One For All - Too Soon To Tell

Styles: Jazz
Year: 1997
File: MP3@320K/s
Time: 60:00
Size: 139,3 MB
Art: Front

(8:19)  1. Too Soon To Tell
(6:56)  2. Alfie
(5:54)  3. Stranger Than Fiction
(7:03)  4. Dedicated To You
(8:46)  5. Blues For All
(8:03)  6. Betcha By Golly Wow
(8:29)  7. Visionary
(6:29)  8. Captain's Song

Having reviewed last month Optimism, the second Sharp Nine release by One for All, the New York–based co–op sextet patterned after Art Blakey’s celebrated Jazz Messengers, we must beg your indulgence as we backtrack a year to appraise its debut session, recorded in February ’97 by the eminent Rudy Van Gelder (whose apparently escalating faith in greater reverb is somewhat misplaced). Personnel is unchanged, as is the group’s impassioned point of view. In spite of the rather self effacing title, it’s hardly too soon to tell you, the reader and potential listener, that these are six of the most accomplished and emphatic young neo boppers in the Big Apple or anywhere else. If the Messengers were still around, this is probably quite close to what they’d sound like. While it may be hard to imagine anyone completely filling Blakey’s enormous shoes, Farnsworth has more than a few Bu like drum rolls up his sleeve and kicks the group along in splendid fashion.

Washington, pianist Tommy Flanagan’s bassist of choice, and Hazeltine complete a purposeful and close knit rhythm section that never lets the music drag or falter. The front liners, meanwhile, blend well together (several of the voicings are truly enchanting), and each one is an intrepid soloist as well  Rotondi the fiery triple tonguing aggressor, Davis the Fuller style acrobat, Alexander the muscular clean up batter in the volcanic image of his main man, George Coleman. Like many of Blakey’s sidemen, these guys double as composer/arrangers, and fare well in that department too. Rotondi contributed the buoyant Messengers like opener, “Too Soon to Tell” and the flag waving “Stranger Than Fiction.” Alexander wrote the minor key “Blues for All,” Davis the modal waltz “Visionary” and Hazeltine the up tempo closer, “Captain’s Song.” Hazeltine set “Alfie” to a brisk Latin beat and scored “Betcha By Golly Wow,” while Alexander arranged his earnest ballad feature, Sammy Cahn’s “Dedicated to You.” A superb collaborative effort that is easily recommended to partisans of the mainstream, as is the group's second release.~Jack Bowers 

http://www.allaboutjazz.com/php/article.php?id=2968#.UjTFUT8kI5c

Personnel: Eric Alexander, tenor saxophone; Jim Rotondi, trumpet, flugelhorn; Steve Davis, trombone; David Hazeltine, piano; Peter Washington, bass; Joe Farnsworth, drums.

Too Soon To Tell

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Celia Baron - Sax Appeal

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 58:43
Size: 135,9 MB
Art: Front

(3:41)  1. I
(3:36)  2. Dark Gold
(3:35)  3. I Put A Spell On You
(3:48)  4. For The Love Of Him
(3:59)  5. Na, Na, Na
(3:56)  6. Big Sky
(4:19)  7. You Know That I Love You
(3:37)  8. Move Around
(3:53)  9. Panipat
(3:50) 10. Tango Me
(3:37) 11. F - Street
(3:54) 12. I Try
(3:30) 13. You
(4:28) 14. Funky Girl
(4:55) 15. Hey, Hey Now

.. As the daughter of two professional muscians, my heart was always going to be in music. Working in a music shop and selling instruments is not as much fun as playing them so I decided on a study of music at the “Conservatoire de la musique” in Luxemburg. I studied jazz saxophone for 4 years and during that time I had some early musical successes. With my band at the time V.I.S., we won the prize for young composers at the Berlin Film Festival three times. Upon completion of my music degree I began teaching at the music house of A. Knopp in Saarbrücken in between touring Europe wich several bands. More recently solo projects, composing and concert appearances have been the focus, playing alongside such musical stars as Maceo Parker, George Clinton, Fred Wesley , Martha High and Tom Principato. Although my musical range stretches from orchestral, gospel and musicals through to rock, jazz and blues my favorite style would have to be funk. Exposure to such a varied range of styles has led me to develope my own style, best described as “ Funky Chilljazzhiphoppop” . My first Album “Saxcess” was released in October 2008.. http://www.jango.com/music/Celia+Baron?l=0

Sax Appeal

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Jon Lucien - Lucien Romantico

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 33:34
Size: 76,9 MB
Art: Front

(3:11)  1. Tender Love of Mine
(3:42)  2. I Like It
(4:02)  3. Sempre Maria
(3:51)  4. How 'Bout Tonight
(5:09)  5. Tell Me You Love Me
(3:44)  6. Takes More Than Words
(6:01)  7. Together As One
(3:51)  8. Too Damn Hot

Jon Lucien made his first recording as a leader in 1970. This album is a reissue of one that was initially released in 1982 on the Precision label, but not widely distributed. In addition to singing, Lucien also plays a variety of instruments while he sings, I assume to keep his hands busy. Many of the tunes have a definite Caribbean beat to them including "Tender Love of Mine" and "How`Bout Tonight". Not surprising given that he was born in St. Thomas and has been elected to the Caribbean Hall of Fame. One of the special elements of the CD is the grand instrumental backing. There is a rhythm section, piano, Rhodes piano, drums, lots of backup vocals, and other assorted Latin percussion, all augmented live in the studio by large symphony orchestras including the Chicago and London symphonies as well as the New York orchestra which is conducted by renowned jazz trombone player and arranger Billy Byers. Matters, therefore, get a bit busy from time to time. But miraculously, everything stays under control and it all manages to fit together very well. But with all this activity, Lucien's voice doesn't stand out all that well as it is subsumed into comings and goings of larger groups. One exception is a "I Like It" which Lucien delivers with a cocky hat tilted forward manner. Another is "Too Damn Hot" which has a high-spirited beat that will keep your toe tapping and your shoulders moving. If you like the rhythm of the Islands, Romantico is a must have.~ Dave Nathan  http://www.allaboutjazz.com/php/article.php?id=9070#.Ujt5VRAkI5c.

Jon Lucien - Vocal/Fender Bass/Phodes Piano/Yamaha Grand Piano/Percussion/Mini Moog/Congas; Carlos Bega, James Gadson, Earl Palmer - Drums; Gloria Agostini - Harp; Angel Allende - Timbales; Steve Thornton - Percussion; Bill Byers, Michel Colombier, Richard Evans - Conductor; Josh Sklair, Oscar Castro Nevers - Guitar; Franchine Smith, JoAnn Brown - El, Cynthia White, Keithen Carter, Cinnamon - Backup Vocals; Larry Ball - Bass; Fred Jenkins, Clarence Charles, Dennis Budimir- Guitar; Gip Nobles - Rhodes Piano; Michael Melvoin/Aloisio Aguitar - Piano; Nana Vasconcelos - Talking Drums

Lucien Romantico

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Dave Brubeck & Paul Desmond - So Real

Bitrate: 320K/s
Time: 77:13
Size: 176.8 MB
Styles: Cool jazz, Saxophone/piano jazz
Year: 2012
Art: Front

[ 3:19] 1. I'm In A Dancing Mood
[10:05] 2. Two Part Contention
[ 2:07] 3. Camptown Races
[ 4:57] 4. Jeepers Creepers
[ 6:21] 5. Gone With The Wind
[ 5:17] 6. Take Five
[ 8:10] 7. Lonesome Road
[ 4:23] 8. Eleven Four
[ 2:27] 9. Short'nin' Bread
[ 4:30] 10. Basin Street Blues
[ 5:36] 11. Take The A Train
[ 7:58] 12. Blue Rondo Ala Turk
[ 6:36] 13. Georgia On My Mind
[ 5:21] 14. Brother, Can You Spare A Dime

Desmond and Brubeck began their partnership at a club called the Bandbox in Palo Alto, California in the late 1940s. Brubeck would intentionally goad Desmond beyond his musical comfort zone, by forcing him to play more uptempo songs. Brubeck knew that pushing Desmond to play at faster tempos would encourage him to overcome his natural reserve and play with more conviction and expression.

While Desmond and Brubeck's engagement at the Bandbox was a commercial success, they fell out over personal and financial concerns. Desmond moved to New York in 1950 to perform with pianist Jack Fina on alto saxophone and clarinet. At the same time, Brubeck formed a new trio that began to receive critical acclaim. Desmond soon found out about the trio's success and returned to San Francisco to see if he had a chance of joining his old friend's group.

The story of how Desmond got back on Brubeck's good side is amusing. Brubeck held a grudge against Desmond over the difficulties they had from when they last performed together. Brubeck, now married with three children, told his wife Iola that Desmond was not allowed in their home. One day, Desmond showed up at the door and Iola took him into the back yard, where Brubeck was folding diapers. Desmond pleaded with him, but Brubeck would consider hiring him back until the saxophonist offered to babysit his three children. This turned out to the offer Brubeck could not refuse.

So Real

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Carol Welsman - S/T

Bitrate: 320K/s
Time: 50:33
Size: 115.7 MB
Styles: Easy Listening, Vocal jazz
Year: 2007
Art: Front

[4:28] 1. Brazasia
[3:53] 2. Hold Me
[3:53] 3. Dans Cette Chambre
[3:59] 4. What A Fool Believes
[2:48] 5. Eu Vim De Bahia
[3:51] 6. Cafe
[4:56] 7. Live To Tell
[4:01] 8. Nosotros
[4:59] 9. Too Close For Comfort
[2:25] 10. With Me
[3:28] 11. Dans Mon Ile
[3:53] 12. Beautiful
[3:53] 13. Ora

If this self-titled CD had more of a straight-ahead jazz outlook, it would be easy to describe Carol Welsman as a member of the Cool School; the Canadian singer favors the type of relaxed, subtle phrasing that June Christy, Helen Merrill and Chris Connor were known for in the '50s. But for the most part, this 2007 release (which was produced by Jimmy Haslip of Yellowjackets fame) is not straight-ahead jazz but rather, is best described as jazz-tinged pop/NAC singing along the lines of Basia, Marilyn Scott and Sade. The 50-minute CD does have its improvisatory moments; the Brazilian-flavored "Café" (a Welsman original) demonstrates that Welsman can scat and improvise effectively when she puts her mind to it. But pop dominates the album, and that isn't a problem because Welsman's pop -- although certainly light -- is not lightweight. For all her subtlety and understatement, Welsman gets her emotional points across whether she is putting her spin on the Doobie Brothers' "What a Fool Believes," Madonna's "Live to Tell" or the Latin standard "Nosotros." Welsman has no problem performing in Spanish on "Nosotros"; in fact, she performs in a total of five languages on this disc -- not only English and Spanish, but also in Portuguese on "Eu Vim de Ahia," in Italian on "Ora" and in French on "Dans Cette Chambre." The latter is an example of a familiar melody with new lyrics; "Dans Cette Chambre" is Welsman's French-language interpretation of Gordon Lightfoot's "Beautiful." A Lightfoot melody and French lyrics might seem an unlikely combination, but it works for Welsman. This disc falls short of exceptional, although it's a pleasing, likable effort that is worth hearing if one has spent a lot of time listening to NAC favorites like Basia and Scott. ~ Alex Henderson

Carol Welsman (keyboards); Pierre Côté (acoustic guitar); Vern Dorge (soprano saxophone); Jimmy Haslip (bass guitar); Jimmy Branly (drums); John Acosta (background vocals). Additional personnel: Eric Marienthal (alto saxophone).

Carol Welsman

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Delicatessen - 2 albums: Goodnight Kiss / Jazz & Bossa

A jazz / bossa nova band, from Porto Alegre, Brazil. Formed by Ana Kruger (vocals), Carlos Badia (guitar), Nico Bueno (bass), Mano Gomes (drums) & sometimes, New (piano). Their work is recognized by brazilian music critics, inc: Nelson Motta & Roberto Muggiati.

Their début album, Jazz + Bossa, was produced by Beto Callage & Carlos Badia. This album has ‘bossa nova’-influenced reinterpretations of US jazz standards music & two original compositions, sung in Portuguese. Ana Kruger has a soft & clean voice, reminiscent of 50’s female vocalists.

They have played live in Porto Alegre’s Iguatemi Mall on Valentine’s Day and they have played live in other cities like Buenos Aires (Argentina), Florianópolis (South Brazil), Rio de Janeiro & São Paulo.

Album: Goodnight Kiss
Bitrate: 320K/s
Time: 42:20
Size: 96.9 MB
Styles: Bossa Nova
Year: 2011
Art: Front

[4:02] 1. You Turned The Tables On Me
[3:06] 2. As Long As I Live
[4:06] 3. I'm Old Fashioned
[5:30] 4. Someone To Watch Over Me
[3:30] 5. The Best Is Yet To Come
[3:20] 6. I Don't Know Enough About You
[4:22] 7. Where Do You Start?
[3:40] 8. My Heart Belongs To Daddy
[3:03] 9. It's A Pity To Say Goodnight
[2:46] 10. Outras Dicoes
[4:51] 11. Low, Slow, Less

Goodnight Kiss

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Album: Jazz & Bossa
Bitrate: 320K/s
Time: 53:14
Size: 121.9 MB
Styles: Bossa Nova, Jazz vocals
Year: 2006
Art: Front

[4:23] 1. Angel Eyes
[3:04] 2. In A Mellow Tone
[6:10] 3. Black Coffee
[5:16] 4. In A Sentimental Mood
[1:56] 5. You're Getting To Be A Habit With Me
[3:46] 6. The Very Thought Of You
[2:38] 7. Do It Again
[4:08] 8. I Fall In Love Too Easily
[2:06] 9. I Love The Way You're Breaking My Heart
[3:36] 10. That's All
[3:45] 11. The Touch Of Your Lips
[6:09] 12. I'm Through With Love
[3:38] 13. Todos Os Dias
[2:32] 14. Setembro

Jazz & Bossa

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Hiromi Kanda - Hiromi In Love

Styles: Jazz Vocals
Year: 2010
File: MP3@320K/s
Time: 46:13
Size: 107,8 MB
Art: Front

(3:14)  1. That Old Feeling
(3:22)  2. Always Here For You
(3:36)  3. How Deep IS The Ocean
(3:12)  4. I'll Never Smile Again
(4:14)  5. Blue Love
(4:03)  6. Someone To Watch Over Me
(3:27)  7. My Funny Valentine
(2:57)  8. In The Wee Small Hours Of The Morning
(3:26)  9. All The Way
(3:31) 10. When I Fall In Love
(3:16) 11. Cry
(4:03) 12. The Second Time Around
(3:47) 13. Unforgettable

Japanese singer Hiromi Kanda expresses her affection for American pre-rock traditional pop music on Hiromi in Love. She is accompanied by members of the Honolulu Symphony Orchestra, playing arrangements written and conducted by Matt Catingub (who also contributes alto saxophone, piano, and backup vocals) on a set of standards written by the likes of Irving Berlin, the Gershwins, and Rodgers & Hart, plus a couple of originals in a similar style. Her timbre may remind some listeners of Linda Ronstadt, who made three albums of similar music, though native English speakers probably will feel the same way about Kanda that native Spanish speakers did listening to Ronstadt's albums of Mexican music, in the sense that Kanda sings with a slight Japanese accent throughout. She is certainly comprehensible, and these are much more than karaoke-like performances, but it is impossible to ignore that, for example, in "That Old Feeling," the word "foolish" comes off sounding like "fulitch," or that, in "Cry," "sunshine" is rendered as "sanshan." Thus, English speakers may suppose they are listening to the soundtrack of an old movie set in post-World War II, U.S.-occupied Japan. This probably means that Hiromi in Love will be most successful in Japan itself and the Pacific Rim in general, where Kanda's accent won't be as much of an issue.~ William Ruhlmann  http://www.allmusic.com/album/hiromi-in-love-mw0001959346

Hiromi In Love

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Karin Krog - One on One

Styles: Jazz Vocals
Year: 1997
File: MP3@320K/s
Time: 67:18
Size: 154,1 MB
Art: Front + Back

(2:35)  1. Blues In My Heart
(3:12)  2. You'd Be So Nice To Come Home To
(5:05)  3. These Foolish Things
(2:58)  4. But Not For Me
(6:16)  5. God Bless The Child
(3:22)  6. Just In Time
(3:58)  7. A Song For You
(4:14)  8. Feeling Too Good Today Blues
(5:31)  9. Stardust
(2:02) 10. I Wont Dance
(3:07) 11. Medley: Blue and Sentimental/ Sentimental and Melancholy
(2:49) 12. Scandia Skies
(2:28) 13. I Was Doing All Right
(3:33) 14. I Got The Right To Sing The Blues
(3:05) 15. Sometimes I Feel Like a Motherless Child
(7:21) 16. John Coltrane`s `A Love Supreme`
(2:31) 17. As You Are
(3:07) 18. Going Home

Not overwhelmed with the song now playing on this album? Be patient, the next track may be something more to your liking. This album is a musical smogarsboard of songs cutting across a variety of vocal genre. The play list runs from the traditional "Sometimes I Feel like a Motherless Child," through Hoagy Carmichael's ultimate standard "Stardust" through John Coltrane's poem-song "A Love Supreme" with a little of 1960s popsters Jerry Leiber and Mike Stoller thrown in. It would be unkind to say that the singer is simply trying out everything until she finds something she does well. Not so with Karen Krog, one of the finer and more inventive jazz singers of the last three decades. One on One is a compilation of three different recording sessions Krog made as part of a duo performances. Krog and premier bass player Red Mitchell are on the first six tracks, recorded in 1977. Also recorded in the same year, Krog and Swedish pianist Bengt Hallberg are on tracks seven through fourteen. The last four tracks, recorded in 1980, are devoted to Krog's work with Nils Lindberg, Swedish composer and organist. There are not many singers who would risk singing with just a bass or an organ as accompaniment. The vocalist and bass player must have great musical rapport given the limitations of the instrument. As far as an organ goes it, if not delicately played, can overwhelm the vocalist. The fact that it comes off incredibly well is a tribute not only to Krog, but to Mitchell and Lindberg. The Krog/Mitchell sessions are especially haunting. Mitchell plays cello like passages on Cole Porter's "You'd Be So Nice to Come Home To." His phrasing and articulation seem to be made especially for Krog's vocal inflections and phrasing. Hallberg has been a top performer in Europe for several years and has recorded with Krog before. Lindberg is a composer and, as is evident on the almost sacred rendition of "A Love Supreme," a church organist. This album offers a over an hour of a wide variety of music all showcasing Karen Krog's amazing vocal virtuosity.~Dave Nathan  http://www.allmusic.com/album/one-on-one-mw0000725523

One on One

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Come Shine - With The Norwegian Radio Orchestra In Concert

Styles: Jazz Vocals
Year: 2003
File: MP3@320K/s
Time: 58:46
Size: 134,5 MB
Art: Front

(6:19)  1. My Funny Valentine
(5:42)  2. Moon River
(4:41)  3. Let'S Do It
(5:23)  4. Memories Of You
(7:51)  5. You Don'T Know What Love Is
(6:54)  6. September Song
(5:34)  7. Somewhere Over The Rainbow
(4:35)  8. Lush Life
(7:39)  9. When I Fall In Love
(4:04) 10. I Like To Hear It Sometime

Live Maria Roggen (born 22 March 1970 in Oslo) is a Norwegian jazz singer, songwriter and composer, educated at Foss High School (violin and vocals), sociology and Musicology intermediate at the University of Oslo and Jazz Line at Trøndelag Conservatory of Music (NTNU) (1995–98). Worked as Jazz and singing teacher at the Sund folkehøgskole, Høgskolen in Agder (music conservatory) and at Trøndelag Conservatory of Music (NTNU). Since 2006, Associate Professor of jazz singing at the Norwegian Academy of Music.[1] She is the older sister of the twin sisters Ane Carmen and Ida Roggen from the Norwegian vocal band Pitsj. Roggen first appeared in the duo Tu'Ba with the tuba player Lars Andreas Haug 1994. She helped start the band Wibutee in 1997-2000, and then was the lead singer of the Norwegian jazz band Come Shine 1998-2004. In 2003-08, she appeared with their own lyrics and compositions in the Live Band. In 2007, a solo disc Circuit songs which won Spellemannprisen the Norwegian Grammy Award in the Open class. Since 2004, Roggen has been co-singer and one of the driving forces of the improvisational vocal ensemble Trondheim Voices, for whom she made the compositions. In 2009, Roggen and pianist Helge Lien formed the Norwegian-language duo Live/Lien that performs original music written to texts by Norwegian poets, cover songs and jazz tunes. In addition to her own bands and groups Roggen have sung with, among other Trondheim Jazz Orchestra, the Norwegian Radio Orchestra, Trondheimsolistene, Bugge Wesseltoft, Tom Steinar Lund & Trio de Janeiro, deLillos and Leieboerne, and she has since 1996 been a backup singer in the group Young Neils. In 2008 and 2009 she participated in four tribute concerts For Radka together with Arild Andersen, Jon Eberson and Jon Christensen, including in the Norwegian National Opera. In 2006-2009 she sang the tango and jazz compositions in the Atle Sponberg and Frode Haltli s La Fuente. She participated in children's records Magiske kroker & hemmeligheter, (Egmont 2008) and Go'natt, (Jazzland/Universal 2009). http://en.wikipedia.org/wiki/Live_Maria_Roggen

With The Norwegian Radio Orchestra In Concert

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Gregory Porter - Liquid Spirit

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 61:05
Size: 139,9 MB
Art: Front

(3:55)  1. No Love Dying
(3:35)  2. Liquid Spirit
(3:09)  3. Lonesome Lover
(3:31)  4. Water Under Bridges
(3:19)  5. Hey Laura
(3:42)  6. Musical Genocide
(4:08)  7. Wolfcry
(4:58)  8. Free
(4:16)  9. Brown Grass
(3:23) 10. Wind Song
(3:35) 11. The "In" Crowd
(4:47) 12. Movin'
(6:52) 13. When Love Was King
(7:47) 14. I Fall In Love Too Easily

After two solid albums on Motema, both of which earned Grammy nominations, singer and songwriter Gregory Porter makes his Blue Note debut with Liquid Spirit. A singer whose quicksilver vocal style refuses to be caged by either jazz, gospel, or R&B, his warm, inviting baritone utilizes them all when he wishes to. Using the musicians who appeared with him on 2012's Be Good  Yosuke Sato and Tivon Pennicott, saxophones; Chip Crawford, piano; Aaron James, bass, Emanuel Harrold, drums Porter wrote or co-wrote 11 of these 14 songs. There is a dynamite reading of Billy Page's hard-grooving "The In Crowd" that highlights Porter's rhythmic phrasing. Though it's a soul tune at heart, he swings hard. The cover of Max Roach's and Abbey Lincoln's "Lonesome Lover" evokes the soulful post-bop spirit of the original and offers a bracing portrait of the singer's command of his own upper range. Covers aside, the real strength of Liquid Spirit lies in Porter's songs: his lyrics and melodies are as rich as his voice. 

Opener "No Love Dying Here" walks a line between jazz and soul; its life-affirming words are underscored by the effortless conviction and authority in his vocal, while Sato's alto saxophone solo affirms the lyric. The fingerpopping, handclapping gospel groove in the title track is punched up by saxophones and Curtis Taylor's trumpet. The call-and-response between Porter and James' bass is tasty, and one can hear a trace of Donny Hathaway in the singer's commanding, heartfelt delivery. "Hey Laura" is characterized by Porter's relaxed but utterly sincere delivery, and packs a knock-out emotional punch in his protagonist's plea to the object of his affection. "Brown Grass" is a close second in the emotional punch department; it's a love song to be sure, but a sadder one. Porter articulates his protagonist's regrets simply and honestly, and therefore resonantly. For all of his innovative ability to effortlessly combine, shift, and shape various musical genres in his own image, Porter is militantly old school check "Musical Genocide," as he celebrates the music of the past with a popping piano, hard-grooving horns, funky Rhodes, and swelling B-3. 

On the tender ballad "Wolfcry," he is accompanied only by Crawford; it's so hip and melodically rich, it could easily have been sung by a young Nat Cole. The way he and his band move through blues, jazz, gospel, and R&B simultaneously on the declamatory testimonial "Free" is breathtaking. The intro to "Movin'," near set's end, suggests Bill Withers, but Porter quickly shifts it into higher gear with the horns punctuating the ends of his sung lines. While his first two recordings revealed a major new talent with their promise, Liquid Spirit is a giant step forward artistically, and for the listener, an exercise in musical inspiration.~Thom Jurek  http://www.allmusic.com/album/liquid-spirit-mw0002555419

Liquid Spirit

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Quarteto Jobim-Morelenbaum - S/T

Bitrate: 320K/s
Time: 49:41
Size: 113.7 MB
Styles: Brazilian jazz
Year: 2000/2006
Art: Front

[2:36] 1. Agua De Beber
[4:30] 2. Meditation
[3:01] 3. Ela E Carioca
[3:53] 4. So Tinha De Ser Com Voce
[5:01] 5. A Felicidade
[4:07] 6. Eu E O Meu Amor Lamento No Morro
[4:06] 7. Falando De Amor
[2:52] 8. A Correnteza
[4:40] 9. O Boto
[2:58] 10. Mantiqueira Range
[4:26] 11. Corcovado
[4:25] 12. Desafinado
[3:02] 13. Aguas De Marco (Waters Of March)

This 2000 release by Brazilian artists Quarteto Jobim Morelenbaum features 13 tracks and includes "Agua De Beber" and "Falando De Amor." The Jobim in Quarteto Jobim-Morelenbaum isn't the late Antonio Carlos Jobim, who was rightly exalted as "The George Gershwin of Brazil" and wrote such well known standards as "Wave," "The Girl from Ipanema," "Chega de Saudade (No More Blues)," "One Note Samba," and "Triste." However, this Brazilian foursome does boast two of Jobim's relatives, including his son Paulo and his grandson Daniel. With Paulo on guitar and vocals, Daniel on piano and vocals, Paula Morelenbaum on vocals, and Jacques Morelenbaum on cello, Quarteto Jobim-Morelenbaum provides an enjoyable, if conventional, bossa nova CD that isn't unlike the recordings that Joao and Astrud Gilberto, Stan Getz, Charlie Byrd, and others provided in the early '60s. You won't find a lot of surprises on this tribute to Antonio Carlos Jobim -- "Corcovado," "Desafinado," "Agua de Beber," and "Waters of March" are standards that jazz and Brazilian pop artists have recorded countless times over the years, and Quarteto Jobim-Morelenbaum doesn't bring anything new or out of the ordinary to them. The most chance-taking track is Paolo's "Mantiqueira Range," a jazz instrumental that gives Jaques a chance to let loose on cello. Nonetheless, this is a pleasant and sincere tribute, if a generally predictable one; but because Paula and Daniel sing with such soul and charisma, you're inclined to be forgiving. These artists have a lot of talent; hopefully, they'll take more chances on future albums. ~ Alex Henderson 2000 release by a quartet of musicians who were closest to the late Brasilian master at the time of his death. Members includes Jobim's son, guitarist/vocalist Paulo Jobim, his grandson, pianist/vocalist Daniel Jobim, as well as cellist Jacques Morelenbaum and his wife, vocalist Paula Morelenbaum. This disc is a loving tribute to their lost father and friend and performed with the sort of passion that Jobim inspired in them.

Recorded at Mega Studio, Rio De Janeiro, Brazil between April and June 1999.

Paulo Jobim (vocals, guitar); Daniel Jobim (vocals, piano); Paula Morelenbaum (vocals); Jaques Morelenbaum (cello). Additional personnel: Zeca Assumpcao (bass); Marcelo Costa (drums, percussion); Marcos Suzano (percussion).

Quarteto Jobim-Morelenbaum

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Janis Carnes - Hoagy & Me

Bitrate: 320K/s
Time: 118:00
Size: 270.2 MB
Styles: Easy Listening
Year: 2008
Art: Front

[2:52] 1. Vagabond Dreams
[2:47] 2. Wha'll They Think Of Next
[4:09] 3. Irresistible
[3:44] 4. Memphis In June
[2:42] 5. Up With Love
[3:25] 6. Moonburn
[3:27] 7. Someday Soon
[4:27] 8. Am I Naive
[2:24] 9. Ooh! What You Said
[3:32] 10. One Morning In May
[5:00] 11. Georgia On My Mind
[4:25] 12. Winter Moon
[1:34] 13. I Walk With Music
[3:49] 14. Be Careful What You Wish For
[2:51] 15. I Get Along Without You Very Well
[3:38] 16. You're Someone Else's Heartache Now
[4:05] 17. Skylark
[2:52] 18. Vagabond Dreams (Inst)
[2:47] 19. What'll They Think Of Next (Inst)
[4:10] 20. Irresistible (Inst)
[3:44] 21. Memphis In June (Inst)
[2:42] 22. Up With Love (Inst)
[3:24] 23. Moonburn (Inst)
[3:27] 24. Someday Soon (Inst)
[4:27] 25. Am I Naive (Inst)
[2:24] 26. Ooh! What You Said (Inst)
[3:32] 27. One Morning In May (Inst)
[5:00] 28. Georgia On My Mind (Inst)
[4:25] 29. Winter Moon (Inst)
[1:34] 30. I Walk With Music (Inst)
[3:49] 31. Be Careful What You Wish For (Inst)
[2:51] 32. I Get Along Without You Very Well (Inst)
[3:39] 33. You're Someone Else's Heartache Now (Inst)
[4:05] 34. Skylark (Inst)

Hoagy Carmichael is one of the most important jazz composers of all time. With hits like "Georgia On My Mind" and "Skylark," Carmichael etched his name in the history of Jazz. This collection, is sung by Janis Carnes (hit songwriter for such artists as Trisha Yearwood, Reba McYntire, Alabama, Steve Wariner, The Whites, and many more) and blends some of Hoagy's finest jazz compositions with some of Carnes' originals. "Hoagy 'n' Me" is brought to life with the definitive, warm, clear vocal stylings of Janis Carnes. Her style is at one moment soft and sensual and the next thick and powerful. Each of the original compositions matches the impact and beauty of the Carmichael standards. This CD celebrates standards that are part of the backbone of jazz and evolves with new songs that yearn to remember the craft of the past and break into the future.

Janis entered the music business with a bang as a hit songwriter for such artists as Trisha Yearwood, Reba McYntire, Alabama, Steve Wariner, The Whites, and many more. Even though Janis' success has been primarily in country music, she has always had a deep connection with jazz and swing music. One of the key hits she wrote (with Rick Carnes and Chip Hardy) was "Hangin' Around," a bluegrass-swing song recorded by The Whites and Dean Martin, which helped bring mainstream awareness to the jazz influenced style. After forming a duo with husband and fellow songwriter Rick Carnes, Janis was signed as an artist to Elektra Asylum by the infamous Jimmy Bowen (one of the most influential figures in the Nashville music scene).

Hoagy & Me

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Johnny Lytle - S/T

Bitrate: 320K/s
Time: 36:49
Size: 84.3 MB
Styles: Vibraphone jazz
Year: 1970/2008
Art: Front

[3:58] 1. Memphis To K.C.
[7:21] 2. Mine
[3:12] 3. Walk A Soul Mile
[3:34] 4. Bag A Bones
[5:44] 5. Babo
[5:33] 6. One For Carter
[3:26] 7. Big Wheel
[3:58] 8. Save Your Love For Me

This LP has never been on CD before, and the original LP was never released outside of Europe. This was one of a series of European-only LPs featuring various jazz musicians. Fans have been clamoring for this album for quite some time. The date of this release is thought to be around 1970.

Johnny Lytle (vibes); Albert Dailey (keys); Chester Thompson (drums). The rest of the musicians are unknown, though instruments include piano, organ, conga, drums, electric guitar, and upright bass. Not every instrument is featured on every track.

What we have is a collection of funky soul-jazz/R&B, much of it with a distinctly down-home feel. "Mine" is somewhat of a departure, as it wades heavily into Cal Tjader-esque Latin-jazz territory, and it's a real pleasure, clocking in at a satisfying 7:20. "Babo" is a uptempo funky mod workout, which has appeared on some funky compilations. "Walk A Soul Mile" is a easy-grooving funk excursion that could have been a contender for a Sanford & Son theme song, and has been confirmed as a Johnny Lytle composition. It's not unlike Organ Combo music which is being played in some bars to this very day. The tracks I've mentioned are fantastic, but in reality every track is a winner. ~Jasper/amazon

Johnny Lytle

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Lisa Lindsley - Everytime We Say Goodbye

Styles: Jazz Vocals
Year: 2011
File: MP3@320K/s
Time: 48:25
Size: 110,9 MB
Art: Front

(5:58)  1. Nearness of You
(4:24)  2. Don't Explain
(3:48)  3. Alice in Wonderland
(4:55)  4. Inside a Silent Tear
(6:35)  5. The Very Thought of You
(3:08)  6. It's Only a Paper Moon
(8:30)  7. Everytime We Say Goodbye
(3:35)  8. Why Don't You Do Right
(7:29)  9. Girl from Ipanema

The jazz vocals standard repertoire is a durable one because it is populated with well-conceived and finely-crafted songs from the Great American Songbook. Of equal importance are the song's lyrics, cleverly constructed, and the melody, hook-filled. This song collection exists as a mountain to be climbed by any singer who believes him- or herself capable, willing and worthy. It is an assemblage of songs that has flooded the vocals market so that it is hard to separate the truly exceptional from the merely okay because of an unfavorable signal-to-noise ratio.

One way to separate jazz singing wheat from chaff is the presence of elegant simplicity. It is this quality that Lisa Lindsley's debut, Every Time We Say Goodbye, has in copious amounts, due to the fortunate intersection of a music savvy/recording naive singer in Lindsley; the availability of empathetic support in pianist George Mesterhazy and bassist Fred Randolf; and the presence of emotional challenge in the singer's life. The result is a sonic alchemy that is simple and pure a quicksilver and equally elusive.

Lindsley comes to singing later in life than most of her peers. This benefits her in that she has a lifetime of experiences through which to sing these familiar tunes, revealing new elements in the songs. She sings them simply, presenting the melodies in a relaxed and listener-friendly way. Her exquisitely balanced voice is what gives Lindsley license for such straight and compelling interpretation, interpretation that would be banal and boring in less talented voices. Lindsley's take on Hoagy Carmichael's "The Nearness of You" is so perfect, and Mesterhazy's arrangement and support so certain and nuanced, that it is hard to believe that such a performance level can be sustained for an entire disc.

But Lindsley manages to do exactly that. "The Very Thought of You," "It's Only A Paper Moon" and the title song all are delivered as in "Nearness," evenly measured, cool with a slight finish of melancholy. Mesterhazy and Randolf fit hand-in-glove in their accompaniment and encouragement. Mesterhazy's experience with another noted singer, the late Shirley Horn, is very evident as he sprinkles all of his playing with the blues; but it is only a distilled whiff that never overpowers the direction of the pieces.  There is always room for more standards recordings, specifically when they are as finely forged as Every Time We Say Goodbye. ~C.Michael Bailey  http://www.allaboutjazz.com/php/article.php?id=38833#.UjSpFT8kI5c

Personnel: Lisa Lindsley: vocals; George Mesterhazy: piano, melodica, keyboards; Fred Randolf: bass.

Everytime We Say Goodbye

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Luis Miguel - Mis Boleros Favoritos

Styles: Latin World
Year: 2002
File: MP3@320K/s
Time: 47:30
Size: 108,8 MB
Art: Front

(3:31)  1. No Me Platiques Mas
(3:27)  2. La Barca
(3:20)  3. La Gloria Eres Tu
(3:48)  4. No Sé Tú
(3:52)  5. Historia De Un Amor
(3:09)  6. Somos Novios
(3:00)  7. Solamente Una Vez
(3:59)  8. El Dia Que Me Quieras
(3:00)  9. El Reloj
(3:02) 10. Por Debajo De La Mesa
(3:17) 11. Encadenados
(3:03) 12. Sabor A Mi
(3:24) 13. Perfidia
(3:32) 14. Hasta Que Vuelvas

This compilation album reunites on one CD all the greatest boleros from the "Romances" series (six albums, starting with 1989's Romance and ending with 2001's Mis Romances). After four albums in which Luis Miguel recreated the classic tunes from the genre, this album is supposed to close this era. Some of the greatest hits in Spanish, in any genre, are included here, like "No Sé Tú," "Somos Novios," "El Día Que me Quieras," and "Solamente una Vez."

There's only one new song: the bonus track "Hasta Que Vuelvas." The first edition included a bonus DVD with seven videos. For any die-hard fan, this is the only reason to buy this album. If you don't have any of the "Romances" series' boleros, and you are looking for classic songs and good vocal performances, then this is the right album for you.~ Iván Adaime  

http://www.allmusic.com/album/mis-boleros-favoritos-mw0000662437

Mis Boleros Favoritos

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Red On Blue - A Place of Hope and Mysteries

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 44:55
Size: 103,7 MB
Art: Front

(3:07)  1. A Place of Hope and Mysteries
(5:20)  2. The Last One
(3:22)  3. The Peacock
(3:26)  4. Family Tree
(3:41)  5. Summer Storms
(4:50)  6. Shaky Way
(4:15)  7. Ocean
(4:51)  8. A Certain Feeling
(4:13)  9. Close to You
(3:40) 10. Shaky Way (Radio Edit)
(4:04) 11. The Last One (Radio Edit)

The singer-songwriter Bernadette Kube was born in East Berlin as the child of two artists. Her mother was a classic dancer, her father did pantomime. Most of her turbulent childhood, she spent in the theatre or on the Baltic Sea. Was it the mute art of her parents which drove her to the microphone? The family is still puzzling it over. She did not start singing secretly in the bath, but out loud in Toms Blues Band, a wild Blues group, whose drummer repeatedly fell into his instrument – tactfully indeed but drunk as a skunk. After this excessive time, she recovered with Jazz’n Kids, an old time jazz band. The specific tonality of the older men was thoroughly charming but unalterable. She learnt to be brave and dutiful – musically of course. She devotedly eavesdropped on stories told with the wisdom of age, and she was allowed to go on tour to Italy twice. It is not only her love of handmade pasta which has stood the test of time. She is still firm friends with the older men. It is the film director Michael Schorr („Schultze gets the blues“), who challenged her and brought her into contact with the world of jazz once again. In a short film he cast her as his protagonist’s „the singing girlfriend”. The difficult but appealing art of interpreting standards was part of her programme from then on. She joined the Swinghouse Jazz Band of Wolfgang Riemer. There she learnt how to sing alongside brass and stand her ground against wild pianists. „What, that was too fast? You aint seen nothing yet girl!” At the same time, she studied dramatics and New German Literature in Berlin and Paris. During her studies already, she founded the Bernadette Kube Quartett. By now, she had more than a dozen standards in her repertoire. She appeared in relevant Berlin clubs like A-Trane, b-flat, Grüner Salon, Quasimodo, Schlot and Zapata. When a graphic artist and equally incorruptible jazz expert she was friends with shouted “write something of your own!” in a heated discussion, she took it to heart. And in fact, she started plotting her own songs. In 2006 Bernadette Kube founded Red On Blue. Just a year later, they contributed two songs to the sound track of the film "Schröders wunderbare Welt" (Schröder's wonderful world) by director Michael Schorr a success, which Red On Blue owe to their stylistic experiment in the area of trip hop and downbeat. With Red On Blue Bernadette Kube regularly appears on the Berlin club scene. Gigs with striking large instrumentation were interspersed with duo appearances in an intimate atmosphere. She searches and collects. She seems to be on a journey. She really enjoys this work.~Bio  https://www.facebook.com/RedOnBlue.de/info.

Bernadette Kube – vocals;  Hein Schneider – piano; Marcus Klossek – guitar; Jan Lange – bass; Sascha Bachmann - drums

A Place of Hope and Mysteries

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Michael Feinstein & George Shearing - Hopeless Romantics

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 59:37
Size: 137,1 MB
Art: Front + Back

(3:01)  1. I Had The Craziest Dream
(3:26)  2. You're Getting To Be A Habit With Me
(4:23)  3. This Heart Of Mine
(4:01)  4. At Last
(4:13)  5. I'll String Along With You
(4:04)  6. You're My Everything
(4:12)  7. The More I See You
(4:37)  8. Serenade In Blue
(4:37)  9. I Know Why (And So Do You)
(4:11) 10. September In The Rain
(3:43) 11. Shadow Waltz
(3:19) 12. There Will Never Be Another You
(4:45) 13. I Only Have Eyes For You
(3:52) 14. You'll Never Know
(3:05) 15. You're My Everything (Alternate Version)

It's a shame that songwriter Harry Warren's name is not as well known as some of his contemporaries like Cole Porter or Irving Berlin. For whatever reason, writing dozens of hit songs like "Chattanooga Choo-Choo" and winning three Academy Awards wasn't enough to get the name recognition he deserved. Hoping to change that, Michael Feinstein pays tribute to the often-ignored composer on Hopeless Romantics, a collection of Warren songs performed by Feinstein and pianist George Shearing. With both musicians quite familiar with the Warren catalog, Feinstein and Shearing decided to focus their attention specifically on Warren's more romantic songs. Therefore, popular upbeat hits like "Jeepers Creepers" and "Lullaby of Broadway" were set aside in favor of softer tunes like "At Last" and "I Only Have Eyes for You." Of course, this approach is a perfect fit for Feinstein, who has crooned thousands of American standards in his subdued cabaret style. The bonus this time around, though, is to have famed jazz pianist Shearing provide the accompaniment. The pairing works fine, especially when Shearing gets to riff a little on slightly more midtempo songs like "You're Getting to Be a Habit with Me," but no matter how impeccable and gorgeous Shearing's work is, the album's low-key approach leaves little room for him to shine. Even one of Shearing's most famous snappy songs, "September in the Rain," is reduced to a maudlin ballad. It still works, but the magic of this pairing is something that would be more appreciated in a concert setting where each performer has room to move. As it is, working within the romantic theme and the confines of the studio provides little variety in either tone or tempo. But rising above it all are Warren's songs, and it is beneficial that Feinstein resurrects beautiful yet forgotten tunes like "Shadow Waltz." Of course, Feinstein is pitch-perfect and squeezes every ounce of good sentimentality out of each lyric, much in the way he did on his brilliant 2003 disc, Only One Life: The Songs of Jimmy Webb. This collection, however, is a little too quiet and mannered, but Feinstein and Shearing still do a great service by bringing these tunes back to the forefront. After hearing Hopeless Romantics, the name of Harry Warren should remain imbedded in the listener's memory.~ Aaron Latham  

http://www.allmusic.com/album/hopeless-romantics-mw0000168692

Hopeless Romantics

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Frank Vignola Trio With Lynn Clapp - Franklynn Swing

Bitrate: 320K/s
Time: 46:07
Size: 105.6 MB
Styles: Guitar jazz, Easy listening
Year: 2011
Art: Front

[4:50] 1. Franklynn
[4:49] 2. I've Found A New Baby
[3:52] 3. Georgia On My Mind
[4:01] 4. Hot Toddy
[3:41] 5. I'm Confessin'
[4:01] 6. The Nearness Of You
[5:28] 7. Moon Glow
[3:41] 8. Beaumont Rag
[3:30] 9. Undecided Now
[4:03] 10. Wabash Blues
[4:05] 11. Main Street Breakdown

The making of this CD is the fulfillment of a life long dream. While at the 2009 Chet Atkins Appreciation Society Convention (CASS) In Nashville, I , along with all the other guitar enthusiasts, got excited and pumped about music/guitars. Great impromptu jam sessions crop up everywhere! After the Friday night show, Frank, Vinny, Gary and I met up in the hotel lobby and began playing. We enjoyed ourselves and entertained others who sometimes joined in on an instrument or just joined in the groove. When we finally broke up the party at 3 a.m., Frank said we ought to record this! So, we did. ~Lynn Clapp

Special thanks to Frank Vignola, Vinny Raniolo, Gary Mazaroppi, Scott Rouse, Ricky Scaggs Recording Studio, Broadway Sound, Todd McCoig and AMG Media, Jean-Phillippe, and Art Wachter.

Franklynn Swing

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Carolyn Leonhart - Chances Are: The Romantic Music Of Robert Allen

Bitrate: 320K/s
Time: 55:36
Size: 127.3 MB
Styles: Easy Listening, Vocal
Year: 2008
Art: Front

[4:33] 1. Chances Are
[5:04] 2. I Don't Regret A Thing
[3:43] 3. Come To Me
[4:44] 4. You Are Never Far Away From Me
[3:22] 5. Everybody Loves A Lover
[6:16] 6. Meantime
[4:07] 7. It's Not For Me To Say
[3:41] 8. Play For Keeps
[4:13] 9. It Could Have Been Worse
[6:02] 10. No Such Luck
[3:59] 11. Teacher, Teacher
[2:47] 12. I'm Loving You A Lot
[2:57] 13. Moments To Remember

2008 release from one of the most accomplished and versatile singers of her generation. Leonhart is best known to the wider world as having performed with the reformed Steely Dan and as a member of the trip-hop group Wax Poetic. This album focuses on her interpretations of the songs of Robert Allen, the songwriter who died in 2000 and wrote many hits for Perry Como and Johnny Mathis.

Carolyn Leonhart (vocals); David Andrew Mann (saxophone); Tony Kadleck (trumpet); Clint DeGanon (drums).

Chances Are: The Romantic Music Of Robert Allen

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k.d. lang - Watershed

Bitrate: 320K/s
Time: 38:54
Size: 89.1 MB
Styles: Contemporary country
Year: 2008
Art: Front

[4:00] 1. I Dream Of Spring
[2:51] 2. Je Fais La Planche
[3:26] 3. Coming Home
[3:27] 4. Once In A While
[3:38] 5. Thread
[4:26] 6. Close Your Eyes
[4:17] 7. Sunday
[3:30] 8. Flame Of The Uninspired
[3:37] 9. Upstream
[3:07] 10. Shadow And The Frame
[2:30] 11. Jealous Dog

WATERSHED is the first album K.D. Lang has ever produced by herself, and as such, it sounds like a culmination of nearly every sound the Canadian singer-songwriter has ever explored in her career, save the manic rockabilly cowpunk of her debut album, 1987's ANGEL WITH A LARIAT. The lush, torchy feel of 1992's INGENUE and the jazzier direction of her later albums are the most obvious touchstones for the warmth and intimacy of WATERSHED, with the wistful opener "I Dream of Spring" and the cocktail lounge balladry of "Sunday" the most obvious standouts in that category. Elsewhere, the country-tinged sway of the harmony-heavy "Flame of the Uninspired" and the semi-rustic banjo-led folk of "Jealous Dog" recall the sound of SHADOWLAND and ABSOLUTE TORCH AND TWANG, while the gentle Brazilian pulse of "Upstream" and the minimalist electronics of "Shadow and the Frame" point towards new areas of exploration. One of Lang's finest and most self-assured records, WATERSHED is an essential listen.

Recording information: Art Kitchen; Glenwood Studios; Jungle Room; The Hut.

k.d. lang (vocals, guitar, banjo, harp, piano, keyboards, percussion, drum programming); Ben Mink (guitar, acoustic guitar); Greg Leisz (guitar, electric guitar, steel guitar); Teddy Borowiecki (guitar, piano, organ, keyboards, vibraphone, programming, drum programming); David Piltch (guitar, acoustic bass, electric bass, drums, percussion, programming, drum programming); Grecco Buratto, Bryan Sutton (guitar); Noam Pikelny (banjo); Jon Hassell (trumpet); Danny Frankel (drums, percussion); Lynne Earls (programming, drum programming).

Watershed

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