Uptown Vocal Jazz Quartet - Hustlin' For A Gig

Bitrate: 320K/s
Time: 44:37
Size: 102.1 MB
Label: HouseKat
Styles: Jazz vocal harmonies
Year: 2012
Art: Front

[4:02] 1. He Was The Cat [a Tribute To Eddie Jefferson]
[5:28] 2. Hustlin' For A Gig
[5:02] 3. Gone Gone Gone
[4:33] 4. I'll Remember Why
[3:02] 5. Caught You Spreadin' Your Love All Over The Place
[2:42] 6. This Is The Life
[5:00] 7. A Million Miles
[3:45] 8. Java Junkie
[6:45] 9. Now I Have This
[4:14] 10. You Ain't Seen Nothin' Yet

Their sound reminds the listener of such iconic vocal groups as Lambert/Hendricks/Ross and The Manhattan Transfer, but Uptown Vocal Jazz Quartet has put their own distinctive signature on 4-part harmony jazz vocals with this diverse package of new music, clever lyrics, and arrangements they wrote themselves! spanning vocalese, bop, big band swing, sentimental ballads, Chicago blues, cool jazz, driving samba, lilting bossa nova, Basie-style swing, lyricized scat, and even a warm dose of harmonized R&B.

Recording information: Bias Studios, Springfield, VA.

Ginny Carr (vocals, keyboards); Andre V. Enceneat, Robert McBride, Holly Shockey (vocals); Steve Herberman (guitar); Chris Vadala (clarinet, alto saxophone); Leigh Pilzer (tenor saxophone, bass saxophone); Chris Walker (trumpet); Jen Krupa (trombone); Alan Blackman (piano, Fender Rhodes piano); Frank Russo (drums, percussion).

Hustlin' For A Gig 

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Laura Ainsworth - Necessary Evil

Styles: Jazz, Cabaret
Label: Eclectus Records
Year: 2013
File: MP3@320K/s
Time: 47:56
Size: 111,1 MB
Art: Front

(4:08)  1. Necessary Evil
(3:22)  2. One More Time
(4:19)  3. The Gentleman Is a Dope
(3:20)  4. Just Give Me a Man
(3:25)  5. Love Is a Dangerous Thing
(4:37)  6. My Foolish Heart
(4:39)  7. The Lies of Handsome Men
(3:24)  8. Get Out and Get Under the Moon
(5:24)  9. Out of This World
(3:20) 10. Hooray for Love
(3:30) 11. I'd Give a Dollar for a Dime
(4:24) 12. Last Train to Mercerville

“Singing in a satiny, impossibly old-fashioned, nearly three-octave voice, Ainsworth is the very portrait of West Coast cool…"~Nick DeRiso, SomethingElseReviews.com

As the daughter of renowned saxophonist Billy Ainsworth, Laura Ainsworth grew up watching her dad accompany such legends as Tony Bennett and Ella Fitzgerald. Her first album, "Keep It To Yourself," announced to the world that the sophisticated vocal style of the 1940s and '50s was still alive and well. Now, her second album, "Necessary Evil," extends that legacy of great music even further, and in new and exciting directions. On the film noir-themed "Necessary Evil," Laura and her partner/producer/pianist Brian Piper (2011 Dallas Jazz Musician of the Year and leader of the Newport Jazz Beach Party spotlight group, the Brian Piper Trio) offer a collection of terrific songs from the 1920s to today, all about love. 

Not love as a happily-ever-after fairy tale, but love with a twist: songs of heartache, lust, infatuation, fantasy, self-delusion and all the other aspects that sometimes make it feel less like a beautiful dream than a "necessary evil." Love is presented in all its forms, from heartbreaking (Laura's gorgeous new rendition of "My Foolish Heart") to hilarious ("Just Give Me A Man"). Opening with a blast of cool, Vegas-style big band brass from a 13-piece horn section on the title cut, "Necessary Evil" runs the stylistic gamut. Snap your fingers to the irresistibly bopping "The Gentleman Is A Dope"...be enchanted by the lush, exotic world jazz reinvention of "Out Of This World"...be transported back in time with the lilting "Get Out And Get Under The Moon"...and raise a martini to the cynical AC-style anthem to female empowerment, "The Lies Of Handsome Men." In the end, we realize that the only place you can always turn to for true, pure, eternal love is in the great old songs on the jukebox ("I'd Give A Dollar For A Dime). 

And so the album concludes with the brilliant new tribute to the king of romantic standards, "Last Train To Mercerville." Accompanied by a swinging big band and Piper's genius arrangement, this track cleverly weaves together lyrical and musical references to dozens of timeless Johnny Mercer songs. It's a brand new Big Band classic for the 21st century, and a song that Laura believes her late dad would've loved. So hop on the train back to a time when men donned fedoras to take dames with dangerous curves and long, satin gloves to swank gin joints, to hear great music by a stunning flame-haired chanteuse who's earning worldwide airplay and gushing reviews. But don't take our word for it. Download a FREE SONG at lauraainsworth.com, join her on Facebook and Twitter, or just check out what the critics had to say...More (http://www.cdbaby.com/cd/lauraainsworth3).

Necessary Evil

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Larry Coryell - Fallen Angel

Styles: Jazz, Fusion
Label: CTI Records
Year: 2003
File: MP3@320K/s
Time: 51:42
Size: 118,5 MB
Art: Front

(3:31)  1. Inner City Blues
(3:45)  2. Fallen
(3:34)  3. Never Never
(5:40)  4. (Angel on Sunset) Bumpin' on Sunset
(0:54)  5. Stardust
(4:31)  6. Misty
(3:07)  7. I Remember Bill
(5:52)  8. Pieta
(4:49)  9. Thus Spoke Z
(4:32) 10. Stella by Starlight
(6:25) 11. Monk's Corner
(2:03) 12. Westerly Wind
(2:53) 13. The Moors

On Fallen Angel, Larry Coryell teams up with arranger Don Sebesky to produce a wide-ranging album full of sampled sounds and programmed tracks in an attempt to mix the old CTI sound of the '70s with the production techniques and rhythms of the '90s. "Inner City Blues" kicks things off with great promise, as Coryell jams over a pre-programmed rhythm track with background vocalists. On "(Angel on Sunset) Bumpin' on Sunset," he improvises along with a sampled Wes Montgomery, then turns Erroll Garner's classic "Misty" into a mid-tempo reggae jaunt through which he and pianist Mulgrew Miller travel lightly. The CTI connection is brought to the forefront with a remake of Deodato's "2001" hit called "Thus Spoke Z," on which the famous theme is implied but never stated. Other highlights include a funky, angular tribute called "Monk's Corner," Sebesky's attractive "I Remember Bill" and the solo "Westerly Wind." 

There are also two pleasant smooth jazz vocal pieces at the front of the album, the beautiful ballad, "Fallen," a duet between vocalists Klyde Jones and Jeanie Bryson, and the funky made-for-radio "Never Never," featuring saxophonist Richard Elliot and a vocal from Ms. Jones. Fallen Angel was obviously an attempt to find Larry Coryell a place on the smooth jazz playlist, a task it didn't really accomplish. While it is not likely to appease those who bemoan the guitarist's failure to live up to his initial promise, it can be enjoyed if taken on its own terms.~Jim Newsom(http://www.allmusic.com/album/fallen-angel-mw0000622907).

Personnel: Larry Coryell (electric guitar); Klyde Jones (vocals); Chris Hunter (alto saxophone); Richard Elliot (tenor saxophone); Mulgrew Miller, Ted Rosenthal (piano),Mulgrew Miller (piano); Don Sebesky, Jamie Lawrence (synthesizer).

Fallen Angel

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George Duke - Reach For It

Styles: Vocal
Label: Legacy
Year: 1977
File: MP3@320K/s
Time: 42:18
Size: 97,4 MB
Art: Front

(1:50)  1. The Beginning
(4:13)  2. Lemme At It
(5:31)  3. Hot Fire
(4:53)  4. Reach For It
(4:28)  5. Just For You
(4:50)  6. Omi (Fresh Water)
(3:11)  7. Searchin' My Mind
(5:24)  8. Watch Out Baby
(6:45)  9. Diamonds
(1:07) 10. The End

By 1977, the jazz content of George Duke's albums had decreased considerably, and soul and funk had become his main priorities. Reach for It has more to offer from an R&B standpoint than a jazz standpoint, though the fusion it does contain is first rate  including the Latin-influenced "Hot Fire" and "Lemme at It" (an aggressive gem that's in a class with some of the keyboardist/pianist's best work with the Billy Cobham/Duke Band). Reach's heavy R&B content resulted in Duke facing the same accusation as George Benson, Patrice Rushen and other improvisers who moved away from jazz in the '70s  that he was a sellout. But none of this CD's R&B content comes across as contrived or formulaic. In fact, Duke is downright inspired on the haunting "Just for You" and the Parliament-influenced title song. Even so, it's always regrettable when a gifted improviser pretty much abandons jazz -- and Duke is a prime example. It should be stressed that the high rating awarded this CD is primarily from an R&B standpoint  and that those strictly interested in hearing Duke playing jazz would be better off investing in earlier efforts like Faces in Reflection.~Alex Henderson(http://www.allmusic.com/album/reach-for-it-mw0000319716).

Personnel: George Duke (vocals, keyboards); Charles Icarus Johnson (vocals, guitar); Leon "Ndugu" Chancler (vocals, drums, roto-toms, timbales); Deborah Thomas, Dee Henrichs, Sybil Thomas (vocals); Raul De Souza (trombone); Byron Miller (keyboards, bass); Mike Sembello (guitar); Stanley Clarke (bass); Manolo Badrena (bongos, congas, percussion).

Recording information: Paramount Recording Studios, Los Angeles, CA.

R.I.P.
Reach For It

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Oscar Peterson Trio - West Side Story

Styles: Jazz
Label: Verve
Year: 1962
File: MP3@320K/s
Time: 35:22
Size: 81,0 MB
Art: Front

(3:58)  1. Something's Coming
(5:36)  2. Somewhere
(7:48)  3. Jet Song
(4:37)  4. Tonight
(4:56)  5. Maria
(4:29)  6. I Feel Pretty
(3:56)  7. Reprise

West Side Story was a bit of an unusual session for several reasons. First, the popularity of both the Broadway musical and the film version that followed meant that there were many records being made of its music. Second, rather than woodshed on the selections prior to entering the studio, the Oscar Peterson Trio spontaneously created impressions of the musical's themes on the spot. "Something's Coming" seems like a series of vignettes, constantly shifting its mood, as if moving from one scene to the next. Ray Brown plays arco bass behind Peterson in the lovely "Somewhere," while the feeling to "Jet Song" is very hip in the trio's hands. The snappy interplay between the musicians in the brisk setting of "Tonight" turns it into a swinger. "Maria" initially has a light, dreamy quality, though it evolves into a solid groove. The romp through "I Feel Pretty" is full of humor, while the CD closes with a brief reprise of several themes from the musical to wrap the session with a flourish.~Ken Dryden(http://www.allmusic.com/album/west-side-story-mw0000123965).

Oscar Peterson Trio: Oscar Peterson (piano); Ray Brown (bass); Ed Thigpen (drums).

West Side Story

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Toots Thielemans - The Amazing Sound Of Toots Thielemans

Bitrate: 320K/s
Time: 73:02
Size: 167.2 MB
Label: Fresh Sounds Records
Styles: Harmonica jazz
Year: 2006
Art: Front

[2:19] 1. On The Alamo
[4:35] 2. Don't Be That Way
[2:24] 3. I'm Putting All My Eggs In One Basket
[2:59] 4. Sophisticated Lady
[2:46] 5. Scotch On The Rocks
[2:23] 6. I Let A Song Go Out Of My Heart
[3:12] 7. Stars Fell On Alabama
[4:27] 8. Diga Diga Doo
[2:45] 9. So Rare
[2:02] 10. Skylark
[4:18] 11. Sonny Boy
[2:12] 12. Cocktails For Two
[3:20] 13. The Nearness Of You
[3:13] 14. In A Sentimental Mood
[2:40] 15. You Took Advantage Of Me
[2:53] 16. Cool And Easy
[2:16] 17. Body And Soul
[4:08] 18. The Cuckoo In The Clock
[2:35] 19. Tangerine
[3:41] 20. Early Autumn
[2:34] 21. Them There Eyes
[3:26] 22. A Handful Of Stars
[2:59] 23. Can't Help Lovin' Dat Man
[2:45] 24. Clap Yo' Hands

Featuring: Urbie Green, Billy Byers, Chauncey Welsch, Santos Russo, Lou McGarity, Al Godlis, Billy Rauch, Jack Satterfield (tb), Toots Mondello, Artie Beck (as, cl), Carl Prager (bs, cl), Al Cohn, Zoot Sims (ts), George Berg (ts, cl), Al Epstein, Danny Bank (bars),

Jean “Toots” Thielemans arrived in the U.S. from his native Belgium in 1951. His first works in jazz were as a guitarist, instrument on which he achieved recognition as soon as he joined the George Shearing Quintet in late 1952. However, he was also a skilful harmonica player.

The present selection was intended to introduce the several facets of the instrument as exposed by Toots Thielemans’ thorough musicianship, his swing, and his unique achievements in versatility. For him, the ingredients of jazz are the beat (the motor) and sound, melody, and harmony (the intelligence). In this collection you will find Toots playing harmonica on every track, and even overdubbing guitar solos on four of them. With feats like this, not only he proved that jazz is a music of many moods, but he also brought a new perspective to the use of the harmonica in the jazz field; because one thing is certain: he can make it swing!

The Amazing Sound Of Toots Thielemans

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Rita Lee - Aqui, Ali Em Qualquer Lugar

Bitrate: 320K/s
Time: 39:41
Size: 90.9 MB
Label: Random
Styles: Easy Listening, Pop
Year: 2001
Art: Front

[3:45] 1. A Hard Day's Night
[2:46] 2. With A Little Help From My Friends
[2:39] 3. Pra Voce Eu Digo Sim (If I Fell)
[3:04] 4. All My Loving
[2:24] 5. Minha Vida
[2:37] 6. She Loves You
[2:46] 7. Michelle
[2:29] 8. Aqui, El, Em Qualquer Lugar
[2:18] 9. I Want To Hold Your Hand
[2:38] 10. Tudo Por Amor
[4:40] 11. Lucy In The Sky With Diamonds
[2:27] 12. Aqui, El, Em Qualquer Lugar 2
[2:23] 13. In My Life
[2:39] 14. If I Fell

Brazilian singer Rita Lee's bossa nova tribute to the Fab Four is a well-chosen set that occasionally veers towards the sublime, as on her interpretation of "Lucy in the Sky With Diamonds," and "Minha Vida," her Brazilian version of "In My Life." "All My Loving" becomes a sultry love letter, while "Here, There, and Everywhere" only adds to the swooning romanticism of the original.

Aqui, Ali, Em Qualquer Lugar  

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Leo Watson - Scat Man Best

Bitrate: 320K/s
Time: 73:09
Size: 167.5 MB
Label: Vintage Masters
Styles: Vocal jazz/blues
Year: 1999
Art: Front

[3:02] 1. Honeysuckle Rose
[2:45] 2. I've A Strange New Rhythm In My Heart
[2:32] 3. Nobody's Sweetheart
[2:37] 4. I Got Rhythm
[2:38] 5. Whistle While You Work
[2:22] 6. Tutti-Frutti
[2:47] 7. The Man With The Mandolin
[2:46] 8. Snake Pit
[2:32] 9. Utt Da Zay (The Taylor Song)
[3:10] 10. Scattin' The Blues
[2:54] 11. It's The Tune That Counts
[6:11] 12. Avocado Seed Soup Symphony, Pt. 1
[2:26] 13. Nagasaki
[2:48] 14. Shoot The Likker To Me, John Boy
[2:29] 15. She Ain't No Saint
[2:31] 16. Do You Wanna Jump, Children
[2:49] 17. Tight And Gay
[2:41] 18. Jada
[3:00] 19. Jeepers Creepers
[3:09] 20. Coquette (Chicken Coquette)
[9:14] 21. Sonny Boy
[2:56] 22. Free Wheeling
[2:38] 23. Jingle Bells

Jive vocalist Leo Watson is one of the forgotten masters of scat singing. This is rare stuff that fans of swing and blues will be glad to find on one disc. ~ Matt Collar

Recording information: Los Angeles, CA (09/20/1933-09/07/1945); New York, NY (09/20/1933-09/07/1945).

Leo Watson (vocals, drums); Teddy Bunn (vocals, guitar); Virgil Scroggins, George Vann (vocals, drums); Wilbur Dannils (vocals); Horace Rollins, Ulysses Livingston, Arv Garrison, Al Avola, Frank Victor, Slim Gaillard, Ray Biondi (guitar); Paul Ricci (clarinet, alto saxophone, tenor saxophone); Murray Williams (clarinet, alto saxophone); Artie Shaw (clarinet); Bob Snyder, Mascagni Ruffo, George Siravo, Les Robinson (alto saxophone); Jules Rubin, Carl Biesacker, Sam Donahue, Sam Musiker, Tony Pastor (tenor saxophone); Ralph Muzillo, Tom Dicarlo, Malcolm Crain, Dave Schultze, John McGee, John Best , Charles Frankhauser (trumpet); Dalton Rizzotto, Tony Tyler, George Arus, Bruce Squaries, Charles McCamish, Vic Dickenson, Harry Rodgers (trombone); Eddie Heywood, Leonard Feather, Milt Raskin, Gene DePaul, Les Burness (piano); O'Neill Spencer, Gene Krupa, Harold "Doc" West, Cliff Leeman (drums).

Scat Man Best                 

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The Bob Brough Quartet - Like A Spring Day (featuring Carol McCartney)

Bitrate: 320K/s

Time: 55:15

Size: 126.5 MB

Label: (Self released)

Styles: Saxophone jazz

Year: 2005

Art: Front

[3:29] 1. Like A Spring Day

[5:13] 2. I Know Love Must Be Near

[5:19] 3. A View Painted Citron And Blue

[5:25] 4. Daisy

[5:44] 5. Indian Summer

[3:01] 6. Paradise Is Good Enough For Me

[5:24] 7. Only Summer Knows

[6:02] 8. There's A Place In My Heart

[5:27] 9. Today

[3:59] 10. Scarborough Fair

[6:06] 11. When The Atmosphere's Right

Surely saxophonist/composer Bob Brough must be one of the best jazzmen in Toronto. His second album, Like A Spring Day offers the opportunity to showcase the talents of singer Carol McCartney. Brough collaborated with lyricist Sonja Tran on all but two of the eleven compositions.

Last year at this time, I reviewed Bob Brough's debut recording, A Decade of Favorites and although he had appeared on over twenty recordings, this was his first album. The songs written for this new album are largely uptempo tunes with optimistic titles like "I Know Love Must Be Near," "Paradise Is Good Enough For Me," and the title tune. Sonja Tran's lyrics are sunny and uplifting as exemplified by the "A View Painted Citron and Blue." The goods are delivered by Carol McCartney who sings in a manner reminiscent of Jackie Cain (Jackie & Roy). Her delivery is enthusiastic and she seems comfortable with the jazz vocal genre scatting with ease. The best example of this is on "Today" where she has an extended scat opportunity and also trades four with the band. Bob Brough impressed us last year on his debut and, likewise, as an accompanist he proves equally adept. We get to hear him solo on every track and also provide gorgeous obbligatos behind McCartney in a manner that you'd associate with Stan Getz or Scott Hamilton. When we get the first ballad, "Daisy," Brough elevates the song per his solo. On the version of the Simon & Garfunkel-associated "Scarborough Fair," taken at a faster tempo, McCartney delivers the melody line and then hands off to Brough who soulfully makes this into a legitimate jazz version. The trio of Stan Fomin, piano; Artie Roth, bass and Kevin Brow, drums are all regular members of the Brough group and provide fine support with Fomin and Roth getting in some brief solo space here. ~Michael Galdstone

Like A Spring Day (featuring Carol McCartney)                 

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Hot Club Of Belgrade - The Balkan Swinging Melody

Styles: Gypsy Jazz
Label: Independent
Released: 2010
File: mp3 @320K/s
Size: 105,7 MB
Time: 45:39
Art: front

1. Bembasa - 3:03
2. Makedonsko Devojce - 3:20
3. Djelem Djelem - 3:23
4. Jeremija - 3:46
5. Hej Salasi - 3:20
6. Sila Kale Bal - 3:25
7. Cajsukarije - 3:07
8. Biljana Platno Belese - 3:34
9. Vranjanka - 3:51
10. Devojko Mala - 4:01
11. Tamo Daleko - 4:00
12. Bolujem Ja - 3:32
13. Dodji U Kafanu - 3:12

Hot Club of Belgrade members are:
Branko Maćić - lead guitar
Filip Krumes - violin
Srđan Marković - rhythm guitar
Goran Rakočević - double bass

Notes: Hot Club of Belgrade is inspired by the music of the legendary jazz artists Django Reinhardt and Stephane Grappelli. Our repertoir consists of classical gypsy jazz manouche compozitions, swing standards and popular evergreen songs.

Our recently published CD "The Balkan Swinging Melody" represents a collection of chosen traditional melodies from the Balkans (Serbia, Vojvodina, Macedonia, Bosnia) performed in gypsy jazz manner.

The Balkan Swinging Melody

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Django Reinhardt & Stéphane Grappelli - Tea For Two

Styles: Swing, Guitar Jazz

Label: Sony Music

Released: 2001

File: mp3 @320K/s

Size: 126,8 MB

Time: 54:45

Art: front

1. Tea For Two - 2:53

2. Sweet Georgia Brown - 3:07

3. Nuages - 3:02

4. My Sweet - 2:54

5. Daphne - 3:09

6. Nocturne - 3:14

7. I've Got My Love To Keep Me Warm - 2:31

8. Lambeth Walz - 2:46

9. The Flat Foot Boogie - 2:55

10. Billets Doux - 2:53

11. I Got Rhythm - 2:56

12. Honeysuckle Rose - 2:53

13. Night And Day - 2:42

14. The Man I Love - 3:12

15. Louise - 2:37

16. Black And White - 3:04

17. Stompin At Decca - 2:33

18. If I Had You - 2:48

19. Swing From Paris - 2:29

Personnel:
Jan Blok - Guitar
John Etheridge - Guitar
Stéphane Grappelli - Violin
Laurie Holloway - Harpsichord, Piano
Barney Kessel Primary Artist
Yehudi Menuhin - Violin
Pierre Michelot - Bass
Django Reinhardt - Guitar
Ronnie Verrell - Drums

Notes: For the third recorded meeting between violinists Stephane Grappelli and Yehudi Menuhin, the rhythm section is joined by some woodwinds on a few of the selections. Grappelli sounds fine but Menuhin's classical technique did not prepare him to improvise and he weighs down the proceedings a bit, making some of the ballads sound too sweet. This LP is therefore a historical curiosity rather than an essential acquisition.

Tea For Two

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Daryl Sherman - Guess Who's In Town

Styles: Vocal
Label: Arbors Records
Year: 2006
File: MP3@320K/s
Time: 61:45
Size: 141,3 MB
Art: Front

(4:13)  1. Love You Madly
(5:17)  2. I Concentrate On You
(5:15)  3. Then I'll Be Tired Of You
(3:37)  4. Guess Who's In Town
(4:49)  5. Carolina In The Morning
(2:01)  6. Tennessee Fish Fry
(3:57)  7. Angel Eyes
(3:55)  8. Lullaby Of Birdland
(3:06)  9. Underneath The Arches
(6:05) 10. Welcome To Manhattan
(3:43) 11. Embraceable You
(3:12) 12. Like A Puzzle
(3:08) 13. Don't Worry 'Bout Me
(4:21) 14. Someday Sweetheart
(4:58) 15. Dream Awhile

Vocalist-pianist Daryl Sherman performs every week at the Waldorf-Astoria, playing the same piano on which Cole Porter composed. Sherman is the right player for such a setting and such an instrument; she's a swing musician in the most traditional sense of that phrase. Where many singers seek novelty in the hybridization of jazz with other musical idioms, Sherman remains true to a straight-ahead interpretation of jazz standards from the early part of the last century. (Such an orthodox singer is truly the novelty these days.) And Sherman's latest release Guess Who's In Town? her fourth album for Arbors Records, reminds us just how uplifting straight-ahead jazz can be. 

Sherman approaches each of the 15 tunes on the CD in a candid, unhurried manner. She's backed by some of New York's most established sidemen, and as it goes, few jazz singers accompany themselves or hold their own with a band as well as Sherman does. Her wispy, girlish vocals command all the more attention for their understatement and lack of ornamentation; she leaves the solos and the embellishment to her able fingers and her highly skilled band. On most of the cuts Sherman shares changes with guitarist Jim Wheatley and bassist Dave Green; and jazz elder Jay Leonhart (who lent his vintage bass to Green for the recording) backs Sherman's touchingly vulnerable vocals in a bass-vox duet on "Don't Worry 'Bout Me. On different tunes Sherman makes full use of two of New York's more prominent horn players Harry Allen (tenor sax) and The Nighthawks leader Vince Giordano (bass sax) but wisely pairs them on the Reg Connelly/Bud Flanagan song, "Under The Arches. Another winning pair-off: Giordano sings with Sherman in homage to Bobby Short in their charming take on the title cut (though Giordano is uncredited as a vocalist in the list of personnel). 

Along with Sherman's standard offerings (Ellington, Porter, and Gershwin) are some unusual selections, among them a sunny version of "Carolina In The Morning (Walter Donaldson) and an infectious "Tennessee Fish Fry (Arthur Schwartz/Oscar Hammerstein). One sweet surprise: Johnny Mercer's little-known "Dream Awhile. Sherman also demonstrates strong chops as a composer. Her original, "Welcome To Manhattan, is a romantic ballad that details the best the city has to offer. For aficionados of swing, Sherman most certainly belongs on that list.~Suzanne Lorge

(http://www.allaboutjazz.com/php/article.php?id=25695#.UhZ2mn-Ac1I).

Personnel: Daryl Sherman: piano, vocals; Harry Allen: tenor sax; Vince Giordano: bass sax; Jon Wheatley: guitar; Dave Green: bass; Jay Leonhart: bass.

Guess Who's In Town

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Janis Mann - Blow Away

Styles: Jazz Vocals

Year: 2010

File: MP3@320K/s

Time: 45:08

Size: 104,0 MB

Scans: Front

(3:17)  1. That Old Black Magic

(4:04)  2. Never Let Me Go

(5:07)  3. Then I'll Be Tired of You

(4:15)  4. I Got Lost In His Arms

(3:26)  5. Moment To Moment

(5:30)  6. Slow Hot Wind

(5:37)  7. If You Could See Me Now

(4:37)  8. My One and Only Love

(3:23)  9. It's Always You

(5:48) 10. You'll See

Janis Mann’s last album, A Perfect Time (Pancake 2008), was a galvanizing tour de force that revealed her as a singer who loves to swing and has an affinity for rhythmic variation.With this offering, Mann shows us another side of her tonal personality. Her past efforts have utilized written arrangements and pre-set formats, but here Janis and her band trusted their musical instincts. This album is not a construct of multiple takes and canny edits, laboriously winnowed into a pasted-up final edition. It’s an audio snapshot of four musicians who met in the studio and courted serendipity. The heads were worked out on the spot and they relied on mutual chemistry as a guide.

The idea of equal collaboration is important here. Unlike the usual figure/ground relationship of a vocalist who stands in front of a trio, Mann functions as a horn that improvises yet also interprets lyrics. The lush though intense lyric reading on “Never Let Me Go” floats and undulates over the free-flowing accompaniment of indeterminate meter. Talk about flying without a net!

She’s one of the few true heirs to Sarah Vaughan, but Janis is no clone. They share an ability to improvise melodically and subtly manipulate notes like the discreet yet wavy melisma on Henry Mancini’s sultry “Slow Hot Wind.” Sarah took out a patent on Tadd Dameron’s lush “If You Could See Me Now” when she recorded it in 1946. Janis pulls off the hat trick of giving a first-class rendition while nodding to Sarah, and yet making her own statement.

Mann could scarcely have chosen more flexible collaborators. Pianist Bill Cunliffe is a Grammy-winning arranger, who plays with an arranger’s ability to see the whole tune, not just one set of eight bars after another. He doesn’t merely support Janis he provides musical options and potential. His sublime introduction to “I Got Lost in His Arms” offers a judiciously chosen harmonic outline for her to design the first chorus upon. Then he leads the way for her, gets underneath her, and opens up space for her in the most thoughtful ways.

Bassist Cristoph Luty has a similar sense of the best choices, drawn from a wide musical vocabulary: muscular chords on a rhythm tune, a melancholy arco break on “Slow Hot Wind” or a pizzicato melodic fragment behind one of Mann’s held notes. The protean Roy McCurdy remains a drummer for all seasons. He provides everything from the sizzle to “Old Black Magic,” whispering brushes, colorful cymbals, and the gently rocking beat on “My One and Only Love.”

In this company, she can swing at any tempo, take liberties with phrasing and rhythm, and impart a lyric with clarity and emotion. Her judicious use of scat, as on “Moment to Moment,” springs organically from the tag. A first-class balladeer as well, her “Then I’ll Be Tired of You” relies on forthright delivery rather than musical tricks. Taken together, it amounts to the province of an artist, and Janis Mann doesn’t share it with many others.  (by Kirk Silsbee) http://www.cdbaby.com/cd/janismann2

Blow Away

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Ikiz - Checking In

Styles: Jazz Instrumental, Jazz Vocals
Label: Stockholm Jazz Records
Year: 2012
File: MP3@320K/s
Time: 67:10
Size: 153,8 MB
Scans: Front

(4:38)  1. Estepona (Album Version)
(6:52)  2. Vino tinto por favor
(4:10)  3. Insanely (Featuring China Moses)
(9:16)  4. Anacapri
(6:45)  5. Hastayim yasiyorum
(3:41)  6. For here or to go?
(6:50)  7. Holy schhh
(5:12)  8. Over & over (Featuring Melo)
(8:09)  9. Whispering
(4:58) 10. Deadlock
(6:35) 11. Six days of silence

As an integral member of acclaimed outfits Nils Landgren Funk Unit, Magnus Lindgren Batacuda Jazz and Dan Reed Band, 32-year-old drummer and percussionist Robert Mehmet Sinan Ikiz has already toured the world several times over. The wealth of places, people and musical styles he has encountered on his travels has helped shape the diverse sound of Ikiz's debut recording as a leader, Checking In (Stockholm Jazz Records, 2012).

Born in 1979 in Istanbul, Turkey, Ikiz's family moved to Sweden when he was four years old. After enrolling in the Afro-American music program at Stockholm Music Conservatory, Ikiz received a scholarship to study at the Los Angeles Music School under drum ace Anthony Inzalaco. Once back in Europe, Ikiz set about building a career in jazz, which has seen him play, on occasion, with artists as diverse as pianists Joe Sample and Frank McComb and vocalists Barbara Hendricks and China Moses. He has also worked with the BBC Big Band in England, the NDR Big Band in Germany and symphony orchestras in the Czech Republic and elsewhere. His drumming can even be heard on a TV commercial with hip-hop giant Jay-Z.

As a touring musician, Ikiz spends a great deal of time in hotels and airport terminals. "That's where I got the idea to call my album Checking In," he explains. "I decided to record my own album, as I've been travelling around for years with a lot of different groups, and I've played on a lot of other people's albums, yet I never found the time to do my own, until now."
All About Jazz: Checking In features all sorts of influences, from soul and funk to classical music from Turkey, yet jazz is the central sound of the recording and the majority of your work as a musician. 

(to be cont. http://www.allaboutjazz.com/php/article.php?id=41489#.Uhd6qlcucv4)

Checking In

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Anke Helfrich - Stormproof

Styles:  Piano Jazz

Year: 2009

File: MP3@320K/s

Time: 54:02

Size: 124,6 MB

Scans: Front

(4:23)  1. Hackensack

(5:59)  2. September Song

(7:32)  3. Stormproof

(5:21)  4. Sehnsucht

(7:07)  5. In Good Times As In Bad

(1:59)  6. After The Rain

(8:26)  7. Circles

(4:58)  8. Swiss Moment

(5:14)  9. Speak Low

(2:58) 10. Little Giant

German pianist Anke Helfrich has absorbed the influence of everyone from Thelonious Monk to Les McCann and channeled it into an original style that's rooted but not retro. On STORMPROOF, she covers Monk's "Hackensack," and its knotty harmonies and angular feel suit her singular style, but she really stretches out on her own compositions, where her approach feels completely contemporary. She doesn't stick strictly to the 88s, either; she occasionally moves over to electric piano and even harmonium. And while her thoughtful melodic statements are clearly the focus here, trombonist Nils Wogram offers some striking moments of his own throughout this, Helfrich's third release as a leader.~Jim Allen (www.allmusic.com/album/stormproof-mw0000813304).

Stormproof

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Agnetha Fältskog - A

Styles: Dance-Pop, Euro-Pop
Label: Universal Music
Year: 2013
File: MP3@320K/s
Time: 38:38
Size: 88,5 MB
Scans: Front

(3:30)  1. The One Who Loves You Now
(3:31)  2. When You Really Loved Someone
(3:31)  3. Perfume In The Breeze
(4:08)  4. I Was A Flower
(4:04)  5. I Should've Followed You Home
(3:30)  6. Past Forever
(4:10)  7. Dance Your Pain Away
(4:21)  8. Bubble
(3:43)  9. Back On Your Radio
(4:06) 10. I Keep Them On The Floor Beside My Bed

Agnetha Fältskog faded into a quiet retirement in the late '80s, resurfacing with an autobiography in 1996 and then a collection of covers, primarily standards, called My Colouring Book, a 2004 release loosely tied into the popularity of ABBA's jukebox musical Mama Mia. Despite these projects, she never pursued a full-fledged comeback, not until 2013 when she released A, a collection of new songs written and produced by Jörgen Elofsson, that received a major multinational push. Elofsson wrote hits for Britney Spears, including the fizzy early sensation "(You Drive Me) Crazy," but the touchstone for A is his masterwork of pageantry, "A Moment Like This," the song Kelly Clarkson sang at the conclusion of the first season of American Idol. There are hints of disco here and there, most prominently on "Dance Your Pain Away," and a bit of pure pop ("Back on Your Radio" is a terrific statement of adult contemporary purpose), but for the most part A  is straight-down-the-middle Europop ballads, the kind ABBA pioneered and the kind Fältskog still feels very comfortable singing. Throughout it all, she sounds strikingly robust  she may not hit the high notes anymore but she never sounds thin  and part of the credit should go to Elofsson, who crafts his songs and productions to showcase Fältskog at her best. Much of this feels familiar but not precisely like music she's made before. Rather, this is stately, sweet Europop, the kind that could have been released any time over the last 30 years, but it's given a warm, reassuring quality by Agnetha Fältskog, who retains an appealing, easy touch that separates her from her successors and still resonates all these years later.
~Stephen Thomas Erlewine(http://www.allmusic.com/album/a-mw0002512449)

A

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Erin Dickins - Nice Girls

Styles: Jazz Vocals
Label: Champagne Records
Year: 2010
File: MP3@320K/s
Time: 47:15
Size: 108,2 MB
Art: Front

(3:05)  1. I Just Found Out About Love
(3:23)  2. Je Cherche Un Homme
(4:53)  3. Nice Girls Don't Stay For Breakfast
(2:58)  4. Tain't Whatcha Do
(3:34)  5. Walkin' With Your Barefeet On
(4:09)  6. Long Ago And Far Away
(3:29)  7. Stayin' Is The Only Way To Go
(3:38)  8. Can't We Be Friends
(3:30)  9. Loads Of Love
(5:23) 10. I Must Have That Man
(4:15) 11. Sometimes I'm Happy
(4:54) 12. Take Your Time

Erin Dickins is notable for being one of the founders of jazz vocal group The The Manhattan Transfer. Since that time, the singer has been quite the journey- woman performer, occasionally taking time off from the music industry. She concludes one such sabbatical (10 years) with the release of Nice Girls, a patiently assembled collection of show tunes and not-so-standard standards. 

The erstwhile title tune, composed by Jerome Leshay and Bobby Troup, was originally recorded by Julie London for her 1967 Liberty release of the same title. It has enjoyed relatively little coverage, appearing most recently on Kathy Kosins Vintage (Mahogany Records, 2005). Dickins' take on the chestnut is crazy sexy and breathless. Dickins possesses that ability all great singers have, to make the slowest ballads sound effortless. Her voice is light a coquettish, coy and smiling. A refined arrangement and spare instrumentation showcase this talent, welcoming it back.~C.Michael Bailey(http://www.allaboutjazz.com/php/article.php?id=39837#.UhTHkn-Ac1I).

Personnel: Erin Dickins: vocals; Rob Mounsey: piano; David Finck: bass; Barry Danielian: tenor saxophone.

Nice Girls

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Diane Schuur - Schuur Fire

Styles: Jazz Vocals
Label: Concord
Year: 2005
File: MP3@320K/s
Time: 52:03
Size: 119,2 MB
Art: Front

(4:50)  1. Lover Come Back To Me
(4:05)  2. Don't Let Me Be Lonely Tonight
(6:29)  3. So In Love
(3:40)  4. Look Around
(3:32)  5. I Can't Stop Loving You
(4:26)  6. As
(4:10)  7. More Than You Know
(4:13)  8. Ordinary World
(4:14)  9. Poinciana
(3:54) 10. Close Enough For Love
(4:21) 11. Confession
(4:03) 12. Yellow Days

Having displayed a knack in the past for reinterpreting both pop and jazz tunes, jazz vocalist Diane Schuur once again succeeds in bringing together an unexpected mix of compositions on Schuur Fire. Featuring the Caribbean Jazz Project, the album finds Schuur's clarion vocals melding nicely with vibist Dave Samuels' superb Latin jazz ensemble especially trumpeter Diego Urcola, who takes some tasty solos throughout. 

To these ends, listeners discover that James Taylor's "Don't Let Me Be Lonely Tonight" makes for a comfortable soft jazz number with a nice double-time midsection, and Stevie Wonder's "As" fits perfectly into the uptempo Latin dance style. Interestingly, Sergio Mendes' "Look Around" is given a faithfully retro feel that harks back to such shiny vocal groups as the Free Design. However, nobody but Schuur could have predicted how great Don Gibson's classic country tune "I Can't Stop Loving You" would sound as a samba.~Matt Collar(http://www.allmusic.com/album/schuur-fire-mw0000454143).

Personnel: Diane Schuur (vocals, background vocals); Diane Schuur; Oscar Stagnaro (bass instrument); Oscar Castro-Neves (guitar); Diego Urcola (trumpet, flugelhorn); Dario Eskenazi (piano); Dave Samuels (vibraphone, marimba); Mark Walker (drums); Robert Quintero (congas, percussion).

Recording information: Capitol Studios, Hollywood, CA; Visual Rhythm Studios, Alhambra, CA.

Schuur Fire

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David Sanborn - Here & Gone

Styles: Jazz, Big Band

Label: Decca Music Group

Year: 2008

File: MP3@320K/s

Time: 42:02

Size: 96,3 MB

Art: Front

(5:19)  1. St. Louis Blues

(5:40)  2. Brother Ray

(4:48)  3. I'm Gonna Move To The Outskirts Of Town

(4:56)  4. Basin Street Blues

(4:10)  5. Stoney Lonesome

(4:31)  6. I Believe It To My Soul

(4:47)  7. What Will I Tell My Heart

(3:22)  8. Please Send Me Someone To Love

(4:27)  9. I've Got News For You

Whether contributing a solo for Steely Dan or backing up Maynard Ferguson, David Sanborn quickly made a name for himself as both a sideman and a bandleader more than three decades ago. And like a true musician, he keeps going and going. Sanborn journeys to the days of big bands and St. Louis clubs with Here & Gone. Sanborn effortlessly straddles the worlds of both pop and jazz. Among his contributions are the themes to Saturday Night Live and the original Late Night With David Letterman. He hosted the groundbreaking NBC television series Night Music. 

Sanborn's sax is also heard in the scores for the Lethal Weapon movies. The six-time Grammy winner has collaborated with a who's who of popular music and jazz, including Bob James, Miles Davis, Lou Reed, Santana, Sonny Rollins and Al Green. In fact, Sanborn's cover of Green's "Love and Happiness" is among the most popular soul-to-jazz transitions. Sanborn's familiar wail comes through on W.C. Handy's classic "St. Louis Blues." This is one of the slower adaptations of the song, and it works. Underscored by a small horn section, Christian McBride on bass, Steve Gadd on drums, Gil Goldstein on keyboards and Russell Malone on guitar, Sanborn delivers this song with a rare expression of soul. Trumpeter Wallace Roney joins the leader for a call-and-response exchange near the song's end. The blues continues with "Brother Ray," composed by longtime Sanborn associate Marcus Miller. Derek Trucks performs the guitar solo on this earthy selection. Eric Clapton provides guitar and lead vocals on the blues-swing track "I'm Gonna Move to the Outskirts of Town." "Stoney Lonesome" is straightforward, big-band jazz.

This upbeat Hank Crawford tune features Sanborn in front of a larger horn section. McBride and Gadd help set the pace, but it's the other horns that power this piece. Anthony Wilson contributes a slick guitar solo, followed immediately by a sustained Sanborn high note, which sets up the song's fade. British vocal sensation Joss Stone leads on the Ray Charles composition, "I Believe to My Soul." Stone delivers some old-school soul and Sanborn charges ahead with one of his funkier solos. One could easily dismiss Here & Gone as yet another album of covers. But what separates Sanborn's effort is he goes back farther a lot farther than many of today's recording artists. Rather than simply doing instrumental tracks of pop or R&B songs from the 1970s, he takes some classic blues and jazz songs that except for "St. Louis Blues" and "Basin Street Blues" are mostly forgotten and makes it work. It helps that he used a large ensemble, keeping with the spirit of the originals.~Woodrow Wilkins(http://www.allaboutjazz.com/php/article.php?id=30151#.UhZjKn-Ac1I).

Personnel: David Sanborn: alto saxophone; Eric Clapton: vocals (3), guitar (3); Joss Stone: vocals (6); Sam Moore: vocals (9); Christian McBride: bass; Steve Gadd: drums; Russell Malone: guitar; Derek Trucks: guitar (2); Anthony Wilson: guitar solo (5); Ricky Peterson: Hammond B3 (2, 6, 8, 9); Gil Goldstein: keyboards (1, 2, 4, 6, 8), Hammond B3 (2); Howard Johnson: baritone sax; Charles Pillow: bass clarinet (1-4, 6, 9); John Moses: bass clarinet (5, 7, 8); Mike Davis: tenor trombone; Lou Marini: tenor sax; Keyon Harrold: trumpet; Lew Soloff: trumpet (1, 4, 6, 9); Wallace Roney: trumpet solo (1).

Here & Gone

Jelly Roll Johnson - Come Rain Or Come Shine

Size: 81,9 MB
Time: 35:18
File: MP3 @ 320K/s
Released: 2013
Styles: Blues Jazz, Soul Jazz, Latin Jazz
Label: JMJ Records
Art: Front

01. Moanin' (5:06)
02. Killer Joe (5:44)
03. Come Rain Or Come Shine (4:36)
04. Sugar (5:08)
05. The Preacher (3:46)
06. Willow Weep For Me (5:15)
07. Blue Bossa (5:40)

This instrumental album spotlights Jelly Roll’s sensual harmonica and an organ trio, featuring Pat Bergeson on guitar, Charles Treadway on B-3 organ and Chris Brown on drums. Jazz-blues classics Moanin’ by Bobby Timmons and Sugar by Stanley Turrentine, and standards Come Rain or Come Shine and Willow Weep for Me receive soulful treatments by the band. This collection also features fun romps through Killer Joe and The Preacher. Jelly Roll’s smooth take on Blue Bossa closes this noteworthy album.

Come Rain Or Come Shine

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