Norma Valles - Every Time We Say Goodbye

Bitrate: 320K/s
Time: 45:48
Size: 104.9 MB
Styles: Easy listening
Year: 2012
Art: Front

[3:17] 1. Everytime We Say Goodbye
[4:37] 2. The Nearness Of You
[3:26] 3. As Time Goes By
[4:19] 4. My Funny Valentine
[2:02] 5. Anything Goes
[3:23] 6. Stormy Weather
[3:19] 7. Summertime
[3:00] 8. It Had To Be You
[4:13] 9. Sabor A Mi
[3:23] 10. Smoke Gets In Your Eyes
[1:38] 11. It's De-Lovely
[3:09] 12. When I Fall In Love
[2:55] 13. Misty
[3:00] 14. I'm Always True To You (In My Fashion)

Norma's career began in 1998 as a soloist. She was invited numerous times to perform the National Anthem at major sporting events, during the playoffs, locally, nationally and internationally. She was also invited to sing the Mexican National Anthem when international teams visited the U.S.. She later joined a local Dallas group "Grupo Cariño" singing Norteño Music. In May 2002, as a soloist once again, she recorded her first CD "Ahi Te Va" (Here It Goes) featuring a mix of mariachi music and spanish love ballads that captured the attention of a devoted fan base. Her first English language recording effort was in 2004 "Reflections of Romance" and in January 2005 released her 2nd English language CD, "Every Time We Say Goodbye". In 2006 she released Noel (Christmas music in English) and Campanas De Belen (Christmas music in Spanish). She also cut a cd titled Living Like A Mustang with country favorites (some originals) for Fan Appreciation day at Lone Star Park (Horse Racing Track in Grand Prairie TX.

Every Time We Say Goodbye

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Patrick Prouty - Rustbelt

Bitrate: 320K/s
Time: 56:32
Size: 129.4 MB
Styles: Straight ahead jazz
Year: 2010
Art: Front

[5:01] 1. Morganic
[5:05] 2. Rustbelt
[9:06] 3. L' Etranger De Poulet
[6:51] 4. Music Menu Minorism
[5:09] 5. Forty-Four
[5:45] 6. Michigan Central Station
[6:04] 7. Detroitational
[5:29] 8. You & I And The Autumn
[7:59] 9. For Tomorrow

Rustbelt is the sophomore effort from Detroit based composer/bassist Patrick Prouty. It showcases eight original Prouty compositions through the lens of his hometown, Detroit. He brought together his regular drummer, Bill Higgins along with legendary organist/pianist Bill Heid and recent double lung transplant recipient saxophonist Scott Petersen for this session. The music is hard swinging, sometimes brooding, yet very friendly much like the city that inspired it.

Rustbelt

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Laura Crema - Almost Blue

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 44:48
Size: 104,3 MB
Art: Front

(4:46)  1. Almost Blue
(2:47)  2. I Remember You
(5:41)  3. Young And Foolish
(4:17)  4. Like Someone In Love
(4:28)  5. Stormy Weather
(4:21)  6. All Of You
(4:38)  7. Comes Love
(3:04)  8. From This Moment On
(4:52)  9. In Love In Vain
(5:51) 10. The Meaning Of The Blues

A native of Vancouver, vocalist Laura Crema possesses a lush, unique instrument with great depth and resonance, her influences are broad and diverse as she blends jazz with popular music and improvisation. Laura Crema graduated from Simon Fraser University with a degree in Fine and Performing Arts, and Economics. She has studied at the Banff Centre for the Arts with legendary jazz vocalists Sheila Jordan and Jay Clayton and in Washington State with Nancy King and Kurt Elling. She has trained in extended voice with master teacher Richard Armstrong and studied music at Vancouver Community College. Laura is an accomplished dancer, choreographer and interdisciplinary performer. She has received numerous awards and grants including an "Emergence" Canada Council Grant for her work in the interdisciplinary arts. 

She has performed and worked with RADIX Theatre, the Karen Jamieson Dance Company, Touchstone Theatre, Olivia Thorvaldson, Grant Strate, Deborah Dunn, Catherine Lee,... composers she has worked with include, Jeff Corness, Peter Hannan, Ron Samworth, Cam Wilson and George McFetridge. She has presented her own Choreography at "Dancing on the Edge", "Women in View" and the "Single Solos Dance" Festivals. She was featured, along side five of Canada's finest jazz vocalists, at the 2001 DIVAS FOR LIFE concert benefit at the Vogue Theatre. Laura Crema was featured in CBC Radio's Studio One Jazz Series during the Vancouver International Jazz Festival 2002 and 2004 and she has also been showcased on CBC's "Hotair", "After Hours", "Coastal Grooves", "Richardson's Roundup", "North by Northwest" and Alberta's CKUA. Laura's CD "Almost Blue" was released under the Maximum Jazz record label/Universal Canada and has received excellent reviews and radio airplay in Canada, the U.S., and Europe. "Almost Blue" has been featured in Air Canada's Enroute magazine.  http://www.cdbaby.com/cd/lauracrema

Almost Blue

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Willie Nelson - To All The Girls...

Styles: Country
Year: 2013
File: MP3@320K/s
Time: 66:21
Size: 151,9 MB
Art: Front

(4:02)  1. Willie Nelson Feat. Dolly Parton - From Here to the Moon and Back
(3:47)  2. Willie Nelson Feat. Miranda Lambert - She Was No Good for Me
(2:38)  3. Willie Nelson Feat. The Secret Sisters - It Won't Be Very Long
(4:19)  4. Willie Nelson Feat. Rosanne Cash - Please Don't Tell Me How the Story Ends
(4:57)  5. Willie Nelson Feat. Sheryl Crow - Far Away Places
(3:07)  6. Willie Nelson Feat. Wynonna Judd - Bloody Mary Morning
(3:56)  7. Willie Nelson Feat. Carrie Underwood - Always on My Mind
(3:13)  8. Willie Nelson Feat. Loretta Lynn - Somewhere Between
(4:13)  9. Willie Nelson Feat. Alison Krauss - No Mas Amor
(3:31) 10. Willie Nelson Feat. Melonie Cannon - Back to Earth
(3:11) 11. Willie Nelson Feat. Mavis Staples - Grandma's Hands
(3:40) 12. Willie Nelson Feat. Norah Jones - Walkin'
(2:01) 13. Willie Nelson feat. Shelby Lynne - Till the End of the World
(4:36) 14. Willie Nelson Feat. Lily Meola - Will You Remember Mine
(4:22) 15. Willie Nelson Feat. Emmylou Harris - Dry Lightning
(3:17) 16. Willie Nelson Feat. Brandi Carlile - Making Believe
(4:39) 17. Willie Nelson Feat. Paula Nelson - Have You Ever Seen the Rain
(2:43) 18. Willie Nelson Feat. Tina Rose - After the Fire Is Gone

To All The Girls... finds Willie reunited with his two greatest loves: beautiful music and talented women.
Decades of heartfelt performances and compositions in popular music have long solidified Willie's reputation as one of country s greatest romantics. To All The Girls...continues Nelson's musical relationships with some of the most talented women in country, pop and soul.

Among the centerpieces of To All The Girls... is the emotional duet with Dolly Parton, "From Here To The Moon and Back," a song Parton wrote for the 2012 motion picture Joyful Noise. Willie also tackles the Bill Withers' classic "Grandma's Hands" with Mavis Staples, duets with Sheryl Crow on the Great American Songbook selection "Far Away Places," and brings a new shade to his self penned classic "Always on My Mind" with Carrie Underwood.

Willie is also joined by familiar contemporaries including Emmylou Harris, Alison Krauss, Miranda Lambert, Norah Jones, Loretta Lynn and Roseanne Cash. To All The Girls... reunites Willie with producer Buddy Cannon, who worked with Willie on his most recent successful releases, Heroes and Let's Face The Music and Dance. ~ Editorial Reviews  http://www.amazon.com/All-The-Girls-Willie-Nelson/dp/B00E9JLQB0

To All The Girls...

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Sue Bell - Only Love

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 55:04
Size: 126,6 MB
Art: Front

(2:37)  1. Let There Be Love
(4:55)  2. Too Late Now
(2:19)  3. Exactly Like You
(4:25)  4. With Every Breath I Take
(4:43)  5. May I Come In
(2:32)  6. Let's Get Away From It All
(5:34)  7. It Never Entered My Mind
(3:22)  8. If I Had You
(4:52)  9. Small Day Tomorrow
(4:28) 10. If It Wasn't For Your Love
(2:29) 11. You Can't Lose A Broken Heart
(3:31) 12. Guess I'll Hang My Tears Out To Dry
(5:05) 13. You Taught My Heart To Sing
(4:05) 14. The Summer Knows/Summertime

Sue Bell is a jazz vocalist from Seattle, Washington. She is proof that the area produces some of the best musicians in the industry. Her release, Only Love, is an exercise in smooth vocals, with a sound that is not equaled by many female vocalists of the last decade. Her soft, soothing voice comes across like an instrument, quiet tones, yet strong presence. The integrity of her talented vocals is sure, and the selections are flawlessly executed; from soft, flowing , emotion triggering songs to quick- pulsed, swinging tunes that make your feet move almost involuntarily. The musicians accompanying her on this project fit in such a way that it seems they are connected at the soul.

None are overpowering, and they provide the perfect environment for her comforting, soulful voice to thrive. Subtle piano and sax, guitar that flows with a natural feel, bass that is unassuming yet strong, trumpet that complements Sue's vocal "instrument". Getting down to it, Sue Bell is fresh and at the same time, familiar. Her versatility is apparent, and she has shown that in the different selections on the cd. A lovely collection of music by a lovely and talented vocalist this project gives the listener a reason to keep listening. http://www.cduniverse.com/productinfo.asp?pid=7748284&style=music&fulldesc=T

Only Love

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Tony DeSare - PiANO

Styles: Vocal, Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 41:47
Size: 95,6 MB
Art: Front

(2:46)  1. A Lot to Say
(3:16)  2. Just One of Those Things
(3:09)  3. New Orleans Tango
(4:00)  4. Faithfully
(4:03)  5. You Give Love a Bad Name
(3:39)  6. Chemistry
(5:33)  7. Where Love Lives
(4:40)  8. Autumn Leaves
(4:33)  9. Christmas for You and Me
(2:07) 10. Nothing Left to Say
(3:55) 11. I Love a Piano

Triple threat composer, vocalist, pianist musician Tony DeSare’s latest album, PiANO, adds a fourth threat, sonic experimentalist. As he explains on the album’s back cover, “PiANO is the result of over two years of experimentation and recording” on his Yamaha acoustic. “Every sound you hear on this album (other than my own voice) originated from somewhere in, on, or under the piano.” So for example, the kettle drum sound on one track was produced by setting one mic on the soundboard and a second under the keyset. DeSare then used a closed fist to strike under the keyset while holding down the sustain pedal. He describes how he got guitar and bass sounds as well. Complicated? I’ll say.
Worth the effort? Well, it does give the artist complete control over process, and at the very least that assures that the end product realizes his vision. On the other hand, there is a price in the loss of spontaneity that puts too much emphasis on a kind of technical perfection. Dwelling too much on the mechanics may drain the emotion from the music.

More often than not, DeSare avoids falling into this trap. His vocals combine some of the best elements of pop, jazz, and cabaret. His piano work is dynamic. His original tunes are witty and charmingly melodic. His covers, both of classics and contemporary pieces, put his own spin on them while managing to keep to their original spirit.

Of the album’s 11 songs, five are covers and six are originals. Contemporary tunes include what he calls his attempt to “capture the intimacy” of Journey’s “Faithfully,” and a rhythmically inventive reading of “You Give Love a Bad Name.”

From the Great American Songbook, he does an instrumental version of the hoary “Autumn Leaves” that may make some of us forget the Roger Williams pop hit with it back in 1955. It is a jazzy version that develops the song without any of the pomposity of the Williams version. He adds a bonus medley of Irving Berlin’s “I Love a Piano” and “Alexander’s Ragtime Band” with a little of Gershwin’s “Rhapsody in Blue.”

His swinging nod to Cole Porter’s “Just One of those Things” makes a nice comment on his own salute to the lyricist, implicit in “Chemistry.” As you listen, you can’t help but hear the patented Porter wit in your imagination. DeSare’s “New Orleans Tango” combines the tango rhythms with a bit of blues. “A Lot to Say,” which opens the album, is a rocker and “Nothing Left to Say,” which would cleverly bookend the album were it not for the bonus track, is a catchy, syncopated toe-tapper. Worth the effort? If you can come up with an album like PiANO, you bet your life it is. ~ Jack Goodstein   http://blogcritics.org/music-review-tony-desare-piano/

PiANO

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Tiny Bradshaw - Breakin' Up The House

Bitrate: 320K/s
Time: 42:18
Size: 96.9 MB
Styles: R&B, Jump blues
Year: 2010
Art: Front

[2:37] 1. Breaking Up The House
[2:38] 2. Walk That Mess
[2:40] 3. The Train Kept A-Rollin'
[2:54] 4. T-99
[2:24] 5. Bradshaw Boogie
[2:36] 6. Walkin' The Chalk Line
[2:11] 7. Mailman's Sack
[2:58] 8. Snaggle Tooth Ruth
[2:36] 9. Rippin' And Runnin'
[2:31] 10. The Blues Came Pouring Down
[2:33] 11. Two Dry Bones On The Pantry Shelf
[2:53] 12. Brad's Blues
[2:37] 13. Boodie Green
[2:37] 14. Well Oh Well
[2:41] 15. Newspaper Boy Blues
[2:45] 16. One, Two, Three, Kick Blues

Sixteen of Tiny Bradshaw's biggest and hardest-swinging King label waxings from 1950-1952, notably "The Train Kept a-Rollin'," "Well, Oh Well," "Two Dry Bones on the Pantry Shelf," "Walkin' the Chalk Line," and the jiving title item. Unfortunately, the torrid big band-styled instrumental arrangements that also defined Bradshaw's output are nowhere to be found on this collection. ~Bill Dahl

Tiny Bradshaw, bandleader, vocalist, arranger, and producer of many talented R & B musicians was born in Youngstown, Ohio in 1905. Deciding to make music as his life's profession he organized his first small band in Ohio in 1933. Along the way his band has been the incubator for such accomplished sax men in the jazz and R & B field as Sonny Stitt, Red Prysock, and Sil Austin. Vocalists along the way for Bradshaw have included Arthur Prysock, Tiny Kennedy, Lonnie Johnson, and Roy Brown. By the late 1940s Bradshaw shifted his musical direction away from jazz tinged tunes to the more rhythmic sound of Rhythm & Blues. By late 1949 he was attracting attention to the music of his small group and they were signed to the well known R & B independent label King Records of Cincinnati.

Tiny Bradshaw was an original performer during the great days of Rhythm & Blues. He will always be remembered for the monster hits "Well Oh Well" and "Soft" as well as the wealth of talent that was a part of his small band for so many years. Seek out his recordings saved for posterity and you will hear the origins of rock 'n roll.

Breakin' Up The House

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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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