Jim Rotondi & The Loop - Hard Hittin' At The Bird's Eye

Bitrate: 320K/s

Time: 79:05

Size: 181.0 MB

Styles: Trumpet jazz

Year: 2013

Art: Front

[10:34] 1. Summit Meeting

[10:07] 2. Higher Calling

[13:51] 3. Amsterdam After Dark

[13:58] 4. Cry Me A River

[ 8:13] 5. Blue Moon

[11:06] 6. The Loop

[11:15] 7. Love Walked In

Trumpeter Jim Rotondi's 2013 effort, Hard Hittin' at the Bird's Eye, features the jazz musician performing live in 2012 at the Bird's Eye Jazz Club in Basel, Switzerland. Joining Rotondi here are saxophonist Eric Alexander, organist Renato Chicco, and drummer Bernd Reiter. Anyone who is familiar with Rotondi and Alexander's solo albums or their work with the all-star band One for All will know just what kind of top-notch straight-ahead jazz to expect here. With a bent toward '60s hard bop, this swinging, bluesy, and often soulful acoustic jazz features adventurous soloing throughout. ~ Matt Collar

Recording information: The Bird's Eye Jazz Club, Basel, Switzerland (03/30/2012-03/31/2012).

Bernd Reiter (drums); Eric Alexander (tenor saxophone); Jim Rotondi (trumpet, flugelhorn); Renato Chicco (organ).

Hard Hittin' at the Bird's Eye

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Dinah Washington - Dinah Jams

Bitrate: 320K/s
Time: 61:17
Size: 140.3 MB
Styles: Blues-jazz vocals
Year: 1954/1990
Art: Front

[ 9:54] 1. Lover, Come Back To Me
[ 2:25] 2. Alone Together
[ 2:27] 3. Summertime
[ 2:29] 4. Come Rain Or Come Shine
[ 3:22] 5. No More
[ 5:26] 6. I've Got You Under My Skin
[ 2:15] 7. There Is No Greater Love
[11:08] 8. You Go To My Head
[ 5:14] 9. Darn That Dream
[ 4:47] 10. Crazy He Calls Me
[11:46] 11. I'll Remember April

DINAH JAMS is a specially imported, limited-edition reissue. All tracks have been digitally remastered (24-bit). Recorded in Los Angeles, California on August 14, 1954. All tracks have been digitally remastered. Recorded at the start of Dinah Washington's climb to fame, 1954's Dinah Jams was taped live in front of a studio audience in Los Angeles. While Washington is in top form throughout, effortlessly working her powerful, blues-based voice on both ballads and swingers, the cast of star soloists almost steals the show. In addition to drummer Max Roach, trumpeter Clifford Brown, and other members of Brown and Roach's band at the time -- tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow -- trumpeters Maynard Ferguson and Clark Terry, alto saxophonist Herb Geller, and pianist Junior Mance also contribute to the session. Along with extended jams like "Lover Come Back to Me," "You Go to My Head," and "I'll Remember April" -- all including a round of solos -- there are shorter ballad numbers such as "There Is No Greater Love" and "No More," the last of which features excellent muted, obbligato work by Brown. Other solo highlights include Land's fine tenor solo on "Darn That Dream" and Geller's alto statement on the disc's standout Washington vocal, "Crazy." And even though she's in the midst of these stellar soloists, Washington expertly works her supple voice throughout to remain the star attraction, even matching the insane, high-note solo blasts trumpeter Ferguson expectedly delivers. A fine disc. Newcomers, though, should start with more accessible and more vocal-centered Washington titles like The Swingin' Miss D or The Fats Waller Songbook, both of which feature top arrangements by Quincy Jones. ~ Stephen Cook

Dinah Washington (vocals); Herb Geller (alto saxophone); Harold Land (tenor saxophone); Clark Terry, Clifford Brown , Maynard Ferguson (trumpet); Junior Mance, Richie Powell (piano); Max Roach (drums).

Recording information: Los Angeles, CA (08/15/1954). Unknown Contributor Roles: Paul Ramey; Richard Seidel.

Dinah Jams

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Stephanie Nakasian - Dedicated To Lee Wiley

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 52:48
Size: 123,0 MB
Art: Front

(3:30)  1. Sweet & Lowdown
(3:51)  2. Stars Fell On Alabama
(2:44)  3. Oh, Look At Me Now
(3:38)  4. A Woman's Intuition
(2:43)  5. Down With Love
(4:01)  6. East Of The Sun
(3:41)  7. Don't Blame Me
(2:39)  8. Sugar
(3:22)  9. Ghost Of A Chance
(2:42) 10. Manhattan
(4:08) 11. A Hundred Years From Today
(2:44) 12. Down With Love
(2:19) 13. I've Got The World On A String
(2:42) 14. Stormy Weather
(3:14) 15. Come Rain Or Come Shine
(2:11) 16. My Shining Hour
(2:32) 17. I've Got A Right To Sing The Blues

Stephanie Nakasian is listed in the Biographical Encyclopedia of Jazz as one of the world's leading jazz singers. She first came to international attention in the mid-80s when she sang and toured with the vocal jazz master Jon Hendricks and Company - her 'vocal jazz apprenticeship.

Since then, she has toured and recorded as a leader and with her partner and internationally acclaimed jazz pianist Hod O'Brien. Together with their daughter Veronica they make their home in Charlottesville, Virginia. Since 1980 Ms. Nakasian has been actively recording. Her debut album featured legendary saxophonist Phil Woods and received four stars from critic Leonard Feather. There are many jazz singers on the scene now. Hendricks chose her because of her hip, swinging rhythm. The Jim Cullum Jazz Band features her frequently on their internationally syndicated show "Riverwalk" portraying Lee Wiley, Peggy Lee, Helen Ward, Helen Humes, '20s singers and blues singers. Their reason - swing and authenticity. She portrayed herself on the show with Dick Hyman on tributes to composers Hoagy Carmichael and Walter Donaldson. The Richmond Times-Dispatch "compared her to Ella! and she deserves is." In Europe they have heard similarities to Sarah Vaughn. In New York, they heard early Margaret Whiting. Her clean, clear lovely tone is another reason for her popularity.

Some of Ms. Nakasian's concert appearances as a features performer include performances with Urbie Green, Pat Metheny, Bobby McFerrin, Milt Hinton, Clary Terry, J.R. Monterose, Joe Temperly, Scott Hamilton, Harry Allen, Sheila Jordan, Bob Dorough, Valery Ponomarev and (with Hendricks) Red Mitchell, Hank Jones, Philly Joe Jones, Roy Haynes, and Annie Ross to name a few. The final element which makes all this so exciting is her electric and personal stage persona - she does a world class vocal trombone imitation and she's fun to watch. It's exciting to be part of the experiment and spontaneous creativity of her art. This album is a sensational tribute to the great Lee Wiley, one of the mainstays of American vocal jazz. Nakasian is joined by an excellent combo including Hod O'Brien on piano, Dan Barrett on trombone, Spanky Davis on trumpet, Harry Allen on tenor sax, Allan Vache on clarinet, Michael Moore on bass, James Chirillo on guitar, and Jackie Williams on drums. http://www.cduniverse.com/productinfo.asp?pid=7968957&style=music&fulldesc=T

Personnel: Stephanie Nakasian (vocals); James Chirillo (guitar); Allan Vaché (clarinet); Harry Allen (tenor saxophone); Spanky Davis (trumpet); Dan Barrett (trombone); Hod O'Brien (piano); Jackie Williams (drums).

Dedicated To Lee Wiley

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The Everly Brothers - Born Yesterday

Styles: Pop/Rock
Year: 1986
File: MP3@320K/s
Time: 44:26
Size: 101,7 MB
Art: Front

(3:20)  1. Amanda Ruth
(2:37)  2. I Know Love
(4:03)  3. Born Yesterday
(3:44)  4. These Shoes
(2:26)  5. Arms Of Mary
(3:11)  6. That Uncertain Feeling
(2:47)  7. Thinkin' 'Bout You
(4:46)  8. Why Worry
(4:00)  9. Abandoned Love
(4:40) 10. Don't Say Goodnight
(5:01) 11. Always Drive A Cadillac
(3:44) 12. You Send Me

The Everly Brothers (Isaac Donald "Don" Everly, born February 1, 1937, and Phillip "Phil" Everly, born January 19, 1939) are American country-influenced rock and roll singers, known for steel-string guitar playing and close harmony singing. The duo was elected to the Rock and Roll Hall of Fame in 1986.

Don and Phil Everly are both guitarists and use vocal harmony mostly based on parallel thirds. With this, each line can often stand on its own as a melody line. This is in contrast to classic harmony lines which, while working well alongside the melody, are not as melodic by themselves.

For most of their recordings, Don sings the baritone part and Phil the tenor part. One exception is on "Devoted To You." Although Don is still low and Phil is high, they switch lead and harmony back and forth. (Also listen to "That's Old Fashioned", a 1962 #9 hit.) Don almost always sings any lines that are sung solo (for example, the verses of "Bye Bye Love"). Among the exceptions to this rule is the Everlys' 1965 single "It's All Over," where Phil sings the song's solo lines.

In the late 1950s, the Everly Brothers were the rock 'n' roll youth movement's addition to close harmony vocal groups of which many were family bands. Among the Everly's famous counterparts in country music were The Delmore Brothers, The Louvin Brothers, Jim & Jesse (McReynolds) and The Osborne Brothers.

The duo's harmony singing had a strong influence on rock groups of the 1960s. The Beatles, The Beach Boys and Simon & Garfunkel developed their early singing styles by performing Everly covers.  http://en.wikipedia.org/wiki/The_Everly_Brothers

 

Born Yesterday

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Bud Freeman - Howlin' For You

Bitrate: 320K/s
Time: 76:50
Size: 175.9 MB
Styles: Saxophone jazz
Year: 2012
Art: Front

[5:15] 1. I Let A Song Go Out Of My Heart
[2:30] 2. China Boy
[2:35] 3. Sugar
[5:38] 4. S'posin'
[2:58] 5. Liza
[4:49] 6. Jack Hits The Road
[3:18] 7. Nobody's Sweetheart
[4:22] 8. But Not For Me
[4:38] 9. Something To Remember You By
[5:55] 10. Chicago
[4:42] 11. At Sundown
[4:42] 12. Shorty's Blues
[3:24] 13. Hector's Dance
[2:36] 14. Prince Of Wails
[4:45] 15. March On, March On
[3:16] 16. There'll Be Some Changes Made 2
[5:15] 17. Love Me Or Leave Me
[6:02] 18. Forty Seventh And State

When Bud Freeman first matured, his was the only strong alternative approach on the tenor to the harder-toned style of Coleman Hawkins and he was an inspiration for Lester Young. Freeman, one of the top tenors of the 1930s, was also one of the few saxophonists (along with the slightly later Eddie Miller) to be accepted in the Dixieland world, and his oddly angular but consistently swinging solos were an asset to a countless number of hot sessions. Freeman, excited (as were the other members of the Austin High School Gang in Chicago) by the music of the New Orleans Rhythm Kings, took up the C-melody sax in 1923, switching to tenor two years later. It took him time to develop his playing, which was still pretty primitive in 1927 when he made his recording debut with the McKenzie-Condon Chicagoans. Freeman moved to New York later that year and worked with Red Nichols' Five Pennies, Roger Wolfe Kahn, Ben Pollack, Joe Venuti, Gene Kardos, and others. He starred on Eddie Condon's memorable 1933 recording "The Eel." After stints with Joe Haymes and Ray Noble, Freeman was a star with Tommy Dorsey's Orchestra and Clambake Seven (1936-1938) before having a short unhappy stint with Benny Goodman (1938). He led his short-lived but legendary Summe Cum Laude Orchestra (1939-1940) which was actually an octet, spent two years in the military, and then from 1945 on, alternated between being a bandleader and working with Eddie Condon's freewheeling Chicago jazz groups. Freeman traveled the world, made scores of fine recordings, and stuck to the same basic style that he had developed by the mid-'30s (untouched by a brief period spent studying with Lennie Tristano). Bud Freeman was with the World's Greatest Jazz Band (1968-1971), lived in London in the late '70s, and ended up back where he started, in Chicago. He was active into his eighties, and a strong sampling of his recordings are currently available on CD. ~ Scott Yanow

Howlin' For You

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Janet Seidel - Charade: Henry Mancini Songbook

Album: Charade: Henry Mancini Songbook)
Bitrate: 320K/s
Time: 53:58
Size: 123.5 MB
Styles: Easy Listening
Year: 2008
Art: Front

[4:08] 1. Dreamsland
[3:25] 2. Slow hot wind
[3:30] 3. Straight to baby
[3:30] 4. Whistling away the dark
[4:14] 5. Days of wine and roses
[3:27] 6. Charade
[3:25] 7. Dear heart
[2:32] 8. Loss of love (sunflower)
[4:47] 9. Mr. Lucky
[6:27] 10. Moment to moment
[5:55] 11. Crazy world
[2:23] 12. (I love you) Don't you forget it
[6:08] 13. Two for the road

This Australian CD, ---"Charade"--- is a songbook of 14 Henry Mancini works exquisitely performed by Janet Seidel (vocals), featuring Joe Chindamo on piano, along with David Seidel (double bass), Chuck Morgan (guitar), and Fabian Hevia (drums/percussion). The Mancini songs are pretty well known and are nicely discussed in the liner notes which list the musicians involved with each number, the lyrics of each, and a brief historical discussion for each.

Janet Seidel's singing and interpretation of each number is, of course, crystal clear and (my opinion) very nice, while the piano and the other instruments are very impressive, making the entire CD a very good listen. ~Al/amazon

Charade: Henry Mancini Songbook

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Laura Fygi - Turn Out The Lamplight

Bitrate: 320K/s

Time: 46:15

Size: 105.9 MB

Styles: Easy Listening

Year: 1999

Art: Front

[1:58] 1. Take A Bow

[2:54] 2. I Just Had To Hear Your Voice

[3:51] 3. Still Crazy

[2:46] 4. She's No Lady

[3:29] 5. Still

[0:21] 6. Turn Out The Lamplight

[3:50] 7. Eternal Flame

[5:10] 8. How Am I Supposed To Live Without You

[4:29] 9. Baby Come To Me

[3:40] 10. Lately

[0:42] 11. Tell It Like It Is

[4:58] 12. Have I Told You Lately That I Love You

[3:37] 13. For Once In My Life

[4:22] 14. How You Gonna See Me Now

When you listen to Laura Fygi singing, you are struck by her fine intonation, her excellent phrasing, her relaxed sense of swing, her clear diction, mellow voice and her sophisticated choice of repertoire. But what impresses most of all is the abundant joy she clearly derives from performing - a joy which she unfailingly communicates to her audience.

In 1995, Laura recorded Turn Out The Lamplight, a collection of fine standards, some familiar and others not so familiar, but worthy of wider appreciation, such as "Still Crazy," "She's No Lady" and "For Once In My Life."

Laura Fyji has drawn her musical inspiration from a wide variety of sources, with Julie London one of her great heroines. She also cites, among the singers for whom she has a high regard, Ella Fitzgerald, Peggy Lee and Barbra Streisand and. perhaps more improbably, Gilbert Bécaud, Charles Aznavour and Al Jarreau. When it comes to instrumental Jazz, she is a big fan of Scott Hamilton.

Says Laura: "I like soft Jazz - and I like melodic music. If there is no melody in the music, then forget it. Life is hectic, so I like my music to be relaxing." ~Mike Hennessey

Turn Out The Lamplight

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Kim Hoorweg - Why Don't You Do Right? - Remember Peggy Lee

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 52:54
Size: 121,1 MB
Art: Front

(4:37)  1. Shady Lady Bird
(5:09)  2. He's a Tramp
(5:00)  3. It's All Right With Me
(4:58)  4. Fever
(4:42)  5. Lover
(4:45)  6. I'm A Woman
(4:20)  7. Johnny Guitar
(2:40)  8. Where Or When
(4:05)  9. I Don't Care Who Knows
(4:55) 10. You Oughta Be Mine
(3:07) 11. Why Don't You Do Right?
(4:31) 12. Black Coffee

Kim Hoorweg, who was 19 at the time of this 2011 recording, is a powerful singer. Born in the Netherlands, she made her recording debut as a leader when she was just 15. Why Don’t You Do Right is her third recording. Teamed with the sextet that calls itself the Houdini’s, Kim Hoorweg toured theaters before recording Why Don’t You Do Right, which is subtitled Remember Peggy Lee. On this CD, Ms. Hoorweg performs a dozen songs associated with Peggy Lee including “He’s A Tramp,” “Fever,” “Lover” “Johnny Guitar,” “Black Coffee” and the title track. She makes no attempt to sound like Peggy Lee, instead displaying a passionate and impressive extroverted style of her own.  While she is a powerhouse, she does not overwhelm the material, instead bringing out new meanings to some of the lyrics.

The Houdini’s (comprised of trumpeter Angelo Verploegen, altoist Rolf Delfos, trombonist Ila Reijngoud, pianist Erwin Hoorweg, bassist Marius Beets and drummer Bram Wijland) contribute supportive ensembles and many concise solos with the pianist writing all of the arrangements. The standards are modernized without losing the essence of the original versions. Why Don’t You Do Right acts as both a fine introduction to the singing of Kim Hoorweg and a way for today’s listeners to get acquainted with some of the songs made famous by Peggy Lee. ~Scott Yanow  http://www.challengerecords.com/news/1373364063

Why Don't You Do Right? - Remember Peggy Lee

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Tisza Bea És A Jazzmin - Autumn Leaves

Styles: Vocal Jazz, Bossa Nova
Year: 1998
File: MP3@320K/s
Time: 48:18
Size: 110,6 MB
Art: Front

(5:08)  1. Night In Tunisia
(5:15)  2. Peel Me A Grape
(3:03)  3. Orange Coloured Sky
(6:09)  4. Autumn Leaves
(3:56)  5. One Note Samba
(4:29)  6. Fever
(3:46)  7. Les Moulins De Mon Ceur
(2:26)  8. Almost Like Being In Love
(6:24)  9. The Shadow Of Your Smile
(2:51) 10. They Cant Take That Away
(4:45) 11. Reestimating Love

Bea Tisza is one of the leading female jazz vocalists in Hungary. She was born in Miskolc, Hungary. She studied classical piano for six years as a child, then she realized her devotion to singing, so after a short period of not knowing for sure what career to choose, she decided to apply to the Jazz Faculty of the Liszt Ferenc Music Academy, Budapest . For her parents' great satisfaction she also finished a course in Financing at the Miskolc University. She has performed with a lot of established Hungarian jazz stars, such as Gyula Babos, Rudolf Tomsits, and László Dés, and has recorded with Kornél Horváth, Klári Katona, Sándor Zsemlye, Charlie, Andrea Malek, Zsuzsa Cserháti and Gergo Borlai. She has contributed to several pop / jazz recordings and concerts as a soloist, backing vocalist, and composer. In 1994 she took part in Leslie Mandoki's "People" project. In 1995 she had a minor part in the Hugarian film hit "Sztracsatella". She won the Stella Artois Music Award in 1998 with the Kálmán Oláh Sextet. The same year she produced her first album of standards (Autumn Leaves), and three years later her second album came out titled Island. She took part in the shot of a Hungarian movie titled The Wayfarer (A Vándor). She is A regular Performer at Jazz Clubs in Budapest, and Also A Singing Teacher at the Faculty of Jazz Academy of Music.

Personnel Tisza Bea – vocals;  Gyárfás István – Guitar;  Gábor Cseke – piano;  Makovics Dénes - saxophone, Flute; Oláh Zoltán, Hárs Viktor - Bass Ferenc Csomós - drums

Autumn Leaves

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Celia Baron - Saxcess

Styles: Jazz Funk
Year: 2009
File: MP3@320K/s
Time: 55:09
Size: 126,3 MB
Art: Front

(3:52)  1. In The House
(3:45)  2. September
(4:01)  3. Freaky Phon
(3:36)  4. Funky Or What ?
(3:48)  5. Numa
(4:05)  6. Glasshouse
(3:55)  7. Tomorrow
(3:34)  8. Funky Shoes
(4:47)  9. Christmas Ballad
(3:19) 10. Funkytastic
(4:52) 11. Don't You Know
(4:07) 12. That's The Plan
(3:45) 13. May The Funk Be With You
(3:36) 14. Music

Celia Baron was the only daughter of multi-instrumentalists Carl Baron and bassist  Barbara Baron born, and has discovered the love for the saxophone as early as fourteen. Her passion she developed over the years a unique style that has her performances with international stars like Maceo Parker and James Brown's Funky Divas Martha High and Lyn Collins earned and others. Even with the unique Fred Wesley and George Clinton Celia was seen already live. After training as a music dealer, she studied jazz at the Conservatoire de musique Luxembourg and has since worked as a saxophone teacher in Saarbrücken.Meanwhile, she has her 3 CD published. Celia Baron is often booked by bands to enhance their performance through a highlight.Often bands that happen to be on tour in Europe. However, the focus of their musical activity is in their solo program. Here you can find sophisticated original compositions and works from the fields of jazz, funk, reggae and pop. The artist stands out for its musical flexibility, whether subtly in the background of an opening, as background of a celebratory banquets or as the main act of a private or public event. With plenty of charm and professionalism the musician makes every event an unforgettable experience.

~Translate by google...http://celiabaron.de/bio/

Saxcess

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Eliane Elias - The Best Of Eliane Elias On Denon

Bitrate: 320K/s
Time: 71:55
Size: 164.6 MB
Styles: Piano jazz
Year: 1995
Art: Front

[4:37] 1. Choro
[5:33] 2. Cross Current
[6:04] 3. Through The Fire
[7:08] 4. Illusions
[5:51] 5. Moments
[6:54] 6. Beautiful Love
[6:17] 7. One Side Of You
[6:21] 8. Falling In Love With Love
[5:39] 9. Loco Motif
[7:23] 10. When You Wish Upon Star
[3:44] 11. Comin' And Goin'
[6:17] 12. Chan's Song

Because it is a 1995 release, this "Best of" CD should not be confused with something of broader scope. Its 12 songs are culled from a mere two CDs, "Illusions" (1986) and "Cross Currents" (1987), released on the Denon label. There is no material from the six CDs Eliane put out on Blue Note subsequent to "Cross Currents" and before this CD. She has, of course, released a tremendous amount of material since 1995.

Eliane's early best here is basically straight jazz, including bebop and slow, pretty stuff. Big-name credits include Haven Gillespie and Rodgers & Hart. But some of Eliane's other musical inclinations are also present. For example, "Choro," composed by her Brazilian piano teacher Amilton Godoy, is jazzy with a samba feel. Eliane immediately betrays her great dexterity on the piano with fast, hard-driving, and up and down piano work. "Chan's Song," a movie theme from Stevie Wonder and Herbie Hancock, is infused with some samba as well (and Toots Thielemans' harmonica appears here, more Wonderesque). The pop hit "Through the Fire" is richer and jazzier in her hands, but retains its pretty texture. "When You Wish Upon a Star" is what you think it is, but it is overlaid with a jazz interpretation. An oddball inclusion is the loud Brazilian samba song "Comin' and Goin'," written by Eliane's grandmother in 1927. Its entourage of vocalists represents the only singing.

In those early days, Eliane was playing acoustic piano, supported by a rhythm section, with no vocals. Her piano playing is great, with crisp phrasing and forceful soloing. Also, even this early in her career Eliane was demonstrating she had strong songwriting abilities: "Cross Currents," "Illusions," "Loco Motif," and the very pretty "Moments" (in which Toots' ponderous harmonica marks his other appearance) are originals. The first three have a bright beat; they are spirited and interesting, perhaps best encapsulated by "Loco Motif": She indeed does seem to be conjuring up visual images of a locomotive with her chugging piano. Later in her career, Eliane would have more instrumental support and sophisticated production techniques in her orbit as she became an international star. But this CD shows early Eliane stands up well too. ~Jinkyu/amazon

The Best Of Eliane Elias On Denon

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Don McLean - The Best Of Don McLean

Bitrate: 320K/s
Time: 42:51
Size: 98.1 MB
Styles: Soft rock
Year: 1988/2003
Art: Front

[8:32] 1. American Pie
[3:58] 2. Vincent
[4:15] 3. And I Love You So
[3:40] 4. Crying
[3:40] 5. Castles In The Air
[3:43] 6. Driedel
[3:08] 7. Winterwood
[2:23] 8. Everyday
[4:27] 9. Mountains O'mourne
[4:58] 10. Prime Time

Don McLean wrote a miracle with "American Pie": a mesmerizing study of rock open to multiple interpretations, yet simple and tuneful, erudite but gut-wrenching (even surpassing Dylan's most epic works). Of course, McLean couldn't realistically follow up the megasong, so he didn't even try. Still, "Vincent" stands as another masterpiece, while pre-"Pie" weeper "And I Love You So" remains as lovely a valentine as one could ask for. Documenting the coward's way out of a relationship, the poignant and bittersweet "Castles in the Air" leaves stuffy high society for the open country air (this is the Believers version of this wonder), attaining sublime levels of sentiment. Plus, McLean captures the beautiful torment of Roy Orbison's classic "Crying," which is just the icing on the aforementioned cake. Naturally, the flip side can't touch the front, but you need this collection. An annoying lack of annotation can't take away from some of the finest tracks ever committed to wax. Kids these days could learn a thing or two about angst as an art form from this misery maestro. ~Doug Stone

The Best Of Don McLean

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Johannes Linstead - Sol Luna Tierra

Bitrate: 320K/s
Time: 44:54
Size: 102.8 MB
Styles: Guitar jazz, New Age
Year: 1999
Art: Front

[3:42] 1. Mountain Mist
[3:42] 2. The Temple At Delphi
[3:53] 3. Don Juan
[3:47] 4. Gypsy Rain
[3:24] 5. Sol Luna Tierra
[4:43] 6. Mi Angel
[3:32] 7. Amazonico
[5:25] 8. Between Tears
[4:27] 9. Agua Negra
[5:07] 10. Rio
[3:08] 11. Djunga

This is the stirring debut of one of the worldbeat-meets-new age world's top young acoustic guitarists. Johannes Linstead's gift of blending cool rhythms with spicy, lightning-fast flamenco improvisations is further explored on later albums, but his journey begins here on the fiery "Mountain Mist." While his guitar -- which blends the best of traditional and contemporary South American melodies and Latin rhythms -- is always the focus, he also enjoys sharing the spotlight on occasion. On that same track, he's content to move from lead melody to a rhythm role behind the dancing flute of Anja Arvo. Then he's working his magic over the rumbling percussion of Gino Mirizio. Mood and ambience are also an important part of Linstead's world, and he follows the frenetic pace of the opener and breezy "The Temple at Delphi" with the swaying romance of "Don Juan" and "Gypsy Rain."." Mi Angel" is perhaps the best example of the deep emotions Linstead can tap into when he's deep in the mode of dreaming and contemplation. ~ Jonathan Widran

Recording information: Earthscape Studios, Oakville.

Johannes Linstead (acoutsic & electric guitars, keyboards, bass); Steve Manning (guitar); Anja Arvo (flute, Indian wood flute); David Story (keyboards); Monty Graham, Joe Orlando (bass); Gino Mirizio (drums, percussion). Personnel: Johannes Linstead (vocals, guitar, keyboards); Anja Arvo (flute, wooden flute);

Sol Luna Tierra

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Sherry Alves (Featuring Christopher Woitach & Keller Coker) - You Can Have Him

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 35:13
Size: 80,6 MB
Art: Front

(3:29)  1. That Old Feeling
(4:02)  2. I Can Dream Can't I
(3:57)  3. I Fall In Love Too Easily
(7:32)  4. You Can Have Him
(2:20)  5. Look For The Silver Lining/On The Sunny Side Of The Street
(6:03)  6. Cry Me A River
(4:02)  7. The Song Is You
(3:45)  8. Little Girl Blue

Sherry Alves is a vocalist from Salem, Oregon. She specializes in American popular styles including jazz, pop, rock, and soul. Sherry has performed with artists such as Allen Toussaint, Lizz Wright, Dave Frishberg, Lynn Anderson & Sonny Turner. Having received her Masters in Music from Western Oregon University, she is now part of the music faculty there where she teaches vocal studies. Sherry performs regularly throughout the north and southwest.~Bio http://www.cdbaby.com/artist/SherryAlves

You Can Have Him

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Brandi Disterheft - Debut

Styles: Jazz
Year: 2007
File: MP3@320K/s
Time: 46:48
Size: 107,2 MB
Art: Front

(6:20)  1. Pennywort
(6:43)  2. Dandy Dangle
(4:21)  3. Duke's Dead
(3:44)  4. Auto-Beauties
(5:16)  5. Typhoon The 27Th Hour
(3:53)  6. Only...
(7:01)  7. Sixty Dollar Train
(5:34)  8. Dah Knee Low
(3:52)  9. Little Space I Need To Fill (Aka Detroit)

While the rest of the world was talking about Esperanza Spaulding another bassist has been busy making a quiet noise, in a voice all her own. Brandi Disterheft's mature bass playing both pizzicato and arco and her ability to write original material and arrange with a natural ear for the tones and textures of strings, brass and woodwinds speak volumes of lessons learned from at least spiritually the legendary Charles Mingus.

The incredibly gifted Disterheft has all at once crossed the threshold of first albums and pushed the horizon much further than any musician of her vintage. Debut (Superfran Records, 2007) is a truly remarkable achievement. The album has nine original compositions that are not just original, but appear to have come from a voice so distinctive that one can safely say, "You've never heard anything like this before." Unless you were the late Oscar Peterson, in which case you might say, "She has the same lope or rhythmic pulse as my bassist, Ray Brown. She is what we call serious." And that, Dr. Peterson, would be putting it all too mildly.

Rarely has a musician been so fearless on his or her first record as leader. Disterheft has pulled out the stops. She has composed music in various challenging and complex meters, written arrangements using tonal colorations to match, and pushed her musicians into interpreting her work on the cutting edge of their own abilities. She has also—and this is rare too—been bold enough to write words to some songs and have them sung by the smoky-voiced young musician, Sophia Perlman. From the evidence of lyrics for "Auto-Beauties" and "If Only," Brandi Disterheft is a lyric poet as well and Perlman is perfect for the moody saudade of the songs, created in no small measure by the texture of the interplay of horns and piano.

By her own admission, Disterheft set out to make her record a show of respect to those musicians who inspired her and provided the impetus for her own music. But this is far from being a tribute album. It is a brave and successful attempt to give back to jazz in several settings trio, quartet, quintet, and more. The album is beautifully paced, right from the trio opening on "Pennywort." You immediately get a sense that nothing will ever be the same. The idiom of the music here is quirky, and like the best jazz, surprising especially in the climactic bridge that leads into a piano break fed by a subtle rattling of and swoosh of the cymbals a calming wind to settle the song after it has taken flight. Disterheft's bass plays a harmolodic role throughout.

"Dandy Dangle" brings horns in counterpoint with guitar and piano. Pianist David Virelles shines here, building his solo from the ground-up, atonal at first, then with sweeping runs into a Thelonious Monk-like architectural soundscape, before drummer Sly Juhas deconstructs the rhythm, turning it inside out, then returns it to its bop melody. This track is followed by the most ambitious one of the disc. "Duke's Dead" is a complex, towering vehicle for its bassist and composer. The dirge-like arco opening, then the dialogue between Disterheft and Juhas and the sly entry of the horns recalls the best Mingus-Richmond tradition, even working the changes from a classic, "Moanin,'" from Mingus' Blues & Roots ( Atlantic, 1959).

"Typhoon The 27th Hour" has a fine free chart that features a charged harmonic interplay between the searching, scorching tenor of Chris Gale and Disterheft, running riot over the bass, while Juhas keeps things going with his chord-like rumbling on toms and tympanis. "Sixty Dollar Train," another straight-ahead song with a surprising Latin break, is a fine vehicle for guitarist Nathan Hiltz to shine on, with his gazelle-like romp through the melody as the horns rumble in contrapuntal harmony. Alexander Brown takes a well-paced solo on flugelhorn. "Dah Knee Low" is a fine chart featuring subtle changes to harmony and rhythm, an oblique reference to the music of pianist Danilo Perez, who also happens to be one of Disterheft's teachers. The pianism of Adrian Ferrugia here is outstanding, as is the bluesy, dry tenor of Gale. Disterheft makes the bass sing as she solos. Debut is the kind of first album that most musicians can only dream of to launch their careers. Praise is also due to fellow West Coaster, Michael Kaeshammer, a fine musician in his own right, for the production.~ Raul D’Gama Rose  

http://www.allaboutjazz.com/php/article.php?id=29866#.UkOdAxBsidk

Personnel: Chris Gale: tenor saxophone (2, 3, 5, 7, 8), baritone saxophone (4); Alexander Brown: trumpet (2, 3), flugelhorn (4, 7); Nathan Hiltz: guitar (2, 7); David Virelles: piano (2, 4, 6, 7); Adrian Ferrugia: piano (1, 8, 9); Brandi Disterheft: bass; Sly Juhas: drums.

Debut

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Jon Hendricks - Salud! João Gilberto

Styles: Bossa Nova
Year: 1963
File: MP3@320K/s
Time: 29:48
Size: 68,3 MB
Art: Front

(1:57)  1. The Duck
(2:08)  2. Quiet Nights
(3:08)  3. You and I
(2:35)  4. Love and Peace
(1:18)  5. Little Paper Ball
(2:28)  6. Longing for Bahia
(1:56)  7. Little Train of Iron
(2:07)  8. No More Blues
(2:12)  9. Rosa Morena
(3:06) 10. The Most Beautiful Thing
(2:31) 11. Samba of My Land
(1:57) 12. Once Again
(2:19) 13. Jive Samba

Jon Hendricks idolizes João Gilberto  he has spoken fondly of their first meeting where they scatted to each other before ever speaking a word  and he wasted little time putting together a tribute album at the height of the first bossa nova wave. It ought to come as no surprise that he would display total sympathy with the bossa nova manner here, singing softly and smoothly  and Hendricks' English wordplay is quite faithful to the original tunes and meanings of the Portuguese lyrics, in contrast to his usual whimsical work with jazz improvisations. Hendricks is particularly winning, and irresistibly swinging on the rare occasions ("Voce E Eu," "Samba Da Minha Terra") when he scats to the Brazilian rhythm; he should have done more of that here. But then, his versions of Gilberto's repertoire are carefully based on Gilberto's early EMI/Odeon recordings (now available on The Legendary João Gilberto); even Antonio Carlos Jobim's string and wind charts for the originals are preserved by adapter Johnny Mandel. Alas, the only Hendricks lyric that has become a universal standard is Jobim's "Chega de Saudade" ("No More Blues"). As Hendricks' only album-length encounter with bossa nova, Salud! João Gilberto Originator of the Bossa Nova is essential. ~ Richard S. Ginell  

http://www.allmusic.com/album/salud!-joao-gilberto-originator-of-the-bossa-nova-mw0000225044

Salud! João Gilberto

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Paul Meyers Quartet - Paul Meyers Quartet Featuring Frank Wess

Bitrate: 320K/s
Time: 65:32
Size: 150.0 MB
Styles: Guitar jazz, Saxophone jazz
Year: 2010
Art: Front

[7:25] 1. Snibor
[6:32] 2. Blue Lanturn
[5:36] 3. In The Wee Small Hours Of The Morning
[7:32] 4. One For Miss D
[5:00] 5. Lazy Afternoon
[4:53] 6. Menage A Bleu
[5:25] 7. Just One Of Those Things
[8:30] 8. My One And Only Love
[6:54] 9. Who Cares
[7:39] 10. I Cover The Waterfront

Count Paul Meyers among those relatively few jazz guitarists who concentrate on playing a nylon-string instrument. Assembling a terrific band for these sessions, including veteran bandleader and Basie alum Frank Wess on tenor sax and flute, bassist Martin Wind (a leader as well and regular collaborator with pianist Bill Mays), and drummer Tony Jefferson, Meyers includes a mix of standards, originals, and well-known jazz compositions. Oddly enough, the bluesy opener, "Snibor," is not one of Billy Strayhorn's more widely played works (though Duke Ellington fans will be familiar with it), but the light, swinging treatment with Wind's intricate solo, Wess' robust tenor, and the leader's subtle playing signals immediately that this is an impressive outing. All of the standards shine, including the breezy setting of "Just One of Those Things" with engaging features for Meyers and Wess; the warm rendition of "Lazy Afternoon" with guest vocalist Andy Bey; and the gorgeous "My One and Only Love," which opens as a duo by Wess and Meyers with a delayed entrance by the rhythm section. Wess contributed "Menage a Bleu," a tasty blues that sounds like the perfect wrap-up for a late-night club date. Meyers penned a pair of originals, "Blue Lantern," a pulsating vehicle featuring Wess' spirited flute and Meyers' cooking guitar, and the choppy, infectious "One for Miss D." The Paul Meyers Quartet Featuring Frank Wess is a delight from start to finish. ~ Ken Dryden

Acoustic jazz guitarist Paul Meyers is joined by Frank Wess on tenor saxophone and flute, bassist Martin Wind, drummer Tony Jefferson. Joining the quartet on vocals on the song Lazy Afternoon is Andy Bey.

Recording information: Bennett Studios, Englewood, NJ (01/18/2007-01/19/2007).

Personnel: Paul Meyers (nylon-string guitar); Martin Wind (acoustic bass); Tony Jefferson (drums).

Paul Meyers Quartet Featuring Frank Wess

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Jane Monheit - The Heart Of The Matter

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

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

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

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

The Heart Of The Matter

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Jane Stuart - Don't Look Back

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 51:12
Size: 118,0 MB
Art: Front

(3:54)  1. I Just Found Out About Love
(3:35)  2. Experiment
(4:58)  3. Eleanor Rigby
(4:37)  4. Don't Look Back
(5:44)  5. Bird Of Beauty
(4:02)  6. Let It Come To You
(3:58)  7. Who Will Buy
(4:08)  8. Wheelers And Dealers
(2:48)  9. You Are there
(5:37) 10. Summertime
(4:43) 11. I'll Follow The Sun
(3:02) 12. I Didn't Know What Time It Was

From the opening bars of "I Just Found Out About Love," Jane Stuart takes control of this sophisticated collection of tunes with a voice that oozes style, confidence and emotional strength. Don't Look Back brings Stuart together with an empathic group of musicians, the arrangements are always interesting and at times inspired, and the conclusion is clear: this is a great vocal jazz album. Stuart has a long history as a dancer, actor and singer she was performing on TV at the age of five but her first album, the self-produced Beginning to See The Light, didn't appear until 2007. Her style is mainstream, informed by pop and by Broadway, and characterized by a clarity and control that ensures she invests each lyric with honest emotion. She sings with subtle but effective shifts in tone, emphasis or volume that immediately communicate the story there's no need for vocal acrobatics or showboating, and Stuart indulges in neither of them. 

Her performance of Johnny Mandel's "Don't Look Back" is absolutely beautiful. Sad but hopeful, her voice is superbly engaging: the restrained, gentle backing from drummer Rick De Kovessey, percussionist Emedin Rivera, bassist Kermit Driscoll and pianist Rave Tesar is the perfect accompaniment. The song selection takes from the Great American Songbook, musical theatre and pop classics. Stuart's own "Let It Come To You" is a ballad of regret that shares a lineage with Gene de Paul's "You Don't Know What Love Is." She removes Lionel Bart's "Who Will Buy" from its stage musical origins, gives it a slinky arrangement and brings in tenor saxophonist Frank Elmo to add a rasping, high-energy solo. Stuart's reworking of two songs by John Lennon and Paul McCartney is intriguing. Her arrangement of "Eleanor Rigby" slows it down, builds in delicate and spacious guitar from Dave Stryker and invests it with more glamour than this sad tale of loneliness usually receives, while her treatment of the lesser-known "I'll Follow The Sun" is genuinely fresh. 

The original is pretty, light and optimistic; here, Stuart turns it into a torch ballad, delivering a vocal performance of such emotional intensity that it seems as if she is telling of her own personal heartbreak. ~ Bruce Lindsay  

http://www.allaboutjazz.com/php/article.php?id=39075#.UkA7GxAkI5c

Personnel: Jane Stuart: vocals; Rave Tesar: keyboards, background vocals; Dick Oatts: alto saxophone, flute; Frank Elmo: tenor saxophone; Dave Stryker: guitar; Emedin Rivera: percussion, whistles; Rick De Kovessey: drums, background vocals; Sue Williams: bass (1, 2, 7, 8, 10, 12); Kermit Driscoll: bass (3-6, 11); Orlando Quinones: background vocals; Paige Sandusky: background vocals.

Don't Look Back

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The Trio Of OZ - The Trio Of OZ

Styles: Jazz
Year: 2010
File: MP3@320K/s
Time: 58:58
Size: 135,0 MB
Art: Front

(6:08)  1. Angry Chair
(5:07)  2. Sour Girl
(4:08)  3. Det Tar Tid
(6:37)  4. I Will Possess Your Heart
(6:14)  5. Lost
(6:07)  6. When You Where Young
(7:24)  7. In Your Room
(4:24)  8. Bizzare Love Triangle
(5:13)  9. There Is A Light
(7:31) 10. King Of Pain

The dilemma for modern jazz artists is how to grab the ears of younger audiences, while remaining respectful of the legacy of Duke Ellington, Miles Davis, and Louis Armstrong without recycling yet another variation of "So What?" The eclectic and restless musical tastes of drummer Omar Hakim and pianist Rachel Nicolazzo (aka Rachel Z.) offer some mighty impressive bait to reel them in, The Trio of Oz's repertoire reading like an hour's worth of college radio station programming. But how to reconcile music from artists including Depeche Mode, Alice in Chains and Stone Temple Pilots with two vets like Z and Hakim, who honed their skills with artists like Weather Report, Wayne Shorter and Steps Ahead?

Quite nicely, since these two masters' résumés also include stin ts with Dire Straits, Sting and Peter Gabriel, rendering their creation of new ways to splice the seemingly contradictory jazz and rock idioms together into some sort of mutant hybridcapturing the fun of the latter without compromising the integrity of the former completely understandable.

When going after a younger demographic, It's best not to pander to them with warmed-over covers of last month's pop hits, already deleted from their iPod; The Trio of Oz demonstrates far more respect for the sensibilities of its target audience. Hakim and Z, along with newcomer, bassist Maeve Royce, have redefined "jazz rock" into an absorbing and stirring hybrid, sans the trappings of cranked up guitars, banks of synthesizers, excessive volume, and piling notes atop each other in an act of sonic overkill.

It's probably no accident the last track, The Police's "King of Pain," is the most familiar to the ears of even the most casual rock listener Written by Hakim's old boss, Sting, it's a lovely, moody ballad delivered here with impeccable taste, as are the improbably named, "Angry Chair" and ominous "I Will Posses Your Heart," by Death Cab for Cutie.

Z says she enjoys playing in trios because she's "greedy," and gets ample opportunity to demonstrate her considerable chops, but she still plays well with others. Hakim is never overly flashy, a tasteful percussionist who never overwhelms with technique when finesse will do. On acoustic bass, Royce is short of the wealth of experience her two compatriots possess, but she's a formidable talent with more than a few moments of Ron Carter-like brilliance. When she alternatively caresses and attacks Coldplay's "Lost" with her bow, it's fully understood why she got the job.

Whenever jazz is in danger of becoming safe, static and scared to stray out of its comfort zone, that's when it's in the fast lane to becoming the muzak for museums naysayers already claim it is. The Trio of Oz strikes that delicate balance between respecting tradition while refusing to be handcuffed by it. There's a lot here, in one of 2010's most brilliant debuts for both purists and pioneers to admire. ~  Jeff Winbush   http://www.allaboutjazz.com/php/article.php?id=37723#.UktRwBBvA1I

Personnel: Rachel Z: piano; Omar Hakim: drums; Maeve Royce: acoustic bass

The Trio of OZ

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