Marcela Monreal - S' Wonderful

Bitrate: 320K/s
Time: 42:01
Size: 96.2 MB
Styles: Vocal jazz, Easy Listening
Year: 2007
Art: Front

[4:19] 1. Just One Of Those Things
[3:28] 2. Chovendo
[2:17] 3. S' Wonderful
[5:07] 4. Spain
[6:02] 5. Ask Me Now
[2:25] 6. So Danco Samba
[3:13] 7. Them There Eyes
[3:23] 8. Viva Sonhando
[3:44] 9. Fine And Mellow
[2:51] 10. Sentimental Journey
[5:06] 11. I Call Your Name

Marcela Monreal Nace en la ciudad de La Plata. Cursa el profesorado de Lengua y Literatura Inglesa en la Universidad de La Plata. Realiza estudios de piano, percusión y canto en el Conservatorio "Gilardo Gilardi En su actividad artística realizó una tarea intensa, actuando como solista de diversas agrupaciones corales, bajo la dirección del maestro Oriente Monreal, desempeñándose, a su vez como asistente de dirección.
Integra el grupo vocal "Octeto Siglo XX", bajo la dirección del Prof. Eric Oña. En 1987 integra el grupo "Multiplus", trabajando en Bs. As., como vocalista hasta el año 1989. Ese año participa como cantante solista en varios shows de jazz, organizados en la Sala 420, de la ciudad de La Plata, junto a Tato Finocchi, Pablo Ledesma, Hugo Marino, Martín Cairo, Quique Roca y otros.

En 1990 participa junto al grupo vocal femenino "Bubbles", de la comedia musical Burbujas en Radio, de Ricardo Ibarlín, que permaneció en cartel durante dicho año y subió a escena en el Teatro Empire de Bs. As., con buena crítica de los medios. En 1992 y hasta 1994 integra el grupo "Saxología", con Enrique Mayer, Pablo Ledesma, Luis Castillo, y otros, actuando en La Plata, y Bs. As. y diversas localidades de la Pcia. de Bs. As. Además participa de Jazz en Abril (festival que se realiza anualmente en Mar del Plata) y Jazz en Tandil, en el año 1992. En el año1994 se une al cuarteto de Jazz La Plata que lidera Mingo Martino junto con el cual realiza una serie de recitales: La Plata Jazz Festival. En los años 1995 y 1996 junto al Cuarteto participa de la grabación del CD Totum y el flautisto Pablo Raninqueo, que reúne a diversos músicos platenses. Desde 1997 integra Aquarela, grupo liderado por Tato Finocchi, junto a Horacio Amoretti y Julio Campos, interpretando música brasilera y jazz. En el año 1998 participa como vocalista en actuaciones junto a Pablo Ledesma y Pepe Angelillo. Ese mismo año graba su primer CD como solista de Jazz. En 1999 presenta su CD en la Biblioteca Nacional. En octubre participa junto al Cuarteto de Jazz La Plata en el Cabrales Jazz Festival en la ciudad de Mar del Plata. ~bymsrl.com

Marcela Monreal - Voz; Tato Finocchi - Arreglos, piano; Daniel Homer - Guitarras; Jorge Oss, Marcos Archetti - Bajo; Néstor Gómez - guitarra Eléctrica; Ana Archetti - voz, coros; Mariano Meneghini - Trompeta; Lucas Homer - Bajo; Facundo Guevara - Percusión; Rodrigo Barrientos, Martín López Camelo - saxo; Pablo Giménez, Rafael Felli - Contrabajo; Lito Escobar - Trombón; Martín López Camelo - Saxos alto y tenor; Víctor Carrión Saxo - soprano; Bill Hart - Trompeta, voz.

S' Wonderful

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Brian Ogilvie - For You

Bitrate: 320K/s
Time: 71:59
Size: 164.8 MB
Styles: Saxophone jazz
Year: 2000
Art: Front

[5:57] 1. Robbins Nest
[3:35] 2. For You
[4:53] 3. Nature Boy
[4:02] 4. Tricotism
[3:58] 5. Long Live The King
[6:20] 6. All Too Soon
[5:39] 7. And The Angels Swing
[4:58] 8. S'posin'
[4:55] 9. Ducky Wucky
[3:56] 10. Twisted
[4:20] 11. Evening Shadows
[5:08] 12. Tain't What You Do (It's The Way That Cha Do It)
[5:40] 13. Together
[4:07] 14. Kansas City Stride
[4:22] 15. Like It Is

Born in British Columbia, weaned on the jazz scene in Toronto, and currently living in New Orleans, ex-Jim Cullum sideman Brian Ogilvie plays tasteful, even-keeled traditional swing-to-bop tenor sax, clarinet, and a little alto. Cullum bandmate John Sheridan is here on piano; unsung bass hero Phil Flanigan and drummer Jeff Hamilton back him up; and trombonist/cornetist Dan Barrett shows up on six of these 15 selections. Of the larger group efforts, the spirited "And the Angels Swing," the lightly melodic "S'posin'," and the bass-led "Ducky Wucky" use clarinet and muted trombone on second-line accents and traded solos. The perky "'Taint What You Do (It's the Way 'Cha Do It)" and the clean, bright "Kansas City Stride" bring clearly into focus the tenor/trombone tandem's compatibility. Propelled by Barrett's cornet and Ogilvie's Benny Goodman-ish clarinet, "Long Live the King" is as good as swing gets. Ogilvie's tenor is also quite capable of bopping, as displayed on the title track and the hard-swinging classics "Robbins Nest" and "Twisted." Whether working in lighter stride shadings for Sheridan's original "Evening Shadows" or in unison with Flanigan during Oscar Pettiford's "Tricrotism," Ogilvie shows great flexibility. His dulcet, low-register clarinet lilts on "Nature Boy" and swings in Dixieland style for the uptempo "Together." The drum-free ballad "All Too Soon" and the classic Erroll Garner repast "Like It Is" are two more standouts. Ogilvie is a very competent player who's growing and developing in tuneful and traditional ways. His sound should appeal to most early-period mavens, and while no Coleman Hawkins or Ben Webster, he most assuredly is making the attempt to at least bask in their imposing shadows. His visage stands up well. ~ Michael G. Nastos

Recording information: Audio Images. Bradenton, Florida (01/10/1999-01/11/1999).

Brian Ogilvie (clarinet, alto saxophone, tenor saxophone); Gary Baldassari (recorder); Dan Barrett (cornet, trombone); John Sheridan (piano); Jeff Hamilton (drums).

For You

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Anita Wardell - Noted

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 60:09
Size: 137,7 MB
Art: Front

(7:47)  1. Moanin'
(7:03)  2. Watermelon Man
(7:46)  3. Autumn Leaves
(4:16)  4. Night And Day
(5:24)  5. Lonely Woman
(4:44)  6. Doodlin'
(6:03)  7. The Sidewinder
(6:51)  8. Blues On The Corner
(4:39)  9. Wonderful, Wonderful
(5:33) 10. And What If I Don't

The best straight-ahead jazz singer on the scene today is Anita Wardell, the winner of the prestigious BBC Jazz Award last month, and Noted is one of the most impressive displays of vocal jazz and vocalese in many years. Backed up by her usual working trio of pianist Robin Aspland, bassist Jeremy Brown and drummer Steve Brown (along with guest saxophonist Alex Garnett), Wardell delivers knockout performances of well-known jazz classics and less familiar works that she has updated using her own unique swinging style.

The album starts off with a rousing rendition of Jon Hendricks' vocalese to the jazz classic "Moanin'. Aside from her scatting and improvisational abilities, Wardell possess an almost flawless vocal technique. Indeed, one would be hard pressed to find clearer enunciation and pitch from a Bartoli or Netrebko.

Standards receive their due from Wardell and company, in particular "Night and Day and "Autumn Leaves. The arrangement of the latter is especially nice when it goes into double time. The unrelenting swing of the former displays Wardell's scatting in its fullest virtuosity and also features a particularly nice piano solo by Robin Asplund.

Horace Silver's well-known "Doodlin' was a logical choice for this album, and it is performed here with great aplomb. But a real treat is the soulful rendition of Silver's less well-known "Lonely Woman. Herbie Hancock receives similar treatment with a pairing of his oft-performed "Watermelon Man and his lesser-known "And What If I Don't. As far as I am aware, this is the first recording of a vocal version of the latter tune.

Another piece that Wardell has rescued from relative obscurity is Ben Raleigh and Sherman Edwards' "Wonderful, Wonderful, which was a minor hit for Johnny Mathis in 1957 and for the Supremes in the early '60s. Wardell's up-tempo version completely transforms this tune and would make a great candidate for a big band accompaniment.

As always, Wardell surrounds herself with first-class musicians. Long-time collaborators Robin Asplund, Steve Brown and Jeremy Brown make up an almost perfect rhythm section for a singer. They are all superb soloists in their own rights, and their understated accompaniment is a paradigm of taste and musicality. Saxophonist Alex Garnett combines the intensity of an Art Pepper with a lighter tone a la Grover Washington, Jr. Noted is an important album and a testament to Anita Wardell's rising status as a jazz artist of the first caliber. With a BBC Jazz Award under her belt, a Jazz Grammy should not be too far behind. ~ William Grim  

http://www.allaboutjazz.com/php/article.php?id=22983#.UmgSnBAufMo

Personnel: Anita Wardell: vocals; Robin Asplund: piano; Jeremy Brown: bass; Steve Brown: bass; Alex Garnett: saxophones.

Noted

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Elvira Nikolaisen - Lighthouse

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 41:52
Size: 96,6 MB
Art: Front

(3:56)  1. Change
(3:45)  2. Close To The Water
(5:00)  3. Rendezvous
(2:31)  4. Lighthouse
(4:11)  5. In Your Car
(4:20)  6. Time
(4:47)  7. When Love Is New
(4:29)  8. Nothing To Lose
(4:34)  9. Still Paying
(4:16) 10. Cry The Good Tears

Elvira Nikolaisen (born 16 July 1980 in Moi) is a Norwegian singer-songwriter . She released her debut single Love I Can't Defend in December 2005, it reached the number 3 spot on the Norwegian singles list. She followed up the hit with her first album, Quiet Exit, and a second single, Egypt Song, in March 2006. The album peaked at #2 in the Norwegian chart.
She is from a musical family, her father is a church organist and her brother Emil is the vocalist and guitarist for Serena Maneesh, and her sister Hilma is the bassist for the same band. Her brother Ivar is lead singer of the Norwegian punk band Silver.  In 1998, Nikolaisen with her brother Emil fronted the independent band Royal. The band released one album titled My Dear on Soulscape Records and distributed through Tooth and Nail Records. While she's from a very religious family, Nikolaisen rejected her Christian beliefs at the age of eighteen. Some of her lyrics reflect the impact of this change on her life.

Nikolaisen released her second album, Indian Summer in April 2008. However, she failed to repeat the success of the debut album, Quiet Exit. On the latest album I Concentrate on You (2013) Nikolaisen in collaboration with the Jaga Jazzist trumpeter Mathias Eick, moves into American popular music, fulfilling her old deram to go into the great American songbook. Other contributors on this album are Ola Kvernberg (violin, viola & bass-violin), Andreas Ulvo (piano, cembalo, celesta) and Gard Nilssen (drums).  http://en.wikipedia.org/wiki/Elvira_Nikolaisen

Lighthouse

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Tom McDermott & Evan Christopher - Almost Native

Styles: Jazz, New Orleans
Year: 2011
File: MP3@320K/s
Time: 54:20
Size: 124,4 MB
Art: Front

(5:18)  1. Tango Ambiguo
(4:53)  2. Heavy Henry
(5:09)  3. Waltz for All Souls
(4:06)  4. Le Menage Rouge
(7:14)  5. Spooky Blues
(1:58)  6. The Don't Mess with my Two Step
(4:11)  7. Chorando Em Paris
(5:16)  8. Tande Sak Fe Loraj Gwonde
(3:57)  9. Musette in A Minor
(4:35) 10. March of the Pony Girls
(7:38) 11. Irresistivel

Avant-garde art has been described as seeking innovation through experimentation, preferring novelty to formula and defying existing convention. The term "avant-garde traditionalism" could be a way to describe the music of New Orleans pianist Tom McDermott. Although it is rooted in the traditions of his adopted city, he pushes boundaries with his quirky compositions and interest in eclectic styles, such as Brazilian choro, McDermott, active there since 1984, is not as well known outside of New Orleans as he deserves to be. Over the years he has made a series of duets with the clarinetist Evan Christopher, the doyen of the New Orleans Contemporary /traditional new wave. Almost Native is their third collaboration.

The pairing of McDermott and Christopher is an interesting one. Christopher, one of the most expressive musicians in jazz today, is the primary exponent today of the New Orleans clarinet tradition of Sidney Bechet and Barney Bigard where emotional expression was emphasized. In contrast, McDermott takes a utilitarian approach to the piano in the tradition of Jelly Roll Morton where simplicity of interpretation provides a good contrast to Christopher's dynamism. You never feel they're trying to compete with each other; there's always a sense of collaboration much like a dance team in which both have the chance to individually shine.

Almost Native, consists of nine selections written by McDermott and two by Christopher. Subtitled Music From New Orleans and Beyond, Almost Native also explores tangential styles including tango, musette and beguine. It is a mélange of emotional moods and scenes. This range includes the mystery of a dark New Orleans Tango Quarter street in "Tango Ambiguo," the nostalgic musette "Le Ménage Rouge," the appropriately named Monkish "Spooky Blues" to the playful rhumba rhythm of "Heavy Henry." The dancing Brazilian Choro is represented by "Choro Em Paris" and the bonus track originally on the CD New Orleans Duets (Rabadash Records 2009), "Irresitivel." Christopher plays particularly tenderly on his own contribution, the gospel waltz "A Waltz for All Souls" and passionately on his beguine "Tande Sak Fe Loraj Gwonde." McDermott solos on the ho downish "The Dont-Mess-With-My Two-Step" and "Musette in A Minor." His most exciting moment is when he breaks into full stride in "March of the Pony Girls" while Christopher plays obbligato behind him. At the end is a sweet surprise where his solo piano selection Musette in A Minor is reprised on the Accordion.

The piano/horn jazz duet does not come quickly to mind as being part of the New Orleans jazz tradition but this format was first recorded by Jelly Roll Morton and Joseph "King" Oliver in 1924. Almost Native is an emotionally satisfying addition to this tradition. ~ Louis Heckheimer  http://www.allaboutjazz.com/php/article.php?id=40725#.Umq-2RAueZc

Personnel: Tom McDermott: piano; Evan Christopher: clarinet.

Almost Native

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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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