Roberta Donnay - Soul Reverse

Bitrate: 320K/s

Time: 44:10

Size: 101.1 MB

Styles: Jazz/Blues/Alt-pop vocals

Year: 2006

Art: Front

[3:58] 1. Walkin' The Line

[4:01] 2. Keywest Boogie

[3:13] 3. Where Did The World Go

[3:50] 4. Chinese Samba

[3:14] 5. Catch A Falling Angel

[3:50] 6. Love Is Knockin'

[3:54] 7. Night Flight

[4:53] 8. Wishing On The Moon

[4:22] 9. Desperate Soul

[4:32] 10. Trees

[4:18] 11. 3,000 Choices

Fun, gutsy, original, and a powerful performer, Roberta Donnay is an award winning songwriter and vocalist. Her new release, "soul reverse" features bluesy, alternative pop songs. Heartfelt lyrics make songs such as "Walkin' the Line" and "Catch a Falling Angel" come alive while her passion for the environment resonates in "Trees". New songs "Jody", "This Train", and "I Will Not Be Blind" exemplify this artist's statements on social injustice and relationships, inspiring listeners to shatter illusions about the world we live in with a very 90's edge.

Donnay was born in Washington D.C. and knew from the start what she wanted to do with her life. "I knew I was a singer when I was five," she said. "I must have done it in a past life, 'cause I knew how to do it when I was born." She would seek out music at every opportunity and taught herself to sing by singing along with the radio. "I thought musicians were gods," she said.

"Whatever you visualize in your life ... it can happen," said Donnay. Her positive attitude and unpretentious demeanor are immediately obvious when speaking with her. This electric redhead gives her all at a performance and, amidst the catchy rhythms and bluesy riffs, tries to send a message as weIl.

Donnay uses her platform as a performer to promote world peace, preservation of the environment and the fair treatment of indigenous people. She said we should "honor the people who were originally here," and calls for "respect for all human beings. It's a real waste to get attention for your art and do nothing with it. People need to have a voice. All people need that. I'm fortunate 'cause I have a singing voice."

Soul Reverse

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Paul Meyers & Santi Debriano - Spirit & Samba

Bitrate: 320K/s
Time: 56:48
Size: 130.0 MB
Styles: Samba, Swing, Guitar jazz
Year: 2005
Art: Front

[4:17] 1. Amazing Grace
[4:02] 2. Woody 'n' You
[9:23] 3. Lament
[7:11] 4. Circle Chant
[4:42] 5. For Heaven's Sake
[5:46] 6. Lazy Afternoon
[5:21] 7. Blues For Mel
[7:06] 8. Some Other Spring
[5:23] 9. Passarim
[3:33] 10. My Lord, What A Morning

Playing the New York jazz scene together for over a decade, Paul and Santi have grown into one of jazz’s great duos. Paul’s flawlessly warm guitar sound blends Wes Montgomery’s bluesy soulfulness with Jobim’s Brazilian sensuality. That quiet excitement is doubled by Santi’s big, rich-sounding bass. Bowed or plucked, Santi adds subtly swinging groove. Striking, melodic arrangements ranging from centuries-old spirituals to modern sambas and classic jazz ballads.

Paul Meyers (guitar); Paul Meyers (acoustic guitar); Santi Debriano (double bass). Recording information: Mapleshade studio (04/02/2002/04/03/2002).

Spirit & Samba

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Dee Daniels - Feels So Good

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 50:45
Size: 117,6 MB
Art: Front

(6:58)  1. Honeysuckle Rose
(5:50)  2. Song For My Father
(5:29)  3. April In Paris
(5:04)  4. Midlife Crisis
(5:17)  5. Who Can I Turn To
(4:53)  6. Love Is Here
(6:44)  7. The Look Of Love
(7:05)  8. Love Ain't Love Without You
(3:21)  9. That's All

The story goes that Dee Daniels sang her first church solo at age 9, honed her style in the era of R&B and then came to fruition during a five-year stay in Europe.  This might explain her new CD. There’s a little something for everyone."Feels so Good!" offers a satisfying blend of jazz, blues and soul. Daniels wraps her hearty voice around familiar songs written by Fats Waller, Horace Silver, Anthony Newley and Burt Bacharach. She even throws a couple of original tunes into the mix. Her "Midlife Crisis" is a real hoot. "Midlife crisis/One of life’s little vices/ Midlife crisis/I never thought it would happen to me." Recorded in a six-hour session, "Feels so Good!" has a bit of a live-performance energy and spontaneity. At the end of "Midlife Crisis," Daniels playfully sneaks in the names of her musicians. She should. The band, led by pianist Norman Simmons, injects tasteful solos throughout the album. The recording, however, is Daniels’ show. A real journeywoman, she can take charge of a song whether it’s the bluesy "Honeysuckle Rose" or the grandiose "Who Can I Turn To." Daniels combines a bold R&B voice with a jazz singer’s sensibilities. Check out her work on Silver’s "Song For My Father." Daniels handles each number with confidence and skill. ~ Donna Kimura   

http://www.jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/feel-so-good-by-dee-daniels.html

Feels So Good

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Dianne Reeves - Beautiful Life

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 68:48
Size: 157,7 MB
Art: Front

(4:57)  1. I Want You
(4:25)  2. Feels So Good (Lifted)
(5:18)  3. Dreams
(5:38)  4. Satiated (Been Waiting)
(6:34)  5. Waiting In Vain
(5:26)  6. 32 Flavors
(6:14)  7. Cold
(5:50)  8. Wild Rose
(8:02)  9. Stormy Weather
(6:36) 10. Tango
(5:43) 11. Unconditional Love (For You)
(3:59) 12. Long Road Ahead

There should be no overlooking Beautiful Life, a journey of 12 songs which includes singularly memorable covers of Bob Marley's "Waiting in Vain," Fleetwood Mac's "Dreams," Marvin Gaye's "I Want You" and Ani DiFranco's self-empowering "32 Flavors." Included in the rest of the tracks, which cover the spectrum from jazz to soul, are two new songs "Cold" and "Satiated" which are emotionally volcanic. Produced by Terri Lyne Carrington, Beautiful Life features an all-star cast that includes bassists Esperanza Spalding and Richard Bona, vocalists Gregory Porter and Lalah Hathaway, pianists Robert Glasper and Gerald Clayton and Reeves cousin and frequent longtime collaborator George Duke. ~ Editorial Reviews  

http://www.amazon.com/Beautiful-Life-Diane-Reeves/dp/B00EP2NYZ2/ref=ntt_mus_ep_dpi_1

Beautiful Life

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Kristin Callahan - One Magic Day

Styles: Vocal Jazz, Bossa Nova
Year: 2013
File: MP3@320K/s
Time: 52:58
Size: 121,3 MB
Art: Front

(5:59)  1. Fly Me To The Moon
(3:03)  2. Sway
(5:00)  3. My Funny Valentine
(3:50)  4. Honeysuckle Rose
(3:27)  5. That Old Feeling
(3:40)  6. Nature Boy
(3:38)  7. East Of The Sun
(4:09)  8. Quiet Nights
(2:23)  9. Bye Bye Blackbird
(3:57) 10. In The Wee Small Hours Of The Morning
(4:21) 11. All Of Me
(3:33) 12. So Nice
(4:07) 13. The Look Of Love
(1:45) 14. Smile

Anyone who has heard Kristin Callahan sing would agree that her voice is absolutely mesmerizing. Kristin has that rare ability to coax listeners into the anticipation of each note, enticing people into the very soul of the music. Quiet and unassuming, Callahan has a stage presence that is both sweet and sexy, one that catches everyone off guard and then keeps them there until the very last note. From her shy smiles between songs to her flawless execution of some of the most demanding pieces, Kristin exudes the perfect combination of country charm and urbane hipness.  http://www.cdbaby.com/cd/kristincallahan3

One Magic Day

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Tim Weston & Shelby Flint - Providence

Styles: Jazz
Year: 1993
File: MP3@VBR ~317K/s
Time: 56:15
Size: 127,9 MB
Art: Front

(5:30)  1. Providence
(5:22)  2. Skyline
(6:12)  3. Levitation
(3:56)  4. Love And Consequence
(5:14)  5. This Ancient City
(7:23)  6. Can't Move Me
(4:33)  7. The Hidden Treasure
(6:35)  8. The Lady Weeps
(5:55)  9. Alone Together
(5:30) 10. Single Girl

"Providence teams guitarist Tim Weston and vocalist Shelby Flint for an intimate, emotionally resonant song cycle." ~ Jazz Times.

"I started off copying a girl named Shelby Flint." ~ Joni Mitchell, Mirabella Interview.

Shelby Flint and Tim Weston began writing the songs for "Providence" in January of 1992. By the time Spring rolled around, they had finished the material, fallen in love, and, by means of their previous individual track records, mutual friendships, not to mention a lot of luck; managed to assemble some of the finest musicians involved in contemporary and mainstream jazz (e.g. Peter Erskine, John Patitucci, Mitch Forman, John Beasley, Vinnie Colaiuta & others...) to help support them in the recording of their debut album.

There were (intentionally) no rehearsals, just trust in the right combination of creative instinct and musical communication on the part of all who were involved.

The result of all the above-mentioned ingredients is an extremely personal work, blending serious 'songs' with lengthy improvisations, offering the listener an atmospheric excursion through many moods and emotions.

In addition to the eight original compositions, there is a jazz standard ("Alone Together") and a unique rendition of a traditional American folk song ("Single Girl").

Vocalist/Composer Shelby Flint is originally from Arkansas. Renowned jazz critic Leonard Feather described her as "a technically flawless performer, with a pure sound, and wide range." Her earliest recording; "Angel On My Shoulder" found her at the top of the pop charts, as a young girl.

After years of studio work in L.A., recording and touring with her own band through most of the '80's, she most recently has been featured as a guest writer and vocalist on several contemporary jazz recordings, including her well-known song "I Keep It To Myself" as featured on keyboardist Gregg Karukas' "Sound Of Emotion" CD.

Her partner; Producer/Guitarist Tim Weston is a native of Southern California. In addition to his work as a studio musician, he originally came to be known as a member of the Motown house recording group "Dr. Strut", and from 1984 through 1990 led the well-known contemporary jazz group "Wishful Thinking". He is also the creative director of his own West Coast based production company; Soul Coast.

The album begins with the title cut's ethereal introduction. In commenting on the sequence in which the songs unfold, Tim says: "I chose to start the record with "Providence" not because it's the "title" cut, but rather because to my ears, it represents, in and of itself, the total concept for the album, as Shelby and I had imagined it to be. In that first track, the listener will hear the intent of the entire album and hopefully, it will encourage the person to continue listening."

Another significant track for both Tim and Shelby is "The Lady Weeps"; an allegorical tale surrounding the inner pain of a 'woman' who is in fact meant to represent the city of Los Angeles. Although the song was written months in advance of the '92 civil unrest, Shelby still recalls performing the vocal during one of the nights when the city was under curfew and "we weren't even supposed to be at the studio." The musicians responded to Shelby's performance, and helped to capture an extraordinary mood on this recording.

No self-respecting jazz record would be without at least one "standard" from the great American songbook. For Weston/Flint, the challenge was to choose a song that would blend with the originals they had written, and compliment the overall tone of the album. The lyrics of "Alone Together" are very intriguing, and the trio setting (Weston w/ Peter Erskine & John Patitucci) provides a spatial backing for Shelby's sensual interpretation.

"PROVIDENCE" also includes two instrumental tracks; "Levitation and "The Hidden Treasure", both of which allow the players more freedom to improvise and "stretch-out" their solos.

When asked to express their anticipation for the release of "Providence" Weston and Flint comment: "It's our hope that through our words and music, the listener will be drawn towards their own inner thoughts and feelings, and as a result, find themselves emotionally involved with the spirit of our album."   http://www.cdbaby.com/cd/westonflint

Personnel: Tim Weston (guitar), Shelby Flint (vocals), Bob Sheppard (soprano & tenor saxophones), Mitch Forman, John Beasley (piano, keyboards), John Patitucci (acoustic bass), Gary Willis (fretless electric bass), Jerry Watts, Jr. (electric bass), Vinnie Colaiuta, Peter Erskine (drums), Luis Conte (percussion).

Providence

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John La Barbera Big Band - Fantazm

Bitrate: 320K/s
Time: 54:12
Size: 124.1 MB
Styles: Big band
Year: 2005
Art: Front

[5:52] 1. Moontrane
[8:38] 2. Pythodd Fellows
[4:59] 3. Over F
[6:18] 4. My Love And I
[7:57] 5. Zin Zak
[8:39] 6. Yours Or Mine Or Blues
[7:26] 7. Fantazm
[4:20] 8. Kyrie

A superior arranger, John La Barbera utilized some of the top Los Angeles-based musicians on this big-band date (including his brother, drummer Joe La Barbera), importing his other musical brother, tenor and soprano saxophonist Pat La Barbera from Canada. Along the way one hears one of Woody Shaw's best compositions ("Moontrane"), an organ piece for Bill Cunliffe ("Pythodd Fellows"), the love theme from the film Apache ("My Love And I"), an obscure Duke Ellington number ("Fantaqzm"), the pop tune "Kyrie," Pat La Barbera's "Yours or Mine or Blues," and three originals by the leader. In addition to Pat and Joe La Barbera, key soloists include trumpeters Clay Jenkins and Wayne Bergeron, guitarist Larry Koonse, Bob Sheppard on soprano, altoist Kim Richmond, Bob Carr on bass clarinet, trombonist Andy Martin, and Bill Cunliffe on piano and organ. The writing gives each selection forward momentum and the results are never predictable. Highly recommended. ~ Scott Yanow

Larry Koonse (guitar); Kim Richmond (flute, soprano saxophone, alto saxophone); Tom Peterson (clarinet, tenor saxophone); Bob Carr (bass clarinet); Bob Shepard, Pat La Barbera (soprano saxophone, tenor saxophone); Wayne Bergeron (trumpet, flugelhorn); Clay Jenkins, Bob O'Donnell, Jr., Dennis Farias (trumpet); Charlie Morillas, Andy Martin, Alexander Iles, Ken Kugler, Bob McChesney (trombone); Bill Cunliffe (piano, organ, keyboards); Joe La Barbera (drums); Scott Breadman (percussion).

Fantazm

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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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