On The Sunny Side Of The Street
(5:29) 9. The Man That Got Away
(6:54) 10. My Funny Valentine

Jane Monheit is a potent antidote to a certain brand of jazz snobbery. At every major jazz festival, there are fans who will begrudgingly (or cheerfully) witness a set by Cécile McLorin Salvant or Gregory Porter, but if pressed, they would assert that they don’t consider vocalists to be in the same league as instrumentalists. (Was Ella Fitzgerald as good a musician as Count Basie? Debate that over a Zoom chat sometime.) When the luminous Monheit arrived on the scene 20 years ago with her debut, Never Never Land, she won over fans via renditions of standards such as “My Foolish Heart,” “I Got It Bad (And That Ain’t Good)” and Jobim’s “Dindi.” On her latest album, Come What May, Monheit continues to dazzle, delivering a program chockfull of standards, such as “Lush Life,” “Let’s Face The Music And Dance” and Jobim’s “Samba Do Avi?o.”

Monheit’s version of Frank Loesser’s “I Believe In You” is delicately spiced with segments of scatting that elevate the tune just a pinch of salt that works wonderfully. Throughout the program, it should be clear to any snobbish naysayer that her instrument is equal to that of her band’s, which includes guitarist Miles Okazaki, bassist David Robaire, pianist Michael Kanan, drummer Rick Montalbano and percussionist Kevin Winard. In the opening section of “My Funny Valentine,” while floating atop Kanan’s lines, Monheit’s breath control and exquisite elongation of vowel sounds are so intoxicating that some listeners won’t even pause to ponder the arcane lyrics: “Thy vacant brow, and thy tousled hair/ Conceal thy good intent/ Thou noble, upright, truthful, sincere/ And slightly dopey gent.”

The inclusion of “Let’s Take A Walk Around The Block” (penned by Harold Arlen, Ira Gershwin and E.Y. Harburg) seems suited to our pandemic era in a particularly bittersweet way. Similarly, an elegant reading of “The Nearness Of You” might resonate on multiple levels for lovers who still share a spark, despite being stuck in a small apartment for the past 11 months. On the latter tune, the combination of Monheit’s emotive, wordless flights and Wayne Haun’s lush orchestral arrangement is positively intoxicating. Monheit’s album-release show at Feinstein’s at Vitello’s will be livestreamed on March 12. Catching this virtual gig might not be as fun as hearing her vocals reverberate around a jazz club or a festival crowd, but that will come, hopefully soon. https://downbeat.com/reviews/detail/come-what-may

Come What May

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Clint Holmes - Rendezvous

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 51:35
Size: 118,5 MB
Art: Front

(5:21)  1. Stop This Train
(6:56)  2. At The Rendezvous
(4:49)  3. I Loves You Porgy/There's A Boat That's Leavin' Soon For New York
(4:31)  4. Every Time We Say Goodbye
(5:28)  5. All Of Me
(3:38)  6. Say Something
(4:27)  7. Maria
(3:33)  8. The Perfect Trance
(4:06)  9. Marie
(5:18) 10. My Way
(3:21) 11. What You Leave Behind

Clint Holmes’ original charge was simply to make a great album. But the underlying objective, sometimes mentioned just slyly, was to make it great enough to be nominated for a Grammy.With “Rendezvous,” Holmes not only met, but exceeded those goals.The latest release from the popular Vegas showman and interpreter of songs has been nominated for a pair of Grammy Awards, as the field was announced Tuesday morning. Two songs from “Rendezvous” are on the list of nominees for Best Arrangement, Instruments and Vocals: “Every Time We Say Goodbye,” his duet with jazz great Jane Monheit; and “I Loves You Porgy/There’s A Boat That’s Leavin’ Soon For New York” from “Porgy and Bess,” which Holmes recorded with another acclaimed jazz vocalist, Dee Dee Bridgewater. The arranger on “Every Time We Say Goodbye,” Jorge Calandrelli, is a six-time Grammy winner known for his work on “The Color Purple.” Holmes, producer Gregg Field, master pianist and composer Shelly Berg, and pianist/sax man/composer Gordon Goodwin teamed for the arrangement on “Porgy and Bess.” Field himself has won three Grammys in his five nominations, and as a topnotch drummer also toured with the Count Basie Orchestra in the early 1980s and the Basie Orchestra backed Holmes on “Rendezvous.” 

“This is an incredible feeling and a real achievement for everyone who made the album happen,” Holmes said Tuesday morning. “As you know, this was a long process, and receiving a Grammy nomination is something we really did want, even if we felt we didn’t want to jinx our chances by talking about it.” “Rendezvous” was recorded and mixed over a 2 ½-year period at Capitol Records. The album was largely a jazz project, especially with the contributions from Monheit, Bridgewater and sax master Dave Koz (who wrote the music to Holmes’ “What You Leave Behind”). But there is a significant pop feel to “Rendezvous,” too, which actually prevented the album from being considered in nomination in the jazz field (if an album is deemed 51 percent pop by Grammy officials, it is entered into the open pop categories). Thus, Holmes is in what he calls “tall cotton” with his fellow nominees. Also entered in his category are the cast of “La La Land” and Justin Hurwitz with “Another Day of Sun,” Seth MacFarlane and arranger Joel McNeely for “I Like Myself,” and Randy Newman with “Putin.” Newman is a two-time Academy Award winner and has been nominated for 20 Oscars. He’s also won six Grammys and three Emmys. “It would be a long shot, but this whole album has been a long shot,” said Holmes, who hopes to attend the Jan. 28 ceremony in New York. “But we are nominated. I’ll now always be a Grammy nominee, and it feels good.”https://www.reviewjournal.com/entertainment/entertainment-columns/kats/clint-holmes-rendezvous-receives-a-pair-of-grammy-noms/

Dee Dee Bridgewater, Jane Monheit, Ledisi, Joey DeFrancesco, Dave Koz and Patti Austin help bring the veteran crooner’s story to life on Clint Holmes’ album, “Rendezvous.”

Rendezvous

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Ivan Lins - Intimate

Bitrate: MP3@320K/s
Time: 55:38
Size: 127.4 MB
Styles: Brazilian traditions, Latin jazz
Year: 2015
Art: Front

[4:31] 1. Tanto Amor (Feat. Till Brönner)
[4:16] 2. Arrependimento (Feat. Antonio Serrano)
[3:05] 3. Sou Eu
[4:17] 4. No Tomorow Acaso (Feat. Trijntje Oosterhuis)
[2:52] 5. Nosso Acalanto That's Love (Feat. Take 6)
[3:43] 6. Dandara (Feat. Abaqondisi Brothers)
[4:20] 7. Llegaste (Feat. Alejandro Sanz & Leonardo Amuedo)
[3:57] 8. Rio Sun E A Gente Assim Täo Só (Feat. Till Brönner)
[3:40] 9. Diadema (Feat. Jorge Drexler & Frits Landesbergen)
[5:32] 10. Le Dernier Mot Bilhete (Feat. Laura Fygi & Antonio Serrano)
[3:47] 11. Tchau, Tristeza (Feat. Leonardo Amuedo)
[4:45] 12. Meu Espelho Crystal Clear (Feat. Jane Monheit)
[4:33] 13. A Cor Do Pôr-Do-Sol
[2:14] 14. Mãos De Fada (Para Valéria)

Renowned as a carioca songwriter, vocalist, and pianist, Ivan Lins recorded several albums for EMI Brasil and Reprise, as well as writing Brazilian standards. Born in 1945, Lins came to fame in Brazil in 1970 when Elis Regina recorded his song "Magdalena" for a hit. His worldwide debut, A Noite, appeared in 1979. Lins' most famous composition, "Love Dance" ("Lembrança"), has been recorded by dozens of jazz artists, including Kenny Burrell, Sarah Vaughan, Betty Carter, Nancy Wilson, Mark Murphy, George Benson, Diane Schuur, and James Blood Ulmer. Other noted songs by Lins ("The Island," "Comecar de Novo," "Dona Palmeira," "Nocturna") have been recorded by artists including Airto Moreira, Herbie Mann, and Terence Blanchard. ~ John Bush

Intimate mc
Intimate zippy

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VA - Shades Of Beautiful: The Tracy Stark Songbook

Size: 147,1 MB
Time: 63:07
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01 Ann Hampton Callaway - Woman On The Stage (4:59)
02 Lesley Gore - Find My Strength (5:05)
03 Lillias White - You Changed Me (3:54)
04 Jane Monheit - Mr. Moon (4:28)
05 Nona Hendryx - Walk With Me (5:09)
06 Janis Siegel - Camera (5:00)
07 Nicolas King - The Only One (3:40)
08 Johnny Rogers & Tracy Stark - Morning Light (4:26)
09 Tanya Holt - Let Love In (3:56)
10 Karen Black - Greatest Nightmare (3:31)
11 Barb Jungr - Portrait (4:15)
12 Janice Pendarvis - Hungry (3:23)
13 Marcus Simeone - Fluffy World (3:27)
14 Tonya Pinkins - Life's Been Kind (3:45)
15 Tracy Stark - Welcome Home (4:02)

Tracy Stark’s newest CD, Shades of Beautiful:?The Tracy Stark Songbook, is proof that this multi-award-winning, busy lady is much more than a skilled piano partner who is a great arranger. She is an accomplished songwriter who deserves more recognition. In his liner notes, James Gavin quotes Stark: “… Cabaret used to be a genre: the Great American Songbook, show tunes, standards. In the present world, I see it as a giant umbrella of any genre, as long as you can create a sense of intimacy.” Mission accomplished. Those words describe a CD that is sure to make a mark. It’s an intimate album for sure and it touches several genres with intelligence and great style.

The new release on Miranda Music is proof of the scope of Stark’s songwriting talent. The songs, sung by various gifted artists—with the last cut performed solo by the songwriter (who also provides back-up vocals on a number of cuts)—should be rated on what they are and what they offer. They are sublime—some darn good stuff with terrific songs about the midnight hour and some longing pieces straight from the heart. Some have an optimistic, timeless quality. Others are reflective and come to life with pieces of a pop/soul craft that are pensive, echoing a likeness to ladies like the late Laura Nyro, as on “Walk with Me” (sung by Nona Hendryx), which repeats its message of believing, supported by a subtle backup chorus. This is carried through on a reflective ballad called “Life’s Been Kind” sung with passion by Tonya Pinkins.

With so many wonderful artists, it’s hard to single out one over the other. Ann Hampton Callaway kicks off the CD on a light, yet discreetly powerful nod with a cool reading of “Woman on the Stage” that makes a statement about ladies in the spotlight. “Fluffy World,” sung by frequent musical partner Marcus Simeone, is a personalized, melancholic, sleepy ballad about waking up next to her husband after a hard night’s work in a smoky, crowded place (a piano bar?): “… You are everything supreme and the reason I can truly love.” “Morning Light” has Stark in a bluesy, jazz-tinged duet with Johnny Rodgers that is a highlight. The great Lillias White offers a soulful “You Changed Me” that really cooks. It’s about a tough woman who admits to poor life choices, who gave up, and ultimately found someone. A strong cut. Jazz artist Jane Monheit flawlessly caresses “Mr. Moon” with a sexy reading that could melt butter: “… I lay myself down, but I’m gonna get up again… It’s all under wraps.” And so it goes.

All the cuts are so special and all reflect a songwriter who deserves a wider platform. There’s more to be said indeed. For now, Stark, whose songs often lean toward jazz stylings, are introspective and memorable with simple challenges. Most exemplify the relevance of how less is more. There are fifteen cuts by impressive artists that stand out for their interpretive and musical gifts. However, Tracy Stark is the real winner here on a haunting album that is worthy of attention.

The album is produced by Richard Barone. Other singing artists include the late Lesley Gore, Janis Siegel, Nicolas King, Tanya Holt, Barb Jungr, Janice Pendarvis and the late Karen Black.

In addition to Stark on piano for most tracks, the musicians including: guitarists Gene Bertoncini, Ronald Drayton; drummers Trevor Gale, Ratso Harris, Donna Kelly (percussion, too), Danny Mallon, David Silliman; bassists Warren McRae, Maryann McSweeney, Michael Visceglia, Skip Ward; keyboardist Etienne Stadwijk; and a special nod to Sean Harkness whose guitar brilliance is on almost every cut. ~by John Hoglund

Shades Of Beautiful

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Ray Brown Jr. - Friends And Family

Bitrate: MP3@320K/s
Time: 56:47
Size: 130.0 MB
Styles: R&B/Jazz/Soul
Year: 2008
Art: Front

[4:44] 1. Can’t Take My Eyes Off You (Feat. Jane Monheit)
[2:42] 2. I’m Beginning To See The Light (Feat. Melba Moore & Terry Gibbs)
[3:46] 3. Sunny Side Of The Street (Feat. James Moody)
[4:33] 4. Too Close For Comfort (Feat. Maria Muldaur)
[4:36] 5. I Wish You Love (Feat. Dionne Warwick & David Fathead Newman)
[3:30] 6. Lullaby Of Birdland (Feat. Freda Payne & Terry Gibbs)
[4:23] 7. Up On The Roof (Feat. Sophie B. Hawkins)
[4:27] 8. Ordinary Fool (Feat. Paul Williams)
[2:11] 9. A-Tisket-A-Tasket (Feat. Haylee)
[3:18] 10. Something’s Gotta Give (Feat. Freda Payne)
[4:03] 11. Everybody’s Cryin’ Mercy (Feat. Dr. Lonnie Smith)
[3:43] 12. Girls On The Beach (Feat. Dave Somerville)
[3:55] 13. Laughter In The Rain (Feat. Kim Hoyer)
[3:22] 14. I Thought About You (Feat. Sally Kellerman)
[3:27] 15. How High The Moon (Feat. Ella Fitzgerald & Ray Brown Sr)

If you’re expecting any vocal similarity between Ray Brown Jr. and his mother, Ella Fitzgerald, you’ll be disappointed. Brown is, after all, not her natural son, but was adopted by Fitzgerald and Ray Brown in 1949, midway through their six-year marriage. But if his parents’ acute musicality isn’t in his genes, then he must have absorbed it, because Jr. is a first-rate performer with a deep, slightly raspy sound that suggests a blend of Bobby Short and Michael McDonald, plus a soupcon of Billy Eckstine.

The 59-year-old scion started out in the music business in the ’70s, toying with rock and then country before setting into a pop/soul groove. Friends and Family is his fourth album, but the first that inches toward jazz. The “friends” are an eclectic bunch, spanning young (Jane Monheit, Sophie B. Hawkins), old (septuagenarian David Somerville, one-time lead singer of the ’50s group the Diamonds), iconic (James Moody, Dr. Lonnie Smith, Dionne Warwick), obscure (little-known but impressive jazz chanteuse Kim Hoyer) and unexpected (Oscar-nominated M*A*S*H actress Sally Kellerman).

The results are generally excellent—particularly a funky “Memphis” featuring both Smith and Dr. John, a slow and sexy “Too Close for Comfort” with Maria Muldaur and a scorching “I’m Beginning to See the Light” with Melba Moore and Terry Gibbs. Unfortunately, the “family” portion of the program proves less rewarding. Brown teams with daughter Haylee for a rendition of “A-Tisket, A-Tasket” that zooms way past cute toward cloyingly sticky-sweet. Most disappointing is the disc-closing attempt at a family reunion, with Jr. awkwardly wedged into the middle of a muddy, old recording of mom and dad performing “How High the Moon.” ~Christopher Loudon

Friends And Family

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Jane Monheit - The Songbook Sessions: Ella Fitzgerald

Size: 135,7 MB
Time: 58:19
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. All Too Soon (4:00)
02. Somebody Loves Me (3:49)
03. Chelsea Mood (6:27)
04. Something's Gotta Give (4:53)
05. I Was Doing All Right - Know You Now (7:57)
06. Ev'ry Time We Say Goodbye (4:56)
07. Where Or When (3:56)
08. I'll Wind (You're Blowing Me No Good) (4:08)
09. All Of You (4:18)
10. I Used To Be Colorblind (3:55)
11. I've Got You Under My Skin (5:47)
12. This Time The Dream's On Me (4:08)

Songbook Sessions: Ella Fitzgerald is a tale of two titans, Monheit and Nicholas Payton, who arranged and played trumpet on a majority of the selections. Payton, through is svelte arranging, created an accurate picture of what jazz is supposed to sound like in the near future. Compare the 1960s television show Lost in Space to Ridley Scott's Blade Runner (Warner Brothers, 1982). Lost in Space's vision of the future was foolish hyperbole to the point of being campy. The "futuristic" clothing and technology was overwrought and inaccurate. In Blade Runner, there existed remnants of things that would have been familiar to anyone living 100 years before (Harrison Ford's noir trench coat, fedora, earth tone shirt and tie, for example). Payton's deft touch is similar to that of Scott's in that he makes the songs performed here sound out of the present ordinary while not jettisoning them into unrecognizability.

Monheit's elastic voice is comparable only to that of Betty Carter. A contemporary specialist with the Great American Songbook, Monheit is an aural encyclopedia of singing styles blended into her own vision. In the same way that Payton quotes Sonny Rollin's "Sonnymoon for Two" on "All of You," Monheit quotes the style of Phoebe Snow from 1975's "Poetry Man." There are examples of this synergy between Monheit and Payton throughout this recording. On the lengthy medley "I Was Doing All Right/Know Your Now," Payton quotes "he Girl from Ipanema" and "If I Only Had a Brain" in the same solo phrase. Monheit, for her part, combines the diction of Fitzgerald with the occasional slurred, dragging phrasing of Holiday to approximate Sarah Vaughan in Heaven, all the while sounding like only Monheit can.

The repertoire is classic Ella. Superbly articulated Ellington-Strayhorn, "Chelsea Mood" rubs up against an insistent and sexy "Something's Gotta Give." This performance of "I've Got You Under My Skin" competes with Beat Kaestli's performance of the same on his 2010 Invitation (Chesky Records) for best original arrangement while Monheit's "Ev'ry Time We Say Goodbye" is as emotionally wrenching as any song could be sung. Perhaps the best thing about Songbook Sessions: Ella Fitzgerald is the title, one that promised more of the same. And that is good...very good. ~C. Michael Bailey

Personnel: Jane Monheit: vocals; Nicholas Payton: trumpet (1-5, 6-11), piano (11), organ (11, 12); Michael Kanan: piano (1-11); Neal Miner: bass (1-11); Rich Montalbano: drums (1-11); Daniel Sadowrick: percussion (1-11); Brandee Younger: harp (5,12).

The Songbook Sessions: Ella Fitzgerald

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David Benoit Trio - Believe (Feat. Jane Monheit)

Size: 100,5 MB
Time: 36:41
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals, Xmas
Art: Front

01. Santa Claus Is Coming To Town (Live) (3:33)
02. Believe (Live) (4:52)
03. Christmas Waltz (Live) (3:55)
04. Christmas Time Is Here (Live) (3:07)
05. Guaraldi Medley (Live) (8:25)
06. My Favorite Things (Live) (3:47)
07. Just Like Me (Live) (3:56)
08. My Little Drum (Live) (2:33)
09. The Christmas Song (Live) (2:30)

GRAMMY®-nominated pianist/composer/arranger David Benoit and GRAMMY®-nominated vocalist Jane Monheit continue their synergy from 2 In Love to create Believe, a Christmas album full of holiday favorites that will inspire and warm the heart throughout the holiday season. Renowned jazz flautist, Tim Weisberg and The All-American Boys Chorus are featured on the album as well. The All-American Boys Chorus, America s quintessential professional boys chorus, has delighted audiences worldwide for over forty years. Based in Costa Mesa, California, the Chorus is comprised of over 100 boys ages 8-15 drawn from throughout Southern California. Under the leadership of Artistic Director Wesley Martin, a veteran of Hungary s renowned Kodaly Institute, the Chorus provides boys with comprehensive musical training and unsurpassed performance and touring opportunities.

Believe

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Jane Monheit - Home

Bitrate: MP3@320K/s
Time: 52:21
Size: 119.9 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[2:33] 1. A Shine On Your Shoes
[4:17] 2. There's A Small Hotel
[4:01] 3. This Is Always
[2:26] 4. Tonight You Belong To Me
[3:45] 5. Look For The Silver Lining
[3:58] 6. I'll Be Around
[3:04] 7. Everything I've Got Belongs To You
[4:37] 8. It's Only Smoke
[4:37] 9. The Eagle And Me
[5:42] 10. I Didn't Know About You All Too Soon
[4:42] 11. Isn't It A Lovely Day
[4:21] 12. While We're Young
[4:12] 13. My One And Only

"I wanted to return "Home" to doing what I love best," says Jane, "Getting back to my roots. For me, there's nothing like singing a jazz standard and giving it new life through one's own interpretation; bringing it to a new audience in a whole new and different light." ~Jane Monheit

In this outing Jane re-affirms that she is, primarily, a jazz singer; and does so in a setting that allows her to fully display her skills. Accompanied by no more than five instrumentalists on any track, in fact 2 of the 12 tracks are duets while 4 feature Monheit backed by just her regular working trio (piano,bass,drums). The content? All, save for one contribution from pianist/composer Larry Goldings, are fine selections from the Great American Songbook. The result is a recording that closely reflects what one would hear at one Jane's live shows. I might add that since giving birth to her son, Jane's voice has actually improved, gaining a couple of notes at the lower end of her range and maturing a bit. I like! ~SoCal fan

Home

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Ivan Lins - Intimate

Bitrate: MP3@320K/s
Time: 55:48
Size: 127.7 MB
Styles: Brazilian jazz
Year: 2010/2015
Art: Front

[4:31] 1. Tanto Amor (Feat Till Bronner)
[4:16] 2. Arrependimento (Feat Antonio Serrano)
[3:05] 3. Sou Eu
[4:17] 4. No Tomorrow-Acaso (Feat Trijntje Oosterhuis)
[2:53] 5. Nosso Acalando-That's Love (Feat Take 6)
[3:45] 6. Dandara ( Feat Abaqondisi Brothers)
[4:21] 7. Liegaste (Feat Alejandro Sanz & Leonardo Amuedo)
[3:57] 8. Riosun-E A Gente Assim Tao So (Feat Till Bronner)
[3:40] 9. Diadema (Feat Jorge Drexler & Frits Landesbergen)
[5:33] 10. Le Dernier Mot-Bilhete (Feat Laura Fygi & Antonio Serrano)
[3:47] 11. Tchau, Tristeza
[4:46] 12. Meu Espelho-Crystal Clear (Feat Jane Monheit)
[4:35] 13. A Cor Do Por-Do-Sol
[2:14] 14. Maos De Fada (Para Valeria)

van Lins is complete musician, distinguished for his refined harmonies and great arrangements. As the most recorded Brazilian living artist, the composer began playing piano at age eighteen, very influenced by the music he heard in his childhood in the United States, jazz and bossa nova.

His harmonic construction, quite unusual in Brazilian music, is one of the features that would make Ivan Lins become so respected among musicians around the world. He had many successes as a singer and composer as is the case of "Abre Alas", "Somos todos iguais esta noite”, "Começar de novo" (“The Island”), “Vitoriosa”, many of them created by the artistic duo Ivan Lins and Vitor Martins.

The political atmosphere decisively influenced his career in the 70´s and remains and important issue at his work till now. Ivan Lins has released numerous recordings, all over the Globe. Always reflecting contemporary issues , his work is renewed and always brings new musical values and ideals, without losing his originality. From the second half of the 80´s on, Ivan Lins emphasized his international career, especially in the U.S. where he was recorded by major artists such as Sarah Vaughan, Quincy Jones, Ella Fitzgerald, Carmen McRae, Barbra Streisand and many others. In Brazil, Ivan is constantly recorded by many of the great artists, such as Elis Regina, Simone, Gal Costa, Emilio Santiago, Djavan, Chico Buarque, among many others. In 1991, together with Vitor Martins, Ivan founded the record label Velas , an independent and national record company. His label promoted remarkable releases, revealing great new artists such as Guinga, Chico Cesar, Lenine and establishing names such as Edu Lobo, Fatima Guedes and Zizi Possi, among many others. Eclectic in her musical performance, Lins also composed soundtracks for films, besides several tracks and themes for novels and series.

Intimate

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David Benoit & Jane Monheit - 2 In Love

Styles: Piano And Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 39:09
Size: 90,2 MB
Art: Front

(3:26)  1. Barcelona Nights
(4:28)  2. This Dance
(5:14)  3. Too In Love
(2:55)  4. Dragonfly
(3:27)  5. Love Will Light The Way
(3:15)  6. Love In Hyde Park
(3:45)  7. The Songs We Sang
(4:52)  8. Fly Away
(3:59)  9. Something's Gotta Give
(3:42) 10. Love Theme From Candide / Send In The Clowns

David Benoit’s 2 In Love, featuring singer/songwriter Jane Monheit is on the crest of a new style in which his Grammy-nominated pianism and sonic instrumentals are now paired with Jane’s vocal prowess. Their new sound, heightened and shaped as a new form of musical expression, validates the fact that few contemporary jazz musicians have achieved as much notoriety or had such an impact as David Benoit. The 61-year old Benoit is revered as one of the founding fathers of contemporary jazz and this pairing with 37-year old Jane Monheit serves as a splendid cross-generational effort that is sure to appeal to their fans around the world. This is David Benoit’s first release with a vocalist and he couldn’t have chosen a better one than the Grammy Award-nominated cool-toned Jane Monheit. Together they present a rich and comprehensive performance of ten songs culled from a variety of styles including ballads, mid-tempo, neo-classical, Latin, Pop and Broadway. They are supported by an alternating rhythm section which features drummer Jamey Tate, Clayton Cameron, percussionist Lauren Kosty, guitarist Pat Kelley and bassists David Hughes and John Clayton. Guest string players Michelle Suh on violin and cellist Cathy Biagini add their impressive accompaniment to several songs including “Dragonfly,” a waltz, “Something’s Got To Give,” from the play of the same name written by Benoit with long-time collaborator Mark Winkler and “The Songs We Sang.”

Along with Jane Monheit, three lyricists Mark Winkler, Lorraine Feather and Spencer Day illuminated Benoit’s musical concepts with fresh lyrics that heighten his exemplary abilities to understand and accompany singers. Lorraine Feather’s lyrics to “Barcelona Nights” were inspired by Benoit’s travels to Spain. Jane sings this song with vigor and passion as the band members provide the imagery, textures and imaginary hi-res clips of a night in Barcelona. The song unites a number of important currents in Latin music particularly the groove and infectious rhythms with elements of American contemporary jazz. Benoit is prolific across a plethora of styles and genres and on his heartfelt piano solo piano performance of “Love Theme From Candide"/”Send In The Clowns” he conveys his remarkable talents on songs from Broadway and the Great American Songbook. His art of instrumental storytelling is superb and his choice of repertoire makes this recording worth several listens. Fans of David Benoit and Jane Monheit will consider their 2 In Love collaboration as having met the standards set by such vocalist/pianist pairings as pop vocalist Diana Ross and pianist Lionel Richie or jazz vocalist Dee Daniels and pianist Cyrus Chestnut’s performances together. 

Jane’s incredible four-octave range, phrasing, and melodic/rhythmic exploration of David’s new adult contemporary music works well together and brings both of their careers into a broader cultural context. In addition to the wonderful arrangements, all of the musicians excel in conceiving a sound that you are sure to enjoy. ~ Paula Edelstein  http://www.axs.com/david-benoit-pairs-with-jane-monheit-on-new-recording-titled-2-in-love-51190

2 In Love

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Harold Mabern - Afro Blue

Styles: Vocal And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 69:42
Size: 160,1 MB
Art: Front

(5:07)  1. The Chief
(5:25)  2. Afro Blue (feat. Gregory Porter)
(5:51)  3. The Man from Hyde Park (feat. Gregory Porter)
(4:35)  4. Fool Rush In (feat. Norah Jones)
(4:23)  5. Don't Misunderstand (feat. Norah Jones)
(3:50)  6. I'll Take Romance (feat. Jane Monheit)
(5:38)  7. My One and Only Love  (feat. Jane Monheit)
(4:24)  8. Billie's Bounce (feat. Kurt Elling)
(5:39)  9. Portrait of Jennie (feat. Kurt Elling)
(4:01) 10. You Needed Me (feat. Kurt Elling)
(5:07) 11. Such Is Life (feat. Alexis Cole)
(5:18) 12. Do It Again (feat. Peter Bernstein)
(5:51) 13. Mozzin'
(4:28) 14. Bobby, Benny, Jymie, Lee, Bu

With Afro Blue, his second album for Smoke Sessions Records, Harold Mabern has taken a compelling new angle on his exceptionally creative musical vision. But for those who are truly familiar with this extraordinary pianist's talents, it is a project that is long overdue. While he may be best known for his powerful playing while soloing or driving so many of jazz' finest hornmen to spectacular heights of fire and thunder, Mabern has enjoyed a reputation among vocalists as one of the music's most sensitive and stimulating accompanists for more than 50 years ever since his early days playing with the unparalleled Betty Carter.

On this album, Mabern has selected five of his favorite vocalists who also just happen to be some of the most popular and respected singers on today's scene and is featuring them as special guests in the company of his own outstanding ensemble. Gregory Porter, Norah Jones, Jane Monheit, Kurt Elling and Alexis Cole perform individually alongside Mabern's regular ensemble of Eric Alexander on tenor sax and the bass/drums tandem of John Webber and Joe Farnsworth; plus additional guests, trombonist Steve Turre and trumpeter Jeremy Pelt on four and six tracks respectively. Eminent guitarist Peter Bernstein is featured on one track as well.

"I love to play for singers," explains the pianist. "I feel honored and flattered that these wonderful vocalists would want to be part of my little project. I feel good when singers say they love the way you play. That's a very special compliment."

Despite the wide variety of personnel, the album is fully cohesive and artfully conceived, with Mabern's soulful, blues-rooted style of piano expression as its radiant nucleus. The repertoire of 14 pieces is a fascinating assemblage of standards, jazz classics, Mabern originals and a couple of unexpected contemporary hit songs all performed in captivating fashion and constructed upon marvelous arrangements. Of the four Mabern originals, three are dedications to jazz immortals. The album opens and closes with two of the homages - both instrumentals. "The Chief" (for John Coltrane) is for quintet, appropriately modal and fiery; and the trio piece "Bobby, Benny, Jymie, Lee, Bu" closes with a tribute to that edition of Blakey's Jazz Messengers in the funky hard bop flavor those five giants brought to their classic version of Bobby Timmons' "Moanin'". The trio is also featured on a sizzling rendition of John 'Moz' Farnsworth's "Mozzin'" fired up by his brother's drumming. The other instrumental, Steely Dan's biggest hit "Do It Again," is a feature for Bernstein's guitar wizardry. A third Mabern original, "Such Is Life," features Alexis Cole deftly handling Mabern's lyrics and infectious melody, with the three horns providing a backdrop somewhere between calypso and highlife.

Gregory Porter is featured on two pieces, a vividly smoking take on the Mongo Santamaria/Oscar Brown Jr. title cut, with Mabern stoking in classic Afro-Cuban piano mode; and in a delightful easy groove on the fourth Mabern original "The Man from Hyde Park" - a dedication to Herbie Hancock. Norah Jones brings her highly personal style to Bloom & Mercer's "Fools Rush In," smoothly swinging over Blakey-ish horns; and in an enchanting, intimate duet with Mabern on Gordon Parks' lovely "Don't Misunderstand." Jane Monheit is buoyantly spirited on Oakland & Hammerstein's "I'll Take Romance," and mesmerizing on Wood & Mellin's gorgeous "My One and Only Love." Bird's bop icon "Billie's Bounce" is a rip-roaring sojourn in scat by the remarkable Kurt Elling, while the acclaimed vocalist aptly demonstrates his ballad mastery with a most poignant take on Robinson & Burdge's exquisite "Portrait of Jennie." A fortunate serendipity on the Anne Murray mega-hit, Randy Goodrum's "You Needed Me" which was slated to be an instrumental feature for Alexander's robust tenor - caused Mabern to call an audible when he heard Elling sing the first few words as he was about to depart the studio. The deeply moving results show how magic can be born by chance.

Mabern is unequivocally enthusiastic about this new album: "Wow! I can't believe we pulled all of it off. Everybody involved did a ten-star job. Simply beautiful!" Dazzling vocal artistry, impeccable musicianship, imaginative soloing, and that elusive substance of true synergy focused by the singular vision of a brilliant artist make Afro Blue a truly special experience. For Harold Mabern, whose enormous accomplishments as a leader are sometimes eclipsed by his reputation for helping so many Jazz heavyweights realize their own musical visions, Afro Blue is further testimony to his own legend. http://www.criticaljazz.com/2015/01/mark-your-calendar-for-new-harold-mabern.html

Afro Blue

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Wanda Sa - Wanda Sa Ao Vivo

Size: 122,0 MB
Time: 52:14
File: MP3 @ 320K/s
Released: 2014
Styles: Bossa Nova, Brazilian Rhythms
Art: Front

01. So Me Fez Bem (2:43)
02. Discussao (2:02)
03. E Nada Mais (4:06)
04. Samba De Uma Nota So (3:50)
05. Consolaçao (3:44)
06. O Que E Amar (4:09)
07. Novo Acorde (Feat. Marcos Valle) (4:13)
08. Vagamente (Feat. Marcos Valle) (5:05)
09. Ciume (Feat. Carlos Lyra) (2:08)
10. Pra Sempre (Feat. Joao Donato, Carlos Lyra) (3:12)
11. Minha Saudade - Bim Bom (Feat. Joao Donato) (3:53)
12. Inutil Paisagem - If You Never Come To Me (Feat. Jane Monheit) (4:07)
13. Coraçao Sem Saida - Spring (Feat. Jane Monheit, Dori Caymmi) (3:54)
14. Caminhos Cruzados (Feat. Jane Monheit, Dori Caymmi) (5:02)

Some of the coolest, most compelling work we've heard in years from Wanda Sa – a very spare, stripped-down session that really gets back to the roots of her music from the 60s! Wanda Sa has been reviving her bossa sound for the past decade or more, but most of those recordings often have a decidedly modern feel in some of the instrumental and production choices – while this album really goes for a classic vibe all the way through, as Wanda sings beautifully without any extra trappings, and plays guitar with this sublime sense of tone and color to really illuminate the lyrics! The music has some extra backings, too – but really in a light, small combo bossa mode – save for some points when Sa is joined by Marcos Valle, Joao Donato, and Carlos Lyra – all of whom approach the project in a similar way. Titles include "O Que E Amar", "Novo Acorde", "Vagamente", "Ciume", "Pra Sempre", "Minha Saudade/Bim Bom", and "E Nada Mais". Also features bonus tracks with appearances from Jane Monheit and Dori Caymmi!

Wanda Sa Ao Vivo

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Mark O' Connor Hot Swing Trio - In Full Swing

Styles: Dixieland/New Orleans/Swing
Year: 2002
File: MP3@320K/s
Time: 57:16
Size: 133,3 MB
Art: Front

(3:55)  1. In Full Swing
(5:13)  2. Honeysuckle Rose (with Wyton Marsalis & Jane Monheit)
(5:20)  3. Tiger Rag  (with Wyton Marsalis)
(6:56)  4. Misty  (with Jane Monheit)
(5:49)  5. Stephane And Django
(3:46)  6. Fascinating Rhythm  (with Jane Monheit)
(6:08)  7. 3 For All
(5:55)  8. As Time Goes By (with Wyton Marsalis & Jane Monheit)
(7:22)  9. Limehouse Blues
(6:47) 10. One Beautiful Evening

Mark O'Connor is hotter than hot these days. The onetime country fiddler's best-selling, Grammy winning classical albums have made him that rarest of things: a crossover artist whose genre-hopping is less about marketing than serious creative expression and boundless musical ambition. In Full Swing, O'Connor's new tribute to fellow violin virtuoso Stephane Grappelli - the man he calls his mentor - is something of a time-out in O'Connor's assault on the classical world. Regardless, it's an entirely engaging tour de force. O'Connor is one of those musicians whose skill, artistry and sheer talent - plus his obvious joy in music-making - make you sit back and smile. His affinity for Grappelli is tangible as he and his "swing trio" (with guitarist Frank Vignola and bassist Jon Burr), along with guests Wynton Marsalis and Jane Monheit, tear through a set of Swing-era standards and in-the-tradition originals. 

O'Connor and Marsalis make an interesting pairing, both for their wide-ranging musical knowledge and their ties to the classical realm, as well as their palpable (and, in Marsalis's case, often exasperating) ambition. Marsalis appears to relish his sideman role here, turning in some of his most relaxed playing in years and giving O'Connor a run for his money on the high-speed "Tiger Rag" and "Honeysuckle Rose". The unfortunately over-hyped Monheit - really more of a cabaret performer than jazz singer - is a bit out of her depth in this company, especially on the up-tempo numbers; she's more effective on a smoky rendering of the Casablanca chestnut, "As Time Goes By". Guitarist Vignola, on the other hand, more than holds his own in the potentially daunting role of playing Django to O'Connor's Grappelli. ~ Joel Roberts   http://www.allaboutjazz.com/in-full-swing-sony-legacy-music-review-by-joel-roberts.php#.U2krRShvCPM

Personnel: Mark O'Connor (violin); Jane Monheit (vocals); Frank Vignola (guitar); Wynton Marsalis (trumpet); Jon Burr (bass).

In Full Swing

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Jane Monheit - The Heart Of The Matter

Bitrate: 320K/s
Time: 57:00
Size: 130.5 MB
Styles: Vocal jazz
Year: 2013
Art: Front

[5:56] 1. Until It's Time For You To Go
[4:29] 2. Depende De Nos
[5:12] 3. Little Man You Had A Busy Day
[4:51] 4. Two Lonely People
[5:25] 5. A Gente Merce Ser Feliz
[7:15] 6. Golden Slumbers / Long And Winding Road
[2:51] 7. When She Loved Me
[4:19] 8. Born To Be Blue
[4:16] 9. Close
[3:06] 10. Night Night Stars
[4:10] 11. I Get Along Without You Very Well
[5:05] 12. Sing

A technically proficient singer with a distinctive style that straddles the line between Ella Fitzgerald's extroverted, loosely swinging approach and Linda Eder's more restrained Broadway and cabaret style, Jane Monheit is a virtuoso. One minute she's dazzling you with her resonant bebop-ready chops and the next she's making you cry with a single verse of a ballad. On her ninth studio album, 2013's Heart of the Matter, Monheit brings all of her gifts to bear on a set of mature, heartfelt songs that rank among her best. The album also works as a companion piece to 2009's The Lovers, the Dreamers and Me. With that album, Monheit celebrated such milestones as the birth of her son Jack and turning 30. She then followed up with 2010's equally as compelling if more swinging and straight-ahead jazz-sounding Home. Heart of the Matter, with its ruminations on motherhood and fidelity, returns Monheit to the more intimate, contemporary pop sound of The Lovers, the Dreamers and Me. Working with producer/arranger Gil Goldstein (who also adds his lyrical accordion sound to several tracks) and her usual rhythm section of drummer Rick Montalbano (her husband), pianist Michael Kanan, and bassist Neal Miner, Monheit has crafted a sumptuous, immaculately arranged album that once again shines a light on her immense vocal talent. Whether she's framed by a lush orchestral backing on the bossa nova "Depende de Nós" or a spare electric piano and flute arrangement on "Two Lonely People," Heart of the Matter finds Monheit nestled deep into the pocket of her own cross-genre sound, and it's a warm place to be. ~ Matt Collar

Recording information: Avatar Studios (2012-11-09&2012-11-10&2012-).

The Heart Of The Matter

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