Mel Collins & D. Ben-Jamin Big Band - A Little Jazz Now & Then

Size: 81,5 MB
Time: 35:09
File: MP3 @ 320K/s
Released: 2013
Styles: Contemporary/Vocal Jazz, Big Band
Label: Mel Collins & D. Ben-Jamin Big Band
Art: Front

01. The Song Is You (2:01)
02. Our Love Is Here To Stay (3:26)
03. A Tisket A Tasket (2:29)
04. Honeysuckle Rose (2:51)
05. At Last (5:14)
06. Rendezvous (4:24)
07. Better Than Anything (3:54)
08. Diggin' Me (3:17)
09. Good Man Blues (2:59)
10. Ordinary People (4:30)

Travel down the Jazz history road with Mel Collins & D. Ben-jamin Big Band as they take you on a journey from yesterday to today.
Begin with the swingin' days of Ella & Basie then to the classic 60s Blue Note period of Nancy Wilson and Etta James. Lastly, they drop you off at the smooth jazz grooves of today with renditions of current hits by John Legend's "Ordinary People" and Dave Wheat's "Better Than Anything."
The unique jazz vocals of Mel Collins, the dynamic arrangements of Duane Benjamin along with the great solo work of jazz artists Bennie Maupin, Bob Sheppard, Rickey Woodard, Clayton Cameron and Kevin Toney create a perfect tribute to the best eras of jazz. With something for every jazz lover, you will surely enjoy A LITTLE JAZZ NOW & THEN.

A Little Jazz Now & Then

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Buddy Fite - Tasty

Bitrate: 320K/s
Time: 46:00
Size: 105.3 MB
Styles: Guitar jazz
Year: 1987/2007
Art: Front

[5:00] 1. Princess
[2:25] 2. Here's That Rainy Day
[4:20] 3. Make It With You
[4:09] 4. I Can't Get Started
[2:53] 5. Tune Up
[4:15] 6. Barney's Tune
[4:20] 7. Sneakin' One
[2:29] 8. Angel Eyes
[3:35] 9. Willow Weep For Me
[4:50] 10. No Particular Blues
[4:18] 11. Moonlight In Vermont
[3:20] 12. A Day In The Life Of A Fool

Buddy Fite picked up the guitar as a child, listened to the hit records of the day by Les Paul. Figuring that if one man could play that fast, another could duplicate the feat. He learned to operate at the speed seemingly achieved on Paul's records, without realizing that parts of them had been recorded at half speed and later doubled up! Aside from the effortless fluidity with which he plays and the beautiful inner voicing we hear and conveys in his harmony-oriented interpretations, Buddy has the incredible ability to sound like a guitarist and a bass player simultaneously.

What must be stressed about the Fite phenomenon is not simply his technical master but the sensitive use to which he puts it. Other guitarist who have heard him, among them top studio professionals, have unanimously acclaimed Fite as an unpublicised hero. From Howard Roberts to Glen Cambpell, Barney Kessel, and Al Casey, Les Paul,they all acknowledge that his concept is unlike anything they had heard before. Some call it a piano-style guitar, and indeed there are moments when one is reminded, rhythmically, of Erroll Garner or technically of Art Tatum. ~Leonard Feather

Tasty

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Various - The Great Big Band Singers

Bitrate: 320K/s
Time: 70:15
Size: 160.8 MB
Styles: Pop. Nostalgia, Vocal, Easy Listening
Year: 2011
Art: Front

[2:48] 1. Doris Day - Sentimntal Journey
[3:38] 2. Helen O'Connell - Just For A Thrill
[2:57] 3. Helen Ward - It's Been So Long
[3:21] 4. Helen Forrest - Between A Kiss And A Sigh
[3:10] 5. Bob Eberly - Fools Rush In
[1:54] 6. Eddy Howard - You Must Have Been A Beautiful Baby
[2:23] 7. Nancy Norman - Candy
[3:31] 8. Lisa Morrow - Who's Sorry Now
[3:04] 9. Frank Sinatra - All Or Nothing At All
[2:36] 10. Nancy Norman - Saturday Night (Is The Loneliest Night Of The Week)
[3:01] 11. Helen Forrest - I've Heard That Song Before
[3:49] 12. June Christy - On The Sunny Side Of The Street
[2:46] 13. Dick Haymes - When You Wish Upon A Star
[3:02] 14. Eddy Howard - I've Got A Pocketful Of Dreams
[1:44] 15. Doris Day - Kiss To Remember
[2:46] 16. Bob Allen - Sweet And Lovely
[1:55] 17. Kay Starr - I've Got My Love To Keep Me Warm
[2:32] 18. Frank Sinatra - My Love For You
[2:42] 19. June Christy - No Baby, Nobody But You
[2:32] 20. Dick Haymes - When The Swallows Come Back To Capistrano
[2:29] 21. Anita O'Day - Tabby The Cat
[3:39] 22. Bob Eberly - The Nearness Of You
[2:10] 23. Bonnie Lou Williams - What Is This Thing Called Love
[2:51] 24. Billy Williams - It's Only A Paper Moon
[2:42] 25. Helen O'Connell - I'm Stepping Out With A Memory Tonight

This look back at the greatest "crooners" and "canaries" of the 1940s features the top vocalists of the period, when they began their careers performing with orchestras and dance bands. The most popular singers ultimately became stars on their own.

The Great Big Band Singers

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Stacey Kent - The Changing Lights

Styles: Brazilian Jazz
Year: 2013
File: MP3@320K/s
Time: 58:13
Size: 133,9 MB
Art: Front

(5:40)  1. This Happy Madness
(5:33)  2. The Summer We Crossed Europe In The Rain
(3:03)  3. One Note Samba [Samba De Uma Nota So]
(5:57)  4. Mais Uma Vez
(5:10)  5. Waiter, Oh Waiter
(3:09)  6. O Barquinho
(6:19)  7. The Changing Lights
(4:04)  8. How Insensitive
(4:26)  9. O Bêbado E A Equilibrista / Smile
(3:38) 10. Like A Lover
(4:09) 11. The Face I Love
(2:55) 12. A Tarde
(4:04) 13. Chanson Légère

Grammy-nominated singer, Stacey Kent, and Parlophone Label Group France (formerly EMI Music France) are pleased to announce the upcoming release of The Changing Lights, out on 17th September 2013. The Changing Lights brings centre stage Kent's love for Brazilian music.

The release of this new album is supported by a worldwide tour that includes such prestigious venues as Ronnie Scott's Club in London (30th sept â 4th Oct), Lâ Olympia in Paris (15th Nov) and Birdland in New York (3rd-8th Dec). The American singer's new album includes both original compositions and classic songs from the biggest names in Brazilian Music, including Tôm Jobim, Dori Caymmi, Marcos Valle and Roberto Menescal, who performs on two of the album's tracks, including his own, O Barquinho.

Signed to Blue Note/EMI France now known as Parlophone Music France in 2007, Stacey Kent's EMI albums have sold more than half a million copies worldwide, including the Grammy-nominated, Platinum-selling, Breakfast on the Morning Tram, Raconte-Moi and Dreamer in Concert.

This new album, produced and arranged by Jim Tomlinson, finds Stacey Kent visiting some of her favorite Bossa Nova songs, including This Happy Madness, One Note Samba, How Insensitive, alongside original songs composed by Jim Tomlinson, in collaboration with Kazuo Ishiguro (The Changing Lights, Waiter, Oh Waiter, The Summer We Crossed Europe In The Rain), the team that wrote The Ice Hotel and Breakfast On The Morning Tram. There are also collaborations with Portuguese poet Antonio Ladeira (Mais Uma Vez, A Tarde) and French lyricist Bernie Beaupãre,  the writer of Raconte-Moi and Venus Du Melo.

It is hard to categorise Stacey Kent. An American who speaks fluent French as well as Portuguese, Italian and German, she is able to transcend genre and national boundaries with an ease that few other artists can. Having recently recorded a live album in Rio De Janeiro with Marcos Valle, in celebration of his 50th year in music, Stacey's musical journey has brought her ever closer to Brazilian music. With The Changing Lights, Kent re-imagines her truly personal sound and style through the prism of Brazilian music.

Kent's new album, The Changing Lights is a milestone for her and the highlight of a 15-year recording career from a gifted jazz singer with not only an exquisite voice but also an unmatched talent for storytelling.  www.staceykent.com

The Changing Lights

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Christian McBride - Out Here

Styles: Smooth Jazz
Year: 2013
File: MP3@320K/s
Time: 65:03
Size: 149,5 MB
Art: Front

(8:24)  1. Ham Hocks and Cabbage
(4:03)  2. Hallelujah Time
(8:26)  3. I Guess I'll Have to Forget
(6:42)  4. Easy Walker
(9:20)  5. My Favorite Things
(7:41)  6. East of the Sun (And West of the Moon)
(5:39)  7. Cherokee
(8:27)  8. I Have Dreamed
(6:18)  9. Who's Making Love

Christian McBride's second studio album in 2013, Out Here, finds the adept bassist leading his trio through a jaunty, exuberant set of straight-ahead acoustic jazz. The album follows on the heels of his equally as appealing quintet album, People Music. However, where that album found McBride delving into the knotty post-bop sound of artists like '60s Bobby Hutcherson, Out Here is more of a classic standards album in the vein of works by Oscar Peterson and Duke Ellington. Joining McBride here is his working trio of pianist Christian Sands and drummer Ulysses Owens, Jr., who was also featured on People Music. Both Sands and Owens are superb, technically adroit musicians who complement McBride's warm, generous bass playing at every turn on Out Here. What's great about McBride leading his own trio is that because he is fundamentally such a monster of a bassist, he can and does take the lead on any given song just as well, if not better, than many of his non-rhythm section instrument-playing brethren. That said, he certainly lets his bandmates shine in the spotlight throughout much of the album. In fact, as on the trio's take on "My Favorite Things," both Sands and McBride take turns interpreting the melody. Elsewhere, they delve into bluesy, gospel-influenced numbers with "Ham Hocks and Cabbage" and "Hallelujah Time," and jump headlong into a swinging rendition of "Cherokee." There are also some gorgeous ballads featured on the album, with McBride's Latin-tinged "I Guess I'll Have to Forget" standing out among them. McBride even summons the spirit of his more funk and soul-influenced albums with the trio's giddy album-closing take on the R&B classic "Who's Making Love."~Matt Collar  http://www.allmusic.com/album/out-here-mw0002549026

Out Here 

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Keith Urban - Fuse (Deluxe Version)

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 57:06
Size: 132,6 MB
Art: Front

(3:57)  1. Somewhere In My Car
(3:59)  2. Even the Stars Fall 4 U
(4:16)  3. Cop Car
(3:03)  4. Shame
(3:52)  5. Good Thing
(3:11)  6. We Were Us
(3:29)  7. Love's Poster Child
(3:17)  8. She's My 11
(3:52)  9. Come Back To Me
(3:59) 10. Red Camaro
(3:25) 11. Little Bit of Everything
(3:05) 12. Raise 'Em Up
(3:53) 13. Heart Like Mine
(3:42) 14. Black Leather Jacket
(2:52) 15. Gonna B Good
(3:06) 16. Lucky Charm

The Fuse, Keith Urban's first album in three years, delivers a slicker, more sophisticated version of his solitary demo recording process as a radical sounding change in direction. Throughout, he melds drum machines, synths and samplers with his guitars, banjos, mandolins and voice. Urban's experience as a judge on American Idol also contributes to his song and production choices--he's heard enough commercial pop to know what works. If ever a contemporary country record was strategically created to crossover, this is it. Recorded in California and Nashville, Urban employed a slew of co-producers, songwriters, and co-writers. The set's clever first single, "Little Bit Of Everything" with its punchy handclaps, hip hop rhythms and pulsing synth, underscores his banjo and stinging guitar; his voice accents the hook and rings clear above it all. "Even The Stars Fall 4 U," is introduced by thrumming, brittle loops, enormous handclaps, a nasty guitar vamp, and a chorus shouting "Hey!" Though the banjo-drenched melody is subtler, the anthemic chorus explodes. The muted drum loop that fuels the shimmering "Cop Car," is layered in atmospherics worthy of Achtung Baby, but the melody is pure country. 

Miranda Lambert duets on what initially appears to be the purest country tune on the set, but that's a feint as well. The chorus is pure pop, with crisscrossing cut-time rhythms accenting the end of every line. The layered, mid tempo ballad, "Shame" was co-written and co-produced by the Norwegian hip hop/ R&B team Stargate, with synths hovering through the loop-saturated backdrop. Another ballad, "Come Back To Me," co-produced by Urban and Butch Walker, is deeply indebted to Daniel Lanois' warm-as-bathwater production style, with subdued sopnics, edgeless rhythms, rounded and heavily reverbed guitars and keys. Only his voice is crystalline. The hook is less pronounced but ever present, with a restrained dynamic slowly building to a climax. Contrast this with "Red Camaro," with its rattling banjo, bright, 90s-era drum loop, zig-zagging synths, a fiddle that sounds like an outtake from Dexy's Too-Rye-Aye, and a crisp meld of acoustic and electric guitars under Urban's multi-tracked (and perhaps pitch-enhanced) vocals. 

The numerous production dimensions here sometimes mask this set's almost uniformly good songs the muddied textures that overshadow "Raise 'Em Up"--an otherwise fine duet with Eric Church. The set finishes strong with the "Heart Like Mine," another galloping anthem whose rhythmic punch and cadence sound like they came from Kate Bush's "Running Up That Hill." For all the piecemeal recording, technological obsession and sheer ambition on the Fuse, Urban manages to fashion it all into a (mostly) working whole and maintain his identity as a contemporary country artist, even as he reaches for the mainstram pop fences.~ Thom Jurek  http://www.allmusic.com/album/release/fuse-mr0003981270

Fuse (Deluxe Version)

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Reuben Wilson - Organ Blues

Bitrate: 320K/s
Time: 65:02
Size: 148.9 MB
Styles: Organ jazz, Soul jazz
Year: 2002
Art: Front

[7:45] 1. Blues For Mcduff
[6:45] 2. Please Send Me Someone To Love
[8:27] 3. Old Time Shuffle Blues
[8:05] 4. Back At The Chicken Shack
[8:09] 5. Honey Dripper
[8:58] 6. After Hours
[7:52] 7. Willow Weep For Me
[8:58] 8. Nobody Knows You When You're Down And Out

Reuben Wilson is joined by guitarist Grant Green, Jr., tenor saxophonist Melvin Butler, and drummer Bernard Purdie for this no-frills set of soul-jazz and blues classics. (Wilson, Purdie, and Green, Jr. worked together on Masters of Groove Meet Dr. No, also on the Jazzateria label. ) The four begin with a minor-key tribute to Jack McDuff ("Blues for McDuff"). A bit later they nod to another great jazz organist, Jimmy Smith, with a strutting "Back at the Chicken Shack." Other highlights include "Willow Weep for Me," "After Hours," and "Honey Dripper." Music like this is all about feel, and these musicians have plenty of it. But the preponderance of shuffle blues, it must be said, gets a tad monotonous. Even the closing track, "Nobody Knows You When You're Down and Out," a 16-bar tune with a fair amount of harmonic movement, somehow winds up as a straight 12-bar blues during the solos, making it sound too much like everything else. ~ David R. Adler

Live Recording Recorded at Fluid, New York, New York.

Grant Green, Jr. (guitar); Melvin Butler (tenor saxophone); Bernard "Pretty" Purdie (drums).

Organ Blues

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Chris Connor - Sings Gentle Bossa Nova

Bitrate: 320K/s

Time: 32:35

Size: 74.6 MB

Styles: Bossa Nova, Easy Listening

Year: 1965/2011

Art: Front

[2:25] 1. Hard Days Night

[2:10] 2. Downtown

[3:04] 3. Taste Of Honey

[3:34] 4. Shadow Of Your Smile

[3:22] 5. Feeling Good

[1:52] 6. Who Can I Turn To (When Nobody Needs Me)

[2:35] 7. Can't Get Over The Bossa Nova

[3:26] 8. Quiet Thing

[2:40] 9. Dear Heart

[2:10] 10. Hush, Hush, Sweet Charlotte

[2:32] 11. Baby The Rain Must Fall

[2:41] 12. Stranger On The Shore

Upon seeing the title Sings Gentle Bossa Nova, one might assume that this is an album of Antonio Carlos Jobim and Luiz Bonfá songs. Well, the title of this disc (which was originally released on LP by ABC/Paramount in 1965 and reissued on CD by Just a Memory/Justin Time in 2011) is technically accurate; a bossa nova beat is employed much of the time. But Connor doesn't inundate listeners with Brazilian songs on Bossa Nova, which isn't nearly as Astrud Gilberto-ish as one would expect from a vocalist who came out of jazz's cool school and could be described as the vocal equivalent of Stan Getz, Zoot Sims, or Paul Desmond. Actually, this album is a departure from the cool jazz that Connor was best known for. With Ken Greenglass (known for his work with Steve Allen and Eydie Gorme) serving as producer, and Pat Williams handling the arrangements, Bossa Nova is really an album of jazz-influenced easy listening pop rather than an album of straight-ahead jazz. But that isn't to say that it isn't enjoyable. Whether Connor is tackling Henry Mancini's "Dear Heart," the Beatles' "A Hard Day's Night," Johnny Mandel's "The Shadow of Your Smile," or the Petula Clark hit "Downtown," Bossa Nova is a pleasant listen even though it falls short of the excellence that characterized so many of her straight-ahead cool jazz recordings of the '50s and '60s. As it turned out, Connor's flirtation with pop-oriented settings didn't last long; the easy listening albums she recorded for ABC/Paramount were designed to expose her to a larger audience, but they didn't sell. And so, Connor returned to straight-ahead cool jazz, which was obviously for the best, since that was what she was truly great at. But again, Bossa Nova is a decent effort even though it isn't among the essential albums that she recorded in the '60s. ~ Alex Henderson.

Audio Remasterer: Rudy Van Gelder.

Sings Gentle Bossa Nova  

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Sony Holland - On a San Francisco High

Styles: Jazz Vocals
Year: 2009
File: MP3@320K/s
Time: 34:30
Size: 79,0 MB
Art: Front

(3:03)  1. On a San Francisco High
(3:23)  2. The Trouble Is
(3:07)  3. The Liberal Ladies of San Mateo
(3:22)  4. That's New
(2:24)  5. In Marin
(2:43)  6. Chestnut Street
(3:28)  7. To Better Days
(3:04)  8. Lovely to Be Lonely
(2:52)  9. Whirlwind Romance
(3:35) 10. My Man and I
(3:23) 11. Somewhere Near St. Louis

Although this listener has left his heart in San Francisco more than once or twice, Sony Holland's newest release On A San Francisco High certainly provides the romantic impetus to again return. Songs on her CD offer a virtual musical and poetic tour of the City by the Bay. There are also, among Holland's poetry and music, reflections upon various dimensions of personal relationships. All eleven songs recorded on On A San Francisco High are originals by Holland, a very refreshing departure in the jazz vocal/traditional pop vocal realm, where for a number of years now the focus of both newer and veteran singers has been on revisiting and remaking tunes from The Great American Songbook. Holland's instrument is very fluid, light and bell-like in its brightness, however she also retains a hint of sultriness in her sound and delivery that brings to mind the voice of Peggy Lee. The quintet backing Holland does so in a very effective manner. 

Although not featured regularly as soloists, this group of fine musicians very tastefully enhances Holland's sense of swing and style of delivery and at no time is overbearing or detracting from Holland's performance. Special note should be given to pianist Dennis Burnside who also wrote all of the arrangements of Holland's songs and multi-woodwind instrumentalist Jim Hoke whose very tasteful saxophone interplay among Holland's lyrics serve as appropriate musical commentary. A great example is Hoke's clarinet work and musical paraphrase at the end of "Somewhere Near St. Louis." All of the above aside, what primarily captured this listener's interest in Sony Holland's On A San Francisco High is her melodic writing and especially her lyrics. The CD opens with "On Chestnut Street," describing what might be typically seen while strolling down this San Francisco venue. "The Liberal Ladies of San Mateo" is an anthem to forty-something women who still know how to enjoy a youthful girlish approach to life and living. The song "In Marin" describes a place where "They say the grape is a vitamin" and "Being sober is a terrible sin." The culminating song in this vein is the title track "On A San Francisco High," where Holland describes San Francisco as " . . .no other city that can take my breath away." Holland's other songs deal with the excruciating ecstasy of a new lover, the depth of an ongoing relationship or reflection over a romance gone sour. 

"Lovely To Be Lonely" summarizes perfectly the idea of "It's lovely to be lonely missing you," and the almost giddy "Whirlwind Romance" captures the intoxicating excitement of a new-found lover. On the emotional downside are songs like "The Trouble Is" which details love for a man who is forever unfaithful, and "Somewhere Near St. Louis," where Holland laments she is " . . . still stuck in New York City singin' the old St. Louis Blues." Sony Holland's On A San Francisco High is a very enjoyable CD. Her lyrics are smart and descriptive and definitely will capture the listener's imagination. The musicianship and Holland's voice are also excellent. The only downside to the CD is that it is only forty-six minutes long, and this listener wanted more. On A San Francisco High would be a most welcome addition to anyone's CD collection, and certainly Sony Holland's next project will be eagerly awaited.

~ Craig W. Hurst http://www.allaboutjazz.com/php/article.php?id=14548#.UizVGj-wVw8

Personnel: Sony Holland (vocals), Dennis Burnside (piano), Charlie Chadwick (bass), Pat Burgeson (guitar), Jim Hoke (woodwinds), Harry Wilkinson (drums) .

On a San Francisco High

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Brandi Disterheft - Gratitude

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 51:48
Size: 118,6 MB
Art: Front

(7:46)  1. Blues for Nelson Mandela
(3:01)  2. Gratitude (for David Jahns)
(4:11)  3. Mizmahta
(5:53)  4. But Beautiful
(5:48)  5. Portrait of Duke
(8:17)  6. Kissing the Cheek of Providence
(4:49)  7. Le regarder la rencontrer encore (rendez-vous indésirable)
(6:48)  8. Open
(2:16)  9. The Man I Love
(2:53) 10. Compared To What

Canada has had its fair share of fine female jazz exports over the past few decades: piano-vocal crossover star Diana Krall; trumpeter Ingrid Jensen and her equally fabulous saxophone playing sister, Christine Jensen; and pianist Renee Rosnes have all made their mark below the 49th parallel. With the release of Gratitude, bassist Brandi Disterheft is poised to join their ranks.

The Vancouver-born bassist first garnered attention in Canada with her Juno Award-winning Debut (Superfran, 2007) and its well-titled followup, Second Side (Justin Time, 2009), but she's upped her game with Gratitude. Disterheft's move to New York City proved to be a game changer, as it put her in contact with some of jazz's finest practitioners who ably assist her in raising the bar on this originals-heavy affair.

Disterheft wisely uses her A-list accompanists in various groupings and settings, which helps to keep things interesting throughout. She deals a winning hand of blues in piano trio mode ("Blues For Nelson Mandela"), makes it into a foursome with the addition of Anne Drummond's spellbinding flute ("But Beautiful"), uses all of the harmonic horn colors at her disposal on a beautiful lament written to honor her cousin who lost his battle with cancer ("Gratitude"), and jettisons her support crew for an all- too-brief solo bass take on a Gershwin classic ("The Man I Love"). The full band, sans Drummond, has some fun with Disterheft's "Open," which would have fit in nicely in Art Blakey's playlist of the '60s, while the date's piece de resistance comes in the form of "Portrait Of Duke," a piano-bass-trumpet dialogue that finds Disterheft, trumpeter Sean Jones and drummer Gregory Hutchinson in high spirits.

Disterheft's skills as a bassist and composer are clear at every turn on this outing, but her vocal work can be a tougher sell. Her French language vocals on "Le Regarder La Recontrer Encore (Rendez-Vous Indesirable)" are superb, but her vocals on "But Beautiful" fall flat on the emotional spectrum. The funky "Compared To What" is musically and vocally solid, and focuses on the groove chemistry between Hutchinson and Disterheft, but proves to be a bit of a stylistic faux pas. Disterheft deftly works a variety of styles into a cohesive whole here, but socially conscious funk just doesn't fit in.

While the album might have been stronger with the removal of a vocal number or two, Disterheft doesn't disappoint on the majority of the material. She's a major talent who won't stay under the radar for very long. Gratitude features some outstanding music and it should be a boon to her career.~ Dan Bilawsky http://www.allaboutjazz.com/php/article.php?id=43302 .

Personnel: Brandi Disterheft: acoustic bass, vocals; Vincent Herring: alto saxophone; Sean Jones: trumpet; Anne Drummond: alto flute, bass flute; Renee Rosnes: piano; Gregory Hutchinson: drums.

Gratitude

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Rebekka Bakken & Wolfgang Muthspiel - Beloved

Styles: Jazz
Year: 2002
File: MP3@320K/s
Time: 40:21
Size: 92,4 MB
Art: Front

(4:44)  1. Beloved
(3:56)  2. Welcome Me
(6:29)  3. Overmåde
(4:59)  4. No Innocence
(2:51)  5. Later
(4:23)  6. Which One of Your Lovers
(3:11)  7. Goodbye
(4:02)  8. You
(5:42)  9. I Surrender All

Nordic folk-jazz chanteuse Rebekka Bakken was the most successful exponent of a new generation of Scandinavian jazz singers that also included Silje Nergaard, Sidsel Endresen, and Solveig Slettahjell. Born in Oslo in 1970, Bakken studied violin and piano as a child, and in 1995 relocated to New York City to pursue a professional music career. There she paired with Austrian-born guitarist Wolfgang Muthspiel, and together they toured the local nightclub circuit as a duo. In time Bakken also befriended German pianist Julia Hülsmann, with whom she recorded the 2003 album Scattering Poems, a collection of jazz performances inspired by the poems of e.e. cummings. Upon completing the project Bakken returned to Europe, settling in Vienna and signing a solo deal with the Universum label. Her debut LP, The Art of How to Fall, followed by year's end, and in 2005 she resurfaced with her commercial breakthrough, Is That You? I Keep My Cool followed a year later. https://itunes.apple.com/us/artist/rebekka-bakken/id13077031#fullText

Beloved

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Stefano Bollani & Hamilton De Holanda - O Que Será

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 54:04
Size: 123,8 MB
Art: Front

(3:25)  1. Beatriz
(6:27)  2. Il barbone di Siviglia
(3:05)  3. Caprichos de Espanha
(6:51)  4. Guarda che luna
(6:18)  5. Luiza
(5:26)  6. O Que Será
(3:36)  7. Rosa
(8:53)  8. Canto de Ossanha
(4:35)  9. Oblivión
(5:24) 10. Apanhei-Te Cavaquinho

There's a relative paucity of piano and guitar duo recordings; Bill Evans and Jim Hall in the world of jazz, Horacio Salgán and the late Ubaldo de Lio in the world of tango, and Pamela and Robert Trent in the classical world are notable exceptions. When it comes to crossover, jazz pianist Michel Camilo and flamenco guitarist Tomatito's collaborations Spain (Verve, 2000) and Spain Again (Decca Music Group, 2006) set the bar high with their exhilarating blend of Afro-Caribbean, tango, jazz and flamenco flavors. To this short list, Italian pianist Stefano Bollani and Brazilian bandolim (10-string mandolin) player Hamilton de Holanda can be added, cum laude, for this quite scintillating live collaboration.

Bollani and de Holanda are kindred spirits; great virtuosos and prolific recording artists, both are open to experiment whether playing solo or with orchestral accompaniment. Bollani's eclecticism is well documented, but less known outside of Brazil is de Holanda, who has recorded/played with multi-instrumentalist Hermeto Pascoal, harpist Edmar Castaneda, banjo player Bela Fleck and accordionist Richard Galliano. Not surpsisingly then, the music here draws equally from jazz, tango and classical music as much as it does from Brazil's rich musical heritage.

Bollani has long had a love affair with Brazilian music, having previously recorded an entire album of Antonio Carlos Jobim's music, Falando do Amor (Venus Jazz, 2003). Carioca (EmArcy, 2008), the pianist's sweeping embrace of pre-Bossa choro and samba, revealed the depth of his feeling for Brazilian music through the ages. In de Holanda, Bollani has found a simpatico musical partner. O que será sees the duo interpret the music of more mainstream Brazilian composers but in truly exhilarating, and above all, heartfelt fashion.

The duo first played together in 2009, an experience that spurred them on to tour in Europe and Brazil two years later. This recording, taken from a concert at Jazz Middelheim in 2012 finds the pair in irresistible form, and it's clear from the opening exchanges of Chico Buraque/Edu Lobo's lovely "Beatriz' that they share a deep musical empathy. Whether caressing a ballad, going hammer and tongs in breathtaking unison, or plying flowing individual yet parallel paths, there's an evident symmetry at play.

On Bollani's up-tempo "Il Barbone de Seviglia," it's difficult to tell who's leading who, though this sense of freedom provides some of the music's most exciting moments. The tremendous intuition at play in the give-and-take, the passing back and forth of the melody and the dazzling alternating solos recall the strong empathy and musical trust that Bollani shared with pianist Chick Corea on Orvieto (ECM, 2011). Neither musician holds back when it comes time to cut loose, but for the most part, whether on de Holanda's flamenco flavored "Caprichos de Espanha" or bandoneon maestro Astor Piazzolla's slow tango "Oblivión," the musicians entwine like sure-footed dancers.

A sense of fun is always bubbling away with Bollani and his well known impersonation of singer/songwriter Paulo Conte gets a run out on "Guarda Che Luna," much to the crowd's delight. Bollani's clowning offers a momentary interlude to the delightfully flowing solo and unison lines that beguile and dazzle simultaneously. The lyricism inherent to both players is best appreciated on the slower numbers; Jobim's "Luiza" is given a minimal, quite intimate reading, with Bollani's intro evoking "Honeysuckle Rose." The duo's simple, unadorned treatment of Pixinguinha's beautiful tune "Rosa" holds the elegance of yesteryear and is a fine tribute to one of Brazil's great choro legends.

Bollani and de Holanda exchange scurrying lines during Baden Powell/Vinicius de Moraes' "Canto de Ossanha," with the pianist playing bebop Tom and Jerry to the bandolim player's Django Reinhardt; it's as thrilling as it is fun. The finale comes when the two slip into a percussive duet of carnivalesque release. Dancing, classically-influenced piano signals the intro to Ernesto Nazareth's delightfully playful "Apanhei te Cavaquinho," with Bollani and de Holanda alternating dizzyingly rapid lines. Then, tumbling in unison, with a cascade of notes flying in perfect tandem, one can almost sense the smiles on their and the audience members' faces at the sheer exhilaration and joy of the playing.

The chemistry between Bollani and de Holanda and the almost inexhaustible material at their disposal clamor for a follow-up. They could easily continue to release live albums of this caliber every couple of years, but a studio recording is also a tantalizing prospect. Perhaps the setting of four walls and minus an adoring public would induce the sort of nuance and intimacy only occasionally hinted at here. Regardless, O que será marks a high point in the discographies of both musicians.

~ Ian Patterson  http://www.allaboutjazz.com/php/article.php?id=45234#.UjEoPj9vA1I

Personnel: Stefano Bollani: piano; Hamilton de Holanda: bandolim.

O Que Será

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Ella Jones - Be My Guest

Bitrate: 320K/s
Time: 37:29
Size: 85.8 MB
Styles: Vocal jazz
Year: 2007
Art: Front

[3:31] 1. Everything
[3:32] 2. Nothing
[3:11] 3. Be My Guest
[4:41] 4. I Feel For You
[2:59] 5. You Say
[3:25] 6. Here I Am
[3:23] 7. Change Your Point Of View
[3:05] 8. Summer Candy
[3:38] 9. Going My Way
[3:09] 10. No More
[2:51] 11. Oh Boy

Ella Jones is a soulful piano vocalist and this album is an evocative mix of her songs. From the upbeat feel good Everything and Change your point of view through to romantic title track Be my guest, and mournful I feel for you, Ella covers the full range of emotions on this colourful debut album. For those of you who would like a mixture of Carole King, Laura Nyro and Adele, this album is for you!

Ella Jones-Lead vocal and piano, Zane Maertens-Double Bass, Andy Christo-Drums, Nina Provencal-Additional Vocals.

Be My Guest

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Marty Paich Quartet - Marty Paich Quartet Featuring Art Pepper

Bitrate: 320K/s

Time: 25:54

Size: 59.3 MB

Styles: West Coast jazz, Bop

Year: 1956/2011

Art: Front

[3:07] 1. What's Right For You

[3:19] 2. You And The Night And The Music

[2:21] 3. Sidewinder

[2:52] 4. Abstract Art

[2:18] 5. Over The Rainbow

[3:20] 6. All The Things You Are

[3:27] 7. Pitfall

[2:42] 8. Melancholie Madeline

[2:23] 9. Marty's Blues

Marty Paich was born in Oakland (Cal.) January 1925 and passed away in Santa Ynez (Cal.) on his ranch August 1995. He is one of those musicians that played an important role in modern music, especially the so-called West Coast Jazz, most as a composer, arranger, but also as a sideman and accompanist of great jazz musicians, who made their names, like Art Pepper. He became known for his numerous compositions and arrangements which helped to shape the West Coast sound.

Recorded August, 1956 at Radio Recorders. Engineer: Val Valentin. While not the leader on the date, this is clearly an Art Pepper record, his first after being released from Federal prison in 1956. This recording is a classic and a must for all Art Pepper fans.

Alto Saxophone – Art Pepper; Bass – Buddy Clark; Drums – Frank Capp; Piano – Marty Paich.

The Marty Paich Quartet featuring Art Pepper                

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The SoCal VoCals - Permit To Harmonize

Bitrate: 320K/s
Time: 52:29
Size: 120.1 MB
Styles: Vocal Harmonies, A Capella
Year: 2013
Art: Front

[3:45] 1. Good Luck
[3:07] 2. Set Fire To The Rain
[3:56] 3. Hold My Heart
[3:19] 4. Tightrope
[4:59] 5. Kings And Queens
[3:39] 6. Poison And Wine
[4:51] 7. Heart Of The Matter
[5:01] 8. Elena
[4:00] 9. Lady Marmalade
[4:04] 10. When We Are One
[3:13] 11. What The Water Gave Me
[4:18] 12. My Heart With You
[4:11] 13. Best Thing I Never Had

The SoCal VoCals are the premiere a cappella group from the University of Southern California. Since their creation back in 1996 the VoCals have been redefining a cappella in a way that can only be done in Los Angeles. The group is comprised solely by current USC students, and prides itself on singing music from any genre and by any artist. From Jazz to Rock; R&B to Pop, the VoCals create smooth West Coast-inspired sounds defined by the people singing them.

Over the past seventeen years, the VoCals have been increasing their exposure to a national level, bringing their brand of band (no instruments; just voices) to performances of all shapes and sizes. They have toured across the country, and competed in the 2008, 2010, and 2012 International Championship of Collegiate A Cappella, traveling to New York City to compete in the finals where they came out on top as the champions (all three times). The VoCals have been featured on The Today Show and in Newsweek magazine, have had current members and alumni represent the VoCals on all three seasons of NBC's The Sing-Off, and have shared the stage with stars like Josh Groban, Sara Bareilles, Queen Latifah, Jamie Lee Curtis, Colbie Caillat, and Ben Folds. The VoCals have sung in almost every imaginable scenario, from private parties and weddings to sold-out events at the Staples Center, the Walt Disney Music Hall, The Town Hall, and New York City's Lincoln Center. While they're stationed mainly in Southern California, the group has also taken their high-energy act on the road, traveling everywhere from The Northeast to Alaska.

Permit To Harmonize

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Kathy Sanborn - Sultry Night

Styles: Jazz Vocals
Year: 2013
File: MP3@320K/s
Time: 39:13
Size: 89,8 MB
Art: Front

(4:40)  1. Sultry Night
(4:17)  2. That Cary Grant Smile
(4:23)  3. Angels Cry
(4:00)  4. Miss O'Day
(4:36)  5. Ordinary Man
(4:37)  6. Not Amused
(4:17)  7. The Boys Are Back
(5:03)  8. Butterscotch Sky
(3:16)  9. No More Storm

The glamour of yesterday returns to today’s jazz music with Sultry Night, the steamy new release by American jazz singer and composer Kathy Sanborn. Sanborn’s sizzling album has a film noir inspiration, where passion and sensuality rule the day. Sultry Night opens with the smoky and seductive title track, evocative of the age of film noir detectives Sam Spade and Philip Marlowe. The album continues with songs honoring movie icon Cary Grant and jazz vocal legend Anita O’Day, both performers reaching their heyday in the age of film noir, the 1940s and ‘50s. The album features both ballads and upbeat songs, performed in Sanborn’s inimitable smooth and sultry style. The singer composed all of the album‘s nine songs. In a reverential turn, Sanborn penned the song, “Angels Cry,” in honor of the children who lost their lives in the Sandy Hook school tragedy. 

According to JazzTimes: “Romance is always in the air as far as Kathy Sanborn is concerned, and her songs are reflections of those emotions which take flight when overpowered by love.” Sanborn adds, “Sultry Night reflects a world of steamy romance and unbridled sensuality - where love is always on one’s mind.” Based in northern California, the velvet-voiced jazz songstress and composer is of Nicaraguan descent. Bilingual and cosmopolitan, the exotic Sanborn combines sultry vocals with artistic originality. Spain’s NoSoloSmoothJazz.com says: “Kathy Sanborn is one of the most original vocalists in the American musical landscape.” Besides composing, arranging, and producing the Sultry Night album, Sanborn provides the vocal and piano artistry. Trumpeter Wayne Ricci complements the album with full-bodied, film noir performances. Sultry Night follows Sanborn’s critically acclaimed albums, Six Degrees of Cool and Blues for Breakfast. Both albums reached Amazon’s bestselling MP3 Vocal Jazz charts. The MP3 version of Sultry Night recently reached Amazon’s bestseller list for Vocal Jazz. http://news.allaboutjazz.com/news.php?id=105910#.Ui8T2z-wVw8

Sultry Night

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Diane Schuur - Talkin' 'Bout You

Styles: Jazz Vocals
Year: 1988
File: MP3@320K/s
Time: 44:42
Size: 102,3 MB
Art: Front

(4:38)  1. Talkin' 'bout You
(3:53)  2. Funny (But I Sill Love You)
(4:53)  3. Louisiana Sunday Afternoon
(3:41)  4. For Your Love
(3:43)  5. Hearts Take Time
(4:54)  6. Somethin' Real
(4:04)  7. Hard Drivin' Mama Il
(3:29)  8. Nothing In The World (Can Make Me Love You More Than I Do)
(3:21)  9. Ain't That Love
(3:15) 10. Life Goes On
(4:44) 11. Cry Me A River

On her four previous albums, including the Grammy-winning torch song set “Timeless”, and the big band outing of “Diane Schuur & the Count Basie Orchestra”, Schuur went after a diverse set of musical forms. This time, on a set of bluesy and R&B styled tunes, she has finally begun to develop a finer touch. And though she reportedly had some initial problems handling this stylistic attempt at crossover success, Schuur finally used it to create some of her most confident, relaxed and expressive work.

As in past albums, Schuur wears her influences on her sleeve and here is most effective when she does. Ray Charles’ classic secular gospel sound provides the musical foundation for the LP; and three of his songs, including the lively, gospel-tinged title track and “Ain`t That Love” with the Edwin Hawkins Singers, provide some of the brightest moments.

“Deedles” does dither away some opportunities, and her musicians, while a solid bunch of session players such as Tom Scott, Will Lee, Mitchel Forman and Steve Gadd, too often sound like the ``Saturday Night Live`` Band leading into a commercial break. When all is said and done, though, “Talkin’” remains about the Schuur-est thing this popular young vocalist has yet delivered.~Chris Heim http://articles.chicagotribune.com/1988-11-27/entertainment/8802200257_1_diane-schuur-edwin-hawkins-singers-talkin

Talkin' 'Bout You

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Pink Martini - Get Happy

Styles:  Latin Jazz
Year: 2013
File: MP3@320K/s
Time: 51:15
Size: 117,4 MB
Art: Front

(2:37)  1. Ich dich liebe
(3:19)  2. Quiza´s, Quizas, Quizas
(2:12)  3. Zundokobushi
(4:11)  4. Je ne t'aime plus [Feat. Philippe Katerine]
(3:26)  5. Yo Te Quiero Siempre [Feat. Ari Shapiro]
(3:21)  6. I'm Waiting For You [Feat. Meow Meow]
(3:42)  7. Omide zendegani
(3:07)  8. Uskudar
(5:22)  9. Pana cand nu te iubeam
(4:48) 10. She Was Too Good To Me
(3:40) 11. Sway
(4:21) 12. Kitty Come Home [Feat. The Von Trapps & Rufus Wainwright]
(2:22) 13. Get Happy / Happy Days
(3:20) 14. What'll I Do?
(1:53) 15. Heliotrope Bouquet (Instrumental)
(2:48) 16. Smile

Pink Martini's long-awaited follow-up to their 2009 hit album Splendor in the Grass features their beloved vocalist China Forbes joined in the studio by her new co-lead singer Storm Large along with a cavalcade of guest star vocalists! Featuring the "little orchestra"'s trademark mix of pop songs from all corners of the globe, spanning the breadth of the 20th century, Get Happy's sunny disposition shines through its intricate and luxurious orchestral pop arrangements. Highlights of the album include the final recording of the legendary Phyllis Diller, a riveting appearance by the exquisite Rufus Wainwright, and a charming duet written and performed by China Forbes with underground French sensation Philippe Katerine. With sixteen tracks and a parade of fascinating guest stars, Get Happy is Pink Martini's broadest and most satisfying album to date. http://pink-martini-heinz-records.myshopify.com/products/get-happy-cd

Get Happy

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Thelonious Monk - Misterioso

Styles: Jazz
Year: 1958
File: MP3@320K/s
Time: 63:14
Size: 161,5 MB
Art: Front

( 5:21)  1. Nutty
( 8:13)  2. Blues Five Spot
( 9:13)  3. Let's Cool One
(11:22)  4. In Walked Bud
( 2:08)  5. Just A Gigolo
(10:23)  6. Misterioso
( 6:16)  7. 'Round Midnight
(10:15)  8. Evidence

This is the second long-player to be taken from the same August 1958 Five Spot recordings that had yielded the similarly brilliant Thelonious in Action The quartet heard on these sets includes Monk (piano), Johnny Griffin (tenor sax), Roy Haynes (drums), and Ahmed Abdul-Malik (bass). Their overwhelming and instinctual capacities directly contribute to the powerful swingin' and cohesive sound they could continually reinvent. While these are Monk's tunes, arrangements, and band, it is Griffin who consistently liberates the performances. During "Nutty," his flurry of activity  which adeptly incorporates several lines from "Surrey With the Fringe on Top" has a maniacal swing that is highlighted by some definitive counterplay from both Haynes and Monk. Additionally, the transition between Haynes and Monk is organic and seemingly psychic. "Blues Five Spot" a 12-bar blues homage to their current residence  features solos from each band member. Griffin and Monk again display the seemingly innate ability to instantly recalculate chord structures as well as transmute melodies. The show-stopping solo vamp from Griffin hurls the rhythm along while simultaneously dropping in quotes from other tunes such as the theme for the animated Popeye cinematic shorts. Malik's brief solo, like his band interaction, is underrated yet precisely executed. The title track is given an exploratory performance. While Griffin aptly seizes the reins to blow his bop onslaught, Haynes' natural and subdued agility perfectly supports the extended tenor solo, creating some unique passages. Ironically, the one Monk solo performance, "Just a Gigolo," is the only composition not by Monk. ~ Lindsay Planer  http://www.allmusic.com/album/misterioso-mw0000048402

Misterioso

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Little Miss Higgins & The Winnipeg Five - Bison Ranch Recording Sessions

Size: 90,5 MB
Time: 39:08
File: MP3 @ 320K/s
Released: 2013
Styles: Country Blues, Blues Folk, Old Time
Label: L.M.H. Music
Art: Front

1. Heavy Train (1:58)
2. Your House Tonight (4:13)
3. Keep A Song In Your Soul (2:51)
4. Chateau Poulet (3:24)
5. Barns You Used To Dance In (4:25)
6. Early Morning Thief (2:09)
7. Restless Heart (4:07)
8. Dead Cow Hill (3:57)
9. I Was At An Auction (3:23)
10. Moonlit Picnic (3:57)
11. Blue Moon Behind Me (4:38)

If you think Corb Lund is catchy, you might want to try Little Miss Higgins & The Winnipeg Five. I thoroughly enjoyed the authentic country blues sound of Bison Ranch Recording Sessions, the fifth album from Little Miss Higgins — also known as Jolene Higgins — who has been recording since 2005.

She is joined on this album by a five-piece band called the Winnipeg Five, who have released three previous albums as the F-Holes. The album was recorded live off the floor of the recording studio that they built in an old barn on the Renaissance Bison Ranch.

My favourite song is “I Was At An Auction” because it has a catchy, upbeat twang, and makes an auction sound like an intriguing place, even though there will be nothing but junk. “Your House Tonight” is another endearing song about getting to know a new love. “Chateau Poulet” had me using some of my poor French skills and while I couldn’t figure out the whole song — the lyrics switch between French and English — I could get the basics. If you don’t understand French at all, the blending of the instruments is still fun to listen to. “Dead Cow Hill” was another gem with a great use of banjo, trumpet and harmonies. I wonder if such a place exists.

Higgins wrote or co-wrote all of the songs, except “Keep A Song in Your Soul” which highlights her songwriting talent along with her clear singing and guitar playing — she always plays the baritone ukulele.
While I had never heard of her before I found this album, I’m looking forward to sharing this album and maybe even seeing her live. Review by Susan Anderson

Bison Ranch Recording Sessions

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