Ben Webster - In Norway

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 74:28
Size: 171,5 MB
Art: Front

(9:06)  1. In a Mellotone
(7:41)  2. How Long Has This Been Going On
(7:01)  3. Sunday
(7:18)  4. Star Dust
(8:53)  5. Perdido
(6:55)  6. Satin Doll
(7:02)  7. I Got Rhythm
(5:23)  8. Danny Boy
(7:11)  9. The "C" Jam Blues
(5:06) 10. Cotton Tail
(2:47) 11. My Romance

Ben Webster refused to fly. When he visited Norway from Denmark, his adopted homeland, he went by boat and when he got there would blame his somewhat uncertain gait on his "sea legs," rather than the large amounts of alcohol he had consumed in the vessel's bar. Sometimes his "sea legs" were so bad, initial concerts had to be rescheduled.

However, by 1970, when this date was recorded, Webster was 61 and slowing down just a little. Either that or the long, dry ride north to Trondheim had a sobering effect. You never know, he might even have felt a certain obligation to his hosts, who treated him to conducted tours of Trondheim's Nidaros Cathedral and the wondrous Museum of Music and Musical Instruments in nearby Ringve.

One way or another, no sea legs. Instead, 11 immaculately performed standards, five of them from the repertoire of Duke Ellington, who gave Webster his first break. There's a laidback version of "Cotton Tail," his feature number with Ellington that's so blissful it makes those stories of the break-up, in which Webster is said to have cut up one of his leader's suits, doubtful.

Still, not for nothing was he nicknamed "Brute." Back in the days when he did fly, Webster was en route to a gig in LA with the Ellington band when the pilot woke him to warn of turbulence. If there was one thing Webster hated, it was having his sleep interrupted. He drew back his fist and floored the fellow. Fortunately the pilot recovered in time to make a safe descent.

On the sleeve Ellington is wrongly credited with writing "How Long Has This Been Going On?" It was, of course, penned by George and Ira Gershwin.

Webster is at his relaxed and confident best, occasionally shouting joyous encouragement at pianist Tore Sandnaes, who was woefully under- recorded by whoever taped the concert. Worse still, on the closing number, Rodgers and Hart's "My Romance," after Webster has stated the theme, Sandnaes suffers the ignominy of being faded out.

A shockingly abrupt ending. Otherwise, though, there are no surprises. With just four years left to live, Webster did what was expected of him and with seemingly effortless grace. Of course, it wasn't effortless at all. Brute was a giant, up there with Coleman Hawkins and Lester Young. That took a lifetime of hard work. He made it sound easy, that's all. ~ Chris Mosey 

http://www.allaboutjazz.com/php/article.php?id=45244#.Ump2pBAueZc

Personnel: Ben Webster: tenor saxophone; Tore Sandnaes: piano; Bjørn Alterhaug: bass; Kjell Johansen: drums.

In Norway

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Joyce Cobb - Beale Street Saturday Night

Bitrate: 320K/s
Time: 42:06
Size: 96.4 MB
Styles: Memphis blues/jazz
Year: 2003
Art: Front

[5:12] 1. Beale Street Medley: Memphis Blues/St Louis Blues/Beale Street Blues
[2:21] 2. Gospel Medley: Down By The Riverside/Swing Down Sweet Chariot
[2:00] 3. See See Rider
[2:12] 4. You Can't Tell The Difference After Dark
[2:27] 5. Aggravatin' Papa
[3:36] 6. Careless Love Blues
[2:52] 7. Blues Medley: Cotton Fields/Little Liza Jane
[1:29] 8. Good Rockin' Tonight
[3:36] 9. The Thrill Is Gone
[4:14] 10. Elvis Medley: That's All Right/Love Me Tender/Don't Be Cruel
[1:39] 11. Respect Yourself
[1:59] 12. I Can't Stand The Rain
[3:47] 13. Gee Whiz (Look At His Eyes)
[4:33] 14. Walkin' In Memphis

"If Beale Street Could Talk..." takes its name from an old W. C. Handy song describing the delights of Beale Street and its colorful inhabitants. The show features an all-Memphis cast with local legend Joyce Cobb providing the singing and the narrations, backed by guitar, keyboards, bass, drums and horns. The show captures the soulful sound and feel of Memphis and its storied musical history.

Joyce Cobb is Memphis’ most beloved performer. Her singing, playing and acting have been seen in several productions related to Memphis and the blues. If Beale Street Could Talk…, a history of the past 100 years of Memphis music. is based on Joyce’s original script and visuals. An earlier version of this show, Beale Street Saturday Night, toured in 2000. Joyce also starred in a show focusing specifically on female blues performers enttled Divas of the Delta. She has also appeared in one woman theater pieces on Billie Holiday and Bessie Smith.

Beale Street Saturday Night

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Eddie Condon - Eddie Condon In Japan

Bitrate: 320K/s
Time: 71:24
Size: 163.5 MB
Styles: Swing, Dixieland
Year: 1964/1977/2002
Art: Front

[1:40] 1. Introduction
[5:15] 2. I Can't Believe That You're In Love With Me
[5:25] 3. Pee Wee's Blues
[3:47] 4. Stompin' At The Savoy
[5:20] 5. Rose Room
[3:57] 6. Manhattan
[3:39] 7. Caravan
[6:53] 8. Basin Street Blues
[3:49] 9. Three Little Words
[4:13] 10. I Would Do Anything For You
[3:56] 11. All Of Me
[6:07] 12. Am I Blue
[2:42] 13. When You're Smiling
[6:54] 14. Goin' To Chicago - Every Day - See See Rider
[7:39] 15. Royal Garden Blues

By 1964, Eddie Condon was not recording all that regularly; in fact this CD has his only recording from the 1963-67 period. Condon, who does some announcing and contributes some barely audible rhythm guitar, is joined by a particularly strong group consisting of trumpeter Buck Clayton, trombonist Vic Dickenson, tenor saxophonist Bud Freeman, clarinetist Pee Wee Russell, pianist Dick Cary (doubling on alto horn), bassist Jack Lesberg and drummer Cliff Leeman. The band plays Dixieland and swing standards with spirit and enthusiasm while singer Jimmy Rushing takes four vocals including a previously unissued "Blues Medley." The CD reissue also adds "new" versions of "Caravan" and "Basin Street Blues"; other highlights include "I Can't Believe That You're in Love with Me," "Pee Wee's Blues," "Royal Garden Blues" and Dickenson's charming feature on "Manhattan." Recommended. ~ Scott Yanow

Eddie Condon In Japan

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Bluesin' The Groove - Let's Get High

Bitrate: 320K/s
Time: 47:57
Size: 109.8 MB
Styles: Saxophone jazz, Blues/jazz
Year: 2011
Art: Front

[3:40] 1. Let's Get High
[4:43] 2. Bluesin' The Groove
[3:55] 3. Cuttin' In
[4:38] 4. Cow Cow Blues
[4:29] 5. (Tell Me) How Do You Feel
[3:40] 6. Come Back Baby
[4:38] 7. It's The Plitz
[5:27] 8. Things Have Got To Change
[4:36] 9. Wee Baby Blues
[4:40] 10. Reconsider Baby
[3:26] 11. Alimony

What happens when two Giants of the German Blues Scene cross paths with a Young Lion playing drums at a jam session and discover they are made for each other? They decide to form a joint project to present their amazing Groove - and as they all came together through sheer love of music a trio is born that seeks to express that freshness and spontaneity. There‘s no guitar or bass but that‘s no drawback: the sound is uniquely light and clear. When tenor sax player and singer Tommy Schneller, the legendary piano player Christian Rannenberg and drummer Alex Lex make music together, the seasoned Blues lover experiences a totally new and thrilling sound.

Let's Get High

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Sophie Milman - Her Very Best ... So Far

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 50:47
Size: 116,3 MB
Art: Front

(3:57)  1. Agua De Beber (Water To Drink)
(4:19)  2. I Concentrate On You
(4:28)  3. Speak Low
(4:14)  4. Be Cool
(3:19)  5. Matchmaker, Matchmaker
(2:20)  6. Ochi Cherneye (Dark Eyes)
(4:43)  7. (It's Not Easy) Bein' Green
(4:53)  8. La Vie En Rose
(4:09)  9. So Sorry
(3:25) 10. Eli, Eli (A Walk To Caesarea)
(3:06) 11. So Long, You Fool
(3:26) 12. I Can't Give You Anything But Love, Baby
(4:22) 13. No More Blues

Jazz vocalist Sophie Milman is a sophisticated and torchy singer with a bent toward American popular songbook standards. Born in Russia of Jewish heritage, Milman spent much of her childhood in Israel, where her parents moved after the fall of the Berlin Wall. In the early '90s, Milman's family emigrated once again to Toronto, Canada. Having sung from a young age, the then teenage Milman was already familiar with such iconic vocalists as Ella Fitzgerald, Mahalia Jackson, Stevie Wonder, and others. In 2004, a chance performance at "Real Divas" night  a local Toronto jazz series  brought Milman to the attention of producer Bill King, who then secured a few showcase performances for the burgeoning star. Subsequently, Milman signed a recording contract with Linus Entertainment and released her self-titled debut album. Make Someone Happy followed on JVC in 2007.  https://itunes.apple.com/us/artist/sophie-milman/id73368614#fullText

Her Very Best ... So Far

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Peter Vuust Quartet & Veronica Mortensen - September Song

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 64:18
Size: 148,1 MB
Art: Front

(6:12)  1. September Song
(3:54)  2. Meet Me With a Kiss
(5:23)  3. Sugar Bowl
(6:24)  4. The Absence of Open Air
(5:09)  5. I Could Feel the Joy of Your Love
(4:56)  6. I Know
(6:13)  7. The Inner Child
(4:48)  8. Tomorrow Will Be Better
(4:58)  9. Keep Me Close
(5:31) 10. It Isn't Always Hard to Leave
(4:29) 11. Silver Lining Around My Heart
(6:17) 12. Hey Jude

“After the jazz festival in Aarhus in 2011, where Veronica played a couple of concerts with my quartet as she has been doing regularly since 2005, she complained to me that she was lacking new songs to sing. We only had the six songs we recorded years ago on “Image of Falling”. Since I am not a lyricist, she offered to put me in contact with someone in the Northern part of Norway, who had written excellent lyrics to a couple of songs for her. When Roy-Frode Løvland began to send me lyrics out of the blue, I was busy doing other things, and I just downloaded them to a library on my hard disc, thinking that I would probably never get to have a look at them. Nevertheless, I had a couple of days off at the end of September 2011, and I printed the whole lot out, put them on my piano and began working my way through the pile of lyrics. Doing this, I found a well of creativity that I hadn’t felt for years.

In three weeks during the late Indian summer of 2011, I wrote the songs that appear on this album. We recorded them in two days in the famous Nilento Studio in Göteborg, as easily as they had been written. When I write music to lyrics, I do not necessarily think about what they mean, I just go along with the sound of the words and the overall mood of the text. It wasn’t until I heard the final recordings – with Lars’ spirited and playful piano, Paul’s youthful drumming, Ove’s mellow and virtuous saxophone, not to mention Veronica’s wonderful voice – that I really understood how brilliant and moving Roy-Frode’s lyrics truly are. I sincerely thank you guys for making this a record which I really love. I hope listeners will find as much pleasure in listening to this record as we had making it.” ~ Peter Vuust  http://www.petervuust.dk/?p=856

September Song

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Griffith Hiltz Trio - Now And Then

Styles: Jazz
Year: 2009
File: MP3@320K/s
Time: 61:46
Size: 141,4 MB
Art: Front

(5:19)  1. Sporty Portia
(6:30)  2. When All The Men Wore Hats
(7:20)  3. Seven Storey Mountain
(5:14)  4. Footsteps
(8:14)  5. Soul Purpose
(7:13)  6. With Hodges In Mind
(6:56)  7. Sheer Force Of Bill
(7:04)  8. 12 Ton Blues
(7:33)  9. Now And Then
(0:19) 10. Movie Theme

Griffith Hiltz Trio is comprised of long-time Toronto jazz men Johnny Griffiths (saxophone), Nathan Hiltz (guitar) and Sly Juhas (drums). Another well-known Toronto jazz fixture, Don Thompson, produced Now & Then and plays vibes or keyboards on half of the ten tracks. He also composed “12 Ton Blues.” All other tracks are composed by Griffith and/or Hiltz. It is notable that although the trio has no traditional bass player there is a strong bass component provided by Hiltz’s use of bass pedals. The jam duo of Griffith and Hiltz credit the addition of the pedals to their weekly sessions for inspiring them to add a drummer, Juhas, thus creating the trio.

The material is well chosen for showcasing the broad talents of the trio rather than demonstrating the individuals’ favorite honed licks and gimmicks (although, in live performances Griffith sometimes impressively plays alto and bass clarinet simultaneously). It allows the trio (plus one) to reveal their depth of experience as performers. With the addition of Thompson, who is well-known in Toronto and throughout Canada as a multi-instrumentalist, on much of the CD and with Griffith and Hiltz both doing double instrumental duty, the resulting sound is much larger than a simple trio. The trio’s admitted influences are Blue Note jazz and “Eastern” music, although it would seem more appropriately called “North African” (think Miles’ “Nardis” or Wayne Shorter’s “Black Nile”) which is evidenced on “Seven Storey Mountain.” The occasional use of bass clarinet does lend a non-Western exoticism to some selections (“Sporty Portia,” “Footsteps,” “Now and Then”.

The compositions are inventive and interesting with ample time for instrumental solos. The title track is a good case in point, allowing Griffith and Hiltz plenty of room for creativity. Juhas gets his spotlight on “Seven Storey Mountain” with a good long solo on drum set. Producer and mentor, Don Thompson, although often in a supporting role on keyboards, has opportunity to work with vibes on “Soul Purpose” and with keyboards on “With Hodges In Mind” and on his own “12 Ton Blues.” The sparse angular melody of “12 Ton Blues,” starting out on sax and picked up later by guitar in unison with the sax, is intriguing. The laid back spacey head sets everything up for freewheeling improvisation all around as the piece progresses. Although there are ten tracks, the final cut, “Movie Theme,” is really just a brief coda, or, I suspect, used as an intermission playoff during live performances.

Having made the point that this CD is not a collection of hot licks, there may have been a bit too much holding back in total. It could have benefited now and then (pun intended) from a little more flash and glitz which all of these performers obviously have in abundance. But, this is their first release together and all in all is a very enjoyable one from some of Toronto’s finest.  http://www.muzikreviews.com/reviews.php?ID=791

Now And Then

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The New York Allstars - We Love You, Louis

Bitrate: 320K/s
Time: 77:15
Size: 176.8 MB
Styles: Big band
Year: 1995/2011
Art: Front

[0:36] 1. When It's Sleepy Down South
[2:22] 2. Mabel's Dream
[3:03] 3. Sugar Foot Stomp
[4:49] 4. Big Butter And Egg Man
[3:11] 5. Cornet Chop Suey
[4:54] 6. Wild Man Blues
[3:18] 7. Potato Head Blues
[3:35] 8. Muskrat Ramble
[4:52] 9. Savoy Blues
[8:07] 10. Struttin' With Some Barbecue
[4:32] 11. Basin Street Blues
[2:53] 12. Weather Bird
[7:33] 13. Ballad Medley
[3:48] 14. Swing That Music
[6:08] 15. If I Could Be With You (One Hour Tonight)
[6:09] 16. Mack The Knife/The Faithful Hussar
[4:31] 17. Ole Miss Mabel's Dream
[2:46] 18. When It's Sleepy Down South

This excellent tribute to the music of Louis Armstrong has arrangements for an octet by Randy Sandke and consistently strong trumpet solos from Sandke and Byron Stripling. With strong assistance from clarinetist Kenny Davern, trombonist Joel Helleny and a four-piece rhythm section headed by pianist Mark Shane, Sandke and Stripling mostly (but not exclusively) explore Satch's music of the 1920s. A special highlight is "Struttin' with Some Barbecue" which not only reproduces the great trumpeter's famous 1927 solo, but also finds Stripling playing Satch's usual solo from the 1950s. Other highlights include "Sugar Foot Stomp," "Cornet Chop Suey," "Potato Head Blues," "Weatherbird" and "Swing That Music." Easily recommended to Louis Armstrong fans. ~ Scott Yanow

Recorded live at The Congress Centre, Hamburg, Germany on November 18, 1995.

Byron Stripling (vocals, trumpet); Randy Sandke (trumpet); Joel Helleny (trombone); David Ostwald (tuba); Kenny Davern (clarinet); Mark Shane (piano); Greg Cohen (bass); Joe Ascione (drums).

We Love You, Louis

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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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