Tessa Souter - Beyond The Blue

Bitrate: 320K/s
Time: 59:42
Size: 136.7 MB
Styles: Vocal jazz
Year: 2011
Art: Front

[3:24] 1. Prelude To The Sun
[5:42] 2. The Lamp Is Low
[5:00] 3. Dance With Me
[5:27] 4. Chiaroscuro
[4:32] 5. My Reverie
[5:37] 6. Concierto De Aranjuez
[4:39] 7. Sunrise
[4:19] 8. Baubles, Bangles And Beads
[5:50] 9. Beyond The Blue
[5:04] 10. The Darkness Of Your Eyes
[4:38] 11. Noa's Dream
[5:26] 12. Brand New Day

Vocalist Tessa Souter is deservedly becoming treasured among jazz fans and musicians alike. She combines the sonority, vocal range and discipline of a classical lieder soprano with subtle and sultry jazz inflections. Everything she sings is meaningful, well thought out and in good taste. She works with the best instrumentalists and has a consummate grasp of both swing and the modern jazz idiom. All these elements are manifest in her newest album, Beyond the Blue, where Souter takes familiar themes from classical music, adds her own lyrics to most of them, and delivers what are essentially a new set of songs that are poetic in impact. The original melodies are all there to be heard, but the mood and interpretation are totally Souter, and all in the jazz idiom, expressing nuances of romance, love and intimacy. She is helped enormously by her instrumentalists, who play masterfully, supporting and elaborating on Souter's vocalizations with finesse and flair. ~Victor L. Schermer

Recording information: Avatar Studio, New York City (03/27/2011/03/28/2011).

Tessa Souter (vocals); Gary Versace (accordion); Joel Frahm (saxophone); Steve Kuhn (piano); Joe Locke (vibraphone); Billy Drummond (drums).

Beyond The Blue

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Paul Winter & Oscar Castro-Neves - Brazilian Days

Bitrate: 320K/s
Time: 43:34
Size: 99.7 MB
Styles: Brazilian jazz, Saxophone jazz
Year: 1998
Art: Front

[3:24] 1. Aula De Matematica (A Mathematics Lesson)
[4:05] 2. Coisa Mais Linda
[3:58] 3. Feitio De Oracao
[4:00] 4. Feio Nao Bonito
[3:54] 5. Minha Namorada
[3:34] 6. Tamben Quiem Mandou
[3:03] 7. Ana Luiza
[4:14] 8. Fetico Da Vila
[3:06] 9. Canto Triste
[4:45] 10. Imagem
[2:14] 11. Por Causa De Voc
[3:12] 12. Se E Tarde Me Perdoa (Forgive Me If I'm Late

In the early 1960s, long before he was a key figure in the environmental music genre, soprano saxophonist Paul Winter helped to bring Brazil's jazzy bossa nova sound to the U.S. Some forty years later, Winter takes a break from his work with the whales and wolves to revisit the rich songbook of classic bossa nova with the help of his old friend, guitarist Oscar Castro-Neves. The results harken back to that past era with a wistfulness as captivating as a cocktail hour breeze on a Rio de Janeiro balcony. Things kick off with a bouncy rendition of Antonio Carlos Jobim's "Aula de Matematica," and then mellow out with tunes penned by other Brazilian songwriting legends such as Noel Rosa, Oswald Gogliano, and Carlos Lyra. Backed by stand-up bass and Latin percussion, Winter's smooth-as-butter sax sails over and under the gently jangling melancholia of Castro-Neves' guitar with enough gentle grace to make this album work just as well for yoga or meditation as for dancing.

Recorded at Sunset Sound Factory, Hollywood, California; The Cathedral Of St. John The Divine, New York, New York; the Grand Canyon, Arizona.

Personnel: Paul Winter (soprano saxophone); Oscar Castro-Neves (guitar); Paul Halley (pipe organ); Nilson Matta (bass); Paulo Braga (drums); Cassio Duarte (percussion).

Brazilian Days

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Justin Hayward - Spirits Of The Western Sky

Bitrate: 320K/s
Time: 66:48
Size: 152.9 MB
Styles: Adult contemporary
Year: 2013
Art: Front

[4:09] 1. In Your Blue Eyes
[4:24] 2. One Day, Someday [alternative Extended Version]
[6:55] 3. The Western Sky
[4:13] 4. The Eastern Sun
[3:35] 5. On The Road To Love
[3:55] 6. Lazy Afternoon
[3:39] 7. In The Beginning
[4:01] 8. It's Cold Outside Of Your Heart
[4:32] 9. What You Resist Persists
[5:55] 10. Broken Dream
[3:52] 11. Captivated By You
[6:16] 12. One Day, Someday [alternative Extended Version] 2
[0:22] 13. Rising
[2:46] 14. Out There Somewhere
[8:07] 15. Out There Somewhere [raul Rincon Remix]

Spirits of the Western Sky, Moody Blues frontman Justin Hayward's first solo outing since 1996's View from the Hill, offers up a well-stocked selection of songs that pay homage to all eras of his meal-ticket band while introducing elements of rural folk and country into the mix. Lyrically simple, yet warm and soulful, songs like the gently fingerpicked "Eastern Sun" and the expansive title track should please "Watching and Waiting"-era Moody fans, while twang-tinged, dobro-propelled ballads like "It's Cold Outside of Your Heart" and "What You Resist Persists" retain the autumnal sentimentality that always resides in the heart of a Hayward composition, despite their folksy, Nashville trappings. ~ James Christopher Monger

Justin Hayward (guitar, keyboards, programming); Frederic Arturi (keyboards); Lele Melotti (drums); Alberto Parodi (programming); Tracey Ackerman (background vocals).

Spirits Of The Western Sky

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Nico Gori & Fred Hersch - Da Vinci

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 65:05
Size: 149,2 MB
Art: Front

(7:12)  1. Old Devil Moon
(5:29)  2. Da Vinci
(6:10)  3. Mandevilla
(6:25)  4. Down Home
(7:37)  5. 2-5
(6:30)  6. Lee's Dream
(4:24)  7. Hot House Flower
(8:11)  8. Doce De Coco
(6:00)  9. At The Close Of The Day
(7:03) 10. Tea For Two

Clarinetist Nico Gori and pianist Fred Hersch both played the North Sea Jazz Festival in July 2010 and struck up a friendship riding together on the bus from the performance site to the hotel. Soon thereafter they began a series of duo gigs in Europe and New York. The studio recording Da Vinci captures the strong element of fellowship between the Italian and the American.

Gori is most visible as member of pianist Stefano Bollani's group. Hersch, meanwhile, has established a strong reputation for his solo playing, notably including the Grammy-nominated Alone At The Vanguard (Palmetto, 2011).

For Hersch, the album provides an opportunity to add another instrument to what would have undoubtedly been strong solo performances. Hersch's compositions heard here have the weighty inevitability of old chestnuts it's hard to believe these are new songs. They sound like old European songs with classical resonances ("Da Vinci," "Mandevilla"), old blues ("Down Home"), or standards from the songbook ("At The Close Of The Day").

Gori's playing is clean and strong, European and often nearly classical sounding in its phrasing. Hersch's piano, meanwhile, seems to amalgamate every dense and self-sufficient strand of solo jazz piano playing from the last hundred years: stride, barrelhouse, Oscar Peterson, and Erroll Garner.

As such, the pairing of these two players is unlike the legendary 1950s pairing of white-hot John Coltrane and cool-blue Miles Davis (or indeed of Davis and Charlie Parker in the 1940s). Rather, Gori and Hersch exhibit, on this record, similar types of virtuosity: precise, florid and baroque with extraordinary control exercised over many moving parts. This is particularly true of Hersch's bravura solo on the opening, "Old Devil Moon," with its daring rhythmic forays, all kept ably aloft by the pianist, or of Gori's busily embroidered solo on "Doce De Coco." Da Vinci is, by and large, a meeting of hot with hot.

This "hot-hot" character extends through the set list. Most of the numbers here are mid-to- up-tempo performances, densely arranged and requiring a continuous virtuosity on the part of the players. Only on the wistful "At The Close Of The Day" (which would have been a marvelous vehicle for Bill Evans) and the Garner-esque "Hot House Flower" does the pace slow. Otherwise, the going is propulsive, and the mood is sunny. ~ Jeff Dayton-Johnson   

http://www.allaboutjazz.com/php/article.php?id=41928#.Umg_xRAufMo

Personnel: Nico Gori: clarinet; Fred Hersch: piano.

Da Vinci

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Lissy Walker - Life Is Sweet

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 51:49
Size: 119,8 MB
Art: Front

(6:00)  1. I Remember You
(5:06)  2. How Deep Is the Ocean
(4:31)  3. Waters of March
(3:59)  4. What'll I Do
(2:49)  5. Let Me Go
(3:06)  6. Moonbeam Song
(2:55)  7. More Than You Know
(4:45)  8. In the Wee Small Hours
(3:54)  9. Isn't It a Lovely Day
(4:17) 10. I Wish You Love
(4:23) 11. Celluloid Heroes
(5:59) 12. Saturday Sun

Life Is Sweet is the debut from Berkeley, California-based vocalist Lissy Walker. In an increasingly crowded pool of female jazz singers it's important to stand out from the norm: two things about Life Is Sweet ensure that Walker can do that. Firstly, there is Walker's song selection a tasteful and unusual mix of standards and more left-field but high quality tunes. Secondly, there's her voice a subtle but unmistakable hint of country music gives it a distinctive and emotive quality. At times, its fragility suggests a slight lack of confidence a pity, because Walker has much to feel confident about.

Walker's band helps things along, too. The core quartet is consistently good, while the guest musicians, especially cellist Philip Worman, add just the right touches with their performances. Any singer who records standards from the Great American Songbook needs to bring something new to their interpretations, and the album's opening tune, Johnny Mercer and Victor Schertzinger's "I Remember You," shows that Walker can do just that. The arrangement, by pianist John R Burr, features a delicate trumpet part from Steven Bernstein and propulsive but light drums from Scott Amendola. Walker's vocal hangs back a little, resisting Amendola's invitation to hurry along and, instead, creating a relaxed, almost laidback approach to the melody.

Elsewhere, a distinct country feel pervades many of the tunes, to great effect. When singing about love lost or found, the country music aesthetic of "three chords and the truth" is often ideal, and Walker and her band apply it with great skill. Burr's piano on "How Deep is the Ocean" is a direct descendant of Floyd Cramer, for example, while on Irving Berlin's "What'll I Do?," voice and cello combine in a delightful country waltz.

Walker's left-field choices also include Randy Newman's "Let Me Go" and Ray Davies' (The Kinks) "Celluloid Heroes." In "Days" and "Waterloo Sunset," Davies wrote two of the finest of all pop songs; unfortunately, "Celluloid Heroes" pales in comparison, and the clarity of Walker's vocal only serves to highlight its unconvincing lyrics. Harry Nilsson's "The Moonbeam Song" and Nick Drake's "Saturday Sun" are another story. Walker gets to the heart of both songs, delivering the album's most affecting performances. "The Moonbeam Song" features Jon Evans' lap steel guitar, while "Saturday Sun" sees the quartet joined by saxophonist Dave Ellis and Hammond organist Julie Wolf. Neither song is particularly well-known, but both are inspired choices; the arrangements ensuring that the poignancy of the lyrics is echoed and amplified by the musicians' sensitive performances.

With Life Is Sweet, and with the help of an empathetic and talented band, Lissy Walker imbues her jazz phrasing with a country edge, and establishes herself as a singer to watch and to listen for. ~ Bruce Lindsay  

http://www.allaboutjazz.com/php/article.php?id=36463#.UmhHQRAufMo

Personnel: Lissy Walker: vocals; John R Burr: piano; Scott Nygaard: guitar; Jon Evans: bass, lap steel (3, 6); Scott Amendola: drums; Steven Bernstein: trumpet (1, 9, 10); Philip Worman: cello (2, 4, 8, 11); Dave Ellis: sax (12); Julie Wolf: Hammond organ (12).

Life Is Sweet

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Nancy Kelly - Live Jazz

Styles: Vocal,  Jazz
Year: 1988
File: MP3@320K/s
Time: 47:59
Size: 109,9 MB
Art: Front

(5:17)  1. Since I Fell for You
(5:20)  2. Twisted
(5:28)  3. Somewhere
(4:06)  4. But Not for Me
(5:15)  5. Yesterdays
(6:01)  6. Over the Rainbow
(5:57)  7. Lover Man
(4:43)  8. Almost Like Being in Love
(5:48)  9. I Wish You Love

Discover the spontaneity of digital jazz as Nancy breaths new life into classic Jazz Standard favorites with help, from some of today’s most prestigious and accomplished musicians. From swing to sultry ballads, Nancy demonstrates her incredible ability from start to finish.

Ernie Watt’s ripping sax embellishes each track with fiery and distinctive sounds. Ex Weather Report drummer Peter Erskin leads the rhythm section of Biff Hannon (Piano) and Tom Warrington (Bass) with unparalleled precision and excitement.  http://www.nancykelly.com/livejazz.shtml

Live Jazz

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Scott Hamilton - Nocturnes & Serenades

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 55:29
Size: 127,1 MB
Art: Front

(5:17)  1. Man with a Horn
(4:41)  2. Autumn Nocturne
(7:36)  3. Flamingo
(4:37)  4. I'm Glad There Is You
(4:31)  5. Serenade in Blue
(6:15)  6. Isn't It a Pity
(6:40)  7. You Go to My Head
(4:32)  8. Chelsea Bridge
(6:19)  9. By the River Sainte Marie
(4:57) 10. A Portrait of Jenny

Scott Hamilton doesn't fix a thing here, but then when nothing's broke, there's no need to make such an effort, especially when what he does instead is prove that he has spent decades becoming himself. There are here no more than residual echoes of all the tenor sax players who've mined this fertile musical seam in the past, and the results are nothing short of uplifting.

In the press release that accompanies this disc, Hamilton refers to the fact that he didn't take the music school route in learning his craft, and the odd thing is that the older he gets, the more this becomes apparent. It's as if he's arrived at his own conclusions on the likes of "Autumn Nocturne" at the same time as he's cognisant with Lester Young's assertion regarding the importance of knowing a lyric if one is playing any particular song. The passing decades have also had the heartening effect of deepening his musicianship, and on something like "Isn't It A Pity," this manifests itself in a depth of lyricism and a quality of reflection that's welcome in our increasingly fractious world.

As a half-time resident of London, it's not surprising that he's gone and got himself a superlative British rhythm section here, and the fact that the whole programme is taken at slow to medium tempo has the effect of emphasizing the group's skill at subtlety and nuance. While Hamilton is nearly always front and centre, Bassist Dave Green's outing on "By The River Sainte Marie" sticks in the mind, as does John Pearce's piano work on "Serenade In Blue." Drummer Steve Brown pushes when that's needed, but his contributions throughout ensure that the music burns with the bluest flame. The idea that certain strands of jazz are timeless will perhaps always be a contentious one. This doesn't alter the fact that this is timeless music that's anything but emaciated when it's put across as it is here. Hamilton, Pearce, Green and Brown offer us a work of art, as opposed to the merely clinical strivings of the technically accomplished. ~ Nic Jones  

http://www.allaboutjazz.com/php/article.php?id=23113#.UmHQQhAuf-I

Personnel: Scott Hamilton: tenor saxophone; John Pearce: piano; Dave Green: bass; Steve Brown: drums.

Nocturnes & Serenades

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Jane Stuart - Beginning To See The Light

Bitrate: 320K/s
Time: 42:33
Size: 97.4 MB
Styles: Jazz vocals
Year: 2006
Art: Front

[2:32] 1. I'm Beginning To See The Light
[5:12] 2. Out Of This World
[2:02] 3. Four
[3:56] 4. For All We Know
[2:38] 5. Getting To Know You
[4:31] 6. Visions
[3:03] 7. Moanin'
[4:32] 8. Through A Long And Sleepless Night
[0:24] 9. Studio Talk
[2:49] 10. I Thought About You
[4:16] 11. It Might As Well Be Spring
[2:45] 12. Angel Eyes
[3:48] 13. Centerpiece

Jane Stuart has been awarded the Blue Chip Award for "Best Jazz Vocalist" IAJE/Jazz Journal. Jane sings with effortless style,natural warmth and phrasing that is subtle and right on target. She's the real deal. "Beginning To See The Light", produced and arranged by Jane Stuart and Rave Tesar, is a wonderfully mixed selection of jazz standards by Jon Hendricks, Duke Ellington, Bobbie Timmons, Stevie Wonder, Mack Gordon, Rodgers & Hammerstein II and Harold Arlen. Choice of material and pacing of this CD put it in a class above the rest. Jane Stuart is a wonderful find and this CD long overdue. The rhythm section is tight driven by Rick De Kovessey's fine drum work. The excellent musicianship is sensitive and very tasty. It's obvious that they have a strong musical history together. Horn section with Frank Elmo, Vinnie Cutro, Conrad Zulauf and Dan Nigro, is solid on the one tune, "Moanin'". Soloists are all unique and wonderful with a special one on the exhuberent samba "It Might As Well Be Spring", by Lenny Argese. Jane works with her trio, mostly in the NY/NJ area. She also sings with "Reflections", a 19-piece jazz swing band.

Beginning To See The Light

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Cornell Dupree - Unstuffed

Bitrate: 320K/s
Time: 46:56
Size: 107.4 MB
Styles: Soul-jazz, Guitar jazz
Year: 2007
Art: Front

[10:11] 1. Shadow Dancing
[ 7:58] 2. The Closer I Get To You
[ 6:16] 3. On And On
[ 7:39] 4. Hey Girl
[ 5:11] 5. Peg
[ 4:28] 6. Two Doors Down
[ 5:10] 7. Unstuffed

A veteran of over 2,500 recording sessions, guitarist Cornell Dupree worked most prolifically in R&B and blues, but he was equally at home in jazz, particularly funky fusion and soul-jazz. Dupree was born in Fort Worth, TX, in 1942, and by the age of 20 was playing in King Curtis' R&B group. He became a session musician soon after, playing on Brook Benton's "Rainy Night in Georgia," as well as records by stars like Lou Rawls, Paul Simon, Barbra Streisand, Harry Belafonte, Lena Horne, Roberta Flack, Joe Cocker, Michael Bolton, Mariah Carey, and countless others. Dupree was also a member of Aretha Franklin's touring band from 1967-1976, and during that time also became a presence on many jazz-funk recordings, the sort that would find favor with rare groove and acid jazz fans in the years to come. Dupree's first jazz session as a leader was 1974's Teasin', which was followed by Saturday Night Fever in 1977, and Shadow Dancing in 1978. During the same period, Dupree was a member of the studio-musician fusion supergroup Stuff, which signed with Warner Bros. in 1975 and recorded four albums. They also reunited periodically in the '80s and spawned a mid-'80s spin-off group called the Gadd Gang, which Dupree also belonged to. Some of Dupree's most rewarding jazz albums came in the late '80s and early '90s; 1988's Coast to Coast was nominated for a Grammy, and funky sessions like 1991's Can't Get Through, 1992's live Uncle Funky, and 1993's Child's Play received positive reviews. 1994's Bop 'n' Blues was his most straight-ahead jazz album, also ranking as one of his best.

Unstuffed

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Brian Andres & The Afro-Cuban Jazz Cartel - San Francisco

Bitrate: 320K/s
Time: 50:09
Size: 114.8 MB
Styles: Latin jazz
Year: 2013
Art: Front

[4:52] 1. Sand Castles
[4:00] 2. Nothing Buttrouble
[5:30] 3. San Francisco Tiene Su Propio Son
[5:06] 4. Black Market
[4:47] 5. Higashi Nakano
[5:52] 6. Soul Provider
[1:44] 7. De San Francisco A Tijuana
[5:56] 8. Bugs On A Windshield
[4:47] 9. Una Gota
[1:12] 10. Off The Cuff
[4:26] 11. Como Mi Ritmo No Hay Dos
[1:50] 12. Bongo Reyoyo

The San Francisco Bay Area, a common landing ground for many travelers in flight looking for a place to grow new roots. For most, the draw is the overall culture of acceptance, diversity and progressive thought, or the cutting edge technology of Silicon Valley. Neither of those things brought me here well over a decade ago. For me, it was the echoes of a Cal Tjader mambo or the rumba jazz of the groundbreaking Machete Ensemble. Latin jazz recordings from San Francisco kept piling up on my cd player and I began feeling the urge to head West. I needed to immerse myself in the scene in the Bay Area, to see those sounds being created live, to meet the men and women making them, to become part of it. I formed the Afro-Cuban Jazz Cartel to be a collaboration between some of the most talented players, composers and arrangers residing in the Bay Area. Together we strive to make our collective mark in the field of Latin jazz. The musicians in the Cartel were born in Europe, Latin America or numerous locations within the United States. Some were born in The Bay Area. Regardless of our land of origin, all of us reside here now, drawn to the rich heritage and continuing dynasty of Latin Jazz in San Francisco and feel the intense desire to contribute to it. Whether composing, arranging, or playing, a deep understanding of Caribbean rhythms and musical forms and the ability to create, improvise, and groove are all prerequisites for being a member of the ACJC. High caliber musicianship is embodied by everyone on this recording. I'm very proud to present to you this audio snap shot of Latin Jazz at this moment in time in the SF Bay Area. ~Brian Andres

Recording information: Timalan Music, San Francisco, CA.

Brian Andres (drums); Braulio Barrera (vocals); Tony Peebles (saxophone); Steffen Kuehn (trumpet); Henry Hung (flugelhorn); Jaime Dubberly (trombone); Christian Tumalan (piano); Carlos Caro (bongos).

San Francisco

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Nicole Henry - Embraceable

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 55:46
Size: 127,9 MB
Art: Front

(3:33)  1. Just A Little Lovin'
(4:18)  2. Like Someone In Love
(4:00)  3. Anything For You
(4:50)  4. Since I Fell For You
(4:12)  5. Trouble In Mind
(4:55)  6. Hush Now
(4:51)  7. Waiting In Vain
(3:49)  8. Embraceable You
(4:32)  9. A Day In The Life Of A Fool
(5:39) 10. Even While You're Gone
(6:27) 11. A Little Time Alone
(4:35) 12. Save Me From Myself

With the release of her fifth album, Embraceable, vocalist Nicole Henry pleasingly brings together a range of styles smooth and mainstream jazz, along with pop and gospel.

A roster of musicians from diverse jazz backgrounds are featured on various tracks, with standouts including saxophonist Kirk Whalum, harmonicist Gregoire Maret and pianists John Stoddart and Britain's Oli Rockberger, who all contribute mightily. Among the albums's 12 selections, there are four new numbers including three Stoddart gems, and eight standards on which Henry puts her stamp.

Henry kicks off with a dreamy version of Mann/Weil's "Just A Little Lovin," with Maret's languorous harmonica creating the mood. The ambiance continues with Stoddart's soulful ballad, "Anything For You," which builds to a throbbing finish.

Whalum's lush tenor warms up a rocking version of Buddy Johnson's "Since I Fell for You." With Richard Jones' "Trouble In Mind," Henry gives tribute to Aretha Franklin, as Rockberger's solid blues piano brings home its soulful message. On Bob Marley's "Waiting in Vain," the singer subjugates its classic reggae beat, but Maret's harmonica more than compensates as it weaves in and out behind her plaintive voice.

Hitting her peak with Gershwin's "Embraceable you," Henry offers a romantic toast to this staple from The Great American Songbook. She brings it back to the church with her fervid preaching on Stoddart's "A Little Time Alone," as Whalum's wailing sax urges her on from the choir.

The album ends simply, with Christina Aguilera's "Save Me From Myself," Henry's unadorned voice caressing the lyrics, accompanied majestically by Stoddart. Henry's stated mission with this record is to take large steps in new directions, and she accomplishes this with a sweet, accessible voice that serves up lyrical ballads, as well as dishing out large helpings of soulful blues and gospel. ~ Larry Taylor  http://www.allaboutjazz.com/php/article.php?id=40258#.UmAZphAuf-I

Personnel: Nicole Henry: vocals; John Stoddart: piano, keyboard, Fender Rhodes (1, 3, 4, 7, 10-12 ; Gerald Clayton: piano (2, 9); Oli Rockberger: piano (5, 6); Gil Goldstein: piano (8); Jef Lee Johnson: electric guitar (1, 4, 7, 11); Julian Lage: electric guitar (2, 9); Larry Campbell: acoustic guitar, electric guitar, National Reso-phonic guitar (3, 5, 8, 10); Gregoire Maret: harmonica (1, 7); Kirk Whalum: tenor saxophone (4, 11): Andy Snitzer: alto saxophone (4, 11); Aaron Heick, tenor saxophone, bass flute (4, 7, 8, 11); Lou Marini: flute (7, 8); Tony Katleck: trumpet (4, 11); Michael Davis: trombone (4, 11); Larry Grenadier: acoustic bass; Richard Locker: cello (7, 10, 11); Entchko Todorov: violin (3, 6, 10, 11); Eric Harland: drums; Bashiri Johnson: percussion; (1, 4, 6, 9, 11).

Embraceable

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Ed Reed - The Song Is You

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 68:10
Size: 156,1 MB
Art: Front

(5:19)  1. The Song Is You
(5:53)  2. It Shouldn't Happen To A Dream
(8:54)  3. Where Or When
(2:25)  4. I´m Through  With Love
(5:20)  5. All Too Soon
(5:20)  6. I Get Along Without You Very Well
(5:25)  7. I Didn´t Know About You
(4:51)  8. Don´t You Know I Care
(4:01)  9. Lucky To Be Me
(5:54) 10. Don´t Like Goodbyes
(5:25) 11. It Never Entered My Mind
(4:38) 12. Here´s To Life
(4:39) 13. Black Is

Ed Reed is a storyteller, one who pours both his heart and nearly 80 years of life experiences which include vocal studies with Charles Mingus, time in the army and a drug addiction that landed Reed in prison on four separate occasions into a phrase. On his recent first recording, Love Stories (2007), he debuted a lush tone that belied his age.

Here, the inclusion of violinist Russell George's superb jazz phrasing as a part of Peck Allmond's sextet, coupled with Reed's own expressiveness, takes this session from good to great. Reed and company serve as tour guides using tempo and timbre to present exceedingly fresh takes on a selection of songs that leans almost exclusively on the Great American Songbook. The wonderfully contrasting sounds of voice, violin, Jamie Fox' guitar and Allmond's tenor sax imbue new depth to these beautiful ballads. There is heavy representation from Duke Ellington; "It Shouldn't Happen to a Dream," "All Too Soon" and "I Didn't Know About You" all receive exquisite treatment. His "Don't You Know I Care" also benefits from a Latin lilt courtesy of Allmond's flute and drummer Willard Dyson's rhythm. These odes to love and love lost are Reed's forté and a beautiful guitar/vocal duet makes touchingly strong statements on "I'm Through with Love" and "Here's To Life."

While the ballads stand out, in the context of this larger and more varied group of musicians Reed also stretches out a bit with fine results. He swings on the title cut and on a version of "Lucky To Be Me" whose underpinnings are driven by pianist Gary Fisher. A rendering of the Rodgers-Hart chestnut "Where or When" has bassist Doug Weiss, Fox and George drawing on Reinhardt/Grappelli phrasing while Reed extends boundaries by improvising a new section. Those who, upon hearing Reed's first release, said "They don't make albums like this anymore" will again be pleasantly surprised. ~ Elliott Simon  http://www.allaboutjazz.com/php/article.php?id=29712#.Ul69TRDFrkc

Personnel: Ed Reed: vocals; Peck Allmond: trumpet, tenor sax, flute, clarinet, cornet; Willard Dyson: drums; Gary Fisher: piano; Jamie Fox: guitar; Russell George: violin; Doug Weiss: bass.

The Song Is You

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Frank Vignola & Vinny Raniolo - Melody Magic

Styles: Straight-ahead/Mainstream
Year: 2013
File: MP3@320K/s
Time: 41:11
Size: 94,3 MB
Art: Front

(3:34)  1. Symphony No. 5 in C minor, Op. 67 (arr. F. Vignola)
(3:29)  2. Carmen (arr. F. Vignola): Carmen, Act I: Habanera: L'amour est un oiseau rebelle (arr. F. Vignola)
(4:52)  3. Scheherazade, Op. 35 (arr. F. Vignola)
(3:55)  4. Peer Gynt Suite No. 1, Op. 46 (arr. F. Vignola): Peer Gynt Suite No. 1, Op. 46: I. Morning Mood (arr. F. Vignola)
(4:24)  5. If I Fell - Here, There and Everywhere (arr. T. Emmanuel)
(4:58)  6. Dust in the Wind (arr. F. Vignola)
(2:17)  7. Violin Partita No. 2 in D minor, BWV 1004 (arr. F. Vignola): Violin Partita No. 2 in D minor, BWV 1004: I. Allemande (arr. F. Vignola)
(3:37)  8. Violin Concerto in E minor, Op. 64, MWV O14 (arr. F. Vignola): Violin Concerto in E minor, Op. 64, MWV O14: I. Allegro molto appassionato (arr. F. Vignola)
(4:28)  9. Swan Lake Suite, Op. 20a (arr. F. Vignola): Swan Lake Suite, Op. 20a: I. Scene (arr. F. Vignola)
(5:33) 10. Eye of the Tiger (arr. F. Vignola)

In the same adventurous spirit as Polkastra's "I Do" The Wedding Album (Ancalagon, 2013), a spirit that transcends genre, style, and even musical phyla, guitarists Frank Vignola and Vinny Raniolo, using the vehicle of the Hot Club gypsy swing jazz to transform a recital ranging from Beethoven and Bizet to The Beatles and Sting. Vignola provides the lion's share of arrangements, save for the Beatles' medley of "If I Fell" and "Here, There and Everywhere," which was arranged by guitarist Tommy Emmanuel. Instrumentation is de rigueur acoustic and spare, employing bass, accordion, and/or violin in turn.

The music is mostly classical, with a true Hot Club reading of Beethoven's "5th Symphony" opening the disc. The pair plays the allegro con brio straight until the interior, whereSpanish and Gypsy influences bleed in, as well as late-romantic sonorities insinuating their way into the performance, making it easy to imagine this music being played in a small café of Paris' Left Bank in the present day. Bizet's "Carmen Habanera" is dispatched with all its hot-blooded passion, again with a parlor feel about it. Pianist Uri Caine's Wagner e Venezia (Winter & Winter, 1997) and The Sidewalks of New York: Tin Pan Alley (Winter & Winter, 2000) possess this same quality of employing the instruments on hand to perform classical music in a parlor-like environment. The method provides the performer(s) an acute challenge to produce compelling music with instruments not necessarily associated with that music. Like Caine, Vignola rises to this challenge, transforming The Police's "Walking on The Moon" into a neo-reggae acoustic duet. Melody Magic is "hinge music" music that incorporates elements not normally associated with it. Recordings like this can go horribly wrong, as evidenced by cut-out bins full of such fare. Vignola and Raniolo, however, dispatch their ranging material with intelligence and care, producing a very satisfying set.~ C.Michael Bailey  http://www.allaboutjazz.com/php/article.php?id=43823#.Ulx2vhDFrkc

Personnel: Frank Vignola: guitar; Vinny Raniolo: guitar; Mark Egan: bass (1, 2, 4, 8, 9); Julien Labro: accordion (3, 6, 10, 11); Zack Brock: violin (3, 6, 10, 11); Cassie Holden: double bass (3, 10, 11); Mat Wigdon: double bass (6).

Melody Magic

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Dakota Staton - Crazy He Calls Me

Bitrate: 320K/s
Time: 31:47
Size: 72.8 MB
Styles: Vocal jazz
Year: 1958/2009
Art: Front

[3:23] 1. Crazy He Calls Me
[2:01] 2. Idaho
[3:26] 3. Invitation
[2:32] 4. Can't Live Without Him Anymore
[2:21] 5. I Never Dreamt
[2:39] 6. The Party's Over
[3:30] 7. Angel Eyes
[2:09] 8. No Moon At All
[2:32] 9. What Do You Know About Love
[2:45] 10. Morning, Noon Or Night
[2:17] 11. How Does It Feel
[2:08] 12. How High The Moon

Possessing a sprawling voice, Dakota Staton marked her Capitol heyday with sets taking in everything from torch ballads and Shearing-soft swing to bluesy sides and novelty numbers. At times, though, she could overdo things a bit, awkwardly shifting from belting intensity to coy whispers within a single bar and giving it all a little too much of an interpretive spin. This is a minor quibble, though, because what's really memorable about this and other late-'50s and early-'60s Capitol releases of hers is that Staton delivers top-quality interpretations with a dazzling and usually well-gauged array of vocal nuances. In this regard, Staton's debut, The Late, Late Show, is deservedly considered her best; but the equally impressive Crazy He Calls Me should not be missed. Featuring singular takes on the title track, "How Does It Feel?," and "The Party's Over" -- not to mention a fine and varied selection of charts by Nelson Riddle, Sid Feller, and Howard Biggs -- the album figures in with many other classic jazz vocals dates of the era. ~Stephen Cook

Crazy He Calls Me

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Various - Swingin' The Blues

Bitrate: 320K/s
Time: 49:56
Size: 114.3 MB
Styles: Big band
Year: 2009
Art: Front

[5:20] 1. Swingin' The Blues
[3:13] 2. Moten Swing
[5:08] 3. Blue And Sentimental
[3:49] 4. April In Paris
[5:14] 5. Lil' Darlin'
[3:36] 6. Big Noise From Winnetka
[8:09] 7. Broadway
[6:01] 8. Baby Won't You Please Come Home
[9:22] 9. The King

Randy Sandke's second volume of a concert salute to Count Basie is equal to the earlier CD. Sandke has long been underrated as a soloist, but he more than proves himself. These performances, utilizing both new charts by bandmembers as well as tried and true scores, have the feeling of Basie-type head arrangements, flowing easily yet swinging hard. Yet none of the music comes across as a museum-piece re-creation; rather, the selections featured here are updated treatments of favorites. Joining him are trombonist Dan Barrett, multi-reed player Brian Ogilvie, tenor saxophonist (and Basie alum) Billy Mitchell, pianist Mark Shane, guitarist James Chirillo, drummer Joe Ascione, and the legendary bassist and composer Bob Haggart. Mitchell arranged the lush chart of "Blue and Sentimental" and Sandke shines in "April in Paris," while omitting the traditional (if trite) quote of "Pop Goes the Weasel." The one non-Basie-related track is Haggart's fun-filled duet with Ascione of "Big Noise from Winnetka," which dates from his days as a member of Bob Crosby's Bobcats. All in all, this is a very enjoyable tribute. ~ Ken Dryden

Features Randy Sandke, Dan Barrett, Brian Ogilvie, Billy Mitchell, Mark Shane, James Chirillo, Bob Haggart & Joe Ascione.

Swingin' The Blues

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Brian Charette - Borderline

Bitrate: 320K/s
Time: 61:52
Size: 141.6 MB
Styles: Organ jazz
Year: 2013
Art: Front

[4:46] 1. Windows
[3:35] 2. How Deep Is The Ocean
[3:55] 3. Body And Soul
[2:25] 4. Tico Tico
[3:33] 5. Sara Smile
[4:44] 6. Borderline
[3:27] 7. C-Jam Blues
[5:03] 8. Up And Away
[4:58] 9. Corcovado
[4:29] 10. Georgia
[3:16] 11. Donna Lee
[3:38] 12. The Girl From Ipanema
[3:48] 13. You Only Live Twice
[2:20] 14. I Got Rhythm
[3:58] 15. Spooky
[3:47] 16. Embraceable You

An hour-long recital on solo Hammond B3 organ might be a hard sell in certain circles, but Brian Charette makes a strong case for the viability of the venture on Borderline, his fourth disc for the Danish Steeplechase imprint. Charette’s last album for the label was equally ambitious, focusing on creative homespun charts for a horn-heavy sextet. He’s still touring with that particular configuration, which makes this opportunity to hear him absent any colleagues a welcome revelation. None of the tunes are originals, but Charette’s choices range pretty widely from jazz and bossa ringers like “Body and Soul” and “Girl from Ipanema” to chin-scratching surprises like Hall & Oates’s “Sara Smile”, the Madonna-associated title tune and the John Barry Bond theme “You Only Live Twice.” Such latter selections probably sound suspect on the page, but Charette isn’t averse to embracing the kitschier pop tributaries of his instrument’s lineage. A playful and fairly straight shot through “Tico Tico” and the aforementioned “Ipanema” veer knowingly into the purview of lounge organ maestro Walter Wanderly. “Borderline” starts off in Norman Lear sitcom soundtrack territory and builds to an almost gospel-like grandeur through lush legato swells and a pulpit-worthy reverence for melody. It’s an odd interpretation, but one that strangely works.

Selecting Chick Corea’s tricky “Windows” as the disc opener clearly establishes Charette’s credentials on the jazz chops score and some of the most engaging aspects of his playing involve his nimble pedal work (abetted by an adroit left hand) in threading juicy bass lines through his varied investigations. A warm, at moments almost glowing, sustain also aids in the creation of an enveloping and inviting sound. Charette even breezes through “I Got Rhythm,” that hoariest of bop heirlooms, as if to offer a cheeky assurance to any scowling purists as to his willingness to play all bases. Other dusty relics like Ellington’s “C Jam Blues” and Bird’s “Dona Lee” receive infusions of quirky energy through Charette’s manipulations. The walking bass lines on both tracks are massive and consuming, particularly on a decent pair of ear goggles (which really is the optimal listening set-up for the entire disc). The slippery progressions Charette spools out on top are good and greasy, bringing to mind the rapid-fire peregrinations of organ god Jimmy Smith at his most dexterous. “Corcovado” is an unexpected delight, too, but for different reasons; Charette digs deep into a muzak-friendly Jobim melody and actually manages to assemble an admirable amount of genuine improvisatory excitement from the effort.

There’s an admitted adjustment period likely necessary in acclimatizing to Charette’s intentions and execution, but once the ears align to his frequency, the program is never less than an entertaining trip. Perhaps more importantly, it’s also an effective reminder that in the right creative hands even the most dubious material still has a decent shot at coaxing skeptics. ~ Derek Taylor

Borderline

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Stevie Holland - Before Love Has Gone

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 40:54
Size: 93,7 MB
Art: Front

(3:40)  1. Carioca
(5:03)  2. Before Love Has Gone
(3:32)  3. Where Or When
(5:17)  4. Lazy Afternoon
(4:06)  5. The Music In Me That Plays
(3:53)  6. Make Our Garden Grow
(2:43)  7. Daybreak
(4:07)  8. How Deep Is The Ocean
(3:22)  9. Riverboat Gambler
(5:08) 10. Here's To Your Illusions

Vocalist Stevie Holland is gifted with a rich, expressive alto, clear diction, and an ability to bring out something fresh in familiar songs. Buoyed by a strong rhythm section consisting of pianist Martin Bejerano, bassist Edward Perez, and drummer Willie Jones III, Holland catches the nuances of the sensual "Carioca" without falling into a tired routine as do many lounge singers, often backed solely by Perez. She restores the oft-omitted verse to Rodgers & Hart's "Where or When," then savors its romantic lyrics in an updated treatment of this decades-old standard. Tenor saxophonist Ole Mathisen is added for her lush, deliberate treatment of "Lazy Afternoon," though Holland's powerful duet with Bejerano of "How Deep Is the Ocean" is easily the high point of her CD. 

Guitarist Paul Bollenback joins the rhythm section for her swinging interpretation of Ferde Grofé's "Daybreak" (with the guitarist opening his solo with a bit of Grofé's well-known "On the Trail"). She also collaborates with composer Gary William Friedman on two strong originals. Her midtempo bossa nova "The Music in Me That Plays" is an upbeat affair, with Bollenback playing acoustic guitar. Mathiesen returns for Holland's melancholy ballad "Before Love Has Gone," with the singer delivering her longing lyrics in a heartfelt manner. Carly Simon's "Riverboat Gambler" seems an unlikely choice for a jazz vocalist, but Holland takes on the challenge and makes it work. Highly recommended. ~ Ken Dryden  

http://www.allmusic.com/album/before-love-has-gone-mw0000788982

Before Love Has Gone

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Andrea Bocelli - Love In Portofino (Live)

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 38:48
Size: 90,0 MB
Art: Front

(3:23)  1. Quizàs, Quizàs, Quizàs (feat. Caroline Campbell) [Live]
(4:09)  2. Perfidia (Live)
(3:31)  3. Tristeza (Live In Italy / 2013)
(4:08)  4. Bésame Mucho (Live)
(3:32)  5. Love In Portofino (Live In Italy / 2013)
(4:14)  6. Anema e core (Live In Italy / 2013)
(3:18)  7. Quizàs, Quizàs, Quizàs (feat. Jennifer Lopez)
(3:36)  8. Me Faltas (Mi manchi)
(4:47)  9. Las Hojas Muertas (Les feuilles mortes)
(4:07) 10. Nuestro Encuentro (Sentado a 'Beira do Caminho)

This brand new CD/DVD compilation highlights Andrea's breathtaking performance in Portofino, Italy on August 11, 2012 and includes the already quintessential songs from Bocelli's January 2013 release Passione. See and hear as Andrea delivers a performance of a lifetime from the beautiful surroundings of the Pizzetta in Portofino. Playing to an intimate crowd at sunset the legendary tenor sings the most famous love songs in the world accompanied by 16-time Grammy Award winner David Foster and a 40 piece orchestra. This is an unmissable feast of emotion, gorgeous settings and unforgettable songs. ~Editorial Reviews  http://www.amazon.com/Love-Portofino-DVD-Andrea-Bocelli/dp/B00EPFEY44

Love In Portofino (Live)

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Hot Club Of Detroit - It's About That Time

Styles: Gypsy Jazz
Year: 2010
File: MP3@320K/s
Time: 56:38
Size: 130,1 MB
Art: Front + Back

(4:26)  1. On the Steps
(3:04)  2. Nostalgia In Times Square
(3:26)  3. Noto Swing
(4:17)  4. "Tristesse" E Major Etude
(4:48)  5. Equilibrium
(4:32)  6. Restless Twilights
(5:30)  7. For Stéphane
(4:27)  8. Papillon
(4:16)  9. Duke and Dukie
(4:11) 10. Heavy Artillerie / It's About That Time
(5:33) 11. Patio Swing
(3:36) 12. Sacré Bleu
(4:26) 13. Sweet Chorus

While the Hot Club of Detroit has been influenced by the gypsy jazz of the Quintet of the Hot Club of France with Django Reinhardt and Stéphane Grappelli, this quintet is a bit different in its makeup, with guitarist Evan Perri, accordionist Julien Labro, multi-reed player Carl Cafagna, rhythm guitarist Paul Brady, and bassist Andrew Kratzat. Earlier CDs focused primarily on works either written or performed by Reinhardt and Grappelli, though this time around, their musical scope is thrown wide open. Reinhardt's "Heavy Artillerie," which blends intricate bop on electric guitar with its swing roots, is combined in medley with the late fusion keyboardist Joe Zawinul's funky "It's About That Time." Kratzat introduces the snappy, swinging rendition of Charles Mingus' "Nostalgia in Times Square," highlighted by Perri's intricate acoustic guitar and Cafagna's testifying tenor sax, signifying a jazz revival  no tent required. Classical music has been previously explored by the band, and theirs is a majestic arrangement of Frédéric Chopin's "Tristesse E Major Etude" Labro's elegant bandoneón, and Perri's intimate guitar, with Cafagna adding a bittersweet clarinet at its close. 

The furious bop vehicle "On the Steps" is based on the chord changes to Pat Martino's "On the Stairs," featuring Perri's pulsing electric guitar and Cafagna's robust tenor over the percolating gypsy rhythm section, with Labro adding a compelling solo on accordion. The band also contributed several fine originals. Perri penned the relaxing "Patio Swing," suggesting a lazy summer day, along with the surging "For Stéphane" in honor of guitarist Stéphane Wrembel (a young Frenchman whose diverse interests include gypsy jazz, among many forms of music). "Papillion" is a charming ballad co-written by Labro and Kratzat, with a nostalgic, bittersweet air, while Cafagna's "Restless Twilights" proves to be a catchy bossa nova. Hot Club of Detroit's interest in continuing to expand their musical horizons makes each new release a highly anticipated event. ~ Ken Dryden  http://www.allmusic.com/album/its-about-that-time-mw0001973593

It's About That Time

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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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