George Braith - Extension

Styles: Soul Jazz
Year: 1964
File: MP3@320K/s
Time: 37:32
Size: 86,9 MB
Art: Front

(5:57)  1. Nut City
(7:22)  2. Ethlyn's Love
(6:58)  3. Out Here
(6:39)  4. Extension
(6:03)  5. Sweetville
(4:30)  6. Ev'ry Time We Say Goodbye

Pushing to the side the double sax that became his trademark, George Braith turned in his strongest record with Extension. Largely freed from the restraints of the dueling horns, Braith is able to explore the outer reaches of his music. He still remains grounded in soul-jazz any guitar-organ combo is bound to have soul-jazz roots  but he pushes the music toward adventurous hard bop, often with rewarding results. His compositions are fully realized, with interesting melodic statements and plenty of opportunities for him and mainstays Grant Green on guitar and Billy Gardner on organ to stretch out. And when Braith does reach back for the double-sax technique, such as on the title track, it works because its otherwordly tone is better suited to this searching, adventurous music, than on the more basic fare that dominated Two Souls in One. The double horns do make Cole Porter's "Ev'ry Time We Say Goodbye" sound a little awkward, but even that song is redeemed by excellent solos. Nevertheless, it's the originals, and the way the quartet of Braith, Green, Gardner, and drummer Clarence Johnston executes them, that make Extension the definitive Braith album. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/extension-mw0000462312

Extension

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Conte Candoli & Lee Morgan - Double Or Nothin'

Bitrate: 320K/s
Time: 46:25
Size: 106.3 MB
Styles: Trumpet jazz
Year: 1957/2003
Art: Front

[4:36] 1. Reggie Of Chester
[5:07] 2. Stablemates
[4:40] 3. Celedia
[5:41] 4. Moto
[4:39] 5. The Champ
[7:44] 6. Blues After Dark
[5:52] 7. Wildwood
[3:56] 8. Quicksilver
[4:06] 9. Bye Bye Blues

Rare recordings produced by Howard Rumsey with his incredible Howard Rumsey's Lighthouse All Stars and Charlie Persip's Jazz Statesmen.

"There was only a short week in which to record, so we made a date for a double session at Liberty's fabulous new studios... Lee Morgan and Frank Rosalino flipped into some original dance steps at the sound of the playbacks. It was a happy date." ~ Howard Rumsey

Recorded in Hollywood, California in 1957. Personnel: Conte Candoli, Lee Morgan (trumpet); Benny Golson, Bob Cooper (tenor saxophone); Frank Rosolino (trombone); Wynton Kelly, Dick Shreve (piano); Red Mitchell, Wilfred Middlebrooks (bass); Charlie Persip, Stan Levey (drums).

Double Or Nothin'

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Lisa Hindmarsh - Chamomile Tea & Other Delights

Bitrate: 320K/s

Time: 47:24

Size: 108.5 MB

Styles: Vocal jazz

Year: 2007

Art: Front

[4:11] 1. Single Man

[4:00] 2. Where Did This Love Go Wrong

[3:17] 3. Funny, I Never Noticed Before

[3:10] 4. Why Wasn't I Advised

[3:50] 5. He Comes To Me

[4:08] 6. Are There Any More

[5:02] 7. Chamomile Tea

[5:17] 8. Fellas, Look At Me Now

[5:19] 9. I Can't Get Over Him

[6:06] 10. A Guy Like You

[2:59] 11. Love Is A Simple Thing 3

This is the second album in which Lisa Hindmarsh matches her matchless talent to the original songs of Dana Paul Robinson. As with the first CD, entitled "Hello Again", this one also features the superb arrangements and piano playing of Michael Frank. The performances - recorded live - also include some very persuasive percussion playing and some gorgeous horns.

All who have heard this recording rave about the quality of production, the dazzling prowess of the vocalist, and the power and delight of the melody and lyrics. Indeed, the reception is so encouraging Lisa, Mike and Dana have taken steps to produce a third CD.

Chamomile Tea & Other Delights

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Etta Jones - So Warm

Bitrate: 320K/s
Time: 38:27
Size: 89.4 MB
Styles: Vocal jazz
Year: 1996/2006
Art: Front

[4:18] 1. Unchained Melody
[3:32] 2. I Laughed At Love
[3:07] 3. You Don't Know What Love Is
[3:34] 4. Hurry Home
[2:02] 5. I Wish I Didn't Love You So
[1:57] 6. You Better Go Now
[3:03] 7. And This Is My Beloved
[4:04] 8. I'm Through With Love
[2:42] 9. If You Were Mine
[2:48] 10. Can You Look Me In The Eyes
[3:33] 11. How Deep Is The Ocean?
[3:42] 12. All My Life

An excellent singer who is always worth hearing, Etta Jones grew up in New York and at 16, toured with Buddy Johnson. She debuted on record with Barney Bigard's pickup band (1944) for Black & White, singing four Leonard Feather songs, three of which (including "Evil Gal Blues") were hits for Dinah Washington. She recorded other songs during 1946-1947 for RCA and worked with Earl Hines (1949-1952). Jones' version of "Don't Go to Strangers" (1960) was a hit and she made many albums for Prestige during 1960-1965. Jones toured Japan with Art Blakey (1970), but was largely off record during 1966-1975. However, starting in 1976, Etta Jones (an appealing interpreter of standards, ballads, and blues) began recording regularly for Muse, often with the fine tenor saxophonist Houston Person. She died from complications of cancer on October 16, 2001, the day her last album, Etta Jones Sings Lady Day, was released. ~bio by Scott Yanow

So Warm

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Denise Jannah - The Madness Of Our Love

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 52:19
Size: 119,8 MB
Art: Front

(3:10)  1. Dearly Beloved
(3:43)  2. Wide Awake
(7:54)  3. 'Round Midnight
(5:43)  4. My Favorite Things
(2:39)  5. The Madness Of Our Love
(2:41)  6. Just You, Just Me
(4:36)  7. Le Sourir De Mon Amour
(5:02)  8. My Foolish Heart/I Fall In Love Too Easily
(4:05)  9. Softly As In A Morning Sunrise
(3:06) 10. If Only
(5:22) 11. Harlem Nocturnes
(4:14) 12. Teach Me Tonight

An eclectic singer with three previous jazz albums, Denise Jannah has performed with such widely disparate organizations as the Willem Breuker Collective, the Carnegie Hall Jazz Orchestra, the Dutch Metropole Orchestra and starred in major productions of A Night At The Cotton Club and Ain’t Misbehavin’. Her attractive voice and crystal-clear delivery bring standards into instant focus while offering spirit and soul with distinction.
Supported by a veteran piano trio, Jannah toys with the beat. She never loses control, but moves in and out of time with the band again and again. Her four compositions reveal a penchant for employing meters as tools for driving home desired themes. Jannah’s waltz, "If Only," sweeps along easily with pleasant thoughts of what the future may hold, while "Wide Awake" swings to a steady 4/4 beat of sober tradition. "The Madness of our Love," in 5/4 time, flows seamlessly with grace, while "Softly as in a Morning Sunrise" surprises with an unusual 7/4 meter. Bassist Ira Coleman gives away the riffed secret, as drummer Carl Allen tempers with crisp, percussive logic. Up-tempo and with Brazilian overtones, the arrangement serves to showcase Jannah’s scat singing alongside her lyric delivery. Caressing the lyric of "’Round Midnight," she tells a convincing story. Elsewhere, with other familiar standards, Denise Jannah treats each song with respect while interpreting lyrics and making sure that her audience will remember the enjoyable session. ~ Jim Santella  http://www.allaboutjazz.com/php/article.php?id=5726#.UkDGHRAkI5c

Personnel: Denise Jannah- vocals; Bert van den Brink- piano; Ira Coleman- bass; Carl Allen- drums; Khalil Bell- shaker on "Le Sourire de mon Amour."

The Madness Of Our Love

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Cheryl Bentyne & Mark Winkler - West Coast Cool

Styles: Jazz Vocals
Year: 2013
File: MP3@320K/s
Time: 56:53
Size: 130,8 MB
Art: Front

(5:13)  1. Take 5/Drinks on the Patio
(3:42)  2. An Occasional Man
(2:58)  3. Let's Get Lost
(4:48)  4. Talk of the Town/Girl Talk
(4:24)  5. West Coast Cool
(4:13)  6. Something Cool
(4:52)  7. Route 66/Alright, Okay, You Win/Straighten up and Fly Right
(3:47)  8. Señor Blues
(4:02)  9. Lemon Twist
(3:16) 10. This Could Be the Start of Something Big
(3:15) 11. Hungry Man
(4:06) 12. All About Ronnie/Trouble Is a Man
(4:20) 13. In a Lonely Place
(3:52) 14. Cool (Unreleased Live Track)

In 2010, veteran Los Angeles singer/lyricist Mark Winkler joined forces with the The Manhattan Transfer's lead singer, multi-Grammy Award-winning artist Cheryl Bentyne, playing the music of the '50s and '60s commonly known as West Coast Jazz at venues throughout California and elsewhere. West Coast Cool is this remarkable duo's music-only version of their live show, turning its passion for the music into a vocal tribute of one of the most important styles in jazz history.

Defining the style may not be so clear, but general agreement concludes that it developed around the sounds coming out of the Los Angeles and San Francisco jazz scenes at the time, and was a bit mellower than the hard bop beats and rhythms of the East Coast, emerging as the cooler side of jazz. Winkler and Bentyne explore the music of Bobby Troup, Neal Hefti, Frank Loesser and others in bringing the cool style front and center, supported by a seasoned cast of musicians as they present a collection of duets on eighteen songs compressed into fourteen tracks of gorgeous medleys, several Winkler originals and a blend of cover tunes.

The date opens up with a medley of Paul Desmond's classic "Take 5," with the singers voicing Lola Brubeck's lyrics (Dave Brubeck's widow), then merging the piece with Winkler and Rich Eames' "Drinks On The Patio." Pianist Eames is part of the ensemble that performs on eleven of the pieces and arranges most of the tracks. Other superb medleys find the vocalists merging portions of well-known tunes like Troup's "Route 66" with Nat "King" Cole's "Straighten Up And Fly Right," and "Talk Of The Town" with the Hefti/Troup standard (and Winkler favorite), "Girl Talk."

Of the several solo pieces, Bentyne's sweet vocals marvel on "An Occasional Man" and on "All About Ronnie," while Winkler distinguishes himself on Loesser/Jimmy McHugh's exuberant "Let's Get Lost" and on the Marilyn Harris love ballad, "In A Lonely Place." The swing is on with several songs including "Hungry Man," featuring the great Bob Sheppard on tenor saxophone making his own substantial statement, while Tamir Hendelman's arrangement of Steve Allen's buoyant "This Could Be The Start Of Something Big" makes quite a splash.

The set ends appropriately with a taste of how the duo sounds in one of its many shows, with a live recording of another Harris/Winkler collaboration, "Cool." It's a swinging finale and final homage to the cool West Coast jazz sound of the past, re-imagined and resurrected by the smooth and vibrant vocals of Winkler and Bentyne, who together take that oft-used phrase "dynamic duo," to a much higher level.~ Edward Blanco  

http://www.allaboutjazz.com/php/article.php?id=45185#.UlNSjRBsidk

Personnel: Cheryl Bentyne: vocals; Mark Winkler: vocals; Rich Eames: piano (1, 2, 4-8, 10); Tim Emmons: bass (1, 2, 4-8, 10); Dave Tull: drums (1, 2, 4- 8, 10); Bob Sheppard: saxophones, flute (1, 2, 4-8, 10, 11); Nolan Shahead: trumpet (3); Anthony Wilson: guitar (9); Joe Bragg: Hammond B3 organ (9); Mark Ferber: drums (9); John Mayer: piano (11); Kevin Axt: bass (11); Ron McCurdy: drums (11); Eli Brueggeman: piano: (14); George Koller: bass (14); Mark Kelso: drums (14).

West Coast Cool

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Anne Drummond (Feat. Benny Green, Brandi Disterheft & Kassa Overall) - Revolving

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 36:24
Size: 86,8 MB
Art: Front

(4:29)  1. French Folk
(3:29)  2. Elan
(5:25)  3. Harold Land
(4:05)  4. Rustic Room
(1:00)  5. Interlude (French Folk)
(4:18)  6. Magic Beans
(4:39)  7. Early
(0:44)  8. Interlude (Revolving)
(5:37)  9. Revolving
(2:33) 10. Um a Zero

“...(Drummond's) fine technique is imbued with spirit and imagination.”
-JazzTimes

New York-based flutist and pianist Anne Drummond established her career with multiple recordings and international tours with Kenny Barron, Stefon Harris and many others throughout the early 2000s. With "Revolving," she draws from her repertoire of favorite originals to create a warm and diverse recording. Playing alto and soprano flutes as well as piano, she executes her concise, colorful melodies with an ease that is also reflected in the artistry of her world-class bandmates. Pianist Benny Green offers sweeping satisfaction with two of his first recorded originals. Percussionist Keita Ogawa lays down worldly grooves, and Brandi Disterheft serves the music with exceptional bass work. Guitarist Vic Juris, cellist Dave Eggar, drummer Kassa Overall, and pianist David Chesky also contribute great meaning and insight to this eclectic and sweeping set of original compositions.
http://originarts.com/recordings/recording.php?TitleID=82647

Revolving

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Gene Ludwig - Soul Serenade

Bitrate: 320K/s
Time: 60:32
Size: 138.6 MB
Styles: Organ jazz
Year: 2000
Art: Front

[8:51] 1. Duff's Blues
[7:37] 2. Freddie Freeloader
[8:16] 3. Please Send Me Someone To Love
[9:01] 4. Soul Serenade
[6:23] 5. Rejoicin'
[7:49] 6. You Don't Know What Love Is
[6:08] 7. On A Misty Night
[6:23] 8. My Shining Hour

Gene Ludwig comes from the romantic school of Hammond B3 organ players and, with more than 40 years at the job, he is part of the organ tradition. His playing is relaxed, laid-back, drenched with a mix of blues and soul. He understands that the organ quartet can be one of the most pleasurable listening experiences in jazz. With an extremely large range of tone colors and timbres, the organ quartet can musically express the full range of human emotions, from romantic and sultry, to highly charged beat excitement, to soul-drenched melancholy. This potential is fully realized by Ludwig and his quartet on the appropriately titled Soul Serenade. With J. Willis and Don Aliquo Jr. sharing tenor sax duties, Ken Karsh kicking with well-placed guitar licks, and Tom Wendt on drums, this album falls foursquare into the organ combo arena led by more well-known -- but not more able -- B3 artists Jimmy McGriff, Jack McDuff, and Jimmy Smith. The play list was obviously constructed to bring out the best this group can offer. On "You Don't Know What Love Is," buttressed by the heartrending tenor sax of Aliquo, the quartet pulls out every ounce of feeling from this tune. In contrast, matters get moving at a swinging pace on "Freddie the Freeloader." Karsh's guitar gets full opportunity to explore the extemporizing possibilities of this Miles Davis classic. The title tune "Soul Serenade" is the organ counterpart of Gloria Lynne's ardent vocal version of 1965, making it a highlight of the album. Willis' slightly honking sax gives this cut an authentic R&B flavor. Tadd Dameron's "On a Misty Night" is the vehicle for Aliquo to brandish his dexterity at running through chord changes. "Duff's Blues" is pure swing, with Tom Wendt's drums getting plenty of attention. Some of the younger Hammond B3 organ practitioners on today's scene would do well to listen to this album to hear how the instrument can sound with its edges rounded a bit. Highly recommended. ~ Dave Nathan

Live Recording Recorded at Stargate Studios, Pittsburgh, Pennsylvania on May 7, June 10 & July 2, 1999.

Gene Ludwig (Hammond B-3 organ); J. Willis, Don Aliquo, Jr. (tenor saxophone); Ken Karsh (guitar); Tom Wendt (drums).

Soul Serenade

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Shawn Maxwell - Urban Vigilante

Bitrate: 320K/s
Time: 64:26
Size: 147.5 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[5:43] 1. Monster Shoes
[5:14] 2. Yo Gabba Blues
[7:16] 3. Urban Vigilante
[4:52] 4. Starscream
[6:08] 5. Boots
[6:27] 6. Charlie Work
[5:02] 7. Big Hurt
[5:55] 8. Beyond Infinity
[9:36] 9. The Sixth
[4:52] 10. Juggernaut
[3:17] 11. Special Order

"Invariably, mention is made of Shawn Maxwell's tone. It has invited comparisons to Kenny Garrett's, Jackie McLean's or Art Pepper's. On his Urban Vigilante performance, intimations of Phil Woods appear as well. In the end, the comparisons represent unsatisfactory attempts to describe Maxwell's distinctive, burly sound, certainly not sweet like Desmond's or Konitz's, and yet still fully expressive with a slight vibrato, undulating dynamics and extensions of notes for their full value... Maxwell leads a cohesive, exhilarating quartet of musicians equally inspired by the possibilities presented while they perform. Bassist Bob Lovecchio's vamp establishes the atmosphere for "Charlie Work," which veers between minor and major roots, and between abrupt stops and starts. And drummer Brandon Dickert creates the initial tension of "Special Order" with an extended solo that leads, after its end, into a bass and piano undercurrent roiling Maxwell's melody of long tones stretching over the streaming rhythm as volume builds and then fades... to silence. But the group's mutual support and unity of purpose combine to create separate overall moods for each of the tracks. The mysteriousness of the metrically tricky "Monster Shoes," accentuated by the minimization of Nelson's chords and the clip-clopping of Dickert's propulsion, contrasts with ethereal float of "Beyond Infinity," a reference to Buzz Lightyear's exclamation. Maxwell's quartet does have a lot of fun with the concept and with the music... The group's cohesiveness, the intriguing compositions and Maxwell's always appealing sound invite attention and enjoyment." ~ Bill Donaldson, Cadence Magazine

Shawn Maxwell - alto saxophone; Matt Nelson - piano; Bob Lovecchio - bass; Brandon Dickert - drums. Recorded 3/13 & 3/20/2011.

Urban Vigilante

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Kenny Garrett - Pushing The World Away

Bitrate: 320K/s
Time: 70:12
Size: 160.7 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[3:43] 1. A Side Order Of Hijiki
[6:03] 2. Hey, Chick
[7:45] 3. Chucho's Mambo
[6:26] 4. Lincoln Center
[4:52] 5. J'ouvert (Homage To Sonny Rollins)
[4:57] 6. That's It
[4:29] 7. I Say A Little Prayer
[8:06] 8. Pushing The World Away
[4:42] 9. Homma San
[5:52] 10. Brother Brown
[7:49] 11. Alpha Man
[5:22] 12. Rotation

On Kenny Garret's third album for Mack Avenue Records he explores many terrains. He uses two different pianists in Vernell Brown and Benito Gonzalez, bassist Corcoran Holt, drummers Marcus Baylor, McClenty Hunter, and Mark Whitfield, Jr., as well as a string quartet on "Brother Brown" (on which Garrett appropriately takes over on piano.) All but one of these 12 tunes offer sophisticated evidence of his own journey through the jazz lineage and his pushing at the margins of post-bop. There is a deep reliance on melody and singing through his horns, even when things get musically complex as they do on the title track in which he explores modal and Eastern musical terrains on his soprano. Quotes from Coltrane's "My Favorite Things" are in his solo, but so are moments of Eastern harmony, underscored by Brown's fat chords, wrangling arpeggios, and open-framed statements. There are also a pair of throaty vocal chants by him and the pianist -- his own Christian, the latter Buddhist -- commingling seamlessly to directly point at the spiritual nature inside the tune. Several other numbers offer overt nods to his forebears, collaborators, and influences. "Hey, Chick," with its Moorish-cum-flamenco vibe, evokes themes that Chick Corea explored potently on My Spanish Heart. "Chucho's Mambo," with its rumbero and son vibe, is a direct nod to pianist Chucho Valdes and also features trumpeter Ravi Best and percussionist Rudy Bird (in one of several appearances). "J'Ouvert" is subtitled "Homage to Sonny Rollins" and takes its cue from the saxophone colossus' use of calypso rhythms, cadences, and lyric themes. "A Side Order of Hijiki" doesn't refer to the Japanese culinary seaweed of its title, but the manner of his own playing as described by the late Mulgrew Miller. It is a driving post-bop jam, with sharp ostinatos by Gonzalez and a thrumming, furious bassline by Holt. A noticeable surprise is the inclusion of Burt Bacharach's and Hal David's "I Say a Little Prayer for You," with a subtle Latin framework that otherwise follows the arrangement written for Dionne Warwick. This is Garrett at his most songlike, and his most direct attempt on the album at communicating melodically; as in the past, it also reveals the deep, early influence of Junior Walker on his playing. Pushing the World Away is a wildly diverse offering for Garrett. What it doesn't reveal in swing it does in intricacies, shadows, impressive arrangements, and striking musicianship. ~ Thom Jurek.

Pushing The World Away

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Herb Ellis - Thank You, Charlie Christian

Bitrate: 320K/s
Time: 36:44
Size: 84.1 MB
Styles: Guitar jazz
Year: 1960/2004
Art: Front

[3:16] 1. Pickley Wickly
[2:51] 2. I Told You I Loved You, Now Get Out
[4:40] 3. Cook One
[4:16] 4. Karin
[2:50] 5. Cherry Kijafa
[7:36] 6. Thank You, Charlie Christian
[2:46] 7. Alexander's Ragtime Band
[2:53] 8. Lemon Twist
[3:33] 9. Everything's Pat
[1:58] 10. Workin' With The Truth

Thank You Charlie Christian pays homage to the legendary jazz guitarist in a manner most appropriate to an innovator of his stature -- rather than merely imitate that which is inimitable, Herb Ellis channels the imagination and expressiveness of his hero to create a lean, mean sound far more forward-thinking than nostalgic. Like Christian, Ellis favors feeling over flash and economy over excess -- paired here with pianist Frank Strazzari, bassist Chuck Berghofer, cellist Harry Babasin and drummer Kenny Hume, he creates a series of compact and determinedly contemporary bop snapshots in vivid Technicolor, not the black-and-white of a bygone era. A beautiful and heartfelt record that draws from the past but refuses to live in it. ~Jason Ankeny

Thank You, Charlie Christian

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Tina May - One Fine Day

Bitrate: 320K/s
Time: 47:24
Size: 108.5 MB
Styles: Contemporary jazz vocals
Year: 2000
Art: Front

[4:59] 1. Pure Imagination
[3:49] 2. One Fine Day
[5:51] 3. Make Someone Happy
[5:26] 4. I'll Be Seeing You
[3:57] 5. Bop `til You Drop (Bop People)
[6:56] 6. Spring Is Here
[3:48] 7. 's Wonderful
[2:11] 8. The Vain Desire
[4:25] 9. The Aerialist
[5:58] 10. Whaley Whaley

On the jazz scene for more than 15 years, Tina May is one of UK's premiere jazz vocal virtuosos. In a country which can boast of important contributors to the art of jazz vocalizing, this is not faint praise. Along with Carol Kidd, Claire Martin, Annie Ross and British diva, Norma Winstone, among others, May has become a major mainstay of contemporary jazz singing. Having the reputation of "doing it her way," May looks to a wide variety of sources for the material she records, including jazz standards, originals, ethnic material and contemporary pop/rock. May is also comfortable with a variety of singing styles making her a complete jazz singer. She is at ease with vocalese, cabaret, improvisation, etc., possessing a delightful, pure English voice which fits very nicely with the material she works with. That One Fine Day is her seventh album for England's 33Jazz label testifies to her success in the way she approaches the music. ~Dave Nathan

Tina May - Vocals; Nikki lles-Piano; Alan Barnes-Saxophones/Clarinet; Mick Hutton-Bass; Simon Morton-Drums

One Fine Day

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Armik - Cafe Romantico

Bitrate: 320K/s
Time: 52:30
Size: 120.2 MB
Styles: Easy Listening, Acoustic guitar jazz
Year: 2005
Art: Front

[5:00] 1. Lover's Moon
[5:13] 2. Cafe Romantico
[5:00] 3. Rain Drops
[4:55] 4. Sweet Dreams
[4:58] 5. Madrid
[5:05] 6. Lyceros
[4:55] 7. La Luna De Seville
[5:09] 8. Gypsy Romance
[4:39] 9. Puerto De Malaga
[4:58] 10. Tonight With You
[2:32] 11. Guitar Passion

While never receiving the notoriety of Ottmar Liebert, the primary conveyor of the hip, sassy and romantic nuevo flamenco style, this acoustic guitar stylist has quietly built a bestselling indie catalog with five releases. All including the new one have a similar packaging style, with gorgeous, exotic paintings and romantic-themed titles. Cafe Romantico also follows the established musical pattern for the most part, blending gorgeous ballads, loping seductions and zippy, fiery Latin pieces while complementing his numerous custom guitars with lush keyboard atmospheres and romantic accordion harmonies and solos. Despite the variety, all of these cuts seem perfectly designed to first accompany a meal at a trendy European café and then inspire an evening of close, sexy dancing. The nicest surprise on the disc -- a Santana-like electric guitar intro segment on the opening track "Lover's Moon" -- doesn't last long, but there are numerous other charms along the way. The title cut has a sweet, starry-eyed way about it, while "Rain Drops" is handclapping and danceable. These early tracks set the tone for a set of engaging tunes which show off Armik's ability to both seduce with great melodies and excite with lightning fast nylon string solos over a wide range of Latin and Spanish grooves. ~Jonathan Widran

Cafe Romantico

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New York Trio - Venus Favourites

Styles: Jazz
Year: 2009
File: MP3@320K/s
Time: 79:46
Size: 182,6 MB
Art: Front

(6:45)  1. Smoke Gets In Your Eyes
(4:46)  2. There's A Small Hotel
(6:38)  3. The Things We Did Last Summer
(4:01)  4. Have You Met Miss Jones
(5:57)  5. In A Sentimental Mood
(5:03)  6. Can't Help Loving Dat Man
(4:49)  7. Change Partners
(4:54)  8. The Shadow Of Your Smile
(5:36)  9. Stairway To The Stars
(7:18) 10. The Man I Love
(4:16) 11. That's For Me
(5:20) 12. Always
(4:46) 13. Jump For Joy
(5:46) 14. Cheek To Cheek
(3:48) 15. They Say It's Wonderful

Also known as the New York Jazz Trio, this combo is a studio-only group who specialize in recording classic standards in a straightforward, post-bop style. The New York Trio features three gifted musicians who are firmly established on the East Coast jazz scene. Pianist Bill Charlap is a member of the Phil Woods Quintet, has accompanied the likes of Tony Bennett, Benny Carter, and Gerry Mulligan, and has recorded a handful of well-received albums for Blue Note as a bandleader. Bassist Jay Leonhart has recorded as a headliner since 1983, while also making a name for himself as a vocalist and songwriter as well as backing up Marian McPartland, Louie Bellson, Lee Konitz, and many others. And drummer Bill Stewart had handled demanding gigs with a variety of musicians, including jazz guitarist John Scofield, funky sax man Maceo Parker and R&B legend James Brown. In 2001, Charlap, Leonhart, and Stewart teamed up in the studio to cut the album Blues in the Night for the Venus Jazz label; featuring leisurely but heartfelt interpretations of eight classic melodies, the album was well-received by fans of classic jazz. Seven similar collections have been recorded by the trio for Japanese jazz labels. http://www.allmusic.com/artist/new-york-trio-mn0000393325/biography

Venus Favourites

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Oscar Peterson - The Soul Of Oscar Peterson - CD1 And CD2

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 76:36 (CD1)
Size: 175,4 MB (CD1)
Time: 74:33 (CD2)
Size: 170,7 MB (CD2)
Art: Front

CD1

( 8:26)  1. Carnegie Blues
( 3:25)  2. My Heart Stood Still
( 2:51)  3. Debut
( 3:09)  4. Little White Lies
( 2:51)  5. Salute To Garner
( 3:13)  6. Love For Sale
( 3:21)  7. Willow Weep For Me
(12:01)  8. The Astaire Blues
( 2:52)  9. Night And Day
(13:29) 10. Funky Blues
( 7:48) 11. Just You, Just Me
( 3:14) 12. It Ain't Necessarily So
( 3:03) 13. Blue Skies
( 6:47) 14. Tea For Two

CD2

(5:02)  1. 7 Come 11
(5:02)  2. Tenderly
(2:57)  3. Carioca
(2:17)  4. Over The Rainbow
(4:43)  5. Pompton Turnpike
(3:37)  6. Surrey With The Fringe On Top
(3:34)  7. Blues For Basie
(8:11)  8. Love You Madly
(2:35)  9. Love Me Or Leave Me
(8:16) 10. Desert Sands
(3:55) 11. The Man I Love
(1:58) 12. Goody Goody
(3:59) 13. When Lights Are Low
(7:37) 14. I Want To Be Happy
(2:41) 15. What's New
(8:03) 16. Soulville

Watch this remarkable new high quality 2CD incl. rare information and pictures celebrating the history of great jazz legends! Oscar Peterson died at the age of 82.
During an illustrious career spanning seven decades, Peterson played with some of the biggest names in jazz, including Ella Fitzgerald, Count Basie and Dizzy Gillespie. He is also remembered for touring in a trio with Ray Brown on bass and Herb Ellis on guitar in the 1950s. Peterson's impressive collection of awards include all of Canada's highest honors, such as the Order of Canada, as well as a Lifetime Grammy and a spot in the International Jazz Hall of Fame. His growing stature was reflected in the admiration of his peers. Duke Ellington referred to him as "Maharajah of the keyboard," while Count Basie once said "Oscar Peterson plays the best ivory box I've ever heard."(http://www.bhm-music.de/bhm/en/catalog.php?bhm_releasesPage=5&PHPSESSID=01e123eeac2ff603deead1192f7975b7)

The Soul Of Oscar Peterson - CD1

The Soul Of Oscar Peterson - CD2

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The Ralph Sharon Sextet - Around The World In Jazz

Bitrate: 320K/s
Time: 33:34
Size: 76.9 MB
Styles: Piano jazz
Year: 1957/2010
Art: Front

[3:03] 1. Tipperary Fairy
[3:33] 2. Strictly Occidental
[3:13] 3. Ask An Alaskan
[2:58] 4. Blue In Peru
[3:05] 5. Prettily Italy
[3:05] 6. Piccadilly Panic
[2:54] 7. Sorta Spanish
[2:49] 8. Parisienne Eyeful
[2:54] 9. Stateside Static (Original)
[2:38] 10. Hassle In Havana
[3:16] 11. Gibraltar Rock

Ralph Sharon made his professional debut with Ted Heath in 1946, then moved on to Frank Weir's orchestra before leading his own sextet. He moved to the U.S. in 1953, where he initially worked as an accompanist to Chris Connor. In 1957, he became musical director and pianist for Tony Bennett. He acquired American citizenship in 1958. In 1965, he and Bennett split up, but they got back together in 1979 and have played together since. Sharon has also led various groups and made many recordings as a leader. ~William Ruhlmann

Pianist Ralph Sharon's Sextet features Lucky Thompson on tenor sax, Eddie Costa on vibes, Joe Puma on guitar, Oscar Pettiford on bass, and Osie Johnson on drums.

Recorded in NYC, 1957.

Around The World In Jazz

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Ellyn Rucker - Now

Bitrate: 320K/s
Time: 71:09
Size: 162.9 MB
Styles: Vocal jazz
Year: 2003
Art: Front

[ 5:33] 1. Now
[ 3:34] 2. Can't Get Out Of This Mood
[ 5:33] 3. Now
[ 7:02] 4. Strollin'
[ 5:06] 5. With You In Mind
[ 5:28] 6. Estate (Summer Passed)
[ 5:07] 7. Stockholm Sweetnin'
[ 5:32] 8. The Heather On The Hill
[ 6:25] 9. Last Resort
[10:52] 10. Useless Landscape Moon And Sand
[ 2:35] 11. The Best Thing For You
[ 2:09] 12. Lucky To Be Me
[ 6:07] 13. Here

Not many people can get away with putting two 5/4 bossa novas into a single program, but pianist and singer Ellyn Rucker has always done things just a bit differently. On her fifth album as a leader she steers clear of the usual repertoire of jazz standards, instead selecting a winning program of more obscure material both new and old, though a number of the songs and tunes were written by such familiar names as Horace Silver (the vocal version of "Strollin'"), Quincy Jones ("Stockholm Sweetnin'"), Ron Carter ("Last Resort"), and Irving Berlin ("Best Thing for You"). The arrangements call for a shifting complement of sidemen; her cool and lovely rendition of "Stockholm Sweetnin'" is performed by a standard quartet that includes alto saxophonist Rich Chiaraluce, while she handles Leonard Bernstein' s "Lucky to Be Me" all alone, singing and accompanying herself on piano. Rucker is an expert and charming singer, but for some reason this album's highlights tend to come on the instrumental numbers: her duo arrangement (with the exquisitely tasteful bassist Dave Young) of Lerner & Loewe's "Heather on the Hill" is simply gorgeous, as is her simple trio take on "Last Resort." And she effectively treads the fine line between excessive rhythmic looseness and effortless swing on those two 5/4 bossas, both of which could probably have done without the additional vocal contributions of their male composer. Recommended. ~ Rick Anderson

Recorded at Greywood Studios, Denver, Colorado, March 2001.

Ellyn Rucker (vocals, piano); David Mackay (vocals); Mark Rose (soprano & tenor saxophone); Rich Chiaraluce (alto & tenor saxophone); Pete Sommer (tenor saxophone); Ron Satterfield (synthesizer); Mitchell Long (guitar); Dave Young (bass, percussion); Claudio Slon, Paul Romaine (drums).

Now

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Joao Donato & Paulo Moura - Dois Panos Para Manga

Bitrate: 320K/s
Time: 48:06
Size: 110.1 MB
Styles: Brazilian jazz
Year: 2006
Art: Front

[5:16] 1. A Saudade Mata A Gente
[5:01] 2. On A Slow Boat To China
[4:31] 3. Swanee
[5:37] 4. Copacabana
[4:33] 5. Tenderly
[4:36] 6. That Old Black Magic
[7:56] 7. Minha Saudade
[4:36] 8. Pixinguinha No Arpoador
[5:56] 9. Sopapo

During a party at TV director Carlos Manga’s home, João Donato and Paulo Moura decided to work together and to issue a record in which they, for the first time, performed as a duo. It was Manga´s birthday and, while having a few drinks, the host asked them to play some of the themes which had once delighted the members of the Sinatra-Farney Fan Club in the auditions that were performed during the decade of the 50ies. The Murray Stores, in downtown Rio were then the meeting point for samba and jazz buffs, and such meetings have been regarded by many as the origin of Bossa Nova. During hours, and inspired by so many memories, Donato and Moura presented before a distinguished group of guests some of the songs mostly requested during those anthological auditions. And that is precisely the core of the repertory of “Dois panos para Manga”, based on the sentimental remembrances of João and Paulo, with some hints from Manga. “He even sang a few tunes with his tenor voice and managed to improvise in certain passages while we were playing our favorite songs from that period”, remembers Donato. “Carlos Manga was the president of the Sinatra-Farney Fan Club and its driving force”, recalls Moura. The interaction between performers and repertory was so intense that this album was recorded in less than a week, in February last, at the AR studio, with the only presence of Paulo’s clarinet and Donato’s piano. The repertory includes seven classics and two new songs composed by them expressly for this album: "Pixinguinha no Arpoador", and "Sopapo". Among the jazz classics - favorites of the Fan Club members – are “In a slow boat to China”, (Frank Loesser); “Swanee” (George and Ira Gershwin); “That old black magic” (Harold Arlen and Johnny Mercer), as a tribute to Sinatra; and “Tenderly” (Walter Gross and Jack Lawrence), one of Nat King Cole’s greatest hits. In the Brazilian repertory, there are two re-creations of songs composed by Braguinha (João de Barro) that were great hits during the 40ies: “A saudade mata a gente”, in partnership with Antonio Almeida, and “Copacabana”, written together with Alberto Ribeiro. Also included are “Minha saudade”, by Donato and João Gilberto, and that has a special meaning to Paulo: “This was the first song in Bossa Nova format that I came across. I included it in first record. It probably was that music's first recording”, reports Paulo. The new songs, composed after the party in Manga’s home (not by chance located in Dick Farney Street, in Barra da Tijuca), reflect the influence of this repertory's earlier ones. "Pixinguinha no Arpoador", contains passages with themes recurrent in Brazilian and international songs. “My inspiration came after visiting Paulo at his home and having played a few chords. He asked what those chords were and I answered that they were nothing, but in reality they were the first notes of ‘Carinhoso’. We kept on playing until it turned out to be a samba canção (samba with lyrics) somewhat resembling also “La vie en rose”, explains Donato. On that same day, “Sopapo” was written. Paulo gave it that name. “Sopapo is the name of a drum from the Pelotas region, state of Rio Grande do Sul, one of which was given to me as a present by percussionist Giba-Giba”. Coincidently or not, Pelotas is the native town of Ivone Belém, João’s wife, who together with Halina Grymberg, Paulo’s wife, is in charge of the executive production of this record. “Sopapo is a joyful theme that appeals to any child. Besides, joy is my favorite emotion”, concludes Donato. * “Dois panos para mangas” makes a pun with the Brazilian idiomatic expression “dar panos para a manga" (which means “a lot to be said”, "a lot to occur”,” a lot f things that may happen”, and / or similar meanings) and the family name of director Carlos Manga.

Dois Panos Para Manga

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Chantale Gagné - Wisdom of the Water

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 45:45
Size: 105,7 MB
Scans: Front

(7:06)  1. Wisdom of the Water
(6:35)  2. Over the Bridge
(5:29)  3. My Wild Irish Rose
(5:25)  4. Squinky Pete
(1:45)  5. Roseline
(6:12)  6. The Light We Need
(4:52)  7. Waking Dreams
(4:27)  8. I Shall Not Be Moved
(3:50)  9. Lullaby For Winter

In many ways, water is the ultimate life force. Approximately seventy percent of the Earth's surface is covered by water and more than half of the human body is made up of water. Perhaps, it was with this in mind that nature endowed water with a certain degree of logic in motion. Water often flows ever-forward in endless streams of beauty, creating deep ripples within the very fabric of its moving form, and the same can be said for much of the music that pianist Chantale Gagné creates on Wisdom Of The Water.
On this, her sophomore effort, Gagné has crafted a program that demonstrates her ample skills behind the piano, while highlighting her compositions, which balance accessible ideas with unique harmonic hues. The can't-miss rhythm team of drummer Lewis Nash and bassist Peter Washington that appeared on her debut Silent Strength (Self Produced, 2008) return for round two, providing just the right touches in all the right places. While Gagné was clearly happy with her rhythm men, she obviously wasn't content to repeat herself, and she chose to augment this ensemble with the addition of the inimitable Joe Locke on vibraphone.

Both Locke and Gagné give off a similar sense of emotional radiance, embodied by the warm cocoon of sound they create on tracks like "Over The Bridge" co-written by Locke and Gagné and "The Light We Need." A sense of longing lives in these pieces and Gagné proves to be masterful in the molding and shaping of her own creations. While Locke's presence is most impressive in these types of setting, he also proves to be an asset on more lively fare, like the squirrelly "Squinky Pete." Gagné and Locke deftly move through single note lines together before Nash and Washington launch into a swinging groove. Locke is his ever-impressive self during his solo spot, Gagné tosses off her spunkiest solo on the record, and Nash is given some room to let loose before the head returns.

While Gagné is clearly a competent soloist and expert musical architect, her gifts aren't limited to these two areas. She proves to be a solo pianist with great range, as demonstrated by her ability to move from reflection and rumination ("Lullaby For Winter") to rubato introductions for pseudo-saloon piano playing ("Roseline"), and she takes a keen interest in providing bassist Peter Washington with a platform that he so richly deserves. It's a far-too-frequent occurrence for bassists to be buried beneath the rest of the band, but Gagné gives Washington more than his fair share of solo space, and uses his cello-like pizzicato work to provide the introductory melody on "My Wild Irish Rose." Gagné's ability to showcase her own skills, while proving to be selfless in highlighting each member of the band, is telling.

From the first note to the last, Wisdom Of The Water presents the wisdom, warmth, passion and promise inherent within the work of up-and-comer Chantale Gagné.~ Dan Bilawsky http://www.allaboutjazz.com/php/article.php?id=38707#.UlG82RDNn8p

Personnel: Chantale Gagné: piano; Joe Locke: vibraphone; Peter Washington: bass; Lewis Nash: drums.

Wisdom of the Water

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Judy Wexler - What I See

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 49:23
Size: 112,9 MB
Scans: Front

(6:30)  1. Tomorrow Is Another Day
(3:15)  2. The Moon Is Made of Gold
(4:17)  3. Convince Me
(4:46)  4. They Say It's Spring
(5:25)  5. A Certain Sadness
(5:11)  6. The Long Goodbye
(3:49)  7. Just for Now
(5:35)  8. Follow
(3:28)  9. Another Time, Another Place
(3:21) 10. A Kiss to Build a Dream On
(3:37) 11. Laughing at Life

Vocalist Judy Wexler is more than a mere singer of songs. She's an actress, mood painter, song archaeologist and vocalist par excellence, and those designations shouldn't be taken as independent virtues; they all merge in her marvelous musical pursuits.

When I See is Wexler's fourth album, but it only took two Easy On The Heart (Jazzopolis, 2005) and Dreams & Shadows (Jazzed Media, 2008)  to establish her as one of the most highly respected vocal artists on the West Coast. She furthered her sterling reputation with the all-encompassing Under A Painted Sky (Jazzed Media, 2011), and she's likely to do the same with this one; it's a real beaut.

What I See finds Wexler covering a lot of ground again, as she moves from Benny Carter to John Williams to King Pleasure. She's in familiar company, working with some longtime colleagues like multi-reedist Bob Sheppard, drummer Steve Hass and pianist/arranger Jeff Colella, but she continually avoids the familiar in all other aspects of her work; she doesn't radically reinterpret anything or purposely pounce on never-before-heard numbers, but she also doesn't tread over well-worn ground.

Wexler kicks off the album with a comfortably swinging take on Pleasure's "Tomorrow Is Another Day." Her reading of this better-things-are-on-the-horizon statement is neither depressed nor sunny; it's matter-of-factly honest about the topic at hand. A similar sense of clarity and truthfulness shines through on every number. Wexler's acting credentials no doubt help her in this regard, but it never sounds like she's acting. When Judy Wexler sings a song, it becomes her song and her story, period. She's more than convincing on "Convince Me," a slow jam-of-a-song if ever there was one, and her voice rises to the occasion on "The Moon Is Made Of Gold." The mere mention of spring on "They Say It's Spring" and "Just For Now" brings a blooming quality to her voice, and she carries "Follow" forward in her own inimitable fashion.

The A-list musicians that join Wexler on this journey also do their part to make this a magical listen. Sheppard is ever-impressive, delivering the goods on bass clarinet ("Tomorrow Is Another Day") and adding warmth with his alto flute ("A Certain Sadness"), and Ron Stout adds a touch of brass beauty to the proceedings ("The Moon Is Made Of Gold"). Colella and guitarist Larry Koonse match Wexler in the sensitivity department and prove to be the instrumental MVPs on the project.

What I See, much like Wexler's prior album, is a marvel of sincerity and beauty.~ Dan Bilawsky  http://www.allaboutjazz.com/php/article.php?id=45314#.UlHATRDNn8o

Personnel: Judy Wexler: vocals; Jeff Colella: piano; Larry Koonse: guitar, ukulele; Chris Colangelo; bass; Steve Hass: drums; Ron Stout: flugelhorn, trumpet; Bob Sheppard: bass clarinet, alto flute; Scott Whitfield: trombone; Billy Hulting: percussion.

What I See

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