The Allyn Robinson Project - Dreams Realized, My Life In Music

Styles: Soul Jazz
Year: 2013
File: MP3@320K/s
Time: 68:21
Size: 156,5 MB
Art: Front

(5:44)  1. Amelia
(5:02)  2. Bread Puddin'
(6:08)  3. Can It Be Done
(8:13)  4. Esplanade And Havana Vieja
(5:55)  5. The Interloper
(4:16)  6. Somebody's Been Cuttin' In On My Groove
(6:32)  7. Concentrate
(8:04)  8. Now He Thinks!
(5:34)  9. Manteca
(5:48) 10. Circles
(6:59) 11. The Final View

Dreams Realized, My Life In Music is a celebration of Allyn’s rich musical history and a stirring tribute to Jaco Pastorius, Charles Brent and Wayne Cochran. With a burning 16-piece R&B big band, Allyn takes the listener on a musical journey across the threshold where jazz intersects with soul, funk and rhythm & blues.

Allyn brought together some of New Orleans finest musicians to record an incredible mix of original tunes by bassist and musical director Chuck Archard, as well as some exciting new arrangements of classics by Jaco Pastorius, Willie Tee, The Gaturs, Dizzy Gillespie and Wayne Cochran and The C.C. Riders.  http://www.allynrobinson.com/music.htm

Dreams Realized, My Life In Music

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Mandy Harvey - Smile

Bitrate: 320K/s
Time: 56:37
Size: 129.6 MB
Styles: Easy listening
Year: 2009
Art: Front

[2:55] 1. Almost Like Being In Love
[3:45] 2. The Way You Look Tonight
[3:06] 3. Smile
[4:30] 4. At Last
[3:52] 5. Bye Bye Blackbird
[1:45] 6. You Make Me Feel So Young
[4:10] 7. In The Wee Small Hours Of The Morning
[3:54] 8. Everybody Loves Somebody
[2:49] 9. I've Got You Under My Skin
[3:24] 10. I'm Through With Love
[4:15] 11. When I Fall In Love
[2:32] 12. Them There Eyes
[5:31] 13. I'll Be Seeing You
[1:57] 14. Taking A Chance On Love
[4:33] 15. What A Wonderful World
[3:31] 16. That's All

Hope is never lost; it is something you have to hold onto to stay strong. And it is something that we have a duty to show and give to others. It “keeps life moving” and pulls us out of any dark situation. Continue to hope and make your dreams a reality. -Mandy

Sometimes you know…you just know! The instrumentation is tight and crisp. The songs are classic and timeless. The vocals are rich and captivating. And you know why a simple CD can comfort, entertain and inspire. It just makes you smile.

“Smile” is a collection of Jazz standards featuring vocalist Mandy Harvey. Give a listen and you’ll find yourself settling into an experience resembling a conversation for a close friend: familiar, yet enriching. This CD is also an expression of hope. Nearly three years ago, Mandy experienced an unexpected and profound hearing loss. Though legally deaf, she continues to sing. You will hear the music of her heart…and it will make you smile.

Mandy lives in Denver and is a frequent performer at Dazzle Jazz. Her love for music and singing has been years in the making. She was selected as the top female vocalist of her high school and entered the Music Education program at Colorado State University. During her freshman year she lost her hearing and left the university. While her dream of becoming a music teacher has died, the music is still alive and well within her.

Though her hearing loss is profound (110 decibels in each ear) her timing, pitch and passion are perfect. With support from friends, family and her faith, Mandy continues to find joy in the music. Smile!

Smile

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Christian Howes - Southern Exposure

Bitrate: 320K/s

Time: 66:55

Size: 153.2 MB

Styles: Flamenco, Latin jazz

Year: 2013

Art: Front

[7:39] 1. Ta Boa, Santa [are You Ok, My Dear]

[6:52] 2. Aparecida

[8:18] 3. Oblivion

[6:04] 4. Cubano Chant

[7:09] 5. Sanfona [concertina]

[5:46] 6. Cancion De Amor [love Song]

[4:55] 7. Heavy Tango

[6:19] 8. Choro Das Aguas [the Water's Cry]

[4:46] 9. Tango Doblado [bent Tango]

[3:48] 10. Spleen

[5:12] 11. Gracias Por Ilustrarnos [thank You For Teaching Us]

Violinist Christian Howes moves away from the soulful blues and funky jazz of his 2010 album, Out of the Blue, and delves deep into flamenco and Latin rhythms on 2013's Southern Exposure. Featuring accordionist Richard Galliano, as well as pianist Josh Nelson, bassist Scott Colley, and drummer Lewis Nash, Southern Exposure is fluid, passionate set of songs that showcase both Howes' and Galliano's affinity toward mixing swinging jazz with Argentinian tango, languid ballads, and a few more progressive and adventurous cuts, like their take on Ray Bryant's fiery "Cubano Chant." Besides his and Galliano's stellar original compositions, Howes also includes songs by Astor Piazzolla and Paco de Lucía. ~ Matt Collar

Christian Howes (violin); Richard Galliano (accordion); Josh Nelson (piano); Lewis Nash (drums).

Southern Exposure

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Connie Evingson & the Hot Club of Sweden - Stockholm Sweetnin'

Styles: Gypsy Jazz, Hot Club, Vocal
Label: Minnehaha Music
Released: 2006
File: mp3 @320K/s
Size: 146,7 MB
Time: 64:04
Art: full

1. Stockholm Sweetnin' - 4:24
2. It's Alright with Me - 4:23
3. Lover Man - 5:10
4. Comes Love - 4:02
5. Swingin' the Blues - 3:44
6. Besame Mucho - 6:36
7. If I had You - 4:37
8. Windmills of your Mind - 4:01
9. I Can't Give you ANything but Love - 2:55
10. In a Sentimental Mood - 4:24
11. Throw it Away - 3:55
12. Out of Nowhere - 3:26
13. Si Tu Savais - 5:16
14. After You've Gone - 3:10
15. Autumn in Kokkola - 3:55

Personnel:
Connie Evingson - vocals

The Hot Club of Sweden
Gustav Lundgren - guitars
Andreas Öberg - guitars
Hampus Lundgren - bass

special guests
Fredrik Lindborg - tenor saxophone
Marc Anderson - percussion
Tony Baluff - clarinet
Dan Chouinard - accordion
Jay Epstein - drums
Joan Griffith - Spanish guitar intro on Besame Mucho

Notes: With only email for introductions and planning, Connie and The Hot Club of Sweden met at Real Music Studios in Stockholm in January, 2006 and recorded 15 tunes in 2 1/2 days. "The recording process was magic," she said later. "It's the most enjoyable time I've ever had in the studio." And the result, Stockholm Sweetnin,' is both stunning and uniquely Connie. Hot Club of Sweden guitarists Gustav Lundgren and Andreas Öberg and bassist Hampus Lundgren form the core rhythm section, with brilliant solo turns by each player. Guest artists from both sides of the Atlantic add their unique voices on saxophone, clarinet, accordion and percussion, but the most distinctive voice belongs to Connie, as vocalist, arranger, and lyricist (on Öberg's "Autumn in Kokkola").

Vocalist Connie Evingson is known for taking divergent musical paths. Her eclectic catalog of recordings for Minnehaha Music covers such varied themes as Peggy Lee, the Beatles, jazz elders, and most recently "hot club" music a la Django Reinhardt and Stephane Grappelli (Gypsy in My Soul, '04). But rather than taking another divergent turn, Connie's continuing love affair with gypsy jazz and a chance meeting with a young hot club group from Sweden inspired her to delve deeper into the Django style before moving in another direction. "I had already planned my next project (a collection of Dave Frishberg tunes, with Frishberg at the piano)," says Evingson, "but when I heard The Hot Club of Sweden, I realized I wasn't done exploring the gypsy jazz genre."

Read more

Stockholm Sweetnin'

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Dee Daniels - Let's Talk Business

Styles: Vocal Jazz
Year: 1990
File: MP3@320K/s
Time: 45:47
Size: 104,9 MB
Art: Front

(4:10)  1. Let's Talk Business
(4:26)  2. The Right Time
(5:00)  3. I Got This Bridge I Want You To Buy
(6:28)  4. Let Me Love You Tonight
(3:07)  5. Walking On A Tightrope
(3:32)  6. Battle Hymn Of The Republic
(5:05)  7. Please Send Me Someone To Love
(2:47)  8. Baby What You Want Me To Do
(4:37)  9. The Night Life
(3:23) 10. I Set Myself Free
(3:06) 11. Inchworm

A passionate blues singer who is greatly influenced by jazz as well as gospel, Dee Daniels doesn't hesitate to wail and let it rip on Let's Talk Business. This rewarding CD finds Daniels enjoying the solid jazz backing of pianist Larry Fuller and the leaders of the Clayton/Hamilton Orchestra , Jeff Clayton (sax), brother John Clayton (bass) and Jeff Hamilton (drums)  and their sense of spontaneity is a definite asset on everything from Lou Herman's familiar "The Right Time" and Percy Mayfield's "Please Send Me Someone To Love" to Daniels' own "Let Me Love You Tonight." One of the album's most enjoyable surprises is Jimmy Reed's "Baby, What You Want Me To Do" while Reed had a laidback, relaxed vocal style, the big-voiced, emotional Daniels digs into the song in a very aggressive way. This obscure, little-known release is definitely worth trying to find.~Alex Henderson 

http://www.allmusic.com/album/lets-talk-business-mw0000270616

Let's Talk Business

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Linda Lavin - Possibilities

Styles: Vocal, Jazz
Year: 2012
File: MP3@320K/s
Time: 41:52
Size: 97,4 MB
Art: Front

(4:33)  1. It Might As Well Be Spring
(1:55)  2. Hey, Look Me Over
(3:07)  3. There's A Small Hotel
(5:56)  4. In Love Again
(4:18)  5. Corcovado (Quiet Night Of Quiet Stars)
(2:43)  6. 'Deed I Do
(3:26)  7. It Amazes Me
(2:50)  8. You've Got Possibilities
(3:26)  9. Rhode Island Is Famous For You
(3:41) 10. The Song Remembers When
(2:18) 11. Walk Between Raindrops
(3:33) 12. Two For The Road

It’s only her first CD, but it’s safe to say that the kid’s a comer. Veteran actress Linda Lavin, whose long career includes extensive musical theater credits, has just released her debut recording, Possibilities (Ghostlight Records). The performer, best known for her starring role in the long-running hit television series Alice and currently on a career role with successive acclaimed stage appearances in the off-Broadway production of Other Desert Cities, the Washington, D.C. production of Follies, and the recent hit play The Lyons sparkles in this collection of pop and Broadway standards.

Featuring musical direction, arrangements and piano by cabaret/theater stalwart Billy Stritch (he also contributes vocals to “Corcovado”), the disc includes such classics as “It Might as Well Be Spring,” “It Amazes Me,” “In Love Again,” “There’s a Small Hotel,” and “Two for the Road.” Although Lavin’s voice is not the most powerful of instruments, her supple phrasing and sweet way with a lyric are consistently delightful.

The disc includes liner notes by director Hal Prince, with whom Lavin first worked a mere half century ago on the musical A Family Affair.(http://scheckonthearts.com/blog6.php/2011/12/21/review-linda-lavin-s-cd-ligpossibilitiesl-ig).

Possibilities

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Rani Arbo - Big Old Life

Styles: Country
Year: 2007
File: MP3@320K/s
Time: 46:52
Size: 108,3 MB
Art: Front

(3:54)  1. Joy Comes Back
(3:42)  2. Big Old Life
(2:35)  3. Red Haired Boy
(4:22)  4. Roses
(3:46)  5. What’s That
(4:48)  6. Thief
(4:25)  7. Heart With No Companion
(3:31)  8. Oil In My Vessel
(4:28)  9. Farewell, Angelina
(4:31) 10. Mother Of Our Dreams
(3:08) 11. Hole In Heaven
(3:37) 12. Shine On

Big Old Life is an album bursting with fun and exuberance, the quartet known as Daisy Mayhem balancing a tight sound with spirit that translates perfectly through stereo headphones. "Joy Comes Back," a song composed by Sean Staples of the band the Resophonics (a group with Paul Kochanski of the Swinging Steaks to give the reader a point of reference) opens this terrific blend of old and new sounds with something that can only be described as gospel music played at a hootenanny. Deb Pasternak, Polly Fiveash, Rose Sinclair and Indra Rios-Moore all add to the backing vocals, which make it sound like a big old party, as much as a big old life. And speaking of the title track, Loretta Lynn would be proud of this Arbo original, Anand Nayak's smart guitar playing halfway to Hawaii, the hootenanny morphing into a luau. 

The traditional "Red Haired Boy," with lyrics by Rani Arbo, is an interesting role reversal while the cover of "Thief" gives the music a 180, bluesy and deep, an eloquent change of pace from the incessant up-tempo "mayhem." Leonard Cohen's "Heart with No Companion" has Andrew Kinsey's banjo front and center with Arbo's fiddle falling in and rounding out the mood. Bob Dylan's "Farewell, Angelina" has an interesting production by the band and Chris Rival, harmonica from Ben Ross and the fiddle-gone-wild giving Zimmerman something different to think about. The cardboard fold-out cover is chock-full of pictures like the band is auditioning for a Beatles or Herman's Hermits film, photos with smiles that reflect the very polished and exciting work within. In the '80s and '90s Boston had a regional act called Country Bumpkin which had the buzz and were a favorite for quite some time. Daisy Mayhem fill that void nicely while front woman Rani Arbo proves she could be the Kitty Wells of the new millennium by delivering this heartfelt disc which is very deserving of your time and ear. ~ Joe Viglione  http://www.allmusic.com/album/big-old-life-mw0000576404

Big Old Life

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Robin Nolan Trio - Mediterranean Blues

Styles: Straight-ahead/Mainstream
Year: 2001
File: MP3@320K/s
Time: 63:31
Size: 145,4 MB
Art: Front

(3:42)  1. Mediterranean Blues
(3:52)  2. Friar Park
(8:03)  3. Song For Carolyn
(6:24)  4. And Then There Were Three
(5:43)  5. Luna Tango
(6:23)  6. Bar Del Pi
(5:26)  7. From The Banks Of The Odra
(7:10)  8. Bolero Blue
(4:45)  9. El Puente
(6:23) 10. Trouble In Paradise
(5:35) 11. Where Do We Go From Here

Every now and then a performer achieves success in the music business without the ‘benefit’ of a major record company. The Robin Nolan Trio is one such story. Drawing their initial style and repertoire from the Django Reinhardt-inspired “gypsy jazz” movement, the group’s genesis dates to 1991 when Nolan, a student at London’s famed Guildhall School of Music, met bassist Paul Meader. With the addition of Anthony Williams on rhythm guitar, they formed a trio dedicated to performing the music of Reinhardt. Beginning with cafés and small jazz clubs in the early ‘90s they’ve managed to work their way toward international renown. They’ve also played at several of the most prestigious international jazz festivals, including the Montreal, Barcelona, North Sea and Django Reinhardt jazz festivals, making their U.S. debut at the Tropical Heat Wave Festival in Tampa, Florida. (They’ve even made into the silver screen: two of the songs included here, “And Then There Were Three” and “From The Banks Of The Odra,” were featured in the Joan Chen film Autumn In New York, starring Richard Gere and Wynona Ryder.)

The Trio also released six self-produced CDs between 1994 and this year, selling them at gigs and through the Internet. The record companies aware of the group’s popularity and A & R men came sniffing around, but their silver-tongued appeals fell on skeptical ears: “It is a very weird business after all, full of very weird people. To begin with most of these people can't play an instrument and their respect for you is based on how much cash you might or might not make them,” according to Nolan. “This gets a little confusing for everybody involved when they start telling you what is good and what is not good for your music, based on the latest marketing figures . . .”

Fortunately, not all record companies are driven by the bottom line. One notable exception is Refined Records, a small in San Francisco-based jazz label “dedicated to furthering the art of acoustic performance,” according to the label’s press release. When Refined Records head J. Robert Roy heard the Robin Nolan Trio playing on Amsterdam’s famous Leidseplein, in 1995 he knew that they would be perfect for his new label.

Mediterranean Blues serves as an excellent introduction to both the label’s philosophy and the music of RNT. Though they began as an acoustic trio in the “gypsy jazz” tradition mentioned above, The Robin Nolan Trio isn’t content to merely recreate Django-style swing. Song titles like “Luna Tango,” “Bolero Blue,” “Bar Del Pi” and “El Puente” indicate the strong Latin influences, and Latin percussion and dance rhythms are prominently featured in the group’s music. Bassist Paul Meader, who provides tasteful accompaniment and well-conceived contrapuntal solos, ably supports Nolan’s skillful and imaginative playing. 

Both are given plenty of room to stretch out on the eight-minute “Song For Carolyn” and the Beatlesque “Friar Park,” composed in honor of George Harrison. (Harrison was an early champion of RNT and often books the trio to entertain in his home.) For those of us with a taste for jazz that still has le joie de vivre, this is an album for you, full of romance and refinement.  Good jazz ain’t dead, it’s where you find it.~ Derek Brown    

http://www.allaboutjazz.com/php/article.php?id=8168#.UmKtHBAuf-I

Personnel: Robin Nolan-solo guitar, Paul Meader-bass, Kevin Nolan-rhythm guitar, Jan P. Brouwer-rhythm guitar, Nema Lopes-percussion

Mediterranean Blues

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Brian Auger, Pete York & Chris Farlowe - Olympic Rock & Blues Circus

Bitrate: 320K/s
Time: 41:14
Size: 94.4 MB
Styles: R&B, Blues vocals
Year: 1988/2007
Art: Front

[5:05] 1. New Orleans Street March
[3:48] 2. I Never Loved A Girl
[5:25] 3. Motorboat
[5:08] 4. The Devil Rides The Speed Boat
[5:22] 5. Crocodile Or I Don't Think I Can Keep My Mouth Open For That Long
[4:28] 6. Everything's Wrong
[5:09] 7. Fast & Loose
[3:52] 8. Another Song
[2:53] 9. Wade In The Water

British rhythm and blues in its purest form. Drummer Pete York, keyboardist Brian Auger and Chris Farlowe, the darkest voice this side of the Atlantic plus brass instruments - all in a hot session.

All tracks recorded at Tonstudio Bauer Ludwigsburg, December 22, 1981.

Bass – Steve Richardson; Brass [Section] – Masters Of Desaster; Drums – Charly Eichert, Pete York; Guitar – John Marshall; Organ – Brian Auger; Piano – Brian Auger; Tenor Saxophone – James Campagnola; Trombone – Andrew Pet; Trumpet – Jeff Reynolds; Vocals – Chris Farlowe.

Olympic Rock & Blues Circus

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Ana Salvagni - Alma Cabocla

Bitrate: 320K/s
Time: 54:24
Size: 124.6 MB
Styles: Brazilian folk-jazz vocals
Year: 2009
Art: Front

[3:09] 1. Bia Ta Ta
[3:14] 2. Dedo Mindinho
[3:13] 3. Sussuarana
[3:44] 4. Voce
[3:41] 5. Côcos
[2:55] 6. Lavaderinha
[3:25] 7. Leilao
[3:38] 8. Guacyra
[3:15] 9. Engenho Novo
[5:35] 10. Favela
[3:34] 11. Casa De Caboclo
[3:06] 12. "Eu Vi..."
[3:50] 13. Era Aquilo Se
[2:21] 14. Moleque Namorador
[3:54] 15. Caboclo Bom
[1:42] 16. Acalanto

I sing here a bit of the beautiful work of Hermeto Hekel Tavares (1896-1969), especially the compositions of the late 1920s and early 30s, language predominantly popular, unlike its erudite later stage. I knew about 70 songs from his repertoire through sheet music and old recordings. Between the choice of repertoire and the recording of the CD, it was a long way, but being next to all the wonderful artists who came along with me was also good. With the satisfaction of those who made ??a great discovery, I share with you this treasure - poetry, simplicity, inspiration. May the music of Hekel Tavares keep you warm and touch you deep inside your “mestizo” souls. ~Ana Salvagni

16 songs composed between 1927 & 1940 by Hekel Tavares (1896-1969) from Alagoas State. Popular repertoire with strong references to Slaves music. With Renato Braz Nailor Proveta Paulo Braga Fil¢ Machado & Toninho Ferragutti.

Alma Cabocla

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Charlie Parker, Dizzy Gillespie & Miles Davis - Riff Raff

Bitrate: 320K/s
Time: 41:00
Size: 93.9 MB
Styles: Saxophone jazz, Trumpet jazz, Bop
Year: 2001
Art: Front

[2:41] 1. Scrapple From The Apple
[3:04] 2. Riff Raff
[2:56] 3. Ornithology
[3:19] 4. Don't Blame Me
[2:56] 5. Cool Blues
[3:02] 6. Bebop
[3:00] 7. How high the moon
[2:53] 8. Slow boat to China
[2:55] 9. Relaxin' At Camarillo
[2:26] 10. Big foot
[2:26] 11. The Gypsy
[2:35] 12. Carvin' The Bird
[2:59] 13. Bird Feathers
[3:41] 14. Barbados

There are few jazz artists who pack the emotional and sensual punch of Miles Davis. He learned his craft from Charlie and Dizzy, then moved on to be one of the founders of the “cool jazz” movement that removed much of the excess of Bebop while retaining its willingness to expand the medium beyond the traditional. As his career advanced, Miles frequently confused jazz zealots by wandering outside of the genre for inspiration. His rock-jazz fusion work popularized in Bitches Brew caused as much consternation in the jazz world as Bob Dylan’s electrically-charged performance at the Newport Folk Festival did in the folk world. ~altrockchick

Riff Raff

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Randy Brecker - Randy In Brasil

Styles: Latin, World
Year: 2008
File: MP3@320K/s
Time: 54:15
Size: 124,2 MB
Art: Front

(4:29)  1. Pedro Brasil
(2:17)  2. Ile Aye
(6:03)  3. Guaruja
(4:22)  4. Me Leve
(5:29)  5. Malasia
(5:11)  6. Sambop
(3:30)  7. Oriente
(3:49)  8. Maca
(4:26)  9. Olhos Puxados
(5:14) 10. Rebento
(4:20) 11. Fazendo Hora
(5:02) 12. Aiaiai

Perhaps unfairly overshadowed by his brother, the late saxophonist Michael Brecker, Randy Brecker has, nevertheless been one of the most significant trumpeters of the past forty years. While his small discography as a leader contains as many misses as it does hits, he's brought a unique voice to countless sessions, working with everyone from Horace Silver, Steve Khan and John Scofield to Steely Dan, Parliament and Frank Zappa, not to mention redefining the concept of fusion as co-leader of Brecker Brothers. Brecker's tone a curious combination of warmth and bite and a harmonic approach that, like Scofield, manages to tread the fine line between the in and the out, all the while possessing a keenly constructed melodic sense, makes him immediately recognizable in any context. Recorded in Brazil with a large cast of talented players, Randy in Brasil is Brecker at his most accessible, with style and substance on equal footing.

The lack of a core group often results in a generic sound that looks to the leader for definition, and Brecker's voice clearly gives Randy in Brasil its primary focus. Still, the participation of keyboardist/producer/arranger Ruria Duprat and guitarist Ricardo Silveira on all tracks lends the session a cohesion most "cast of thousands" projects lack. The material is largely culled from popular Brazilian writes including Djavan, Gilberto Gil, Ivan Lins and Joao Bosco, though Brecker's two contributions the breezy ballad "Guaruja" and up-tempo, samba-esque yet characteristically funkified "Sambop" fit seamlessly into the program.

The Brecker Brothers often dabbled with broader cultural styles, and Brecker is no stranger to Brazilian music having guested with Flora Purim, Joao Donato and Hector Martignon. Most remarkable about Randy in Brasil is perhaps how he places a firm stamp on the music, with a sometimes pervasive Brecker Brothers vibe despite the lack of a rhythm section on most tracks. Duprat's appreciation for Brecker's distinct horn voicings makes Lins' funky, synth bass-driven "Aiaiai" feel, in fact, as if it were drawn straight from The Brecker Brothers' songbook.

Equally, Brecker adapts effortlessly to the cadence of Brazilian rhythmic forms like bossa nova and samba. There's no denying the Brazilian groove of Gil's bright "Ile Aye," the contemporary vibe of Djavan's "Me Leve" or the light, airy feel of Bosco's "Olhos Puxados." Throughout, Brecker solos with attention to the tune's melodic and percussive essence navigating his own winding changes on "Sambop" as he constructs a solo of narrative perfection that demonstrates his full range, and displaying equal focus but greater lyrical simplicity on "Olhos Puxados."

As a leader, Brecker's albums have sometimes lacked a clear focus or, in the case of Hanging in the City (ESC, 2001), a misplaced one with his vocal alter-ego Randroid. With its lush sound, beautiful song choices and ideal mesh of Brazilian culture and Brecker's singular voice, Randy in Brasil stands as one of his finest if not the finest albums in his long and varied career. ~ John Kelman   http://www.allaboutjazz.com/php/article.php?id=30960#.UmCEVhAuf-J

Personnel: Randy Brecker: trumpets; Paulo Calazans: acoustic piano (1, 5, 8), keyboards (8); Ruria Duprat: keyboards (1-3, 5-8, 10-12), acoustic piano (4, 9), Fender Rhodes (12), clavinet (12), voice (2); Ricardo Silveira: acoustic guitar (1, 3, 5-11), electric guitar (1, 2, 4, 6, 9, 12); Sizao Machado: acoustic bass (1, 3, 4, 6, 7, 9, 10), electric bass (2, 8, 12); Teco Cardoso: soprano saxophone (1, 4, 9, 12); alto saxophone (2, 4, 12), tenor saxophone (2, 6, 12), baritone saxophone (2, 6), saxophone (3), G-flute (5), flute (8); Da Lua: percussion (1-3, 11, 12), timba (1); Andre Mehmari: acoustic piano (3, 6, 7); Robertinho Silva: drums (4, 6, 8); Joao Parahyba: percussion (4, 6, 8-10), timba (6, 8-10); Paolo Calazans: acoustic piano (5, 8), keyboards (8); Caito Marcondes: percussion (5, 7); Gilson Peranzetta: acoustic piano (11); Rogerio: acoustic bass (11); Edu Ribeiro: drums (12); Rubinho Ribeiro: voice (6).

Randy In Brasil

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Lisa Bell - It's All About Love

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 52:38
Size: 120,5 MB
Art: Front

(4:54)  1. It's All About Love
(4:50)  2. When I Wish
(4:32)  3. Don't Wait Forever
(4:31)  4. She's Not Right For You
(4:42)  5. Ain't Divorce Grand
(4:06)  6. Along the Beaches
(4:00)  7. Here I Am
(4:10)  8. Mary Had a Little Plan
(4:04)  9. You'll Find Me
(4:50) 10. Faraway Friends
(3:43) 11. When You Look For Love
(4:11) 12. Burning Desire

Lisa Bell, who has a warm and attractive voice, performs music that is jazzy but crosses into other musical genres at times, a bit like Norah Jones, whom she recalls on the title cut of It's All About Love. A superior singer/songwriter, Bell wrote or co-wrote eight of the 12 selections on It's All About Love, all of which have to do with love of some sort. Based in Colorado, Bell mostly uses top local players including pianist John Armstrong, who co-wrote much of the material. Whether called jazzy pop or pop-oriented jazz, this set shows that Bell is a fine writer and a singer well worth hearing. Some of the tunes, including the title cut, "Ain't Divorce Grand," and "When You Look for Love," deserve to be covered by other singers. ~Scott Yanow  http://www.allmusic.com/album/its-all-about-love-mw0000344136

It's All About Love

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David Hazeltine - Modern Standards

Bitrate: 320K/s
Time: 57:28
Size: 131.6 MB
Styles: Piano jazz
Year: 2005
Art: Front

[7:09] 1. Witchcraft
[6:42] 2. A House Is Not A Home
[5:17] 3. Yesterday
[5:23] 4. Who Can I Turn To (When Nobody Needs Me)
[5:58] 5. How Deep Is Your Love
[7:54] 6. Moment To Moment
[6:24] 7. A Time For Love
[5:30] 8. Somewhere
[7:07] 9. For The Love Of You

On this set, pianist David Hazeltine performs songs from the 1960s and '70s. While "Witchcraft," "Who Can I Turn To," "Moment to Moment," "A Time for Love," and "Somewhere" (along with, to a lesser extent, "A House Is Not a Home") have all long ago qualified as jazz standards, the other selections, by the Beatles, the Bee Gees, and the Isley Brothers, are a bit off the wall. However, Hazeltine manages to swing each of them, turning the music into viable devices for his trio. Certainly "How Deep Is Your Love" has never been swung this hard. The overall playing is high quality if conventional, with the repertoire and Hazeltine's inventive solos (along with his close interplay with bassist David Williams and drummer Joe Farnsworth) making this outing stand apart from many of the other current trio recordings. ~ Scott Yanow

Recording information: Systems Two Studios, Brooklyn, NY (12/01/2004).

David Hazeltine (piano); David Williams (double bass); Joe Farnsworth (drums).

Modern Standards

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Allison Adams Tucker - Come With Me

Bitrate: 320K/s

Time: 44:02

Size: 100.8 MB

Styles: Contemporary jazz vocals, World music

Year: 2008

Art: Front

[3:33] 1. World On A String

[3:12] 2. My Funny Valentine/Sakura

[2:50] 3. Blue Skies

[3:08] 4. La Vie En Rose

[4:04] 5. I'll Be Seeing You

[3:10] 6. Rosa

[4:08] 7. You Got Me

[4:36] 8. The Sea

[3:34] 9. Volver

[4:42] 10. You Belong To Me

[2:59] 11. O Barquinho

[3:59] 12. Over The Rainbow

Multi-lingual vocalist Allison Adams Tucker has a passion for world cultures and the communication of music that binds us all. She began singing before she could speak, raised in the home of classically trained musician parents in the Southern California city of San Diego, and has performed in front of audiences since her childhood. Her love for studying languages also began at a young age, and she has gone on to live, study, and sing in 6 languages besides her own. Her travels have taken her to over 12 countries, with a large piece of her heart and her life spent in Japan and Latin America. This "wanderlust" is distinctive in the music she chooses today. Give a listen and come with her on a journey that evokes images of sounds, generations, and lands both distant and in our own backyard.

"Come With Me" is Allison's debut release and includes an eclectic mix of swing, ballads, gypsy jazz, and Latin rhythms with a global celebration of songs from Japan, France, Argentina, Brazil, and the U.S.

Recorded and engineered by Peter Sprague at SpragueLand Studios - San Diego, CA.

Featuring: Kamau Kenyatta, piano/arrangement (Hubert Laws, Earl Klugh, Patti Austin) - Peter Sprague, guitar (Chick Corea, Dianne Reeves, David Benoit, Sergio Mendes) - Derek Cannon, trumpet (Natalie Cole, The Four Tops, The Temptations) - Evona Wascinski, bass - Dylan Savage, drums - Fabio Oliveira, percussion - Louisa West, flute - Reiko Obata, Japanese koto harp - Ray Suen, violin - Patrick Berrogain, French guitar - Danny Green.

Come With Me

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John Cocuzzi Quintet - Swingin' And Burnin'

Bitrate: 320K/s
Time: 65:59
Size: 151.1 MB
Styles: Swing, Straight ahead jazz
Year: 2000
Art: Front

[3:39] 1. Benny's Bugle
[6:48] 2. Broadway
[5:11] 3. What Did I Do To Be So Black And Blue?
[6:48] 4. Things Ain't What They Used To Be
[5:18] 5. Crazy 'bout My Baby
[4:27] 6. Slipped Disc
[6:39] 7. Cheek To Cheek
[3:23] 8. You're Nobody 'til Somebody Loves You
[6:07] 9. I Don't Stand A Ghost Of A Chance With You
[4:23] 10. Oh, Lady Be Good
[3:44] 11. The Curse Of An Aching Heart
[4:52] 12. Comes Love
[4:34] 13. 'tis Autumn

John Cocuzzi is a versatile, talented multi-instrumentalist jazz musician who, with his quintet, stretches out for an entertaining 60 minutes-plus of solid, straight ahead jazz on this very good album. A Washington, D.C. native, Cocuzzi gained an appreciation of jazz at an early age listening to his record collection and to his father, who was a percussionist with the U.S. Marine Band. Initially studying piano and then drums after hearing Lionel Hampton, vibes were added to his arsenal of instruments. Swingin' and Burnin' revisits the small group swing of the '30s and '40s popularized by Benny Goodman, Hampton, Artie Shaw, and others. Cocuzzi adds his own flavor along with some artful arrangements to such warhorses from the past as "Slipped Disc," "Benny's Bugle," and "You're Nobody Till Somebody Loves You." On the latter, Cocuzzi shows off his vocal skills along with a boogie woogie piano. "Broadway" epitomizes the adroit swinging of the quintet, with each member of the group getting a chance to show their wares during the seven minutes they devote to this Teddy McRae/Bill Bird melody. The New Orleans idiom is represented on the CD as well with "What Did I Do to Be So Black and Blue?" This tune, a favorite of Louis Armstrong, is done slow drag featuring muted vibes' mallet by Cocuzzi working with a very soulful clarinet by Allan Vaché. This track is one of the highlights of the album. This session is in no way limited to up beat "swingin' and burnin'" pieces. There's some pretty slow stuff here as well. "Ghost of A Chance" features electrically enhanced Cocuzzi vibes, coupled with some imaginative bass by John Previti. "Cheek to Cheek" belongs to veteran Washington D.C. guitar player, Steve Abshire. Abshire, who has graced the albums of jazz diva Ronnie Wells, plays in a calm, flowing fashion bringing out the best this lovely melody has to offer. "Things Ain't What They Used to Be', another slow piece, spotlights a bluesy Cocuzzi piano with Big John Maher's drums laying a solid foundation. Vaché and Cocuzzi, on clarinet and vibes respectively, combine on a striking"Comes Love" with Vaché's impulsive and sometimes wailing clarinet recalling Artie Shaw's 1949 rendition. The album's coda brings Cocuzzi's cheerful voice to the mike again in a pretty rendition of "'Tis Autumn" accompanying himself on the piano and showing a romantic side with the ivories. This is an agreeable ending to a highly recommended album. ~ Dave Nathan

Recorded at Mapleshade Studio, Upper Marlboro, Maryland on July 12 & 13, 1999.

John Cocuzzi (vocals, vibraphone, piano); Allan Vache (clarinet); Steve Abshire (electric guitar); John Previti (bass); Big Joe Maher (drums).

Swingin' And Burnin'

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Karen Gallinger - Live At The Jazz Bakery

Styles: Vocal, Jazz
Year: 1994
File: MP3@320K/s
Time: 50:57
Size: 116,6 MB
Art: Front

(3:59)  1. Softly As In A Morning Sunrise
(3:53)  2. Long Ago And Far Away
(5:15)  3. Makin' Whoopee
(7:16)  4. The Song Is You
(5:34)  5. Lost In The Stars
(5:52)  6. Estate (In Summer)
(4:13)  7. It Could Happen To You
(4:20)  8. Do Nothing Till You Hear From Me
(5:34)  9. So Many Stars
(4:56) 10. Scrapple From The Apple

One of Southern California's more active jazz singers, Karen Gallinger makes her recording debut with a live performance at the famous jazz watering hole, the Jazz Bakery. The "active" as it applies to Gallinger means not only the number of gigs she plays, but the way she prances on this album. Upbeat, loose, and definitely hip, Gallinger shines as she delivers a play list of ten tunes, mostly familiar standards she infects with a large dose of freshness. The centerpiece is a seven-minute romping of "The Song Is You." 

Not only does Gallinger take this tune on a hair-raising vocal roller coaster ride, it's also one of the frequent occasions where the fine rhythm section of Jack Reidling, Tom Warrington, and Joe LaBarbera are given the freedom to express themselves. Their playing is important to making this CD as attractive as it is. While the temperature cools down on such tunes as "Estaté," Gallinger's husky, smoky voice still pulsates, here adding a touch of sensuality to help capture the picture of sultry summer this tune creates. Most of the time, Gallinger and her cohorts are moving along at a speedy pace. Gallinger manages to sing up-tempo while keeping her precise diction intact, no slurring of words here. It's also here and elsewhere that Gallinger makes apparent she is well-versed in the importance of selectively using her scatting skills to make a musical point without drowning the tune. The most emotional moment on the session is a poignant rendition of "Lost in the Stars," where Gallinger uses the full force of her vocal skills for her emotional reading, which she dedicates to a friend in need. This album is an excellent first effort by a very talented vocalist. ~Dave Nathan   http://www.allmusic.com/album/live-at-the-jazz-bakery-mw0000126138

Live At The Jazz Bakery

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Beata Pater - Golden Lady

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 54:32
Size: 126,0 MB
Art: Front

(4:56)  1. Wild Is the Wind
(6:33)  2. The Day It Rained
(4:29)  3. Turned to Blue
(3:33)  4. Save Your Love for Me
(3:00)  5. I Don't Remember Ever Growing Up
(5:30)  6. I Live to Love You
(6:03)  7. This Is All I Ask
(5:29)  8. Golden Lady
(5:52)  9. If You Went Away
(5:27) 10. Someone to Light Up My Life
(3:35) 11. A Little Tear

This is an album created by a uniquely formed jazz trio whose artistic chemistry surpasses cultural distinctions, led by vocalist Beata Pater whose international jazz career earned her a CBS/Sony recording contract during her ten years in Japan.
It was twenty-five years ago on one of the rare day’s that Beata wasn’t performing or traveling Japan that she serendipitously met pianist Hiromu Aoki. Arduously searching for the right pianist to complete her trio  after finding Serbian-born acoustic bass player Buca Necak  she decided to visit a jazz club in her then hometown of Yokohama. It was here that Beata heard a performance by pianist Hiromu Aoki for the very first time. “Immediately I knew he was ‘the one’,” Beata recalls. Instantly drawn to the pianist, she introduced herself after the performance, eagerly convincing him to take the hour’s drive with her into Tokyo to hear the acoustic bass player perform, in spite of them being strangers.

After Aoki heard Buca’s performance, they instantly fell in love with each other’s artistry, as all three perfectly clicked. “Trying to form a band with the [right] chemistry where everyone’s ‘on purpose’,” as Beata explains, “is difficult and contingent on musicianship and style.” That was the night this musical partnership began, continuing to this day - their musical acquaintance over twenty-five years is a natural connection that ignites each time they perform.  http://www.beatapater.com/album/goldenlady/

Golden Lady

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Michael Davis - Tango Bossa

Styles: Jazz, Bossa Nova
Year: 2013
File: MP3@320K/s
Time: 38:40
Size: 90,0 MB
Art: Front

(2:14)  1. The Conversation
(3:51)  2. Mambo Alice
(3:58)  3. Simple Smooth
(4:11)  4. The Little Rumba
(5:07)  5. Not Now
(4:06)  6. Romance and Time
(2:22)  7. I Think of You
(4:57)  8. Tango Bossa
(3:16)  9. Paris Nights
(4:33) 10. Samba De Romance

A creative mixture of instrumental Brazilian Jazz, Spanish jazz (tangos and rumbas), and smooth jazz. Original music with a fresh twist of hip harmonic, melodic and rhythmic surprises. Featuring the 7 string guitar in solo, trio and quartet sounds.

“I am a full time guitarist/composer. I write a creative mixture of instrumental Brazilian Jazz, Spanish jazz (tangos and rumbas), smooth jazz and much more. Original music with a fresh twist of hip harmonic, melodic and rhythmic surprises. Featuring the 7 string guitar in solo, trio and quartet sounds.

One of my original compositions, A WARM SMILE, (solo 7 string classical guitar) is featured in Fingerstyle Guitar Magazine, issue 68 (a nationally published magazine). The Warm Smile CD can be purchased at this site.

I write for solo electric and nylon string guitar and small ensembles (bass, keyboard and percussion. I am currently writing rumbas, tangos and smooth jazz with a fresh new sound of harmony and melody. I have recently started a TV/Movie sound track writing company. See my website for details.“

 ~ Michael Davis  http://www.cdbaby.com/cd/michaeldavis6

Tango Bossa

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Mike Field - Rush Mode

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 47:30
Size: 108,8 MB
Art: Front

(4:33)  1. Rush Mode
(5:36)  2. Play for You
(5:12)  3. El Sótano
(6:23)  4. Red Eye Blues
(5:37)  5. Intersection
(6:01)  6. The Last of the Summer Days
(5:57)  7. Arizona Avenue
(4:04)  8. Balkan Swing
(4:04)  9. Streets of Santa Monica

The beauty of The Rex is that it’s very cleverly advertised, but not in the way of overt messaging. Rather, its allure lies in the cracked open window that aurally seduces passers-by with its whispers of jazzy music built upon years of promise. And once you resigned yourself to another temptation, you would have been treated to ocher-painted walls and a chandelier giving the stage a warm glow. The only thing missing were the ashtrays and smoky air, rendered obsolete by law.

On Oct. 6, 2013, trumpeter Mike Field was the latest fare to taste, giving jazz fans a wide open look at his latest CD, Rush Mode. Dressed in an open white shirt, single-breasted black jacket and slim fit pinstriped slacks, Field had the crowd eating out of his hand. It was evident that most of the crowd hadn’t just wandered in off the street that night, with the place so filled you could only find a seat or two if you didn’t mind being separated from your pack.

Field’s music selection was so varied and interesting, it was nigh impossible to remember one song as standing above another. “Attic Jump”, a peppy tune, featured Field playing his trumpet bright and snappily the way a good jazz trumpet should sound. It’s easy to lose yourself in jazz and forget how inherently difficult playing it can actually be, and a good musician keeps it that way for the entire song. When Field and Metcalfe worked together in combination, each snapping out individual notes that together created a seamless melody, Field had reached his mark.  http://www.mikefieldjazz.com/blog/item/117-rush-mode-cd-release-concert-review-in-the-examiner

Rush Mode

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