Mishka Adams - Willow Weep For Me

Styles: Jazz Vocals
Label: Candid
Year: 2010
File: MP3@320K/s
Time: 46:56
Size: 109,2 MB
Art: Front

(6:11)  1. Willow Weep For Me
(5:14)  2. Body And Soul
(5:06)  3. Les Feuilles Mortes (Autumn Leaves)
(2:56)  4. On Green Dolphin Street
(4:54)  5. Love Came On Stealthy Fingers
(5:23)  6. God Bless The Child
(4:04)  7. Change Partners
(4:03)  8. The Peacocks (A Timeless Place)
(4:29)  9. I've Never Been In Love Before
(4:32) 10. Somewhere Over The Rainbow

Refreshingly unpretentious and just plain talented, Filipino-English songwriter Mishka Adams makes light work of creating listenable, jazz influenced originals and tasteful standards. ~Time Out, London

'Mint for the mind - balmy and calming...' said the Manila Times on reviewing Mishka's first album. Indeed! This captivating young Anglo-Filipina blessed with that kind of delicate husky voice so pleasing to the ear. As she sings, she blends this roundness and pureness with her impeccable clarity of enunciation and innate ability to interpret songs to wonderful effect. These qualities are abundant in this album which has Miss Adams singing with top musicians both from both continents. Mishka puts her 'gentle subversion' to terrific use in this collection of standards all delivered with a style and panache for which she is becoming more and more renowned.~Editorial Reviews http://www.amazon.com/Willow-Weep-For-Mishka-Adams/dp/B0037FFAWI .

Willow Weep For Me

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Keith Urban - Get Closer

Styles: Country
Label:  Liberty
Year: 2011
File: MP3@320K/s
Time: 70:40
Size: 163,5 MB
Art: Front

(3:40)  1. Put You In a Song
(3:36)  2. You Gonna Fly
(3:38)  3. All for You
(4:33)  4. Long Hot Summer
(3:56)  5. Without You
(5:17)  6. Georgia Woods
(4:48)  7. Right On Back to You
(4:18)  8. Shut Out the Lights
(3:47)  9. Big Promises
(4:15) 10. The Luxury of Knowing
(3:40) 11. Winning
(7:10) 12. Once In a Lifetime (Live In Gwinnett, Ga)
(5:18) 13. You Look Good In My Shirt (Live In Gwinnett, Ga)
(5:42) 14. Better Life (Live In Gwinnett, Ga)
(6:55) 15. Everybody (Live In Gwinnett, Ga)

Pop and country have become increasingly interchangeable in the 21st century, and few artists have benefited more than Keith Urban. On paper, he’s a wealth of contradictions a country boy with an exotic accent, a balladeer with rock & roll chops, a stubbled face framed by flat-ironed hair. On his albums, though, Urban molds those would-be incompatibilities into some of the slickest country songs this side of Taylor Swift, appealing to his longtime Nashville supporters while still targeting fans who wouldn’t be caught dead inside a honky tonk. Released one year after 2009’s Defying Gravity, Get Closer is another country-pop hybrid, executed with swagger and professionalism by the man who helped bring drum machines to Music City. The bad news is that the album is short. Super short. Unless fans want to drive to Target, which has exclusive rights to the full version of Get Closer, they’ll have to settle for a shorter album that clocks in at eight tracks. This so-called “standard” edition feels more like an EP, and the fact that Target’s version only adds two more originals coupled with a remake of Santana’s “Winning” and four live tracks from the Love, Pain & the Whole Crazy Thing tour provides little relief. The good news is that Get Closer, in all its abridged glory, contains some of Urban’s best work to date. He co-writes most of the material and chooses his songwriting partners wisely, working with Sarah Buxton (who wrote the Grammy-winning “Stupid Boy”) on “Put You in a Song” and collaborating with longtime partner Darrell Brown on the country-rocker “Georgia Woods,” which may be the best tune here. Those two songs along with “You Gonna Fly,” “Long Hot Summer,” and “Shut Out the Lights”  round out the rock section, and Urban decorates them with an arsenal of stringed instruments, from bazouki to banjo to E-bow guitar. 

A former session player who performed on Garth Brooks' Double Live, he sometimes lets his own professionalism get the best of him, downplaying his guitar skills on record to make each song as commercial as possible. The rockers on Get Closer are an exception to the rule, though, filled with the sort of two-minute guitar workouts that are only rivaled by contemporaries like Brad Paisley and John Mayer. If the fast songs are an excuse for Urban to flex his chops, then the slower numbers give him a chance to sing directly to his wife, Nicole Kidman, whose influence helps replace the weepy ballads of past albums with measured, midtempo highlights like “Without You.” Get Closer may be 34 minutes long, but it uses its time wisely, featuring a virtually filler-free track list that contains some of Urban’s sharpest open-highway tunes and bedroom ballads.~Andrew Leahey http://www.allmusic.com/album/get-closer-mw0002057219 .

Get Closer (Deluxe Version)

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Chuck Loeb - Silhouette

Styles: Jazz

Label: Shanachie

Year: 2013

File: MP3@320K/s

Time: 59:23

Size: 136,2 MB

Art: Front

(6:33)  1. Silhouette

(5:11)  2. Silver Lining (feat. David Mann)

(5:58)  3. Present Sense

(7:47)  4. Appreciation (feat. Mitchel Forman)

(7:19)  5. JT (feat. Eric Marienthal)

(5:22)  6. Lockdown

(8:11)  7. Stompin' (feat. Andy Snitzer)

(4:18)  8. Esta Tarde Vi Llover (feat. Carmen Cuesta)

(5:22)  9. My One and Only Love (feat. Lizzy Loeb)

(3:19) 10. Las Eras (feat. Christina Loeb)

Throughout what seems like the entire evolution of contemporary jazz, guitarist Chuck Loeb has provided a soothing presence that continues to resonate with true connoisseurs of the genre.  In fact, for Loeb, 2013 has been a very good year. In addition to building his growing reputation as an integral part of super group Fourplay he has not only contributed to a wonderful new album from Keiko Matsui but also has released his twentieth solo recording.  Titled ‘Silhouette’ it finds him orchestrating four unique ensembles that allow Loeb to give listeners an insight into some of the music and musicians to have touched him throughout his career. The first of these collectives is called The Appreciation Band and comprises three artists from three different bands with which Chuck has collaborated in the past, former Steps Ahead band member Peter Erskine, Loeb’s Fouplay colleague Nathan East and Metro band-mate, keyboard player Mitch Forman.  In addition this dream team are added to by guest performances from saxophonists David Mann and Eric Marienthal. The collective kicks off ‘Silhouette’ in suitably sophisticated style with the Fourplay like title cut where Mann’s understated horn arrangements are really something and The Appreciation Band’s next offering is the highly rhythmic ‘Silver Lining’.  Two tracks in and both total gems yet the beautifully deconstructed ‘Present Sense’ quickly makes it three for three.  

Continuing in the same magical vein ‘Appreciation’ is a delightfully jazzy piece for which Mitch Forman on keys really gets the job done.  The final contribution from this fabulous four-some is Loeb’s homage to one of his all-time favorite musical heroes, James Taylor.  Shimmering with a mellifluous melody, ‘JT’ is also notable for fine playing from Marienthal and is, in every respect, an absolute joy. ?The second ensemble to grace ‘Silhouette’ has been inspired by a project that Will Lee (bass player on the Late Show With David Letterman for 30 years) assembled last year, The Will Lee Family Band.  It features legendary drummer Steve Gadd, newest addition to Pat Metheny’s Group, trumpeter Giulio Carmassi and pianist and melodica player Oli Rockberger. 

They stay around for only one tune, the gritty, R & B flavored ‘Lockdown’, a number that proves to be as pleasing as it is different. Next up comes The December 7th Trio that is a group based on Loeb’s Organ Trio CD ‘Plain 'n' Simple’ and who have extensively toured together.  The synergy of a lineup that is anchored by Hammond B3 player Pat Bianchi and drummer Wolfgang Haffner clearly shows and completing the band is sax-man Andy Snitzer.  Together they deliver the swinging ‘Stompin’ that courtesy of Bianchi and Snitzer ultimately takes on a decidedly straight ahead disposition. From that point on ‘Silhouette’ becomes something of a family affair as the Madrid based ensemble The Musigrama All-Stars are joined by Chuck’s wife, Carmen Cuesta and their two daughters Lizzy and Christina.  The result is the wistful ballad ‘Esta Tarde Vi Llover’, the haunting ‘Las Eras’ and, most notably, ‘My One And Only Love’ that is played out as a duo between Chuck and Lizzy.  Quite simply it’s beauty personified. http://smoothjazztherapy.typepad.com/my_weblog/2013/08/chuck-loeb-silhouette.html

Silhouette

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Celso Fonseca & Ronaldo Bastos - Polaroides

Bitrate: 320K/s
Time: 53:00
Size: 121.4 MB
Styles: Bossa Nova, Samba, Brazilian jazz
Year: 2006
Art: Front

[4:01] 1. Satellite Bar
[2:55] 2. Denise Bandeira
[3:16] 3. Ela Vai Pro Mar
[4:09] 4. Meu Tudo Pra Mim
[4:35] 5. La Piu Pella Del Mondo A Voz Do Morro
[3:30] 6. Polaroides
[4:52] 7. Samba E Tudo
[4:40] 8. Valeu
[3:52] 9. Out Of The Blues
[3:45] 10. A Noite E Meu Opio
[4:35] 11. Ledusha Com Diamantes
[4:46] 12. Slow Motion Bossa Nova
[3:58] 13. Sorte

Popular guitarist, singer, songwriter Celso Fonseca teams up with noted lyricist Ronaldo Bastos, who contributed to Milton Nascimento's many recordings, to provide a wonderful, as well as irritating, series of exceedingly mellow tunes. Fonseca has lately moved into hip and modern music, including rap and electronic elements, but here he is in traditional mode of bossa nova and samba. Varied from sparse to lush arrangements with the inclusion of sax, trumpet, trombone, flute, and strings, and of consistant moderate tempo, this CD will alternately lower your blood pressure and smooth your jangled nerves, taking you to a tropical beach, a warm sun, and a cool breeze; and then being dragged along the sand. Beautiful and romantic songs flip/flop with trite, awkward, and imitative pieces. Please note that this album is a "Best of...", being selections from three earlier recordings: Paradiso, Sorte, and Juventude. An especially interesting track is a Brazilian blues, "Out of Blues"; my favorite, because of its percussion, is "La Piu Bella del Monde". Why do I still give 5 stars? Because the music is so varied that it keeps our interest, and because the changing effects on our emotions supports the sonic fun. You may hear the complete songs on Fonseca's web site. While an import, I still do not know why it, and so many Brazilian CDs, are so expensive, here for an anthology. ~By Dr. Debra Jan Bibel/Amazon

Polaroides

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Chris Barber Jazz & Blues Band - Down On The Bayou

Bitrate: 320K/s
Time: 72:29
Size: 165.9 MB
Styles: New Orleans jazz
Year: 1999
Art: Front

[0:18] 1. Dedication
[3:52] 2. Down On The Bayou
[5:19] 3. They Took My Money
[3:41] 4. Music From The Land Of Dreams
[6:20] 5. Going Up The River
[3:13] 6. Baby O'mine
[2:29] 7. Waiting For A Train
[5:24] 8. Corrine Across The Sea
[3:08] 9. Beg, Steal Or Borrow
[6:07] 10. Whose Blues
[3:00] 11. Battersea Raindance Crocker's Eleven
[3:23] 12. Nobody Knows When You're Down And Out
[5:01] 13. Black Widow
[4:56] 14. New York Town
[4:02] 15. Big Bass Drum (On A Mardi Gras Day)
[4:15] 16. Skippin' And Jumpin'
[2:43] 17. Pick And Shovel
[5:09] 18. Oh! Didn't He Ramble

Chris Barber Jazz & Blues Band: Chris Barber (vocals, trombone); John Crocker (alto & tenor saxophones, clarinet, background vocals); Ian Wheeler (alto saxophone, clarinet, harmonica, background vocals); Pat Halcox (trumpet, background vocals); Vic Pitt (tuba, acoustic bass); Nick Coler (piano); Tony Atkins (acoustic guitar, background vocals); Johnny McCallum (guitar, banjo, snare drums, cabbassa); John Slaughter (guitar); Ian Richardson (drums, drum programming); Noran Emberson (drums, background vocals); Alan "Sticky" Wicket (drums). Recorded betweem October 1985 and March 1989. Includes liner notes by Chris Barber. Trombonist Chris Barber's British trad band has long been open to the influence of blues and R&B. On this CD, they are joined on more than half of the selections by singer/pianist Dr. John, who plays New Orleans funk/R&B rather than New Orleans jazz. The music, therefore, is quite a mixed bag, with most of the songs being originals by either Dr. John or Barber, plus Woody Guthrie's "New York Town," "Nobody Knows You When You're Down and Out," and "Oh, Didn't He Ramble." Barber and trumpeter Pat Halcox play well as usual, but the band is very much in a subsidiary role on may of the selections and Dr. John has had more significant sessions on record. A historical curiosity. ~ Scott Yanow

Down On The Bayou

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Susie Arioli Band - Learn To Smile Again

Bitrate: 320K/s
Time: 41:31
Size: 95.0 MB
Styles: Easy Listening
Year: 2005
Art: Front

[3:36] 1. By The Time I Get To Phoenix
[4:37] 2. Less And Less
[3:46] 3. Husbands And Wives
[3:09] 4. By Myself
[6:21] 5. Night Flight
[3:53] 6. Half A Mind
[2:50] 7. A Million Years Or So
[3:22] 8. A World I Can't Live In
[3:19] 9. Ruler Of My Heart
[2:16] 10. Don't We All Have The Right
[4:16] 11. Leo's Blues

While singer Susie Arioli and guitarist Jordan Officer usually team up for renditions of Django Reinhardt-flavored swing classics, Learn to Smile Again is a change of pace. Most of the repertoire is taken from the book of Roger Miller (although "King of the Road" is bypassed), and this is a surprisingly natural fit since both Arioli (who has a quietly beautiful voice) and Officer have a real feel for vintage country/pop/folk music. Assisted by rhythm guitar, bass, quiet percussion, and the background vocals of Jason and Sheldon Valleau, this lyrical and heartfelt effort (which also includes two originals and the vintage "By Myself") is an offbeat success, logical in hindsight if not inevitable. ~ Scott Yanow

Susie Arioli (vocals, snare drum); Jordan Officer (vocals, guitar); Jason Valleau, Sheldon Valleau (vocals); John McColgan (percussion).

Recording information: Studio Victor, Montreal, Quebec, Canada (02/2005-03/2005).

Learn To Smile Again

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Ron Carter - Stardust

Styles: Jazz, Straight-ahead/Mainstream
Label: Blue Note Records
Year: 2002
File: MP3@320K/s
Time: 52:16
Size: 120,3 MB
Art: Front

( 6:32)  1. Tamalpais
( 7:50)  2. The Man I Love
(10:26)  3. Nearly
( 6:38)  4. Bohemia After Dark
( 5:57)  5. Tail Feathers
( 4:52)  6. Blues in the Closet
( 5:57)  7. That's Deep
( 3:59)  8. Stardust

The New Oscar Pettiford Sextet, a 1953 Leonard Feather production, featured Pettiford’s “Tamalpais Love Song.” Ron Carter his own man when incorporating varying nuances of equal multiplicity of origins to his work  proves a manly man at the outset of Stardust. In “Tamalpais,” we find the first of three reinterpretations of Pettiford’s compositions. This interpretation is relaxed and mature with loads of class, elegance, insinuated exotic appeal and assurance. Benny Golson’s midrange prowess delivers bopish ideas with flourish and cleverness resembling a dirty Martini sound that gels fantastically well with the sonic identity of the album. Joe Locke’s vibraphone playing adds a collegial touch reminiscing Terry Gibbs’ role in the original Pettiford date that saw the light of this excellent piece of writing by the late bassist honored herein. Sir Roland Hanna does his number too, while an air of exotica permeates the swing and rhythmic drive of the tune.  

The transition from “Tamalpais” to Gershwin’s “The Man I Love” a mid-tempo-solidly-melodically-aural-drink that goes down with punchy ease is right on the money, setting a deciding tone throughout the remaining flow of the recording. Carter has a more prominent role here than in the opener, although Golson wins you over oozing satisfying flurries with great comping in the piano and the unobtrusive march provided by Lenny White in the drums. Carter’s solo takes over the tune at mid passage and you are immediately reminded that there is clear evidence of a good sense of humor in his virtuosi playing, as well as Golson’s.  As the most extensive tune, Carter’s bluesy “Nearly” sets Locke loose over the steady deliciously sweet support of his peer’s in the rhythm section opening up for Golson’s takeover. Both are in great shape as the first half of the tune belongs to them. Hanna then walks the beat over the keys with aplomb and swiftness, allowing his right hand to do some serious talking, while quite a bit of meaning is issued on the left. The tune’s amicable head is restated during its closing to a caressing vanishing effect. Another one of the three Pettiford cuts comes fore in “Bohemia After Dark” and a cheerful note is struck. Carter takes a cascading descending solo of solid import on this retake of this '50s tune incorporating multiple fingered passages of special interest. Golson drives up the tempo afterwards saying much with apparent ease. White makes his strong contribution redirecting the tune into other corners, as Golson beckons back to the top. “Tail Feathers” is a Carter dusted-off tune with steady swing and some playful melodic riffs. Golson initiates the ruffling with Locke following in step and the author’s composer comes through with yet another solo with quite a particular sense of strength and melodic reasoning. 

The last Pettiford composition is “Blues in the Closet.” Little is needed to raise Hanna up with his energetic and swinging issuing that brings Carter’s jamming playing to the fore with cost-cutting measures that bankroll punchy musical wealth. Near the coda, White and Carter share a brief time together that hinted at unexplored fascinating opportunities. “That’s Deep” sticks to swing structures favoring Locke’s superb stick vibe rolling explorations. The piano follows through with equal vibe and fervor pushing the bass’ envelope further into a percussive transition at the hands of White and Carter that proves deep enough to ford with caution, although eliciting curiosity and expectation. The title cut, also recorded by Pettiford, closes the date with just Carter and Hanna. The melodic charge given by Carter renders this classic in yet another light worth looking at.~Javier Ortiz  

http://www.allaboutjazz.com/php/article.php?id=11296#.UiUcQj-wVw8 .

Personnel: Bass: Ron Carter. Drums: Lenny White. Piano: Sir Roland Hanna. Tenor Saxophone: Benny Golson. Vibraphone: Joe Locke.

Stardust

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The Swallow Quintet - Into the Woodwork

Styles: Jazz
Label:  Ecm Records
Year: 2013
File: MP3@320K/s
Time: 56:20
Size: 129,9 MB
Art: Front

(5:19)  1. Sad Old Candle
(5:03)  2. Into the Woodwork
(5:35)  3. From Whom It May Concern
(5:02)  4. Back in Action
(4:43)  5. Grisly Business
(2:49)  6. Unnatural Causes
(2:53)  7. The Butler Did It
(4:26)  8. Suitable for Framing
(5:29)  9. Small Comfort
(5:33) 10. Still There
(5:35) 11. Never Know
(3:47) 12. Exit Stage Left

In the press sheet for Steve Swallow's Into the Woodwork, the award-winning electric bassist is quoted, saying: "Good humor before and after the red light goes on is very important. Music-making should be fun, after all." Those fortunate enough to see Swallow with Steve Kuhn and Joey Baron this past summer including a memorable stop at the 2013 TD Ottawa Jazz Festival experienced this ethos first-hand, as smiles and outright laughter defined a performance that was, indeed, great fun, but just as deep musically the ultimate consequence of musicians so relaxed with each other that nothing can get in the way. Into the Woodwork may lack the visuals, but it's clear that this quintet is having just as much fun, and is comfortable enough together to allow anything to happen albeit within the structures of Swallow's writing. 

Other than life/music partner Carla Bley focusing solely on organ and begging the question why she doesn't do so more often this is a new constellation under the Swallow marquee, but guitarist Steve Cardenas and saxophonist Chris Cheek have intersected before, both with each other and with Swallow and Bley, in Paul Motian's Electric Bebop Band and Charlie Haden's Liberation Music Orchestra, respectively. Drummer Jorge Rossy best-known for his decade-long tenure with Brad Mehldau was a late addition, writing Swallow after hearing of the nascent quartet to ask if he might join in, and his melodic approach makes him the perfect choice to drive this book of 12 new Swallow compositions. Swallow's has already achieved a place in the history books for memorable compositions like "Falling Grace," "Olhos del Gato" and "Como en Vietnam," but it's too early to tell if any of Into the Woodwork will join that rarefied group. Still, the through-composed, dark-hued "Sad Old Candle," vivacious title track, balladic "From Who It May Concern" and drum-heavy "Back in Action" Rossy's call-and-response with the rest of the group occupying a full half of its five-minutes before a quirky, dissonant theme resolves into Cheek's fiery solo, driven by Swallow and Rossy's effortless, unrelenting swing are individually memorable while, segued together as a 21-minute suite, contribute to Into the Woodwork greater continuity. 

The same approach links the blues-drenched "Grisly Business," brighter "Unnatural Causes" and ambling "The Butler Did It," before a brief pause leads into the album's closing tracks, joined together for 25 episodic minutes. In the midst of these five tunes, following Cardenas' warm-toned, melody-centric solo, "Still There" features Bley liberally and mischievously quoting the American folk song "I've Been Working on the Railroad" and the military "Taps."That's just one example of Into the Woodwork's relentless spontaneity ... and good humor. The writing may be deep and the playing even deeper Swallow's bass rarely feeling this rich or filled with ideas but at its heart is a group that more than likely shares the same onstage smiles and laughter that Swallow did with Kuhn. It's been 13 years since Swallow last recorded with a full-sized quintet, but Into the Woodwork represents a new group and repertoire that easily stands amongst his best work in a career now entering its sixth decade.~John Kelman 

http://www.allaboutjazz.com/php/article.php?id=45165#.UikneT-wVw8

Personnel: Chris Cheek: tenor saxophone; Steve Cardenas: guitar; Carla Bley: organ; Steve Swallow: bass; Jorge Rossy: drums.

Into the Woodwork

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Annie & The Hot Club - Play The Songs Of Tom Sturdevant

Bitrate: 320K/s
Time: 47:47
Size: 109.4 MB
Styles: Jazz vocals
Year: 2007
Art: Front

[2:45] 1. Sugar
[3:28] 2. I Love You
[3:26] 3. Mystery Of Love
[4:08] 4. He Loves Me I Can Tell
[4:08] 5. Pussycats And Moonbeams
[3:48] 6. Wish I
[3:15] 7. Chickadee 'n Cockadoodledoo
[4:08] 8. Full Moon Saturday Night
[3:05] 9. Henry McIntyre
[4:23] 10. Lonely
[3:22] 11. What My Eyes Might Say
[3:51] 12. Last Night I Cried My Eyes Out
[3:55] 13. Simply Beautiful

Annie and the Hot Club in homage to the Hot Club genre (Django-Reinhardt gypsy-swing) bring fiery guitar and violin soloing on repertoire from the 1930's and 40's such as Honeysuckle Rose and Sweet Georgia Brown…and to top it off, the perky storyteller and hard-swinging singer, Annie. Nashville native vocalist Annie Sellick was voted Best Jazz Artist by readers of the Nashville Scene five years in a row, and has since toured all over the world and performed and/or recorded with many of her musical heroes including Mark O'Connor's Hot Swing, Tommy Emmanuel and jazz organ royalty Joey DeFrancesco.

The Hot Club of Nashville is lead by Brittian-born Richard Smith who owns a guitar signed "To my hero, Richard", Jerry Reed and Chet Atkins. Rhythm guitarist Pat Bergeson (expect Howard Levy-like harmonica solos too) moved to Nashville at the request of Chet Atkins to record and join his band, where he remained several years. Fiddle player Aaron Till has performed with Jerry Reed, Tanya Tucker, Pam Tillis and Tommy Emmanuel, among other musical royalty. Bassist Charlie Chadwick who created the Chadwick Folding Bass (that's right folks, an acoustic bass that folds un half) joins the group and Josh Hunt on snare drum.

The group has performed at the Montreal Jazz Festival as well as abroad including the Tommy Emmanuel Guitar Festival in Reitberg, Germany and Poland. They are a mainstay at the Chet Atkins Appreciation Society Convention as well as The Bluebird Cafe in Nashville.

Expect original material as well - songs so reminiscent of an old swing standard that you would think they've been loved for decades, and pop crossovers you might hear on a future album by the likes of Norah Jones or Madeleine Peyroux.

"She hooks up with the Nashville-based Hot Club Band to create a magically fun musical experience. Annie and the Hot Club… is the real deal. It is a fun loving, story telling, toe tapping, tear jerking, sit back and enjoy experience for the listener. A certified "less of the same" endeavor. ~Bruce Pulver

Pat Bergeson (guitar, harmonica); Richard Smith (guitar); Aaron Till (violin); Charlie Chadwick (cello, bass guitar); Tom Giampietro (drums). Personnel: Tom Sturdevant (vocals); Jeff Taylor (accordion).

Play The Songs Of Tom Sturdevant

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Matt Belsante - Blame It On My Youth

Bitrate: 320K/s
Time: 47:39
Size: 109.1 MB
Styles: Vocal, Easy Listening
Year: 2008
Art: Front

[3:14] 1. Beyond The Sea
[4:01] 2. Brazil
[4:54] 3. At Last
[4:47] 4. A Whiter Shade Of Pale
[3:26] 5. I Saw Her Standing There
[3:56] 6. Blame It On My Youth
[3:12] 7. Witchcraft
[4:06] 8. I Get Along Without You Very Well
[3:09] 9. I Get A Kick Out Of You
[4:24] 10. Haven't Got Much
[4:03] 11. All In Love Is Fair
[4:23] 12. Never My Love

Every once in awhile there comes along a singer who reminds you of something familiar yet something so new that it leaves you smiling; a young crooner's voice that wraps around you like a warm coat on a cold winters day. Matt Belsante is that rare kind of artist who has something new to offer. The Naperville, Illinois native Matt began playing tenor sax in 6th grade and continued to perform in middle and high school jazz bands. "I used to listen to Sinatra with my grandfather when I was little and my dad always had it in the car as well. At home I listened mostly to instrumental stuff and mostly sax players but big band as well and the major vocalists like Ella Fitzgerald," says Belsante. He started to sing in the jazz choir in high school during his junior year while continuing to play sax in the band. In his senior year he won the Louis Armstrong Jazz Award for both vocal jazz and instrumental jazz (the first student at his school to win both). After high school, Matt attended Vanderbilt University in Nashville, TN to study engineering and economics. He contacted Billy Adair, husband of legendary piano player Beegie Adair, about singing for the Blair Music School Big Band. His mindset was to continue to sing jazz with the big band because he loved it, but never really thought about it as a career. During his four years in college, Matt also sang and arranged music for an acapella group called the Dodecaphonics. In his senior year, Matt got the opportunity to sing the songs of Frank Sinatra with the Nashville Jazz Orchestra, a group of Nashville's top jazz musicians. Billy Adair has always been a great teacher and supporter and helped Matt get the gig in the first place. After graduation, Matt was at a crossroads. Should he focus on a budding music career or find a job in his field? "At this point, I really started to think about the possibility of singing jazz in terms of a career. I am going to continue to work on my craft and listen to artists I neglected to realize before this point (Chet Baker, Sarah Vaughan, Julie London, and current artists, Jamie Cullum, Michael Buble). I really started to believe in my ability and felt like I could make a contribution in this genre if I focused on it and continued to study it." Maturing in a city filled with passion for music, Matt has been able to turn his sensitively realistic thoughts into art.

Recording information: My Space Recording, Nashville, TN.

Tom Hemby (acoustic guitar); Pat Begeson (electric guitar); Connie Ellisor, Pamela Sixfin, David Davidson (violin); Jim Grosjean (viola); Anthony LaMarchina (cello); Denis Solee (flute, tenor saxophone); Doug Moffet (bass clarinet, tenor saxophone, baritone saxophone); Mark Douthit (alto saxophone, tenor saxophone); Cole Burgess (alto saxophone); George Tidwell (trumpet, flugelhorn); Mike Haynes , Jeff Bailey , Steve Patrick (trumpet); Beth Beeson, Jennifer Kummer (French horn); Prentiss Hobbs, Chris McDonald, Barry Green (trombone); Pat Coil (piano, organ); Craig Nelson (bass instrument); Scott Williamson, Bob Mater (drums, drum); Eric Darken (percussion); Eliza Quinn, Penelope Vandersnift (background vocals).

Blame It On My Youth

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Billy May - Cha-cha

Bitrate: 320K/s
Time: 25:39
Size: 58.7 MB
Styles: Latin
Year: 2011
Art: Front

[2:41] 1. In The Mood
[2:23] 2. Twelfth Street-Rag-Cha-Cha
[1:51] 3. The Poor People Of Paris
[2:29] 4. Flyin' Home
[1:55] 5. Bijou-Cha-Cha
[2:20] 6. In A Mellow Tone
[2:40] 7. Tuxedo Junction
[1:56] 8. Leap Frog-Cha-Cha
[2:20] 9. Snowfall Cha Cha
[1:44] 10. Artistry In Rhythm
[1:48] 11. I Remember
[1:27] 12. Goodbye-Cha-Cha

If you are among the millions who have been captivated by that exciting Latin rhythm called the cha-cha-cha, then music-master Billy May has designed this album especially for you. Here, in the tantalizing tempo of this South of the Border dance sensation, is a collection of all-time instrumental favorites, brought up-to-date with delicate cha-cha-rrangements that offer a refreshing contrast to the spectacular big-band orchestrations so often associated with Latin dance music.

Well known swing standards like Flyin’ Home, Tuxedo Junction, and In The Mood are magically transformed into light and nimble cha-chas by "El Gran Maestro," who features here a wondrous assortment of flutes, employing them with great imagination and a good deal of subtle humor to duplicate familiar ensemble and solo passages. The brilliant trumpet and rhythm sections are manned by a fine group of Latin musicians, whose distinctive phrasing and enthusiasm give this album an excitingly genuine Afro-Cuban sound, while the mellow tones of an agile marimba provide additional authentic effects.

Senor May also brings out the cha-cha-characteristics of such unlikely selections as Twelfth Street Rag, Snowfall, The Poor People of Paris, and several other wonderfully outrageous cha-cha-daptations of famous hits in which the flavor of the original arrangements has been retained. Only the beat has been changed to protect the innocent.

Cha-cha

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Janis Siegel - Night Songs - A Late Night Interlude

Styles: Jazz Vocals
Label: Palmetto Records
Year: 2013
File: MP3@320K/s
Time: 63:26
Size: 145,2 MB
Art: Front

(7:23)  1. Love Saves (Salva Pantallas)
(4:40)  2. Slow
(5:08)  3. Love and Paris Rain
(6:12)  4. If You Never Come to Me (Inutil Paisgem)
(5:30)  5. Marie
(5:39)  6. You're Mine, You
(5:19)  7. Sweet September Rain
(4:21)  8. A Flower Is a Lovesome Thing
(7:32)  9. Midnight Sun
(6:12) 10. Lover
(4:28) 11. Say You'll Go
(0:56) 12. Clair De Lune

The Manhattan Transfer (1972 - Present)
Founding member of the world's pre-eminent vocal group, interpreting American music from Swing to Rock and Pop to vocalese and Rhythm and Blues. Over the years, Janis has sung lead on many of the Manhattan Transfer's biggest hits, including 'Operator,' 'Twilight Zone,' 'The Boy from New York City,' 'Mystery,' 'Spice of Life,' 'Shaker Song,' 'Birdland,' 'Ray's Rockhouse,' and the 5-million selling 'Chanson D'Amour.' Janis co-produced the group's Pastiche album, and has arranged many of the vocals on the Transfer's 18 albums, yielding her aGrammy for Best Vocal Arrangement for 'Birdland.' In 1991, Janis co-wrote and sang lead on the Grammy-winning performance for 'Sassy.'

Solo Work
Janis has mounted regular solo singing projects and tours throughout the years when not recording or touring with The Manhattan Transfer. She has toured all throughout the United States, is eagerly anticipating her first solo European tour in Spring 2005, and has recently performed in Panama. Her first solo album, Experiment in White, was released in 1981. At Home, her second solo effort, garnered Janis a Grammy nomination for Best Female Jazz Vocal. In 1985, Janis joined Jon Hendricks, Bobby McFerrin, Dianne Reeves in a group called 'Sing, Sing, Sing' and performed to raves at The Playboy Jazz Festival and The Great American Music Hall in San Francisco. Other solo performances include the Monterey Jazz Festival, the Tri-C Jazz Festival, The North Beach Jazz Festival and stints at Birdland in NYC and the Blue Note in NYC and Tokyo. Janis has an ongoing duo collaboration with pianist Fred Hersch. Their first album, Short Stories, earned another Grammy nomination in 1989. The second album with Fred Hersch, Slow Hot Wind, was released in 1995 on Varese/Sarabande Records. Janis and Fred have toured extensively in the U.S. and Japan, and have also done radio concerts, T.V. and private dates. Her fifth solo album entitled The Tender Trap was released by Monarch Records in 1999, was produced and arranged by Fred Hersch, and featured Russell Malone, Matt Wilson, Victor Lewis, Michael Brecker and Hank Crawford. I Wish You Love, released in 2002, marked her first CD for the Telarc label and a return to working with longtime collaborator and friend Joel Dorn. Friday Night Special followed in 2003 featuring soul jazz and bluesy grooves with a first-rate organ/tenor ensemble consisting of Joey DeFrancesco and Houston Person. Her most recent Telarc release, 2004's Sketches of Broadway, was produced and arranged by longtime friend Gil Goldstein. Janis will be touring on Night Songs in 2013.~Editorial Reviews  http://www.amazon.com/Night-Songs-Janis-Siegel/dp/B00DX88GFC .

Night Songs

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Beegie Adair & Jaimee Paul - After the Ball

Styles: Vocal, Piano Jazz

Year: 2012
File: MP3@320K/s
Time: 61:00
Size: 139,7 MB
Scans: Front

(4:17)  1. Let Me Call You Sweetheart
(4:20)  2. I Love a Piano
(5:50)  3. You Are My Sunshine
(5:51)  4. After the Ball
(4:00)  5. A Pretty Girl Is Like a Melody
(5:02)  6. I'm Always Chasing Rainbows
(2:48)  7. They Didn't Believe Me
(4:19)  8. I Wonder Who's Kissing Her Now?
(3:03)  9. 3 O'Clock in the Morning
(4:37) 10. Poor Butterfly
(3:38) 11. Shine On Harvest Moon
(4:56) 12. You Made Me Love You (I Didn't Want to Do It)
(4:12) 13. Ah! Sweet Mystery of Life
(3:58) 14. Sweet and Low

This unique collection of piano and vocal duets by jazz's reigning queen of the keys, Beegie Adair, and the exciting young chanteuse, Jaimee Paul, highlights songs from the turn of the 20th century. With compositions originating from the 1860s to the 1930s, this sentimental treasure trove includes such favorites as Let Me Call You Sweetheart, Sweet & Low, A Pretty Girl Is Like A Melody, Shine On Harvest Moon and many more. Adair's light melodic touch combined with Paul's charming and emotive interpretation of the lyrics of these classic compositions creates a historical, yet endearing piece of musical work from beginning to end. After the Ball album by Beegie Adair / Jamie Paul was released Jun 05, 2012 on the Green Hill Music label.

Personnel: Jaimee Paul (vocals); Beegie Adair (piano)

After the Ball

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Larry Carlton - Take Your Pick

Styles: Jazz
Label: 335 Records
Year: 2010
File: MP3@320K/s
Time: 61:08
Size: 141,2 MB
Art: Front

(4:22)  1. Jazzy Bullets
(6:08)  2. Nite Crawler 2010
(4:57)  3. The Way We Were
(4:38)  4. Islands Of Japan
(6:16)  5. Neon Blue
(4:33)  6. Tokyo Night
(4:53)  7. Hotalu
(5:31)  8. East West Stroll
(5:11)  9. Easy Mystery
(4:08) 10. Ao
(4:49) 11. Take Your Pick
(5:36) 12. A Girl From China

It's a shame that artists' careers are reduced to oversimplifications of who they are and what they're capable of. Guitarist Larry Carlton, for example despite releasing kick-ass blues-centric records like Sapphire Blue (Bluebird, 2004) and, more recently, the exciting yet unfailingly tasty Live in Tokyo (335 Records, 2007), not to mention delivering iconic solos on Steely Dan albums like The Royal Scam (MCA, 1976) and Gaucho (MCA, 1980) is, more often than not, associated with the smooth jazz of albums like Alone/But Never Alone (MCA, 1986). Not that there's necessarily anything wrong with that, especially when it's real players playing music that's easy on the ears but has its own set of challenges, but it's too easy to forget that Carlton can play through changes with the best of them, as his still-stunning bop-centric solo on "Mulberry Street," from Strikes Twice (MCA, 1981), amply proved nearly thirty years ago. If Carlton can be criticized of anything, it's his emphatic lyricism and unfailing taste, though it seems incredulous that the words "too" and "melodic" could ever be used together in the same sentence. Take Your Pick teams the veteran session man and, yes, smooth jazz hit maker with Japan's Tak Matsumoto guitarist for B'z and, with over 80 million albums sold in his country alone, no less an icon, at least in some parts of the world. Carlton's name may come first, but this is a truly collaborative effort, with the two guitarists splitting the writing and arranging duties right down the middle; Matsumoto even arranges two of his tunes for a Japanese horn section, while Carlton brings in some American ringers to spice up three of his tunes. But regardless of where the music was recorded from Franklin and Nashville to Los Angeles and Tokyo the core rhythm section of drummer Billy Kilson (Dave Holland, Chris Botti), bassist Michael Rhodes ((J.J. Cale, Aaron Neville, and keyboardist Jeff Babko (Sheryl Crowe}}, James Taylor Quartet) keeps things honest on a set that leans towards a lighter complexion, though between Carlton and Matsumoto, there's plenty of grit to give the music some edge and energy. Carlton's sweeter tone, recognizable vibrato and slightly broader language makes him easily distinguishable from the largely fuzzier-toned and rockier Matsumoto, especially on tracks like the Japanese guitarist's opening "JAZZY BULLETS," a finger-snapping tune with some tasty twin-guitar melodies and ass-kicking solos. But Matsumoto proves capable of a cleaner tone and twangier disposition on "Nite Crawler 2010" an update on Carlton's self-titled 1978 MCA debut and the similarly light funk of the Japanese axe-slinger's "THE WAY WE WERE." Surprisingly, the more oriental-sounding references come on Carlton tracks like "Islands of Japan," with its koto samples. The lighter disposition at the start of the disc kicks into higher gear on Carlton's rocking, horn-driven "Easy Mystery," and the greasy funk of Matsumoto's closing "A girl from China." Throughout, Carlton may navigate the changes with a little more finesse, but he's well-matched, in tone and feel, with Matsumoto, making the easygoing but undeniably satisfying Take Your Pick less a matter of "either/or" and more a case of "and." ~John Kelman http://www.allaboutjazz.com/php/article.php?id=37409#.UiTRsD-wVw8.

Personnel: Larry Carlton: guitar, arrangements (2, 4, 5, 8, 9, 11); Tak Matsumoto: guitar (1, 3, 6, 7, 10, 12); Billy Kilson: drums; Michael Rhodes: bass; Jeff Babko: keyboards; Mark Douthit: saxophone (2, 9, 11); Watanabe Fire: saxophone (1, 12); Kazuhiro Takesa: saxophone (1, 12); Mike Haynes: trumpet (2, 9, 11); Osamu Ueishi: trumpet (1, 12); Barry Green: trombone (2, 9, 11); Azusa Tojo: trombone (1, 12).

Take Your Pick

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Gipsy Kings - Roots

Bitrate: 320K/s
Time: 57:09
Size: 130.8 MB
Styles: European traditions, Flamenco, Gypsy
Year: 2004
Art: Front

[4:37] 1. Aven, Aven
[4:10] 2. Legende
[1:27] 3. Fandango (Patchai)
[4:34] 4. Bolerias
[4:08] 5. Rhythmic
[3:20] 6. Como Siento Yo
[3:43] 7. Amigo
[2:54] 8. Tarantas
[2:36] 9. Fandango (Nicolas)
[3:20] 10. Boogie
[3:11] 11. Nuages
[3:23] 12. Como Ayer
[5:55] 13. Soledad
[3:05] 14. Tampa
[3:01] 15. Hermanos
[3:35] 16. Petite Noya

On ROOTS, the Gipsy Kings deliver on the promise suggested by the title, completely forgoing the synthesizers, bass guitars, and drum kits that have added a contemporary touch to many of the ensemble's previous releases. Instead, the group has gone back to basics in grand style, not only concentrating on the purity of acoustic instrumentation, but also playing with a fire and passion rarely heard in modern music of any genre.

Though nearly all the 16 songs here are self-penned (the odd man out being a composition by the legendary gypsy guitarist Django Reinhardt), they sound utterly timeless, as if the group were channeling the material directly from the vintage black & white photos that grace the album's stunning packaging. The emotionally charged vocals of Nicolas and Canut Reyes are perfectly matched by the fleet-fingered, genre-bending lead guitar of Tonino Baliardo throughout, and the album's sound quality is absolutely pristine. One of several high-water marks in an accomplished career, ROOTS is recommended to anyone desirous of the glorious rapture only afforded by the purest of music.

Nicolás Reyes (vocals, guitar, palmas); Andre Reyes (vocals, guitar, background vocals); Canut Reyes (vocals, guitar); Paco Baliardo, Tonino Baliardo (guitar, palmas); Yacouba Sissoko (kora); Garth Hudson (accordion); Greg Cohen (double bass); Cyro Baptista (washboard, shaker, percussion); Diego Baliardo (palmas).

Recording information: Le Mas De Gourgoubes, St-ANdre-De-Bueges, France (06/09/2003-06/26/2003).

Roots

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Cat Conner - Cat Tales

Bitrate: 320K/s
Time: 50:12
Size: 114.9 MB
Styles: Jazz vocals
Year: 2012
Art: Front

[5:20] 1. Hello Ma Baby
[6:27] 2. I Want To Talk About You
[2:43] 3. Them There Eyes
[6:27] 4. If You Could See Me Now
[7:45] 5. In A Mellow Tone
[7:34] 6. Some Other Time
[3:38] 7. Caravan
[6:29] 8. Embraceable You
[3:44] 9. I Hear A Rhapsody

One of the greatest jazz performance challenges is playing and singing ballads slow...sometimes called "calendar slow." The trick is playing slowly without dragging or stalling. It is simple physics, the difference between velocity and momentum. Simple tempo may be understood in terms of speed (or velocity) but swing, swing has the added element of musical weight about it, ensuring that once motion is started, no matter how slow, it is properly maintained by the spirit of the delivery.

The mistress of the slow ballad was the late Shirley Horn, who trumpeter Miles Davis, after hearing her debut, Embers and Ashes (Stereo-Craft Records, 1960), told Horn he like her music, but ..."she played awfully slow."

This was no dig at Horn as Davis himself, inspired by Ahmad Jamal's "less is more" approach to piano playing, preferred a lot of "space" within which to play. Horn calmly blazed a trail in this most demanding performance form. But, while Horn was a slow ballad beacon, she was far from the last of them. Vocalists Rebecca Parris and Patti Wicks have also mastered this mercurial method and produced many fine recordings of the same.

Add to this school a voice that has been a long time coming. West Coast vocalist Cat Conner has been performing the better part of her adult life as part of her rather impressive collection of creative talents that include body art and performance art. After enduring a considerable amount of encouragement from her friends in the music industry, Conner brings her light from beneath the basket on her long overdue debut, Cat Tails. This recording is a collection of mostly 1930s and '40s standards performed with a minimum of instrumentation and haste.

Cat Tails compares only with Rebecca Parris' phenomenal My Foolish Heart for sheer ballad performance. Conner's well-structured voice and delivery beg the question of what took so long for this talent to be recorded. Thankfully, that question is moot. ~Michael Bailey

Cat Tales

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Stan Kenton - Artistry In Bossa Nova

Bitrate: 320K/s
Time: 36:22
Size: 83.3 MB
Styles: Big band, Bossa nova
Year: 1963/2013
Art: Front

[2:42] 1. Artistry In Rhythm
[3:06] 2. Opus In Charteuse
[2:23] 3. Interlude
[3:49] 4. Kentonova
[3:29] 5. Eager Beaver
[3:13] 6. Concerto To End All Concertos
[2:18] 7. Brasilia
[3:21] 8. Painted Rhythm
[2:57] 9. Opus In Pastels
[3:25] 10. Jump For Joe
[2:47] 11. Loco-Nova
[2:48] 12. Artistry In Bossa Nova

This LP features the Stan Kenton Orchestra (during the period when it had a mellophonium section) performing some of its familiar standards and a few newer songs with a light Brazilian rhythm provided by percussionists Frank Guerrero and Milt Holland (Larry Bunker fills in for Holland on three songs). Although one might consider this project to be an example of Kenton jumping on the bandwagon (since the bossa nova fad was at its peak at the time), the music is quite enjoyable. Kenton on piano is the main soloist throughout, with Conte Candoli having a couple solos on trumpet and high-note trumpeter Bud Brisbois getting a few spots. Kenton's "Brasilia" is a charming piece deserving to be revived. Otherwise, it is interesting to hear such songs as "Interlude," "Concerto to End All Concertos," "Eager Beaver," and even "Artistry in Rhythm" in this setting. ~ Scott Yanow

Limited Japanese CD pressing of this album from the Jazz great. Recording information: 04/16/1963/04/17/1963.

Artistry In Bossa Nova

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Sofia Laiti - The Midnight Sun Will Never Set

Styles: Jazz Vocals
Label:  Midnight Sun Music
Year: 1996
File: MP3@320K/s
Time: 48:32
Size: 111,1 MB
Art: Front

(2:15)  1. I Can't Believe That You're In Love With Me
(4:57)  2. The Say It's Wonderful
(3:39)  3. I Gotta Right To Sing the Blues
(4:45)  4. The Midnight Sun Will Never Set
(4:21)  5. Fever
(3:46)  6. For Heaven's Sake
(4:38)  7. New York State of Mind
(4:20)  8. I'll Close My Eyes
(3:02)  9. When Your Lover Has Gone
(4:11) 10. But Beautiful
(3:30) 11. A Place In The Sun
(5:02) 12. Everytime We Say Goodbye

Houston Person is a superb musician a soulful tenor saxophonist with a big, attractive tone that isn't hard to recognize. Person has a track record, so when he produces an album, one wants to check it out. It was Person who, in 1995, produced Sofia Laiti's third album, The Midnight Sun Will Never Set, which the Finnish singer released on her own Midnight Sun label the following year. Person's presence is definitely a plus; in addition to providing his share of warm, soulful tenor solos, he helps guide a group of New York-based jazzmen that includes pianist James Weidman, bassist Essiet Essiet, and drummer Mark Johnson. But the main attraction is Laiti, who is undeniably expressive on standards that range from "For Heaven's Sake" to "But Beautiful" and "I Can't Believe That You're in Love With Me." Laiti  who handles ballads and up-tempo material equally well  is also appealing on Billy Joel's "New York State of Mind" (a gem that many other jazz singers wouldn't think to record), the title track (a Quincy Jones song), and the Peggy Lee hit "Fever." Like Lee's original '50s recording, Laiti's version of "Fever" is downright sexy. However, Laiti brings a charisma of her own to the song. Although Laiti sings with a Scandinavian accent, she is understandable and her accent proves to be a plus because it gives these performances a lot of character. All of the pieces fall into place nicely on The Midnight Sun Will Never Set, which is well worth searching for.~Alex Henderson http://www.allmusic.com/album/the-midnight-sun-will-never-set-mw0000244088.

The Midnight Sun Will Never Set

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Bennie Wallace - Someone to Watch over Me

Styles: Jazz
Label: Enja
Year: 1999
File: MP3@320K/s
Time: 54:48
Size: 125,4 MB
Art: Front

( 5:13)  1. Nice Work If You Can Get It
( 5:46)  2. The Man I Love
( 6:53)  3. Who Cares
( 5:11)  4. Someone To Watch Over Me
( 7:21)  5. I Was Doing All Right
( 5:20)  6. How Long Has This Been Going On
(12:18)  7. It Ain't Necessarily So
( 6:42)  8. I Loves You Porgy

There will be those fans of Tennessee tenor saxophonist Wallace who may hear this as an anomalous aside in his career of playing mostly progressive modern jazz. Others may view it a logical step, a concept album dedicated to the music of George Gershwin. What this reviewer finds fascinating about it is that Wallace plays so flexibly within the melodic intent of these well-worn lines, yet always finds a way to make them all his own. There's a certain restraint, and the simple approach is more refined due to the centered focus provided by the always brilliant pianist Mulgrew Miller, rock-solid bassist Peter Washington, and witty drummer Yoron Israel.

Miller's attention-grabbling persona is most clearly present on his arpeggiated intros of the warm waltz take on "Who Cares?" and the mad love-tinged ballad "I Loves You Porgy." Songs such as the ballad version of "How Long Has This Been Going On?" and the easy swing of "The Man I Love" seem like sleepwalking, when in fact these expert musicians can easily play them with effortless elegance. Wallace evokes sonic images of the masters with similar aplomb; he uses wonderful Coleman Hawkins-like embellishments during the title track played with Miller sans rhythm section, and goes into deep blue Ben Webster territory during the lightly swung "I Was Doing Alright." Wallace cannot be completely tamed, though; the 12-minute-plus piece, churning Afro-Cuban switching to steady, driving swing in the bridge, has Wallace in fever pitch with stretched, angular, rambling melodicism, and Miller similarly all over the place as well. Wallace practices typical octave leaping on his solo of the fairly straight-laced melody line of "Nice Work If You Can Get It," proving he can embrace both cool and animated aspects of improvisation.

There's little chaos or bombast, which might disappoint longtime listeners, but instead a nice balance that Wallace attains while retaining the unique flourishes that have made him one of the more recognizable players in jazz.~Michael G. Nastos  http://www.allmusic.com/album/someone-to-watch-over-me-mw0000246401 .

Personnel: Bennie Wallace (tenor saxophone); Mulgrew Miller (piano); Peter Washington (bass); Yoron Israel (drums).

Someone to Watch over Me

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Denzal Sinclaire - Denzal Sinclaire

Styles: Vocal
Label: Universal/Verve
Year: 2003
File: MP3@320K/s
Time: 55:16
Size: 126,8 MB
Art: Front

(3:23)  1. Day in day out
(3:00)  2. Exactly like you
(2:28)  3. Tofu & greens
(4:01)  4. Where or when
(4:27)  5. You and the night and the Music

(2:46)  6. You treat me so good
(3:53)  7. The art of living
(0:37)  8. I got rhythm (verse)
(3:39)  9. I got rhythm (refrain)
(4:31) 10. Never let me go
(2:48) 11. This is my lucky day
(3:34) 12. (You don't know) how glad I am
(3:31) 13. If I should lose you
(3:11) 14. Be my love
(3:46) 15. Having found you
(4:21) 16. A peaceful soul
(1:14) 17. Still got it

Toronto-born vocalist/pianist/composer, Denzal Sinclaire has earned his reputation as Canada’s most popular male jazz vocalist. Sinclaire is a graduate of Montreal’s McGill University where he received a Bachelor’s Degree in Jazz Performance. Denzal’s vocal timbre is similar to some of the great singers. Nat King Cole, Johnny Hartman and there are even glimpses of Johnny Mathis’ jazz days. However, Denzal does have what every artist strives for. After singing just a few notes you know it is him. His trademark is the joyfulness in his voice and a special approach to phrasing a lyric or pushing or laying back on a beat. He is blessed with exquisite delivery, sensitivity to melody and a lyrical imagination. For Denzal,singing is as natural as breathing. A multiple Juno Award nominee, and recipient of the 2004 National Jazz Award for “Best Album”, he has graced the stages of numerous high-profile jazz festivals , performed with symphony orchestras, and starred in his own one hour television special for BRAVO! In 2005, Denzal was inducted into the British Columbia Entertainment Hall of Fame. Among Denzal’s admirers are Diana Krall, who was introduced to Denzal at the 1995 Jazz Winnipeg Festival and Diane Reeves, who became a fan after Denzal opened for her at the 2002 Vancouver International Jazz Festival. He has recorded three albums for Universal Music, I Found Love(EmArcy); the self-titled, Denzal Sinclaire (Verve); and his highly anticipated new release, My One and Only Love (Verve).

~ http://www.theagencygroup.com/artist/denzal-sinclaire/

Denzal Sinclaire

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